Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber by Block, Geoffrey (good story books to read .TXT) 📕

———. Music in the New World. New York: W. W. Norton, 1983.

———. “The Theatre Guild Production of Porgy and Bess.” Journal of the American Musicological Society 40 (1987): 495–532.

———. Putting Popular Music in Its Place. Cambridge: Cambridge University Press, 1995.

———. Irving Berlin: Songs from the Melting Pot: The Formative Years, 1907–1914. New York: Oxford University Press, 1997.

———. “Omnibus Review: Five Recent Books on American Musical Theater.” Kurt Weill Newsletter 23/2: 9–15.

Hammerstein, Oscar 2nd. “In Re ‘Oklahoma!’: The Adaptor-Lyricist Describes How the Musical Hit Came into Being.” New York Times. May 23, 1943, 11.

———. “Turns on a Carousel.” New York Times, April 15, 1945, sec. 2, 1.

———. “Notes on Lyrics.” In Lyrics, 3–48. New York: Simon & Schuster, 1949; expanded and ed. by William Hammerstein. Milwaukee, Wisc.: Hal Leonard, 1985.

Harburg, Ernest (see Rosenberg).

Harriman, Margaret Case. Take Them Up Tenderly: A Collection of Profiles. New York: Knopf, 1945.

Harrison, Rex. Rex: An Autobiography. New York: William Morrow, 1974.

Hart, Dorothy, and Robert Kimball, eds. The Complete Lyrics of Lorenz Hart. New York: Knopf, 1986.

Hart, Moss. Preface to Lady in the Dark. Vocal score. New York: Chappell Music, 1941.

Hemming, Roy. The Melody Lingers On: The Great Songwriters and Their Movie Musicals. New York: Newmarket, 1986.

Hirsch, Foster. Harold Prince and the American Musical Theatre. rev. and expanded ed. Cambridge: Cambridge University Press, 1989.

———. “Porgy and Bess—The Film.” I.S.A.M. Newsletter 28/1 (Fall 1998): 12–13.

———. Kurt Weill on Stage: From Berlin to Broadway. New York: Knopf, 2002.

Hirschhorn, Clive. The Hollywood Musical: Every Hollywood Musical from 1927 to the Present Day. New York: Crown, 1981.

Hirschhorn, Joel (see Kasha).

Hischak, Thomas S. Boy Loses Girl: Broadway’s Librettists. Lanham, Md.: Scarecrow, 2002.

———. Through the Screen Door: What Happened to the Broadway Musical When It Went to Hollywood. Lanham, Md.: Scarecrow, 2004.

Hitchcock, H. Wiley. Music in the United States. Englewood Cliffs, N.J.: Prentice Hall, 1969; rev. 3rd ed., 1988.

Holden, Stephen. “A Glimpse of Olden Days, via Cole Porter.” New York Times, October 18, 1987, sec. 2, 5+.

Horowitz, Mark Eden. Sondheim on Music: Minor Details and Major Decisions. Lanham, Md. Scarecrow Press, and Oxford in association with the Library of Congress, 2003.

Horn, David. “From Catfish Row to Granby Street: Contesting Meaning in Porgy and Bess.” Popular Music 13 (1994): 165–74.

Houghton, Norris. “Romeo and Juliet and West Side Story: An Appreciation.” In Romeo and Juliet/West Side Story, 7–14. New York: Dell, 1965.

Houseman, John. Run-Through. New York: Simon & Schuster, 1972.

Hubler, Richard G. The Cole Porter Story (introduction by Arthur Schwartz). Cleveland: World, 1965.

Hummel, David. The Collector’s Guide to the American Musical Theatre. 2 vols. Metuchen, N.J.: Scarecrow Press, 1984.

Hunter, John O. “Marc Blitzstein’s ‘The Cradle Will Rock’ as a Document of America, 1937.” American Quarterly 16 (1964): 227–33.

Hyland, William G. The Song Is Ended: Songwriters and American Music, 1900–1950. New York: Oxford University Press, 1995.

———. Richard Rodgers. New Haven: Yale University Press, 1998.

Ilson, Carol. Harold Prince: From “Pajama Game” to “Phantom of the Opera.” Ann Arbor, Michigan: UMI Research Press, 1989.

Jablonski, Edward. Gershwin: A Biography. New York: Doubleday, 1987.

———. Irving Berlin: American Troubadour. New York: Henry Holt, 1999.

