Working at the intersection of art and business, I have investigated the history of maintenance and disruption at the New York Philharmonic since its inception in 1842, structural and relational perspectives of power, and art programs of the Canadian Pacific Railway in the late 19th century. One recent contribution, Reception and reflection of Beethoven’s works at the Philharmonic Society of New York, 1842-1892 (2023), explores the power of Beethoven—how his works were received at the Philharmonic—alongside the power of the Philharmonic—how Beethoven was reflected to audiences in New York, and how this relationship became a foundational and defining dimension that sustained both over time. A second, Craft, magic and the re-enchantment of the world (Suddaby, Ganzin, & Minkus, 2017), presents an alternate view of the hyper-rationalized and disenchanted world of neo-institutionalism.
Current research:
Preparation of chapter submission selected for the upcoming volume, Music and the Politics of Censorship (edited by James Garratt). It will be published by Brepols, as part of the series, Music, Criticism & Politics (Centro Studi Opera Omnia Luigi Boccherini, Lucca).
Alison C. Minkus 