COURSE OUTLINE COURSE CODE: TITLE: AMERICAN MUSICAL .
COURSE OUTLINENew York City College of TechnologyHumanities DepartmentCOURSE CODE:TITLE:PATHWAYS:HOURS/CREDITS:THE 3280AMERICAN MUSICAL THEATREUS Experience in its Diversity (Flexible Common Core)3 Hours / 3 CreditsCOURSE DESCRIPTION: A survey of American musical theatre on stage and screen including itsorigins, elements and structure, significant productions and creators, and current status, considered in thecontext of a changing America. Live productions may be attended when available.When this course is taught online, minimum technology requirements are a working camera andmicrophone. Students are to switch both on at the instructor’s request.COURSE PREREQUISITE:ENG1101 or ENG1101CO or ENG1101MLCOURSE MATERIALSREQUIRED VIEWING:Videos and films of selected American musicals. Access to be provided through the college library and/oronline sites (Open Lab, Blackboard), or by instructor.Students may also be required to view a live performance of one or more musicals; students areresponsible for theatre fees.REQUIRED LISTENING: Cast albums, film soundtracks and/or excerpts of selected Americanmusicals. Access to be provided through the college library and/or online sites (Open Lab, Blackboard),or by instructor.EXAMPLES OF REQUIRED TEXTBOOK:Kenrick, John. Musical theatre: A History. 2010. NY: Bloomsbury Academic. 35. ISBN-1ed to 0:0826430139. ISBN-13: 9780826430137Miller, Scott. Strike Up the Band. 2007. Portsmouth NH: Heineman. 25. ISBN-13: 978-0325006420.ISBN-10: 0325006423RECOMMENDED SUPPLEMENTAL TEXTBOOK (Students will be assigned selections. Thebook will be on Reserve in the library.)Everett, William A. and Paul R. Laird, eds. The Cambridge Companion to the Musical, 2d ed. CambridgeUniversity Press, 2011. https://doi.org/10.1017/CCOL9780521862387SAMPLE MUSICALSThe selection of musicals studied in any given semester varies. Instructors make an effort to chooseoutstanding musicals created in a variety of styles and historical eras. In any semester, the selection ofmusicals will influence the emphasis given to sample topics.Showboat, Anything Goes, Kiss Me Kate, Finian’s Rainbow, Guy’s & Dolls, Oklahoma, Carousel, SouthPacific, The King and I, The Sound of Music, Porgy and Bess, My Fair Lady, Falsettos, Little Shop ofHorrors, The Music Man, West Side Story, Gypsy, The Cradle Will Rock, A Funny Thing Happened onthe Way to the Forum, Fiddler of the Roof, Man of La Mancha, The Fantasticks, Sweeney Todd, The
Color Purple, Company, A Chorus Line, Sunday in the Park with George, A Little Night Music, Aladdin,Beauty and the Beast, Cabaret, Chicago, Dreamgirls, The Producers, Hairspray, Hair, Urinetown, Rent,Wicked, HamiltonSAMPLE TOPICS* Origins of the work:o Antecedentso Primary source materialo Historical/cultural moment of creationo Creative personnel: composers, lyricists, librettists, directors, choreographers, designers,designers, performers, producers Structure Themes Impact Creative contributions by members of particular ethnic, racial, or cultural groups. Representations of members of particular gender, ethnic, racial, or cultural groups. Representation of American culture.*Topics are introduced in a sequence and manner to increase understanding and appreciation of themusical being studied. Topics and topic sequence may vary with instructor. The theatre facultyrecognizes that the relevance of any concept varies with respect to the specific musical beingconsidered.COURSE LEARNING OBJECTIVES and ASSESSMENT METHODSLEARNING OBJECTIVESFor the successful completion of this course, studentsshould be able to:Demonstrate familiarity with major works of Americanmusical theatre and Identify the contributions ofsignificant creators of musicals.ASSESSMENT METHODSInstructional activity and evaluation methods.Evaluation of class participation, written assignmentsand presentations (e.g., Blackboard posts andresponses, Quizzes, Exam, Dramaturgical Presentation,Next Big Show Proposal Paper & Presentation).Analyze the elements of a musical and how they workEvaluation of completed written and oral assignmentstogether; describe the conventions of American musical that require close analysis of a single work (e.g.,theatre and how they developed.Libretto Analysis essay, Live Performance essay,Analysis of a Musical Number essay) and others thatdemonstrate understanding of the history andconventions of the field (e.g., Next Big Show ProposalPaper & Presentation, Class discussion, Exam essayquestions, Critique of an Essay)Theorize the significance of a given musical as a formEvaluation of students’ contextualization of specificof art and entertainment in its cultural context andmusicals in class discussion, oral presentations andexplain American musical theatre as an importantwritten assignments (e.g., Libretto Analysis,element of U.S. culture.Dramaturgical presentation, Critique of an essay, NextBig Show Proposal paper & presentation).
