COURSE OUTLINE New York City College of Technology Humanities Department
COURSE CODE: THE 3280 TITLE: AMERICAN MUSICAL THEATRE PATHWAYS: US Experience in its Diversity (Flexible Common Core) HOURS/CREDITS: 3 Hours / 3 Credits
COURSE DESCRIPTION: A survey of American musical theatre on stage and screen including its origins, elements and structure, significant productions and creators, and current status, considered in the context of a changing America. Live productions may be attended when available.
When this course is taught online, minimum technology requirements are a working camera and microphone. Students are to switch both on at the instructor’s request.
COURSE PREREQUISITE: ENG1101 or ENG1101CO or ENG1101ML
COURSE MATERIALS REQUIRED VIEWING: Videos and films of selected American musicals. Access to be provided through the college library and/or online sites (Open Lab, Blackboard), or by instructor. Students may also be required to view a live performance of one or more musicals; students are responsible for theatre fees.
REQUIRED LISTENING: Cast albums, film soundtracks and/or excerpts of selected American musicals. Access to be provided through the college library and/or online sites (Open Lab, Blackboard), or by instructor.
EXAMPLES OF REQUIRED TEXTBOOK: Kenrick, John. Musical theatre: A History. 2010. NY: Bloomsbury Academic. $35. ISBN-1ed to 0: 0826430139. ISBN-13: 9780826430137 Miller, Scott. Strike Up the Band. 2007. Portsmouth NH: Heineman. $25. ISBN-13: 978-0325006420. ISBN-10: 0325006423
RECOMMENDED SUPPLEMENTAL TEXTBOOK (Students will be assigned selections. The book will be on Reserve in the library.) Everett, William A. and Paul R. Laird, eds. The Cambridge Companion to the Musical, 2d ed. Cambridge University Press, 2011. https://doi.org/10.1017/CCOL9780521862387
SAMPLE MUSICALS The selection of musicals studied in any given semester varies. Instructors make an effort to choose outstanding musicals created in a variety of styles and historical eras. In any semester, the selection of musicals will influence the emphasis given to sample topics. Showboat, Anything Goes, Kiss Me Kate, Finian’s Rainbow, Guy’s & Dolls, Oklahoma, Carousel, South Pacific, The King and I, The Sound of Music, Porgy and Bess, My Fair Lady, Falsettos, Little Shop of Horrors, The Music Man, West Side Story, Gypsy, The Cradle Will Rock, A Funny Thing Happened on the Way to the Forum, Fiddler of the Roof, Man of La Mancha, The Fantasticks, Sweeney Todd, The Color Purple, Company, A Chorus Line, Sunday in the Park with George, A Little Night Music, Aladdin, Beauty and the Beast, Cabaret, Chicago, Dreamgirls, The Producers, Hairspray, Hair, Urinetown, Rent, Wicked, Hamilton
SAMPLE TOPICS* Origins of the work: o Antecedents o Primary source material o Historical/cultural moment of creation o Creative personnel: composers, lyricists, librettists, directors, choreographers, designers, designers, performers, producers Structure Themes Impact Creative contributions by members of particular ethnic, racial, or cultural groups. Representations of members of particular gender, ethnic, racial, or cultural groups. Representation of American culture.
______*Topics are introduced in a sequence and manner to increase understanding and appreciation of the musical being studied. Topics and topic sequence may vary with instructor. The theatre faculty recognizes that the relevance of any concept varies with respect to the specific musical being considered.
