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Russian Piano Masterpieces: Rachmaninov

Rachmaninov is considered by many to be the greatest composer-pianist in history. But his very popularity has left the complexity and subtlety of his music underappreciated.

The Sound of Mathematics

It has been known since antiquity that there are simple “harmonic” relationships between notes that sound appealing together. This lecture introduces the mathematics of pitch, scales, and just temperament. The pitch of a sound is not its only important property.

The Role of the State in Public Health, and its Limits

The relative role of the State and the individual is a recurring theme of political theory. It is also a practical question in public health – what are the respective responsibilities of government, individuals and healthcare professionals to protect health?

The Mathematics of Musical Composition

Pattern and structure are essential to music, from the permutations in a Bach fugue, to the structure of a round.

Does The State Really Care When It Kills You?

This lecture will focus on human rights and the wrongs of unexpected and/or sudden deaths in which the state is implicated.

Russian Piano Masterpieces: Musorgsky

Musorgsky was a proficient, but not virtuosic pianist, and most of his piano music is comprised of unambitious salon pieces. On the basis of these modest exploits, no one could have predicted his Pictures at an Exhibition.

BBC Radio in the 78 Era (1920–1948)

In 1920, Nellie Melba’s singing was transmitted to Europe and Newfoundland via the wireless. In 1922 the BBC began broadcasting, and from the outset sponsored new music and relayed outside broadcasts to the nation (and from 1932, to the world).

Diaghilev and Prokofiev: Return to Emotion

In this final lecture, we will focus on one of the best-preserved Diaghilev productions, The Prodigal Son, a strikingly beautiful ballet by Prokofiev/Balanchine/Rouault.

The Ballets Russes: Turning French

Modernity kept seeping into ballet, a genre that had traditionally looked to a distant, mythical or magical past.

Musical Endings

In short, is the object of a musical ending to bring an audience to its feet? And what about false endings? Do they excite or belittle the audience?