The Ford Foundation, Matching Grants, and Endowment Building

2020 ◽  
pp. 129-154
Author(s):  
Michael Sy Uy
Keyword(s):  
Performing Arts ◽  
Local Community ◽  
Symphony Orchestra ◽  
Ford Foundation ◽  
Expert Advice ◽  
Social Connections ◽  
Boards Of Trustees ◽  
Funding Sources ◽  
Boston Symphony Orchestra ◽  
Matching Grants

This chapter examines the Ford Foundation’s predominantly economics- and finance-based expertise, and the way it sustained the country’s largest and most expensive performing arts institutions: orchestras, operas, and conservatories. Ford accomplished its goals primarily through matching grants and endowments, hoping with matching requirements to diversify organizations’ funding sources and expand the public’s commitment to local arts. Based on the expert advice of economists and administrators, Ford intended endowments to be a permanent source of income for orchestras and conservatories, if they managed the invested principal properly. In practice, however, wealthy individuals on boards of trustees for institutions such as the Boston Symphony Orchestra and the Juilliard School solidified their personal, social connections to elicit five-, six-, and sometimes seven-figure gifts. In general, ordinary citizens and the local community did not participate, and as a result, broad-based support never materialized. Orchestras and conservatories came back knocking on the foundation’s door again and again.

Preparation

2018 ◽  
Author(s):  
E. Douglas Bomberger
Keyword(s):  
South Carolina ◽  
Copyright Protection ◽  
Symphony Orchestra ◽  
Sheet Music ◽  
Racial Harassment ◽  
Boston Symphony Orchestra ◽  
Jazz Band ◽  
Philadelphia Orchestra ◽  
The Right

The Fifteenth Regiment’s disciplined response to racial harassment during a two-week stay at Camp Wadsworth, in Spartanburg, South Carolina, earned it the right to be among the first units ordered to France. Nick LaRocca represented the Original Dixieland Jazz Band in a Chicago lawsuit to stop the unauthorized publication of the sheet music to “Livery Stable Blues” by former bandmate “Yellow” Nunez, but the judge ruled that all blues were the same and therefore not subject to copyright protection. The Victor Talking Machine Company, using the Boston Symphony Orchestra and the Philadelphia Orchestra, made the first recordings employing the full symphony orchestra. The concert seasons of orchestras across the country opened amid intense scrutiny of their repertoire choices and patriotism.

Ask the Experts

2020 ◽  
Author(s):  
Michael Sy Uy
Keyword(s):  
World War Ii ◽  
Performing Arts ◽  
Local Community ◽  
Rockefeller Foundation ◽  
Scientific Models ◽  
National Endowment ◽  
Leonard Bernstein ◽  
Public And Private ◽  
Western Art ◽  
Personal Connections

From the end of World War II through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to “ask the experts,” adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influential expert-consultants were Leonard Bernstein, Aaron Copland, Lukas Foss, and Milton Babbitt. The significance was twofold: not only were male, Western art composers put in charge of directing large and unprecedented channels of public and private funds, but also, in doing so, they determined and defined what was meant by artistic excellence. They decided the fate of their peers and shaped the direction of music making in this country. By asking the experts, the grantmaking institutions produced a concentrated and interconnected field of artists and musicians. Officers and directors utilized ostensibly objective financial tools like matching grants and endowments in an attempt to diversify and stabilize applicants’ sources of funding, as well as the number of applicants they funded. Such economics-based strategies, however, relied more on personal connections among the wealthy and elite, rather than local community citizens. Ultimately, this history demonstrates how “expertise” served as an exclusionary form of cultural and social capital that prevented racial minorities and nondominant groups from fully participating.

Collaboration: A Strategy for Neighborhood Planning

1991 ◽  
Vol 13 (3) ◽  
pp. 13-14
Author(s):  
Ronald Register
Keyword(s):  
Low Income ◽  
Local Community ◽  
Planning Process ◽  
Ford Foundation ◽  
Neighborhood Planning ◽  
Public And Private ◽  
The Public ◽  
Strategic Plans ◽  
Income Neighborhood ◽  
Community Foundation

In 1990, the Ford Foundation launched the Neighborhood and Family Initiative Project (NFI) in four U.S. cities. A low-income neighborhood in each of the four cities is the target for the initiative, which is administered through a local community foundation in each city. The initiative relies on neighborhood leadership to develop strategic plans which reflect the goals and aspirations of neighborhood residents and institutions. A collaborative, or committee, composed of neighborhood leaders and key representatives from the public and private sectors is charged with overseeing the planning process.

