Chapter 3: Symphonies in America and the PeopleWho Support Them

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Objectives: DiscoveringWhat is a symphony in America today?Where are the symphonies in America today?Who are the musicians in these symphonies?Where do symphonies perform in America?How are the symphonies supported?Who supports them?Why do these individuals and companies do this?

In this chapter, we examine the social and artistic capital that are the public, private, civic,university, and school symphonies in the United States, and the people who makesupporting them a part of their lives.

American Symphony orchestras: From the finest professionals in the world to part-time orhobby players in large, medium, and small cities in the United States: symphony is a realthing!

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Chapter 3: Symphonies in America and the People Who Support Them from Music Appreciation: A Socioeconomic Perspective: A Text for Disrupted Times

by Grant Manhart | Second Edition | 9781792412080 | 2020 Copyright | Property of Kendall Hunt Publishing

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What is a symphony orchestra, and is that different from a philharmonic orchestra?These terms are used interchangeably, unless the word “philharmonic” or “philharmonia” arein a title, like the “Berlin Philharmonic” (Ger: Berliner Philharmoniker) or the “Los AngelesPhilharmonic,” or in the vernacular a shortened version “L.A. Phil.” Read here for a morecomplete discussion.

Where are the symphonies in America?There are about 1,200 orchestras in the United States. You can Wiki the “List of SymphonyOrchestras in the United States.” Depending on where you live, this means that it is likelythat there is one within an hour or two drive away from you. In the author’s largely rural-agricultural state of South Dakota, there are two professional orchestras, plus three morethat are university-community orchestras, which are a normal university ensemble offeredfor credit to students, but they also enlist community members to fill out the sections.

Are there more symphonies? Yes! Youth OrchestrasIn many small, medium, and large cities, there are “Youth Orchestras.” These are designedto pull together as many elementary school, middle school, and high school string playersinto large groups, organized by a group of passionate adults, which offers the possibility oftranscendent musical moments to the student performers and the audience. The sound oflarge numbers of strings playing together, with mature sounds and good intonation, tap deepemotions in the imaginations of both the young players and the listeners. Winds andpercussion are often added. See the amazing success of the Venezuelan Youth Orchestra:and in performance, experience the passion of youth and music:

Are there more symphonies? Yes! Take a look at your local elementary, middle, andhigh schools!In the author’s town of 25,000, there is an elementary string program, a middle schoolprogram, and a high school orchestra program. In my son’s elementary school, he startedthe string bass in the fifth grade. A local teacher is given almost a full load and benefits to

Chapter 3: Symphonies in America and the People Who Support Them from Music Appreciation: A Socioeconomic Perspective: A Text for Disrupted Times

by Grant Manhart | Second Edition | 9781792412080 | 2020 Copyright | Property of Kendall Hunt Publishing

rotate between the different elementary schools, teaching the four strings (violin viola, celloand bass) to interested students. They give a fall and a spring concert.

Where do symphonies perform?The large named symphonies usually perform in elaborate, named, and famous “symphonyhalls.” The Chicago Symphony performs at “Chicago Symphony Center.” It contains 2,522seats. The architecture is amazing to behold, as are the acoustics. There are civic theaters,university theaters, outdoor concert shells, high school theaters, middle school, andelementary gyms. All are accepted venues for orchestras!

How are the symphonies supported in America? Symphonies are supported by ticketsales. But the ticket sales do not provide enough funding to provide for all the expensesassociated with the rehearsals, personnel, programs, music. The orchestra patron funds theorchestra as well: with levels of giving. The levels come with levels of benefitscommensurate with the level of giving. They are the same people that own season tickets tosports teams. Note some fans pay more and get box seats. The same is true for symphonyfans. Note the levels of donating for the Des Moines, Iowa, Symphony:

Who or what is the Orchestra Patron: Definition: a person who gives financial or othersupport to a person, organization, cause, or activity. https://www.google.com/search?rlz=1C1GCEU_enUS821US821&q=Dictionary#dobs=PATRON

Professional orchestras are usually 501-C3 nonprofit organizations. Their nonprofitstatus enables them to apply for and receive federal funding, accessing funds budgetedfor the arts, often granted to state arts organizations, who distribute the funds to theapplicant ensembles.

