The Player Piano And Musical Labor

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.

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.

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.

Published in 1915, The Art of the Player-Piano is a comprehensive guide to the history, technology and aesthetics of mechanical music devices. Grew's lucid prose and insightful analysis make this book a must-read for anyone interested in the cultural and social impact of technology on music. This book also includes a detailed discussion of the economics of the player-piano industry during the early 20th century. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"'Player-Piano' tells for the first time the fascinating story of the mechanical piano from earliest times up to the heyday of the instrument in the 1930s. Never before has this story been related, although the end of the player-piano is certainly still within the living memory of most of us and many hundreds of these devices are still to be found in our homes. In addition to telling the story of the development of these pianos which strove to produce perfect music without the need for skills on the part of the 'performer', this book sets out in copious detail exactly how these complex mechanisms work. For the owner of an instrument, step by step instructions for the restoration and preservation of both the early barrel-playing pianos and the most sophisticated player and reproducing instruments are given. To fully illustrate their development, design and mechanical processes, no less than 112 plates and 110 long drawings are included."--Jacket.

Excerpt from The Art of the Player-Piano: A Text-Book for Student and Teacher The Art of the Player-piano lies in the pedalling and in the use of Tempo-control Lever or Buttons. Pedalling is as breathing in singing or fingering in pianoforte playing. Certain of the more subtle refinements of musical performance remain outside the Art of the Player; but in the main everything is possible that is necessary in an intelligent, personal, and complete performance. I say complete, because what cannot be produced in the normal way of musical effect may be produced in a way special to the new instrument - there is compromise in the executive art of any musical instrument. Rhythm, the foundational and constructional power in music, determines pedalling and tempo rubato, or free time. The player-pianist creates mentally the rhythmical form of the motive or phrase, and then creates it in the instrument by process of pedalling and tempo-control. It is a curious thought that, since the imaginative conception of rhythm is a highly intellectual act, the Art of the Player-piano is entirely volitional; the playerist has no mechanical work to do, even in the beginning, of the order inseparable from the piano, the organ, and the violin. My idea throughout this book has been the development of the rhythmical consciousness. I am not aware that any attempt has been previously made to formulate the principles of this new executive art. Cadenced metrical counting must take the place of fingering in the work of the player-pianist; after that, articulation of notes into motive on the one hand, and on the other hand the cadential phrasing of groups of motives into measures, clauses, and sentences. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In her study of music-making in the Edwardian novel, Cecilia Björkén-Nyberg argues that the invention and development of the player piano had a significant effect on the perception, performance and appreciation of music during the period. In contrast to existing devices for producing music mechanically such as the phonograph and gramophone, the player piano granted its operator freedom of individual expression by permitting the performer to modify the tempo. Because the traditional piano was the undisputed altar of domestic and highly gendered music-making, Björkén-Nyberg suggests, the potential for intervention by the mechanical piano's operator had a subversive effect on traditional notions about the status of the musical work itself and about the people who were variously defined by their relationship to it. She examines works by Dorothy Richardson, E.M. Forster, Henry Handel Richardson, Max Beerbohm and Compton Mackenzie, among others, contending that Edwardian fiction with music as a subject undermined the prevalent antithesis, expressed in contemporary music literature, between a nineteenth-century conception of music as a means of transcendence and the increasing mechanisation of music as represented by the player piano. Her timely survey of the player piano in the context of Edwardian commercial and technical discourse draws on a rich array of archival materials to shed new light on the historically conditioned activity of music-making in early twentieth-century fiction.