Atskaņotājmākslas attīstība Liepājā un Otrā pasaules kara ietekme uz mūziķu likteņiem

2021 ◽  
pp. 338-351
Author(s):  
Vēsma Lēvalde
Keyword(s):  
World War Ii ◽  
Soviet Union ◽  
Performing Arts ◽  
Symphony Orchestra ◽  
Historical Study ◽  
World War ◽  
National Socialist ◽  
Performing Artists ◽  
Cultural Life ◽  
The Soviet Union

The article is a cultural-historical study and a part of the project Uniting History, which aims to discover the multicultural aspect of performing art in pre-war Liepaja and summarize key facts about the history of the Liepāja Symphony Orchestra. The study also seeks to identify the performing artists whose life was associated with Liepāja and who were repressed between 1941 and 1945, because of aggression by both the Soviet Union and National Socialist Germany. Until now, the cultural life of this period in Liepāja has been studied in a fragmentary way, and materials are scattered in various archives. There are inaccurate and even contradictory testimonies of events of that time. The study marks both the cultural and historical situation of the 1920s and the 1930s in Liepāja and tracks the fates of several artists in the period between 1939 and 1945. On the eve of World War II, Liepāja has an active cultural life, especially in theatre and music. Liepāja City Drama and Opera is in operation staging both dramatic performances, operas, and ballet, employing an orchestra. The symphony orchestra also operated at the Liepāja Philharmonic, where musicians were recruited every season according to the principles of contemporary festival orchestras. Liepāja Folk Conservatory (music school) had also formed an orchestra of students and teachers. Guest concerts were held regularly. A characteristic feature of performing arts in Liepaja was its multicultural character – musicians of different nationalities with experience from different schools of the world were encountered there. World War II not only disrupted the balance in society, but it also had a very concrete and tragic impact on the fates of the people, including the performing artists. Many were killed, many repressed and placed in prisons and camps, and many went to exile to the West. Others were forced to either co-operate with the occupation forces or give up their identity and, consequently, their career as an artist. Nevertheless, some artists risked their lives to save others.

The John F. Kennedy Center for the Performing Arts Expansion Project

2019 ◽  
Author(s):  
Jeffrey A. Beane ◽  
Rebecca Buntrock
Keyword(s):  
Concrete Structure ◽  
Performing Arts ◽  
Symphony Orchestra ◽  
Complex Geometries ◽  
Potomac River ◽  
The South ◽  
Pedestrian Bridge ◽  
Large Span ◽  
Depth Ratio ◽  
National Opera

<p>The John F. Kennedy Center for the Performing Arts is located on the banks of the Potomac River in Washington, D.C. The Kennedy Center is home to the National Symphony Orchestra, the Washington National Opera and The Suzanne Farrell Ballet. In addition to being the nation's busiest arts facility, the Kennedy Center is also a "Living Memorial" to President Kennedy. The south expansion of the Kennedy Center, known as the REACH, provides much needed educational and rehearsal space, as well as a pedestrian link to the nearby Memorials.</p><p>The new structure combines practicality, versatility and innovation. Each surface and space created is unique, forming complex geometries and large span to depth ratios. The cast-in-place concrete structure is exposed on the interior or the exterior, including three white concrete pavilions rising out of the landscaped substructure. The pedestrian bridge connects the Kennedy Center to the river with over a 35-to-1 span to depth ratio. The REACH is scheduled to open in the Fall of 2019.</p>

John Ferrillo

2020 ◽  
pp. 57-67
Author(s):  
Michele Fiala
Keyword(s):  
Symphony Orchestra ◽  
Early Career ◽  
Metropolitan Opera ◽  
Boston Symphony Orchestra ◽  
Curtis Institute Of Music ◽  
Relationship Of ◽  
The Relationship

John Ferrillo joined the Boston Symphony Orchestra as principal oboe in 2001. From 1986 to 2001, he was principal oboe of the Metropolitan Opera Orchestra. In this chapter, he discusses his early career, auditions, breathing for wind playing, and the relationship of teaching and playing. He also reminisces about his experiences at the Curtis Institute of Music with John de Lancie and about his most memorable performances.

