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"Jukeboxes"
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I've Heard This One Before: A Paradigm Shift in Musical Theater Writing?
[...]there are plenty of good examples of songs in musicals that don't advance the plot (the title song in Hello, Dolly! [1964] is a fine example), and the prevalence of jukebox musicals, which arguably makes almost all the show's numbers function this way, has added greatly to this stock. Yet the power of the song is undeniable and, I'd argue, would be less so if the lyric was trying to give us lots of new information. Sometimes imperfect rhymes can be used for effect; but; as Julian Woolford puts it; if they are there \"because you haven't thought of anything better; then you need to be more rigorous about your work/'1 A pure or perfect rhyme is when \"the vowel sound is the same but the initial consonant is different; as in way' and 'day'\" while a slant or half or imperfect rhyme is often built on assonance; a repeated vowel sound; such as \"time\" and \"fine. \"2 Craig Camelia suggests that \"true rhyming is a necessity in the theater; as a guide for the ear to know what it has just heard/' which is not so much of a problem if the audience is already familiar with the song.3 Because pop music today is littered with slant rhymes; the influx of jukebox musicals has attuned our ears to slant rhymes in the theater; in order to bring contemporary musical influences to the stage; then, lyrical techniques must be adjusted to match style.
Journal Article
The Global Jukebox: A public database of performing arts and culture
Standardized cross-cultural databases of the arts are critical to a balanced scientific understanding of the performing arts, and their role in other domains of human society. This paper introduces the Global Jukebox as a resource for comparative and cross-cultural study of the performing arts and culture. The Global Jukebox adds an extensive and detailed global database of the performing arts that enlarges our understanding of human cultural diversity. Initially prototyped by Alan Lomax in the 1980s, its core is the Cantometrics dataset, encompassing standardized codings on 37 aspects of musical style for 5,776 traditional songs from 1,026 societies. The Cantometrics dataset has been cleaned and checked for reliability and accuracy, and includes a full coding guide with audio training examples ( https://theglobaljukebox.org/?songsofearth ). Also being released are seven additional datasets coding and describing instrumentation, conversation, popular music, vowel and consonant placement, breath management, social factors, and societies. For the first time, all digitized Global Jukebox data are being made available in open-access, downloadable format ( https://github.com/theglobaljukebox ), linked with streaming audio recordings (theglobaljukebox.org) to the maximum extent allowed while respecting copyright and the wishes of culture-bearers. The data are cross-indexed with the Database of Peoples, Languages, and Cultures (D-PLACE) to allow researchers to test hypotheses about worldwide coevolution of aesthetic patterns and traditions. As an example, we analyze the global relationship between song style and societal complexity, showing that they are robustly related, in contrast to previous critiques claiming that these proposed relationships were an artifact of autocorrelation (though causal mechanisms remain unresolved).
Journal Article
'The Only Thing That Matters Is That That Man Gets Up on That Stage Tonight': Elvis, the Biographical Jukebox Musical, and the Recording Artist as Worker
[...]the plot must focus on the life story of that recording artist or group. Biographical jukebox musicals typically represent the inner turmoil of struggles like drug addiction and the breakdown of relationships.3 Dexter Fletchers film Rocketman (2019), for instance, begins with Elton John in a rehab session listing off his myriad addictions, from drugs to drinking, sex, and shopping, before descending inward into his fantastical mind to encounter himself as a child.4 By contrast, Elvis shifts the focus outward, representing how the body of a recording artist becomes embedded in the circulation process of capital. According to him, \"even the best, most detailed biographical drama is an interpretation. According to Dargis, Parker realized that \"the kid is a gold mine\" after seeing him perform.16 The descriptor \"kid\" is chosen deliberately as Dargis believes that Parker should be understood to have groomed Elvis.17 Such confusion about this narrative choice stems from the fact that biographical films about recording artists typically focus on personal tragedy.
Journal Article
Agreeability, Accessibility, and the Jukebox Musical
Since the opening of Mamma Mia! the jukebox musical has become a fundamental aspect of modern musical theater, and its popularity continues to grow with each performance season. Because the performance was comprised of already popular music, it was distinctly agreeable, and indeed there was little risk the listener would leave unsatisfied. The risk-taking in book musicals' performance has a dual nature. Creators of the genre can target specific audiences through the brand of nostalgia they present. Because it provides the safety of well-known songs, the jukebox musical gains favor from fans of the music before it even begins.
Journal Article