August Wilson is an award winning American playwright who lived between 1945 and 2005. He wrote plays portraying the experiences of African-Americans. Two of his plays, Piano Lesson and Joe Turners come and gone, will be analyzed in this essay. The essay will examine how the playwright has stressed plot, setting, characterization, and how symbolism brings out the theme of identity. It will also analyze the use of songs as a literal element.
The Piano lesson depicts two childrens disagreement over an old, family musical instrument. Willie wants to sell it but Bernice is adamant. Wilson gives each protagonist enough tactics to counter the other. For example, when it appears like Boy Willie has swayed Bernice with his argument, the latter presents a counter argument that women have been the recipients of pain all through history. If the piano should be sold, she will be the one to suffer not Willie (Herrington 17).
The debate structure is interwoven in songs. Willie sings that he wants to sell the piano (his heritage) so as to buy Sutters land (a symbol of capitalism) to which Bernice responds that it will not happen. One individual renders a verse and a chorus and allows the other to react. Herrington notes that this interchange serves as a cliffhanger to the reader and develops the plot leading to the climax where the two sing the same song as a sign of consensus (21).
Wilson has also employed songs to stress the plot in Turners come and gone, but with dance this time. It is in the way he has created characters that emphasize the plot. Loomis, the protagonist, is a man with no identity. Religion is at the core of his internal conflict. In African culture, songs and dances are a way to connect with the ancestors.
When Bynum- another character in the play- mentions Joe Turner in a song, Loomis internal conflict intensifies. Turner was a fictitious character in songs that chain-ganged African-Americans. He represented oppression to the black community. Bynum offers to help Loomis in the odyssey for identity. This identity crisis is what holds the play together by developing the plot (Pereira 36).
Piano lesson is set in Charles house and the play unfolds in the kitchen and the living room. Anderson argues that the staircase connecting the two rooms is metaphorical (438). Sutters ghost is always sighted at the top of the stairs. Considering that Sutter is a former slave owner, it maybe said that the ghost represents the looming power of whites over black.
The fact that Willie fights so hard to go upstairs symbolizes his determination to achieve a status similar to that of whites. In Turners come and gone, the play is set in Seth Hollys boarding house. It is a black neighborhood representing alienation of the black community.
The characters used in the two plays are predominantly black. Herald Loomis is the major character in Turners come and gone. Having wasted his seven years in a chain gang, he is keen to find his wife Martha who left as soon as he was chained. He arrives in the boarding house a diminished man, accompanied by his daughter.
Bynum Walker, an occupant of the boarding house too, identifies that Loomis appeared rootless. He sets to help him discover himself. A character that deserves specific mention is Rutherford Selig. The only white man in the play, he helps Loomis find Martha. It is ironical that a man who was looking for runaway slaves and handing them back to their masters is the same man who will contribute to the unification of the Negroes who have lost each other (Anderson 437).
In Piano lesson, Wilson has decided to use two siblings, Bernice and Boy Willie Charlie. At the center of the conflict is the familys piano which Willie wants to sell and buy Sutters land. The piano is a symbol of the African-American heritage and history. The Sutters land represents capitalism. Herrington observes that Sutters ghost represents the whites power while Charlies family ghost represents the stories and spirituality of the family (22).
The theme of identity search, brought out through symbolism, runs through the two plays. In Turners come and gone, Loomis arrives in the boarding house a vanquished man. Seven years of his life had been wasted in a chain gang. In the same period, he had lost his wife who ran away. His departure to look for his wife is symbolic of a rootless man who is looking for connectedness. When he finds his wife, he experiences a temporary feeling of identify.
Bynum Walker, a root worker who also occupies the boarding house diagnosis him as a man trying to remember a song he knew. The song referred to by Bynum pontificates the symbolism of identity crisis (Pereira 23). Loomis is a black man who can not distinguish which religion to profess. To denounce Christianity, and establish his true identity, he tears his skin with a knife. This way, he sheds blood and saves himself like Jesus did for Christians.
The theme of identity crisis recurs in piano lesson. The protagonists conflict is about an object that symbolizes the familys heritage and history. When Willie wants to sell the piano, he metaphorically wishes to do away with a family treasure, a symbol of heritage.
And when he gives the justification as plans to own a land formerly occupied by a white master, he signifies a desire to take up the whites man way of life. At the end of the play, Charlies family ghosts intervene to save the situation. Finally, the African heritage triumphs in that in that the piano is not sold. (Anderson 439).
The literal element that stands out is the use of songs. Wilson recognizes the effectiveness of songs in connecting with the ancestors and spirituality. According to Pereira, Songs have been used for two reasons (32). The first is at a symbolic level to show the aspiration of the African-American to discover his identity. The second reason is to make the plays interesting. The piano lesson is built on blues song, while the songs in the Turners come and gone incorporates dances.
In summary, the essay has examined how Wilson has stressed the plot, setting, characterization, and themes in the two plays. To stress plot in Piano lesson, Wilson has employed structured debate in form of songs. For setting, the metaphor of the staircase has been very effective.
In characterization, he has used siblings who are at the verge of loosing their heritage. In Turners come and gone, songs and dance have been used to stress plot in addition to characters. The theme of identity crisis runs through the two plays and has been emphasized by use of rich symbolism.
Works Cited
Anderson, Douglas. Saying Goodbye to the Past: Self-Empowerment and History in Joe Turners Come and Gone. College Language Association Journal. 40.4 (1997): 432-457. Informaland. Web.
Herrington, Joan. I Aint Sorry For Nothin I Done: August Wilsons Process of Playwriting. New York: Limelight, 1998. Print
Pereira, Kim. August Wilson and the African-American Odyssey. Urbana: U of Illinois, 1995. Print
At the beginning of the play, Willie had a plan to steal his familys piano. He had the intention of selling it in order to raise enough money to buy Sutters land. However, it was evident that Berniece could not allow it. Berniece not only valued materials inherited from the ancestors but also respected them very much. Her disregard of Willies intention to sell the piano portrays her motherhood character. In addition, Berniece believed in keeping her legacy for a better future. The author of the story uses Bernieces characters to inform the reader of the essence of protecting inherited things from the ancestors. The author also used the piano story to reflect the characters of Berniece.
Darker decided to tell a story to Lymon about the history of the piano after finding out the disagreement between Willie and Berniece. His main intention was to inform Lymon on why the piano was so essential to Willies family. In the story, Doaker expressed his demand for the piano. He knew that he could afford to buy anything after selling it. Doaker used the piano as a focusing point of his story in order to capture the attention of Lymon. Thus, it is evident that in Doakers society, people valued pianos greatly. The piano was used as a symbol of unity; thus, the author of the play used the story within the play to reflect the setting of the play.
In the story, the inability of Sutter to raise enough money to purchase a piano for his loves anniversary portrays the love he had towards his wife. Sutter could do anything in order to ensure that his wife was happy. It is evident that Sutters self-interest led him to sell his two aged slaves in order to raise enough money to purchase the piano. The story also explains how women were valued in Charles society. The narration enables the reader to find out more about the environment that appreciates women (Wilson, 113).
