A HISTORICAL SURVEY OP CERTAIN ASPECTS OF MUSIC MANAGEMENT IN AMERICA A Thesis Presented to the Faculty of the School of Music The University of Southern California In Partial Fulfillment of the Requirements for the Degree Master of Arts by Daniel Levine June 1950 UMI Number: EP61860 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. Dissertation Rubi shang UMI EP61860 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code uest ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106 - 1346 This thesis, written by ..........Dani el _ Leviiie........... under the guidance of h Faculty Committee, and approved by all its members, has been presented to and accepted by the Council on Graduate Study and Research in partial fulfill ment of the requirements for the degree of Master of Arts Faculty Committee TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION ................................ 1 II. INDIVIDUAL MANAGERS IN THE COLONIAL PERIOD . . 5 III. MUSICAL SOCIETIES IN THE COLONIAL PERIOD . . . 16 IV. MANAGERIAL ASPECTS OF THE HISTORY OF THE NEW YORK PHILHARMONIC-SYMPHONY SOCIETY.... 30 V. BARNUMISM IN MUSIC MANAGEMENT.......... 49 VI. MANAGEMENT TODAY . ........................ 66 VII. SUMMARY................................ 71 BIBLIOGRAPHY ..............* ................... 73 CHAPTER I INTRODUCTION This thesis is an effort to compile and interpret material drawn together as A Historical Survey of Certain Aspects of Music Management in America, The work concerns itself with the forces which organize and present concert music to the American public. These forces are sometimes individuals, sometimes organizations, sometimes combinations of both tied in with other managerial units such as labor unions or private sponsors. It is the purpose of this thesis to search out who were the music managers from colonial times to the present, and to present their activities. The author has limited himself to private organizations, and has not in cluded the relatively new aspect of governmental and civic sponsored concerts. Such public enterprises are arising throughout the country, and this phenomena should be observed as a special study. Music management grew up in this country as the industry of the country grew— from laissez-faire cap italism to large industrialism. Within this scope this the sis treats music management. The available material for this subject is scattered throughout books and periodicals dealing with concerts and concert life. There is no listed material in sources on management as such, either in books or in management 2 periodicals. So the author has gone to sources about con certs and artists to find his material there. The compilation value of this thesis, it is hoped, can be found in the setting down in one place of this scattered material on music manage ment. The author has also attempted to interpret the material herein presented. A valid history of music management should try to take the available material in the field and place some historical value upon it. It is the object of this thesis to treat all material in a historical context, and in this way provide an approach to music management giving it a treatment with historical perspective. Such a treatment, therefore, goes beyond a simple accounting of managers wherever found, and embraces their re lationship with their communities* It has been felt that the concert life resulting from their actions should be shown as it is connected to their actions, and as.it is connected to the sociological picture in which these actions take place. Discrimination as to selection of material was deter mined by the following of important ti*ends in this history. Trends were decided upon to be important if a few valid sources came to the same conclusion on an issue. Wherever we have found a similar situation in different places, we have placed emphasis upon it even though this might appear as an overemphasis when it is observed without relation to the 3 whole picture. The author felt it most important in dis covering such a trend in music management to follow it through. For example, it would he an overemphasis to make an account of the first non-musical manager of the New York Philharmonic-Symphony Society if it were not for the fact that the contemporary trend at that time indicated that other organizations had started engaging non-musical manag ers. It is such a recording of the same type of event hap pening in various instances that makes for historical sense,J and the author has tried to place material together whenever it did make sense historically. Aside from the value of assembling the material, the author hopes that the value can be realized wherein the information has been evaluated and directionalized historically wherever such direction was indicated. The author feels justified in setting out to make this study since there is no available compilation of this sort. It is important that such a function as music management have some basis of evaluation by the musical community. The first step in this evaluation is a historical knowledge of the mat ter. We cannot make correct evaluations, without a knowledge of the past and present situations. In Chapter II, the author surveys the activities of individual music managers in Colonial America. Chapter III treats musical societies starting in the Colonial period, and makes comparisons to the material in Chapter II. In Chapter IV, we trace the grov/th of one particular organiza tion through to the present in order to make continuous com parisons of what was happening in music management in the nineteenth and twentieth centuries. Chapter V discusses the foundation of present day concert management practices, through an analysis of the managerial affairs of P. T. Barnum whose ideas seemed to affect the managerial picture after him Chapter VI gives a structural account of the present day commercial management system which grew out of the for mer periods. The information presented should enlighten the reader with ah insight into music management in this country, which, it is hoped, shall provide for an understanding of the nature of present day practices when they appear in the news of daily affairs. CHAPTER II INDIVIDUAL MANAGERS IN THE COLONIAL PERIOD Historical background. Secular musical activity in colonial America to the end of the eighteenth century was marked by the settlersT Puritanical hostility to public en tertainment. The century’ inherited the moral code of the Puritans which reluctantly permitted sacred music in the church, but hated and outlawed all forms of gatherings for entertainment, including music. Boston enacted an anti theater law in 1750 with the stated purpose: !tfor prevent ing and avoiding the many and great mischiefs which arise from public stage plays, interludes, and other theatrical entertainments (which) tend generally to increase immorality, impiety, and a contempt of religion.lI-*- Aside from the unencouraging atmosphere provided the theater, the colonists did not have any impetus to encourage music either. From sources available to him, Sonneck is led to exclaim, nwe feel overawed by the motives prompting Provi dence to send to our shores out of all the millions who1in habited Europe just those few thousand beings who had no **" Margaret Mayorga, A Short History of the American Drama (New York, Dodd Mead and Co., 1944)/ P* 25. 6 music in their souls. Sonneck leaves the way open for further research on this matter, concluding that it was lack of TTopportunity” which retarded musical development in the colonies, Percy A. Scholes^; attempts a refutation of the non-musical reputation of the Puritans, and an appraisal of their musical activities. It is not within the function of this thesis to weigh the value of the Scholes argument, hut it is evident from his hook that Puritan musical activity was not hroad enough to that extent which would include pub lic managed concerts. (It is interesting to note that this hostile atmosphere was hasic enough to our culture to have influenced all periods of American musical history. We find as late as 1927 that the city of Pittsburgh would not permit Sunday concerts of its symphony orchestra as this constitut ed "irreligious” entertainment.)^ In spite of these conditions, secular musical activity began to flourish in the latter half of the eighteenth cen tury, particularly in the southern states, where the customs and tastes of the colonists reflected the cavalier spirit of 2 0. G. Sonneck, Early Concert-Life in America (1731- 1800) (New York, Musurgia Publishers, 1949), p. 7, ^ Percy A. Scholes, The Puritans and Music (London, Oxford University Press, Humphrey Milford, 1934.) ^ Howard Kaye, ”The Pittsburgh Symphony Orchestra,” The Musical Forecast. 37:3,7, May, 1939.