Between 1908 and 1911, New York Symphony Orchestra conductor Walter Damrosch engaged the modern dancer Isadora Duncan to perform with his orchestra in New York and on three tours of the Midwest. Posing considerable risk to his reputation as an elite conductor, this unusual alliance grew in part from his concert manager's wish to compete with the Salomé dance craze raging in vaudeville halls across the country. Damrosch's “pioneering spirit” allowed him a genuine appreciation of Duncan's expressive, transcendent dancing. Yet for his critics, the shockingly under-dressed dancer, just back from her conquest of Europe, represented yet another sensational Salomé eager to capitalize on the popular profanities of market-driven entertainment. Music critics and Protestant clergymen from St. Louis to Boston berated Damrosch for what they saw as an immoral capitulation to mass consumerism and a desecrating abuse of the sacred repertoire he guarded—a repertoire defined in part by its distance from dancing. This article draws on critiques in the daily press, Damrosch's personal papers, and scholarship in dance and religious studies to situate Damrosch's marketing experiment with Duncan in the wider context of Progressive-era devotional life, where similar concessions to mass entertainment arose in the urban revival movement of the Third Great Awakening. Damrosch's recourse to Duncan's “barefoot dancing”—oddly akin to the tactics of big tent revivalists espousing Muscular Christianity and epitomized by Billy Sunday's pulpit pantomimes—illuminates the collision of spiritual and economic concerns that shaped both musical and ecclesiastical arenas of the American “sacred.”

中文翻译：

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在杂耍表演时代销售管弦乐：Duncan-Damrosch Tours，1908-1911

1908 年至 1911 年间，纽约交响乐团指挥沃尔特·达姆罗施聘请现代舞者伊莎多拉·邓肯与他的乐团在纽约演出，并在中西部进行了三次巡回演出。这种不寻常的联盟对他作为精英指挥的声誉构成了相当大的风险，部分原因是他的音乐会经理希望与在全国各地的杂耍表演厅中肆虐的莎乐美舞蹈热潮竞争。Damrosch 的“开拓精神”让他真正欣赏到 Duncan 富有表现力的超凡舞蹈。然而，对于他的批评者来说，这位刚刚从征服欧洲回来的衣着不足的舞者，又代表了另一个耸人听闻的莎乐美，他渴望利用市场驱动的娱乐的流行亵渎。来自圣彼得堡的音乐评论家和新教牧师。路易斯到波士顿斥责达姆罗施，因为他们认为这是对大众消费主义的不道德投降，以及对他所守护的神圣曲目的亵渎——这一曲目在一定程度上是由它与舞蹈的距离所定义的。本文利用每日新闻、达姆罗施的个人论文以及舞蹈和宗教研究方面的批评，将达姆罗施与邓肯的营销实验置于进步时代的虔诚生活的更广泛背景下，在城市复兴中出现了对大众娱乐的类似让步第三次大觉醒运动。达姆罗施求助于邓肯的“赤脚跳舞”——奇怪的是类似于大帐篷复兴主义者拥护肌肉基督教并以比利星期天为代表的策略