No CrossRef data available.
Article contents
Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players
Published online by Cambridge University Press: 04 February 2015
Abstract
In an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continuously for more than forty years. This article argues that Hispanic musicians achieved a degree of cultural agency in these plays through the performance of Mexican folk music, especially canciones (love songs) and corridos (narrative ballads), which were essential elements in the “soundscape” of the Southwest. Although Anglos created and directed the plays, they did not create or perform the music. In spite of the plays’ largely romanticized portrayals of California's Spanish and Mexican past, they provided some of the few prominent forums in Southern California for Mexican American musicians and dancers during the first half of the twentieth century.
- Type
- Research Article
- Information
- Copyright
- Copyright © The Society for American Music 2015
References
References
Charles F. Lummis Collection. Autry National Center of the American West. Los Angeles, CA.Google Scholar
Padua Hills Theatre Collection. Special Collections, Pomona Public Library. Pomona, CA.Google Scholar
Padua Hills Theatre Collection. Special Collections, Honnold/Mudd Library, Claremont Colleges. Claremont, CA.Google Scholar
Ramona Pageant. Ramona Bowl Museum. Hemet, CA.Google Scholar
Ramona Pageant. Department of Prints and Ephemera, The Huntington Library. San Marino, CA.Google Scholar
Aldama, Arturo J., Sandoval, Chela, and García, Peter J., eds. Performing the US Latina and Latino Borderlands. Bloomington: Indiana University Press, 2012.Google Scholar
Anzaldúa, Gloria. Borderlands: The New Mestiza/La Frontera. 4th ed. San Francisco: Aunt Lute Books, 2012.Google Scholar
Arrizón, Alicia. “Contemporizing Performance: Mexican California and the Padua Hills Theatre.” Mester 22–23 (1993/1994): 5–30.Google Scholar
Arrizón, Alicia. “Mythical Performativity: Relocating Aztlán in Chicana Feminist Cultural Productions.” Theatre Journal 52/1 (March 2000): 23–49.Google Scholar
Beegle, Mary Porter, and Crawford, Jack Randall. Community Drama and Pageantry. New Haven, CT: Yale University Press, 1916.Google Scholar
Brigandi, Phil. Garnet Holme: California's Pageant Master. Hemet, CA: Ramona Pageant Association, 1991.Google Scholar
Brigandi, Phil. The Ramona Pageant: A Pictorial History, 1923–1998. Hemet, CA: Hemet News, 1997.Google Scholar
Brigandi, Phil. “The Rancho and the Romance. Rancho Camulos: ‘The Home of Ramona.’” Ventura County Historical Society Quarterly 42/3 and 4 (1998): 5–45.Google Scholar
Brigandi, Phil, and Robinson, John W.. “The Killing of Juan Diego: From Murder to Mythology.” Journal of San Diego History 40/1–2 (Winter/Spring 1994): 1–22.Google Scholar
Campa, Arthur L. Hispanic Culture in the Southwest. Norman: University of Oklahoma Press, 1979.Google Scholar
Ceseña, María Teresa. “Creating Agency and Identity in Danza Azteca.” In Dancing Across Borders: Danzas y Bailes Mexicanos, ed. Nájera-Ramírez, Olga, Cantú, Norma E., and Romero, Brenda M., 80–94. Urbana: University of Illinois Press, 2009.Google Scholar
Chávez-García, Miroslava. “Guadalupe Trujillo: Race, Culture, and Justice in Mexican Los Angeles.” In The Human Tradition in California, ed. Davis, Clark and Igler, David, 31–46. Wilmington, DE: Scholarly Resources Books, 2002.Google Scholar
Cheney, James A. “A Study of the Sociological Impact of Helen Hunt Jackson on the San Jacinto Valley.” M.A. thesis. La Verne College, 1973.Google Scholar
DeLyser, Dydia. Ramona Memories: Tourism and the Shaping of Southern California. Minneapolis: University of Minnesota Press, 2005.Google Scholar
Deuel, Pauline B. Mexican Serenade: The Story of the Mexican Players and the Padua Hills Theatre. Claremont, CA: Padua Institute, 1961.Google Scholar
