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| The Antecedents to the Genre of ldquo;Musical Theater.rdquo; | |
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| The Birth of ldquo;Stagedrdquo; Music | |
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| Developing Genres in the Eighteenth Century: Ballad Opera and Singspiel | |
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| Developing Genres in the Eighteenth Century: Opera Buffa and Dramma Giocoso | |
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| The Musical Stage in the American Colonies | |
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| The Musical Stage in the Nineteenth Century | |
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| France and Spain in the Nineteenth Century | |
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| The Serious and Not-So-Serious: Italy, Germany, and Austria in the Nineteenth Century | |
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| England in the Nineteenth Century | |
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| The United States in the Early Nineteenth Century | |
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| New American Genres of the Later Nineteenth Century | |
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| Operetta in America, 1880-1903 | |
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| DIvergent Paths in the 20th Century | |
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| The Continuing Dominance of Operetta | |
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| Challenges to Operetta | |
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| The Princess Shows | |
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| Increasing Drama on the Stage | |
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| Musical Theater of the Lighter Kind | |
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| Beginnings of a Golden Age: Synthesis of Style and Substance | |
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| Great Partnerships of the Early Book Musical | |
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| Great Partnerships of the Early Book Musical | |
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| Great Partnerships of the Early Book Musical: The Gershwins (1) | |
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| Great Partnerships of the Early Book Musical: The Gershwins (2) | |
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| Great Solo Acts<c>Irving Berlin21</c><f>Berlin21, Irving</f> | |
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| A Greater Maturity | |
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| New Achievements from Familiar Names: Rodgers and Hart, Irving Berlin | |
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| A Cole Porter Renaissance and the Rise of Recognition | |
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| Politics and Social Commentary | |
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| New Partnerships | |
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| Rodgers and Hammerstein:Oklahoma! | |
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| Rodgers and Hammerstein:CarouselandSouth Pacific | |
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| Rodgers and Hammerstein:The King and IandThe Sound of Music | |
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| Lerner and Loewe | |
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| New Faces of the 1940s and 1950s | |
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| Leonard Bernstein | |
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| Jule Styne and Frank Loesser | |
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| Meredith Willson and Other Faces of the 1950s | |
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| New Faces of the 1960s and 1970s | |
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| New Names in Lights in the 1960s | |
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| Sondheim in the 1960s: Flash in | |