From the story, the reader understands that it is true that Sutter loved his wife very much. He even asked Charles grandfather to engrave his wifes picture and that of their baby on the piano. Sutter thought that the carvings will both please his wife and also prevent thieves from stealing their piano. Therefore, from Sutters effort, it is evident that Charles society was full of thieves. In carving the images of the piano, Charles grandfather also included the images of his family members. The presence of Charles family images on the piano showed that many people needed a chance to control the piano. In addition, the carvings on the piano help the readers to identify the originality of the piano and easily understand the flow of the play.
The rising demand for the piano by both, Berniece and Boy Charles reflects the significance and importance of the piano to Charles society. They both had the urge of inheriting the piano from the old Sutter. Charles society adored piano and used it as a unifying factor. For instance, the carvings on the piano led to the unification of Sutters family with Charles family.
Some individuals in Charles society had uncouth behaviors. In the story, Doaker narrates how he plotted with Winnie Boy and stole the piano from Charles family. Some bandits also torched down Charles home leaving him and his family homeless. The uncouth acts of Doaker and society bandits are the reflection of the events that took place in Charles society (Wilson, 53).
Within the story, there is also the broad incarnation of the ghosts. Charles was forced to seek ghost powers after a bandit had torched down his house. The story also expounded on how Charles society believed in the existence of ghosts. For instance, after the death of Charles, the majority of the people believed that he became a spirit.
The culture of Charles society
Doakers narration outlines the cultural practices of Charles society. Individuals in Charles society used a piano as a unifying means. Selling of the inherited materials from the ancestors was greatly discouraged. In addition, people in Charles society used a piano as a symbol of love. Many people within Charles society worked hard in order to afford to buy a piano for an anniversary celebration.
Charles society was also emanated by bandits that portrayed uncouth characters. It is evident in the story that some individuals such as Willie Boy involved themselves in unworthy behaviors such as stealing. Some bandits also torched Charles home down.
Charles society had also industrious individuals. It is evident in the story that Sutter was a good farmer. He had a big land which Willie wanted to buy after selling his familys piano. Charles grandfather was also a hardworking individual; he took part in carving images on the piano as recommended by Sutter.
Superstition is also a characteristic of Charles society. It is evident in the story that Charles believes in ghost powers after his house was torched by bandits. His death was also unusual; he was burnt on the way to the ghostland. In the narration, Charles is also said to have joined the ghosts after his death.
Works cited
Wilson, August. The piano lesson. New York: Theatre Communications Group, 2007. Print.
August Wilson, an American playwright, wrote a play The Piano Lesson and was premiered on 26 November 1987. It was played first in Yale Repertory Theatre before it debuted in Broadway in 1990. The play received well-praised and positive perception among its audience.
Perhaps one of the contributing factors that made this piece entertaining is the characterization of the characters in it. Carrie Dorsey of Virginia Community College System (2003) described them as “colorful characters”, in which it has “festering family conflict” (Dorsey, 2003).
The accuracy or the realism of the characters within certain regards is fairly important of why this play became very much effective as contributing element of the splendor of the piece. To discern this is through discussing a little review of the story and discussion of each character for some key element needed.
The play’s primary theme is inheritance and legacy. The material inheritance is the piano that had been to the family of Berniece and Boy Willie for generations. Each has different aim with the inherited piano.
Boy Willie Charles
First part of the play opened where Boy Willie has a plan to sell the old piano. His real dream was to have a farm and he will only be able to buy one if he sold the piano. He was fixed in selling the piano despite its heritage value just to own the piece of land he is tending with, to be free from the fragment of enslavement and be an independent farmer (Ardentheater, 2008).
Among the characters in the play within the Charles family, he was the one who remained in the South. He attended the land that the ancestors enslaved for in generation. In parallel to his faithfulness in the farm where the family worked is his interest to dispatch the piano that also been with the Charles’s for generation for his personal motive.
Berniece, Boy Willie’s sister, on the other hand strongly opposed Boy Willie’s plan and wanted to restore and carry on the legacy. Thus this brings conflict between him and Berniece, the tension build up and revolved with this.
Boy Willie’s argument regarding the old piano is about practicality. He is pointing to Berniece that she’s not even playing the piano, and that it should be used for more beneficial pronouncement.
Analyst said that this argument of Boy Willie is a “good example of pragmatic approach in life”, it is regarded to be realistic in the given situation especially in those depressing period (Answers.Com 2006).
However, it doesn’t mean that Boy Willie is right as his justification obviously lies on the selfish motivation he has since. He failed to see that he is about to get rid a family’s only and real heritage to acquire something that had been a superficial and subliminal piece attached in their ancestry.
Berniece Charles
Berniece Charles is Boy Willie’s sister whom she he had been clashing with regarding the Charles’s old piano. Her attachment to the old piano is also regarded as something truthful within the given circumstances.
She had been long away from the South; she suddenly has strong emotional attachment with the tender memories of their family through the legacy upon her return at their Uncle Doaker house with her daughter.
She had been ambivalent with her interest to the old piano. On the other hand, she is very protective of it. For her this legacy is the only thing to restore the memories she has with her family.
Her complexity, which made her character very realistic, is about her attitude toward the piano. It was recalled that when she was young she used to play the piano, but when the sad happenings occurred in the family she stopped playing even upon her return.
What added to this is her interest for her daughter to learn and play the piano. This could signify that she still values and respect individual preference evident with her relationship to her daughter.
In the latter part, out of her concern to protect the old piano she threatens with a gun Boy Willie and Lymon when they are about to get the piano forcibly. Her reaction is brought by intense emotion which human beings are capable to have in as reaction of a certain circumstance (Answer.Com, 2006).
A subliminal concern of the story aside from the old piano is the future of Biernice’s daughter, Maretha. One of the concerns of Boy Willie in selling the old piano is to have Maretha to get schooled formally.
To the analyst, its Maretha who play the important role in the story as the future of the family will be on her trail. It will depend on whose decision will prevail to Maretha, whether the legacy of the family will be restored with her as what her mother preferred to, or it will be erased with the “change” that her Uncle Boy Willie wanted to happen for the future of the Charles’s.
August Wilson is an award winning American playwright who lived between 1945 and 2005. He wrote plays portraying the experiences of African-Americans. Two of his plays, Piano Lesson and Joe Turner’s come and gone, will be analyzed in this essay. The essay will examine how the playwright has stressed plot, setting, characterization, and how symbolism brings out the theme of identity. It will also analyze the use of songs as a literal element.
The Piano lesson depicts two children’s disagreement over an old, family musical instrument. Willie wants to sell it but Bernice is adamant. Wilson gives each protagonist enough tactics to counter the other. For example, when it appears like Boy Willie has swayed Bernice with his argument, the latter presents a counter argument that women have been the recipients of pain all through history. If the piano should be sold, she will be the one to suffer not Willie (Herrington 17).
The debate structure is interwoven in songs. Willie sings that he wants to sell the piano (his heritage) so as to buy Sutter’s land (a symbol of capitalism) to which Bernice responds that it will not happen. One individual renders a verse and a chorus and allows the other to react. Herrington notes that this interchange serves as a cliffhanger to the reader and develops the plot leading to the climax where the two sing the same song as a sign of consensus (21).
