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Relevant bibliographies by topics / Los Angeles music

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Journal articles
Dissertations / Theses
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Academic literature on the topic 'Los Angeles music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Los Angeles music"

1

French, Gil. "Los Angeles: the Walt Disney Concert Hall and New Music." Tempo 58, no. 229 (2004): 78–79. http://dx.doi.org/10.1017/s0040298204260247.

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What better event to proclaim the potential of Los Angeles's new Walt Disney Concert Hall than a bicentennial celebration of the birth of Berlioz with Simon McBurney's Theatre de Complicité of London and Esa-Pekka Salonen's Los Angeles Philharmonic?

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JOHNSON, JAKE. "The Music Room: Betty Freeman's Musical Soirées." Twentieth-Century Music 14, no. 3 (2017): 391–409. http://dx.doi.org/10.1017/s1478572217000330.

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AbstractFor over ten years, Los Angeles arts patron Betty Freeman (1921–2009) welcomed composers, performers, scholars, patrons, and invited guests into her home for a series of monthly musicales that were known as ‘Salotto’. In this article, I analyse Freeman's musicales within a sociological framework of gender and what Randall Collins calls ‘interaction rituals’. I contextualize these events, which took place in a space in her Beverly Hills home known as the Music Room, within a broader history of salon culture in Los Angeles in the twentieth century – a history that shaped the city's relationship with the artistic avant-garde and made Los Angeles an important amplifier for many of the most important voices in contemporary Western art music of the last sixty years.

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Rich, Alan. "Letter from Los Angeles." Musical Quarterly 75, no. 3 (1991): 399–401. http://dx.doi.org/10.1093/mq/75.3.399.

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Crawford, D. L. "Arnold Schoenberg in Los Angeles." Musical Quarterly 86, no. 1 (2002): 6–48. http://dx.doi.org/10.1093/musqtl/gdg003.

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Cawthra, Benjamin. "Duke Ellington’s Jump for Joy and the Fight for Equality in Wartime Los Angeles." Southern California Quarterly 98, no. 1 (2016): 5–58. http://dx.doi.org/10.1525/ucpsocal.2016.98.1.5.

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Duke Ellington and his orchestra premiered an all-black musical revue, Jump for Joy, in Los Angeles in 1941 that addressed racial inequality while celebrating the possibility of a more democratic future. The musical was a cultural expression of the activist work of black Angelenos during the war years and highlighted African American demands for fair dealing. The article also demonstrates how unrecorded music can serve as a significant historical artifact.

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Kun, Josh. "Sonic Turbulence." Boom 2, no. 4 (2012): 68–78. http://dx.doi.org/10.1525/boom.2012.2.4.68.

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This past spring, the exhibition Trouble in Paradise: Music and Los Angeles 1945–75 opened at The Grammy Museum in Los Angeles as part of the Getty’s Pacific Standard Time initiative. The show—which featured an audio-visual timeline wall, a digital jukebox, and two galleries of video, music, photography, and historical artifacts—explored the popular myths, social realities, and political upheavals of life in post-WWII LA through the city’s multiple music scenes. The following is the text from the exhibit’s timeline, a guide to the key political tensions, cultural breakthroughs, and musical moments of the period that helped shape the making of this exhibition

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Russell, Maureen. "The Art, Music, and Recreation Department, Los Angeles Public Library, Los Angeles, California." Music Reference Services Quarterly 21, no. 1 (2018): 24–32. http://dx.doi.org/10.1080/10588167.2017.1378078.

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Leal, Jorge N. "Mapping Ephemeral Music Forums in Latina/o Los Angeles." California History 97, no. 2 (2020): 124–27. http://dx.doi.org/10.1525/ch.2020.97.2.124.

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This essay examines how maps created by Latina/o youth created “ephemeral forums,” improvised ad hoc spaces that served as music venues in 1990s South Los Angeles. The maps included on “Rock en Español” event flyers demonstrate how Latinx youth envisioned Los Angeles and proclaimed their sense of place in the metropolis at a moment of social and demographic transformation. These maps help us understand how they and other Californians of color create and claim belonging,both past and present.

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Miller, Paul V. "Meredith Monk’s ATLAS in Los Angeles." Opera Quarterly 35, no. 4 (2019): 350–57. http://dx.doi.org/10.1093/oq/kbaa007.

