5. Donal Henahan, “Dip in Concert Audiences Troubles Impresarios.” New York Times, December 21, 1968.
6. Marquis: 145.
7. Ibid.
8. Ibid.
9. Waldemar A. Nielsen, “Where Have All the Arts Patrons Gone?” New York Times, October 26, 1980: Sec. 2 p. 1.
10. Marquis: 172.
11. “Portrait of the 1980s.” New York Times, December 24, 1989.
12. Zeigler: 65.
13. William H. Honan, “Arts Dollars Pinched as Never Before.” New York Times, May 28, 1989: Sec. 2 p. 1.
14. “Corporate Giving to the Arts Dipped 18% in 3 Years.” The Chronicle of Philanthropy, January 12, 1993.
15. Donal Henahan, “Our Orchestras Are Splintering.” New York Times, September 13, 1987: Sec. 2 p. 35.
16. David Finkel, “Classical Survival.” Washington Post, December 1, 1991.
17. Zeigler: 153.
18. Alan Flippen, “Fiscal Woes Silence Renowned Buffalo Orchestra.” Associated Press, September 21, 1990.
Chapter Thirteen
1. Peter Goodman, “Today’s Classical Music, The Financial Blues.” Newsday, November 13, 1990.
Chapter Fifteen
1. Bernard Rosenberg and Ernest Harburg, The Broadway Musical. New York: New York University Press, 1993.
2. Ibid.
3. Frank Rich, “Miss Saigon Arrives, from the Old School,” New York Times, April 12, 1991.
Chapter Sixteen
1. Greg Sandow, “Behind the Tuxedo Curtain.” Village Voice, September 17, 1996.
2. Samuel Lipman, “The Culture of Classical Music Today.” The New Criterion, September 1991.
3. Paul R. Judy, “Life and Work in Symphony Orchestras: An Interview with J. Richard Hackman.” Harmony, April 1996: 8.
4. Scott Duncan, “Strikes Ultimately May Stop the Music.” Orange County Register, December 22, 1996.
5. Allan Ulrich, “The Day the Music Died.” San Francisco Examiner, January 12, 1997.
Chapter Nineteen
1. Nicole Edwards, “Orchestra Suit Settled,” Poughkeepsie Journal, June 16, 2001.
Chapter Twenty
1. Ellen Winner and Lois Hetland, The Arts and Academic Achievement: What the Evidence Shows. Los Angeles: The Getty Center, 2001.
2. George Seltzer, Music Matters: The Performer and the American Federation of Musicians. Metuchen, NJ: The Scarecrow Press, 1989: 225.
3. Bachelors’, masters’, and doctors’ degrees conferred by degree-granting institutions, 2001. National Bureau of Education Statistics,
4. John Kreidler, “Leverage Lost: The Non-Profit Arts in the Post-Ford Era.” In Motion, February 16, 1996.
Chapter Twenty-One
1. Peter Goodman, “A Heavy Blow to NY’s Recording World.” Newsday, December 9, 1993.
2. Bradley Bambargar, “Career-Building in a Post-Recording World,” MusicalAmerica.com, 2001.
3. Susan Elliott, “Fun Facts About Violinist Kennedy.” Atlanta Constitution, April 2, 2000.
4. Norman Lebrecht, “Who Killed Classical Music?”: 287.
Bibliography
Banner, Leslie, and Douglas C. Zinn, ed. A Passionate Preference: The Story of the North Carolina School of the Arts. Ashboro, NC: Down Home Press, 1987.
DiMaggio, Paul J. Nonprofit Enterprise in the Arts: Studies in Mission & Constraint. New York: Oxford University Press, 1986.
Grout, Donald Jay. A History of Western Music. New York: W. W. Norton, 1973.
Howitt, Basil. Love Lives of the Great Composers. Toronto: Sound and Vision Publishing, 1995.
Kogan, Judith. Nothing But the Best: The Struggle for Protection at the Juilliard School. New York: Random House, 1989.
Kreidler, John. “Leverage Lost: The Non-Profit Arts in the Post-Ford Era.” In Motion, February 16,1996.
Kusinitz, Marc. The Encyclopedia of Psychoactive Drugs: Drugs & the Arts. New York: Chelsea House Publishers, 1987.
Lebrecht, Norman. The Maestro Myth: Great Conductors in Pursuit of Power. New York: Citadel Press, 2001.
Lebrecht, Norman. Who Killed Classical Music? Maestros, Managers, and Corporate Politics. Secaucus, NJ: Birch Lane Press, 1998.
Levine, Faye. The Culture Barons: An Analysis of Power and Money in the Arts. New York: Thomas Y. Crowell, 1976.
Levine, Lawrence W. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge: Harvard University Press, 1990.
Lipman, Samuel. Arguing for Music: Arguing for Culture. Boston: David R. Godine Publisher, 1990.
Lowry, W. McNeil, ed. The Arts & Public Policy in the United States. Englewood Cliffs, NJ: Prentice-Hall, 1984.
Marquis, Alice Goldfarb. Art Lessons: Learning from the Rise and Fall of Public Arts Funding. New York: Basic Books, 1995.
The Performing Arts: Problems and Prospects: The Rockefeller Panel Report on the Future of Theatre, Dance, and Music in America. New York: Rockefeller Brothers Fund, 1965.
Rosenberg, Bernard, and Ernest Harburg. The Broadway Musical. New York: New York University Press, 1993.
Seltzer, George. Music Matters: The Performer and the American Federation of Musicians. Metuchen, NJ: The Scarecrow Press, 1989.
Toffler, Alvin. The Culture Consumers: Art and Affluence in America. Baltimore: Penguin, 1965.
Zeigler, Joseph Wesley. Arts in Crisis: The National Endowment for the Arts Versus America. Chicago: Chicago Review Press, 1994.
Table of Contents
Title Page
Copyright Page
Dedication
Contents
First Movement: Appassionata Sonata
One: The Magic Flute
Two: Cunning Little Vixen
Three: The Prodigy
Four: New World Symphony
Five: Apollo’s Flophouse
Six: Elixir of Love
Seven: The Rite of Spring
Eight: A Midsummer Night's Dream
Nine: The Damnation of Faust
Second Movement: Rhapsody in Blue
Ten: West Side Story
Eleven: Mozart in the Jungle
Twelve: Twilight of the Gods
Thirteen: Danse Macabre
Fourteen: Unfinished Symphony
Fifteen: The Pits
Sixteen: Beggar’s Opera
Seventeen: The Age of Anxiety
Third Movement: Symphonic Metamorphoses
Eighteen: Airlift from Saigon
Nineteen: Smoke and Mirrors
Twenty: Les Miserables
Twenty-one: The Medieval Baebe
Twenty-two: Music of the Heart
Encore: The Lark Ascending
Acknowledgments
Notes
Bibliography
Mozart in the Jungle: Sex, Drugs, and Classical Music Page 35