Deverell, William. Whitewashed Adobe: The Rise of Los Angeles and the Remaking of Its Mexican Past. Berkeley: University of California Press, 2004.Google Scholar
Dickinson, Charles, ed. Las Posadas: The Songs of Christmas in Mexico As Sung Each Christmas at the Padua Hills Theatre. Foreword by Garner, Bess. Claremont, CA: Padua Institute, 1935.Google Scholar
Fine, David. Imagining Los Angeles: A City in Fiction. Albuquerque: University of New Mexico Press, 2000.Google Scholar
Garcia, Matt. “‘Just Put On That Padua Hills Smile’: The Mexican Players and the Padua Hills Theatre, 1931–1974.” California History 74/3 (Fall 1995): 244–61.Google Scholar
Garcia, Matt. A World Of Its Own: Race, Labor, and Citrus in the Making of Greater Los Angeles, 1900–1970. Chapel Hill: University of North Carolina Press, 2001.Google Scholar
García, Peter J. “Mexican Early Ballad Tradition: Reconsidering the New Mexican American Folklorists’ Contribution to Songs of Intercultural Conflict.” Latin American Music Review/Revista de Música Latinoamerican 17/2 (1996): 150–71.Google Scholar
Glassberg, David. American Historical Pageantry: The Uses of Tradition in the Early Twentieth Century. Chapel Hill: University of North Carolina Press, 1990.Google Scholar
Goldberg, David Theo, ed. Multiculturalism: A Critical Reader. Cambridge, MA: Blackwell, 1994.Google Scholar
Gottschild, Brenda Dixon. Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era. New York: Palgrave Macmillan, 2000.Google Scholar
Gurza, Augustín. The Arhoolie Foundation's Strachwitz Frontera Collection of Mexican and Mexican American Recordings. Los Angeles: UCLA Chicano Studies Research Center Press, 2012.Google Scholar
Haas, Lisabeth. Conquest and Historical Identities in California, 1769–1936. Berkeley: University of California Press, 1995.Google Scholar
Hague, Eleanor, ed. Early Spanish-Californian Folk-Songs. Harmonized by Ross, Gertrude. New York: J. Fischer & Bro., 1922.Google Scholar
Hague, Eleanor. “Spanish-American Folk-Songs.”Journal of American Folklore 24/93 (1911): 323–31.Google Scholar
Hague, Eleanor. “Spanish Songs from Southern California.” Journal of American Folklore 27/105 (1914): 331–32.Google Scholar
Herrera-Sobek, Maria. The Mexican Corrido: A Feminist Analysis. Bloomington: University of Indiana Press, 1993.Google Scholar
Hurtado, Albert L. Intimate Frontiers: Sex, Gender, and Culture in Old California. Albuquerque: University of New Mexico Press, 1999.Google Scholar
Hurtado, Albert L. Indian Survival on the California Frontier. New Haven, CT: Yale University Press, 1988.Google Scholar
Irwin, Robert McKee. “Ramona and Postnationalist American Studies: On ‘Our America’ and the Mexican Borderlands.” American Quarterly 55/4 (December 2003): 539–67.Google Scholar
Jackson, Helen Hunt. A Century of Dishonor. New York: Harper and Brothers, 1881. Reprinted with introduction by Grace Mary Gouveia. New York: Barnes & Noble, 2006.Google Scholar
Kanellos, Nicolás. A History of Hispanic Theatre in the United States: Origins to 1940. Austin: University of Texas Press, 1990.Google Scholar
Keeling, Kara, and Kun, Josh. “Introduction: Listening to American Studies.” American Quarterly 63/3 (September 2011): 445–59.Google Scholar
Koegel, John. “Calendar of Southern California Amusements 1852–1897 Designed for the Spanish-Speaking Public.” Inter-American Music Review 13/2 (1993): 115–43.Google Scholar
Koegel, John. “Canciones del país: Mexican Musical Life in California after the Gold Rush.” California History 78/3 (1999): 161–87, 215–19.Google Scholar
Koegel, John. “Mexican-American Music in Nineteenth-Century Southern California: The Lummis Wax Cylinder Collection at the Southwest Museum, Los Angeles.” Ph.D. diss., The Claremont Graduate School, 1994.Google Scholar
Krasner, David. Resistance, Parody, and Double Consciousness in African American Theatre, 1895–1910. New York: Palgrave Macmillan, 1997.Google Scholar
Kropp, Phoebe S. California Vieja: Cultural Memory in a Modern American Place. Berkeley: University of California Press, 2006.Google Scholar
