“The Central Avenue Borderscape: Racial and Musical Borders in Los Angeles in the Era of Jim Crow,” Pacific Historical Review
“Artist,” in A Day in the Life of an American Worker, ed. Nancy Quam-Wickham and Ben Tyler Elliott, 2 vols. (Santa Barbara, CA: ABC-CLIO), vol. 2: 506-08.
“‘Every Evening at 8’: The Rise of the Promenade Concerts in Late-Nineteenth Century Boston,” American Music 36, no. 2: 194-221. DOI: https://muse.jhu.edu/article/700005/pdf
“Modjeska, Paderewski, and the California Landscape,” Southern California Quarterly 100, no. 1: 69-104. DOI: https://doi.org/10.1525/scq.2018.100.1.69
Book review, Neil Campbell, ed., Under the Western Sky: Essays on the Fiction and Music of Willy Vlautin (Reno: University of Nevada Press, 2018) in Nevada Historical Society Quarterly 61, no. 1-4: 108-09.
Schoenberg and Hollywood Modernism (Cambridge University Press, 2016).
Book Review, Peter Gough, Sounds of the New Deal: The Federal Music Project in the West (Urbana and Chicago: University of Illinois Press, 2015) in American Historical Review 121, no. 2 (2016): 588-89.
Book Review, Diane Pecknold, ed., Hidden in the Mix: The African American Presence in Country Music (Durham, NC: Duke University Press, 2013) in The Journal of African American History 101, no. 3 (2016): 377-79.
“Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players,” Journal of the Society for American Music 9, no. 1 (2015): 26-60. DOI: http://dx.doi.org/10.1017/S1752196314000534
Book Review, Sherrie Tucker, Dance Floor Democracy: The Social Geography of Memory at the Hollywood Canteen(Durham, NC: Duke University Press, 2014) in Southern California Quarterly 97, no. 2 (2015): 225-28. DOI: 10.1525/scq.2015.97.2.225
“Dance Moves: An African-American Ballet Company in Postwar Los Angeles,” Pacific Historical Review 83, no. 3 (2014): 487-527. DOI: 10.1525/phr.2014.83.3.487. Online at http://www.jstor.org/stable/10.1525/phr.2014.83.3.487
“The International Relations of Thomas Mann in Early Cold War Germany,” in “Who is a Diplomat? Diplomatic Entrepreneurs in the Global Age,” ed. Giles Scott-Smith, special issue, New Global Studies 8, no. 1 (2014): 49-64. DOI: 10.1515/ngs-2014-007. Online at https://www.degruyter.com/view/j/ngs.2014.8.issue-1/ngs-2014-0007/ngs-2014-0007.xml?format=INT
Book Review, Jim Tranquada and John King, The ‘Ukulele: A History (Honolulu: University of Hawai’i Press, 2012), in Pacific Historical Review 83, no. 1 (2014): 166-68.
“Recent Approaches to Cultural History: American Photography, Film, and Music,” History Compass 11, no. 3 (2013): 247-57. DOI: 10.1111/hic3.12040. Online at http://onlinelibrary.wiley.com/doi/10.1111/hic3.12040/abstract
“Comedy and Satire in American Music, 1945 to the Present,” in Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture, ed. Jacqueline Edmonson, 4 vols. (Santa Barbara, CA: Greenwood, 2013), vol. 1: 252-56. Online at http://www.abc-clio.com/ABC-CLIOCorporate/product.aspx?pc=A3356C
Book Review, Thy Phu, Picturing Model Citizens: Civility in Asian American Visual Culture (Philadelphia: Temple University Press, 2012), in Pacific Historical Review 82, no. 3 (2013): 452-54.
The Ramona Pageant: Myth, History and Community. DVD. Kenneth Marcus, historical consultant, commentator, and associate producer. Story of the oldest, continuously-run historical pageant drama in American history. Wilkman Productions, Inc. 2012.
Latino Los Angeles. Film of conference papers and interviews. Kenneth Marcus, conference organizer, moderator, and interviewer. Historical Society of Southern California, Autry Museum of the American West, Los Angeles, April 21, 2012. Directed by Bryan Best, University of La Verne.
