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IndustryBang on a Can and New Music in the Marketplace$
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William Robin

Print publication date: 2021

Print ISBN-13: 9780190068653

Published to Oxford Scholarship Online: February 2021

DOI: 10.1093/oso/9780190068653.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 22 September 2021

Funding

Funding

Chapter:
(p.104) 4 Funding
Source:
Industry
Author(s):

William Robin

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190068653.003.0005

In the midst of the Culture Wars, in which Congressional Republicans and the religious right attempted to defund the National Endowment for the Arts, Bang on a Can expanded and professionalized. Cuts to government funding throughout the 1980s and 1990s shaped how Bang on a Can and their peers navigated their relationship to the marketplace. Other controversies also emerged, as when the New York State Council on the Arts attempted to implement policy around multicultural programming and encourage institutions to seek out audiences, to the chagrin of composers Charles Wuorinen and Milton Babbbitt as well as the Group for Contemporary Music. But Bang on a Can made the most of this moment, carving out new sources of income, diversifying their programming, reaching new audiences, and ultimately starting a new program, the People’s Commissioning Fund, in the wake of the devastating cuts to the NEA passed in the mid-1990s.

Keywords:   Bang on a Can, National Endowment for the Arts, New York State Council on the Arts, Milton Babbitt, Charles Wuorinen, funding, Group for Contemporary Music, patronage, Culture Wars

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