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This report offers evidence of key actors' strategies to forge a new union between new music and higher education as means to solve the economic instability of performing arts organizations and artists in the mid-twentieth century. Their rationale and resulting programming established American higher education institutions as the main site of creative music-making. Additionally, their decisions implicated the style and genre of music in higher education. Specifically, Rockefeller Foundation trustees emphasized the importance of continuing high arts cultural patronage in the style of European aristocrats in the sixteenth through early nineteenth centuries; and officers of the Rockefeller Foundation and Ford Foundation advocated for improving the quality of, and access to, music education of the same repertoire. Their impacts cemented higher education music departments and schools of music as sites of elite, white culture into the twenty-first century.
The Rockefeller Foundation had originally left out much grantmaking to the arts during the first decades of its operations, instead devoting greater resources to efforts such as the alleviation of global hunger, the expansion of access to public libraries, or the eradication of hookworm. Its support of music prior to the 1950s had totaled less than $200,000 over four decades. After the Second World War, however, it began giving substantial funds to the arts and humanities. The Rockefeller Foundation funded projects in new music, like commissions made by the Louisville Orchestra, operas and ballets at New York's City Center, and the work of the "creative associates" at the State University of New York at Buffalo. In total, between 1953 and 1976, the Rockefeller Foundation granted more than $40 million ($300 million in 2017) to the field of music alone.
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