“Immigration and Modernism: Arnold Schoenberg and the Los Angeles Émigrés,” in Aesthetic Practices and Politics in Media, Music, and Art: Performing Migration, ed. Rocío G. Davis, Dorothea Fischer-Hornung, and Johanna C. Kardux (New York and Abingdon, UK: Routledge, 2011): 183-98.
“Inside and Outside Chinatown: Chinese Elites in Exclusion Era California,” with Yong Chen, Pacific Historical Review 80, no. 3 (2011): 369-400. DOI: 10.1525/phr.2011.80.3.369. Online at http://www.jstor.org/stable/10.1525/phr.2011.80.3.369
“Heimat and Hybridity: Arnold Schoenberg and Southern California Modernism,” Forum for Inter-American Research4, no. 1 (2011): 54-71. Online at http://www.interamerica.de/volume-4-1/marcus/
“Los Angeles, 1952-1989,” in Cities in American Political History, ed. Richardson Dilworth (Washington, DC: CQ Press, 2011).
“Los Angeles, 1989-2010,” in Cities in American Political History, ed. Richardson Dilworth (Washington, DC: CQ Press, 2011).
“Modernism Is As Modernism Does,” notes for exhibition, Memory Space, Tavo Olmos, Irene Carlson Gallery, University of La Verne, October-December 2011.
Website Review, Mary Kay Duggan, 19th Century California Sheet Music Website, online at http://people.ischool.berkeley.edu/~mkduggan/neh.html, in The Journal of American History 98, no. 1 (2011): 308. DOI: 10.1093/jahist/jar137
Book Review, Marina Peterson, Sound, Space, and the City: Civic Performance in Downtown Los Angeles(Philadelphia: University of Pennsylvania Press, 2009), in Southern California Quarterly 93, no. 3 (2011): 361-63.
Book Review, Craig H. Russell, From Serra to Sancho: Music and Pageantry in the California Missions (New York: Oxford University Press, 2009), in Southern California Quarterly 92, no. 4 (2010): 425-47.
“California History and the Performing Arts,” in “Teaching California History: A Conversation,” ed. Nicolas G. Rosenthal and Allison Varzally, special issue, California History 87, no. 1 (2009): 60. DOI: 10.2307/40495251. Online at http://ch.ucpress.edu/content/87/1/60.1
“Creating a Musical Community: The Founding of the Hollywood Bowl,” in “Urban Community in the West: Los Angeles,” ed. Kenneth H. Marcus, special issue, Journal of the West 48, no. 2 (2009): 68-75.
“Urban Community in the West: Los Angeles,” ed. Kenneth H. Marcus, special issue, Journal of the West 48, no. 2 (2009), , with articles by D. J. Waldie, Jacqueline Cogdell Dje Dje, Anne Scheid, Susan A. Philips, Mark Wild, Daniel Cady, Gloria Ricci Lothrop, and Kenneth H. Marcus. Poetry and artwork by J. Michael Walker.
Fantasias: Schubert, Schumann, Schönberg. CD. Kenneth Marcus, liner notes. Oleg Kagan, violin. Edward Auer, Vassily Lobanov, Vladimir Skanavi, piano. LiveClassics, Munich, Germany. LC 05954.
Crown City Band: Live at the Coffee Gallery Backstage. CD. Rock, blues, and country music. Kenneth Marcus, guitar and lead vocals with Crown City Band. Works by Kenneth Marcus, Willie Dixon, John Fogerty, and others. Recorded live, Altadena, California, May 3, 2009.
Book Review, Anthony Macías, Mexican American Mojo: Music, Dance, and Urban Culture in Los Angeles, 1935-1968 (Durham, NC: Duke University Press, 2008), in American Historical Review 114, no. 5 (2009): 1486-87.
Book Review, Minna Yang, California Polyphony: Ethnic Voices, Musical Crossroads (Urbana: University of Illinois Press, 2008), in Pacific Historical Review 78, no. 3 (2009): 443-44.