Kun, Josh. Audiotopia: Music, Race, and America. Berkeley: University of California Press, 2005.Google Scholar
Kun, Josh, ed. Songs in the Key of Los Angeles: Sheet Music from the Collection of the Los Angeles Public Library. Santa Monica, CA: Angel City Press, 2013.Google Scholar
Levine, Lawrence. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press, 1988.Google Scholar
Levy, Beth E. Frontier Figures: American Music and the Mythology of the American West. Berkeley: University of California Press, 2012.Google Scholar
Limón, José E. Mexican Ballads, Chicano Poems: History and Influence in Mexican-American Social Poetry. Berkeley: University of California Press, 1992.Google Scholar
Lomelí, Francisco A., ed. Handbook of Hispanic Cultures in the United States. Vol. 1: Literature and Art. Houston: Arte Público Press, 1993.Google Scholar
Loza, Steven. Barrio Rhythm: Mexican American Music in Los Angeles. Urbana: University of Illinois Press, 1993.Google Scholar
Lummis, Charles F. The Home of Ramona: Photographs of Camulos, the fine old Spanish Estate described by Mrs. Helen Hunt Jackson, as the Home of “Ramona.” Los Angeles: Charles F. Lummis, 1888.Google Scholar
Lummis, Charles F., ed. and trans. Spanish Songs of Old California. With pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929.Google Scholar
Macías, Anthony. “Bringing Music to the People: Race, Urban Culture, and Municipal Politics in Postwar Los Angeles.” American Quarterly 56/3 (September 2004): 693–717.Google Scholar
Macías, Anthony. Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935–1968. Durham, NC: Duke University Press, 2008.Google Scholar
Marcus, Kenneth H. “Living the Los Angeles Renaissance: A Tale of Two Black Composers.” Journal of African American History 91/1 (Winter 2006): 55–72.Google Scholar
Marcus, Kenneth H. Musical Metropolis: Los Angeles and the Creation of a Music Culture, 1880–1940. New York: Palgrave Macmillan, 2004.Google Scholar
Matson, Barb Ann. “Performing Identity, Staging Injustice: California's Ramona Festival as Ritual.” Ph.D. diss., University of Colorado at Boulder, 2006.Google Scholar
McCoy, William J., ed., trans., and arrang. Folk Songs of Spanish Californians. San Francisco: Sherman, Clay & Co., 1926.Google Scholar
McDowell, John Holmes. “Coaxing the Corrido: Centering Song in Performance.” Journal of American Folklore 123/488 (Spring 2010): 127–49.Google Scholar
McWilliams, Carey. Southern California Country: An Island on the Land. Freeport, NY: Duell, Sloan & Pearce, 1946.Google Scholar
Miller, Robert Ryal. “Entertainment in Hispanic California, 1769–1848.” Southern California Quarterly 86/2 (Summer 2004): 101–12.Google Scholar
Nájera-Ramírez, Olga, Cantú, Norma E., and Romero, Brenda M., eds. Dancing Across Borders: Danzas y Bailes Mexicanos. Urbana: University of Illinois Press, 2009.Google Scholar
Peña, Manuel. The Mexican American Orquesta: Music, Culture, and the Dialect of Conflict. Austin: University of Texas Press, 1999.Google Scholar
Phillips, George Harwood. The Enduring Struggle: Indians in California History. San Francisco: Boyd & Fraser, 1981.Google Scholar
Prevots, Naima. American Pageantry: A Movement for Art and Democracy. Ann Arbor, MI: UMI Research, 1990.Google Scholar
Pullen, William Augustus. “The Ramona Pageant: An Historical and Analytical Study.” M.A. thesis. University of Southern California, 1973.Google Scholar
Rath, Richard Cullen. “Hearing American History.” Journal of American History 95/2 (2008): 417–31.Google Scholar
Rath, Richard Cullen. How Early America Sounded. Ithaca, NY: Cornell University Press, 2003.Google Scholar
Robb, John Donald. Hispanic Folk Music of New Mexico and the Southwest: A Self-Portrait of a People. Norman: University of Oklahoma Press, 1980.Google Scholar
Robinson, W. W.Los Angeles from the Days of the Pueblo: A Brief History and Guide to the Plaza Area. [San Francisco]: California Historical Society, 1981.Google Scholar
