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Passing by catastrophe: EP-style

To “pass by catastrophe,” according to urban legend, you must experience a major earthquake or other catastrophic event during your final exam warranting the university registrars to give everyone passing grades. But in the case of the Stanford band, “Pass By Catastrophe,” the phrase means exploring making music together and dropping your first extended play (EP) on Oct. 4, amidst the Stanford grind.

Music + X: Humanity

Over the past two weeks, we’ve seen how classical music interacts with the real world to represent the intricacies of a presidential visit or the struggles of a suppressed nation. Adversity is often adjacent to the process of composing great classical music, and composers have found the source of musical gold out of disunity. But…

Music + X : Revolution

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.

Music + X: Politics

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.