Book Review, Catherine Parsons Smith, Making Music in Los Angeles: Transforming the Popular (Berkeley: University of California Press, 2007), in American Studies 50, no. 1 and 2 (2009): 183-84.
“Baseball Stadiums and American Audiences,” Telos 143 (Summer 2008): 165-70. Online at http://journal.telospress.com/content/2008/143/165.abstract
“Judaism Revisited: Arnold Schoenberg in Los Angeles,” Southern California Quarterly 89, no. 3 (2007): 307-25. DOI: 10.2307/41172377. Online at http://scq.ucpress.edu/content/89/3/307
“The Shifting Fortunes of War: Patronage of the Württemberg Hofkapelle during the Thirty Years War,” German History 25, no. 1 (2007): 1-21. DOI: 10.1093/0266355407071987. Online at http://gh.oxfordjournals.org/content/25/1/1.abstract
“Music and American Culture,” History Compass 5, no. 4 (2007): 412-30. DOI: 10.1111/j.1478-0542.2007.00445.x.Online at http://onlinelibrary.wiley.com/doi/10.1111/j.1478-0542.2007.00445.x/pdf
“The Seriousness of Comedy: The Benefit Concerts of Jack Benny and Danny Kaye,” American Music 25, no. 2 (2007): 137-68. DOI: 10.2307/40071653
Music of California and the West by the Arias Troubadours. CD. Kenneth Marcus, historical consultant, co-producer, and writer, liner notes. Hispanic folk and dance music of the 19th and 20th century Southwest. Alfonso Arias and José Arias, violins; Fred Herrera, bass, guitarrón; Carlos Corral, accordion; Joe Bruley, guitar, mandolin; Armando Corral, guitar; Carolina Russek Corral, castanets; Ernie Hernandez and Cecilia Camancho, vocals. Fred Herrera Music, BMI, 2007.
Book Review, Beverly Soll, I Dream a World: The Operas of William Grant Still (Fayetteville: University of Arkansas Press, 2005), in The Journal of African American History 92, no. 2 (2007): 305-07.
“Living the Los Angeles Renaissance: A Tale of Two Black Composers,” The Journal of African American History 91, no. 1 (2006): 55-72.
The Arias Troubadours: A Musical Dynasty. DVD. Kenneth Marcus, historical consultant and co-producer. Story of 20th century Mexican American guitarist, singer and bandleader José Arias and the Arias Troubadours. Alfonso Arias and José Arias, violins; Fred Herrera, bass, guitarrón; Carlos Corral, accordion; Joe Bruley, guitar, mandolin. Wilkman Productions, Inc. 2006.
Book Review, Karen Sotiropoulos, Staging Race: Black Performers in Turn of the Century America (Cambridge: Harvard University Press, 2006), in American Historical Review 111, no. 5 (2006): 1531-32.
“‘A New Expression for a New People’: Race and Ballet in Los Angeles, 1946-56,” Journal of the West 44, no. 2(2005): 24-33.
“Arnold Schoenberg’s American Compositions,” notes for exhibition, Paradise Found? LA’s European Jewish Émigrés of the 1930s and 40s, Skirball Cultural Center, Los Angeles, Calif., February-May 2005.
Book Review, Josh Sides, L.A. City Limits: African American Los Angeles from the Great Depression to the Present(Berkeley: University of California Press, 2003), in Journal of the West 44, no. 1 (2005): 107-08.
Musical Metropolis: Los Angeles and the Creation of a Music Culture, 1880-1940 (New York: Palgrave Macmillan, 2004).
“Duchy of Württemberg,” in Europe 1450 to 1789: Encyclopedia of the Early Modern World, ed. Jonathan Dewald, 6 vols. (New York: Charles Scribner’s Sons, 2003), vol. 6: 249-51. Online at http://www.encyclopedia.com/doc/1G2-3404901210.html
Book Review, Eva Shaw, The Sun Never Sets: The Influence of the British on Early Southern California (Irvine, CA: Dickens Press, 2001), in Southern California Quarterly 85, no. 2 (2003): 234-35.