scholarly journals SENI PERTUNJUKAN TRADISIONAL DI PERSIMPANGAN ZAMAN: STUDI KASUS KESENIAN MENAK KONCER SUMOWONO SEMARANG

HUMANIKA ◽  
2016 ◽  
Vol 23 (2) ◽  
pp. 25
Author(s):  
Laura Andri R.M.
Keyword(s):  
Performing Arts ◽  
Local Community ◽  
Cultural Influences ◽  
Traditional Culture ◽  
Modern Society ◽  
Shift Function ◽  
Stage Of Development ◽  
The Arts ◽  
Art And Culture ◽  
Changing Times

In Indonesia, each province has its own traditional culture. Traditional arts are used to express the beauty of the human soul. In traditional artwork implicit message of the society of knowledge, ideas, beliefs and values norms. In addition to the function of rituals, traditional performing arts is also being used to honor and commemorate the influential figures in the local community, heroism, patriotism and nationalism. One example of a traditional art that has the functionality is Menak Koncer. Menak Koncer is a community-owned art Sumowono, Kabupaten Semarang, Jawa Tengah raised to preserve the culture and values in society. Through a qualitative descriptive approach with observation techniques and literature, it was found that at the next stage of development, especially in the modern society, arts performances Menak Koncer shift function just as mere entertainment. Menak Koncer existence as art and traditional culture in Indonesia progressively eroded by the expansion of global art and culture. Therefore, efforts must be made to preserve the arts and culture in the midst of changing times and foreign cultural influences have been increasing in Indonesia.

Aaron Copland's Third Symphony from Sketch to Score

2001 ◽  
Vol 18 (3) ◽  
pp. 377-405 ◽  
Author(s):  
Elizabeth Bergman Crist
Keyword(s):  
Symphony Orchestra ◽  
Compositional Process ◽  
Leonard Bernstein ◽  
The Third ◽  
The Great Depression ◽  
Boston Symphony Orchestra ◽  
History Of ◽  
Compositional History ◽  
Musical Context ◽  
Second World

Aaron Copland's Third Symphony, commissioned by Serge Koussevitzky and premiered by the Boston Symphony Orchestra in 1946, stands as the single true achievement of the composer's symphonic career. As befits such a weighty composition invested with personal and professional artistic aspirations, the genesis and evolution of the Third Symphony from sketch to score was unusually complex. The present study relies heavily on archival materials in the Copland Collection at the Library of Congress——including sketches and scores, historical recordings, and personal correspondence——to document the work's compositional history in detail. In sum, the textual history of the symphony involves nearly 20 manuscripts spanning as many years. Copland began composing the symphony earlier than previously thought and found thematic material for the Third in numerous other works dating back to 1940, four years before the actual commission. Variant autograph full scores embody contributions by Serge Koussevitzky and Leonard Bernstein made after the symphony's premiere in 1946 and publication in 1947; Copland's own copy of the 1966 revised edition contains additional changes and corrections. Such insights place the symphony in a new historical and musical context relating to his work during the Great Depression and the Second World War and reveal an unexpected collaborative dimension to Copland's compositional process.

A Model for Client/Program Evaluation in a Comprehensive out-Patient Drug Abuse Treatment Program

1977 ◽  
Vol 7 (4) ◽  
pp. 305-310
Author(s):  
Marc J. Mann
Keyword(s):  
Program Evaluation ◽  
Drug Abuse ◽  
Local Community ◽  
Program Effectiveness ◽  
Funding Sources ◽  
Rating Instrument ◽  
Therapeutic Needs ◽  
Program Involvement ◽  
Abuse Treatment ◽  
Client Progress

Drug programs have been experiencing a rapid maturation process during the past three years. Increasingly higher professional standards and accountability are being demanded by funding sources, administrators, and local community supporters. This paper presents a working client/overall-program evaluation that has been used by a comprehensive out-patient drug abuse program to meet accountability requirements as well as therapeutic needs and demands. Six central criteria based on program goals are put into a rating instrument to measure client progress and program effectiveness. The criteria are: Program Involvement, Drug Abuse Status, Arrest/Conviction Recidivism Status, Education and Training Status, Job Stability and Job Performance.

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