DOCSLIB.ORG

Creating a Culture of In-Home Use for The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creating a Culture of In-Home Use for The CREATING A HOME CULTURE FOR THE PHONOGRAPH: WOMEN AND THE RISE OF SOUND RECORDINGS IN THE UNITED STATES, 1877-1913 by Nathan David Bowers BS, Bmusic, Philadelphia College of Bible, 1997 MA, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of Music in partial fulfillment Of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH _______ FACULTY OF ARTS AND SCIENCES This dissertation was presented by __________Nathan David Bowers__________ It was defended on _________February 9, 2007___________ and was approved by Dr. Deane Root, Professor of Music, Department Chair Dr. Don Franklin, Professor of Music Dr. Mary L. Lewis , Professor of Music Dr. Michael Broyles, Professor of Music Dr. Deane Root, Professor of Music Committee Chairperson ii Copyright © by Nathan David Bowers 2007 iii CREATING A HOME CULTURE FOR THE PHONOGRAPH: WOMEN AND THE RISE OF SOUND RECORDINGS IN THE UNITED STATES, 1877-1913 Nathan David Bowers, Doctor of Philosophy University of Pittsburgh, 2007 This dissertation explains processes of change and adaptation undergone by the early phonographs and talking machines, documenting social and musical forces through which consumers and businessmen shaped an in-home culture for sound recordings during the late nineteenth and early twentieth centuries. As a force for change in music in the home, the early phonograph embraced middle-class ideologies exemplified in the parlor of the late nineteenth- and early twentieth-centuries in order to create a domestic market. Early phonograph companies realized that women maintained and managed the affairs of the parlor, deciding what items were purchased for display and what activities were morally acceptable. Other responsibilities included controlling the household funds and providing music education in the home. For these reasons, the developing recording industry targeted women as a specific consumer group ensuring the success of the talking machine and creation of an “in-home” culture for pre-recorded music in America, one that continues to affect the way we consume music today. Initially designed as a speech recorder, Edison’s invention was viewed by the majority of Americans as a machine without daily application. Instead, the phonograph needed to be identified as a perfected instrument, a piece of parlor furniture, and a device capable of saving housewives time, labor and money. By providing pre-recorded music in the form of discs, this device replaced playing and singing around the piano in the iv home. Opera arias were featured in the early phonograph advertisements since they represented the “best music,” sung by the “greatest singers,” and provided an instant source of culture, quality entertainment, education and social status for those who purchased the pre-recorded discs. Capitalizing on the “prima-donna” complex prevalent among young women of the time, the early recording industry also promised superior voice lessons by the greatest singers on repeatable discs. Finally, the early phonograph companies placed a high priority on music appreciation. The ability to enjoy “quality music” and discuss merits of a particular piece became an important display of musical ability, one as relevant and refined as actual playing and singing. v PREFACE This dissertation would not have been possible without the assistance of many teachers, colleagues, friends and family members. Although I cannot possibly list every individual who helped bring this project to a conclusion, I want to recognize as many as I can in the following pages. I thank first my dissertation committee for their valuable insights that helped create the final version of this paper. Specifically, I offer my sincerest gratitude to my dissertation advisor, Deane Root, who contributed many hours with countless meetings, many thoughtful questions, unlimited verbal encouragement and editorial suggestions, all of which contributed to an overwhelmingly positive defense. His genuine interest in this project provided not only practical, but also much needed emotional support throughout its many stages. Don Franklin’s care and concern have been exceptional. He was always available to discuss my latest research and life concerns, and his pertinent