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Sergio piano prodigy
Sergio piano prodigy







sergio piano prodigy
  1. SERGIO PIANO PRODIGY HOW TO
  2. SERGIO PIANO PRODIGY MANUAL

SERGIO PIANO PRODIGY HOW TO

“The import house sent along at its own expense an Italian expert, Pietro Crespi, to assemble and tune the pianola, to instruct the purchasers in its functioning, and to teach them how to dance the latest music printed on its six paper rolls.” 2 The instrument came disassembled, with its parts crammed into various boxes. pianola) arrived, not only as a “marvelous invention” but also as a token of modernity and cosmopolitanism. Together with other fashionable commodities and “costly necessities,” the player piano (a.k.a. But after the sudden connection with the exterior world, a flood of new people and unimaginable merchandise began to flow in without containment. The “gypsies” first captivated the town with ice and, a little later, with the intricate process of making daguerreotypes. From then on, life for the Buendía family and everyone else in Macondo changed dramatically. Following one of her sons, who had joined such a group, Úrsula Iguarán discovered the two-day path that separated Macondo from the rest of the world.

sergio piano prodigy

The cultural legitimization of the instrument in the region depended, however, on its adaptation to local discourses, cultural practices, soundscapes, expectations, language, gender constructions, and especially repertoires.īy the time this scene takes place in Gabriel García Márquez's novel One Hundred Years of Solitude, Macondo is no longer the isolated village it had been when its only contact with civilization was through the occasional visit of what the author refers to as “gypsy” entourages. The reception of player pianos in Latin America was characterized by anxieties very similar to those of US consumers, particularly with regard to the acousmatic nature of their sounds and their perceived uncanniness. The efforts of North American businessmen to capture the Latin American market and the establishment of marketing networks between US companies and Latin American dealers reveal a complex interplay of mutual stereotyping, First World War commercial geopolitics, capitalization on European cultural/musical referents, and multiple strategies of appropriation and reconfiguration in relation to the player piano's technological and aesthetic potential. The international trade in player pianos between the United States and Latin America during the first decades of the twentieth century was developed in tandem with the commercial expansion and political interventionism of the United States throughout the Americas during the same period. It thus constitutes a paradigmatic case by which to examine the contingent construction of ideas about tradition and modernity.

SERGIO PIANO PRODIGY MANUAL

As a technological intruder, the player piano inhabited a liminal space between the manual and the mechanical as well as between unmediated musical experiences and the mechanically mediated consumption of sounds. Gabriel García Márquez's literary portrait of the arrival of the pianola in Macondo in One Hundred Years of Solitude functions as a metaphor for the reception and cultural legitimization of player pianos in Latin America during their heyday in the 1910s and 1920s.









Sergio piano prodigy