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Journal articles on the topic 'Los Angeles music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Peretti, Burton W., and Steven Loza. "Barrio Rhythm: Mexican American Music in Los Angeles." Western Historical Quarterly 25, no. 4 (1994): 517. http://dx.doi.org/10.2307/970363.

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12

Scruggs, T. M., and Steven Loza. "Barrio Rhythm: Mexican American Music in Los Angeles." Yearbook for Traditional Music 26 (1994): 156. http://dx.doi.org/10.2307/768261.

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13

Pitilli, Lawrence. "Making Music in Los Angeles: Transforming the Popular." Popular Music and Society 32, no. 5 (2009): 661–63. http://dx.doi.org/10.1080/03007760902989751.

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14

Solis, Ted, and Steven Loza. "Barrio Rhythm: Mexican American Music in Los Angeles." Ethnomusicology 40, no. 1 (1996): 102. http://dx.doi.org/10.2307/852442.

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15

Viesca, Victor. "Making Music in Los Angeles: Transforming the Popular." Western Historical Quarterly 40, no. 1 (2009): 91. http://dx.doi.org/10.1093/whq/40.1.91.

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16

Schramm, Adelaida Reyes, and Steven Loza. "Musical Aesthetics and Multiculturalism in Los Angeles." Yearbook for Traditional Music 27 (1995): 169. http://dx.doi.org/10.2307/768121.

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17

Currie, A. Scott, Clora Bryant, Jacqueline Cogdell DjeDje, and Eddie S. Meadows. "Central Avenue Sounds: Jazz in Los Angeles." Yearbook for Traditional Music 32 (2000): 202. http://dx.doi.org/10.2307/3185265.

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18

Crockett, Donald. "Stucky, Hartke, Crockett: Conversations in Los Angeles." Contemporary Music Review 10, no. 1 (1994): 51–73. http://dx.doi.org/10.1080/07494469400640171.

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19

Gorn, Elliott J. "That Lonesome Whistle." Boom 2, no. 2 (2012): 76–81. http://dx.doi.org/10.1525/boom.2012.2.2.76.

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20

Meadows. "Clifford Brown in Los Angeles." Black Music Research Journal 31, no. 1 (2011): 45. http://dx.doi.org/10.5406/blacmusiresej.31.1.0045.

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21

Merrill-Mirsky, Carol. "Girls' Handclapping Games in Three Los Angeles Schools." Yearbook for Traditional Music 18 (1986): 47. http://dx.doi.org/10.2307/768519.

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22

Klakowich, Robert. "Harpsichord Music by Purcell and Clarke in Los Angeles." Journal of Musicology 4, no. 2 (1986): 171–90. http://dx.doi.org/10.2307/763794.

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23

Klakowich, Robert. "Harpsichord Music by Purcell and Clarke in Los Angeles." Journal of Musicology 4, no. 2 (1985): 171–90. http://dx.doi.org/10.1525/jm.1985.4.2.03a00030.

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24

Rovner, Anton А. "An Interview with Composers Pamela Madsen and Eric Dries from Los Angeles." ICONI, no. 2 (2019): 172–78. http://dx.doi.org/10.33779/2658-4824.2019.2.172-178.

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Dear readers of the journal “ICONI”! We are offering you an interview with two innovative American composers residing in California, Pamela Madsen and Eric Dries. They demonstrate the rich context of new trends in American music encompassing the serial Uptown School and the experimental Downtown School, as well as their connections to contemporary European music. The composers describe the styles of their respective musical compositions and their versatile musical activities, including teaching at the California State University at Fullerton, performing and organizing concerts of contemporary music.

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25

Geirola, Gustavo. "Juan Gabriel: Cultura Popular y Sexo de los Angeles." Latin American Music Review / Revista de Música Latinoamericana 14, no. 2 (1993): 232. http://dx.doi.org/10.2307/780176.

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26

Marmorstein, Gary. "Central Avenue Jazz: Los Angeles Black Music of the Forties." Southern California Quarterly 70, no. 4 (1988): 415–26. http://dx.doi.org/10.2307/41171337.

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27

LIPSITZ, GEORGE. "Barrio Rhythm: Mexican American Music in Los Angeles. STEVEN LOZA." American Ethnologist 22, no. 3 (1995): 671–72. http://dx.doi.org/10.1525/ae.1995.22.3.02a00720.

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28

Dickerson. "Jazz in Los Angeles: The Black Experience." Black Music Research Journal 31, no. 1 (2011): 179. http://dx.doi.org/10.5406/blacmusiresej.31.1.0179.

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29

Brown, Michael. "Review of acoustically related design factors for three recent Los Angeles area music studios." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 6 (2021): 670–81. http://dx.doi.org/10.3397/in-2021-1622.

