Abstract:
This thesis examines the process of professionalization in orchestral ensembles and the dynamics of cultural and economic “value” in the context of modern-day orchestral performance in Auckland, New Zealand. Using data collected from ethnographic and archival sources, I examine the economic, cultural, and organizational process of symphonic orchestra formation. How does society define value for such ensembles? Who plays a role in these decisions? How is social and cultural capital for the orchestra turned into economic capital for the general public? In 1947, with the creation of the New Zealand Symphony, commentators viewed the establishment as a sign of the “cultural maturity” of the country and praised government decisions to fund the orchestra. Subsequent cycles of funding have allowed the creation of other ensembles, the largest being the Symphonia of Auckland in 1967; by 1975 it was a full-time professional symphony orchestra. By 1980, however, the orchestra was near insolvency; a lack of financial support from the Auckland community had effectively doomed the organization. Declaring bankruptcy, the orchestra was disbanded, only to re-emerge in 1981 as a new orchestra supported by the players of the Symphonia themselves, soon known as the Auckland Philharmonia Orchestra, as the players felt the city needed an orchestra. This research focuses on how musicians and members of the community responded to the evolving Auckland orchestra scene and how they continue to respond to the changing cultural and economic conditions of the symphonic concert, in order to create a structure for classical music production.
