Stephen Sondheims Sweeney Todd: Kompositionstechnik und Intertextualität
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Die Zuordnung von Eigenschaften wie trivial und unterhaltsam kann durchaus als stereotypisch für den Umgang mit der Gattung Musical in der wissenschaftlichen Literatur der letzten Jahrzehnte gelten. Das Musical als ernsthafte Theatergattung wird im Vergleich zu den "klassischen" Musiktheaterformen (die verschiedenen Opernrichtungen, Operette) von der Forschung - insbesondere der musikwissenschaftlichen - so gut wie nicht wahrgenommen. Vor allem im deutschsprachigen Raum scheint es ein ungeschriebenes Gesetz zu sein, das Musical von vornherein in die "Unterhaltungsschublade" zu stecken und mit entsprechend niedrigen bzw. keinen Erwartungen an Buch und Partitur heranzutreten. Es soll mit dieser Studie der Versuch unternommen werden, die Kompositionstechnik Sondheims frei von solchen ideologischen Prämissen zu untersuchen und auch nicht einem bestimmten Vorwurf nachzugehen, sondern vielmehr Entwicklungslinien und Einflüsse zu verfolgen und nachzuvollziehen, wie es zu den sehr kontroversen Meinungen über einen gerade bei der Kritik so erfolgreichen Komponisten kommen kann.
Thomas Wagner wurde 1985 in Hermeskeil, Rheinland-Pfalz geboren. Er studierte Schulmusik, Musikwissenschaft und Mathematik an der Johannes Gutenberg-Universität sowie Diplom-Gesang an der Hochschule für Musik in Mainz. Während seines Studiums leitete er von 2009 bis 2013 die Produktionen "RENT", "Pinkelstadt - Das Musical", "Spring Awakening" und "Side Show - Die Show Ihres Lebens" der studentischen Hochschulgruppe Musical Inc. Im Rahmen dieser Tätigkeit setzte er sich auch stark mit den theoretischen und musikwissenschaftlichen Aspekten des Genres auseinander, woraus unter anderem die "Sweeney Todd"-Studie hervorgeht.
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