THE ASSIMILATION OF MUSICAL THEATRE AND ROCK MUSIC AMIDST GLOBALIZATION PROCESSES

Abstract

The objective of this article is to identify the key characteristics of the assimilation between musical theatre and rock music in the context of globalization.The research methodology is grounded in historical-cultural and systemic approaches, enabling the authors to trace the evolution of musical theatre from its inception to its modern manifestations within a sociocultural framework.The novelty of the study lies in the introduction of the term “musical-entertainment theatre” into the field of Ukrainian musicology. The authors provide a clear definition of the term and argue for its relevance and necessity.In pursuit of the stated aim, the paper explores the development of theatre as an art form and its integration with music, which ultimately led to the creation of a new theatrical genre ‒ the musical-entertainment theatre. The fusion of musical theatre and rock music is examined within the conditions of globalization. The article highlights the interconnectedness of these art forms in response to contemporary aesthetic needs and outlines the trajectory of their formation and symbiotic evolution.The emergence of rock opera in the mid-20th century marked a turning point in the history of musical theatre. A new stylistic direction ‒ rock music ‒ was incorporated into the traditional musical accompaniment of stage productions.Many musicologists acknowledged this as a “rock revolution,” fueled by innovations such as microphones, amplification systems, powerful rhythmic sounds, lighting effects, and more – all of which drastically altered the listener’s experience.Rock opera became a space for diverse artistic experimentation across music, stagecraft, choreography, and special effects, becoming fertile ground for the use of modern technologies in large-scale theatrical productions.In conclusion, the authors observe that rock opera, through its development, has formed a new hybrid with the transformed musical ‒ one that follows a novel architectural principle. This updated musical reinterprets the traditional number-based structure, shifting focus away from a linear narrative and instead emphasizing visual spectacle and the melodic expressiveness of individual scenes, which often function independently of the plot. These changes stem from the principles of musical-entertainment theatre, where art’s compensatory function comes to the forefront. Musical-entertainment theatre draws from a wide range of musical genres ‒ including classical music, pop, jazz, rock, and mainstream popular music. The merging of rock opera and musical also gave rise to a new genre subtype: the rock musical. This form adopts expressive techniques not only from its parent genres but also from other musical-theatrical traditions.