“The Start of Something Big: Theater Music in Los Angeles, 1880-1900,” California History 81, no. 1 (2002): 24-39. DOI: 10.2307/25177663. Online at http://ch.ucpress.edu/content/81/1/24
“Hymnody and Hymnals in Basel, 1526-1606,” The Sixteenth Century Journal 32, no. 3 (2001): 723-41. DOI:10.2307/2671509. Online at http://www.jstor.org/stable/2671509
Popularity of the Pops: The Los Angeles Scene (California State Polytechnic University, Pomona, 2001).
The Politics of Power: Elites of an Early Modern State in Germany, Institut für Europäische Geschichte, vol. 177 (Mainz: Philipp von Zabern Verlag, 2000).
“A Veritable Break with the Past: Sacred Music in Fifteenth-Century Basel,” in Medieval Germany: Associations and Delineations, ed. Nancy van Deusen, Claremont Cultural Studies, 4 (Ottawa: Institute of Medieval Music, 2000): 163-72.
Colorado Boulevard. CD. Blues, rock, and folk music. Kenneth Marcus, guitar and lead vocals; Dalton Perry, harmonica and vocals; Andrew Patscheck, bass and vocals. Works by Kenneth Marcus, Arthur Crudup, Kris Kristofferson, and others. Recorded in Pasadena, California, August 2000.
Crown City Trio: Live at Caltech. CD. Ragtime, blues and rock. Kenneth Marcus, guitar and lead vocals; Dalton Perry, harmonica and vocals; Andrew Patscheck, bass and vocals. Works by Scott Joplin, Arthur Crudup, Elmore James, Willie Dixon, Chuck Berry, and others. Recorded live, Pasadena, California, June 30, 2000.
“The Hollywood Bowl and the Democratization of Music,” Journal of Interdisciplinary Studies 12 (1999): 31-38. Online at www.cpp.edu/~jis/1999/marcus.pdf
Book Review, Paul Westermeyer, Te Deum: The Church and Music (Minneapolis: Fortress Press, 1998), in Sixteenth Century Journal 30, no. 3 (1999): 843-44.
Some American Music. CD. Kenneth Marcus, piano, guitar, and vocals. Ragtime, jazz, spiritual, and folk music. Works by Scott Joplin, George Gershwin, Woody Guthrie, Kenneth Marcus, and others. 1999.
Greek Orthodox Choral Setting of the Liturgy of St. John the Chrysostom. CD. Kenneth Marcus, organ, with the Choir of Saint Anthony Greek Orthodox Church and soloist Nick Zarkantzas, dir. Dimitrios Antsos. Recorded live, Pasadena, California, October 10 and November 7, 1999.
“Die Frage nach der Identität,” Jüdische Rundschau [Basel, Switzerland], (Sept. 3, 1998), 25.
“Drei grosse jüdische Komponisten aus der Goldenen Ära der Filmmusik,” Jüdische Rundschau [Basel, Switzerland],(Sept. 4, 1997), 15.
“Centered on Teaching: Using Multimedia Materials in the Classroom,” World History Bulletin 12, no. 3 (1996): i-iv. Online at http://www.thewha.org/bulletins/spring_1996.pdf
Book Review, David Lasocki with Roger Prior, The Bassanos: Venetian Musicians and Instrument Makers in England, 1531-1665 (Aldershot, UK: Scolar Press, 1995) in Sixteenth Century Journal 27, no. 2 (1996): 599.
“Music Patronage of the Württemberg Hofkapelle, c. 1500-1650,” German History 13, no. 2 (1995): 151-62. DOI: 10.1093/gh/13.2.151. Online at http://gh.oxfordjournals.org/content/13/2/151.extract
Book Review, Jeffery T. Kite-Powell, ed., A Performer’s Guide to Renaissance Music (New York: Schirmer Books, 1994), in Sixteenth Century Journal 26, no. 2 (1995): 421.
“A Question of Corruption: The Case of Martin Nuttel, 1543–44,” German History 11, no. 2 (1993): 127-40. DOI: 10.1093/gh/11.2.127. Online at http://gh.oxfordjournals.org/content/11/2/127.extract