Musical Metropolis: Los Angeles and the Creation of a Music by Kenneth H. Marcus (auth.)

By Kenneth H. Marcus (auth.)

Decentralization and variety characterised a lot of the functionality of artwork song in l. a.. Decentralization outlined the city's progress because the late-nineteenth century, and as the crucial urban didn't dominate track tradition, as within the East and Midwest, a better diversification of tune emerged within the groups of higher l. a.. Performers and audiencesincluded Latinos, Euro-Americans, Asian americans, and African americans, however the suggestion of range is going past ethnicity; it's also 'media diversity', the presentation of tune via a number of media. recording, radio, movie media strongly stimulated tune functionality within the urban because it grew into the epicenter of leisure in America.

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106 Mrs. F. E. Phillips competed with her Ladies Toilet Parlors, offering “Mme Rupert’s Celebrated Cosmetics. Face Tonics, the finest in the world. ”107 Another business owner, Mrs. E. L. 108 Theater programs were ideal for advertisements offering lessons in music or dance, which were often oriented toward women. A. ”110 Those interested in a dance school could meet with Mr. and Mrs. E. W. ”111 Several ads offered luxury items or services. Customers could secure an “Imperial Face Massage” for 75 cents, which was the price of the highest ticket at the theaters.

30 Vaudeville actually represented a form of socialization, for it enabled immigrants to learn about, and to participate in, their adopted society. 31 This humor gave rise to stereotypical, stock characters, such as the Irish drunk and the Italian lover. 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.

72 This diversity of both art music and more popular selections was commonplace at the theaters. Further examples abound. 75 Pieces by these composers were immensely popular at the time. 5 National Opera Company THEATER MUSIC DURING THE BOOM YEARS 27 Even music genres that we tend to consider as “serious,” such as operas or symphonies, often attracted a wide audience. A partial reason was that they did not necessarily fall into “highbrow” or elitist categories during this era. The roots of opera go back to the early seventeenth century in Italy as a courtly form of entertainment before moving into public theaters, first in Italy and then throughout Europe.

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