| H O M E | ||
Academic |
||
 |
A Brief Biography | |
| |
Curriculum Vitae | |
|
Student Area (Emory) | |
|
PODCASTS | |
|
Political Music Videos | |
|
Data Sets and Computer Programs |
|
Publications |
||
|
Scholarly | |
|
Speculative Nonfiction | |
Consciousness Studies |
||
|
The Farsight Institute | |
|
Links of Note | |
|
Book Reviews | |
PUBLIC SPEAKING |
||
|
Topics | |
|
Schedule | |
| MUSIC | ||
|
Live Music | |
|
Studio Music | |
PERSONAL |
||
|
Poetry | |
|
Peace Corps | |
C O N T A C T |
||
Politics and Music: Class Meetings
Professor Courtney Brown
Meeting #4: Beethoven and Weimar
LECTURE NOTES
SELECTIONS played in class:
Beethoven's Mass in C - Kyrie
Beethoven's Mass in C Major - Gloria (Opus 86)
Beethoven's Opus 118 (Song - Eligischer Gesang - Elegiac)
Beethoven's Oratorio - Christus am Olberge, Opus 85
POINTS: Note how different groups picked music that they felt
most closely represented their ideological points of view. They
developed (or invented) the required connections as needed. The
three last examples above were used by leftist party organizations.
The Mass in C was also used by the Catholic Center party to offer
a distinctly different view of Beethoven as spiritually - not
politically - driven.
QUESTIONS: How successful would the political organizations have
been in using music to help push their political agenda's if
the music chosen was not already deeply associated with Germanic
culture? Why was the cultural connection so important in the
Weimar period? If the Weimar government had been "home grown,"
would the cultural anchor of music have been as important?