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Proquest Dissertations THE FEDERAL MUSIC PROJECT: IMPLICATIONS FOR TODAY By Wynsor Rebekah Taylor Submitted to the Faculty of the College of Arts and Sciences of American University in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Arts Management Chair: ~ herburne Laug ·· · ~/114 ·,e. ~ _,/ A'"tfuee Fullman 1 Date ' 2010 American University Washington, D.C. 20016 AMERICAN Ui\HVERSITY LIBAARY. UMI Number: 1484847 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI __..,Dissertation Publishing.___ UMI 1484847 Copyright 2010 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. Pro uesr --- --.... ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml48106-1346 THE FEDERAL MUSIC PROJECT: IMPLICATIONS FOR TODAY By Wynsor Rebekah Taylor ABSTRACT As one of the work relief programs established as part of President Franklin Delano Roosevelt's New Deal, The Federal Music Project employed musicians throughout the United States. During its eight year tenure, the Federal Music Project employed more individuals than any of the other Federal One Projects while avoiding much ofthe sharp criticism facing art projects of the day. This historical study traces the development and history of the Federal Music Project in order to draw lessons from this successful program to apply to future federally funded arts programs. 11 TABLE OF CONTENTS ABSTRACT .......................................................................................... ii Chapter 1. INTRODUCTION ........................................................................... 1 2. HISTORY OF THE FEDERAL MUSIC PROJECT ................................... ! I 3. LESSONS LEARNED .................................................................... 53 4. CONCLUSION AND SUGGESTIONS FOR FURTHER RESEARCH ......... 73 BIBLIOGRAPHY ................................................................................... 77 111 CHAPTER 1 INTRODUCTION At a time when the world faces economic uncertainty, many individuals fmd themselves looking to the Great Depression and Franklin Delano Roosevelt's New Deal for understanding and inspiration. This era also served as a platform for the greatest experimentation in publicly funded art in the history of the United States with the Federal One Projects of the Works Progress Administration. While many of these projects faced intense scrutiny and were arguably used as scapegoats to reduce the scope of federal relief, the Federal Music Project (FMP) escaped such accusations. The Federal Music Project was successful for many reasons. During its tenure, the Federal Music Project reached a vast audience, employed the largest workforce of all the arts projects, and avoided leftist leanings and accusations more than all of its other Federal One counterparts. 1 In June of 1936 alone, 12.7 million Americans attended one or more of the 26,372 FMP performances? At its height, the Federal Music Project had 15,842 workers on its rolls in various divisions.3 Furthermore, the FMP operated until 1943, nearly four years after Congress passed the Emergency ReliefAppropriations Act 1 Nick Taylor, American-Made: The Enduring Legacy of the WPA: When FDR Put the Nation to Work (New York: Bantam Books, 2008), 287. 2 "Report on Performance and Attendance from Inception to March 31, 1938," Monthly Performance and Attendance Reports, compiled 111936-4/1940, Record Group 69, National Archives at College Park, College Park, Maryland. 3 Taylor, American-Made, 289. 1 2 that legislated the Federal Theatre Project out of existence after individuals raised concerns over the FTP's "communist nature".4 At its inception in 1935, the Federal Music Project received a budget of $7,641,814 from the WPA. 5 According to the U.S. Census Bureau, the population ofthe United States in 1935 was 127,250,232.6 Therefore, the United States government spent $0.06 per person on FMP activities alone. Adjusted for inflation, this is equivalent to $0.94 per person.7 In comparison, in 2009, the NEA received $155 million dollars from the federal government to fund art programs around the country. 8 During the same time, the estimated population of the United States was 305,529,237.9 Therefore, in 2009, the United States only spent $0.51 per person on federally funded arts projects. When one compares this level of financial investment to that made by the federal government to the activities of the FMP, it suggests value in the structure of the FMP. The researcher seeks 4 George Foster, "Record of Program Operation and Accomplishment The Federal Music Project 1935-1939, The WPA Music Program 1939-1943," Final Report on the Accomplishments of the Music Program compiled 6/1943, Record Group 69, National Archives at College Park, College Park, Maryland, viii. 5 "A Preliminary Report of the Work of the Federal Music Project, Nikolai Sokoloff, Director Works Progress Administration, Harry L. Hopkins, Administrator," National and Special Reports, compiled 1936-1939, Record Group 69, National Archives at College Park, College Park, Maryland, 8. 6 U.S. Census Bureau, "Historical National Population Estimates: July I, 1900 to July 1, 1999,"; available from http://www .census.gov/population/estimates/nation/popclockest.txt; Internet; accessed 21 April2010. 7 Inflation Calculator, "The Changing Value of a Dollar," Dollar Times; available from http://www.dollartimes.com/calculators/inflation.htm; Internet; accessed 21 April2010. 8 National Endowment for the Arts, "NEA at a Glance,"; available from http://www.arts.gov/about/Facts/AtAGiance.html; Internet; accessed 21 April2010. 9 U.S. Census Bureau, "Census Bureau Projects U.S. Population of305.5 Million on New Year's Day,"; available from http://www.census.gov/Press­ Release/www/releases/archives/population/OI3127.html; Internet; accessed 21 April201 0. 3 to uncover such value through this study so that future federally funded arts programs can apply this model to their structure. Tracing the history of the Federal Music Project and studying its model of operation provide lessons which both government officials and arts managers can apply to current and future initiatives in publicly funded art. The lessons of the FMP reach beyond artistic discipline and decade to provide a successful model for federal arts funding in the United States. Purpose The purpose of this historical study is to ascertain an understanding of the historical significance of the Federal Music Project. This study also seeks to uncover explanations for the success of the Federal Music Project with the hopes of enhancing actions for future federal arts funding. Research Question What implications for future federal arts funding can lawmakers, government officials and arts managers glean from the successes ofthe Federal Music Project? Need for the Study Lawmakers and citizens alike scrutinize government funding, including funding dedicated to the arts. The largest and most recognizable annual national funder of the arts in the United States, the National Endowment for the Arts (NEA), funds existing arts organizations. Recently, Public Law 111-5, The American Recovery and Reinvestment Act of2009, allotted an additional $50 million to the NEA to help preserve jobs in the 4 arts. 10 During its tenure, the Federal Music Project used its funding to create jobs in the arts by forming new performing groups and educational experiences. Such a shift in mindset has many implications and this study seeks to draw lessons from the past which are applicable to such a restructuring of the federal arts funding model in the United States. However, it is important to note that this study does not necessarily advocate for an increase in the amount of federal funding for the arts. Instead, this study seeks to ascertain ways in which the organizers of federally funded arts programs can spend the money appropriated to the arts more wisely. If a new model is necessary, it is important to seek lessons from previous models in order to promote carefully planned progress. The history of the New Deal, the role of the Federal Music Project, and lessons learned from their experiences profoundly apply to the present day. Selecting the right personnel, making a case to the public, and meeting the needs of both the artists and the community are vital to any program's success. While other researchers have explored various aspects of the Federal Music Project, no comprehensive study in existence specifically analyzes the successes of the Federal Music Project with the intentions of finding lessons to apply to future federal funding. Delimitation The scope of this study focused on the general history of the Federal Music Project as a working model for future federally funded arts programs. In depth research was not conducted on each branch of the FMP nor was a complete history of federal arts 1 ~ational Endowment for the Arts, "The Arts and The American Recovery and Reinvestment Act of2009, Public Law 111-5 ("Recovery Act")"; available from http://www.arts.gov/grants/apply/recovery/. Internet; accessed 10 April2010. 5 funding in the United States explored. This study does not seek to uncover specific issues of financial management or accounting practices ofthe
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