COURSE LEARNING OBJECTIVES and ASSESSMENT METHODS
LEARNING OBJECTIVES ASSESSMENT METHODS For the successful completion of this course, students Instructional activity and evaluation methods. should be able to: Demonstrate familiarity with major works of American Evaluation of class participation, written assignments musical theatre and Identify the contributions of and presentations (e.g., Blackboard posts and significant creators of musicals. responses, Quizzes, Exam, Dramaturgical Presentation, Next Big Show Proposal Paper & Presentation). Analyze the elements of a musical and how they work Evaluation of completed written and oral assignments together; describe the conventions of American musical that require close analysis of a single work (e.g., theatre and how they developed. Libretto Analysis essay, Live Performance essay, Analysis of a Musical Number essay) and others that demonstrate understanding of the history and conventions of the field (e.g., Next Big Show Proposal Paper & Presentation, Class discussion, Exam essay questions, Critique of an Essay) Theorize the significance of a given musical as a form Evaluation of students’ contextualization of specific of art and entertainment in its cultural context and musicals in class discussion, oral presentations and explain American musical theatre as an important written assignments (e.g., Libretto Analysis, element of U.S. culture. Dramaturgical presentation, Critique of an essay, Next Big Show Proposal paper & presentation). GENERAL EDUCATION LEARNING OBJECTIVES and ASSESSMENT METHODS LEARNING OBJECTIVES ASSESSMENT METHODS For the successful completion of this course, students Instructional activity and evaluation methods. should be able to:
KNOWLEDGE Demonstrate familiarity with major works of American musical theatre. Students complete written and oral assignments designed to evaluate the depth and breadth of their Analyze the elements of American musicals. knowledge and thinking. Describe American musical theatre as reflection
and reinforcement of American culture.
SKILLS Communicate ideas in writing. Students complete informal and formal writing assignments. Students give oral presentations and Communicate ideas orally. participate in class discussion. For all assignments, Use textual evidence to support conclusions. students are called upon to support their observations, Research information effectively and document it assertions, and theories with examples. Formal using standard bibliographic style. bibliographies are to be submitted with their Analyze and critically evaluate musicals. dramaturgical report and final paper. Develop increased capacity to listen.
VALUES, ETHICS & RELATIONSHIPS
Develop a heightened awareness of groups and/or Students identify and analyze the manner in which individuals who differ from oneself in any members of various groups are represented in musical significant respect. theatre. Through research, and in discussion and Develop insight regarding theatrical representation written work, students explore the impact of such and public attitudes and beliefs. representations. Develop increased understanding of how collective enterprises prosper through collaboration. Students demonstrate their understanding of the Demonstrate increased aesthetic appreciation. collaborative nature of theatre and the impossibility of Demonstrate openness to non-analytical thinking. success without cooperative contributions.
Students create an artistic response to one musical.
PATHWAYS LEARNING OBJECTIVES and ASSESSMENT METHODS
U.S. Experience in its Diversity
A Flexible Core course must meet the three learning outcomes in the right column.
o Using varied sources such as a course text Gather, interpret, and assess information from a book, historical news media, published variety of sources and points of view. memoirs, and critical studies, students will find information about a given musical (critical response, creative team, production choices, etc.), distil their findings and explain them to the class; students submit an annotated bibliography describing the content and value of each source. o In research papers as part of final projects, students will seek information from a variety of sources to support their proposal for a production. Sources may include scholarly and media works that document social, political, demographic and economic trends and/or events. Students must account for information which appears to contradict the viability of their plan as well as that which supports it. o In online posts, students evaluate the Evaluate evidence and arguments critically or arguments of their classmates. analytically. o In a written critique of an essay, students analyze the argument presented and take a position in response. o In their final paper, students evaluate past critical response to determine viability of a proposal. o For their final project, students use evidence, Produce well-reasoned written or oral arguments reasoning, and knowledge of the American using evidence to support conclusions. musical theatre to propose a new production. The proposal is made in both an oral presentation and an essay. o In a written critique of an essay, students analyze the argument presented and take a position in response. o After attending a live performance, students use evidence from the show to support their critique. A course in this area (II.B) must meet at least three of the additional learning outcomes in the right column. A student will:
