Concerts on Campus: Should Students Be Involved?: The Campus Management Speaks
Identifieur interne : 000680 ( Istex/Corpus ); précédent : 000679; suivant : 000681Concerts on Campus: Should Students Be Involved?: The Campus Management Speaks
Auteurs : William M. DawsonSource :
- Music Educators Journal [ 0027-4321 ] ; 1969-09.
English descriptors
- Teeft :
- African studies, Agreeable relationship, America hurrah, Arts administration, Arts today, Bach aria group, Best evidence, Budget limitations, Budgeting concerts, Business approach, Business procedures, Cactus flower, Campus community, Campus life, Campus management, Chamber orchestra, Chamber series, Chamber symphony, Charles lloyd, Classical concerts, Committee advisor, Committee representative, Committee system, Common purpose, Complete beethoven quartets, Complete responsibility, Concert attractions, Concert management, Concert offerings, Concert season, Concert series, Continual search, Continuous part, Cultural activity, Cultural programing, Cultural programs, Current demands, Current year, Dance attractions, Desirable part, Different audiences, Different music series, Different tastes, Dorian quintet, Educational experiences, Educational process, Educational spectrum, Educational value, Emotional experiences, Enthusiastic endorsement, Ethical outlook, Ethical standards, European history, Excellent merit, Faculty staff involvement, Final budget, Financial matters, Financial success, Fine arts programs, First importance, Frans brueggen, Full admission price, General discussion, General student, Graduate program, Guarneri quartet, Harkness ballet, Higher education, Highest endeavors, Houston symphony orchestra, Human feeling, Human need, Imperishable treasures, International developments, Israel chamber orchestra, Joseph kalichstein, Laournel tiourna1 concerts, Large degree, Latin american history, Madison community, Many aspects, Many interests, Many problems, Many students, Music committee, Music educators journal, Music programs, Musical comedies, Nonstudent campus community, Occasional failure, Orchestra series, Other campus activities, Other organizations, Other students, Paul taylor dance company, Pinchas zukerman, Pittsburgh symphony orchestra, Political ideologies, Political skills, Popular appeal, Popular music series, Popular programing, Prime reasons, Production costs, Professional artists, Professional concerts, Professional staff, Program selection, Reasonable limits, Rhetorical question, Richard goode, Shirley verrett, Staff involvement, Static state, Student body, Student chairmen, Student choices, Student committee, Student committees, Student control, Student involvement, Student management, Student power, Student taste, Student tastes, Subcommittees cncesfpatcnrts, Sunday music, Sunday music hour series, Testing ground, Theater committee, Theater committees, Theater director, Theater majors, Theater rent, Ticket prices, Total arts program, Total budget committee, Total culture, Union music committee, Union theater committee, Unique program, University campuses, University concert managers, Utmost concern, Various university departments, Vocational interests, Whole future commitment, Wisconsin union, Wisconsin union music, York chamber soloists, York city.
