Daniel Barenboim, conductor of the Arab/Israeli West-Eastern Divan Orchestra, claims that “everywhere in the world... [Beethoven’s Ninth Symphony] speaks to all people.” But just how universal is Beethoven? Does his music exceed cultural boundaries or is Barenboim’s idea of a “utopian republic,” built, in part, upon Beethoven’s music, just “another Euro-American vision?” In his paper, Mark Whale explores two ways of understanding Beethoven’s music in line with two versions of the “idea of culture” proposed by literary theorist, Terry Eagleton. First, (...) he suggests that our experience of music has to do with its association with the specific cultural “loyalties and allegiances” built into our lives. Second, he argues that there is a mode of musical encounter, one which crosses cultural boundaries, in which we do not simply experience music but actively choose to care about, and to attend to, what we experience. In choosing to attend carefully to Beethoven’s music we discover that it invites and deepens our attention, not only to it, but also to ourselves. (shrink)

Abstract:Increasingly, issues of social justice have become the concern of educators. It is clear, however, that these issues are not concerning for everyone. Awareness of social justice exists in critical relationship to society: it is not synonymous with it. In my paper, I argue that the contemporary relationship society has with social justice is not new. A sense of social justice–of equality–existed in critical tension with eighteenth-century conventions, even if the scope of this tension was far more limited than today. (...) Some say classical music mirrors the values of the society of its production. It follows that classical music may mirror the dialectical relationship between convention and critique–that it may not only present conventional sound patterns but also be critical of them. As self-critical, music (all music) nurtures the ability of its participants to think critically. Ironically, then, I suggest that classical music has contributed to people's capacity to critique classical music. (shrink)