The Redemptive Aspect of Culture

Levine's discussion of the change in audience behavior is particularly interesting. I'm fascinated by the fact that conductors went so far as to stop performances when the audience was perceived as being disrespectful. I was surprised that laws were passed in regards to the size of women's hats, as to avoid any potential distraction to other members of the audience.

I was surprised to read that Levine makes the assertion that the attempts to control audience behavior was not an attempt at social control. In discussing these attempts to control audience behavior Levine insists that “none of this is meant to argue that the culture at the turn of the century was primarily a method of social control” (206). Levine goes on to assert that such an argument is reductionist one. Yet, Levine is making the argument that attempts at audience control were not overt attempts at social control. However, given the history Levine presents it seems reasonable to assume that attempts at audience control turned into a method of social control. While social control may have not been the original intent of such actions, it seems that in the end that's exactly what it became.

Also interesting is Levine's discussion of why culture was important in urban areas. Levine maintains “the problem went deeper than combating the numerous dens of vice that cities provided; oases of culture were necessary because disorder was embodied in the very structure and appearance of the nation's cities” (203). Levine's characterization of American cities as dens of vice and anarchy is noteworthy. More interesting is the way in which he positions culture in relation to that vice and anarchy.

Throughout the book Levine seems to be making the assertion that cultural is a redemptive, humanizing force. In positioning “oases of culture” in relation to anarchy and vice, Levine is effectively asserting that culture is a means of providing a redemptive experience. Culture is a way of transcending the negative of aspects of the contemporary urban experience. Hence, the rationale for opening galleries on Sundays and holding orchestral performances in poor neighborhoods.