Sound systems

To enjoy music it needs to sound well, if the instruments are tuned well live performance is fine at the camp fire, but if we go large in a concert hall or even on air on the radio we need something more. The public-address system, is the key to succes, a system that allows sounds to sound natural or as if we wish them to sound, but never to go on their own way, cause that would lead to chaos.
The 1st device was the fonograph that served this function and later on with the technical developments the first studio's bacame the places of sound editing.
From the moment we could influence, edit and make better sounds special effects, a new way of creation and controll over music was born.
In the 1960's and 1970's also use of studios emerged widley among pop singers. Each song they wrote and played however still reimain unique and with even the top studios of today we barely can reproduce them, because the shabby instruments and the '3beers and 1pocket of cigaretts' lifestyle during the records can be never the same.
Thus, any song we play from the past and sounds differently, no matter how developped technologies we have will remain not the same. This probably will apply to future technologies, where better sound systems will be made and the same old sounding will never be the same as the old good sounds of the original equipment and artist of the age.

fiscal matters

We have heared a lot about funding the opera or the LUMU in the Hungarian art world's news, but what is really behind all the full house performances... Of course hard work from both side, actors do rehearse at always changing conditions and adapt their best skills to their changing surroundings. As for the arts managers, they have the same job on the organisational and fiscal side. They have to keep the show within he budget with maximum profitability and arrange the best, usually the most expensive artists, for the season.
The "star cult" is however not a new phenomena, it's been created with the castratos, when the entire salary of one castrato cost approximately the 1/6 of all the functioning costs of the opera hose. In contrast today the Hungarian Opera House has a budget ~5bill HUF which would mean a few hundred forints just for one star singer.
The case has not changed in its basics however, bacuse a top pianist may asks even 25mill HUF for a night, an incredible ammount of cash for an institution in a country where state support is not high enough to cover such 'luxorious experiences'.

Concert

For my personal joy, we came to a part where some detailed discription was given on organisational issues, that may turn up at the organisation of an event, specificly a musical concert.
Since the 19th century academic eticett gave a good ground to comparison for me (no applause allowed during the session, cause it hurts the musician's dignity, and the vievers must sit in silence), a question turned up on my mind, why is that eventually there was before the 19th cent. and after also some interaction between the audience and the musician. How did it stop suddenly and set backwards the music in advancing. The feedback in my point of view is in all kinds of (performing) activities esentially important. To know what the people think and how they accept your work/music, to make it better, to learn from your mistakes or just to know where you are the best.