questions provided priceless guidance in the formation of this topic. From the beginning, Mary Lewis’s insights and comments have proven invaluable, being the first to question the role of women in the history of the early recording industry. And Michael Broyles, whose gentle spirit and straightforward questions offered me renewed energy at crucial points along the way. Furthermore, his work on the historical understanding of art music in the United States provided research vital to this project. I thank the librarians and professors in the music department at the University of Pittsburgh for their many contributions to my graduate school experience. Specifically, I thank Jim Cassaro, head music librarian, for his aid in locating resources and materials, vi and providing direction in my many different research projects; Kathy Haines, for generously providing input as well as unlimited access to the many rare collections in the archive at the Center for American Music—her friendship, insights and encouragement have also proven invaluable; John Harvith, for providing valuable feedback in the early stages of this project, and continuing to make his collection of recordings and related materials available to me. I also thank Charles Reynolds for allowing access to the Edison surveys housed at the University of Michigan Music Library. I thank my family, specifically my parents, David and Eileen Bowers, for their years of support, love and prayers, which sustained me through many dark hours—dad, you are still one of the wisest people I know; Mom and Pop Hallstrom for welcoming me into their family, offering artistic insights and spirited conversation—your unmerited support is priceless; and my many brothers and sisters, Jenn, Katie, Amanda, Robin, Kay, Drew, Josh, Eric, David and Steve, for always putting family first, even when I could not. Some friends deserve special thanks: Glen Meakem, for his refreshing, energetic and positive spirit during the final days of this project, and for helping me see “the light at the end of the tunnel;” Mark Peters, for aid and advice on chapter four, strength of character and work ethic; Sam Hsu, for being the first to realize I was a musicologist; David and Eleanor Shockey, for your love of music and teaching; Kevin Patterson, for our craft brewing partnership—you will never know how much I benefited from those hours spent around the brew pot; the guys in Greenville, Bill, Rob, David, Reggie and Jeff, allowing me to vacate for a day or two in the country without ever requiring anything in return; Ed and Susan Norman along with Mark and Carol Elek for helping me replace my computer halfway through this project; and Jason Grant, Joanna Hasting vii Smolko, Dorcinda Knauth, Sister Agatha; Desmond Harmon; Camille Peters, Daniel Grimminger and Brandi Neal for adding to my years as a graduate student with many thoughtful discussions around both the seminar table and the dinner table. Finally, I thank Joy, my greatest friend and wife for her unbelievable support financially, emotionally and spiritually. Thank you Joy, for working full time, paying our bills, preparing our tax returns, brainstorming with me, pretending to listen as I read paragraphs out loud, and examining various tables and illustrations for clarity and errors. Your commitment to this project and your constant belief in me is the greatest gift you could have ever given me. viii TABLE OF CONTENTS ABSTRACT iv PREFACE vi CONTENTS ix LIST OF TABLES xii LIST OF FIGURES xiii CHAPTER 1. INTRODUCTION 1 The Topic 1 Overview of Chapters 7 Advertising Myths for the Phonograph 13 History and Use of Terminology 20 CHAPTER 2. EDISON’S MISPLACED PURPOSE: PERSONAL RECORD MAKING CREATES A NOVELTY ITEM 26 The Phonograph as a Novelty Item 27 The Public’s Embrace of the Playback Feature 46 CHAPTER 3. THE PARLOR: WOMEN’S PLACE OF POWER 54 Enabling a Moral Imperative: Idealized Environment 55 “Advertising Progress”: Creating a Market for Female Shoppers 70 CHAPTER 4. THE “FEMINIZED” PHONOGRAPH: A QUALITY ITEM AT A BARGAIN PRICE 98 Introduction 98 A Growing Desire for a Change in the Parlor 100 Lower Prices and Free Trials: The Edison, Columbia and Duplex Phonograph Companies 105 “The World’s Greatest Singers!”: The Victor Talking Machine Company 118 ix CHAPTER 5. PERFECTED PHONOGRAPH: REPLACEMENT FOR PRACTICE IN THE PARLOR 127 Perfected