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The design of a professional-quality music recording studios involves a specific set of challenges, namely the need to provide high levels of sound isolation, rigorous noise and vibration control for building support systems, and the provision of acoustically appropriate room finishes. The optimization of design solutions for each of these challenges depends upon project-specific requirements, including aesthetic objectives, base building constraints and the musical genres being recorded. This paper reviews how these challenges were successfully addressed in three recent Los Angeles area music recording/broadcast studio projects. Projects reviewed include a recording studio at University of California, Los Angeles, where challenges included the need to accommodate all musical genres, from jazz, to orchestra, to drum ensembles. The two other studios were both for broadcast organizations: KCRW, an influential NPR-affiliated music-orientated radio station and for the commercial radio broadcaster SiriusXM. The paper includes discussion of why and how various acoustical techniques were utilized, including use of "floating" construction and live room variable acoustics. Solutions for successfully incorporating significant areas of glazing into live rooms and accommodation of audiences are also discussed, along with the various acoustical room finishes that were applied.

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30

Djedje, Jacqueline Cogdell. "Los Angeles Composers of African American Gospel Music: The First Generations." American Music 11, no. 4 (1993): 412. http://dx.doi.org/10.2307/3052539.

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31

Anderson, Martin. "London, Royal Festival Hall: Shostakovich: Prologue to ‘Orango’." Tempo 67, no. 266 (2013): 83–84. http://dx.doi.org/10.1017/s0040298213000971.

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The music of Shostakovich's abandoned opera Orango wasn't itself such a surprise: the première, given in Los Angeles in December 2011, was recorded live and released soon after on a Deutsche Grammophon CD (0289 479 0249 2). But experiencing it in the flesh – at its European première in the Royal Festival Hall on 16 May – revealed the music all over again and left at least this listener slack-jawed in astonishment at the profligacy of Shostakovich's genius.

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32

Loza, Steven. "From Veracruz to Los Angeles: The Reinterpretation of the "Son Jarocho"." Latin American Music Review / Revista de Música Latinoamericana 13, no. 2 (1992): 179. http://dx.doi.org/10.2307/948082.

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33

Kosek, Jakub. "Tanatoekshibicjonizm medialny w perspektywie (metal) music studies. Rekonesans." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 11, no. 3 (2019): 46–56. http://dx.doi.org/10.24917/20837275.11.3.3.

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W artykule zwrócono uwagę na zjawisko ekshibicjonizmu śmierci (tanatoekshibicjonizmu) jako zagadnienie metal music studies. Dzisiejsze narracje medialne dotyczące śmierci w różnych wymiarach i wariantach, niezliczone ilości informacji i komentarzy w mediach społecznościowych wpływają na rozmiar skali medialnego tanatoekshibicjonizmu. Wskazane zostały główne obszary korelacji tanatologii z kulturą metalową. W oparciu o wybrane ujęcia i zagadnienia teoretyczne (Thomas, Morin, Pomian, Burszta i in.) omówiono m.in. transmitowany w serwisie YouTube pogrzeb jednego z prekursorów heavy metalu Iana Lemmy’ego Kilmistera, zorganizowany na cmentarzu Forest Lawn Memorial Cemetery w Los Angeles 9 stycznia 2016 roku.

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34

MADRID, ALEJANDRO L. "Dancing with desire: cultural embodiment in Tijuana's Nor-tec music and dance." Popular Music 25, no. 3 (2006): 383–99. http://dx.doi.org/10.1017/s0261143006000961.

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Nor-tec music was created at the Tijuana–San Diego border as a hybrid that incorporates the sounds of traditional music from the North of Mexico to computer-based styles of dance music. Through a distinct process of do-it-yourself distribution, Nor-tec quickly became a worldwide phenomenon in the underground electronic music scene. Based on extensive ethnographic work in Tijuana, Los Angeles and Chicago, this article compares different Nor-tec scenes in an attempt to identify how different transnational communities appropriate this music in order to imagine and conciliate notions of identity, modernity and tradition according to their specific social context. I focus on the relationship between discourses about Latinidad and Latino bodies, and their influence on the way different Latino communities dance and move to the Nor-tec beats.

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35

Daniels, Douglas Henry. "Los Angeles Zoot: Race "Riot," the Pachuco, and Black Music Culture." Journal of Negro History 82, no. 2 (1997): 201–20. http://dx.doi.org/10.2307/2717516.

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36

Daniels, Douglas Henry. "Los Angeles Zoot: Race "Riot," the Pachuco, and Black Music Culture." Journal of African American History 87, no. 1 (2002): 98–118. http://dx.doi.org/10.1086/jaahv87n1p98.

