ABSTRACT
Jazz histories and musical theater histories don’t interact with each other nearly as often as the material, and archival evidence, warrants. The aim of this chapter is to break down some of those disciplinary walls in an effort to better understand the historiography of each field, and to point out the overlap between genres that are typically understood as separate strains. As a case study, I will consider Rodgers and Hart’s Pal Joey (1940), looking at orchestrations, instrumentation, and musicians, probing the places where genres—and histories—meet.
