“I'll Never Know Exactly Who Did What”: Broadway Composers as Musical Collaborators

Abstract

Though published vocal scores of Broadway musicals imply sole musical authorship the archives reveal a more complex picture. Five case studies illustrate different approaches to the compositional process in the 1940s and 1950s: Richard Rodgers, who produced fair copies in piano-vocal score for each of his songs; Cole Porter, who regularly used an amanuensis but sometimes produced fair copies; Frank Loesser, who initially used an amanuensis but later in his career produced detailed fragments of music for his arrangers to turn into performance scores; Frederick Loewe, who worked closely with an arranger to produce fair copies; and Robert Wright and George Forrest, who went through a complicated process of selecting and adapting the work of composers of art music such as Borodin and Rachmaninov. Detailed study of the available manuscripts makes clear that score production was nearly always a collaborative activity on Broadway, whether it involved amanuenses, copyists, arrangers, or orchestrators. Although in each of these cases the named composer retains an authorial role, in practical terms the archives reveal them to be “collaborators” rather than “authors,” working as a member of a team to create each performance score. As such, their aims were to facilitate performance events rather than to produce fixed works.

A way with words. The art of negotiation and collaboration in the age of the new woman on broadway as seen through the careers of Anne Caldwell, Dorothy Donnelly and Rida Johnson Young 1906-1928

“…Finally, the twenty-first century has witnessed a rise in musicological/new historicist and cultural studies from musical authorial and collaborative interrogation (McHugh, 2015), to diverse cultural approaches examining gender equality in the music industry (Lowes, 2021), the importance and relevance of queer culture in iconic musicals (Birkett and McHugh, 2018;Whitfield, 2020) and perspectives that seek to deconstruct male-female binary polemics (Werner, Gadir and De Boise, 2021). The growth of these diverse studies examining such a broad field in the past two decades underlines the positive development of researcher mindset in the genre, wherein dialogic interrogation is free to explore and correct historical bias across the board.…”