Wilson has also employed songs to stress the plot in Turner’s come and gone, but with dance this time. It is in the way he has created characters that emphasize the plot. Loomis, the protagonist, is a man with no identity. Religion is at the core of his internal conflict. In African culture, songs and dances are a way to connect with the ancestors.
When Bynum- another character in the play- mentions Joe Turner in a song, Loomis internal conflict intensifies. Turner was a fictitious character in songs that chain-ganged African-Americans. He represented oppression to the black community. Bynum offers to help Loomis in the odyssey for identity. This identity crisis is what holds the play together by developing the plot (Pereira 36).
Piano lesson is set in Charles’ house and the play unfolds in the kitchen and the living room. Anderson argues that the staircase connecting the two rooms is metaphorical (438). Sutter’s ghost is always sighted at the top of the stairs. Considering that Sutter is a former slave owner, it maybe said that the ghost represents the looming power of whites over black.
The fact that Willie fights so hard to go upstairs symbolizes his determination to achieve a status similar to that of whites. In Turner’s come and gone, the play is set in Seth Holly’s boarding house. It is a black neighborhood representing alienation of the black community.
The characters used in the two plays are predominantly black. Herald Loomis is the major character in Turner’s come and gone. Having wasted his seven years in a chain gang, he is keen to find his wife Martha who left as soon as he was chained. He arrives in the boarding house a diminished man, accompanied by his daughter.
Bynum Walker, an occupant of the boarding house too, identifies that Loomis appeared rootless. He sets to help him discover himself. A character that deserves specific mention is Rutherford Selig. The only white man in the play, he helps Loomis find Martha. It is ironical that a man who was looking for runaway slaves and handing them back to their masters is the same man who will contribute to the unification of the Negroes who have lost each other (Anderson 437).
In Piano lesson, Wilson has decided to use two siblings, Bernice and Boy Willie Charlie. At the center of the conflict is the family’s piano which Willie wants to sell and buy Sutter’s land. The piano is a symbol of the African-American heritage and history. The Sutter’s land represents capitalism. Herrington observes that Sutter’s ghost represents the white’s power while Charlie’s family ghost represents the stories and spirituality of the family (22).
The theme of identity search, brought out through symbolism, runs through the two plays. In Turner’s come and gone, Loomis arrives in the boarding house a vanquished man. Seven years of his life had been wasted in a chain gang. In the same period, he had lost his wife who ran away. His departure to look for his wife is symbolic of a rootless man who is looking for connectedness. When he finds his wife, he experiences a temporary feeling of identify.
Bynum Walker, a root worker who also occupies the boarding house diagnosis him as a man trying to remember a song he knew. The song referred to by Bynum pontificates the symbolism of identity crisis (Pereira 23). Loomis is a black man who can not distinguish which religion to profess. To denounce Christianity, and establish his true identity, he tears his skin with a knife. This way, he sheds blood and saves himself like Jesus did for Christians.
The theme of identity crisis recurs in piano lesson. The protagonists’ conflict is about an object that symbolizes the family’s heritage and history. When Willie wants to sell the piano, he metaphorically wishes to do away with a family treasure, a symbol of heritage.
And when he gives the justification as plans to own a land formerly occupied by a white master, he signifies a desire to take up the white’s man way of life. At the end of the play, Charlie’s family ghosts intervene to save the situation. Finally, the African heritage triumphs in that in that the piano is not sold. (Anderson 439).
The literal element that stands out is the use of songs. Wilson recognizes the effectiveness of songs in connecting with the ancestors and spirituality. According to Pereira, Songs have been used for two reasons (32). The first is at a symbolic level to show the aspiration of the African-American to discover his identity. The second reason is to make the plays interesting. The piano lesson is built on blues song, while the songs in the Turner’s come and gone incorporates dances.
In summary, the essay has examined how Wilson has stressed the plot, setting, characterization, and themes in the two plays. To stress plot in Piano lesson, Wilson has employed structured debate in form of songs. For setting, the metaphor of the staircase has been very effective.
In characterization, he has used siblings who are at the verge of loosing their heritage. In Turner’s come and gone, songs and dance have been used to stress plot in addition to characters. The theme of identity crisis runs through the two plays and has been emphasized by use of rich symbolism.
Works Cited
Anderson, Douglas. “Saying Goodbye to the Past: Self-Empowerment and History in Joe Turner’s Come and Gone.” College Language Association Journal. 40.4 (1997): 432-457. Informaland. Web.
Herrington, Joan. I Ain’t Sorry For Nothin’ I Done: August Wilson’s Process of Playwriting. New York: Limelight, 1998. Print
Pereira, Kim. August Wilson and the African-American Odyssey. Urbana: U of Illinois, 1995. Print
August Wilson’s play The Piano Lesson first performed in 1987 is still up-to-date, for it evokes contemplations on the issues which are still under discussion, and they are regarded as eternal questions.
The main theme of the play under consideration is the importance to understand, accept and cherish our past, which is symbolized by the family heirloom piano. The events of the play take place in the late 30s, during the depression in the United States. And in those grave times one of the African-American families tries to find reconciliation with the ghosts from the past and move on. And almost every character of the play serves to reveal the main theme. For instance, Boy Charles, the main characters’ father, is the first one in the family to become concerned with their family past preservation which he sees in piano with his ancestors’ images carved on it: “Boy Charles used to talk about that piano all the time” (Wilson 45). This man perceives the piano as “the story of our whole family” and can’t stand the fact that someone possesses their history, as if they were “still in slavery” (Wilson 45).He even steals it from his ancestor’s master Sutter and he brings their future to his family to show the future generation what it was like. In this case the man paid a very high price for his past revealing to the next generation, which didn’t deny the importance of the past understanding but enhances it.
But already his siblings don’t want to accept this past: his daughter Berniece is afraid of it and his son Boy Willie doesn’t mind it. But they can’t understand so far that they will never have the future unless they take their past. Of course, these two have their reasons to have doubts and fears: Berniece can’t accept her family’s past because it invokes the horrible ghost from the past – Sutter, who has killed her father. She doesn’t touch the piano, she feels anxious about her family’s slavery past with its indignities, unfairness, and horror, but still, she feels she cannot take it away and sell; she understands that the piano is the “soul” of their family and it is impossible to “sell your soul for money” (Wilson 52). Only at the end of the play Berniece puts herself together and plays the piano, which exiles her ghost and reconciles her with the past, so she is ready to share it with her daughter and move on.
But Boy Willie is not anxious about the ghosts and his family’s entire past, he only thinks about the present and the future. He doesn’t understand the symbolic essence of the piano, he only sees the means to get money for his enrichment, and he wants to become a farmer on Sutter’s land. Thus, he can deny his past, selling it, to obtain an uncertain future in the place of his ancestors’ slavery. But Berniece makes him understand the importance of their historic preservation. His sister’s playing the piano opens up his soul, and he, finally, accepts the significance of their spiritual heritage.
Thus, Wilson considers possible arguments pro et contra the importance to cherish one’s past via the characters of his play. And the ending of the playsets the exceptional necessity to preserve one’s past to share it with the next generations, for it is universal truth that the future is impossible without the past.
Works Cited
Wilson, August. The Piano Lesson. New York: Plume, 1990.
