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Follow authors to get new release updates, plus improved recommendations. Dr Gregory Camp has taught at the University of Auckland School of Music since 2013, where he teaches a wide variety of topics in musicology, music theory, and musicianship. He is the school’s Director of Postgraduate Studies, and is also the artistic director of the University of Auckland Opera Workshop, for which he directs an opera production each year. His doctoral research, undertaken at the Queen’s College, Oxford, was on the modern performance history of the operas of Claudio Monteverdi; his current research focuses on film music of the 1950s. He has recently published two monographs with Routledge: Howard Hawks: Sonic Style in Film and Scoring the Hollywood Actor in the 1950s. Originally from Denver, Colorado, he currently sings in Voices New Zealand and in the University of Auckland Chamber Choir. He is Past President of the New Zealand Musicological Society. Current work includes chapters on community singing in Disney texts, the use of South Pacific musics at the Disney theme parks, and community in Monteverdi's Orfeo, and a textbook on linguistics for singers. Read more about this author Read less about this author Read more about this author Read less about this author
About the AuthorGregory Camp is a Senior Lecturer at the University of Auckland School of Music, New Zealand.
Gregory CampGregory Camp is a Senior Lecturer at the University of Auckland School of Music, New Zealand.
Thông tin sách: Music in the Disney Parks (Routledge Research in Music) (Kindle, 192 trang) – Routledge, 2025. Ngôn ngữ: Tiếng Anh.
Gregory Camp shows that the choice and use of music in Disney theme parks is very much grounded in Disney’s experience with storytelling on film and television, and that Disney’s musical storytelling in the parks is built upon the concept of nostalgia.
Camp illustrates how the instrumentation and composition of the music impacts audience experience and shapes perceptions. The book is an essential guide for anyone seeking to understand the intricate interplay between music and narrative nostalgia. Ever since its founding in 1923, the Disney Company has foregrounded music in its storytelling in film, television, and live entertainment. Music was important at Disneyland from its opening day on 17 July 1955, when a widely viewed television broadcast included many musical performances of the type guests could hear in the parks. Since then, as Disneyland has expanded and the company has opened many more parks all around the world, music has remained fundamental to how the parks’ designers (Imagineers) tell their stories.
The book will be of interest to musicologists and those working in film studies, as well as those from the wider Disney scholarship community, who come from urbanism, fandom studies, and various other branches of sociology and ethnography, as well as to others who study various aspects of music’s role in live and virtual spaces and places.
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