Considering musicals as a branch of U.S. literature, Identify and apply the fundamental concepts and o On mid-term exam and quizzes, students methods of a discipline or interdisciplinary field identify elements of American musicals exploring the U.S. experience in its diversity, including plot, character, settings (temporal, including, but not limited to, anthropology, geographic, socio-economic, etc.). In essays communications, cultural studies, economics, questions on exams, students consider the history, political science, psychology, public relation between the representation of various affairs, sociology, and U.S. literature. American identity groups and the historical era of each work’s creation. o In a written libretto analysis and in an essay on a musical number, students utilize professional vocabulary and apply fundamental concepts. o In online response posts, students use models and theories of the field. o On mid-term and final exams, and in a Analyze and explain one or more major themes dramaturgical presentation or a written critique of U.S. history from more than one informed of a published essay students will explain the perspective. theme of American Identity and American Diversity as exemplified by various musical created and/or performed over the course of the 19th and 20th centuries. o o On mid-term and final exams, students Evaluate how indigenous populations, slavery, appraise the influence of immigrants and African or immigration have shaped the development of Americans in actively shaping the development of the United States. American musical, from Negro minstrelsy to Hamilton. Explain and evaluate the role of the United States in international relations. Identify and differentiate among the legislative, judicial, and executive branches of government and analyze their influence on the development of U.S. democracy. o o In a written critique of a published essay Analyze and discuss common institutions or students analyze how a given musical was patterns of life in contemporary U.S. society and influenced by race, ethnicity, ethnicity, gender, how they influence, or are influenced by, race, sexual orientation or other forms of social ethnicity, class, gender, sexual orientation, differentiation. belief, or other forms of social differentiation. o o On mid-term and final exams, and in a dramaturgical presentation, students evaluate how the institution of the American musical has responded to the presence of various population groups (e.g., South Asians, African- Americans, Puerto Ricans, Mormons, LGBTQ) in various eras, through its representations of such peoples. o o On quizzes, mid-term and final exams, and a research paper, students identify and discuss the influence of contemporary societal patters regarding gender and gender status on both the content of musicals and in the makeup of creative teams in the commercial theatre industry.
SCOPE OF ASSIGNMENTS1 and other course requirements*
VIEWING & LISTENING View 6-12 American musicals on film or video (designated as core-viewing), and listen to cast albums, soundtracks, and/or audio excerpts. Viewing of live production when feasible.
READING Textbook. Libretti and critical essays as assigned.
RESEARCH
1 Several of these assignments are modeled on syllabi in the archive of ATHE’s Musical Theatre and Dance Focus Group, with particular acknowledgements to Barbara Grossman, Bud Coleman, Stacy Wolf, Korey Rothman and Chrystyna Dail.
Gather sources and create annotated bibliographies for 2 assignments; minimum 4 sources each.
WRITING – INFORMAL May include the following: Blackboard Posts (5 one-paragraph posts) Libretto Analysis (800-1000 words) Creative Response Explanation (250 words) Speaking Notes (typed) for 10-minute Oral Presentation
WRITING – FORMAL, minimum 12 pages Research Paper, 1500-2000 words, with annotated bibliography (see above). 3 shorter papers, (minimum 500 words each), at least one of which engages with a refereed source. Topics may include, analysis of a musical number, critique of an essay, analysis of a performance. *
ORAL & CREATIVE* Oral Presentation of research (10) minutes. Students submit an annotated bibliography and their typed speaking notes. Presented extemporaneously. Oral Presentation (7 minutes) Presented extemporaneously. Creative Response –creative response to existing show or original creative work. Daily Engagement (Oral): Students are expected to orally express ideas and pose questions.
ADDITIONAL ASSESSMENTS Daily Engagement (Written): Quizzes are given on an ad hoc basis and may include audio identifications.
Mid-Term Exam – Exam may include audio and/or video identifications as well as short answers and essay questions based on readings, core-viewings, and lectures to test knowledge of vocabulary, musicals, creative artists, themes, styles, and eras. ______*Theatre faculty are aware that the designated Learning Outcomes in this area may be achieved through a wide variety of methodologies. While all classes will require significant amounts of oral and written communication, instructors may substitute other assignments designed to elicit student responses to the musicals and/or to assess student comprehension of musicals or textual material.