GENERAL EDUCATION LEARNING OBJECTIVES and ASSESSMENT METHODSLEARNING OBJECTIVESFor the successful completion of this course, studentsshould be able to:ASSESSMENT METHODSInstructional activity and evaluation methods.KNOWLEDGE Demonstrate familiarity with major works ofAmerican musical theatre. Analyze the elements of American musicals. Describe American musical theatre as reflectionand reinforcement of American culture.Students complete written and oral assignmentsdesigned to evaluate the depth and breadth of theirknowledge and thinking.SKILLS Communicate ideas in writing. Communicate ideas orally. Use textual evidence to support conclusions. Research information effectively and document itusing standard bibliographic style. Analyze and critically evaluate musicals. Develop increased capacity to listen.Students complete informal and formal writingassignments. Students give oral presentations andparticipate in class discussion. For all assignments,students are called upon to support their observations,assertions, and theories with examples. Formalbibliographies are to be submitted with theirdramaturgical report and final paper.VALUES, ETHICS & RELATIONSHIPSDevelop a heightened awareness of groups and/orindividuals who differ from oneself in anysignificant respect.Develop insight regarding theatrical representationand public attitudes and beliefs.Develop increased understanding of how collectiveenterprises prosper through collaboration.Demonstrate increased aesthetic appreciation.Demonstrate openness to non-analytical thinking. Students identify and analyze the manner in whichmembers of various groups are represented in musicaltheatre. Through research, and in discussion andwritten work, students explore the impact of suchrepresentations.Students demonstrate their understanding of thecollaborative nature of theatre and the impossibility ofsuccess without cooperative contributions.Students create an artistic response to one musical.PATHWAYS LEARNING OBJECTIVES and ASSESSMENT METHODSU.S. Experience in its DiversityA Flexible Core course must meet the three learning outcomes in the right column.oUsing varied sources such as a course textbook, historical news media, publishedmemoirs, and critical studies, students will findinformation about a given musical (criticalresponse, creative team, production choices,etc.), distil their findings and explain them tothe class; students submit an annotatedbibliography describing the content and valueof each source. Gather, interpret, and assess information from avariety of sources and points of view.
In research papers as part of final projects,students will seek information from a variety ofsources to support their proposal for aproduction. Sources may include scholarly andmedia works that document social, political,demographic and economic trends and/orevents. Students must account for informationwhich appears to contradict the viability oftheir plan as well as that which supports it.o In online posts, students evaluate the Evaluate evidence and arguments critically orarguments of their classmates.analytically.o In a written critique of an essay, studentsanalyze the argument presented and take aposition in response.o In their final paper, students evaluate pastcritical response to determine viability of aproposal.o For their final project, students use evidence, Produce well-reasoned written or oral argumentsreasoning, and knowledge of the Americanusing evidence to support conclusions.musical theatre to propose a new production.The proposal is made in both an oralpresentation and an essay.o In a written critique of an essay, studentsanalyze the argument presented and take aposition in response.o After attending a live performance, studentsuse evidence from the show to support theircritique.A course in this area (II.B) must meet at least three of the additional learning outcomes in the rightcolumn. A student will:oConsidering musicals as a branch of U.S. literature,o On mid-term exam and quizzes, studentsidentify elements of American musicalsincluding plot, character, settings (temporal,geographic, socio-economic, etc.). In essaysquestions on exams, students consider therelation between the representation of variousAmerican identity groups and the historical eraof each work’s creation.o In a written libretto analysis and in an essay ona musical number, students utilize professionalvocabulary and apply fundamental concepts.o In online response posts, students use modelsand theories of the field.o On mid-term and final exams, and in adramaturgical presentation or a written critiqueof a published essay students will explain thetheme of American Identity and AmericanDiversity as exemplified by various musical Identify and apply the fundamental concepts andmethods of a discipline or interdisciplinary fieldexploring the U.S. experience in its diversity,including, but not limited to, anthropology,communications, cultural studies, economics,history, political science, psychology, publicaffairs, sociology, and U.S. literature. Analyze and explain one or more major themesof U.S. history from more than one informedperspective.
