One of the less studied aspects of post-war musical life is private sponsorship of American modernist composers, such as that by the Fromm Music Foundation (FMF) established in 1952. Using unpublished letters and documents from the FMF archives at Harvard and interviews with people who worked with the founder, Paul Fromm, this article discusses how Fromm's involvement in his foundation led to ventures that were influential on the development of American contemporary music and its relationship to academia. Unlike the Ford or Rockefeller foundations, Fromm sought the role of patron, fostering close relationships with composers and accepting their advice. Yet composers in Fromm's network often had aesthetic visions that were different from his. This article discusses Fromm's sponsorship of the Princeton Seminar in Advanced Musical Studies and the journal Perspectives of New Music, and how the different, complex and contradictory visions held by Fromm and his advisers were representative of those in the larger American music scene.

中文翻译：

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观点与赞助人：保罗·弗洛姆、本杰明·博雷茨和新音乐的观点

战后音乐生活中研究较少的方面之一是美国现代主义作曲家的私人赞助，例如 1952 年成立的弗洛姆音乐基金会 (FMF)。使用哈佛 FMF 档案中未发表的信件和文件以及对人们的采访与创始人保罗·弗洛姆（Paul Fromm）一起工作的人，本文讨论了弗洛姆对他的基金会的参与如何导致对美国当代音乐的发展及其与学术界的关系产生影响的企业。与福特或洛克菲勒基金会不同，弗洛姆寻求赞助人的角色，与作曲家建立密切关系并接受他们的建议。然而，弗洛姆网络中的作曲家往往有着与他不同的审美眼光。这篇文章讨论了弗洛姆'新音乐的观点，以及弗洛姆和他的顾问们所持有的不同、复杂和矛盾的愿景是如何代表更大的美国音乐界的。