tr.v. mu·si·cal·ized, mu·si·cal·iz·ing, mu·si·cal·iz·es
To adapt for performance with singing and musical accompaniment; set to music: to musicalize a play by Shakespeare.

mu′si·cal·i·za′tion (-kə-lĭ-zā′shən) n.


(ˌmjuːzɪkəlaɪˈzeɪʃən) or


(Music, other) the adaptation of a novel, play, etc into a musical form
References in periodicals archive ?
Back when a musicalization of Newton's life was still just an idea, Smith mentioned it to Rich Timmons.
As in the case of a medium, (inter)mediality can also be conceived of in both a narrow and a broad way: the narrow sense focuses on the participation of more than one medium within a human artefact (see Wolf, Musicalization 37).
The cadenced speech in Barbelo relates to Hans-Thies Lehmann's depiction of musicalization as "an important sign usage in postdramatic theatre.
For Cry-Baby, which is based on a John Waters film, Brokaw turned to Rob Ashford, his choreographer on a regional-theater musicalization of the movie Marty.
On these grounds, moreover, they serve as markers of a larger, discursive musicalization in Beloved and the employment of "jazzthetic" narrative techniques.
Synopsis: Recently revised with a new book by David Thompson, this musicalization of Jean Giraudoux's The Madwoman of Chaillot now features three new Jerry Herman songs and stars Maureen McGovern in the role that won Angela Lansbury a Tony Award in 1969.
Though the madrigal had always been amoroso, still the connection between love and music seems to have intensified in what Claudio Monteverdi openly designated madrigali amorosi [48] or in the musicalization of the patently literary lettera amorosa, of which examples can be found, again, in works by Monteverdi, [49] as in others by his contemporaries (e.
The fact that the last line is spoken is telling, since the central failure of the opera is its musicalization.
Intrabartolo's sung- through score has plenty of gems, but his musicalization of Shakespeare's verse, and its placement within the context of the story, is masterful.
the recourse of human beings to nature; and yet it needs no apparatus of explication, the voice captures us not by its erudition, its hermeticism, but by its clarity, its self-conscious musicalization of the colloquial.
It is a ballet he made first in 1945 as an experiment in musicalization.
He applies what he terms "a poetics of mnemonic strategy," exploring trauma and testimony and the recourse to palimpsests in an extended essay, then analyzes Phillips's Cambridge as a case of the art of the montage and the empowering of culture, Dabydeen's A Hoarlot's Progress as the art of ekphrasis and the empowering of the individual, and Toni Morrison's Beloved as the art of musicalization and the empowering of the collective.