Raymond Knapp is Professor of Musicology at UCLA. His books include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler's Re-Cycled Songs (2003), The American Musical and the Formation of National Identity (2005), The American Musical and the Performance of Personal Identity (2006), and Musicological Identities: Essays in Honor of Susan McClary (2008, co-edited with Steven Baur and Jacqueline Warwick). Mitchell Morris is Associate Professor of Musicology at UCLA; among his research interests are Russian & Soviet Music; 20th century American music; opera; gender & sexuality; psychoanalysis; problems of musical ethics; and ecocriticism. In addition to his scholarly work, he is also a frequent collaborator with the Los Angeles Opera.

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 Reddick) ; IV. Identities ; 14. Race, Ethnicity, Performance (Todd Decker) ; 15. Gender and Sexuality (Stacy Wolf) ; 16. The Politics of Region and Nation in American Musicals (Chase A. Bringardner) ; 17. Class and Culture (David Savran) ; V. Performance ; 18. Putting It Together: The Institutional Structure of the American Musical Theatre (David Sanjek) ; 19. Orchestration and Arrangement: Creating the Broadway Sound (Dominic Symonds) ; 20. "Razzle Dazzle 'Em": Musical Theatre Directors from Abbott to Zaks (Barbara Wallace Grossman) ; 21. What You See: Sets, Costumes, Lights, and Spectacle (Virginia Anderson) ; 22. Acting (John Clum) ; 23. Singing (Mitchell Morris and Raymond Knapp) ; 24. Dance and Choreography (Zachary Dorsey) ; VI. Audiences ; 25. Box Office (Steven Adler) ; 26. Audiences and Critics (Michelle Dvoskin) ; 27. Stars and Fans (Holley Replogle-Wong) ; 28. Knowing Your Audience: Community and High School Musical Theatre Production (Jennifer Chapman) ; 29. Performance, Authenticity, and the Reflexive Idealism of the American Musical (Raymond Knapp) ; Bibliography

Raymond Knapp is Professor of Musicology at UCLA. His books include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler's Re-Cycled Songs (2003), The American Musical and the Formation of National Identity (2005), The American Musical and the Performance of Personal Identity (2006), and Musicological Identities: Essays in Honor of Susan McClary (2008, co-edited with Steven Baur and Jacqueline Warwick). Mitchell Morris is Associate Professor of Musicology at UCLA; among his research interests are Russian & Soviet Music; 20th century American music; opera; gender & sexuality; psychoanalysis; problems of musical ethics; and ecocriticism. In addition to his scholarly work, he is also a frequent collaborator with the Los Angeles Opera.

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 Reddick) ; IV. Identities ; 14. Race, Ethnicity, Performance (Todd Decker) ; 15. Gender and Sexuality (Stacy Wolf) ; 16. The Politics of Region and Nation in American Musicals (Chase A. Bringardner) ; 17. Class and Culture (David Savran) ; V. Performance ; 18. Putting It Together: The Institutional Structure of the American Musical Theatre (David Sanjek) ; 19. Orchestration and Arrangement: Creating the Broadway Sound (Dominic Symonds) ; 20. "Razzle Dazzle 'Em": Musical Theatre Directors from Abbott to Zaks (Barbara Wallace Grossman) ; 21. What You See: Sets, Costumes, Lights, and Spectacle (Virginia Anderson) ; 22. Acting (John Clum) ; 23. Singing (Mitchell Morris and Raymond Knapp) ; 24. Dance and Choreography (Zachary Dorsey) ; VI. Audiences ; 25. Box Office (Steven Adler) ; 26. Audiences and Critics (Michelle Dvoskin) ; 27. Stars and Fans (Holley Replogle-Wong) ; 28. Knowing Your Audience: Community and High School Musical Theatre Production (Jennifer Chapman) ; 29. Performance, Authenticity, and the Reflexive Idealism of the American Musical (Raymond Knapp) ; Bibliography

Raymond Knapp is Professor of Musicology at UCLA. His books include Symphonic Metamorphoses: Subjectivity and Alienation in Mahler's Re-Cycled Songs (2003), The American Musical and the Formation of National Identity (2005), The American Musical and the Performance of Personal Identity (2006), and Musicological Identities: Essays in Honor of Susan McClary (2008, co-edited with Steven Baur and Jacqueline Warwick). Mitchell Morris is Associate Professor of Musicology at UCLA; among his research interests are Russian & Soviet Music; 20th century American music; opera; gender & sexuality; psychoanalysis; problems of musical ethics; and ecocriticism. In addition to his scholarly work, he is also a frequent collaborator with the Los Angeles Opera.

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 Reddick) ; IV. Identities ; 14. Race, Ethnicity, Performance (Todd Decker) ; 15. Gender and Sexuality (Stacy Wolf) ; 16. The Politics of Region and Nation in American Musicals (Chase A. Bringardner) ; 17. Class and Culture (David Savran) ; V. Performance ; 18. Putting It Together: The Institutional Structure of the American Musical Theatre (David Sanjek) ; 19. Orchestration and Arrangement: Creating the Broadway Sound (Dominic Symonds) ; 20. "Razzle Dazzle 'Em": Musical Theatre Directors from Abbott to Zaks (Barbara Wallace Grossman) ; 21. What You See: Sets, Costumes, Lights, and Spectacle (Virginia Anderson) ; 22. Acting (John Clum) ; 23. Singing (Mitchell Morris and Raymond Knapp) ; 24. Dance and Choreography (Zachary Dorsey) ; VI. Audiences ; 25. Box Office (Steven Adler) ; 26. Audiences and Critics (Michelle Dvoskin) ; 27. Stars and Fans (Holley Replogle-Wong) ; 28. Knowing Your Audience: Community and High School Musical Theatre Production (Jennifer Chapman) ; 29. Performance, Authenticity, and the Reflexive Idealism of the American Musical (Raymond Knapp) ; Bibliography