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"Classical music for people who hate...

Adler, Ayden Wren.

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"Classical music for people who hate classical music": Arthur Fiedler and the Boston Pops, 1930--1950.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	"Classical music for people who hate classical music": Arthur Fiedler and the Boston Pops, 1930--1950./
作者:	Adler, Ayden Wren.
面頁冊數:	423 p.
附註:	Adviser: Kim Kowalke.
Contained By:	Dissertation Abstracts International68-04A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3260196

"Classical music for people who hate classical music": Arthur Fiedler and the Boston Pops, 1930--1950.
Adler, Ayden Wren.

"Classical music for people who hate classical music": Arthur Fiedler and the Boston Pops, 1930--1950. - 423 p.

Adviser: Kim Kowalke.

Thesis (Ph.D.)--University of Rochester, Eastman School of Music, 2007.

From his appointment as conductor of the Boston Pops Orchestra in 1930 until his death in 1979, Arthur Fiedler challenged long-held cultural assumptions venerating classical music as a "sacred" and elitist art form with symphonic concerts that appealed to the general public and even proved commercially viable. As a result, scholars and critics have largely disregarded Fiedler's musical accomplishments no less than the repertory he performed. Based upon extensive archival research at the Boston Public Library, Boston University, and Boston's Symphony Hall, as well as on my own statistical repertory study covering nearly twelve hundred Pops performances, my dissertation illuminates the social roots of the musical philosophies and approaches expressed through Serge Koussevitzky's and Fiedler's choices of repertory during their overlapping tenures with the Boston Symphony Orchestra from 1930 to 1949.Subjects--Topical Terms:

1017604
American Studies.

"Classical music for people who hate classical music": Arthur Fiedler and the Boston Pops, 1930--1950.
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520 $a From his appointment as conductor of the Boston Pops Orchestra in 1930 until his death in 1979, Arthur Fiedler challenged long-held cultural assumptions venerating classical music as a "sacred" and elitist art form with symphonic concerts that appealed to the general public and even proved commercially viable. As a result, scholars and critics have largely disregarded Fiedler's musical accomplishments no less than the repertory he performed. Based upon extensive archival research at the Boston Public Library, Boston University, and Boston's Symphony Hall, as well as on my own statistical repertory study covering nearly twelve hundred Pops performances, my dissertation illuminates the social roots of the musical philosophies and approaches expressed through Serge Koussevitzky's and Fiedler's choices of repertory during their overlapping tenures with the Boston Symphony Orchestra from 1930 to 1949.
520 $a Chapter One presents in detail how Fiedler's Pops programming compared to the BSO's repertory during the winter season: I also compare Fiedler's and Koussevitzky's programs to the repertory of other symphony orchestras at the time. Chapter Two examines how the BSO grappled with tensions that existed between elitist emphases on refinement and good taste, impulses towards the democratization of culture, and contemporary forces of consumerism. Chapter Three sheds new light on how ethnicity has historically played into conceptions of musical value. Chapter Four illustrates how Fiedler's concerts became associated with the construction of American national identity after World War II.
520 $a My research suggests that while the BSO's management and conductors may have originally conceived the idea of Pops concerts as a strategy to build a year-round orchestra of relatively stable personnel, by the mid-1930s the institution began promoting the Pops as a separate "brand" in order to deflect any perceived taint of commercialism, ethnic miscegenation, or popular culture from infringing on the artistic "purity" of the winter concerts. This exploration of two decades of Fiedler's life and work, with his colleague and rival Koussevitzky as foil, informs wider debates about the nature of American culture and the role of art music within it and contributes to a better understanding of the history of orchestral music-making and concert-going in America.
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