That music and revolution go hand in hand shouldn’t surprise us. The rousing spirit of protest songs like “¡El Pueblo Unido” in Chile, or “Go down Moses” of the American Underground Railroad can be among the most powerful vehicles for expressing the pathos and impetus behind an uprising of the people. In today’s installment of Music + X: classical music’s perspectives on revolution.
From the earliest symphonies to operas made in the past decade, politics has been present in classical music — not only as a subject of composer’s interest, but as a force that shapes the music deemed worthy. Today, we consider two works of music: one by a Russian composer under the microscope of the 1920s Soviet Union, the other by an American composer given considerably more leeway to comment on American international politics of the 1970s.
This is the first in a two piece collection on the use of the word “order” in the Fundamental Standard. Here, we discuss possible worrying connotations of the word order. In the next, we will discuss the presumably positive interpretations of the word’s inclusion.
In the 1885 Stanford University Founding Grant, Leland Stanford and Jane Lathrop Stanford put forth their fundamental principles for the university and its students. In describing the overarching goals of the institution, the Stanfords were setting the tone for the university’s present and future spirit of education, as many of its peer institutions had done…
Elizabeth Lindqwister discusses ways that the Thinking matters requirement fails to provide an introduction to academic thinking and how it might be improved.
Elizabeth Lindqwister discusses how a violin prodigy’s choice to not pursue a career in music can provide inspiration for Stanford students to choose non-traditional paths.
Elizabeth Lindqwister discusses how to make sense of reparations for historical grievances, and the practical challenges that they can face.
Of the many adjectives that come to mind when describing the organ, “old” and “religious” most easily come to mind. It is, quite simply, a stuffy instrument, long relegated to the dusty corners of traditional churches As a stationary object— both in its physicality and in terms of its development over time— it is inherently…