By K. Marcus

ISBN-10: 1403964181

ISBN-13: 9781403964182

ISBN-10: 1403978360

ISBN-13: 9781403978363

This attention-grabbing cultural heritage of song in l. a. specializes in orchestral functionality from the past due 19th century via international warfare II. Decentralization outlined Los Angeles's development because the overdue 19th century, and as the crucial urban didn't dominate the city's tune tradition as used to be the case in towns of the East and Midwest, a better diversification of tune emerged. Performers and audiences integrated Latinos, Euro-Americans, Asian americans, and African americans, however the suggestion of range within the past due 19th- and early twentieth-century urban went way past ethnicity--it additionally integrated a "media diversity," because the city's musical output was once offered via numerous channels together with recordings, radio, and movie. those media strongly prompted the musical tradition of la, which in flip inspired the musical tradition of the US at huge because the urban grew into the nation's epicenter of leisure. The publication incorporates a CD delivering examples of a lot of the track tested. moreover, there are additional aid fabrics at the author's site: http://faculty.ulv.edu/~marcusk

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Extra info for Musical Metropolis: Los Angeles and the Creation of a Music Culture, 1880-1940

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18 Within a year she would see her wish become a reality. The creation of three new venues changed the music culture of Los Angeles: the Grand Opera House, Hazard’s Pavilion, and the Los Angeles Theatre. 19 This huge venue was replete with modern conveniences such as electric lighting—an enormous advantage over gas, which could quickly make a room hot and stuffy. There were also a number of safety features that impressed patrons, including the installation of fire hydrants. According to one description, “the facilities for rapid exit consist of forty two feet of doorways.

Vaudeville was above all interactive. Audiences’ responses immediately determined the success of a joke, song, or act, often from a cross-section of the population. While the audience until the 1880s seems to have been overwhelmingly male, women gradually attended more performances when theater owners sought to orient vaudeville towards families. ” Others, such as Benjamin F. Keith and Edward F. Albee, followed the same formula with great success. 32 Not all types of theatrical entertainment, however, catered to a family audience.

Both men and women formed orchestras, calling on the talents of professional musicians and amateurs alike. The use of theaters for these organizations might seem unusual, given the theaters’ reputation for mass entertainment. Because concert halls scarcely existed, however, patrons truly interested in classical music had to be content with the few choices they had. 101 Audiences and Advertisements Because information about the audiences attending concerts at the theaters rarely appears in newspaper reviews, the advertisements that filled the pages of theater programs provide our only clues.

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Musical Metropolis: Los Angeles and the Creation of a Music Culture, 1880-1940 by K. Marcus


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