They can apply for and receive other types of public and private grantsThey can grow foundations from which they draw findingThey can have corporate sponsors, who can donate annual large gifts, and thecorporation benefits from “goodwill” and some advertising in programs and othermeans, which cultivate favorable attitudes toward their company.They can have wealthy individuals also be large sponsors, as part of theirphilanthropic lifestyle.The wealthy individuals can sponsor “endowed chairs” where their funds pay for theongoing salary of a position in the orchestra.

They receive ticket sale proceeds.They can receive funds from many individuals who sponsor with an annual gift to theextent they are able. These are called levels of patronage. The symphonies offerincreased opportunities, awards, and rewards with increased levels of patronage.

University-Community orchestras function largely the same, except they are housed in auniversity curriculum. They usually have 501-C3 status and fundraise identically to theprofessional symphonies.

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Chapter 3: Symphonies in America and the People Who Support Them from Music Appreciation: A Socioeconomic Perspective: A Text for Disrupted Times

by Grant Manhart | Second Edition | 9781792412080 | 2020 Copyright | Property of Kendall Hunt Publishing

Who attends and supports these symphonies?

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Chapter 3: Symphonies in America and the People Who Support Them from Music Appreciation: A Socioeconomic Perspective: A Text for Disrupted Times

by Grant Manhart | Second Edition | 9781792412080 | 2020 Copyright | Property of Kendall Hunt Publishing

This is a key question, which brings us key answers. In this regard, there are two types ofpeople. Those that support their symphony with their attendance and/or sponsorship andpatronage, and those who do not.

Most people are the latter. The ones who are the former, are usually members of thewealthy, powerful, and highly educated class, in the cities and communities of theorchestras, as we encountered in Chapter 2. And they have been so for the history ofWestern civilization. Seeing this clearly really helps a young person place the music andthemselves in this course, for without them, there would be no symphonies, which means nofree children’s concerts, public free concerts, summer festival concerts, guest artists,concert series, concert tours, or guest conductors.

Why do they do this?

Pause and reflect: Why do they do this? First consult yourself. Why do you think a personwould financially, socially, and intellectually support a symphony?

Here is a list of possible reasons You can probably think of more!

Common—A lifelong love of the symphony and symphonic music

Likely cultivated in a family that played this music in the household when they wereyoungDiscovered a love for symphony by performing in one in elementary, middle, and highschool, and continued in college, regardless of major.

Common—A desire to have occasional evenings of nice food, drink, clothing, and socialcontact, with things that are refined, elegant, intellectual, and pleasing on many levels

Common—A desire to accommodate a partner who wants to go.

Common—An existential need to be “seen” in a community as a mature person who is acontributor to this and other elevated and philanthropic causes.

Common—An existential business need for “goodwill” in a community, to project apositive and philanthropic face, to keep attracting business in a community.

Common—An intellectual understanding that the fine arts are the sign of a healthycommunity, which is able to attend to basic needs and elevated needs. See Maslow’shierarchy of municipal needs here:

Common—A family tradition that supporting the symphony is an expected and necessarylegacy item.

Not as common, but effective—a desire or need to meet influential people in thecommunity to establish one’s self as a member of same

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Chapter 3: Symphonies in America and the People Who Support Them from Music Appreciation: A Socioeconomic Perspective: A Text for Disrupted Times

by Grant Manhart | Second Edition | 9781792412080 | 2020 Copyright | Property of Kendall Hunt Publishing

Ok it happens—Pretending to be part of the influential people of a community … a “fake ittill you make it” approach.

Somewhat common—A first or second date: To start a relationship and use thesymphony as a signal to a new friend that an individual is smart and refined.

Discussion/Activity

Find three American symphony support groups, and

1. Give the name and describe what the support group does2. Describe how to join, and what it costs at the different named levels3. Describe what it would be like to be a member of these organizations.

https://en.wikipedia.org/wiki/List_of_symphony_orchestras_in_the_United_States

Chapter 3: Symphonies in America and the People Who Support Them from Music Appreciation: A Socioeconomic Perspective: A Text for Disrupted Times

by Grant Manhart | Second Edition | 9781792412080 | 2020 Copyright | Property of Kendall Hunt Publishing