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Mount, Andre. "Grasp the Weapon of Culture! Radical Avant-Gardes and the Los Angeles Free Press." Journal of Musicology 32, no. 1 (2015): 115–52. http://dx.doi.org/10.1525/jm.2015.32.1.115.

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In the 17 June 1966 issue of the Los Angeles Free Press, members of a group calling themselves the Los Angeles Hippodrome advertised an upcoming event: an “Homage to Arnold Schoenberg.” The ad seems to suggest nothing out of the ordinary: a recital of the composer’s complete piano works along with a slideshow of his visual art and the playing of a recorded lecture. The facing page, however, paints a very different picture. There, the Free Press reproduced a series of manifestos written by the event’s organizers. The manifestos range in content from lengthy ruminations on the death of art to a cartoon of a dog-like creature brandishing a knife and poised to cut off the head of a snake above the words “GRASP THE WEAPON of CULTURE!” With their absurdist humor and heady, abstract proselytizing, these statements stand in marked contrast to the refined poise of the music of the Second Viennese School. To address this incongruity, one must look beyond the Los Angeles Hippodrome to several other closely related communities. Dorothy Crawford (1995) provides an invaluable account of one such group in Los Angeles, focusing primarily on a circle of modernist music enthusiasts who organized and attended the Monday Evening Concerts series. But the individuals behind the “Homage to Schoenberg” were in equally close contact with participants in the Freak Movement, a Los Angeles manifestation of the 1960s counterculture led by iconoclastic rock guitarist Frank Zappa. Despite superficial differences, the political affinities and geographic proximity of these groups facilitated a free transmission of values and ideas that blurred the boundaries between them.

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Dissertations / Theses on the topic "Los Angeles music"

1

Moroncini, Barbara Serena. "Experimental music after Los Angeles site, power, self, sound /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1706818091&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Robinson, Jason L. "Improvising California : community and creative music in Los Angeles and San Francisco /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170218.

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Sharp, Charles Michael. "Improvisation, identity and tradition experimental music communities in Los Angeles /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1779690111&sid=13&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Hilliard, Howard (Howard Louis). "The History of Horn Playing in Los Angeles from 1920 to 1970 : a Lecture Recital, Together With Three Recitals of Selected Works for Horn by M. Haydn, Franz, Britten, Mozart, Koetsier, Hindemith, Herzogenberg, Rossini, Stevens and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038828/.

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The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonic. This study details the introduction of soundtracks, the early studio orchestras, the contract studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonic and the studios, major figures from the subsequent freelance period such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.

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Patterson, Karin Gaynell. "Expressions of Africa in Los Angeles public performance, 1781-1994." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459903821&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Yaghoubi, Isra. "Traditional Iranian Music in Irangeles: An Ethnographic Study in Southern California." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/305864.

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This study focuses on the musical activities and views of Iranian immigrant artists who perform, teach, and support traditional Iranian music in Los Angeles and Southern California. This geographic area and its interconnected social networks, which I refer to as Irangeles, is part of a diaspora culture industry where music is central to everyday life, but where modern Iranian pop music dominates. Given Iran's historical negative stigma attached to entertainment-oriented music making, and the popularity of entertainment and dance-driven Persian pop in contemporary Irangeles, practitioners of traditional Iranian music express frustration and face challenges in promoting their art, what they feel is an authentic form of Iranian culture. The music they make expresses both personal and cultural values: it is a form of creative expression that presents itself as interwoven with their Iranian identity, reflecting personal and cultural ideals of character in Iranian culture. My findings highlight how Iranian immigrant artists avail themselves of the socio-cultural infrastructure of Irangeles to network with like-minded artists and strategically use satellite TV, online technology and social media to find recognition for, teach, and promote diverse genres of traditional Iranian music in this particular diaspora setting.

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Johnson, Birgitta Joelisa. ""Oh, for a thousand tongues to sing" music and worship in African American megachurches of Los Angeles, California /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1579171881&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Sanchez, Luis Adan. "To catch a wave : The Beach Boys and rock historiography." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7954.

