The records of the University Musical Society document its founding in 1879, governance and administrative restructuring through the years, its activities sponsoring musical, dance and theatrical performances on campus, and its role in music and arts education. The records include directors' correspondence files, board of directors minutes, ledgers and financial records, photographs, sound recordings and videotapes.
Intellectually, the records are organized into eight series: Directors' Correspondence, Financial records, Historical file, Board of Directors, Committees, Topical File, Contracts, Photographs, President's Correspondence, Staff Files, Executive Directors' Files, and Motion Pictures (film, videotape and digital materials).
The records were received in several major and numerous small accessions and the physical arrangement of the records (the order in which they are arranged in boxes/folders) reflects this. In this finding aid, the records are described in term of their intellectual organization regardless of the particular accession in which they were received. As a result, the box number order in which the descriptions are displayed in the contents list will not always be consecutive.
The University Musical Society was organized in 1879 by members of the university faculty called together by University President Henry S. Frieze. In 1881 it was incorporated as a nonprofit educational corporation. The society twice extended its corporate existence. In 1969 it was reincorporated "in perpetuity."
The society states that its purpose is to, in part, "cultivate the public taste for music and afford opportunities for the acquisition of musical knowledge and skill..." Affiliated with it, but technically governed by separate boards, were the Choral Union, the University Orchestra and the Ann Arbor School of Music. Despite their technical independence, in reality interlocking directorships led to a situation in which members of the UMS Board of Directors administered the various subordinate units.
In 1892 this situation was formally recognized. The independent governing boards of the Choral Union, Orchestra, and School of Music were disbanded and all three institutions came directly under the jurisdiction of the UMS directors. The school's name was changed to the University School of Music, and funds were raised for the construction of a building for the school.
The Choral Union itself was an outgrowth of the Messiah Club and consisted of singers from several Ann Arbor churches as well as the university community. This organization has continued its traditional Messiah performances as well as participation in May Festival concerts.
In 1893 it was proposed that the society's concert series close with a festival of three concerts rather than with a single event as had been the custom. The three-day event was a great success and, in 1894, the May Festival became an annual occurrence.
While always closely associated with the university, the UMS was and remains technically independent from the control of the Board of Regents. Generally satisfactory, this situation proved troublesome regarding musical education. In 1905 the Regents authorized Michigan students to perform accredited studies at the UMS-governed University School of Music. In 1929 the regents and UMS agreed that the University School of Music should become a component part of the University of Michigan, however the school would continue to be administratively under the control of the UMS Board of Directors whose decisions would be subject to the approval of the regents.
In 1940 the University Musical Society relinquished all rights and responsibilities regarding the School of Music to the regents of the University of Michigan who agreed to assume full responsibility for the school's operation. This separation was both legal and physical as the society left its offices in the School of Music to occupy offices on the first floor of Burton Memorial Tower.
The Choral Union Series, begun in 1889, has served as the major series of concerts presented by the UMS. Presentations have included major orchestras and artists from around the world. The Philadelphia Orchestra began a tenure with the May Festival in 1936, an association which lasted until 1984. Interest in presenting an expanded base of concerts led to the establishment of the Chamber Arts Series in 1963 which focused on chamber music. A Summer Concert Series took place from 1964 to 1971.
In 1960 the University Musical Society recommended changes to Hill Auditorium to allow for an orchestra pit and proscenium which would make possible the introduction of ethnic folk dance, ballet and opera presentations as well. These performances also took place in Rackham Auditorium and, beginning in 1971, the Power Center for the Performing Arts.
In addition to the above series, the University Musical Society also sponsors special (non-subscription) concerts. Among these have been special recitals by Arthur Rubenstein, Marian Anderson, and Vladimir Horowitz. The University Musical Society and School of Music have also sponsored benefit concerts for the School of Music featuring artists of international repute with the University Symphony. Many world premieres of choral and orchestral works have been commissioned by the University Musical Society and performed by the Choral Union.
In the 1980s and 1990s the University Musical Society faced the challenge of the increasing costs of performances and of the need to raise a considerable portion of the operating budget through gifts. The latter led to an expansion in the development efforts of the staff. There was also a perceived need to offer a more varied choice of performances in order to attract patrons of all ages and musical taste. The work space occupied by the UMS, Burton Tower, and Hill Auditorium, its major venue, were both in need of renovation. Changes and activities documented in the 1990-1998 accession include the demise of the May Festival and the beginning of the Distinguished Artist Award--the last May Festival took place in 1995; the Distinguished Artist Award was first awarded in May 1996--and the development of a renovation plan for Hill Auditorium. The plan was approved by the Regents in September 1990 and fund raising began as part of the university's Capital Campaign.
Presidents of the University Musical Society
| Date |
Event |
| 1879-1881 | Henry S. Frieze |
| 1881-1883 | Alexander Winchell |
| 1883-1889 | Henry S. Frieze |
| 1889-1891 | Alexander Winchell |
| 1891-1927 | Francis W. Kelsey |
| 1927-1968 | Charles A. Sink |
| 1968-1987 | Gail W. Rector |
Executive Directors of the University Musical Society
| Date |
Event |
| 1987- | Kenneth Fischer |
The University Musical Society records were processed by and the finding aid created by: Frank Boles, February 1983; Susan Avery, July 1994; Marjorie Barritt, December 1998; Marilyn M. McNitt, January 2005 and Natalie Bond, 2011.
Items separated out of this record group during processing include: duplicates, job inquiries, communications of university-wide distribution and talent flyers attached to incoming correspondence from arts management companies. Newsletters, conference programs and workshop information from professional organizations to which Gail Rector and Kenneth Fischer belong have not been kept. These organizations include the Association of College, University and Community Arts Administrators (ACUCAA), Association for Classical Music (ACM) (Gail Rector served on the Board of Directors and his ACM correspondence is found in "A"), the International Society of Performing Arts Administrators (ISPAA) (Gail Rector was a past president), Meeting Planners International for which Kenneth Fischer presented workshops, Leadership Ann Arbor and other arts organizations. University of Michigan auditorium rental agreements and similar routine communications and forms have been discarded.
