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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]
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.
Like many theaters, it usually includes a stage, an orchestra pit, audience seating, backstage facilities for costumes and building sets, as well as offices for the institution's administration. While some venues are constructed specifically for operas, other opera houses are part of larger performing arts centers.
The orchestra pit is very large and open to the auditorium, with the capacity for up to 110 musicians. The stage complex is one of the largest and most complex of its kind in the world, extending 80 ft (24 m) deep from the curtain line to the rear wall.
The Philadelphia Orchestra and Ensemble Arts Philly present a diverse array of educational offerings, including Jazz For Freedom, which explores social change through the history and traditions of Jazz; Musical Theater Program: Set The Stage, introducing middle school aged students to musical theater; a school ensemble program at KIPP West ...
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 ]
The Ford Sunday Evening Hour is an American concert radio series sponsored by the Ford Motor Company. The hour-long program was broadcast from 1934 to 1946, [ 1 ] with a hiatus from 1942 to 1945. Later known as The Ford Symphony Hour , the program presented selections of classical music, hymns, popular ballads and well-known arias.
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.