Ruiz, Vicki. From Out of the Shadows: Mexican Women in Twentieth-Century America. 1998; Oxford: Oxford University Press, 2008.Google Scholar
Sánchez, George. Becoming Mexican American: Ethnicity, Culture, and Identity in Chicano Los Angeles, 1900–1945. New York: Oxford University Press, 1993.Google Scholar
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. New York: Alfred A. Knopf, 1977.Google Scholar
Schmidt, Leigh Eric. Hearing Things: Religion, Illusion, and the American Enlightenment. Cambridge, MA: Harvard University Press, 2000.Google Scholar
Simonett, Helena. Banda: Mexican Musical Life Across Borders. Middletown, CT: Wesleyan University Press, 2001.Google Scholar
Smith, Dave. Disney A to Z: The Updated Official Encyclopedia. New York: Hyperion, 1998.Google Scholar
Smith, Mark M. How Race is Made: Slavery, Segregation, and the Senses. Chapel Hill: University of North Carolina Press, 2006.Google Scholar
Sotiropoulos, Karen. Staging Race: Black Performers in Turn of the Century America. Cambridge, MA: Harvard University Press, 2006.Google Scholar
Spottswood, Richard K. Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942. 7 vols. Urbana: University of Illinois Press, 1990.Google Scholar
Starr, Kevin. Inventing the Dream: California through the Progressive Era. New York: Oxford University Press, 1985.Google Scholar
Stevenson, Robert M. “Music in Southern California: A Tale of Two Cities.” Inter-American Music Review 10/1 (Fall–Winter 1988): 39–111.Google Scholar
Taylor, Fredrick J. “Black Music and Musicians in the Nineteenth Century.” Western Journal of Black Studies 29/3 (2005): 615–21.Google Scholar
Thompson, Emily Ann. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933. Cambridge, MA: The MIT Press, 2002.Google Scholar
Vaughan, Mary Kay, ed. The Eagle and the Virgin: Nation and Cultural Revolution in Mexico, 1920–1940. Durham, NC: Duke University Press, 2006.Google Scholar
Withington, Robert. English Pageantry: An Historical Outline. 2 vols. Cambridge, MA: Harvard University Press, 1918.Google Scholar
SACM-Biografias, Quirino Mendoza. http://www.sacm.org.mx/archivos/biografias.asp?txtSocio=08045.Google Scholar
Strachwitz Frontera Collection of Mexican and Mexican American Recordings. http://frontera.library.ucla.edu/.Google Scholar
“Colorful Mexican Star Obtained for Padua Plays.” Los Angeles Times, 2 November 1935, 6.Google Scholar
“Mexican Music Will Be Heard at Padua Hills.” Los Angeles Times, 11 December 1932, B20.Google Scholar
“Adios, adios amores.” Traditional. Spanish Songs of Old California. Translated by Charles F. Lummis, with pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“El capotín.” Traditional. Spanish Songs of Old California. Translated by Charles F. Lummis, with pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929. Recorded in Jose Arias and His Troubadours. LP. H & M Records, 1949. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“Cielito lindo.” Quirino Mendoza y Cortés. Published date unknown. Recorded in Jose Arias and His Troubadours. LP. H & M Records, 1949. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“El curripiti.” Traditional. Performed and arranged in Aguila y Nopal by Graciela Amador and the Mexican Players, 1935.Google Scholar
“El quelele.” Traditional. Translated by Charles F. Lummis, with pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929.Google Scholar
“La hamaca.” Traditional. Translated by Charles F. Lummis, with pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“El zapatero.” Traditional. Translated by Charles F. Lummis, with pianoforte accompaniments by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“Romance de Delgadina.” Traditional. Performed and arranged in Aguila y Nopal by Graciela Amador and the Mexican Players, 1935.Google Scholar
“La serenata.” Salvador Sanchez, Miguel Vera, and Catalino Alva. Performed and arranged by the Mexican Players, 1931.Google Scholar