Musical Instrument 127 Perfected Musical Furniture 149 Victor’s Victor-Victrola 150 Columbia’s Grafonola 157 Edison’s Amberola 162 Other Music Furniture 163 CHAPTER 6. “THE BEST FRIEND OF A HOSTESS IS THE VICTROLA”: EARLY TALKING MACHINES MARKETED AS LABOR- SAVING DEVICES 168 The Need for Practical In-Home Products 168 Advertisements for Prepared Food and Cleaning Products 170 Advertisements for Machines and Furniture 175 Advertisements for Talking Machines 181 CHAPTER 7. POPULAR MUSIC THAT IS ALSO GOOD FOR YOU: OPERA ARIAS ARE A SUCCESSFUL RECORDED GENRE 188 Introduction 188 Opera: Democratic Music 190 Democratic Ideology Described 190 Opera Arias Are Popular Music 197 Songs as Commodities 210 “Selling America Music”: Owning a Star 223 “Teaching America Music”: Opera Prima Donnas 233 Women Aspire to Sing 233 Women Need Musical Training 241 Records Offer Superior Music Education 248 Conclusion 258 APPENDICES
Load more

Recommended publications
  • Grundig Digital Products
    SIMPLY PROFESSIONAL DICTATION PRODUCT OVERVIEW DIGITAL DICTATION Experience the very latest in digital dictation technology: Optimum integration with existing processes and workfl ow. There’s no better way to efficiency, first class ergonomics and design, and the very best in dictate than with Grundig digital. Want to know more about digital dictation? playback. Profit from all the benefits of digital dictation technology: Want to try before you buy with our free trial offer? Please talk to your Featuring products, accessories and service stamped with the hallmark Grundig Business Systems partner or contact Grundig Business Systems on: of Grundig quality. The Digta brand stands for premium quality and state of the art technology in digital speech processing. Our solutions are easy to use and provide structured and secure data handling as well as perfect Your Grundig Business Systems Partner: Grundig Business Systems GmbH Infoline: +49 (0) 911-47 58-4 Fax: +49 (0) 911-47 58-299 E-Mail: [email protected] Internet: www.grundig-gbs.com 12/2012 6121 HNE MOBILE DICTATION Digta 7 / Push Digta 7 Premium / Digta 7 Premium BT Set Digta 422 / Digta 422 Set · High contrast, transfl ective XXL display Description as for Digta 7 plus · High-contrast black-and-white display · Slide switch with Touch Pin · Lithium ion battery pack - rechargeable in the · 1 GB internal memory, extendable with · shock proof casing device Digta Card · PIN protection and 128 / 256 bit dictation · Soft-Touch-Composite surface · Soft-Touch-Composite finish encryption · Digta
    [Show full text]
  • 029I-HMVCX1924XXX-0000A0.Pdf
    This Catalogue contains all Double-Sided Celebrity Records issued up to and including March 31st, 1924. The Single-Sided Celebrity Records are also included, and will be found under the records of the following artists :-CLARA Burr (all records), CARUSO and MELBA (Duet 054129), CARUSO,TETRAZZINI, AMATO, JOURNET, BADA, JACOBY (Sextet 2-054034), KUBELIK, one record only (3-7966), and TETRAZZINI, one record only (2-033027). International Celebrity Artists ALDA CORSI, A. P. GALLI-CURCI KURZ RUMFORD AMATO CORTOT GALVANY LUNN SAMMARCO ANSSEAU CULP GARRISON MARSH SCHIPA BAKLANOFF DALMORES GIGLI MARTINELLI SCHUMANN-HEINK BARTOLOMASI DE GOGORZA GILLY MCCORMACK Scorn BATTISTINI DE LUCA GLUCK MELBA SEMBRICH BONINSEGNA DE' MURO HEIFETZ MOSCISCA SMIRN6FF BORI DESTINN HEMPEL PADEREWSKI TAMAGNO BRASLAU DRAGONI HISLOP PAOLI TETRAZZINI BI1TT EAMES HOMER PARETO THIBAUD CALVE EDVINA HUGUET PATTt WERRENRATH CARUSO ELMAN JADLOWKER PLANCON WHITEHILL CASAZZA FARRAR JERITZA POLI-RANDACIO WILLIAMS CHALIAPINE FLETA JOHNSON POWELL ZANELLIi CHEMET FLONZALEY JOURNET RACHM.4NINOFF ZIMBALIST CICADA QUARTET KNIIPFER REIMERSROSINGRUFFO CLEMENT FRANZ KREISLER CORSI, E. GADSKI KUBELIK PRICES DOUBLE-SIDED RECORDS. LabelRed Price6!-867'-10-11.,613,616/- (D.A.) 10-inch - - Red (D.B.) 12-inch - - Buff (D.J.) 10-inch - - Buff (D.K.) 12-inch - - Pale Green (D.M.) 12-inch Pale Blue (D.O.) 12-inch White (D.Q.) 12-inch - SINGLE-SIDED RECORDS included in this Catalogue. Red Label 10-inch - - 5'676 12-inch - - Pale Green 12-inch - 10612,615j'- Dark Blue (C. Butt) 12-inch White (Sextet) 12-inch - ALDA, FRANCES, Soprano (Ahl'-dah) New Zealand. She Madame Frances Aida was born at Christchurch, was trained under Opera Comique Paris, Since Marcltesi, and made her debut at the in 1904.
