For over ten years, Los Angeles arts patron Betty Freeman (1921–2009) welcomed composers, performers, scholars, patrons, and invited guests into her home for a series of monthly musicales that were known as ‘Salotto’. In this article, I analyse Freeman's musicales within a sociological framework of gender and what Randall Collins calls ‘interaction rituals’. I contextualize these events, which took place in a space in her Beverly Hills home known as the Music Room, within a broader history of salon culture in Los Angeles in the twentieth century – a history that shaped the city's relationship with the artistic avant-garde and made Los Angeles an important amplifier for many of the most important voices in contemporary Western art music of the last sixty years.

中文翻译：

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音乐室：贝蒂弗里曼的音乐晚会

十多年来，洛杉矶艺术赞助人贝蒂弗里曼（Betty Freeman，1921-2009）欢迎作曲家、表演者、学者、赞助人，并邀请客人到她家观看一系列每月一次的音乐剧，被称为“Salotto”。在这篇文章中，我在性别的社会学框架和兰德尔柯林斯所说的“互动仪式”中分析了弗里曼的音乐剧。我将这些事件背景化，这些事件发生在她比佛利山庄家中被称为音乐室的空间中，在 20 世纪洛杉矶沙龙文化的更广泛历史中——这段历史塑造了这座城市与艺术前卫的关系并使洛杉矶成为过去六十年来当代西方艺术音乐中许多最重要声音的重要放大器。