The Four Horsemen of the Apocalypse. Metro Pictures, 1921. Cobra Entertainment, 2011, DVD.Google Scholar
Music of California and the West by the Arias Troubadours. Liner notes by Kenneth Marcus. Fred Herrera Music, BMI, 2007, CD.Google Scholar
The Three Caballeros. Walt Disney Studios, 1944. Walt Disney Home Entertainment, 2008, DVD.Google Scholar
Charles F. Lummis Collection. Autry National Center of the American West. Los Angeles, CA.Google Scholar
Padua Hills Theatre Collection. Special Collections, Pomona Public Library. Pomona, CA.Google Scholar
Padua Hills Theatre Collection. Special Collections, Honnold/Mudd Library, Claremont Colleges. Claremont, CA.Google Scholar
Ramona Pageant. Ramona Bowl Museum. Hemet, CA.Google Scholar
Ramona Pageant. Department of Prints and Ephemera, The Huntington Library. San Marino, CA.Google Scholar
Aldama, Arturo J., Sandoval, Chela, and García, Peter J., eds. Performing the US Latina and Latino Borderlands. Bloomington: Indiana University Press, 2012.Google Scholar
Anzaldúa, Gloria. Borderlands: The New Mestiza/La Frontera. 4th ed. San Francisco: Aunt Lute Books, 2012.Google Scholar
Arrizón, Alicia. “Contemporizing Performance: Mexican California and the Padua Hills Theatre.” Mester 22–23 (1993/1994): 5–30.Google Scholar
Arrizón, Alicia. “Mythical Performativity: Relocating Aztlán in Chicana Feminist Cultural Productions.” Theatre Journal 52/1 (March 2000): 23–49.Google Scholar
Beegle, Mary Porter, and Crawford, Jack Randall. Community Drama and Pageantry. New Haven, CT: Yale University Press, 1916.Google Scholar
Brigandi, Phil. Garnet Holme: California's Pageant Master. Hemet, CA: Ramona Pageant Association, 1991.Google Scholar
Brigandi, Phil. The Ramona Pageant: A Pictorial History, 1923–1998. Hemet, CA: Hemet News, 1997.Google Scholar
Brigandi, Phil. “The Rancho and the Romance. Rancho Camulos: ‘The Home of Ramona.’” Ventura County Historical Society Quarterly 42/3 and 4 (1998): 5–45.Google Scholar
Brigandi, Phil, and Robinson, John W.. “The Killing of Juan Diego: From Murder to Mythology.” Journal of San Diego History 40/1–2 (Winter/Spring 1994): 1–22.Google Scholar
Campa, Arthur L. Hispanic Culture in the Southwest. Norman: University of Oklahoma Press, 1979.Google Scholar
Ceseña, María Teresa. “Creating Agency and Identity in Danza Azteca.” In Dancing Across Borders: Danzas y Bailes Mexicanos, ed. Nájera-Ramírez, Olga, Cantú, Norma E., and Romero, Brenda M., 80–94. Urbana: University of Illinois Press, 2009.Google Scholar
Chávez-García, Miroslava. “Guadalupe Trujillo: Race, Culture, and Justice in Mexican Los Angeles.” In The Human Tradition in California, ed. Davis, Clark and Igler, David, 31–46. Wilmington, DE: Scholarly Resources Books, 2002.Google Scholar
Cheney, James A. “A Study of the Sociological Impact of Helen Hunt Jackson on the San Jacinto Valley.” M.A. thesis. La Verne College, 1973.Google Scholar
DeLyser, Dydia. Ramona Memories: Tourism and the Shaping of Southern California. Minneapolis: University of Minnesota Press, 2005.Google Scholar
Deuel, Pauline B. Mexican Serenade: The Story of the Mexican Players and the Padua Hills Theatre. Claremont, CA: Padua Institute, 1961.Google Scholar
Deverell, William. Whitewashed Adobe: The Rise of Los Angeles and the Remaking of Its Mexican Past. Berkeley: University of California Press, 2004.Google Scholar
Dickinson, Charles, ed. Las Posadas: The Songs of Christmas in Mexico As Sung Each Christmas at the Padua Hills Theatre. Foreword by Garner, Bess. Claremont, CA: Padua Institute, 1935.Google Scholar
Fine, David. Imagining Los Angeles: A City in Fiction. Albuquerque: University of New Mexico Press, 2000.Google Scholar
Garcia, Matt. “‘Just Put On That Padua Hills Smile’: The Mexican Players and the Padua Hills Theatre, 1931–1974.” California History 74/3 (Fall 1995): 244–61.Google Scholar
