Classical music has a long legacy of sexism, and the most evident reminder is often standing right in front of the orchestra. I’ve stared at this inequality for most of my own musical career. In twelve years, I’ve worked with only one professional female conductor, but countless males. And even in the world of instrumentalists, equality can be hard to see. I remember being in middle school band, shocked that there wasn’t a single boy in the flute section, but all the professionals my teachers told me to listen to were men.
Rebellion and Passion in India’s Indie Music Scene
The world only knows Indian music from Bollywood’s “filmy” ballads and cinematic love songs. Music in India seems to enter the world in few forms other than through the cinema industry. However, Bollywood does an incomplete job of representing the music of India just as the iTunes charts would to America—representing only the big, mainstream record artists. Under the wraps of a Bollywood-obsessed entertainment scene, there is a burgeoning independent Indian music industry that is teeming with life and passion. It is young, determined, and rebellious. This indie music industry surfaces many interesting questions about art’s long–standing struggle against capitalist values and the role of anti-establishment industries in societies like India’s.
The Gentrification of Hip-Hop
Hip-hop music began in the 1980s, and was primarily a means for African American communities to express commentary and frustration related to politics, discrimination, and common struggles often related to race relations. Crucially, music was being used to give voice to a people that has traditionally been suppressed or discounted because of the effects of systemic racism in the American political institution. One of the most significant groups to pioneer this genre was Public Enemy, whose music focused largely on sociopolitical commentary.
Classical Music and the Cost of Perfection
Growing up, I always knew I wanted to be a singer. I was that child who always told her friends and family that she was going to be on American Idol when she turned sixteen, but was actually talent-less, which usually fostered an encouraging pat on the back and an “oh, that’s nice, dear,” from amused adults. Thanks to several outstanding music educators, I fortunately grew into my voice in high school, and decided I wanted to pursue a career in opera.
Bon Iver and the Economics of Art for Art’s Sake
In a recent feature article for Pitchfork, an online music magazine, contributor Steve Marsh follows Justin Vernon, the lead singer and founder of the band Bon Iver, who spent a week in Berlin alongside his band and 85 other artists. Their week-long sojourn in Berlin was framed around creating a series of collaborations that would be presented at the end of the week to 4,500 listeners in a two-day long nameless music festival. This undertaking coincided with the release of Bon Iver’s third album: “22, A Million”.
Cultural Appropriation in Classical Music
The majority of the classical music we know and love today has been steeped in European traditions for generations. It is not uncommon, however, to see hints of other cultures within classical music composition. Sometimes this is done as an authentic ode to another culture’s music, but can also be exploitative if not done with proper knowledge and respect for the culture.
Did Bob Dylan Deserve a Nobel?
Bob Dylan has won countless music awards throughout his career, but his most recent award – a Nobel Prize in Literature – has left many confused. The debate boils down to what can be considered “literature.” Webster’s Dictionary defines literature as “written works (such as poems, plays, and novels) that are considered to be very good and to have lasting importance.” Although Dylan’s poems were performed musically, the actual lyrics seem to meet this definition. However, many still debate both the eligibility of Dylan’s work, as well as the reasoning behind awarding him over up-and-coming writers.
Classical Music’s Accessibility Dilemma
As music becomes increasingly accessible in the digital age through means such as Spotify, traditional live-music presentations of classical music have taken a bit of a beating. Even long-standing, socially prominent venues have recently faced financial turbulence. In 2014, the Metropolitan Opera found itself in a $22 million deficit due to shortcomings in both its ticket sales and donor contributions. Desperate to attract more audiences in order to keep afloat, the greatest modern minds in classical music have been forced to rethink how to market classical music to make it consistently appealing to a broad range of audiences. In the process, ethical questions have risen concerning the preservation of the art – is the integrity of classical music being sacrificed as the industry strive to create new events that will ignite new interest?
Open Mike Eagle, Race and Getting the Joke
Not many understand Open Mike Eagle’s humor on its face. The rapper says as much on the opener to his 2014 album, Dark Comedy, rapping that he needs to “Add a lol cause nobody seems to know when I’m joking.” Indeed, Eagle’s deadpan style, as well as the density of cultural references and wordplay in his work, can make parsing out a verse’s punchline an exercise in literary interpretation upon first listen.
Should Musician’s Intent Matter to Political Campaigns?
One should never underestimate Donald Trump’s taste for showmanship. Long synonymous with his brand, the candidate’s tendency towards spectacle was on display throughout the Republican National Convention in Cleveland last week. Seasoned politicians like Paul Ryan shared stage space with sports stars and soap opera celebrities. Highly stylized film trailer-esque clips emphasized the nominee’s expertise in a variety of areas. And, when Trump made his first appearance, he walked onstage to blinding lights and fog, a podium rising from the floor in front of him. In the background, Queen’s “We Are the Champions” sounded throughout the convention floor.
