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The Encyclopedia of the Piano was selected in its first edition as a Choice Outstanding Book and remains a fascinating and unparalleled reference work. The instrument has been at the center of music history with even composers of large symphonic work asserting that they do not write anything without sketching it out first on a piano; its limitations and expressive capacity have done much to shape the contours of the western musical idiom. Within the scope of this user-friendly guide is everything from the acoustics and construction of the piano to the history of the companies that have built them. The piano-lover might also be surprised to find an entry for Thomas Jefferson, and will no doubt read intently the passages about the changing history of the piano's place in the home. Uniformly well-written and authoritative, this guide will channel anyone's love for the instrument, through social, intellectual, art history and beyond into the electronic age.
Brian Dolan's social and cultural history of the music business in relation to the history of the player piano is a critical chapter in the story of contemporary life. The player piano made the American music industry-and American music itself-modern. For years, Tin Pan Alley composers and performers labored over scores for quick ditties destined for the vaudeville circuit or librettos destined for the Broadway stage. But, the introduction of the player piano in the early 1900s, transformed Tin Pan Alley's guild of composers, performers, and theater owners into a music industry. The player piano, with its perforated music rolls that told the pianos what key to strike, changed musical performance because it made a musical piece standard, repeatable, and easy rather than something laboriously learned. It also created a national audience because the music that was played in New Orleans or Kansas City could also be played in New York or Missoula, as new music (ragtime) and dance (fox-trot) styles crisscrossed the continent along with the player piano's music rolls. By the 1920s, only automobile sales exceeded the amount generated by player pianos and their music rolls. Consigned today to the realm of collectors and technological arcane, the player piano was a moving force in American music and American life.
Jared knows he's the best basketball player in school. He's got thetalent, the touch, and the shots. With him at center, the Hudson City Hornets finally have a chance at making the playoffs. But Jared's also got a temper, and when the ref throws him out of the game, he watches his team's chances start to slip away. With some help from his friends, he begins to realize that he's got to be a better teammate in order for the Hornets to be a better team.
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If historical culture is the specific and particular ways that a society engages with its past, this book aims to situate the professional practice of public history, now emerging across the world, within that framework. It links the increasingly varied practices of memory and history-making such as genealogy, podcasting, re-enactment, family histories, memoir writing, film-making and facebook histories with the work that professional historians do, both in and out of the academy. Making Histories asks questions about the role of the expert and notions of authority within a landscape that is increasingly concerned with connection to the past and authenticity. The book is divided into four parts: 1. Resistance, Rights, Authority 2. Memory, Memorialization, Commemoration 3. Performance, Transmission, Reception 4. Family, Private, Self The four sections outline major themes emerging in public history across the world in the 21st century which are all underpinned by the impact of new media on historical practice and our central argument for the volume which advocates a more capacious definition of what constitutes ‘public history‘.
By the early 20th century the machine aesthetic was a well-established and dominant interest that fundamentally transformed musical performance and listening practices. While numerous scholars have examined this aesthetic in art and literature, musical compositions representing industrialized labor practices and the role of the machine in music remain largely unexplored. Moreover, in recounting the history of machines in musical recording and reproduction, scholars often tend to emphasize the phonograph, rather than player piano, despite the latter’s prominence within the newly established musical marketplace. Machines and their music influenced multiple areas of early 20th-century musical culture, from film scores to popular music and even the concert hall. But the opposite was also true: industrialized labor practices changed the musical marketplace and musical culture as a whole. As consumers accepted mechanical replacements for what previously required an active human laborer, ghostly, mechanical performers labored tirelessly in parlors, businesses, and even concert halls. Although the player piano failed to maintain a stronghold in the recorded music marketplace after 1930, the widespread acceptance of recording technologies as media for storing and enjoying music indicates a much more fundamental societal shift. This book explores that shift, examining the rise and fall of the player piano in early 20th-century society and connecting it to the digital technologies of today.
The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.
With annual gross sales surpassing 100 billion U.S. dollars each of the last two years, the digital games industry may one day challenge theatrical-release movies as the highest-grossing entertainment media in the world. In their examination of the tremendous cultural influence of digital games, Daniel Reardon and David Wright analyze three companies that have shaped the industry: Bethesda, located in Rockville, Maryland, USA; BioWare in Edmonton, Alberta, Canada; and CD Projekt Red in Warsaw, Poland. Each company has used social media and technical content in the games to promote players' belief that players control the companies' game narratives. The result has been at times explosive, as empowered players often attempted to co-op the creative processes of games through discussion board forum demands, fund-raising campaigns to persuade companies to change or add game content, and modifications (“modding”) of the games through fan-created downloads. The result has changed the way we understand the interactive nature of digital games and the power of fan culture to shape those games.
This book highlights recent developments in the field of computer simulation and its application to social dynamics and behaviour. It covers latest advancements in the use of agent-based modelling by focusing on thematic issues, methodological progress and applications, including policy, industry and business. It aims to promote this interdisciplinary type of research by showing synergies, complementary and integration especially between computer sciences, social sciences, economics and organization, often bridging qualitative and quantitative research. The primary audience of this book are academics, practitioners and professionals using computer simulation for business counselling or industry.
In 1989, Steven Moore published the first scholarly study of all three of William Gaddis's novels and since then it has been generally regarded as the best book on this difficult but major writer's work. This revised and expanded edition includes new chapters on the novels Gaddis published after 1989, the National Book Award-winning A Frolic of His Own and the posthumous novella Agape Agape, along with updated introductory and concluding chapters. This introduction offers a clear discussion of all five of Gaddis's novels, providing essential biographical information, two chapters each on his most significant novels, The Recognitions and J R, and a chapter each devoted to his later three novels. A concluding chapter locates his place in American literature and notes his influence on younger writers. Each chapter focuses on the main themes of each novel and discusses the literary techniques Gaddis deployed to dramatize those themes. Since Gaddis is an erudite, allusive novelist, Moore clarifies his references and explains how they enhance his themes.