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 ?
The musicalization of natural sounds is the subject of multiple essays, including but not limited to W.
While a number of Benedetti's poems exhibit a utopian impulse in their inherent optimistic language, in this section, I want to focus on poems that also serve as song lyrics, precisely because their musicalization allow for the utopian to reach a wider public through the interplay between verbal and non-verbal forms of expression, to echo Levitas's terms.
Meanwhile Bat Boy's Laurence O'Keefe has two off-the-beaten-path musicals going up in the heartland: Not only will Griffin Theatre Company give the blood-sucking cult classic he wrote with Key the Farley and Brian Flemming its long-overdue Chicago premiere at the Den Theatre June 4--July 24, but his similarly sanguine musicalization of Heathers with Kevin Murphy is also getting two stagings this summer: June 1-26 at Kansas City, Mo.
Back when a musicalization of Newton's life was still just an idea, Smith mentioned it to Rich Timmons.
The paper focuses on Gass's conception and use of language, musicality and musicalization in passages from two works of his fiction--"A Fugue", a passage from The Tunnel (1995), a novel that received the American Book Award, hid novella The Pedersen Kid (1961).
Wolf, The Musicalization of Fiction: A Study in the Theory and History of Intermediality (Amsterdam: Rodopi, 1999), and W.
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).
La Jolla's musicalization of the 2006 movie, launching a hoped-for eastward road trip, boasts David Korins' brightly cartoony designs and a typically tinkly William Finn score.
The cadenced speech in Barbelo relates to Hans-Thies Lehmann's depiction of musicalization as "an important sign usage in postdramatic theatre.
In The Musicalization of Fiction: A Study in the Theory and History of Intermediality, Werner Wolf proffers a definition for "Musico-literary Intermediality and the Musicalization of literature" that is pertinent to this reading of "Le Droit romain n'est plus":
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.
Noulet, for example, redefines "tone" not as a manifestation of sound, but as the musicalization of thought.