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37

DjeDje, Jacqueline Cogdell. "Gospel Music in the Los Angeles Black Community: A Historical Overview." Black Music Research Journal 9, no. 1 (1989): 35. http://dx.doi.org/10.2307/779432.

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38

Russell, Maureen. "Music at Library Special Collections, University of California, Los Angeles (UCLA)." Music Reference Services Quarterly 17, no. 2 (2014): 92–100. http://dx.doi.org/10.1080/10588167.2014.905738.

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39

Marcus, Kenneth H. "Making Music in Los Angeles: Transforming the Popular (review)." American Studies 50, no. 1 (2009): 183–84. http://dx.doi.org/10.1353/ams.2011.0084.

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40

Straub, Dorothy A. "The National Standards for Arts Education: Context and Issues." American String Teacher 45, no. 3 (1995): 24–28. http://dx.doi.org/10.1177/000313139504500305.

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Goals 2000: Implications for String Education—a Music Education Leadership Symposium hosted by Loyola University College of Music February 16 and 17, 1995—featured a number of presentations on the National Standards for the Arts and their importance to string teaching. This article by Dorothy Straub, and the following article by Michael Allen, are based on presentations made at this symposium, which was organized by Dean Angeles and Gwen Hotchkiss of Loyola University. Other articles based on symposium presentations will appear in upcoming issues of the journal.

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41

Smith, Catherine Parsons. ""Something of Good for the Future": The People's Orchestra of Los Angeles." 19th-Century Music 16, no. 2 (1992): 146–60. http://dx.doi.org/10.2307/746263.

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42

Smith, Catherine Parsons. ""Something of Good for the Future": The People's Orchestra of Los Angeles." 19th-Century Music 16, no. 2 (1992): 146–60. http://dx.doi.org/10.1525/ncm.1992.16.2.02a00050.

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43

Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance." Sociological Perspectives 40, no. 2 (1997): 265–86. http://dx.doi.org/10.2307/1389525.

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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society. Rap music is discussed as music with a message of resistance, empowerment, and social critique, and as a herald of the Los Angeles riots of 1992.

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44

NIELSEN, KRISTINA F. "Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles." Yearbook for Traditional Music 52 (November 2020): 127–46. http://dx.doi.org/10.1017/ytm.2020.18.

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Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisis histórico, sugiero que los marcos musicales y culturales que alguna vez sirvieron para unir al México pos-revolucionario han adquirido una nuevo significado para contrarrestar la desaparición del legado indígena mexicano en los Estados Unidos.Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as “Aztec music.” In this article, I explore how contemporary musicians in Los Angeles, California, draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models. Pairing ethnographic fieldwork with historical analysis, I suggest that musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.

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45

DjeDje. "Context and Creativity: William Grant Still in Los Angeles." Black Music Research Journal 31, no. 1 (2011): 1. http://dx.doi.org/10.5406/blacmusiresej.31.1.0001.

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46

Smith, Catherine Parsons, and Dorothy Lamb Crawford. "Evenings on and off the Roof: Pioneering Concerts in Los Angeles, 1939-1971." American Music 14, no. 3 (1996): 382. http://dx.doi.org/10.2307/3052604.

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47

Rosen, R. S. "Stranger in Paradise: The Life and Adventures of the Los Angeles Chamber Orchestra." Musical Quarterly 80, no. 2 (1996): 220–33. http://dx.doi.org/10.1093/mq/80.2.220.

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48

Wang, Oliver. "The Journey of “Viva Tirado”: A Musical Conversation within Afro-Chicano Los Angeles." Journal of Popular Music Studies 22, no. 4 (2010): 348–66. http://dx.doi.org/10.1111/j.1533-1598.2010.01250.x.

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49

Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.

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50

Taylor, Kris P. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 195–202. http://dx.doi.org/10.33178/alpha.19.17.

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Kris P. (formerly Puszkiewicz) Taylor moved to New York from London in 1980. She was working at Island Records in the Publicity and Artist Development department when MTV was launched in 1981. The department quickly expanded to include Music Videos and she was soon promoted to Director of Music Video Promotion and Production. She left in 1985 to work as Executive Producer at Zbig Vision in New York after commissioning Zbigniew Rybczyński’s first music video, the MTV-award-winning Close to the Edit (1985) by Art of Noise. After successfully working together on fourteen videos over two years Kris moved briefly to work at MCA Records in Los Angeles and then in 1988 became Director of Music Video Production at Columbia Records (West Coast), working with artists such as Bob Dylan, The Rolling Stones, Michael Bolton, The Bangles, Alice In Chains, Billy Joel, Carlos Santana and Mariah Carey. In all she commissioned or was involved in the production of over three hundred music videos.

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