Commitment to Freedom, the Story of the Christian Science Monitor. By Erwin D. Canham, Boston, Houghton Mifflin Company, 1958. Pp. xxiv + 454. $4.85.

1959 ◽  
Vol 33 (1) ◽  
pp. 117-119
Author(s):  
Elizabeth Bricker Currier
Keyword(s):  
Christian Science ◽  
Christian Science Monitor

scholarly journals Policy Considerations for Using Forests to Mitigate Carbon Dioxide Emissions

2001 ◽  
Vol 1 ◽  
pp. 241-242 ◽  
Author(s):  
Sandra Brown ◽  
R. Neil Sampson ◽  
Bernhard Schlamadinger ◽  
John Kinsman
Keyword(s):  
New York ◽  
Carbon Dioxide Emissions ◽  
New York Times ◽  
Forest Growth ◽  
Christian Science ◽  
Climate Change Negotiations ◽  
Christian Science Monitor ◽  
The Press ◽  
International Climate

A recent article in Nature, “Soil Fertility Limits Carbon Sequestration by Forest Ecosystems in a CO2-Enriched Atmosphere” by Oren and colleagues[1], has been widely reported on, and often misinterpreted, by the press. The article dampens enthusiasm for accelerated forest growth due to CO2 fertilization and puts in question the fringe theory that the world’s forests can provide an automatic mitigation feedback. We agree that these results increase our understanding of the global carbon cycle. At the same time, their relevance in the context of the international climate change negotiations is much more complicated than portrayed by newspapers such as the New York Times (“Role of Trees in Curbing Greenhouse Gases is Challenged”, May 24, 2001) and the Christian Science Monitor (“Trees No Savior for Global Warming”, May 25, 2001).

scholarly journals Modernist Music for Children

2020 ◽  
Vol 37 (4) ◽  
pp. 488-517
Author(s):  
David H. Miller
Keyword(s):  
New York ◽  
Classical Music ◽  
Anton Webern ◽  
Leonard Bernstein ◽  
Christian Science ◽  
New York Philharmonic ◽  
Christian Science Monitor ◽  
Middlebrow Culture ◽  
Lincoln Center ◽  
Rhetorical Force

On several occasions in the midcentury United States, the music of Anton Webern was reimagined as music for children. In 1936 conductor and musicologist Nicolas Slonimsky published the score of Webern’s op. 10/4 on the children’s page of the Christian Science Monitor. In 1958 Webern’s op. 6/3 was featured in a New York Philharmonic Young People’s Concert, the first conducted by Leonard Bernstein. Eight years later, Webern’s Kinderstück (Children’s Piece) received its posthumous premiere at Lincoln Center, performed by a nine-year-old pianist. In each case children served as a marker of accessibility, meant to render Webern’s music more palatable to adult audiences; thus was Webern’s music subsumed within the middlebrow circulation of classical music. Although recent scholarship has considered the intersections between modernist music and middlebrow culture, Webern’s music has remained absent from these discussions. Indeed, Webern’s terse, abstract, and severe compositions might at first appear ill suited to middlebrow contexts. Yet, as these three historical moments make clear, children served as a potent rhetorical force that could be used to market even this music to a broad audience of adults.

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