Arthur Fiedler (December 17, 1894 – July 10, 1979) was an American conductor known for his association with both the Boston Symphony and Boston Pops orchestras. With a combination of musicianship and showmanship, he made the Boston Pops one of the best-known orchestras in the United States. Fiedler was sometimes criticized for over-popularizing music, particularly when adapting popular songs or editing portions of the classical repertoire, but he kept performances informal and sometimes self-mocking to attract a bigger audience.

Fiedler was born in Boston, Massachusetts, the son of Johanna (née Bernfeld) and Emanuel Fiedler (1859–1944). His parents were Austrian Jewish immigrants. Emanuel was a violinist who played in the Boston Symphony Orchestra, and Johanna was a pianist. Fiedler grew up in Boston and attended Boston Latin School until his father retired in the early 1900s, and they moved to Vienna, Austria, in 1910. The family soon moved again, this time to Berlin, where young Fiedler studied violin at the Royal Academy of Music (Hochschule für Musik Berlin) under Willy Hess from 1911 to 1915. Fiedler returned to Boston early in World War I. In 1915, he joined the Boston Symphony Orchestra as a violinist under conductor Karl Muck. Fiedler also worked as a pianist, organist, and percussionist. He was not related to former Boston Symphony conductor, Max Fiedler.

In 1924, Fiedler formed the Boston Sinfonietta, a chamber music orchestra composed of Boston Symphony members, and started a series of free outdoor concerts.

Fiedler was appointed the eighteenth conductor of the Boston Pops Orchestra in 1930. While the position of conductor of the Boston Pops both before and after Fiedler tended to be a phase of a conductor's career, Fiedler made it his life's work, holding the position for nearly 50 years.

With Fiedler's direction, the Boston Pops reportedly made more recordings than any other orchestra in the world, most of them for RCA Red Seal, with total sales exceeding $50 million. His recordings began in July 1935 at Boston's Symphony Hall with RCA Victor, including a world premiere recording of Jacob Gade's "Jalousie", which eventually sold over a million copies, and the first complete recording of Rhapsody in Blue by George Gershwin (with Jesús María Sanromá as soloist; around that time it also made the first recording of Edward MacDowell's Second Concerto). In 1946, Fiedler conducted the Boston Pops in one of the first American recordings devoted to excerpts from a film score, Dmitri Tiomkin's music for the David O. Selznick Technicolor epic Duel in the Sun. RCA Victor released an album of ten-inch 78-rpm discs complete with photographs from the film.

Fiedler's June 20, 1947, MM-1147 recording of Gaîté Parisienne by Jacques Offenbach was eventually released by RCA as its second long-playing classical album (RCA Victor LM-1001), in March of 1950. Fiedler recorded the same music on June 2, 1954, in stereo and began making regular stereo recordings in 1956. A number of Fiedler's recordings were released as 45-rpm extended-play discs, beginning in 1949, such as Tchaikovsky's Marche Slave and Ketèlbey's In a Persian Market (RCA Victor ERA-2). Besides recording light classics, Fiedler also recorded music from Broadway shows and Hollywood film scores, as well as arrangements of popular music, especially the Beatles. He and the Boston Pops occasionally recorded classical works that were favorites, but not considered as "light" as most of the pieces that he conducted. Fiedler made but a single recording with the Boston Symphony Orchestra: Dvorak's New World Symphony. There were also recordings of chamber music by his Sinfonietta. Fiedler and the Boston Pops recorded exclusively for RCA Victor until 1970 (though the label has continued to issue many new Fiedler/Boston Pops compilations and unreleased recordings). When the Boston Symphony Hall contract with RCA ended, the Hall, which included the BSO and the BPO, signed with Deutsche Grammophon for classical releases with co-owned Polydor Records for his arrangements of pop music compositions and then London Records. Fiedler's last album, devoted to disco, was titled Saturday Night Fiedler.

Fiedler was also associated with the San Francisco Pops Orchestra for 26 summers (beginning during 1949) and conducted many other orchestras throughout the world. He was a featured conductor on several of NBC's The Standard Hour programs in 1950 and 1951, conducting the San Francisco Symphony in the War Memorial Opera House; the performances were preserved on transcription discs and later released on audio cassette.

In very rare visiting performances, Fiedler accepted the invitation to conduct Don Caneva's John Hersey High School Bands after reviewing their latest recordings. Caneva said, “I was tremendously pleased and delighted when he said he would accept our invitation, after hearing a recent recording of the band." Fiedler ended up conducting twice for Caneva's bands in 1971 and 1972. In the final 1972 performance, the band opened the Symphonic Winds portion of the concert with the "Festive Overture" by Dmitri Schostakovich, followed with the "American Salute" by Morton Gould. For the conclusion of this portion, Fiedler chose "The Finale From The New World Symphony" by Anton Dvorak. He also conducted Leroy Anderson's "Serenata" with the high school band.