Download Making Music in Los Angeles: Transforming the Popular (Roth by Catherine Parsons Smith PDF

By Catherine Parsons Smith

During this interesting social background of track in la from the Eighteen Eighties to 1940, Catherine Parsons Smith ventures into a frequently missed interval to find that in America's revolutionary period, l. a. used to be a middle for making song lengthy sooner than it grew to become a big city. She describes the thriving tune scene over a few sixty years, together with opera, live performance giving and merchandising, and the struggles of people who pursued track as an awesome, a occupation, a alternate, a business--or all these issues right away. Smith demonstrates that tune making used to be heavily tied to broader innovative period concerns, together with political and financial advancements, the hot roles performed by means of ladies, and problems with race, ethnicity, and sophistication.

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12 The Fiesta planners thus merged Greek mythology, references to popular opera, Shakespeare, and Native American exoticism into their celebration of the city’s Mexican-Spanish roots, all for the benefit of Anglo tourists and potential new residents. (For the record, it is highly unlikely that Native Americans were much involved in this representation, since their numbers had dwindled sharply with the coming of first the Spanish and later the Anglos. ) There was more, of course. A Grand Fiesta Concert was offered by the Music Committee at Hazard’s Pavilion, with the Grand Fiesta Chorus and Orchestra directed by Mr.

23 That act of healing between the old and the new never took place. In addition to paying its members, Stamm’s Philharmonic represented a new departure in the orchestral sound heard in Los Angeles. It was the first group to abandon the old high pitch used in bands (and commonly employed by the brass and wind players when they joined the strings), thereby taking on a more truly symphonic sound and taking an innovative forward step: “Up to the advent of the Philharmonic Orchestra organized by A. J.

The Tribune’s numbers were 24 / Music for the “People” higher. It seems reasonable to guess that for the seven performances, the total audience numbered on the order of twenty thousand and may well have been more. The city’s total population (including the very young and the very old) would not reach fifty thousand for another three years (or one hundred thousand if the surrounding towns are included). 18 At least half the town’s adult population was “elite” for the week, if the claims to such status for opera are to be taken seriously.

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