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The Big Bang of Music Patronage in the United States: the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation

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The Big Bang of Music Patronage in the United States: the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation The Big Bang of Music Patronage in the United States: The National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Uy, Michael Sy. 2017. The Big Bang of Music Patronage in the United States: The National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41140247 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Big Bang of Music Patronage in the United States: The National Endowment for the Arts, The Rockefeller Foundation, and The Ford Foundation A dissertation presented by Michael Sy Uy to The Department of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Music Harvard University Cambridge, Massachusetts May 2017 © 2017 Michael Sy Uy All rights reserved. Dissertation Advisors: Carol Oja and Anne Shreffler Michael Sy Uy THE BIG BANG OF MUSIC PATRONAGE IN THE UNITED STATES: THE NATIONAL ENDOWMENT FOR THE ARTS, THE ROCKEFELLER FOUNDATION, AND THE FORD FOUNDATION ABSTRACT The United States experienced a Big Bang of arts funding after the Second World War: in the field of music alone, the Ford Foundation granted over $140 million, the National Endowment for the Arts (NEA) over $110 million, and the Rockefeller Foundation over $40 million. In today's value, the three institutions provided an astonishing $2 billion to music programs over a period of two decades. In my dissertation, I examine the criteria these three institutions used to select composers, musicians, and organizations, the role of "experts" in this system, and how public and private forms of funding both cooperated and competed in this process. I argue that the establishment of a highly concentrated and interconnected field of arts and music experts influenced the way the NEA, the Ford, and the Rockefeller Foundations developed, funded, and ultimately legitimized Western art music. In my analysis, I provide new insights into the social and relational aspects of expertise, especially in discourses concerned with music and art. I accomplish this through extensive archival research of each of the three institutions, oral history with surviving officers and consultants, and ethnographic research at the NEA. I employ theories of expertise and cultural production influenced by sociologists Harry Collins, Pierre Bourdieu, and Michèle Lamont. The music programs of the Ford, Rockefeller, and NEA could be subjects of dissertations in their own right, but the significance of my research is derived from the comparative conclusions iii that I make across these organizations. Thus rather than taking discrete case studies of these three institutions, in each chapter of the dissertation I examine distinct themes and important issues concerning philanthropy, arts patronage, and musical production and consumption. In my chapters I analyze (1) the role of experts such as panelists, staff officers, and boards of trustees in determining definitions of Western high art music, artistic quality, and excellence; (2) the roles of private foundations and the federal government in supporting music programs; and (3) the relationship between avant-garde new music centers like those at Buffalo, Princeton, and Columbia, with major orchestras. iv TABLE OF CONTENTS List of Tables and Figures vi Acknowledgments vii Introduction 1 1. The Music and Performing Arts Programs of the NEA, Ford, and Rockefeller Foundations 24 2. Defining Excellence, Quality, and Style: The Role of Consultants as Experts in Music Grantmaking 79 3. The Role of Officers and Staff as Interactional Experts 127 4. Public and Private Relationships in the Field of Arts Production 165 5. "Foundation Music," Postwar Scientism, and the Support of Western Art Music 204 Conclusion 255 Bibliography 270 Appendix 280 v LIST OF TABLES AND FIGURES Tables: Table 1.1: Estimated Present-Day Dollar Values for 1955, 1965, and 1975 Table 1.2: Rockefeller Foundation University-Symphony Program, 1964 Table 1.3: Rockefeller Foundation University-Symphony Program, 1965 Table 1.4: Rockefeller Foundation University-Symphony Program, 1966 Table 1.5: Rockefeller Foundation University-Symphony Program, 1967 Table 1.6: Rockefeller Foundation University-Symphony Program, 1968 Table 1.7: Rockefeller Foundation Composer-in-Residence Program, 1965-1966 Table 1.8: Rockefeller Foundation Composer-in-Residence Program, 1967-1968 Table 1.9: Rockefeller Foundation Composer-in-Residence Program, 1969-1970 Table 1.10: Rockefeller Foundation Plight of the Conservatories Program Table 1.11: Ford Foundation Concert Artist Competition, 1959 Table 1.12: Ford Foundation Concert Artist Competition, 1962 Table 1.13: Ford Foundation