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ballad operas  An eighteenth-century English form of play with songs inserted into it; The Beggar's Opera is the best-known example. (17-301)
book musical  A form of musical that tells part of its story through songs and dances; an American contribution to the development of musical theatre. (17-302)
book writer  The person who writes the dialogue, nonmusical scenes in a musical. (17-312)
choreographer  The person who creates the dances in a production; a fight choreographer creates the moves for stage violence. (17-313)
composer  A musician who creates the score for a production. (17-312)
ensemble musicals  A musical that does not have starring roles, such as Rent or A Chorus Line. (17-315)
lyricist  The writer of the words in a script's songs. (17-312)
musical  Description of the mature form of musical theatre that evolved in the middle of the twentieth century and that integrates song and dance with characters and plot. (17-304)
musical comedy  Description of American musical theatre prior to the mid-twentieth century. (17-301)
musical director  The person who directs the musicians and singers in a musical. (17-313)
opera  A form of musical theatre developed in Italy during the Renaissance that is entirely sung, is serious in subject, and is musically complex. (17-299)
operetta  A form of musical theatre that developed in Europe in the eighteenth and nineteenth centuries that is Romantic in subject, has scenes of spoken dialogue, and is less musically complex than opera. (17-299)
orchestrator  The musician who uses the composer's melodies to create the musical parts for the members of an orchestra. (17-313)
producer  The businessperson (or venture capitalist) who heads the business aspects of a commercial production. (17-311)
ragtime  Syncopated music with a "ragged" rhythm that developed in the early twentieth century from African roots. (17-302)
star  An actor whose name will attract ticket buyers. (17-315)
sung-through musical  A form of musical theatre that tells the entire story through the song lyrics and has no spoken dialogue or "book." (17-306)







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