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Crosscurrents: American and European Music in Interaction, 1900-2000 ed. by Felix Meyer, etal. (review)

Crosscurrents: American and European Music in Interaction, 1900-2000 ed. by Felix Meyer, etal.... The Sound of Music. Indeed, barrios has little positive to say about such films as Camelot (1967) or Hello, Dolly! (1969). In the epilogue, barrios directly addresses the issue raised by the book's subtitle: "why movie musicals matter." although fewer of these films are made today than in previous decades, predictions of the genre's demise are, as barrios observes, inaccurate. although some of its conventions remain intact, the film musical continues to adapt to changing circumstances, for it has the ability to fill what barrios perceives as a need to "express and live beyond the ordinary confines of mundane communication" (239). and the clear popularity of the recent hit Les Misérables validates this idea. barrios asserts that the film musical cannot and should not stay the same; the days of fred and Ginger or lerner and loewe are over, but the genre remains. Indeed, barrios feels that we should continue to appreciate earlier musical films while moving forward. barrios's brash opinions have the potential to be as polarizing as he claims the genre itself to be. The author frequently points out films and sequences that he considers aesthetic failures while extolling the virtues of masterpieces, which include Love http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Crosscurrents: American and European Music in Interaction, 1900-2000 ed. by Felix Meyer, etal. (review)

American Music , Volume 32 (3) – Apr 17, 2014

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Publisher
University of Illinois Press
Copyright
Copyright © University of Illinois Press
ISSN
1945-2349
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Abstract

The Sound of Music. Indeed, barrios has little positive to say about such films as Camelot (1967) or Hello, Dolly! (1969). In the epilogue, barrios directly addresses the issue raised by the book's subtitle: "why movie musicals matter." although fewer of these films are made today than in previous decades, predictions of the genre's demise are, as barrios observes, inaccurate. although some of its conventions remain intact, the film musical continues to adapt to changing circumstances, for it has the ability to fill what barrios perceives as a need to "express and live beyond the ordinary confines of mundane communication" (239). and the clear popularity of the recent hit Les Misérables validates this idea. barrios asserts that the film musical cannot and should not stay the same; the days of fred and Ginger or lerner and loewe are over, but the genre remains. Indeed, barrios feels that we should continue to appreciate earlier musical films while moving forward. barrios's brash opinions have the potential to be as polarizing as he claims the genre itself to be. The author frequently points out films and sequences that he considers aesthetic failures while extolling the virtues of masterpieces, which include Love

Journal

American MusicUniversity of Illinois Press

Published: Apr 17, 2014

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