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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.
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
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.
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 ]
Orchestral enhancement is the technique of using orchestration techniques, architectural modifications, or electronic technologies to modify the sound, complexity, or color of a musical theatre, ballet or opera pit orchestra. Orchestral enhancements are used both to create new sounds and to add capabilities to existing orchestral ensembles.
Articles relating to political economy, the study of production and trade and their relations with law, custom and government; and with the distribution of national income and wealth. Subcategories This category has the following 18 subcategories, out of 18 total.
Like other photoplayers, the Bartola was designed around an upright piano, and consisted of several ranks of organ pipes and various percussion instruments and sound effects housed in a case, all installed in the theatre's orchestra pit. There were four models.
Samuel Barber's Essay for Orchestra, Op. 12, completed in the first half of 1938, is an orchestral work in one movement. It was given its first performance by Arturo Toscanini with the NBC Symphony Orchestra on November 5, 1938 in New York in a radio broadcast concert in which the composer's Adagio for Strings saw its first performance.