created and/or performed over the course of the19th and 20th centuries.o o On mid-term and final exams, studentsappraise the influence of immigrants and AfricanAmericans in actively shaping the development ofAmerican musical, from Negro minstrelsy toHamilton. Evaluate how indigenous populations, slavery,or immigration have shaped the development ofthe United States. Explain and evaluate the role of the UnitedStates in international relations. Identify and differentiate among the legislative,oooo In a written critique of a published essaystudents analyze how a given musical wasinfluenced by race, ethnicity, ethnicity, gender,sexual orientation or other forms of socialdifferentiation.o On mid-term and final exams, and in adramaturgical presentation, students evaluatehow the institution of the American musicalhas responded to the presence of variouspopulation groups (e.g., South Asians, AfricanAmericans, Puerto Ricans, Mormons, LGBTQ)in various eras, through its representations ofsuch peoples.o On quizzes, mid-term and final exams, and aresearch paper, students identify and discussthe influence of contemporary societal pattersregarding gender and gender status on both thecontent of musicals and in the makeup ofcreative teams in the commercial theatreindustry.judicial, and executive branches of governmentand analyze their influence on the developmentof U.S. democracy. Analyze and discuss common institutions orpatterns of life in contemporary U.S. society andhow they influence, or are influenced by, race,ethnicity, class, gender, sexual orientation,belief, or other forms of social differentiation.SCOPE OF ASSIGNMENTS1 and other course requirements*VIEWING & LISTENING View 6-12 American musicals on film or video (designated as core-viewing), and listen to castalbums, soundtracks, and/or audio excerpts. Viewing of live production when feasible.READINGTextbook. Libretti and critical essays as assigned.RESEARCH1Several of these assignments are modeled on syllabi in the archive of ATHE’s Musical Theatre and Dance FocusGroup, with particular acknowledgements to Barbara Grossman, Bud Coleman, Stacy Wolf, Korey Rothman andChrystyna Dail.
Gather sources and create annotated bibliographies for 2 assignments; minimum 4 sources each.WRITING – INFORMALMay include the following:Blackboard Posts (5 one-paragraph posts)Libretto Analysis (800-1000 words)Creative Response Explanation (250 words)Speaking Notes (typed) for 10-minute Oral PresentationWRITING – FORMAL, minimum 12 pages Research Paper, 1500-2000 words, with annotated bibliography (see above). 3 shorter papers, (minimum 500 words each), at least one of which engages with a refereedsource. Topics may include, analysis of a musical number, critique of an essay, analysis of aperformance. *ORAL & CREATIVE* Oral Presentation of research (10) minutes. Students submit an annotated bibliography and theirtyped speaking notes. Presented extemporaneously. Oral Presentation (7 minutes) Presented extemporaneously. Creative Response –creative response to existing show or original creative work. Daily Engagement (Oral): Students are expected to orally express ideas and pose questions.ADDITIONAL ASSESSMENTSDaily Engagement (Written): Quizzes are given on an ad hoc basis and may include audioidentifications.Mid-Term Exam – Exam may include audio and/or video identifications as well as short answers andessay questions based on readings, core-viewings, and lectures to test knowledge of vocabulary,musicals, creative artists, themes, styles, and eras.*Theatre faculty are aware that the designated Learning Outcomes in this area may be achieved through awide variety of methodologies. While all classes will require significant amounts of oral and writtencommunication, instructors may substitute other assignments designed to elicit student responses to themusicals and/or to assess student comprehension of musicals or textual material.SUGGESTED GRADE SCALE – elements and weight of factors determining final course gradeOral Presentations and Creative WorkInformal Writing:Formal Writing: minimum 12 pages,Daily Engagement: Quizzes & ParticipationMidterm exam10-15%20-25%45%10%10%100%POLICIES
