The Genre-Related and Stylistic Dialogues in the Historical Development of the Musical: From the Late 1960s to the 1990s
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Abstract
The author characterizes the specificity of the synthesizing processes observed during the course of the evolution
of the musical from the late 1960s to the turn of the 20th and 21st centuries. The all-encompassing breadth of the
range of genre-related and stylistic interactions in the musicals of the cited period of time includes: rock music,
jazz, pop music, light-genre musical theater, as well as various spheres of classical musical culture. Stemming from
this, the thesis is formulated about the musical about the most brilliant manifestation of universalism inherent to
contemporary mass art. A vivid example to this is the music of Andrew Lloyd-Webber from the 1970s and 1980s,
first of all, the rock-operas “Jesus Christ Superstar” and “Evita,” the musicals “Cats,” “Star Express” and “The
Phanthom of the Opera.” On the one hand, these works achieve the ultimate amplitude of the aforementioned
synthesizing processes. On the other hand Lloyd-Webber represents the original generating models, which determine
to a considerable degree not only the subsequent development of popular musical theater, but also the character of
present-day experiments in opera (John Corigliano’s “The Ghosts of Versailles,” Alexei Rybnikov’s “The Opera
House” and others). The indicated dialogues, according to the author, testify to the inseparable connection of the
historical evolution of the musical with poly-stylistic and poly-genre tendencies that are characteristic for the music
of the present time in general.
Keywords: the musical, evolution of the musical, light-genre musical theater, stylistic and genre-related interactions,
Andrew Lloyd-Webber.
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