    [Show full text]
  • The Early Years of the Acoustic Phonograph Its Developmental Origins and Fall from Favor 1877-1929
    THE EARLY YEARS OF THE ACOUSTIC PHONOGRAPH ITS DEVELOPMENTAL ORIGINS AND FALL FROM FAVOR 1877-1929 by CARL R. MC QUEARY A SENIOR THESIS IN HISTORICAL AMERICAN TECHNOLOGIES Submitted to the General Studies Committee of the College of Arts and Sciences of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved Accepted Director of General Studies March, 1990 0^ Ac T 3> ^"^^ DEDICATION No. 2) This thesis would not have been possible without the love and support of my wife Laura, who has continued to love me even when I had phonograph parts scattered through­ out the house. Thanks also to my loving parents, who have always been there for me. The Early Years of the Acoustic Phonograph Its developmental origins and fall from favor 1877-1929 "Mary had a little lamb, its fleece was white as snov^. And everywhere that Mary went, the lamb was sure to go." With the recitation of a child's nursery rhyme, thirty-year- old Thomas Alva Edison ushered in a bright new age--the age of recorded sound. Edison's successful reproduction and recording of the human voice was the end result of countless hours of work on his part and represented the culmination of mankind's attempts, over thousands of years, to capture and reproduce the sounds and rhythms of his own vocal utterances as well as those of his environment. Although the industry that Edison spawned continues to this day, the phonograph is much changed, and little resembles the simple acoustical marvel that Edison created.
    [Show full text]
  • Phonograph.Pdf
    SILS - Spring 2020 HI307 MEDIA HISTORY: Four Modern Revolutions Graham Law Sound & Sight (1): Phonograph Structure of today’s presentation I Phonograph Technology – Precedents & terminology – Early choices – Phonograph timeline – After the phonograph II Phonograph Sociology – Phonograph functions – Production/Consumption models – Economic indicators – Subculture: Phonograph & Fashion I. Phonograph Technology Precedents & Terminology Precedents Terminology – photography – electric telegraphy – “registering sound” (Ozanne) – telephony – “talking-machine” (Edison) – wireless telegraphy – musical scores – “phonograph” (US/Edison) – music boxes – sound – writing (Gk) – phonautography (registering sound visually) – “gramophone” (UK) – phonography (phonetic short- – character – sound (Gk) hand) Nadar (Fr. Photographer) predicted in 1860s: “an acoustic daguerreotype which faithfully …reproduces all the sounds subjected to it” “a box in which melodies can be caught & fixed, as the camera obscura does with images” Edison: “I was experimenting on an automatic method of recording telegraph messages on a disk of paper laid on a revolving platen … From my experiments on the telephone I knew of the power of a diaphragm to take up sound vibrations …” F.D. Dyer & T.C. Martin, Edison: His Life and Invention (1910) I pp. 206-8 Early technical options Recording/playback media Recording/playback device – cylinder vs. disk – mechanical vs. electrical • fidelity power (motor) • reproducibility – horn vs. speaker • storage – metal needle vs. crystal stylus
    [Show full text]
  • The Magic Flute
    WOLFGANG AMADEUS MOZART the magic flute conductor Libretto by Emanuel Schikaneder Harry Bicket Saturday, December 29, 2018 production 1:00–2:45 PM Julie Taymor set designer George Tsypin costume designer Julie Taymor lighting designer The abridged production of Donald Holder The Magic Flute was made possible by a puppet designers Julie Taymor gift from The Andrew W. Mellon Foundation Michael Curry and Bill Rollnick and Nancy Ellison Rollnick choreographer Mark Dendy The original production of Die Zauberflöte was made possible by a revival stage director David Kneuss gift from Mr. and Mrs. Henry R. Kravis english adaptation J. D. McClatchy Additional funding was received from John Van Meter, The Annenberg Foundation, Karen and Kevin Kennedy, Bill Rollnick and Nancy Ellison Rollnick, Mr. and Mrs. William R. general manager Miller, Agnes Varis and Karl Leichtman, and Peter Gelb Mr. and Mrs. Ezra K. Zilkha jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The Magic Flute is The 447th Metropolitan Opera performance of performed without intermission. WOLFGANG AMADEUS MOZART’S This performance is being broadcast the magic flute live over The Toll Brothers– Metropolitan Opera conductor International Radio Harry Bicket Network, sponsored by Toll Brothers, in order of vocal appearance America’s luxury ® tamino second spirit homebuilder , with Ben Bliss* Eliot Flowers generous long- first l ady third spirit term support from Gabriella Reyes** N. Casey Schopflocher the Annenberg Foundation and second l ady spe aker GRoW @ Annenberg, Emily D’Angelo** Alfred Walker* The Neubauer Family third l ady sar astro Foundation, the Maria Zifchak Morris Robinson* Vincent A.
