![]() 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. ![]() 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.
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