Plagiarism and NYCCT Academic Integrity Policy“Students and all others who work with information, ideas, texts, images, music, inventions, and otherintellectual property owe their audience and sources accuracy and honesty in using, crediting, and citingsources. As a community of intellectual and professional workers, the College recognizes itsresponsibility for providing instruction in information literacy and academic integrity, offering models ofgood practice, and responding vigilantly and appropriately to infractions of academic integrity.Accordingly, academic dishonesty is prohibited in The City University of New York and at New YorkCity College of Technology and is punishable by penalties, including failing grades, suspension, andexpulsion.” (See pp. 73-76 in the student handbook). The following are some examples of plagiarism: Copying another person’s actual words without the use of quotation marks and footnotesattributing the words to their source.Presenting another person’s ideas or theories in your own words without acknowledging thesource.Using information that is not common knowledge without acknowledging the source.Failing to acknowledge collaborators on homework and laboratory assignments.Internet Plagiarism includes submitting downloaded term papers or partsof term papers, paraphrasing or copying information from the internet without citing the source,and “cutting and pasting” from various sources without proper attribution.Assignments must be paraphrased into your own language and properly cited. All major writingassignments will be run through Safe Assign or TURNITIN.Humanities Attendance PolicyIt is the conviction of the Humanities and department that a student who is not in a class for any reason isnot receiving the benefit of the education being provided. Missed class time includes not just absences butalso latenesses, early departures, and time outside the classroom taken by students during class meetingperiods. Missed time impacts any portion of the final grade overtly allocated to participation and/or anygrades awarded for activities that relate to presence in class.Accessibility StatementCity Tech is committed to supporting the educational goals of enrolled students with disabilities in theareas of enrollment, academic advisement, tutoring, assistive technologies and testing accommodations. Ifyou have or think you may have a disability, you may be eligible for reasonable accommodations oracademic adjustments as provided under applicable federal, state and city laws. You may also requestservices for temporary conditions or medical issues under certain circumstances. If you have questionsabout your eligibility or would like to seek accommodation services or academic adjustments, you canleave a voicemail at 718 260 5143, send an email to Accessibility@citytech.cuny.edu or visit the Center’swebsite http://www.citytech.cuny.edu/accessibility/ for more information.Humanities Department Commitment to Student DiversityThe Humanities Department complies with the college wide nondiscrimination policy and seeks to fostera safe and inclusive learning environment that celebrates diversity in its many forms and enhances ourstudents’ ability to be informed, global citizens. Through our example, we demonstrate an appreciation ofthe rich diversity of world cultures and the unique forms of expression that make us human.BIBLIOGRAPHY
Audio SourcesCincinnati University Singers and Theatre Orchestra, Earl Rivers, Director. “I Wants to be an Actor Ladyand Other Hits from Early Musical Comedies.” New World records 80221-2, 1978.Horton, Bobby. “Homespun Songs of 19th Century America.” 2015.Herbert, Victor. Naughty Marietta. The Smithsonian American Musical Theater Series N 026, 1981.Judith Blazer, Leslie Harrington, Elvira Green, and Wayne Turnage; James R. Morris conductingthe Millennium Chamber Orchestra.“Monarchs of Minstrelsy: Historic recordings by the Stars of the Minstrel Stage.” Archeophone Records,2006.Print SourcesAikin, Roger. “Was Jud Jewish? Property, Ethnicity, and Gender in Oklahoma!” Cushing. QuarterlyReview of Film & Video. Jul-Sep2005, Vol. 22 Issue 3, p.277-283.Byrnside, Ron. “Guys and Dolls: A Musical Fable of Broadway.” Journal of American Culture, pp. 2534.Cantu, Maya. American Cinderella on the Broadway Musical Stage: Imagining the Working Girl fromIrene to Gypsy. Palgrave Macmillan, 2015.Davine, Lauren. “ ‘Could We Not Dye It Red at Least?’ Color and Race in West Side Story.“ Journal ofPopular Film & Television. Jul-Sep2016, Vol. 44 Issue 3, pp.139-149.Everett, William A. and Paul R. Laird, eds. The Cambridge Companion to the Musical, 2d ed. CambridgeUniversity Press, 2011Donatella Galella. “Redefining America, Arena Stage, and Territory Folks in a Multiracial Oklahoma!”Theatre Journal, Volume 67, Number 2, May 2015, pp. 213-233.Hecht, Stuart. Transposing Broadway: Jews, Assimilation, and the American Musical. PalgraveMacmillan, 2011.Herrera. Brian Eugenio. “Compiling West Side Story’s Parahistories, 1949–2009” Theatre Journal,Volume 64, Number 2, May 2012, pp. 231-247.Kantor, Michael and Lawrence Maslon. Broadway: The American Musical. NY: Bulfinch Press, 2004.Kirle, Bruce. “Reconciliation, Resolution, and the Political Role of Oklahoma! in AmericanConsciousness.” Theatre Journal, Volume 55, Number 2, May 2003, pp. 251-274Knapp, Raymond. The American Musical and the Formation of National Identity. Princeton UniversityPress, 2005.Konas, Gary. “Frank Loesser's Hidden Class.” Biography, Volume 16, Number 3, Summer 1993, pp. 264275 University of Hawai'i Press. DOI: https://doi.org/10.1353/bio.2010.0372John Lahr, “Revolutionary Rag: How Irving Berlin’s Joyous Impertinence Changed American Music,”The New Yorker, 8 March 1999, 77-83.Lambert, Philip. To Broadway, To Life! The Musical Theater of Bock and Harnick. By Philip Lambert.New York: Oxford University Press, 2011.Lipton, James. “Stephen Sondheim: The Art of the Musical.” Paris Review. Spring97, Vol. 39 Issue 142,p258-278.McConachie, Bruce A. “The ‘Oriental’ Musicals of Rodgers and Hammerstein and the U.S. War inSoutheast Asia,” Theatre Journal 46 (1994): 385-398.Morden, Ethan. Anything Goes: A History of American Musical Theatre. Oxford University Press, 2013.Most, Andrea. Making Americans: Jews and the Broadway Musical. Cambridge: Harvard UniversityPress, 2004.“ ‘You’ve Got to Be Carefully Taught’: The Politics of Race in Rogers and Hammerstein’s SouthPacific,” Theatre Journal 52 (2000): 307-337.Negron-Muntaner, Frances. “Feeling Pretty: West Side Story and Puerto Rican Identity Discourses SocialText, 63 (Volume 18, Number 2), Summer 2000, pp. 83-106.Pisani, Michael V. Music for the Melodramatic Theatre in Nineteenth Century London and New York.Iowa City IA: University of Iowa Press, 2014.
Sandoval-Sánchez, Alberto. “A Puerto Rican Reading of the America of West Side Story,” in José, CanYou See? Latinos on and Off Broadway (Madison: U of Wisconsin Press, 1999), 62-82.Savran, David. “You’ve got that thing”: Cole Porter, Stephen Sondheim, and the Erotics of the ListSong.” Theatre Journal, Volume 64, Number 4, December 2012, pp. 533-548.Alisa Solomon. “Balancing Act: Fiddler’s Bottle Dance and the Transformation of “Tradition.” TDR: TheDrama Review, Volume 55, Number 3, Fall 2011 (T211), pp. 21-30.Viertel, Jack. The Secret Life of the American Musical: How Broadway Shows Are Built.” NY: SarahCrichton Books/ Farrar, Strauss and Giroux, 2016.Wells, Elizabeth A. West Side Story: Cultural Perspectives on an American Musical. Scarecrow Press,2010.Updated March 2021Ann Delilkan, Sarah Ann Standing, Christopher Swift
Libretto Analysis essay, Live Performance essay, Analysis of a Musical Number essay) and others that demonstrate understanding of the history and conventions of the field (e.g., Next Big Show Proposal Paper & Presentation, Class discussion, Exam essay questions, Critique of an Essay) Theorize the significance of a given musical as a form
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The course outline has evolved considerably from its origins as a list of topics covered in a course. Today, the course outline of record is a document with defined legal standing and plays a central role in the curriculum of the California community colleges. The course outline has both internal and external influences.
