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a primarily light play in which the resources of the stage, popular music, choreography, drama, and opera are used. The musical was developed in the USA in the late 19th century.

Bicknell’s play, The Black Crook, which combined melodrama, song, and “showgirls,” was first presented in 1866 and played for 25 years. In New York in the early 20th century the Negro actors B. Williams and G. Walker presented several musical comedies distinguished for their originality and striking theatricality. (The composer of these comedies was W. M. Cook.) The musical comedy became the most popular form of American theater, particularly after World War I. The best of the later musicals include Kern’s Show Boat (1929), Gershwin’s Of Thee I Sing (1931), Weill’s Johnny Johnson (1936), Rodgers’ Oklahoma! (1943), Porter’s Kiss Me, Kate (1948), Loewe’s My Fair Lady (1956), and Herman’s Hello, Dolly! (1964). They were distinguished by their content, fine directorial skill, brilliant visual impact, and melodious, catchy music.

Dance is a major component of musicals. At first primarily tap dancing and chorus-line numbers were used, but in Bernstein’s West Side Story, one of the best American musicals (choreographer Jerome Robbins, 1957), the dance attained outstanding dramatic expressiveness.

The popularity and accessibility of musicals are often exploited by impresarios who form touring companies of the most successful shows and present them in other countries. Often, movies are based on musicals: Oliver! (Bart, Great Britain, 1970); Funny Girl (Styne, USA, 1969); The Girls From Rochefort (Legrand, France, 1966); and The Old Folks at the Hops Harvest (Bažant, Malásek, and Hála, Czechoslovakia, 1964).

The musicals West Side Story, My Fair Lady, and Kiss Me, Kate have been presented in theaters in the USSR. Among the shows presented as musicals are My Brother Plays The Clarinet (Fel’tsman, 1968, at the Moscow Theater for Young Audiences), the cartoon The Bremen Musicians (Gladkov, 1970), and the film Shel’menko the Batman (Solov’ev-Sedoi, 1971).


Volyntsev, A. “Azbuka zhanra.” Teatr, 1967, no. 9.
Ewen, D. The Story of America’s Musical Theater. Philadelphia, 1961.
Osolsobĕ, Y. Muzikál je, když Prague, 1967.


References in periodicals archive ?
The Origins of Musicality, published in 2018, is a compilation of many of those articles, which were subsequently revised and updated.
James Naigus, who performs with Smith on Majaliwa, and the rousing final track, The Bill and Brice Polka, blends his tone and musicality as if he and Smith have been playing together forever.
Creative movement classes are the perfect platform for introducing musicality to even the youngest dancers.
The opening chapter by the editors includes clear definition and historical context to the theory of communicative musicality. It is followed by Part 1, seven chapters that address the evolutionary and neurologic basis of musicality within social relationships.
Musicality as a trait of personality denotes the ability to enjoy music aesthetically (Deutch, 1982).
As soon as the cameras stopped rolling after Musicality, Rebecca was immediately lined up for a Saturday Night Fever audition and beat 50 wannabes with her rendition of Queen's Don't Stop Me Now to land the role of Tony's girlfriend.
Sollars, 20, was one of the winners of the television show, Musicality, in which performers competed to win roles in the West End show Chicago.
When she beat 2000 other hopefuls to win Musicality, she was a box office assistant who sang in clubsIN some ways it's harder now that she's had a taste of stardom, to settle in to working in M&SShe admitted: 'I have to do anything to make a bean.There is still a mortgage and bills to pay.
For who knows just where the Channel 4 show, Musicality will lead.
What "Musicality" does is shift the focus from the "extraordinary people," as professional performers often are thought to be, to "people who are like us; they do ordinary jobs." The final 10 from whom those last five will be chosen include a waitress (nothing new there), a surgical instrument designer, a secondary school science teacher, and a sales adviser in soft furnishings at John Lewis department store.
In a world dominated by Simon Cowell making 17- year-olds cry and Trinny and Susannah grabbing the drooping bottoms of middle-aged women and squawking, 'Get some magic knickers, lard-arse!' what a treat Musicality is.
Reflecting on the Pulitzer Prize-winning source novel by Alice Walker, he adds, "There's a musicality to the language, to what Alice wrote."