{"title":"Process—Coaching Sessions","authors":"J. Church","doi":"10.1093/oso/9780190943462.003.0008","DOIUrl":null,"url":null,"abstract":"Part III focuses on the application of the theory, history, aesthetics, character and musical analysis, and technique discussed in chapters 1–6. In the form of chronicles of coaching and music direction situations for eleven rock theatre songs, the reader sees the principles of earlier chapters in action. Attention is again paid to stylistic variety in the material and to the many influences rock music has exerted on the theatre, in both musical and dramatic terms. The importance of upholding both believability and genuine rock aesthetics, and striking the appropriate balance between them, is a theme common to all the sessions. Each coaching is broken down into the background, dramatic context, and performance practices of the material at hand, an analysis of the song in the rock historical continuum, and suggestions for performance germane to the premise of the book: creating effective characterization and telling the story of a song or musical while maintaining an authentic rock performance.","PeriodicalId":403345,"journal":{"name":"Rock in the Musical Theatre","volume":"82 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Rock in the Musical Theatre","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190943462.003.0008","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Part III focuses on the application of the theory, history, aesthetics, character and musical analysis, and technique discussed in chapters 1–6. In the form of chronicles of coaching and music direction situations for eleven rock theatre songs, the reader sees the principles of earlier chapters in action. Attention is again paid to stylistic variety in the material and to the many influences rock music has exerted on the theatre, in both musical and dramatic terms. The importance of upholding both believability and genuine rock aesthetics, and striking the appropriate balance between them, is a theme common to all the sessions. Each coaching is broken down into the background, dramatic context, and performance practices of the material at hand, an analysis of the song in the rock historical continuum, and suggestions for performance germane to the premise of the book: creating effective characterization and telling the story of a song or musical while maintaining an authentic rock performance.