1
The Essence of the Musical
2
The Minstrel Era (1828 to c. 1900)
3
Evolution of the Verse/Chorus Song
4
The Ragtime Years (c. 1890–1917)
5
The Vaudeville Era (1881 to c. 1935)
6
Tin Pan Alley
7
Broadway in Its Infancy
We take an interlude to examine the idea of the revue, a form that makes no pretense at integrating a show's songs with its plot—though it might be built around a theme—and that continues to be a vital part of American musical theater.
8
The Revue versus the Book Musical
9
Superstars on the Horizon
10
Transition into the Jazz Age (1916–20)
11
Irving Berlin and Jerome Kern—Contrasts
12
George Gershwin’s Legacy (1919 to c. 1935)
13
Rodgers and Hammerstein Era (1940s)
14
Golden Age of Musical Theater (1950s)
15
Rock n Roll Reaches Broadway (1960s)
16
Big Bucks and Long Runs (1970s–Present)

A good overview, especially of the earlier, hard to find material.

The only shortcoming that affects the whole course is that Messinger is a piano player and not a singer; so when he wants to illustrate a point with a song, he plays the melody and speaks the words, which isn't very effective. Sometimes he brings in other performers, but the best parts are where he uses original period recordings.

Near the end, Messinger starts to run aground: he really hates Hair; feels that Sondheim's lack of major commercial success is a sign of his lesser worth, compared to the likes of Miss Saigon and Andrew Lloyd Webber.

16 lectures:
The Essence of the Musical
The Minstrel Era (1828 to c. 1900)
Evolution of the Verse/Chorus Song
The Ragtime Years (c. 1890–1917)
The Vaudeville Era (1881 to c. 1935)
Tin Pan Alley
Broadway in Its Infancy
The Revue versus the Book Musical
Superstars on the Horizon
Transition into the Jazz Age (1916–20)
Irving Berlin and Jerome Kern—Contrasts
George Gershwin’s Legacy (1919 to c. 1935)
Rodgers and Hammerstein Era (1940s)
Golden Age of Musical Theater (1950s)
Rock 'n' Roll Reaches Broadway (1960s)
Big Bucks and Long Runs (1970s–Present) ( )