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In 1942, Key published the first edition of his very widely used textbook, Politics, Parties, and Pressure Groups, in which he emphasized that politics was a contest and the main players were organized interest groups. The book decisively shaped the teaching of political science by introducing realism in analysis of politics, introducing the ...
An orchestra pit is an area in a theatre (usually located in a lowered area in front of the stage) in which musicians perform. The orchestra plays mostly out of sight in the pit, rather than on the stage as for a concert, when providing music for forms of theatre that require it (such as opera and ballet) or when incidental music is required
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 ]
As such, economists and political scientists often associate political economy with approaches using rational-choice assumptions, [19] especially in game theory [20] and in examining phenomena beyond economics' standard remit, such as government failure and complex decision making in which context the term "positive political economy" is common ...
At the time of the commission, the Stuttgart Opera House was undergoing renovation, necessitating the use of a nearby playhouse with a smaller orchestra pit. Upon learning this, Glass and conductor Dennis Russell Davies visited the playhouse, placing music stands around the pit to determine how many players the pit could accommodate.
The term “constitutional economics” was used by American economist – James M. Buchanan – as a name for a new academic sub-discipline that in 1986 brought him the Nobel Prize in Economic Sciences for his “development of the contractual and constitutional bases for the theory of economic and political decision-making.” Buchanan ...
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 Weill authority Stephen Hinton notes that "generic ambiguity is a key to the work's enduring success", and points out the work's deliberate hybrid status: For Weill [The Threepenny Opera] was not just 'the most consistent reaction to [Richard] Wagner'; it also marked a positive step towards an operatic reform. By explicitly and implicitly ...