    [Show full text]
  • Corso Di Dottorato Di Ricerca in Storia Delle Arti Tesi Di Ricerca
    Corso di Dottorato di ricerca in Storia delle Arti ciclo XXI Tesi di Ricerca «THE PHENOMENAL CONTRALTO» Vita e carriera artistica di Eugenia Mantelli SSD: L-ART/07 Musicologia e storia della musica Coordinatore del Dottorato ch. prof. Piermario Vescovo Supervisore ch. prof. Paolo Pinamonti Dottorando Federica Camata Matricola 808540 «THE PHENOMENAL CONTRALTO». VITA E CARRIERA ARTISTICA DI EUGENIA MANTELLI INDICE Introduzione p. 3 1. Biografia di Eugenia Mantelli p. 7 1.1. L’infanzia e gli studi p. 9 1.2. Il debutto al Teatro de São Carlos p. 13 1.3. La carriera internazionale p. 16 1.3.1. 1886: prima tournée in Sudamerica p. 17 1.3.2. 1887: seconda tournée in Sudamerica p. 24 1.3.3. 1889: terza tournée in Sudamerica p. 26 1.3.4. Eugenia Mantelli-Mantovani p. 28 1.3.5. Dal Bolshoi al Covent Garden p. 31 1.3.6. ¡Que viva Chile! Ultime tournée in Sudamerica p. 33 1.4. New York, il Metropolitan e le tournée negli Stati Uniti p. 36 1.4.1. Eugenia Mantelli-De Angelis p. 47 1.5. «Madame Mantelli has gone into vaudeville» p. 51 1.6. Mantelli Operatic Company p. 66 1.7. Attività artistica in Italia p. 69 1.8. Le ultime stagioni portoghesi e il ritiro dalle scene p. 81 1.9. Gli anni d’insegnamento p. 91 1.10.Requiem per Eugenia p. 99 1 2. Cronologia delle rappresentazioni p. 104 2.1. Nota alla consultazione p. 105 2.2. Tabella cronologica p. 107 3. Le fonti sonore p. 195 3.1.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • The Lab Notebook
    Thomas Edison National Historical Park National Park Service U.S. Department of the Interior The Lab Notebook Upcoming Exhibits Will Focus on the Origins of Recorded Sound A new exhibit is coming soon to Building 5 that highlights the work of Thomas Edison’s predecessors in the effort to record sound. The exhibit, accompanied by a detailed web presentation, will explore the work of two French scientists who were pioneers in the field of acoustics. In 1857 Edouard-Léon Scott de Martinville invented what he called the phonautograph, a device that traced an image of speech on a glass coated with lampblack, producing a phonautogram. He later changed the recording apparatus to a rotating cylinder and joined with instrument makers to com- mercialize the device. A second Frenchman, Charles Cros, drew inspiration from the telephone and its pair of diaphragms—one that received the speaker’s voice and the second that reconstituted it for the listener. Cros suggested a means of driving a second diaphragm from the tracings of a phonauto- gram, thereby reproducing previously-recorded sound waves. In other words, he conceived of playing back recorded sound. His device was called a paléophone, although he never built one. Despite that, today the French celebrate Cros as the inventor of sound reproduction. Three replicas that will be on display. From left: Scott’s phonautograph, an Edison disc phonograph, and Edison’s 1877 phonograph. Conservation Continues at the Park Workers remove the light The Renova/PARS Environ- fixture outside the front mental Group surveys the door of the Glenmont chemicals in Edison’s desk and home.
    [Show full text]
  • Aes 143Rd Convention Program October 18–21, 2017
    AES 143RD CONVENTION PROGRAM OCTOBER 18–21, 2017 JAVITS CONVENTION CENTER, NY, USA The Winner of the 143rd AES Convention To be presented on Friday, Oct. 20, Best Peer-Reviewed Paper Award is: in Session 15—Posters: Applications in Audio A Statistical Model that Predicts Listeners’ * * * * * Preference Ratings of In-Ear Headphones: Session P1 Wednesday, Oct. 18 Part 1—Listening Test Results and Acoustic 9:00 am – 11:00 am Room 1E11 Measurements—Sean Olive, Todd Welti, Omid Khonsaripour, Harman International, Northridge, SIGNAL PROCESSING CA, USA Convention Paper 9840 Chair: Bozena Kostek, Gdansk University of Technology, Gdansk, Poland To be presented on Thursday, Oct. 18, in Session 7—Perception—Part 2 9:00 am P1-1 Generation and Evaluation of Isolated Audio Coding * * * * * Artifacts—Sascha Dick, Nadja Schinkel-Bielefeld, The AES has launched an opportunity to recognize student Sascha Disch, Fraunhofer Institute for Integrated members who author technical papers. The Student Paper Award Circuits IIS, Erlangen, Germany Competition is based on the preprint manuscripts accepted for the Many existing perceptual audio codec standards AES convention. define only the bit stream syntax and associated decod- A number of student-authored papers were nominated. The er algorithms, but leave many degrees of freedom to the excellent quality of the submissions has made the selection process encoder design. For a systematic optimization of encod- both challenging and exhilarating. er parameters as well as for education and training of The award-winning student paper will be honored during the experienced test listeners, it is instrumental to provoke Convention, and the student-authored manuscript will be consid- and subsequently assess individual coding artifact types ered for publication in a timely manner for the Journal of the Audio in an isolated fashion with controllable strength.