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From the release of their first single “Surfin’” in 1961 to the release of the album Pet Sounds in 1966, rock history traces the arc of the American rock group the Beach Boys in broad terms of the early-sixties Southern California surf music trend and the revolutionary effects of the Beatles’ stateside arrival in 1964. Typical claims for progress, autonomy, the significance of the album, and myths of authenticity in the study of the emergence of the rock concept, however, tend to promote an essentialist understanding of what rock music is about and what it is for. This study proposes an alternative narrative in which the regulating dichotomies of rock—art versus commerce, seriousness versus schlock, the authentic versus the inauthentic— are historicized, in the case of the Beach Boys’ transition from surf band to a complex studio recording project, as matters of creative practice and conflicting sensibilities. Questioning the conventional wisdom of rock history, this project suggests a counter-story about the significance of creative achievement, failure, and advancement

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Alvarez, Denny. "Los Angeles Latinx Ska| Subaltern Rhythms, Co-optation of Sound, and New Cultural Visions from a Transnational Latin America." Thesis, University of California, Santa Barbara, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13420906.

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<p> Ska is a Caribbean born musical genre that was originally created from oppressive conditions and from where Caribbean slaves had used music to preserve African culture during colonial times. Such a context gave way to the emergence of a Rastafarian culture that created Ska, and even though it is a music of past times, it is now adopted, transformed, and rearticulated by Latinxs in Los Angeles into new conditions and into new dialogues. By drawing on Antonio Gramsci’s theories of common sense and subalternity, I advance that through the musical realm the racially oppressed create spaces of solidarity where they identify collective antagonisms and articulate inherited social symptoms. The racially oppressed organize spaces that push away from the antagonisms of social life and dance to rhythms that have historically developed in relation to structures of power. While not all songs express a relation to structures of power, the dialogical process that takes place in the Latinx Ska space is articulated from a community that has a history of inequality, displacement, and a policed existence; it is the cultural perspective of the historically oppressed. This thesis explores Los Angeles Latinx Ska as a cultural formation that articulates contemporary contradictions through a rhythmic common sense that in turn creates the avenues to articulate and struggle for hegemony.</p><p>

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Koegel, John. "Mexican-American music in nineteenth-century Southern California : the Lummis wax cylinder collection at the Southwest Museum,Los Angeles /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400363816.

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Books on the topic "Los Angeles music"

1

Bowie, David. Cracked actor: Live Los Angeles '74. Parlophone Records, 2017.

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Smith, Catherine Parsons. Making music in Los Angeles: Transforming the popular. University of California Press, 2007.

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3

Barrio rhythm: Mexican American music in Los Angeles. University of Illinois Press, 1993.

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Garrod, Charles. Decca Los Angeles master numbers. Joyce Record Club Publication, 1992.

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5

Davis, Margaret Leslie. The Music Center of Los Angeles County: Five decades of music, theater, and dance. The Music Center of Los Angeles County, 2014.

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Waiting for the sun: A rock 'n' roll history of Los Angeles. Backbeat Books, 2009.

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Michael, Ochs, ed. Waiting for the sun: The story of the Los Angeles music scene. Viking, 1996.

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8

Gordon, Robert. Jazz West Coast: The Los Angeles jazz scene of the 1950s. Quartet, 1986.

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Gordon, Robert. Jazz West Coast: The Los Angeles jazz scene of the 1950s. Quartet, 1990.

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Waiting for the sun: Strange days, weird scenes, and the sound of Los Angeles. St. Martin's Griffin, 1999.

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Book chapters on the topic "Los Angeles music"

1

Baker, Andrea. "New York City and Los Angeles, the Music Consumption Capitals." In The Great Music City. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-96352-5_5.

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Baker, Andrea. "Hierarchies of Power & Influence in the Music Industry (London, New York City and Los Angeles)." In The Great Music City. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-96352-5_3.

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Shonk, Kenneth L., and Daniel Robert McClure. "“Will the Wolf Survive?”: Punk Rock and Chicana/o Identity in Los Angeles." In Historical Theory and Methods through Popular Music, 1970–2000. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57072-7_4.

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Macías, Anthony. "Black and Brown Get Down: Cultural Politics, Chicano Music, and Hip Hop in Racialized Los Angeles." In Sounds and the City. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137283115_4.

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Owens, Jessie Ann. "‘And the angel said…’: Conversations with Angels in Early Modern Music." In Conversations with Angels. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230316973_10.

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Flynn, William T. "Singing with the Angels: Hildegard of Bingen’s Representations of Celestial Music." In Conversations with Angels. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230316973_9.

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"LOS ANGELES, VICTORIA DE." In Music in the 20th Century (3 Vol Set). Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-289.

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"1. Music Making as Popular Practice." In Making Music in Los Angeles. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933835-003.

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"Preface and Acknowledgments." In Making Music in Los Angeles. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933835-002.

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"Contents." In Making Music in Los Angeles. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933835-toc.

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