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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
New Music Economy is a term describing the emergent social, technical, political and economic context of the creative industries.This shift in context has been fueled by concurrent evolution within an ecosystem of interdependent technologies, institutions, and individuals; the result of which impacts the nature of creative property, identity, production, distribution and imagination.
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 ]
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.
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.
Jean-Jacques Rousseau, Discours sur l'oeconomie politique, 1758. Political economy is a branch of political science and economics studying economic systems (e.g. markets and national economies) and their governance by political systems (e.g. law, institutions, and government).
A common critique of critical political economy (often from the cultural studies approach) is that, like Marx, it fetishizes capitalism and is deterministic technologically and/or economically. [1] Christian Fuchs and Vincent Mosco in their book Marx and the Political Economy of the Media compile the effects of media communication in a ...
Declared a "genius" by some and a "disease" by others, his music is widely performed, but his views on religion, politics, and social life are debated—most notably on the extent to which his antisemitism finds expression in his stage and prose works. The effect of his ideas can be traced in many of the arts throughout the 20th century; his ...