At the beginning of the play, Willie had a plan to steal his family’s piano. He had the intention of selling it in order to raise enough money to buy Sutter’s land. However, it was evident that Berniece could not allow it. Berniece not only valued materials inherited from the ancestors but also respected them very much. Her disregard of Willie’s intention to sell the piano portrays her motherhood character. In addition, Berniece believed in keeping her legacy for a better future. The author of the story uses Berniece’s characters to inform the reader of the essence of protecting inherited things from the ancestors. The author also used the piano story to reflect the characters of Berniece.
Darker decided to tell a story to Lymon about the history of the piano after finding out the disagreement between Willie and Berniece. His main intention was to inform Lymon on why the piano was so essential to Willie’s family. In the story, Doaker expressed his demand for the piano. He knew that he could afford to buy anything after selling it. Doaker used the piano as a focusing point of his story in order to capture the attention of Lymon. Thus, it is evident that in Doaker’s society, people valued pianos greatly. The piano was used as a symbol of unity; thus, the author of the play used the story within the play to reflect the setting of the play.
In the story, the inability of Sutter to raise enough money to purchase a piano for his love’s anniversary portrays the love he had towards his wife. Sutter could do anything in order to ensure that his wife was happy. It is evident that Sutter’s self-interest led him to sell his two aged slaves in order to raise enough money to purchase the piano. The story also explains how women were valued in Charles’ society. The narration enables the reader to find out more about the environment that appreciates women (Wilson, 113).
From the story, the reader understands that it is true that Sutter loved his wife very much. He even asked Charles’ grandfather to engrave his wife’s picture and that of their baby on the piano. Sutter thought that the carvings will both please his wife and also prevent thieves from stealing their piano. Therefore, from Sutter’s effort, it is evident that Charles’ society was full of thieves. In carving the images of the piano, Charles’ grandfather also included the images of his family members. The presence of Charles’ family images on the piano showed that many people needed a chance to control the piano. In addition, the carvings on the piano help the readers to identify the originality of the piano and easily understand the flow of the play.
The rising demand for the piano by both, Berniece and Boy Charles reflects the significance and importance of the piano to Charles’ society. They both had the urge of inheriting the piano from the old Sutter. Charles’ society adored piano and used it as a unifying factor. For instance, the carvings on the piano led to the unification of Sutter’s family with Charles’ family.
Some individuals in Charles’ society had uncouth behaviors. In the story, Doaker narrates how he plotted with Winnie Boy and stole the piano from Charles’ family. Some bandits also torched down Charles’ home leaving him and his family homeless. The uncouth acts of Doaker and society bandits are the reflection of the events that took place in Charles’ society (Wilson, 53).
Within the story, there is also the broad incarnation of the ghosts. Charles was forced to seek ghost powers after a bandit had torched down his house. The story also expounded on how Charles’ society believed in the existence of ghosts. For instance, after the death of Charles, the majority of the people believed that he became a spirit.
The culture of Charles’ society
Doaker’s narration outlines the cultural practices of Charles’ society. Individuals in Charles’ society used a piano as a unifying means. Selling of the inherited materials from the ancestors was greatly discouraged. In addition, people in Charles’ society used a piano as a symbol of love. Many people within Charles’ society worked hard in order to afford to buy a piano for an anniversary celebration.
Charles’ society was also emanated by bandits that portrayed uncouth characters. It is evident in the story that some individuals such as Willie Boy involved themselves in unworthy behaviors such as stealing. Some bandits also torched Charles’ home down.
Charles’ society had also industrious individuals. It is evident in the story that Sutter was a good farmer. He had a big land which Willie wanted to buy after selling his family’s piano. Charles’ grandfather was also a hardworking individual; he took part in carving images on the piano as recommended by Sutter.
Superstition is also a characteristic of Charles’ society. It is evident in the story that Charles believes in ghost powers after his house was torched by bandits. His death was also unusual; he was burnt on the way to the ghostland. In the narration, Charles is also said to have joined the ghosts after his death.
Works cited
Wilson, August. The piano lesson. New York: Theatre Communications Group, 2007. Print.
August Wilson’s The Piano Lesson is a play that tells the story of an African-American family plagued by a problematic past. The play takes place in Pittsburgh in the 1930s, but the rich history of the courageous characters is made relevant by a particular piano that is the object of contention. One of the key roles is played by Charles Doaker, the leading family member and uncle of Bernice and Willie.
Doaker is a calm and wise man of age, who has worked on the railroad for a long time, almost all his life. The character is also the main narrator, from whom the reader learns the play. The author describes him as “He is a tall, thin man of about forty-seven, with stern features, who is permanently retired, although he works full-time as a cook on the railroad” (1.1.2). In this monologue, he says, “This is what I learned in my twenty-seven years on the railroad if a train stays on the tracks… it will get where it’s going. The train never stops. It will come back every time” (Wilson 19). The other characters treat Doaker with respect and deference, always listening to his opinions and listening to his stories, almost without interrupting. Speaking of the character in his youth, he was popular with women “I heard about you, Doaker. They say you got all the women looking out for your down-home” (32).
Doaker has two main goals, which he maintains throughout the play. Firstly, he is the storyteller introducing the rest of the characters to what his family has encountered. As he tells the story, Doaker walks over to the piano, focusing the attention on portraits, and explains, “See these? He carved them from memory. The only thing… he didn’t stop there… He found out everything that happened to our family” (Wilson 44). Secondly, his purpose is to prevent a dispute about the piano between Bernice and Boy Willie, who cannot disentangle whether to sell the musical instrument or drop it. After analyzing Doaker’s actions, the conclusion is that he tries to remain neutral on the matter, trying only to give enough information for the characters to make their own decision but for it to be a hoot. Doaker physically grabbed Bernice during her argument with Boy Willie and said: “Come on, Bernice… leave it alone, it’s not his fault” (Wilson 54). However, this is not the case for the entire play, but only part of it.
It should be noted that the character does not change throughout the novel, nor does his relationship with other characters. However, Doaker clarifies that he is on Bernice’s side and wants to keep the piano in the family. This is the only significant change, but otherwise, Doaker continues to function as a neutral narrator. He does not express his wishes about the future of the musical instrument, shifting that responsibility to Bernice and Boy Willie.
As for the character’s journey through the course of the play, Doaker remains the narrator, who at specific points adds essential information to the story, influencing the characters’ decisions and their relationship to the piano. This is because he has already lived a whole life, and he does not need to change his worldview or principles. He is more of an outside observer, following the story of the piano and waiting to see how the story of the musical instrument ends.
Doaker is thus a fundamental character for the play, which is to tell a complex and ambiguous story. The head of the family does not make any decisions and does not insist on anything, but he becomes a kind of mentor for the findings of the other characters, like Bernice and Boy Willie. The calmness and wisdom of the character, who has lived through life, allows us to treat him with warm feelings, as the reader realizes that no one knows the story, as well as Doaker, does. He is, therefore, a person who must be listened to so that he does not regret his decisions.
Work Cited
Wilson, A. (1990). The Piano Lesson. New York: Penguin Group.
