Cultivating Music in America
  Acknowledgments

 collapse sectionIntroduction:  Music Patronage As a "Female-Centered Cultural Process"
 •Touchy Topics:  Money and Woman's Role
 •The Boundaries of This Book
 •Naming Her:  "Patron," "Activist," "Volunteer Worker"?
 •The Gendered Distortions of History
 •The Structure of This Book:  Trends, Individuals, and Documentary "Vignettes"
 •A Resembling Portrait?
 collapse sectionOne—  Patronage—and Women—in America's Musical Life:  An Overview of a Changing Scene
 •The Development of America's Musical Institutions
 •Patronage:  Individuals and Foundations
 •The "Domestic Sphere"?  Women and Music in Home and Club
 •The Rise of the Woman Musician
 •Toward a Typology of Music Patronage
 •The Woman Musician and Woman Patron Today
 •Vignette A—  Women and Church Organs:  1830s–1860s
 •Vignette B—  The "Grand Composers" of the Present Day:  Betty Freeman Discusses How She Chooses and Supports Them
 collapse sectionTwo—  Women As "Keepers of Culture":  Music Clubs, Community Concert Series, and Symphony Orchestras
 •Concert Series:  From Amateur Performer to Impresario
 •Founding and Funding Permanent Orchestras
 •Women's Public Role As Cultural Nurturers
 •The Perpetuation of Cultural Hierarchy
 •Vignette C—  "The Facts of (Music Club) Life" in the 1960s As Seen by Mother and Daughter
 collapse sectionThree—  Living with Music:  Isabella Stewart Gardner
 •"The Key to Her Heart":  Music in a Life
 •Music at Home
 •Patron in a Modern Age
 •Building a City's Music
 •The Path and the Blessing
 •Vignette D—  Playing for Mrs. Gardner Alone:  The Violinist Harrison Keller Reminisces
 •Vignette E—  Premieres of Sibelius and Others in the Connecticut Hills:  Carl and Ellen Battell Stoeckel's Norfolk Music Festivals
 •Vignette F—  Maria Dehon Helps Olga Samaroff and Leopold Stokowski
 collapse sectionFour—  Jeannette Meyer Thurber (1850–1946):  Music for a Democracy
 •The Path to Patronage
 •A National Opera
 •The National Conservatory
 •Dvorak and the Years of Eminence
 •The Years of Decline
 •Success in Failure
  Five—  Laura Langford and the Seidl Society:  Wagner Comes to Brooklyn
 collapse sectionSix—  A Style of Her Own:  The Patronage of Elizabeth Sprague Coolidge
 •Vignette G—  Coolidge on Gowns, Dedications, and American Musical Chauvinism
 •Vignette H—  Mildred Bliss Tells Nadia Boulanger to Think of Herself for Once
 collapse sectionSeven—  "As Large As She Can Make It":  The Role of Black Women Activists in Music, 1880–1945
 •Formative Conditions
 collapse sectionThe Community Leader
 •The Church Setting
 •Community Organizations
 •Ensembles and Clubs
 collapse sectionThe Educator
 •Public School Teachers
 •College Teachers
 •Founders of Institutions
 collapse sectionWriters
 •Journalists
 •Preservers of the Heritage
 collapse sectionEight—  Women Patrons and Crusaders for Modernist Music:  New York in the 1920s
 •Women As Patrons
 •Volunteering for the Cause
 •The Critical Response
 •Vignette I—  The Power of Social Events:  Aaron Copland's Guest List for a Post-Concert Reception Given by Blanche Walton
 collapse sectionNine—  Culture, Feminism, and the Sacred:  Sophie Drinker's Musical Activism
 •Vignette J—  Music at the Drinkers':  Claribel Thomson and Alfred Mann Recollect
 collapse sectionTen—  Reflections on Art Music in America, on Stereotypes of the Woman Patron, and on Cha(lle)nges in the Present and Future
 •Beyond Stereotypes
 •"Sacralization" and "Mystification"
 •Music and Cultural Hierarchy
 •Sharing the Music
 •Aesthetic Populism or Snobbish Conspiracy?
 •Loving the Music
 •Western Art Music:  Undemocratic? Insufficiently American?
 •High-Quality Performance, the Marketplace, and True Cultural Diversity
 •How to Read the Woman Patron/Volunteer/Activist
 •Six Misapprehensions (Or Belittling Questions)
 •Women, Patronage, and the Future of Art Music

 collapse sectionNotes
 •Introduction: Music Patronage As a "Female-Centered Cultural Process"
 •One— Patronage—and Women—in America's Musical Life: An Overview of a Changing Scene
 •Two— Women As "Keepers of Culture": Music Clubs, Community Concert Series, and Symphony Orchestras
 •Three— Living with Music: Isabella Stewart Gardner
 •Four— Jeannette Meyer Thurber (1850–1946): Music for a Democracy
 •Five— Laura Langford and the Seidl Society: Wagner Comes to Brooklyn
 •Six— A Style of Her Own: The Patronage of Elizabeth Sprague Coolidge
 •Seven— "As Large As She Can Make It": The Role of Black Women Activists in Music, 1880–1945
 •Eight— Women Patrons and Crusaders for Modernist Music: New York in the 1920s
 •Nine— Culture, Feminism, and the Sacred: Sophie Drinker's Musical Activism
 •Ten— Reflections on Art Music in America, on Stereotypes of the Woman Patron, and on Cha(lle)nges in the Present and Future
  Contributors
 collapse sectionIndex
 •A
 •B
 •C
 •D
 •E
 •F
 •G
 •H
 •I
 •J
 •K
 •L
 •M
 •N
 •O
 •P
 •R
 •S
 •T
 •U
 •V
 •W
 •Y
 •Z
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