SUGGESTED GRADE SCALE – elements and weight of factors determining final course grade
Oral Presentations and Creative Work 10-15% Informal Writing: 20-25% Formal Writing: minimum 12 pages, 45% Daily Engagement: Quizzes & Participation 10% Midterm exam 10% 100%
POLICIES Plagiarism and NYCCT Academic Integrity Policy “Students and all others who work with information, ideas, texts, images, music, inventions, and other intellectual property owe their audience and sources accuracy and honesty in using, crediting, and citing sources. As a community of intellectual and professional workers, the College recognizes its responsibility for providing instruction in information literacy and academic integrity, offering models of good practice, and responding vigilantly and appropriately to infractions of academic integrity. Accordingly, academic dishonesty is prohibited in The City University of New York and at New York City College of Technology and is punishable by penalties, including failing grades, suspension, and expulsion.” (See pp. 73-76 in the student handbook). The following are some examples of plagiarism:
Copying another person’s actual words without the use of quotation marks and footnotes attributing the words to their source. Presenting another person’s ideas or theories in your own words without acknowledging the source. Using information that is not common knowledge without acknowledging the source. Failing to acknowledge collaborators on homework and laboratory assignments. Internet Plagiarism includes submitting downloaded term papers or parts of term papers, paraphrasing or copying information from the internet without citing the source, and “cutting and pasting” from various sources without proper attribution. Assignments must be paraphrased into your own language and properly cited. All major writing assignments will be run through Safe Assign or TURNITIN.
______Humanities Attendance Policy It is the conviction of the Humanities and department that a student who is not in a class for any reason is not receiving the benefit of the education being provided. Missed class time includes not just absences but also latenesses, early departures, and time outside the classroom taken by students during class meeting periods. Missed time impacts any portion of the final grade overtly allocated to participation and/or any grades awarded for activities that relate to presence in class. ______Accessibility Statement
City Tech is committed to supporting the educational goals of enrolled students with disabilities in the areas of enrollment, academic advisement, tutoring, assistive technologies and testing accommodations. If you have or think you may have a disability, you may be eligible for reasonable accommodations or academic adjustments as provided under applicable federal, state and city laws. You may also request services for temporary conditions or medical issues under certain circumstances. If you have questions about your eligibility or would like to seek accommodation services or academic adjustments, you can leave a voicemail at 718 260 5143, send an email to [email protected] or visit the Center’s website http://www.citytech.cuny.edu/accessibility/ for more information.
______Humanities Department Commitment to Student Diversity
The Humanities Department complies with the college wide nondiscrimination policy and seeks to foster a safe and inclusive learning environment that celebrates diversity in its many forms and enhances our students’ ability to be informed, global citizens. Through our example, we demonstrate an appreciation of the rich diversity of world cultures and the unique forms of expression that make us human.
BIBLIOGRAPHY
Audio Sources Cincinnati University Singers and Theatre Orchestra, Earl Rivers, Director. “I Wants to be an Actor Lady and Other Hits from Early Musical Comedies.” New World records 80221-2, 1978. Horton, Bobby. “Homespun Songs of 19th Century America.” 2015. Herbert, Victor. Naughty Marietta. The Smithsonian American Musical Theater Series N 026, 1981. Judith Blazer, Leslie Harrington, Elvira Green, and Wayne Turnage; James R. Morris conducting the Millennium Chamber Orchestra. “Monarchs of Minstrelsy: Historic recordings by the Stars of the Minstrel Stage.” Archeophone Records, 2006.