Url:
DOI: 10.2307/3392609
Links to Exploration step
ISTEX:410AABA2BB0EF9046167D577F2966AA0217E5FAFLe document en format XML
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Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Concerts on Campus: Should Students Be Involved?: The Campus Management Speaks by William M. Dawson | On college and university campuses across the United States and Canada, thousands of professional concerts, plays, and dance attractions are being presented yearly by touring artists. Probably every institution of higher education has a committee or administrator responsible for the selection and presentation of these artists. The performing series serves as one expression of the institution's involvement with and commitment to the arts. The presentation of concert attractions has become a big business. It is currently estimated that seventy percent of the business in the performing arts today takes place on college and university campuses. Twelve years ago, the Association of College and University Concert Managers was formed to provide a forum for the problems of concert management, to do research in its areas of concern, to foster ethical standards and business procedures, and to relate life at colleges and universities to national and international developments in all fields of cultural activity. Primary in ACUCM's concerns is the educational value derived from concert offerings by touring professional artists. The purpose of a concert season is not to divert attention from other educational goals but rather to complement the educational spectrum. As a part of larger educational goals, such a season should serve to represent man's highest endeavors and achievements; it should help fulfill the human need for richer mental and emotional experiences; it should serve as a humanizing force in our lives. It should relate the immediacy of the now to the imperishable treasures of the past; above all, it should provide expression and perception of human feeling. Thus described, the concert season identifies with fine arts programs on the campus, but more importantly it helps fulfill the wider aim of all of the humanities. It is one part of a university's concern for a total culture. Just as a concert season is viewed as a desirable part of the educational process, so, at the University of Wisconsin, student management is viewed as a desirable part of students’ educational experiences. Nor is this student involvement a product of the current demands on campuses by students for power and total The author is Theater Director, The Wisconsin Union, The University of Wisconsin, Madison. Our experience elicits an enthusiastic endorsement of student management. Why shouldn't students be involved? They bring their knowledge, vitality, and visions to a testing ground. involvement; it has always been a unique and continuous part of the University's music programs. The preponderance of the programing is “cultural,” allaying the fears of some who think students will content themselves only with “entertainment.” Perhaps the best evidence of student taste is mirrored in some of the artists and attractions presented by the Wisconsin Union Music and Theater Committees during the current year: Janos Starker, Dorian Quintet, Pinchas Zukerman, Shirley Verrett, Kyung Wha Chung, New York Chamber Soloists, Peter Serkin, Chamber Symphony of Philadelphia, Israel Chamber Orchestra, Pittsburgh Symphony Orchestra, Houston Symphony Orchestra, Chamber Orchestra of the Saar, the Guar-neri Quartet performing the complete Beethoven quartets, Harry Belafonte, Cactus Flower, Paul Taylor Dance Company, America Hurrah, Charles Lloyd, Fiddler on the Roof, the New York Pro Musica performing the Play of Daniel and the Play of Herod, Harkness Ballet, Man of La Mancha, Bach Aria Group, Waiting for Godot, Frans Brueggen, Richard Goode, and Joseph Kalichstein. The programs draw largely different audiences. For example, there is a duplication of only approximately twelve percent between the audience for the concert series and that for the orchestra series. Sixty percent of the audience is made up of students, with the balance representing the nonstudent campus community and the general public. No obligatory fee is taken from students’ tuition to subsidize the music programs, and the series is expected to be self-supporting. Since students must pay the full admission price, ticket prices must be kept within reasonable limits. Thus budgeting is very close. The student committees are responsible for figuring the final budget for a program, which includes the program fee and production costs, such as theater rent, stagehands, and advertising. Our experience over the years elicits an enthusiastic endorsement of student management. One of the prime reasons for this is that the constantly changing character of the student body is reflected in the student committee's choices of artists and programs. Thus, program selection never reaches a static state but is a continually evolving process. The committee tries to create a unique program for themselves and others; there is a continual search for the program. While the power of artist and program selection is democratically based in the student committee, it is not a matter of student or faculty staff involvement, but one of student and staff involvement. We develop with students a common purpose. The benefits of a professional staff working with students are several. The aesthetic, technical, economic, industrial, and political skills we possess can be taught to others. Why not to students? Many of our 36 former students have entered the field of arts administration professionally, and we are now developing a graduate program in arts administration, the impetus for it stemming to a large degree from the vocational interests developed by students working on our committees. Why shouldn't students be involved in cultural programing? What better way can there be to test and practice their own values and concerns? They bring their own knowledge, vitality, and visions to a testing