Garcia, Matt. A World Of Its Own: Race, Labor, and Citrus in the Making of Greater Los Angeles, 1900–1970. Chapel Hill: University of North Carolina Press, 2001.Google Scholar
García, Peter J. “Mexican Early Ballad Tradition: Reconsidering the New Mexican American Folklorists’ Contribution to Songs of Intercultural Conflict.” Latin American Music Review/Revista de Música Latinoamerican 17/2 (1996): 150–71.Google Scholar
Glassberg, David. American Historical Pageantry: The Uses of Tradition in the Early Twentieth Century. Chapel Hill: University of North Carolina Press, 1990.Google Scholar
Goldberg, David Theo, ed. Multiculturalism: A Critical Reader. Cambridge, MA: Blackwell, 1994.Google Scholar
Gottschild, Brenda Dixon. Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era. New York: Palgrave Macmillan, 2000.Google Scholar
Gurza, Augustín. The Arhoolie Foundation's Strachwitz Frontera Collection of Mexican and Mexican American Recordings. Los Angeles: UCLA Chicano Studies Research Center Press, 2012.Google Scholar
Haas, Lisabeth. Conquest and Historical Identities in California, 1769–1936. Berkeley: University of California Press, 1995.Google Scholar
Hague, Eleanor, ed. Early Spanish-Californian Folk-Songs. Harmonized by Ross, Gertrude. New York: J. Fischer & Bro., 1922.Google Scholar
Hague, Eleanor. “Spanish-American Folk-Songs.”Journal of American Folklore 24/93 (1911): 323–31.Google Scholar
Hague, Eleanor. “Spanish Songs from Southern California.” Journal of American Folklore 27/105 (1914): 331–32.Google Scholar
Herrera-Sobek, Maria. The Mexican Corrido: A Feminist Analysis. Bloomington: University of Indiana Press, 1993.Google Scholar
Hurtado, Albert L. Intimate Frontiers: Sex, Gender, and Culture in Old California. Albuquerque: University of New Mexico Press, 1999.Google Scholar
Hurtado, Albert L. Indian Survival on the California Frontier. New Haven, CT: Yale University Press, 1988.Google Scholar
Irwin, Robert McKee. “Ramona and Postnationalist American Studies: On ‘Our America’ and the Mexican Borderlands.” American Quarterly 55/4 (December 2003): 539–67.Google Scholar
Jackson, Helen Hunt. A Century of Dishonor. New York: Harper and Brothers, 1881. Reprinted with introduction by Grace Mary Gouveia. New York: Barnes & Noble, 2006.Google Scholar
Kanellos, Nicolás. A History of Hispanic Theatre in the United States: Origins to 1940. Austin: University of Texas Press, 1990.Google Scholar
Keeling, Kara, and Kun, Josh. “Introduction: Listening to American Studies.” American Quarterly 63/3 (September 2011): 445–59.Google Scholar
Koegel, John. “Calendar of Southern California Amusements 1852–1897 Designed for the Spanish-Speaking Public.” Inter-American Music Review 13/2 (1993): 115–43.Google Scholar
Koegel, John. “Canciones del país: Mexican Musical Life in California after the Gold Rush.” California History 78/3 (1999): 161–87, 215–19.Google Scholar
Koegel, John. “Mexican-American Music in Nineteenth-Century Southern California: The Lummis Wax Cylinder Collection at the Southwest Museum, Los Angeles.” Ph.D. diss., The Claremont Graduate School, 1994.Google Scholar
Krasner, David. Resistance, Parody, and Double Consciousness in African American Theatre, 1895–1910. New York: Palgrave Macmillan, 1997.Google Scholar
Kropp, Phoebe S. California Vieja: Cultural Memory in a Modern American Place. Berkeley: University of California Press, 2006.Google Scholar
Kun, Josh. Audiotopia: Music, Race, and America. Berkeley: University of California Press, 2005.Google Scholar
Kun, Josh, ed. Songs in the Key of Los Angeles: Sheet Music from the Collection of the Los Angeles Public Library. Santa Monica, CA: Angel City Press, 2013.Google Scholar
Levine, Lawrence. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA: Harvard University Press, 1988.Google Scholar
Levy, Beth E. Frontier Figures: American Music and the Mythology of the American West. Berkeley: University of California Press, 2012.Google Scholar