Quality is a measurement tool used to evaluate a product or service as perceived by customers through conformance to detail and excellence (Prentice, 2013). Product quality enhances the competitiveness of an association, which creates a competing advantage for the firm. Associations see the use of quality management approaches as a way that can advance and support reestablishment and performance (Prentice, 2013). This noteworthy emphasis on quality makes performance an effective instrument for consumer satisfaction, product differentiation, and improvement (Rajeswari, Srinivasulu, & Thiyagarajan, 2017).
Although quality management centers on decreasing imperfections and errors in products using estimation, insights, and other instruments, associations perceive that enduring change cannot be achieved without its operational exercises (Rajeswari et al., 2017). Business managers understand that the methodologies they use to convey quality influences product value, consumer loyalty, and satisfaction (Prentice, 2013). This paper investigates how Kawai hand-built Grand evolved and how the gatherings of people associated with its piano production developed. The paper discusses the meaning of quality and its implications for Kawai’s hand-built Grand. To consider key issues in quality, the paper evaluates customer satisfaction with different approaches to quality. The concept of craftsmanship will be evaluated using Kawai’s hand-built Grand.
Approaches to Quality
Transcendent Approach
Quality is a property or features identifiable through experience. The definition means quality is identified with a correlation of features by displaying quality as a picture variable in the psyches of consumers (Haemoon & Kawon, 2017). In such a manner, quality can be characterized as the integrity or perfection of a product.
Product-Based Approach
The product-based approach distinguishes properties that demonstrate higher quality. It characterizes quality as an exact and quantifiable variable. Changes in quality relate contrasts in the nature or property of an item. Thus, products can be classified by the measure of attributes they carry (Haemoon & Kawon, 2017).
Value-Based Approach
The value-based approach characterizes quality based on expenses and costs. Haemoon and Kawon (2017), describes quality as a level of perfection at a worthy cost and the control of variability at a satisfactory cost. The value-based approach expects that customer’s choices include exchanging quality against the cost. As a result, quality item or service creates more noteworthy value or fulfillment at an equivalent cost (Jeon, Magnini, Kim, & Hyun, 2013).
User-Based Approach
The meaning of quality depends on the assumption that quality is dictated by the client’s needs (Jeon et al., 2013). This approach is a subjective perspective of value. Based on this assumption, quality is characterized as a level of wellness for the product’s intended use.
Manufacturing-Based Approach
Jeon, Magnini, Kim, and Hyun (2013) characterize this approach of quality as the attractive result of designing and assembling practice or conformance to specific features. Product features are extraordinary targets controlled by craftsmen and designers.
Integrating Approaches
Although quality is critical to people throughout the supply chain, how it is viewed, rely on one’s rank in the supply chain (Jeon & Choi, 2017). The meaning of quality varies for a designer, artisan, distributor, or a consumer. Integrating diverse methodologies has vital ramifications and must be recognized. It elucidates the contending perspectives of quality. This concurrence is best outlined by the accompanying case of quality in a healing facility. Hospitals offer a decent interpretation of how unique perspectives of quality can influence a patient’s recovery process. A preternatural meaning of quality applies to the healing facility’s desire to advance a picture of perfection by guaranteeing the competency of its staff, accessibility of medications for emergencies, and the nearness of therapeutic innovation (Jeon & Choi, 2017). Thus, patients make subjective conclusions about the service provided. Conversely, people who review clinical proficiency characterize quality using the product-based approach. However, the patient’s opinion on quality healthcare is centered on product-based and client-based criteria. As interest in quality healthcare expands, physicians must swing to a manufacturing-based approach for ensuring that the determination of service is followed (Jeon & Choi, 2017).
Craftsmanship
Craftsmanship is implicit and not recorded. This expands the danger of a firm losing its aggregate tacit learning. Surveys demonstrate that tacit information and learning are difficult to exchange than implicit knowledge (Cattani, Dunbar, & Shapira, 2017). As a result, tacit knowledge is transferred through direct perception, participation, and close communication (Cattani et al., 2017). Thus, the properties of learning are influenced by the rate at which information is accumulated, retained, and diffused in the organization. Consequently, high levels of craftsmanship, such as apprentices, are vital in measuring quality. As indicated by Cattani, Dunbar, and Shapira (2017), when confronted with choices like a Steinway piano and Kawai hand-built designs, purchasers confront quality indecision and tactical uncertainty.
Quality indecision comes from the mystery that encompasses items made utilizing artisan techniques. Non-experts piano players find it challenging to measure the quality of hand-built pianos. However, virtuoso piano players know the most effective method to assess a piano based on quality. Since non-experts see virtuoso piano players as agents of high-status culture, they may buy pianos that virtuoso musician play (Cattani et al., 2017). Further, to the degree that virtuoso entertainers reliably pick a Kawai hand-built piano as opposed to Steinway pianos, this proposes that the “emphasis of value” made by Kawai has been satisfied, creating longstanding assumptions regarding quality and social. Thus, non-expert’s quality evaluations and readiness to pay to rely on Kawai’s capacity to meet the requests of virtuoso musicians, especially their gratitude for the craftsmanship and the identity of each piano.
Craft genuineness empowers an association to separate its items from the products of firms in the same industry (Cattani et al., 2017). As Cattani, Dunbar, and Shapira (2013), noted, gaining “the support of a group of people requires congruity with the buyer’s criteria for what products should look like and separation from other substitutes. Products neglecting to meet the criteria are disposed of. However, after meeting the market requirement, piano manufacturers endeavor to differentiate their product from those progressed by its companions and establish its relative attractiveness quality (Cattani et al., 2013). In evaluating product quality, considerations should focus on craftsmanship utilizing fitting craft systems, devices, and procedures. For an item to be perceived as legitimate, the producer must exceed expectations of its conventional assembling procedures and the audience evaluation of product quality (Cattani et al., 2013).
Quality and Consumer Satisfaction
The connection between consumer satisfaction and quality can be investigated using quality measurements (Cattani, Ferriani, & Allison, 2014). The measurement tool decides the technical quality of the product phase that the client perceives when the service and its purchaser-supplier collaboration are over (Cattani et al., 2014). Customers can gauge this measurement moderately equitably using its specialized nature (Dhar, 2015). Consequently, the “service dimension” is another quality measurement, which has been utilized as a practical or quality process. Under this approach, the customer is influenced by experience (Dhar, 2015). Functional quality cannot be assessed as impartially as the specialized measurement, however functional quality would most likely be more imperative than specialized quality in deciding apparent quality (Gans & Ryall, 2016). The musical instrument industry has a measure of both the technical dimension and functional dimension of quality. For instance, if a defect in the hand-built piano is resolved with an improved product, the result of the imperfection handling process has a technical quality. However, if the imperfection handling process has been complex and tedious, the functional quality would be affected.
Consumer satisfaction is a vital key issue for organizations in their endeavors to enhance quality in the aggressive commercial center. It can be viewed as subjective or an estimation apparatus in the music industry. Customer satisfaction is considered to influence client retention, profitability, and competitiveness (Gans & Ryall, 2016). As indicated by Solomon, Bester, and Moll (2017), consumer satisfaction improves customer loyalty while supporting financial performance. Consequently, consumer satisfaction strengthens the relationship between the manufacturing firm and the customer, and this profound feeling of joint effort has been observed to be profitable (Solomon et al., 2017).
