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Thousands of shows have opened on Broadway. Why do we remember some and not others? The musical theatre repertory is not composed of titles popular in the theatre but by those with successful cast recordings, movie versions, or even illegal bootlegs on YouTube. The shows audiences know, and the texts and music they expect to hear when they attend a production, are defined by media consumed at home more than by memories of performances witnessed in the theatre. For example, author Doug Reside shows that it is no accident that the serious book musical with a fixed score developed in the 1940s - when commercially pressed and marketed record albums made it possible to record most of the score of a new musical in a fixed medium. And Hamilton, a musical with dense lyrics and revolutionary musical style, would not have been as easily accessible to world audiences if most hadn't already had the opportunity to learn the score by listening to free digital streams of the original cast recording. The technologies that made these media possible developed concurrently with and shaped the American musical as an art form. Reside uncovers how the affordances and limitations of these technologies established a repertory of titles that are most frequently performed and defined by the texts used in these performances. Fixing the Musical argues that the musicals we most remember are those which most effectively used their era's best recording and distribution technologies to document and share the work with those who would never see the original production on Broadway.
A practical and comprehensive text on instrument repairs that commonly challenge the music teacher.
"The musical theatre repertory is not composed of titles popular in the theatre but by those with successful cast recordings, movie versions, or even illegal bootlegs on YouTube. The shows audiences know, and the texts and music they expect to hear when they attend a production, are defined by media consumed at home more than by memories of performances witnessed in the theatre. The technologies that made these media possible developed concurrently with and shaped the American musical as an art form. At the turn of the 20th century photography and sound recording made it possible to capture the visual and aural elements of a particular production, and new printing technologies made scripts and sheet music faster and cheaper to produce. In the 20th century improvements in these technologies as well as the invention of video recording and the commercial internet made it possible to, in the works of the United States copyright law, "fix" new kinds of musicals in "tangible media." Fixing the Musical examines how the affordances and limitations of these technologies established a repertory of titles that are most frequently performed and defined the texts used in these performances"--
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This is an open access book. 2022 International Conference on Science Education and Art Appreciation (SEAA 2022) was held on June 24–26, 2022 in Chengdu, China. It aims to encourage exchange of information on research frontiers in different fields, connect the most advanced academic resources in China and abroad, turn research results into industrial solutions, bring together talents, technologies and capital to boost development. The purpose of the conference is to provide an international platform for experts, scholars, engineers and technicians, and technical R&D personnel engaged in related fields such as "Science Education" and "Art Appreciation" , to share scientific research results, broaden research ideas, collide with new ideas, and strengthen academic research, and to explore the key challenges and research directions faced by the development of this field, and promote the industrialization cooperation of academic achievements. Experts, scholars, business people and other relevant personnel from universities and research institutions at home and abroad are cordially invited to attend and exchange.
The ultimate guide shows guys how to fix all those ordinary things that breakevery day, which no one seems to do know what to do with.