Johnson, Hall. “Porgy and Bess—A Folk Opera.” Opportunity (January 1936): 24–28.

Jones, John Bush. Our Musicals, Ourselves: A Social History of the American Musical. Hanover, N.H.: Brandeis University Press, 2003.

Jowitt, Deborah. Jerome Robbins: His Life, His Theater, His Dance. New York: Simon & Schuster, 2004.

Kantor, Michael, and Laurence Maslon. Broadway: The American Musical, based on the documentary film by Michael Kantor. New York: Bulfinch, 2004.

Kasha, Al, and Joel Hirschhorn. Conversations with the Great Songwriters. Chicago: Contemporary, 1985.

Katz, Ephriam. The Film Encylopedia: The Most Comprehensive Encyclopedia of World Cinema in a Single Volume. 2nd ed. New York: HarperPerennial, 1994.

Kawin, Bruce F. (see Mast).

Kennedy, Michael Patrick, and John Muir. Musicals. Glasgow: HarperCollins, 1997.

Kerman, Joseph. Opera as Drama. New York: Knopf, 1956; new and rev. ed. Berkeley: University of California Press, 1988.

Kimball, Robert., ed. The Complete Lyrics of Cole Porter. New York: Vintage Books, 1984.

———. The Complete Lyrics of Ira Gershwin. New York: Knopf, 1993.

———. See also D. Hart.

———. See also Krasker.

Kimball, Robert, and Linda Emmet, eds. The Complete Lyrics of Irving Berlin. New York: Knopf, 2001.

Kimball, Robert, and Steve Nelson, eds. The Complete Lyrics of Frank Loesser. New York: Knopf, 2003.

King, William G. “Music and Musicians. Composer for the Theater—Kurt Weill Talks about ‘Practical Music.’” New York Sun, February 3, 1940.

Kingman, Daniel. American Music: A Panorama. New York: Schirmer, 1979; rev. ed., 1990.

Kirle, Bruce. Unfinished Business: Broadway Musicals as Works-in-Progress. Carbondale: Southern Illinois University Press, 2005.

Kivy, Peter. Osmin’s Rage: Philosophical Reflections on Opera, Drama, and Text. Princeton, N.J.: Princeton University Press, 1988.

Knapp, Raymond. The American Musical and the Formation of National Identity. Princeton: Princeton University Press, 2005.

———. The American Musical and the Performance of Personal Identity. Princeton: Princeton University Press, 2006.

Kolodin, Irving. “‘Porgy and Bess’: American Opera in the Theatre.” Theatre Arts Monthly 19 (1935): 853–65.

Kowalke, Kim H. Kurt Weill in Europe. Ann Arbor, Mich.: UMI Research Press, 1979.

———. “The Threepenny Opera in America.” In Kurt Weill: “The Threepenny Opera, ed. Stephen Hinton, 78–120. Cambridge: Cambridge University Press, 1990.

———. “Formerly German: Kurt Weill in America.” In A Stranger Here Myself: Kurt Weill Studien, ed. Kim H. Kowalke and Horst Edler, 35–57. Hildesheim: Georg Olms Verlag, 1993.

———. “Kurt Weill, Modernism, and Popular Culture: Öffentlichkeit als Stil,” Modernism/Modernity 2/1 (1995): 27–69.

———. Review essay of A Chronology of American Musical Theatre et al. Journal of the American Musicological Society 60/3 (Fall 2007): 688–714.

———. See also Symonette.

Kowalke, Kim H., ed. A New Orpheus: Essays on Kurt Weill. New Haven: Yale University Press, 1986.

Kowalke, Kim H., and Horst Edler, eds. A Stranger Here Myself: Kurt Weill Studien. Hildesheim, Ger.: Georg Olms Verlag, 1993.

Krasker, Tommy, and Robert Kimball. Catalog of the American Musical: Musicals of Irving Berlin, George and Ira Gershwin, Cole Porter, Richard Rodgers & Lorenz Hart. Washington, D.C.: National Institute for Opera and Musical Theater, 1988.

Kreuger, Miles. “Show Boat”: The Story of a Classic American Musical. New York: Oxford University Press, 1977.

———. “Some Words about ‘Anything Goes’” and “The Annotated ‘Anything Goes.’” Notes to EMI/Angel CDC 7–49848–2 (1989), 9–17 and