Concert Artist Competition, 1969 Table 2.1: List of Key People and Timeline Table 2.2: Editorial Committee New World Records Table 2.3: The Editorial Committee's Categorization of RAAM Table 2.4: My Categorization of RAAM Table 2.5: Key Consultants' Institutional Affiliations Table 3.1: Timeline of the Rockefeller Foundation in the Arts Table 4.1: "Cultivation of Other Sources of Support," Division of Humanities & the Arts, Grants Awarded between March 1957 and April 1970, by Junius Eddy. Table 4.2: Treasury Fund Grants by Category, 1970-1976 Table 5.1: Rockefeller Foundation University-Symphony Program, Composers and Compositions Played 1965-1966 Table 5.2: NEA Composer and Librettist Program, by Category 1974-1976 Table 5.3: Panelists for the NEA Composer and Librettist Program (affiliations listed by NEA), 1974 Table 5.4: Panelists for the NEA Composer and Librettist Program, 1975 Table 5.5: Panelists for the NEA Composer and Librettist Program, 1976 Figures: Figure 2.1: Diagram for Chapters 2 and 3 Figure 2.2: A Network of Consultants and Panelists Figure 2.3: The RAAM Network Figure 3.1: Organizational Structure of the NEA, Ford, and Rockefeller Foundations Figure 5.1: Bifurcation of the Arts Field vi ACKNOWLEDGMENTS As I wrote this dissertation, I was guided by many inspirational and encouraging voices. Thank you to my committee members, Carol Oja, Anne Shreffler, and Kay Shelemay, who saw me through and who guided me along the way. Thank you to Carol, whose minstrelsy course taught me the most important lessons I learned at Harvard, who offered unwavering support (and tremendous patience!) in the five years it took to publish Porgy, and who has shepherded an amazing cohort of Americanist musicologists. Thank you to Anne, who believed in me even when it took two years for me to write my first chapter, whose regular dissertation groups included chocolate and tea, and who was a thoughtful sounding board and adviser when I felt compelled to speak out against the production of an orientalist opera. Thank you to Kay, who seemed to plan my White House career before I even came to Harvard, responded to my pleas for help faster than I thought humanly possible -- including a request to interview Maya Angelou -- and whose couch was always a source of comfort and reassurance in a chaotic and troubling world. Thank you additionally to Tom Kelly, who generously led me through private tutorials in chant, taught me how to teach charismatically, and introduced me to the wonders of Benevento, Monte Cassino, and Strega. vii Thank you to all of my graduate student colleagues and friends. Special shout outs go to Monica and Natasha, who entered the historical musicology program with me and who were inspiring and motivational peers. Thanks to members of Carol's Americanist dissertation group: Annie, Monica, Caitlin, Sam, Katie, Micah, Hannah, Elizabeth, Luci, and Grace. Thanks to members of Anne's music and politics group: John, Annie, Monica, and Caitlin. Luci got me through generals and many other trying times with her almond cake and chapchae. Countless tales could be told of our trips to the Chinese food truck and the law school. Working at the same Buckminster's table as Elizabeth got me through many papers. Rowland and Ryan were tremendous hosts in New York, and excellent companions to see Magic Mike on July 4th. Sharing French presses with Gavin and Luci were such pleasurable oral stimulants. I could always rely on Ian for the latest Nicki Minaj recommendations. Krystal and Matt are doing some of the most important work in the department with the founding of the Southern Pian Society. They both keep me woke. I would also like to thank especially Nancy, Les, Karen, Kaye, and Eva for all of their support and encouragement. Kaye made sure I didn't fall into a geyser in Yellowstone and Eva made me push through all of life's Power 10s. The Rockefeller Archive Center provided me a research grant to carry out the largest part of my research on the Ford and Rockefeller Foundations. Thank you to everyone with whom I shared meals and conversations during lunch or on the shuttle. Thank you especially to Lucas Buresch, Pat Rosenfeld, and James Allen Smith. Thank you to Tiffany whom I could always vent to while sharing amazing food at AMS or DTLA, and to Eduardo who had the coolest magic tricks. During the summer of 2014, I interned in the Design Department of the NEA. Thank you to all of my friends and colleagues there, and especially Jason Schupbach, Jen Hughes, Courtney Spearman, Ana Steele, John Clark, Sali Ann Kriegsman, Court Burns, Jennifer Kareliusson, Patricia Loiko, Anya Nykyforiak, Kathy Plowitz-Worden, and Douglas Sonntag. viii My journey in the field of historical musicology began at UC Berkeley, under the tutelage and mentorship of Davitt Moroney, Kate van Orden, and Richard Taruskin.
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