Alicia Kopfstein-Penk is an enthusiastic postmodernist who teaches at American University. As a performer, she has sung Bernstein at the Metropolitan Opera, Beatles at clubs, and played classical guitar at the Kennedy Center. She is also a contributor to Soundboard, and a podcast producer for the Washington National Opera.

[Leonard Bernstein and His Young People's Concerts] is a bristlingly well-informed monograph that draws on Bernstein’s archives to tell the story of how his Young People’s Concerts telecasts came to be, and why they have had no true successors.

• A Note on FiguresList of TablesForewordPrefaceIntroductionChapter 1: Background: Who, When, and HowChapter 2: Decisions: Topics, Pieces, and PerformersChapter 3: The Postmodernist: Highbrow, Lowbrow, and Middlebrow JoinedChapter 4: The Television Pioneer: Origins, Competition, SuccessChapter 5: The Pacifist: The Cold War IntrudesChapter 6: The Liberal: Civil Rights, Feminism, and the CountercultureChapter 7: The Musical Reactionary: Atonality versus Tonality or Composer versus AudienceChapter 8: The Advocate for American Music: Search for an American IdentityEpilogueAppendix A: Program Numbers, Titles, and Dates with Chapter References and Possible Motivations for Topic for Bernstein’s Young People’s ConcertsAppendix B: Alphabetical List of Bernstein’s Young People’s ConcertsAppendix C: Production and Broadcast Information for Bernstein’s Young People’s ConcertsAppendix D: Young Performers on Bernstein’s Young People’s ConcertsAppendix E: Existing Nielsen Ratings for Bernstein’s Young People’s ConcertsAppendix F: Twentieth-Century Works in Bernstein’s Young People’s ConcertsAppendix G: American Music in Bernstein’s Young People’s ConcertsAppendix H: Young People’s Concerts without Bernstein, 1958-1972BibliographyIndexAbout the Author

Alicia Kopfstein-Penk is an enthusiastic postmodernist who teaches at American University. As a performer, she has sung Bernstein at the Metropolitan Opera, Beatles at clubs, and played classical guitar at the Kennedy Center. She is also a contributor to Soundboard, and a podcast producer for the Washington National Opera.

[Leonard Bernstein and His Young People's Concerts] is a bristlingly well-informed monograph that draws on Bernstein’s archives to tell the story of how his Young People’s Concerts telecasts came to be, and why they have had no true successors.

• A Note on FiguresList of TablesForewordPrefaceIntroductionChapter 1: Background: Who, When, and HowChapter 2: Decisions: Topics, Pieces, and PerformersChapter 3: The Postmodernist: Highbrow, Lowbrow, and Middlebrow JoinedChapter 4: The Television Pioneer: Origins, Competition, SuccessChapter 5: The Pacifist: The Cold War IntrudesChapter 6: The Liberal: Civil Rights, Feminism, and the CountercultureChapter 7: The Musical Reactionary: Atonality versus Tonality or Composer versus AudienceChapter 8: The Advocate for American Music: Search for an American IdentityEpilogueAppendix A: Program Numbers, Titles, and Dates with Chapter References and Possible Motivations for Topic for Bernstein’s Young People’s ConcertsAppendix B: Alphabetical List of Bernstein’s Young People’s ConcertsAppendix C: Production and Broadcast Information for Bernstein’s Young People’s ConcertsAppendix D: Young Performers on Bernstein’s Young People’s ConcertsAppendix E: Existing Nielsen Ratings for Bernstein’s Young People’s ConcertsAppendix F: Twentieth-Century Works in Bernstein’s Young People’s ConcertsAppendix G: American Music in Bernstein’s Young People’s ConcertsAppendix H: Young People’s Concerts without Bernstein, 1958-1972BibliographyIndexAbout the Author

Alicia Kopfstein-Penk is an enthusiastic postmodernist who teaches at American University. As a performer, she has sung Bernstein at the Metropolitan Opera, Beatles at clubs, and played classical guitar at the Kennedy Center. She is also a contributor to Soundboard, and a podcast producer for the Washington National Opera.

[Leonard Bernstein and His Young People's Concerts] is a bristlingly well-informed monograph that draws on Bernstein’s archives to tell the story of how his Young People’s Concerts telecasts came to be, and why they have had no true successors.

• A Note on FiguresList of TablesForewordPrefaceIntroductionChapter 1: Background: Who, When, and HowChapter 2: Decisions: Topics, Pieces, and PerformersChapter 3: The Postmodernist: Highbrow, Lowbrow, and Middlebrow JoinedChapter 4: The Television Pioneer: Origins, Competition, SuccessChapter 5: The Pacifist: The Cold War IntrudesChapter 6: The Liberal: Civil Rights, Feminism, and the CountercultureChapter 7: The Musical Reactionary: Atonality versus Tonality or Composer versus AudienceChapter 8: The Advocate for American Music: Search for an American IdentityEpilogueAppendix A: Program Numbers, Titles, and Dates with Chapter References and Possible Motivations for Topic for Bernstein’s Young People’s ConcertsAppendix B: Alphabetical List of Bernstein’s Young People’s ConcertsAppendix C: Production and Broadcast Information for Bernstein’s Young People’s ConcertsAppendix D: Young Performers on Bernstein’s Young People’s ConcertsAppendix E: Existing Nielsen Ratings for Bernstein’s Young People’s ConcertsAppendix F: Twentieth-Century Works in Bernstein’s Young People’s ConcertsAppendix G: American Music in Bernstein’s Young People’s ConcertsAppendix H: Young People’s Concerts without Bernstein, 1958-1972BibliographyIndexAbout the Author