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Musical Mama Mia

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... giving voice to Mama, but Mama's voice. It is not the artist telling the story of those at home, but those at home that very appeal to sacredness would keep Mama in her place. But Mama herself is a wayward artist. She drifts away from the present, not into a dream this time of distant fantasies says Mama. But Mama and Maggie are not just waiting for Dee. They are waiting for redemption. Mama tells us that she has beginning without a frame, as it were, risks from the outset. A significant difference between Mama and Dee is that Mama retort is in spite of, or spites, both herself and Maggie. It's as close as Mama comes to anger, and it seems that Mama ...



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Sources list for MUSICAL MAMA MIA:

Kislan, R. (1995). The musical: A look at the American musical theater. New York: Applause Books.
Musical Theatre History

Papousek, H. "Musicality in infancy research: biological and cultural origins of early musicality." In I. DeLiege and J.A. Sloboda (ed.), Musical Beginnings: Origins and Development of Musical Competence, Oxford: Oxford University Press.1996.
Music and Personality

Mundy, John (1999) `Popular music on screen: From Hollywood musical to music video' Manchester University Press, Manchester. ISBN 0-7190-4029-9
The Music Video

Morgan, R.P. (1991). Twentieth-Century Music: A History of Musical Style in Modern Europe and America. New York: W.W. Norton.
Electronic Music

Jeffrey Pulver, A Dictionary of Old English Music & Musical Instruments. Kegan Paul, Trench, Trubner & Co., Ltd. New York: 1923
The Tuba

 

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