Customers compare the apparent performance of a product with specific measurement standards. Clients are satisfied when the perceived quality is more noteworthy than the measurement standard. However, dissatisfaction occurs when the product quality misses the mark regarding the measurement standard. Satisfied clients find it simple to switch providers when a superior offer is produced. The significance of consumer loyalty is underlined in markets where rivalry is extraordinary (Solomon et al., 2017). Consumer loyalty is one of the key components in quality service. Quality service is an approach that underlines general fulfillment through the continuous change of items. Manufacturing organizations are embracing total quality management to improve performance. Understanding the client’s necessities is fundamental to guarantee consumer loyalty, and the interest for the product should be seen in connection with the intended use (Lai, 2015). Lai (2015) proposes that client orientation, relational abilities, and reaction to feedback all assume an imperative part of the general fulfillment of the customer.
Approach to Consumer Satisfaction
The consumer loyalty approach defines quality as the degree to which an item or service meets and additionally surpasses a client’s desires. The focus of this approach, contrasted with the quality approach, is that it catches imperative requirements from the customer’s perspective. As indicated by this assumption, the client defines quality. The shortcomings of this approach are that estimating clients’ desires is challenging when compared with short-term and long-term goals (Lai, 2015). Lamont (2012) suggests that quality is the fulfillment of an entire scope of execution criteria held by a connecting host of partners and intervened by a range of components. As indicated by Lai (2015), the literature on quality focuses on the challenges of producers as opposed to offering an incentive for the client. There is a requirement for client introduction and fulfillment, not for assigning obligation.
Consumer satisfaction can be utilized for assessment of value and eventually for evaluation of the accomplishment of an organization’s quality change program. As indicated by Haemoon & Kawon (2017), an effective quality change program creates a higher item and service quality, which will prompt enhanced client fulfillment. Based on this assumption, Kawai’s management should embrace total quality management techniques to establish its presence in musical instruments. It is also important to integrate craftsmanship and quality as an “aggregate offering” that produces the aggregate level of consumer satisfaction.
The implications of Quality for Kawai Hand-Built Grand
Based on the literature on quality, customer satisfaction, and craftsmanship, this paper can draw its analysis on the topic. Kawai hand-built Grand faces a huge task in sales strategy. The management should introduce an adaptable market strategy that changes with customer’s behaviors. The factors that support Kawai products include quality, economic status, and the bandwagon effect. Quality is vital in Kawai’s bid to revolutionize the piano market. Thus, the craft of making durable hand-made Grand must consider tone, sound, and power in the registers. Consequently, products should be resistant to water and solvents. In terms of economic status, the Steinway Grand is far expensive than Kawai Grand. This variable can play a major role for low-income earners. Thus, Kawai should improve its mastery of craftsmanship and provide competent technicians during installation (Efron, 2000). Many business experts believe quality is made by keeping the measure of items that work as indicated by the specification. They contend that quality removes errors and satisfies client desires (Cattani et al., 2017).
Craftsmanship includes the gifted working with the hands to make something of use where the abilities require skill and innovation. When a product’s quality is measured, the process is based on the customer’s experience. As a result, quality is measured by the properties of the item and experience encountered with these products. Since experience depends on the item, its environment, and a passionate connection with the purchaser, the perceived estimation of an item fluctuates from the environment to the individual. The variance between the real item quality and perceived quality prompts a circumstance where producers struggle to improve the apparent quality without expanding the item quality (Cattani et al., 2017). To remain focused, the Kawai organization should improve its quality through expansive craftsmanship that influences customer’s satisfaction.
Another challenge for Kawai’s hand-made Grand is the perceived value of a pianist’s perspective (Efron, 2000). Musical instruments are complemented by the player’s body gestures. Thus, the position of surface keys can enhance arm gestures during play. This strategy plays an important role in building the pianist’s perspective of Kawai’s hand-made Grand. Kawai’s products can create a market storm in regions of low income. The price range of Steinway and Shigeru’s products gives Kawai’s product a competitive advantage. Having achieved quality for Kawai products, customers are keen on receiving the value for their money. As a result, low budget buyers may opt for Kawai products as against the Steinway and Shigeru Grand. Thus, the price regime is a boost for Kawai’s hand-made Grand.
The bandwagon effect considers the emotional connection between pianists and their products. Most pianists believe Kawai Grand is an excellent piano; however, their perceived value of the Steinway Grand is influenced by the bandwagon effect. As a result, Kawai’s manager can organize shows and concerts to display its products using popular and professional pianists. Such concerts with a huge global view can improve the competing advantage using the bandwagon effect. Although most people say the Steinway Grand is far better than other competing models, these are mere assumptions because to evaluate these instruments, a pianist must assemble all competing brands to give a fair analysis. For example, a Grand pianist should buy all three pianos and then compare their tone and top register. It extends that the bandwagon effect is a variable that sold the Steinway Grand.
Conclusion
To succeed, the organization will require more than advertising. It should adjust a social attitude in a nation that once expelled pianos as middle-class extravagances. Kawai merchants need to persuade their wealthier customer base that the instruments make great investments, evading the excessively forceful deals strategies. They need to instruct guardians about the potential result of purchasing a piano that is not expensive. Furthermore, they have to encourage music interns who are progressively swinging too low budget pianos. Each instrument is independent of its producer or substitute model. Clients are satisfied when the perceived quality is more noteworthy than the measurement standard. Consumer satisfaction can be utilized for assessment of value and eventually for evaluation of the accomplishment of an organization’s quality change program. Based on this assumption, Kawai’s management should embrace total quality management techniques to establish its presence in musical instruments. It is also important to integrate craftsmanship and quality as an “aggregate offering” that produces the aggregate level of consumer satisfaction. Between materials, design, and cost, a great deal of variables can have a considerable measure of effect. It is important to note that two Kawai hand-made Grand with a similar model and size can sound different. Thus, the capacity to integrate quality and consumer satisfaction can reduce the competing edge of Steinway’s pianos.
References
Cattani, G., Dunbar, R., & Shapira, Z. (2013). Value creation and knowledge loss: The case of Cremonese stringed instruments. Organizations Science, 24(3), 813-830.
Cattani, G., Dunbar, R., & Shapira, Z. (2017). How commitment to craftsmanship leads to unique value: Steinway & Sons’ differentiation strategy. Strategy Science, 2(1), 13-38.
Cattani, G., Ferriani, S., & Allison, P. (2014). Insiders, outsiders and the struggle for consecration in cultural fields: A core-periphery perspective. American Sociology Review, 78(3), 417–447.
Dhar, R. (2015). Service quality and the training of employees: The mediating role of organizational commitment. Tourism Management, 46(1), 419-430.
Jeon, H., & Choi, B. (2017). The carryover effect of customer satisfaction on service quality focused on moderating effect of customer trust and cooperative orientation. Services Marketing Quarterly, 38(4). 239-252. Web.
Jeon, S., Magnini, V., Kim, I., & Hyun, S. (2013). Causal relationships between table game players’ perceptions of service quality, perceived winning and game spending: moderating effects of demographic factors. International Journal of Contemporary Hospitality Management, 25(6), 922-944.
