Eric Salzman et Thomas Desi. 2008. The New Music Theater; Seeing the Voice, Hearing the Body. New York : Oxford University Press. viii, 408 p. ISBN 978-0-19-509936-2 (couverture rigide)

Notes

• [1] « The lack of categorization and lack of definition is at once the glory of music theater and its problem ».
• [2] « Art form that never happened ».
• [3] « When we say new music theater in this book, we use the term in a way that is almost always meant to exclude traditional opera, operetta, and musicals ».
• [4] Recensé dans ce numéro par Éric Champagne.
• [5] « A term most often used to characterize a kind of opera and opera production in which spectacle and dramatic impact are emphasized over purely musical factors ».
• [6] « Music theater is theater that is music driven (i.e., decisively linked to musical timing and organization) where, at the very least, music, language, vocalization, and physical movement exist, interact, or stand side by side in some kind of equality but performed by different performers and in a different social ambiance than works normally categorized as operas (performed by opera singers in opera houses) or musicals (performed by theater singers in ‘legitimate’ theaters) ».
• [7] « We are not musicologists, nor music historians in the philological sense, but practitioners, hands-on composers, sometime writers and directors, defenders of “the art form that never happened” ». Nous avons traduit « directors » par « chefs d’orchestre », puisque les auteurs utilisent le terme « metteur en scène » en français dans leur texte pour faire référence à cette fonction.
• [8] « French and German texts plus an imaginary tonal language of his own invention ».
• [9] « However dynamic, transitory, and dependent on cultural context art may be, beauty may again take its place in society and become a more dominant theme in the arts if properly treated as abstraction: beautiful objects made for the sake of creating beautiful objects. ».