Michigan Tech Lode
PULSE
Tuesday, February 25
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Promoting on-campus diversity awareness RENEE OATS Lode Writer As February comes to a close, so does the nationally recognized Black History month-long event. Highlights from the month among Tech’s campus includes an informative library display illustrating the accolades and contributions of African-Americans throughout history and historical trivia being held by the Society of AfricanAmerican Men (SAAM) organization posted on campus flyers throughout the campus with opportunities to win fun prizes as well . This trivia contest will also continue throughout March so be sure to seek out campus flyers to enter. On Thursday, Feb. 27th in Fisher Hall at 8 p.m., there will be a free movie presentation sharing
the life and great works of Dr. Martin Luther King, Jr. One of the most popular events to share African culture with the community
“Fostering an environment promoting identity development, intercultural connections...and professional development.” is the African Student Organization African Night which will be held on Saturday, Mar. 1st at the MUB from 7 p.m. - 9 p.m. The night will also include a tribute to philanthropist and past South African president, Nelson Mandela, who passed away in December last year. In continual efforts to promote cultural and diversity awareness throughout the community, there is an on-campus
resource center known as the Center for Diversity and Inclusion (CDI). CDI, located next to Fisher Hall, is committed to fostering an inclusive environment that promotes identity development, intercultural connections, academic excellence, leadership and professional development specifically for, but not limited to students of color, GLBTQ students and women. Central to the mission of CDI is developing programs that educate Michigan Tech and the broader community about diversity, social justice, equity and cultural competency through interesting programs such as the Social Justice Lecture Series launched in 2012. This series introduces a broad range of topics to the campus community that encourage critical thinking, provoke healthy debate and challenge assumptions. In fact, CDI sponsored
Society of Women Engineers (SWE) Region H Conference speaker, Dr. Amy Freeman, Assistant Dean of Engineering Diversity at Pennsylvania State University, as part of the Social Justice Lecture Series earlier this month. Dr. Freeman’s presentation(s) highlighted her experiences as a woman of color pursuing a career in engineering and those experiences that contributed to her decision to shift gears to work on breaking down barriers for future generations of women and people of color in traditionally underrepresented fields. There will be continued social justice series presentations this semester in addition to Women’s Month program events throughout March including the kickoff professional dress fashion show event held this Saturday from 3 p.m. - 5 p.m. in the Forestry Building Atrium.
Beethoven’s “Eroica” symphony ARIC RHODES Lode Writer It is simply amazing, the amount of talent which is contained in the Keweenaw Symphony Orchestra. The latest concert consisted of two pieces which utterly evolved classical music history. Both were played to near perfection. Errors were few and minor, the balance was brilliant and even the most subtle of details seemed to be given their time in the spot light. The first piece played was “Symphony Number 88,” by Haydn. It is truly a shame that the great Haydn is not remembered alongside such household names as Beethoven and Mozart, especially considering that he invented the formula of the symphony. It was Haydn who began writing pieces for the consistent four part pattern which would later become the standard for music. Throughout his career, Haydn would compose 104 symphonies, far more than any of the household names who he inspired and taught. Haydn’s Symphony Number 88 is a rather light piece, as symphonic pieces
go. This is because of Haydn’s approach to music as a means of expression, an approach which shows. Every measure seems to simply drip with exuberance and sheer effort on the part of the composer, let alone that of the orchestra which is playing the piece. The four part symphonic form truly does the piece utmost justice, allowing great contrast between the sections in the tempo and feel. The third section in particular, the menuetto, was written to be a dance. Suffice it to say that, had there been a space, there would likely have been participants even in this day and age. This symphony is truly the paragon of the style which Haydn had created, and exemplified exactly why the symphony would become king of the musical forms. The second piece was Beethoven’s Symphony Number Three, “Eroica.” This was a piece which redefined music at least as much as Haydn’s “Symphony Number 88,” if not more. Shortly before the time that Beethoven was working on his “Eroica,” he went through a terrible bout of depression. He had written that he had been noticing a worsening hearing loss and had even contemplated
suicide. The art and Beethoven’s ego were too strong to let him follow through with such things before he had composed a
“It is simply amazing, the amount of talent which is contained in the Keweenaw Symphony Orchesta.” great work. Interestingly, the “Eroica” was originally to be named after, and dedicated to, Napoleon Bonaparte. Beethoven was an ardent supporter of Napoleon in the dictator’s early years, supporting his fight against the political tyranny which had taken over in France. When he heard of Napoleon declaring himself Emperor of France, it is said that Beethoven tore up the title page in an angry fit. Instead, the title “Sinfonia Eroica” was chosen, heroic symphony. The piece itself is absolutely mind numbingly sublime and it is no wonder that it caused confusion among crowds who listened to it when it was new. The piece ascends beyond the idea of music as mere entertainment, instead achieving a
status among the great pieces of history. The piece is extremely technically challenging, requiring utmost rigor amongst those who would play it. The challenge is not only in the technical difficulty, however, for the piece is long enough, over twice the length of Haydn’s “Symphony Number 88,” that it demands endurance as well. The piece goes from a slow, funeral march like dirge to an uplifting scherzo in the transition of a single part. In all, the piece is simply beyond mere description, it is as if this one piece encompasses the greatness of the entire symphonic movement which came before it. As was stated, the performance of the pieces was practically flawless. Only minor errors were even there to be heard, and even then only if they were searched for. The unfathomable quality of the pieces themselves, when played by as brilliant an orchestra as the KSO, was beyond compare. The pieces were truly some of the highlights of their era and it was simply an indescribable pleasure to hear them played. The entire performance was simply fantastic. As ever, the KSO does not disappoint.