Lai, I. (2015). The roles of value, satisfaction and commitment in the effect of service quality on customer loyalty in Hong Kong–style tea restaurants. Cornell Hospitality Quarterly, 56(1), 118-138.
Lamont, M. (2012). Toward a comparative sociology of valuation and evaluation. Annual Review in Sociology, 38(21), 201–221.
Prentice, C. (2013). Service quality perceptions and customer loyalty in casinos. International Journal of Contemporary Hospitality Management, 25(1), 49-64.
Rajeswari, S., Srinivasulu, S., & Thiyagarajan, S. (2017). Relationship among service quality, customer satisfaction and customer loyalty: With special reference to wireline telecom sector (DSL service). Global Business Review, 18(4), 1041-1058.
Solomon, N., Bester, A., & Moll, M. (2017). Diffusion of a quality management system: A case study. South African Journal of Industrial Engineering, 28(2), 148-163.
The case study is of Pearl River Piano, a company, based in China. The company is seeking to enter into US market. The move is steered by the desire or the company’s CEO to improve quality of the company’s product and secure a Global market. The company’s CEO, Mr. Tong is convinced that the company’s big goal is achievable only if the company secures US market.
Since the US market is mature and piano brands in it are of high quality, the company senses the possibility of failing to achieving its major goal. The company made some efforts to enter the market to no avail. There exist various alternatives for foreign market entry.
Among them are strategic alliance, assembling, joint venture, licensing, and contract manufacturing. It is recommended for the company to use strategic alliances to make the entry. The experts say that considering the company’s financial position and US market perception of products from China, strategic alliance is the best way.
Background
Pearl Rivers Piano Group (PRPG) was established in 1956, in the southern city of Guangzhou. It emerged from a state-owned enterprise with less than 100 employees. During that time, the company recorded low yearly production units of 13 pianos. The company’s production process involved the use of manual skills (Anne & Lau, 2002).
Later on, the annual production units grew but were still below 1000 pieces annually. The company was located in a strategic place next to a river. It borrowed the name of the river for naming its product. The name of the river was Pearl and from there emerged the company’s name “Pearl River Piano” (Peng, 2011).
In the early 1980s after the Chinese had began the total economic reform process, Pearl River Piano was granted autonomy to import and export. It became the first piano builder in China to import foreign technologies and expatriate experts. In 1996, after merging with few musical instrument companies, Pearl River Piano Group Corporation was formed (Corallo, 2007).
Problem Statement
Pearl River Piano made a great progress in dominating the China market with its products. With Tong as CEO, the progress was not enough. He made relentless efforts to diversify the company’s market. He was particularly interested in the US market.
Tong was encouraged by the level of success the company had attained. However, he was not content with situation and thought about something bigger. With his undying zeal for success, he was motivated to expand the company’s target market. He proposed for an entrance into the US market.
This strategy would have made his dream of building a brand name for the company’s product, a reality. Entrance in the US market would position the company’s product on a Global market spot and build a desired customer perception (Anne & Lau, 2002).
Analysis of the Problem
Pearl River Piano started from a humble background as a state-owned Enterprise with less than 100 employees and a capacity to build only 13 pianos annually. The development stages of the company are characterized by uniqueness in terms of resources and skills (Neely & Pearl, 2009). Its unique location in its country of origin is a resource that cannot be duplicated by any other company.
A skilled and innovative CEO, Mr. Tong, heads the company. With his innovative ideas and experience, he settled for importation of foreign technology and expertise to execute the company’s plans (Corallo, 2007). The company managed to grow very fast in a short span due to availability of resources such as information and skilled employees.
The company had access to updated information about strategies used by his competitors and therefore, managed to formulate counter-strategies for sustainable competition. Mr. Tong made a great input in the company’s success history. He introduced a number of key pillar strategies that guided the company’s performance toward growth and success (International Directory of Company Histories, 1988).
The pillars focused on innovation and quality. The innovation strategy ensured the availability of necessary technology, through importation of expertise, to produce high-standard and quality products. Innovation also ensured of variety production to meet customer needs by offering a range of products to choose from, for example, they developed eight families of pianos.
The second pillar was for quality enhancement. The company, through this pillar introduced a total quality management process by ensuring that there manufacturing processes were certified (Peng, 2011). The music industry was another advantageous platform for fast growth. The level of competition was fair. The company successfully conquered a larger portion of the market thus; its market share was stable.
Mr. Tong’s relationship with employees was motivational. Employees’ time and efforts were focused on achieving the company’s goals (Yoshihara, 2007). Mr. Tong’s rational target-market selection strategy boosted the company’s performance. The company targeted medium and lower-end customers as opposed to its competitor’s upper-end customers. The promotional activities formulated by Mr. Tong, were influential because they directly spoke to the customers (Peng, 2011).
Mr. Tong was so inclined to attempt exploiting the international market. He was interested in the US market. He had information about the US market situation. The market was mature and stiffly competitive. The maturity of the US market was a limiting factor to there entry because, they were still new, and changing consumer loyalty in a mature market like US would take a lot of resources time, and quality.
Another limiting factor to their entry was the perception that US consumers held on China products (Peng, 2011). They perceived products from China as cheap and of inferior quality. Customers who seek for quality would not bend their rights for cheap and low-quality products. Therefore, Pearl River Piano still does not stand a chance of succeeding in the US market.
Labor costs in the US market were so high and manual labor force was rare as opposed to the situation in China (Peng, 2009). In spite of all these limiting factors to the company’s effort to enter into the US market, Mr. Tong’s ambition to make Pearl River Piano a world-class piano-producing company was not swayed. In his bid to expand the company’s market coverage and build a global market for the company’s products, he made futile attempts to enter the US market through traditional direct exports and partnerships (Peng, 2011).
Pearl River Piano is a local company. The Company still relies heavily on its local structure. A local structure is suitable for local operations. Tong needs to understand that US market is an international platform. International trading cannot be successful without an international structure and strategies.
Structures and strategies have two-way relationship. That is strategies drive structures and structures drive strategies. Therefore, it is important for the company to consider formulating international structures and strategies, in order to, successfully penetrate into the US market (Peng, 2011).
Alternatives and Criteria Selection
Apart from the foreign market entry methods tried by the company, below are some alternative methods. The company can access which method is best based on there advantages and disadvantages and how effective and efficient they are.
Contract manufacturing: in this method, a local producer will produce the company’s product in the US. The method is formalized by a contract between the local producer and the company. The contract only covers manufacturing thus; marketing activities will be handled by a sales subsidiary of the company (Nickel, 2000).
This method obviates the need to invest in a plant, cost of transportation, and custom tariff. The company entirely controls the marketing activities. It also enables the company to avoid labor and other problems that may arise from unfamiliarity with the local economy and culture.
The company will only lose profit on production activities, particularly if labor costs are lower in the foreign market. There is also a risk of transferring technological skills to potential competitors (Lüthje, Schumm & Sproll, 2002).
Licensing: the company can also enter the US market through licensing. The method involves a contract between a local producer and the company. The local producer will be licensed with the patents, trademarks, and copyrights by international licensing firm.
The local producer will produce the company’s product using the licensed skills, market the pianos in the market assigned to him, and pay the company royalties based on the sales volume of the product (Tielmann, 2010). The method is beneficial because it is involved with low initial investment costs, it enables the company avoid trade barriers and it is easier to respond to customer needs.
