In the Tradition of Dissent: Music at the New School for Social Research, 1926–33 Author(s): Sally Bick Source: Journal of the American Musicological Society, Vol. 66, No. 1 (Spring 2013), pp. 129- 190 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/10.1525/jams.2013.66.1.129 . Accessed: 02/08/2013 03:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. http://www.jstor.org This content downloaded from 137.207.120.173 on Fri, 2 Aug 2013 03:40:07 AM All use subject to JSTOR Terms and Conditions In the Tradition of Dissent: Music at the New School for Social Research, 1926–33 SALLY BICK n his 2002 Reflections of an American Composer, Arthur Berger recalls that during the 1920s and 1930s, the musical landscape in New York ap- Ipeared desolate for American art composers who found themselves “truly underground.” Among such bleak conditions, Berger identifies one bright oa- sis, isolated from New York’s mainstream concert scene: a place where one could not only hear and discuss the music of important American modernist composers, but also meet them.1 Berger’s oasis was the New School for Social Research, a small private educational institution tucked away in the bohemian community of Greenwich Village.