1. Compare and contrast the dramatic function of dance in the American Musical Theatre at three different periods in the 20th century. Use at least one specific example from each period. 2. Compare and contrast the choreography of 2 of the following choreographers in terms of style (and its origins), subject matter, dramatic function, and the extent to which each of them achieved creative power within the field. (There are actually some similarities.) Use at least three specific examples. – Agnes De Mille – Jerome Robbins – Bob Fosse – Michael Bennett 3. Given the political environment of the U.S.A. during the late 60s through the 70s, describe the ways in which Threepenny Opera and Brechts theory of the alienation (or de-familiarization) effect may have influenced the creators of Cabaret and the musicals of the late 60s 70s. Use at least three examples 4. Describe the influences of the non-profit theatre movement on Broadway musicals and vice-versa in terms of artistic innovation and economics. Use at least three examples. 5. Book-writer, Peter Stone credited Oscar Hammerstein II with inventing the conditional love song. Discuss the advantages of the conditional love song over the conventional love song. Use three specific examples. 6. For this course, we have defined 3 different source traditions for American Musical Theatre Music. – a. European high art or court tradition. – b. European vernacular. – c. African-American vernacular Choose one tradition and trace its development through three different productions from the 1850s present day. (At least one production from the last 35 years.) Make sure you cite specific songs.