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Unit","","A dissertation examining the California E.A.R. Unit as a contemporary music ensemble and cultural actor, tracing its formation, professional engagements, and evolving artistic missions across key Los Angeles institutional contexts. The research follows ensemble development at CalArts, long-term residency structures connected to LACMA, and interdisciplinary collaborations that shaped music “in motion,” culminating in performances and transformations associated with REDCAT. 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Unit and presents it as a contemporary music ensemble through a biography tracing its formation and artistic development.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the research structure the ensemble’s history?",{"text":117,"@type":113},"It is organized across major institutional and time periods, including CalArts (1980-1987), LACMA (1984-2005), interdisciplinary collaborations (1993-1998), and REDCAT (2005-2012).",{"name":119,"@type":110,"acceptedAnswer":120},"Which Los Angeles institutions are central to the narrative?",{"text":121,"@type":113},"Key contexts include the California Institute of the Arts (CalArts), LACMA, and Walt Disney Concert Hall’s REDCAT, each tied to specific chapters and activities.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},140818,1787641677,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":19,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":129,"read_time":144},687197207639,"https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd","UNIVERSITY OF CALIFORNIA SAN DIEGO  \n“New Music Ambassadors to the World”: A Biography of the California E.A.R. Unit  \nA Dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts  \nin  \nContemporary Music Performance  \nby  \nMichael Kento Matsuno  \nCommittee in charge:  \nProfessor Anthony Burr, Co-Chair  \nProfessor Jann Pasler, Co-Chair  \nProfessor Erik Carlson  \nProfessor Leanne Chukoskie  \nProfessor Sarah Creel  \nProfessor John Fonville  \nCopyright  \nMichael Kento Matsuno, 2024 All rights reserved.  \nThe Dissertation of Michael Kento Matsuno is approved, and it is acceptable in quality and form for publication on microfilm and electronically.  \nUniversity of California San Diego  \n2024  \nTABLE OF CONTENTS  \nDissertation Approval Page ............................................................................................... iii  \nTable of Contents .............................................................................................................. iv  \n[List of Figures ................................................................................................................... vi](List of Figures ................................................................................................................... vi)  \n[Acknowledgements ...............................](Acknowledgements ...............................).......................................................................... viii  \nVita .................................................................................................................................... ix  \nAbstract of the Dissertation ............................................................................................... x  \nIntroduction ...................................................................................................................... 1  \n0.1 The contemporary music ensemble in the United States .................................. 4  \n0.2 Histories of contemporary music in Los Angeles ............................................. 8  \n0.3 The California Institute of the Arts ................................................................. 14  \n0.4 Methods and sources ....................................................................................... 17  \n0.5 Chapters .......................................................................................................... 22  \nChapter 1  \nEnsemble Formation and Professional Engagements at CalArts (1980-1987) ......... 27  \n1.1 Graduate student years .................................................................................... 28  \n1.1.1 The Twentieth Century Players ....................................................... 33  \n1.1.2 CalArts Contemporary Music Festivals ........................................... 39  \n1.1.3 The American Dance Festival .......................................................... 47  \n1.1.4 Cafeteria meetings and becoming a unit .......................................... 49  \n1.1.5 The Holland Festival ........................................................................ 55  \n1.2 Post-graduation work at CalArts..................................................................... 60  \n1.2.1 The Olympic Arts Festival ............................................................... 65  \n1.2.2 More Los Angeles contemporary music festivals............................ 73  \n1.2.3 Leaving CalArts ............................................................................... 77  \n1.3 Conclusions ..................................................................................................... 80  \nChapter 2  \nLACMA: Monday Evening Concerts and Ensemble Residency (1984-2005) .......... 84  \n2.1 Monday Evening Concerts.............................................................................. 85  \n2.1.1 Frank Zappa, While You Were Art ................................................... 90  \n2.2 Ensemble Residency Series ","cbCaiqMYZBIFIlYb","https://ap.wps.com/l/cbCaiqMYZBIFIlYb","pdf",2914384,231,"English","# Introduction\n## The contemporary music ensemble in the United States\n## Histories of contemporary music in Los Angeles\n## The California Institute of the Arts\n## Methods and sources\n## Chapters\n# Chapter 1 - Ensemble Formation and Professional Engagements at CalArts (1980-1987)\n## Graduate student years\n## Post-graduation work at CalArts\n## Conclusions\n# Chapter 2 - LACMA: Monday Evening Concerts and Ensemble Residency (1984-2005)\n## Monday Evening Concerts\n## Ensemble Residency Series at LACMA\n## LACMA ends contemporary music programs\n## Programming meetings and operations\n## Conclusions\n# Chapter 3 - Interdisciplinary Collaborations for Music in Motion (1993-1998)\n## Music in Motion\n## 1993-1994: Eve Beglarian and Bernardo Feldman\n## 1994-1995: Paul Dresher and Annea Lockwood\n## 1995-1996: Jack Vees\n## 1997-1998: Rand Steiger\n## Conclusions\n# Chapter 4 - Final Transformations at Walt Disney Concert Hall’s REDCAT (2005-2012)\n## Personal losses, new repertoire, and performances at REDCAT\n## The California E.A.R. Unit Trio: 2010-2012\n## Conclusions\n# Conclusions\n## Coming together as the","[{\"question\":\"What subject does the dissertation focus on?\",\"answer\":\"The dissertation focuses on the California E.A.R. Unit and presents it as a contemporary music ensemble through a biography tracing its formation and artistic development.\"},{\"question\":\"How does the research structure the ensemble’s history?\",\"answer\":\"It is organized across major institutional and time periods, including CalArts (1980-1987), LACMA (1984-2005), interdisciplinary collaborations (1993-1998), and REDCAT (2005-2012).\"},{\"question\":\"Which Los Angeles institutions are central to the narrative?\",\"answer\":\"Key contexts include the California Institute of the Arts (CalArts), LACMA, and Walt Disney Concert Hall’s REDCAT, each tied to specific chapters and activities.\"}]","“New Music Ambassadors to the World” - A Biography of the California E.A.R. Unit | PDF",582]