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New Deal Cowboy: Gene Autry and Public Diplomacy

................................................................................ v TABLE OF CONTENTS.................................................................. vii TABLE OF FIGURES..................................................................... x INTRODUCTION........................................................................... 1 The Rationale and Boundaries of the Study The Female Voice in American Musical Theatre today..................... 4 The Change in Female Vocal Styles in American Musical Theatre........ 5 Recording and Broadcast Technology in the Twentieth Century........... 6 Mary Martin........................................................................... 6 Literature Review The Multi-sensory/visual Presentation of music performance............ 8 Musicology and the Emergence of a Research Focus in American Musical Theatre.................................................... 13 Analysing the Voice.............................................................. 18 The Interpretation of Vocal Qualities Through Vocal/Spectral Analysis........................................................................... 22 The Development and Use of Voce Vista...................................... 27 Sources The Piano-vocal Score............................................................. 29 Unpublished Sources.............................................................. 30 Recordings.......................................................................... 31 Research Methodology and Analytical Tools The Use of Recordings and the Audio Transfer Process...................... 32 Visualising the Voice: the Sound Spectrograph............................... 35 Tessitura............................................................................. 39 Vibrato.............................................................................. 46 The Structure of the Thesis................................................................ 49 PART ONE: THE FEMALE VOICE IN AMERICAN MUSICAL THEATRE–PRE-1940..................................................................... 51 CHAPTER ONE: A VERY PUBLIC LIFE............................................ 54 Martin’s Early Life and Career ................................................ 54 Martin as a Commodity: The Cheesecake Years in Hollywood............ 62 A Work/Life Balance and the Return to Broadway.......................... 66 American Everywoman.......................................................... 70

The Female Voice in American Musical Theatre (1940-1955): Mary Martin and the Development of Integrated Vocal Style

The Architecture of Longing: Objects, Affect, and the Poetics of Home in Twentieth-Century American Literature and Culture.

Almost every Friday night between 1949 and 1956, millions of Americans watched Rosemary Rice turn the pages of an old photograph album. With music from Edvard Grieg's "Holverg Suite" playing in the background, and with pictures of tur-of-the-century San Francisco displayed on the album pages, Rice assumed the identity of her television character, Katrin Hansen, on the CBS network program Mama. She told the audience about her memories of her girlhood, her family's house on Steiner Street, and her experiences there with her big brother Nels, her little sister Dagmar, her Papa, and her Mama--"most of all," she said, "when I remember that San Francisco of so long ago, I remember Mama" (Meehan and Ropes 1954). Katrin Hansen's memories of her Norwegian immigrant working-class family had powerful appeal for viewers in the early years of commercial network broadcasting. Mama established itself as one of CBS' most popular programs during its first season on the air, and it retained high ratings for the duration of its prime time run (Mitz 1983:458). The show's popularity coincided with that of other situation comedies based on ethnic working-class family life-The Goldbergs, depicting the experiences of Jews in the Bronx; Amos 'n Andy, blacks in Harlem; The Honeymooners and Hey Jeannie, Irish working-class families in Brooklyn; Life with Luigi, Italian immigrants in Chicago; and Life of Riley, working-class migrants to Los Angeles during and after World War II.' The presence of this subgenre of ethnic, working-class situation comedies on television network schedules seems to run contrary to the commercial and artistic properties of the medium. Television delivers audiences to advertisers by glorifying consumption, not only during commercial breaks but in the programs themselves (Barouw 1979). The relative economic deprivation of ethnic workingclass households would seem to provide an inappropriate setting for the display and promotion of commodities as desired by the networks and their commercial sponsors. Furthermore, the mass audience required to repay the expense of network programming encourages the depiction of a homogenized mass society, not the particularities and peculiarities of working-class communities. As an artistic medium, television's capacity for simultaneity conveys a sense of living in an

The Meaning of Memory: Family, Class, and Ethnicity in Early Network Television Programs

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Contemporary observers and historians of both the motion-picture industry and the network television industry portray the decade of the 1950s as a period of traumatic change. In traditional film histories, the period represents the site of convergent crises: the divorcement of the major studios from their theaters, the loss of a major part of the film audience, the political blacklist. In such accounts, the rise of network television becomes another unwelcome external intrusion. No longer able to ignore television, the studios belatedly recognize the electronic market and leap into prime-time programming in 1955, simultaneously selling off their feature libraries to the hungry new medium.

https://www.jstor.org/stable/pdfplus/1224894.pdf

The Studios Move into Prime Time: Hollywood and the Television Industry in the 1950s

Historians of television face the challenge of working with an ill-defined and potentially limitless universe of ephemeral program texts, self-serving corporate and trade press documents, and elite critical commentary frequently marked by a willful superficiality and condescension. Moreover, beyond the formidable task of assembling an accurate descriptive account of television's changing modes of production and the shifting terms of economic and regulatory power, historians also need to address the wider cultural and intellectual landscape which has continuously produced new definitions of the role of television in U.S. society. Indeed, the longest-lasting historical implications of any specific television program, corporate strategy, or regulatory action may lie in the way each provoked, in complex and sometimes unintended ways, reconfigurations in these discursive constructions of television and the television audience.

William Boddy

Papers

The Studios Move into Prime Time: Hollywood and the Television Industry in the 1950s

Approaching "The Untouchables": Social Science and Moral Panics in Early Sixties Television