In the Tradition of Dissent
Abstract As an institution of higher learning, the New School for Social Research was widely regarded as unorthodox. From its inception in 1919, its guiding principle was freedom: freedom of opinion, of teaching, of research, of publication. Initially focusing on the social sciences, by 1927 it introduced music as a significant part of that program. The School's social science perspective, its educational unorthodoxies, and its liberal philosophical ideals set a distinctive tone, nurturing an unfettered and accepting haven for a progressive community of musical personalities. Most prominent among them stood Henry Cowell, but Paul Rosenfeld, Aaron Copland, Charles Seeger, and others also contributed to the vitality of the School. From 1927 until 1933, Cowell presided over a program of lectures, concerts, symposia, and workshops dedicated to the cause of contemporary American music. In view of the School's adult population, music was treated primarily as an intellectual and cultural pursuit that stimulated new spheres of musical inquiry. At the same time, the influence of the social sciences encouraged the study of music through the political and social lens of culture. The diversity and singularity of these approaches created a new context for music and a significant contribution to the history of US musical culture.