    [Show full text]
  • Kentucky State Fair Announces Texas Roadhouse Concert Series Lineup 23 Bands Over 11 Nights, All Included with Fair Admission
    FOR IMMEDIATE RELEASE Contact: Ian Cox 502-367-5186 [email protected] Kentucky State Fair Announces Texas Roadhouse Concert Series Lineup 23 bands over 11 nights, all included with fair admission. LOUISVILLE, Ky. (May 26, 2021) — The Kentucky State Fair announced the lineup of the Texas Roadhouse Concert Series at a press conference today. Performances range from rock, indie, country, Christian, and R&B. All performances are taking place adjacent to the Pavilion and Kentucky Kingdom. Concerts are included with fair admission. “We’re excited to welcome everyone to the Kentucky State Fair and Texas Roadhouse Concert series this August. We’ve got a great lineup with old friends like the Oak Ridge Boys and up-and-coming artists like Jameson Rodgers and White Reaper. Additionally, we have seven artists that are from Kentucky, which shows the incredible talent we have here in the Commonwealth. This year’s concert series will offer something for everyone and be the perfect celebration after a year without many of our traditional concerts and events,” said David S. Beck, President and CEO of Kentucky Venues. Held August 19-29 during the Kentucky State Fair, the Texas Roadhouse Concert Series features a wide range of musical artists with a different concert every night. All concerts are free with paid gate admission. “The lineup for this year's Kentucky State Fair Concert Series features something for everybody," says Texas Roadhouse spokesperson Travis Doster, "We look forward to being part of this event that brings people together to create memories and fun like we do in our restaurants.” The Texas Roadhouse Concert Series lineup is: Thursday, August 19 Josh Turner with special guest Alex Miller Friday, August 20 Ginuwine with special guest Color Me Badd Saturday, August 21 Colt Ford with special guest Elvie Shane Sunday, August 22 The Oak Ridge Boys with special guest T.
    [Show full text]
  • Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D
    CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral.
    [Show full text]
  • R Market Achievements History Product
    entertainment is the vast range of Home Theater Systems that instantaneously fills your living room with cinematic acoustics at the flick of a switch. The audio range is massive and comprises Portables, Micro and Mini Component Systems, right up to High-end Component Systems and a wide range of Camcorders, analogue and digital which include some semiprofessional models too. The range of related Accessories and Software include Battery Packs, Headphones, Microphones, Connectors, Cables and all that it takes to keep your entertainment in top gear. The Professional range, carries Professional Camcorders, Channel Mixers, Digital Projectors, Audiovisual, Public Address and Broadcast MARKET a market share in what could be aptly called Camcorders, Televisions, DVD players, Video equipment that can cover the dimensions of a Dedicated to the cause of ‘Service to the -- The Survival of the Fittest. JVC’s technological projectors, LCD and Plasma panels. studio, auditorium, broadcast station or any other Consumer,’ JVC has relied heavily on its superior expertise and the marketing ability and institution that necessitates such services. Of strength in Research and Development. The distribution strength of Oasis Enterprises fused HISTORY particular interest to professional broadcasting firm belief in the old adage, ‘Quality is never together to secure a large share of the consumer JVC was established in 1927, not as a Japanese is JVC’s revolutionary D-9 video format, widely an accident, but a result of hard work and electronics market, particularly grabbing the lion’s company, but as a Far East subsidiary of an recognized by the engineering community as dedication’ amply explains JVC’s commitment share in the digital camcorder American company - The Victor Talking Machine the blueprint for future digital broadcasting to customer satisfaction in over 75 years of its s e g m e n t , where Company ( which later went on to become RCA and the ideal choice for HDTV production and existence.
    [Show full text]