Table of Contents

List of Illustrations Preface and Acknowledgments 1. Music Making as Popular Practice PART I. MUSIC FOR THE "PEOPLE" 2. "The Largest and Most Enthusiastic Audience That Ever Has Assembled in the City": The National Opera Company of 1887 3. "A Precarious Means of Living": Early Working Musicians and Their Jobs 4. "Popular Prices Will Prevail": Competing and Cooperating Impresarios 5. Amateurs, Professionals, and Symphonies: Harley Hamilton and Edna Foy 6. "Our Awe Struck Vision": A Prominent Impresario Reconsidered PART II. PROGRESSIVE-ERA MUSICAL IDEALISM 7. The "True Temple of Art": Philharmonic Auditorium and Progressive Ideology 8. "Something of Good for the Future": The People's Orchestra of 1912--1913 9. Producing Fairyland, 1915 10. Founding the Hollywood Bowl PART III. FROM PROGRESSIVE TO ULTRAMODERN 11. Old Competitors, New Opera Companies in 1925 12. The New Negro Movement in Los Angeles 13. Welcoming the Ultramodern 14. Second Thoughts 15. Calling the Tune: The Los Angeles Federal Music Project Appendix A. Los Angeles Population Growth, with Racial and Ethnic Distribution Appendix B. Musicians and Teachers of Music in the United States and Los Angeles Appendix C. A Music Chronology for Los Angeles, 1781--1941 Notes Bibliography Index

About the Author

Catherine Parsons Smith is Professor Emerita at the University of Nevada, Reno. She is the author of several books, among them William Grant Still: A Study in Contradictions (UC Press, 1999), which won the ASCAP Deems Taylor Award.

Reviews

"Often fascinating." Times Literary Supplement (TLS)