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The pit is usually a large opening ranging from 4–6 feet (1.2–1.8 m) wide, 20–40 feet (6.1–12.2 m) long and 6–10 feet (1.8–3.0 m) deep. Some orchestra pits have lifts or elevators that can raise the floor of the pit up to the same height as the stage. This allows for easier movement of instruments among other things.
An orchestra pit does not have to be located directly in front of the stage, either, although many patrons expect to see the orchestra performing in front of the stage; when an orchestra pit is elsewhere in the theatres, the conductor's movements may be broadcast on monitors visible from the stage, so that actors can follow cues. [1]
In 1986, the Philadelphia Orchestra approved a plan to construct a new concert hall to replace the aging Academy of Music. It hoped to complete the new facility in time for its 1991 season. [ 2 ] The desire to move the orchestra from its facilities in the Academy of Music emerged as early as 1908, however plans stalled due to the lack of ...
Jeffrey Ravel's recent work, which is a cultural history of The Contested Parterre: Public Theatre and French Political Culture: 1680-1791, is the first scholarly study devoted to writing the history of the parterre. The significance of the parterre for Ravel is how it functioned as a critical segment of public opinion in an absolutist state ...
A pit orchestra is a type of orchestra that accompanies performers in musicals, operas, ballets, and other shows involving music. The term was also used for orchestras accompanying silent movies when more than a piano was used. [ 1 ]
Within the field of political science, there is generally a distinction between international political economy (studied by international relations scholars) and comparative political economy (studied by comparative politics scholars). [1] Public choice theory is a microfoundations theory closely
Noise: The Political Economy of Music is a book by French economist and scholar Jacques Attali which is about the role of music in the political economy.. Attali's essential argument in Noise: The Political Economy of Music (French title: Bruits: essai sur l'economie politique de la musique) is that music, as a cultural form, is intimately tied up in the mode of production in any given society.
The original study on the Baumol effect was conducted for the performing arts sector. [1] American economists Baumol and Bowen pointed out that the number of musicians needed to play a Beethoven string quartet was the same as was needed in the 19th century—in other words, the productivity of classical music performance has not increased.