{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/7659c6tf5g/manifest","type":"Manifest","label":{"en":["Mechanical Music of the Rich and Famous: Orchestrions, Pittsburgh Plutocrats and Musical Culture"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Philip Carli (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2007-05-05 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["Before the widespread advent of the phonograph, the grandest domestic music machines were orchestrions: large mechanical pipe organs with percussion effects actuated by pinned cylinders or perforated paper rolls -- the latter being the first \"long-playing\" music media. Many wealthy Americans in the 1890s and 1900s who owned orchestrions were cultural benefactors, underwriting symphony orchestras and other musical institutions. The orchestrion music enjoyed at home perhaps reflected what was encouraged by concert attendance and civic patronage, but what did American industrial \"nobility\" actually hear in their capitalist castles? Did millionaires' mechanical music reflect the repertoire of human musicians they supported? Most large domestic orchestrions are gone, but three notable Pittsburgh sources deriving from the prominent German builders M. Welte and Sons give a clear idea of American industrialist orchestrion listening habits: an 1870s pinned-cylinder instrument originally belonging to the Mellon family, an 1893 No. 6 Concert Orchestrion (with its original roll collection) still at the Frick mansion, and a library of rolls for a now-gone gigantic 1905 No. 10 Concert Orchestrion bought by the Snyder family. Also, contemporary documents survive which chronicle purchasing, maintaining, and enjoying the Fricks' Welte, uniquely detailing a Victorian family's relationship with music machines. Comparing these sources with the rich variety of music listed in Welte roll catalogues, plus hearing the instruments themselves, may illuminate the private musical preferences of Victorians who could buy, for themselves and others, whatever music they thought \"best.\""]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}}],"summary":{"en":["Before the widespread advent of the phonograph, the grandest domestic music machines were orchestrions: large mechanical pipe organs with percussion effects actuated by pinned cylinders or perforated paper rolls -- the latter being the first \"long-playing\" music media. Many wealthy Americans in the 1890s and 1900s who owned orchestrions were cultural benefactors, underwriting symphony orchestras and other musical institutions. The orchestrion music enjoyed at home perhaps reflected what was encouraged by concert attendance and civic patronage, but what did American industrial \"nobility\" actually hear in their capitalist castles? Did millionaires' mechanical music reflect the repertoire of human musicians they supported? Most large domestic orchestrions are gone, but three notable Pittsburgh sources deriving from the prominent German builders M. Welte and Sons give a clear idea of American industrialist orchestrion listening habits: an 1870s pinned-cylinder instrument originally belonging to the Mellon family, an 1893 No. 6 Concert Orchestrion (with its original roll collection) still at the Frick mansion, and a library of rolls for a now-gone gigantic 1905 No. 10 Concert Orchestrion bought by the Snyder family. Also, contemporary documents survive which chronicle purchasing, maintaining, and enjoying the Fricks' Welte, uniquely detailing a Victorian family's relationship with music machines. Comparing these sources with the rich variety of music listed in Welte roll catalogues, plus hearing the instruments themselves, may illuminate the private musical preferences of Victorians who could buy, for themselves and others, whatever music they thought \"best.\""]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["Copyright Association for Recorded Sound Collections"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126494/file/236354","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2007_Carli_audio.mp3"]},"duration":2878.28388,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126494/file/236354/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126494/file/236354/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/236/354/original/ARSC_conf_2007_Carli_audio.mp3?1711059555","type":"Audio","format":"audio/mpeg","duration":2878.28388,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2673/collection_resources/126494/file/236354","metadata":[]}]}],"annotations":[]}]}