Dramaturgy is at the heart of any musical theatre score, proving that song and music combined can collectively act as drama. The Musical Theatre Composer as Dramatist: A Handbook for Collaboration offers techniques for approaching a musical with the drama at the centre of the music. Written by a working composer of British musical theatre, this original and highly practical book is intended for composers, students of musical theatre and performing arts and their collaborators. Through detailed case studies, conceptual frameworks and frank analysis, this book encourages the collaboration between the languages of music and drama. It offers a shared language for talking about music in the creation of musical theatre, as well as practical exercises for both composers and their collaborators and ways of analysing existing musical theatre scores for those who are versed in musical terminology, and those who are not. Speaking directly to the contemporary artist, working examples are drawn from a wide range of musicals throughout Part One, before a full case study analysis of Matilda the Musical brings all the ideas together in Part Two. Part Three offers a range of practical exercises for anyone creating new musicals, particularly composers and their collaborators.

Dramaturgy is at the heart of any musical theatre score, proving that song and music combined can collectively act as drama. The Musical Theatre Composer as Dramatist: A Handbook for Collaboration offers techniques for approaching a musical with the drama at the centre of the music. Written by a working composer of British musical theatre, this original and highly practical book is intended for composers, students of musical theatre and performing arts and their collaborators. Through detailed case studies, conceptual frameworks and frank analysis, this book encourages the collaboration between the languages of music and drama. It offers a shared language for talking about music in the creation of musical theatre, as well as practical exercises for both composers and their collaborators and ways of analysing existing musical theatre scores for those who are versed in musical terminology, and those who are not. Speaking directly to the contemporary artist, working examples are drawn from a wide range of musicals throughout Part One, before a full case study analysis of Matilda the Musical brings all the ideas together in Part Two. Part Three offers a range of practical exercises for anyone creating new musicals, particularly composers and their collaborators.

In this insightful book, Oldfield and Carr draw together persuasive arguments for combining aspects of music therapy and dramatherapy, whilst retaining their unique facets. Building on the many links between music and drama and the compatibility between the two disciplines, the authors explore how artistic aspects of each therapy can be drawn on to create fresh ways of working. This approach enriches the practice of professionals working to support people with special needs, people recovering from trauma and social deprivation and a wide range of other service users. Despite the significant overlap in music therapy and dramatherapy techniques, this is the first book to directly explore the vast potential of elements of the two disciplines being brought together. Covering a range of different perspectives and practice contexts, this book demonstrates just how much the professions can offer each other both from a clinical perspective and from the point of view of training therapists.