Relevant bibliographies by topics / Los Angeles Philharmonic

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Los Angeles Philharmonic'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Los Angeles Philharmonic"

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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May, Eldonna L. "In Rehearsal, Esa-Pekka Salonen, Los Angeles Philharmonic (review)." Notes 69, no. 1 (2012): 144–45. http://dx.doi.org/10.1353/not.2012.0112.

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Woolford, Donald H., Edward C. Carterette, and Donald E. Morgan. "Hearing Impairment among Orchestral Musicians." Music Perception 5, no. 3 (1988): 261–84. http://dx.doi.org/10.2307/40285400.

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It would seem anomalous that an orchestral musician would have less than normal hearing in order to monitor an exacting musical output. However, some recent studies show that a proportion of symphony musicians do have hearing impairments of various pathologies of which noise exposure, including the music alone, is the dominant causal factor. Intense music exposures in symphony orchestras often exceed the intensity standards of hearing conversation. A basic procedure for industrial hearing conservation is the control of the sound at the source, but the very purpose of the orchestra prevents its
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4

Johnson, Bret. "American Music." Tempo 57, no. 226 (2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symp
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Dissertations / Theses on the topic "Los Angeles Philharmonic"

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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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2

Wu, Li-Ying McRorie Sally. "A descriptive analysis of the education department and educational programs at the Los Angeles Philharmonic." 2004. http://etd.lib.fsu.edu/theses/available/etd-04072004-005251.

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Thesis (Ph. D.)--Florida State University, 2004.<br>Advisor: Dr. Sally E. McRorie, Florida State University, School of Visual Arts and Dance, Department of Art Education. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.
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Books on the topic "Los Angeles Philharmonic"

1

Fiala, Michele L., and Martin Schuring. Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.001.0001.

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This volume contains interviews with twenty-six of the most prominent oboists from around the world. The chapters are in prose format and highlight different aspects of each musician’s career, focusing on musicianship and pedagogy in ways that are applicable to all musicians. The interviews contain topics such as creating musical interpretations and shaping phrases, the relationship of vocal to instrumental music, taking orchestral auditions, and being a good ensemble player/colleague. The subjects describe their pedagogy and their thoughts on breathing and support on wind instruments, develop
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2

E, Conway William, Stevenson Robert Murrell, and William Andrews Clark Memorial Library., eds. William Andrews Clark, Jr., his cultural legacy: Papers read at a Clark Library seminar, 7 November 1981. William Andrews Clark Memorial Library, University of California, Los Angeles, 1985.

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Book chapters on the topic "Los Angeles Philharmonic"

1

Gurza, Agustin. "A Century of Latin Music at the Hollywood Bowl." In Tide Was Always High. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520294394.003.0006.

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This chapter focuses on the Hollywood Bowl, summer home of the Los Angeles Philharmonic, and one of the first institutions to support cultural diversity even before that term entered the popular lexicon. The Hollywood Bowl has had a long-running practice of sharing its prestigious stage with Latino artists working in a wide variety of musical genres, from classical to mariachi, romantic boleros to hard-driving salsa and Latin jazz. In 2009, there was much ado about the arrival of Gustavo Dudamel as the philharmonic's latest musical director. However, many of those cheering the move may not have been aware that more than half a century earlier, two Mexican classical composers and conductors—Eduardo Vigil and Carlos Chávez—had taken up the baton as guests of the Philharmonic, performing on separate occasions at the Hollywood Bowl during its first two decades.
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2

"7. The “True Temple of Art”: Philharmonic Auditorium and Progressive Ideology." In Making Music in Los Angeles. University of California Press, 2019. http://dx.doi.org/10.1525/9780520933835-009.

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Fiala, Michele. "David Weiss." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0024.

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David Weiss performed as principal oboe with the Los Angeles Philharmonic from 1973 to 2003. He taught at the University of Southern California and the Music Academy of the West in Santa Barbara and was also a published photographer. In this chapter, he discussed his early career, teaching, tone, and auditions. He told stories from his performances on the musical saw.
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Fiala, Michele. "Carolyn Hove." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0009.

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Carolyn Hove has been the solo English horn player in the Los Angeles Philharmonic since 1988. This chapter contains information on her early life and career, becoming an English horn player, and her teaching. She also shares her ideas on vibrato, fundamentals, and the differences between oboe and English horn. She discusses wellness and the relationship of exercise to performance. She talks about her most memorable performances, artists who inspire her, and ensemble skills.
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5

Loza, Steven. "From the Seventies On." In The Jazz Pilgrimage of Gerald Wilson. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816023.003.0006.

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This chapter highlights Wilson's consistent, progressive development during the second part of his career that encompassed various phases and explorations, including active work in media and education. From the early 1970s, Wilson's musical culture and impact have diversified. During this time, his role expanded well beyond that of bandleader, arranger, and composer, as he entered the realms of symphonic composition, radio, and education while all the time maintaining his principal vocation of composing, arranging, recording, concertizing, and keeping his orchestra together. During the early years of the decade of the 1970s, Wilson was offered an opportunity for a commission to compose a piece for the Los Angeles Philharmonic. He also began to teach courses on the history of jazz at a number of different universities in the Los Angeles area.
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