Print Sources Aikin, Roger. “Was Jud Jewish? Property, Ethnicity, and Gender in Oklahoma!” Cushing. Quarterly Review of Film & Video. Jul-Sep2005, Vol. 22 Issue 3, p.277-283. Byrnside, Ron. “Guys and Dolls: A Musical Fable of Broadway.” Journal of American Culture, pp. 25- 34. Cantu, Maya. American Cinderella on the Broadway Musical Stage: Imagining the Working Girl from Irene to Gypsy. Palgrave Macmillan, 2015. Davine, Lauren. “ ‘Could We Not Dye It Red at Least?’ Color and Race in West Side Story.“ Journal of Popular Film & Television. Jul-Sep2016, Vol. 44 Issue 3, pp.139-149. Everett, William A. and Paul R. Laird, eds. The Cambridge Companion to the Musical, 2d ed. Cambridge University Press, 2011 Donatella Galella. “Redefining America, Arena Stage, and Territory Folks in a Multiracial Oklahoma!” Theatre Journal, Volume 67, Number 2, May 2015, pp. 213-233. Hecht, Stuart. Transposing Broadway: Jews, Assimilation, and the American Musical. Palgrave Macmillan, 2011. Herrera. Brian Eugenio. “Compiling West Side Story’s Parahistories, 1949–2009” Theatre Journal, Volume 64, Number 2, May 2012, pp. 231-247. Kantor, Michael and Lawrence Maslon. Broadway: The American Musical. NY: Bulfinch Press, 2004. Kirle, Bruce. “Reconciliation, Resolution, and the Political Role of Oklahoma! in American Consciousness.” Theatre Journal, Volume 55, Number 2, May 2003, pp. 251-274 Knapp, Raymond. The American Musical and the Formation of National Identity. Princeton University Press, 2005. Konas, Gary. “Frank Loesser's Hidden Class.” Biography, Volume 16, Number 3, Summer 1993, pp. 264- 275 University of Hawai'i Press. DOI: https://doi.org/10.1353/bio.2010.0372 John Lahr, “Revolutionary Rag: How Irving Berlin’s Joyous Impertinence Changed American Music,” The New Yorker, 8 March 1999, 77-83. Lambert, Philip. To Broadway, To Life! The Musical Theater of Bock and Harnick. By Philip Lambert. New York: Oxford University Press, 2011. Lipton, James. “Stephen Sondheim: The Art of the Musical.” Paris Review. Spring97, Vol. 39 Issue 142, p258-278. McConachie, Bruce A. “The ‘Oriental’ Musicals of Rodgers and Hammerstein and the U.S. War in Southeast Asia,” Theatre Journal 46 (1994): 385-398. Morden, Ethan. Anything Goes: A History of American Musical Theatre. Oxford University Press, 2013. Most, Andrea. Making Americans: Jews and the Broadway Musical. Cambridge: Harvard University Press, 2004. _____ “ ‘You’ve Got to Be Carefully Taught’: The Politics of Race in Rogers and Hammerstein’s South Pacific,” Theatre Journal 52 (2000): 307-337. Negron-Muntaner, Frances. “Feeling Pretty: West Side Story and Puerto Rican Identity Discourses Social Text, 63 (Volume 18, Number 2), Summer 2000, pp. 83-106. Pisani, Michael V. Music for the Melodramatic Theatre in Nineteenth Century London and New York. Iowa City IA: University of Iowa Press, 2014. Sandoval-Sánchez, Alberto. “A Puerto Rican Reading of the America of West Side Story,” in José, Can You See? Latinos on and Off Broadway (Madison: U of Wisconsin Press, 1999), 62-82. Savran, David. “You’ve got that thing”: Cole Porter, Stephen Sondheim, and the Erotics of the List Song.” Theatre Journal, Volume 64, Number 4, December 2012, pp. 533-548. Alisa Solomon. “Balancing Act: Fiddler’s Bottle Dance and the Transformation of “Tradition.” TDR: The Drama Review, Volume 55, Number 3, Fall 2011 (T211), pp. 21-30. Viertel, Jack. The Secret Life of the American Musical: How Broadway Shows Are Built.” NY: Sarah Crichton Books/ Farrar, Strauss and Giroux, 2016. Wells, Elizabeth A. West Side Story: Cultural Perspectives on an American Musical. Scarecrow Press, 2010.
Updated March 2021 Ann Delilkan, Sarah Ann Standing, Christopher Swift