@article{8f3d91f254c84d94ba436c99e8c60d49,
title = "The Future of (High) Culture in America",
author = "Daniel Asia",
note = "Funding Information: Whereas in Europe classical music had been supported by the aristocracy and then a burgeoning middle class, in America it had to find support within a democratic environment, and from bottom-middle-up as well as top-down. Classical music was always struggling for its existence, always in danger of being irrelevant. Yet it gained strength through increased sophistication, serious musical pretentions, and the outsized personalities of various conductors, entrepreneurs, and writers, who combined serious musical aspirations with the organizational skills of pastors and churchmen of the huge tent gatherings of the Great Awakening. And “with the debut of a new musical force in Boston…the top-down model of spreading musical culture entered the town in a big way: the advent in 1881 of the Boston Symphony Orchestra.” But typical of America, the institutional doors were made open to all, a situation similar to recently founded artistic institutions around the country. ",
year = "2015",
month = mar,
doi = "10.1007/s12129-015-9470-7",
language = "English (US)",
volume = "28",
pages = "73--81",
journal = "Academic Questions",
issn = "0895-4852",
publisher = "National Association of Scholars",
number = "1",
}