Major drawbacks of the method include lack of control on the local producer (licensee); it presents difficulties in transferring of tacit knowledge and has potential for creating a competitor (Root, 1998).
Joint venture: in this method, Pearl Piano will form a partnership with a local producer. The local producer owns equity shares and possesses management voice. The partnership results onto creation of a third firm with a different name. This partnership is for a short period as agreed between the parties.
This method gives the local producer a better control over the operations (Gilligan & Hird, 1986). It is beneficial because it permits the avoidance of and control problems that other entry strategies present. It leads to creation of synergy, allows sharing of resources, and improves contact with local suppliers and government officials.
It presents the following disadvantages, it could result into lack of trust between Pearl Piano and the local producer and conflicts over matters such as strategies, resource allocation, transfer pricing, ownership of critical assets like technology and brand names (Lymbersky, 2008).
Assembly: in this method, Pearl Company will domestically produce all the components or parts of its product and ship them into US to be put together into finished product (Bach, 2007). The company will be saving a lot of money on transport costs and custom tariffs, which are generally lower on unassembled equipment than on finished products. It also uses the local employment, which facilitates the integration of the firm into the foreign market (John & Allen, 1998).
Strategic alliance: is the process where two or more companies unite to pursue a common goal, while in some way remaining independence. The companies join resources and pursue a goal. In this strategy, the companies must be of different financial strengths (Benjamin, 2006). It helps in the reduction of tax-related costs and eliminates culture-related issues (Blythe & Zimmerman, 2005).
Recommendation
After a complete analysis of various foreign market entry strategies, it is advisable for Pearl River Piano Company to use strategic alliance to penetrate into the US market. Strategic alliance is an alliance between companies of unequal strength (Neelankavil & Rai, 2009).
In the US market, Pearl River Piano is considered as one of the weak companies. If Pearl unite with one of the strong companies based in the United States to pursue a common goal, while at the same time remaining independent, the company could succeed in making an entry into the US market.
Action Plan
The company should set up a team of experts to conduct a market research in the US. A detailed report should be prepared on the following areas: annual piano sales levels for existing companies, available market segments, tastes and preferences of the customers, factors that affect taste and preferences, top performing companies in the US market and the strategies they use.
With all these details, the management board of Pearl River Piano should target a particular section of the market since it is impractical to focus on the entire market. For example, the company should decide whether it would produce Pianos for church choir use. The company should thereafter, formulate international trading strategies and formulate a company structure that has provisions for handling international business issues.
The management should look for an established foreign company that is will agree to the strategic alliance idea. The companies should thereafter, converge on a drawing table to agree on how they will handle the strategic alliance. After all that is done, the alliance is good to kick off.
References
Anne, S. T., & Lau, C.M. (2002). The management of enterprises in the People’s Republic of China. Dordrecht: Kluwer Academic Publishers Group.
Bach, B. (2007). International marketing entry strategy for the Red//Green Company: The market attractiveness determination & strategic implications. München: GRIN Verlag GmbH.
Benjamin, L. K. J. (2006). Market entry strategies of foreign Telecom companies in India. Wiesbaden: Dt. Univ.-Verl.
Blythe, J., & Zimmerman, A. S. (2005). Business-to-business marketing management: A global perspective. London: Thomson Learning.
Corallo, A. (2007). The digital business ecosystem. Cheltenham u.a.: Elgar.
Gilligan, C., & Hird, M. (1986). International marketing: Strategy and management. London: Croom Helm.
International directory of company histories. (1988). Chicago, Ill: St. James Press.
John, R., & Allen, M. (1998). Global business strategy. London [u.a.: Thomson.
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Neelankavil, J. P., & Rai, A. (2009). Basics of international business. Armonk, N.Y: M.E. Sharpe.
Neely, B., & Pearl, D. (2009). Piano for dummies. Hoboken, N.J: Wiley.
Nickel, R. (2000). Contract manufacturing – foreign market entry via contract manufacturing – conceptualization and implementation in industrial goods markets: Diploma thesis. Norderstedt: GRIN.
Peng, M. W. (2009). Global strategy. Mason, Ohio: South-Western/Cengage Learning.
Peng, M. W. (2011). Global business. Mason, OH: South Western Cengage Learning.
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Tielmann, V. (2010). Market Entry Strategies: International Marketing Management. München: GRIN Verlag GmbH.
Yoshihara, M. (2007). Musicians from a different shore: Asians and Asian Americans in classical music. Philadelphia: Temple University Press.
Most of the modern music instruments such as the guitar saxophone and the piano were invented by various individuals several years back. The piano is today one of the most widely played musical instruments (Antique Digest). This instrument is played through a key board (Good 76). It was commonly used in classical music during solo performance and generally as an accompaniment (Fischer). In addition to these, the piano is also used in composing and rehearsal.
Even though this instrument remains expensive, it has remained a popular because of its versatility and ubiquity. The word piano originated from an Italian word pianoforte which means instrument. “The musical terms piano and forte mean quiet and loud, and in this context refers to the variations in volume of sound the instrument produces in response to a pianist’s touch on the keys” (Lhevinne 123).
Bartolomeo Cristofori is today a credited for having invented the modern piano. Before he developed the piano, he made his earlier instruments using strings and they were very quiet compared to the current piano. The manufacturing of the piano became popular towards the last phase of the eighteenth century especially in Vienesse School. Vienesse piano models were made of wooden frames and each had two strings.
They also had hammers covered with leather materials. The piano instrument was later refined through a series of improvements which included the following. Felt hammer covering replaced the use of leather covering or cotton. Iron frames were also used to enhance the piano sound. Broadwood is the company a credited for the formal manufacturing of the piano instruments (American Piano Association). Vienesse Company became one of its key competitors. Today many companies have engaged in production of piano instruments.
At present, there are many designs of the piano and they vary in sizes and use. For example, the modern pianos contain two important configurations. “Almost every modern piano has thirty six black keys and fifty two white keys for a total of eighty eight keys”. “Many older pianos only have eighty five keys (seven octaves from A0 to A7), while some manufacturers extend the range further in one or both directions” (Humphries 345). Just like other instruments, the piano also needs regular maintenance and proper care. For example, the piano should be tuned in order to maintain the proper pitch needed for an effective performance. Other parts of the piano should also be periodically regulated (Harris).
The piano has been used by many musicians to compose music. Some of the composers include the following individuals: “York Bowen, Erick Satie, Duke Elington, Anthony Braxton, and James Douglas” (Brings). Apart from these composers, we have some outstanding pieces which include the following. Hesitation Blues was composed by an individual known as Jelly Morton, I Got a Woman was formally composed by Charles Ray.
These pieces are classified under the genre of blues. Some of the piano pieces that were composed in the genre of jazz included: “ body and soul which was produced by Edward Heyman together with Johnny Green, and Maple Leaf Rag that was composed by Scott Joplin” (Piano Street). The famous Elton John has also composed a number of pieces and one of them is called Crocodile Rock.
Because of the above mentioned qualities of the piano many musicians still use it. “It has therefore remained a crucial instrument in Western classical music, jazz, film, television, and most other complex western musical genres” (Green).