Limón, José E. Mexican Ballads, Chicano Poems: History and Influence in Mexican-American Social Poetry. Berkeley: University of California Press, 1992.Google Scholar
Lomelí, Francisco A., ed. Handbook of Hispanic Cultures in the United States. Vol. 1: Literature and Art. Houston: Arte Público Press, 1993.Google Scholar
Loza, Steven. Barrio Rhythm: Mexican American Music in Los Angeles. Urbana: University of Illinois Press, 1993.Google Scholar
Lummis, Charles F. The Home of Ramona: Photographs of Camulos, the fine old Spanish Estate described by Mrs. Helen Hunt Jackson, as the Home of “Ramona.” Los Angeles: Charles F. Lummis, 1888.Google Scholar
Lummis, Charles F., ed. and trans. Spanish Songs of Old California. With pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929.Google Scholar
Macías, Anthony. “Bringing Music to the People: Race, Urban Culture, and Municipal Politics in Postwar Los Angeles.” American Quarterly 56/3 (September 2004): 693–717.Google Scholar
Macías, Anthony. Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935–1968. Durham, NC: Duke University Press, 2008.Google Scholar
Marcus, Kenneth H. “Living the Los Angeles Renaissance: A Tale of Two Black Composers.” Journal of African American History 91/1 (Winter 2006): 55–72.Google Scholar
Marcus, Kenneth H. Musical Metropolis: Los Angeles and the Creation of a Music Culture, 1880–1940. New York: Palgrave Macmillan, 2004.Google Scholar
Matson, Barb Ann. “Performing Identity, Staging Injustice: California's Ramona Festival as Ritual.” Ph.D. diss., University of Colorado at Boulder, 2006.Google Scholar
McCoy, William J., ed., trans., and arrang. Folk Songs of Spanish Californians. San Francisco: Sherman, Clay & Co., 1926.Google Scholar
McDowell, John Holmes. “Coaxing the Corrido: Centering Song in Performance.” Journal of American Folklore 123/488 (Spring 2010): 127–49.Google Scholar
McWilliams, Carey. Southern California Country: An Island on the Land. Freeport, NY: Duell, Sloan & Pearce, 1946.Google Scholar
Miller, Robert Ryal. “Entertainment in Hispanic California, 1769–1848.” Southern California Quarterly 86/2 (Summer 2004): 101–12.Google Scholar
Nájera-Ramírez, Olga, Cantú, Norma E., and Romero, Brenda M., eds. Dancing Across Borders: Danzas y Bailes Mexicanos. Urbana: University of Illinois Press, 2009.Google Scholar
Peña, Manuel. The Mexican American Orquesta: Music, Culture, and the Dialect of Conflict. Austin: University of Texas Press, 1999.Google Scholar
Phillips, George Harwood. The Enduring Struggle: Indians in California History. San Francisco: Boyd & Fraser, 1981.Google Scholar
Prevots, Naima. American Pageantry: A Movement for Art and Democracy. Ann Arbor, MI: UMI Research, 1990.Google Scholar
Pullen, William Augustus. “The Ramona Pageant: An Historical and Analytical Study.” M.A. thesis. University of Southern California, 1973.Google Scholar
Rath, Richard Cullen. “Hearing American History.” Journal of American History 95/2 (2008): 417–31.Google Scholar
Rath, Richard Cullen. How Early America Sounded. Ithaca, NY: Cornell University Press, 2003.Google Scholar
Robb, John Donald. Hispanic Folk Music of New Mexico and the Southwest: A Self-Portrait of a People. Norman: University of Oklahoma Press, 1980.Google Scholar
Robinson, W. W.Los Angeles from the Days of the Pueblo: A Brief History and Guide to the Plaza Area. [San Francisco]: California Historical Society, 1981.Google Scholar
Ruiz, Vicki. From Out of the Shadows: Mexican Women in Twentieth-Century America. 1998; Oxford: Oxford University Press, 2008.Google Scholar
Sánchez, George. Becoming Mexican American: Ethnicity, Culture, and Identity in Chicano Los Angeles, 1900–1945. New York: Oxford University Press, 1993.Google Scholar
Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. New York: Alfred A. Knopf, 1977.Google Scholar
Schmidt, Leigh Eric. Hearing Things: Religion, Illusion, and the American Enlightenment. Cambridge, MA: Harvard University Press, 2000.Google Scholar