ground; they learn to temper some of their zeal with a business approach; they are made aware of the desires and needs of the many; they share in the triumph and the occasional failure; and they extend their interests into a total arts program. U The Students Speak by Douglas P. Haffer, Ruth L. Shneider, and Pryor G. Dodge • At the University of Wisconsin, students have complete responsibility for all cultural programs through a committee system. The committees are managed by student chairmen under the guidance of the theater director. Committees normally have twenty to thirty members, both undergraduate and graduate, chosen by the chairman at interviews twice a year. Members are selected to represent as many aspects of campus life as possible. For example, the theater committee does not have a majority of theater majors, but has students with varied backgrounds, having widely different tastes and holding divergent political views. Every effort is made to keep the committee representative of student tastes and interests. Besides choosing the artists, the Union Music Committee is concerned with publicity, financial matters, and the success of past concerts. Five subcommittees choose artists for five different music series: the Orchestra Series, the Concert Series, Sunday Music The authors are students at the University of Wisconsin, Madison. Mr. Haffer, a Senior in Latin American History, is Chairman, Wisconsin Union Music Committee, from Washington, D.C.; Miss Shneider, a Senior in European History, is Chairman, Wisconsin Union Theater Committee, from Munster, Indiana; and Mr. Dodge, a Sophomore in French, is Chairman, Sunday Music Hour Series, from New York City. Hours, the Chamber Series, and the Popular Music Series. Each subcommittee determines its own budget based on the artists and kinds of programs it chooses; this budget must then be approved by the total budget committee. Although we are faced with many problems in arranging and budgeting concerts, we are aware of budget limitations and can discuss any problems we have with the theater director. Once the artist is chosen, the theater director arranges the contracts and related business with the artist's manager. How do our committees decide which attractions to book? Of first importance is the quality of the production. The popular appeal, price, and timing are also determining factors. In considering an attraction, we research the program before general discussion and rely heavily on the recommendations of those who have seen the production and on the advice of the committee advisor. The financial success of a show does not ensure its acceptance. In the choice of musical comedies one year, the committee voted to turn down a sure financial success because we did not feel the show met our standards of programing. This year the committee booked a play of excellent merit and relevance to the campus community. Although it was not a sure financial success, the play was too important to be passed by. In selecting a season's bill, we aim for variety and balance. The Union Music Committee is the only sponsor on campus of classical concerts featuring artists other than those connected with the university. Other organizations specialize in popular programing, lessening the responsibility of our committee in that area. Timing is of utmost concern, for, in addition to our attractions, we have to consider other campus activities, such as programs of the departments of speech, music, and dance and campus social events. We try to keep scheduling flexible so we can meet campus needs. Beyond general student needs, we attempt to augment the programs of various university departments, such as Asian or African studies. Our season's bill reflects the many interests and tastes of both the students and the Madison community. We feel the university cannot remain isolated from the surrounding community, and our programing reflects these ties. Our success in meeting the cultural needs of the city of Madison is illustrated by some shows having been attended predominantly by nonstudents. It would be inaccurate to say that student control of the music committee automatically creates a harmonious and agreeable relationship between the committee and the other students. Since this type of student power has existed here for forty years, many students do not realize that the students on the committee represent a cross section of musical and political ideologies. We are still referred to as “they” by We have our own interests, our own standards, and our own ethical outlook. Because of this, we must have a voice in the affairs of the campus that affect us socially, culturally, and ethically. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Concerts on Campus: Should Students Be Involved?: The Campus Management Speaks</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Concerts on Campus: Should Students Be Involved?: The Campus Management Speaks</title></titleInfo><name type="personal"><namePart type="given">William M.</namePart><namePart type="family">Dawson</namePart><affiliation>Theater Director, The Wisconsin Union, The University of Wisconsin, Madison.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article"></genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1969-09</dateIssued><copyrightDate encoding="w3cdtf">1969</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><relatedItem type="host"><titleInfo><title>Music Educators Journal</title></titleInfo><genre type="journal">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1969</date><detail type="volume"><caption>vol.</caption><number>56</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>35</start><end>37</end></extent></part></relatedItem><identifier type="istex">410AABA2BB0EF9046167D577F2966AA0217E5FAF</identifier><identifier type="DOI">10.2307/3392609</identifier><identifier type="ArticleID">10.2307_3392609</identifier><recordInfo><recordContentSource>SAGE</recordContentSource></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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