Raymond Knapp is Professor of Musicology at UCLA. His five books include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler's Re-Cycled Songs (2003), The American Musical and the Formation of National Identity (2005; winner of the George Jean Nathan Award for Dramatic Criticism), The American Musical and the Performance of Personal Identity (2006), and Musicological Identities: Essays in Honor of Susan McClary (2008, co-edited with UCLA alumni Steven Baur and Jacqueline Warwick). He has published in most of the major journals in musicology and in several book collections on these and a wide range of additional topics, including Beethoven, Wagner, Brahms, Tchaikovsky, nationalism, musical allusion, music and identity, and film music.

The second book of the three-volume set will most interest producers and directors of musicals.

• Introduction (Stacy Wolf) ; I. Historiography ; 1. Narratives and Values: Stories of the Musical (Mitchell Morris) ; 2. Texts and Authors (Jim Lovensheimer) ; 3. Marian Waltzes while Harold Marches: Musical Styles and Types in the American Musical (Paul Laird) ; 4. Evolution of Dance in the Golden Age of the American "Book Musical" (Liza Gennaro) ; II. Transformations ; 5. Minstrelsy and Theatrical Miscegenation (Thomas L. Riis) ; 6. Toward the First "Golden Age": Tin Pan Alley Songs on Stage and Screen before World War II (Raymond Knapp and Mitchell Morris) ; 7. Integration (Geoffrey Block) ; 8. After the "Golden Age" (Jessica Sternfeld & Elizabeth L. Wollman) ; III. Media ; 9. Theatre (Tamsen Wolff) ; 10. The Filmed Musical: Fissures and Fusions between Stage and Screen (Raymond Knapp and Mitchell Morris) ; 11. The Television Musical: Rodgers & Hammerstein's Cinderella (Robynn J. Stilwell) ; 12. The Animated Film Musical (Susan Smith) ; 13. Broadway on Records: The Evolution of the Original Cast Album (George

Raymond Knapp is Professor of Musicology at UCLA. His five books include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler's Re-Cycled Songs (2003), The American Musical and the Formation of National Identity (2005; winner of the George Jean Nathan Award for Dramatic Criticism), The American Musical and the Performance of Personal Identity (2006), and Musicological Identities: Essays in Honor of Susan McClary (2008, co-edited with UCLA alumni Steven Baur and Jacqueline Warwick). He has published in most of the major journals in musicology and in several book collections on these and a wide range of additional topics, including Beethoven, Wagner, Brahms, Tchaikovsky, nationalism, musical allusion, music and identity, and film music.

The second book of the three-volume set will most interest producers and directors of musicals.

• Introduction (Stacy Wolf) ; I. Historiography ; 1. Narratives and Values: Stories of the Musical (Mitchell Morris) ; 2. Texts and Authors (Jim Lovensheimer) ; 3. Marian Waltzes while Harold Marches: Musical Styles and Types in the American Musical (Paul Laird) ; 4. Evolution of Dance in the Golden Age of the American "Book Musical" (Liza Gennaro) ; II. Transformations ; 5. Minstrelsy and Theatrical Miscegenation (Thomas L. Riis) ; 6. Toward the First "Golden Age": Tin Pan Alley Songs on Stage and Screen before World War II (Raymond Knapp and Mitchell Morris) ; 7. Integration (Geoffrey Block) ; 8. After the "Golden Age" (Jessica Sternfeld & Elizabeth L. Wollman) ; III. Media ; 9. Theatre (Tamsen Wolff) ; 10. The Filmed Musical: Fissures and Fusions between Stage and Screen (Raymond Knapp and Mitchell Morris) ; 11. The Television Musical: Rodgers & Hammerstein's Cinderella (Robynn J. Stilwell) ; 12. The Animated Film Musical (Susan Smith) ; 13. Broadway on Records: The Evolution of the Original Cast Album (George

Raymond Knapp is Professor of Musicology at UCLA. His five books include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler's Re-Cycled Songs (2003), The American Musical and the Formation of National Identity (2005; winner of the George Jean Nathan Award for Dramatic Criticism), The American Musical and the Performance of Personal Identity (2006), and Musicological Identities: Essays in Honor of Susan McClary (2008, co-edited with UCLA alumni Steven Baur and Jacqueline Warwick). He has published in most of the major journals in musicology and in several book collections on these and a wide range of additional topics, including Beethoven, Wagner, Brahms, Tchaikovsky, nationalism, musical allusion, music and identity, and film music.

The second book of the three-volume set will most interest producers and directors of musicals.

• Introduction (Stacy Wolf) ; I. Historiography ; 1. Narratives and Values: Stories of the Musical (Mitchell Morris) ; 2. Texts and Authors (Jim Lovensheimer) ; 3. Marian Waltzes while Harold Marches: Musical Styles and Types in the American Musical (Paul Laird) ; 4. Evolution of Dance in the Golden Age of the American "Book Musical" (Liza Gennaro) ; II. Transformations ; 5. Minstrelsy and Theatrical Miscegenation (Thomas L. Riis) ; 6. Toward the First "Golden Age": Tin Pan Alley Songs on Stage and Screen before World War II (Raymond Knapp and Mitchell Morris) ; 7. Integration (Geoffrey Block) ; 8. After the "Golden Age" (Jessica Sternfeld & Elizabeth L. Wollman) ; III. Media ; 9. Theatre (Tamsen Wolff) ; 10. The Filmed Musical: Fissures and Fusions between Stage and Screen (Raymond Knapp and Mitchell Morris) ; 11. The Television Musical: Rodgers & Hammerstein's Cinderella (Robynn J. Stilwell) ; 12. The Animated Film Musical (Susan Smith) ; 13. Broadway on Records: The Evolution of the Original Cast Album (George