Simonett, Helena. Banda: Mexican Musical Life Across Borders. Middletown, CT: Wesleyan University Press, 2001.Google Scholar
Smith, Dave. Disney A to Z: The Updated Official Encyclopedia. New York: Hyperion, 1998.Google Scholar
Smith, Mark M. How Race is Made: Slavery, Segregation, and the Senses. Chapel Hill: University of North Carolina Press, 2006.Google Scholar
Sotiropoulos, Karen. Staging Race: Black Performers in Turn of the Century America. Cambridge, MA: Harvard University Press, 2006.Google Scholar
Spottswood, Richard K. Ethnic Music on Records: A Discography of Ethnic Recordings Produced in the United States, 1893 to 1942. 7 vols. Urbana: University of Illinois Press, 1990.Google Scholar
Starr, Kevin. Inventing the Dream: California through the Progressive Era. New York: Oxford University Press, 1985.Google Scholar
Stevenson, Robert M. “Music in Southern California: A Tale of Two Cities.” Inter-American Music Review 10/1 (Fall–Winter 1988): 39–111.Google Scholar
Taylor, Fredrick J. “Black Music and Musicians in the Nineteenth Century.” Western Journal of Black Studies 29/3 (2005): 615–21.Google Scholar
Thompson, Emily Ann. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933. Cambridge, MA: The MIT Press, 2002.Google Scholar
Vaughan, Mary Kay, ed. The Eagle and the Virgin: Nation and Cultural Revolution in Mexico, 1920–1940. Durham, NC: Duke University Press, 2006.Google Scholar
Withington, Robert. English Pageantry: An Historical Outline. 2 vols. Cambridge, MA: Harvard University Press, 1918.Google Scholar
SACM-Biografias, Quirino Mendoza. http://www.sacm.org.mx/archivos/biografias.asp?txtSocio=08045.Google Scholar
Strachwitz Frontera Collection of Mexican and Mexican American Recordings. http://frontera.library.ucla.edu/.Google Scholar
“Colorful Mexican Star Obtained for Padua Plays.” Los Angeles Times, 2 November 1935, 6.Google Scholar
“Mexican Music Will Be Heard at Padua Hills.” Los Angeles Times, 11 December 1932, B20.Google Scholar
“Adios, adios amores.” Traditional. Spanish Songs of Old California. Translated by Charles F. Lummis, with pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“El capotín.” Traditional. Spanish Songs of Old California. Translated by Charles F. Lummis, with pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929. Recorded in Jose Arias and His Troubadours. LP. H & M Records, 1949. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“Cielito lindo.” Quirino Mendoza y Cortés. Published date unknown. Recorded in Jose Arias and His Troubadours. LP. H & M Records, 1949. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“El curripiti.” Traditional. Performed and arranged in Aguila y Nopal by Graciela Amador and the Mexican Players, 1935.Google Scholar
“El quelele.” Traditional. Translated by Charles F. Lummis, with pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929.Google Scholar
“La hamaca.” Traditional. Translated by Charles F. Lummis, with pianoforte accompaniment by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“El zapatero.” Traditional. Translated by Charles F. Lummis, with pianoforte accompaniments by Arthur Farwell. Los Angeles: Charles F. Lummis, 1923; New York: G. Schirmer, 1929. Recorded in Music of California and the West by the Arias Troubadours. Fred Herrera Music, BMI, 2007, CD.Google Scholar
“Romance de Delgadina.” Traditional. Performed and arranged in Aguila y Nopal by Graciela Amador and the Mexican Players, 1935.Google Scholar
“La serenata.” Salvador Sanchez, Miguel Vera, and Catalino Alva. Performed and arranged by the Mexican Players, 1931.Google Scholar
The Four Horsemen of the Apocalypse. Metro Pictures, 1921. Cobra Entertainment, 2011, DVD.Google Scholar
Music of California and the West by the Arias Troubadours. Liner notes by Kenneth Marcus. Fred Herrera Music, BMI, 2007, CD.Google Scholar
The Three Caballeros. Walt Disney Studios, 1944. Walt Disney Home Entertainment, 2008, DVD.Google Scholar