Podcasts about american classical

Happy foggy Thursday.  Bob kicks off the show laying out the news of the day including Texas and the border an more.  Bob then welcomes former Congressman and businessman, Jim Renacci to the show.  They talk about the latest debate between the candidates trying to unseat Sherrod Brown.  The Bob is joined by dr. Everett Piper to talk the cultural news of the day.  Then it's time to talk schooling with Dr. David Baum and Bob Anthony from the Northeast Ohio Classical Academy that believes in an American Classical curriculum.  Bob then takes your calls.See omnystudio.com/listener for privacy information.

Classical schools are distinctly American. Just as our country was founded both as a modern engineering project and as a recollection of ancient political philosophy and the traditional rights of Englishmen, the contemporary classical-education movement is an act of construction — one might say an invented tradition — seeking to revivify and participate in something that once lived, and perhaps could again.Guest Micah Meadowcroft joins us to discuss how classical schools teach to a higher goal of human excellence. Micah Meadowcroft is research director for the Center for Renewing America and a contributing editor of The American Conservative. He was a Robert Novak Journalism Fellow at the Fund for American Studies in 2021-2022. This podcast discusses themes from Micah's essay in the Fall 2023 issue of National Affairs, “Classical Education's Aristocracy of Anyone.”

Guests: Kathleen O’Toole & Carrie Gress Host Scot Bertram is joined by Kathleen O’Toole, Assistant Provost for K-12 Education at Hillsdale College, to discuss the rising national popularity of charter schools and to more clearly define American classical education. And Carrie Gress, fellow at the Ethics and Public Policy Center and a scholar at the […]

Dr. Kathleen O'Toole, Assistant Provost for K-12 Education at Hillsdale College, joins Hugh Hewitt on the Hillsdale Dialogues to discuss the College's work in K-12 education and efforts to advise local groups of citizens who want to start classical charter and private schools.Release date: 28 April 2023 See omnystudio.com/listener for privacy information.

Dr. Kathleen O’Toole, Assistant Provost for K-12 Education at Hillsdale College, joins Hugh Hewitt on the Hillsdale Dialogues to discuss the College’s work in K-12 education and efforts to advise local groups of citizens who want to start classical charter and private schools. Release date: 28 April 2023 See omnystudio.com/listener for privacy information.

"A national treasure." -Wynton Marsalis "The best musician on the planet." -Vince Gill "A supreme master at what he does." -Yo-Yo Ma "He is to music what Muhammad Ali is to boxing." -James Taylor Imagine how good Mark O'Connor must be if these are the words his peers have said about him. Mark's musical DNA includes American folk tradition as well as classical music, and even jazz -- which makes sense when you consider that his creative journey began at the feet of a pair of musical giants: folk fiddler Benny Thomasson (who created the modern era of American fiddling) and French jazz violinist, Stephane Grappelli (considered one of the greatest improvisers in the history of the violin).   Along the way, between these musical extremes, Mark absorbed knowledge and influence from other musical styles and genres -- an alchemy that became his signature sound, a “new American Classical music." He's performed for U.S. Presidents ... he's recorded with Dolly Parton, James Taylor, Paul Simon, Randy Travis, The Judds and many more ... and he also created an entirely American school of string playing called The O'Connor Method.   Now, he's written a memoir entitled Crossing Bridges about his journey from child prodigy to fiddler who dared the world. He and his beloved, the extraordinary musician Maggie O'Connor, have been touring the country playing book release concerts, but they took some time to sit down with us on the Charlotte Is Creative Podcast!   LINK TO THINGS MENTIONED IN THIS PODCAST:   Will the Circle Be Unbroken, Vol. 2 by The Nitty Gritty Dirt Band

Next episode available from Monday, February 27th with guest Joe Jennings Celebrating Atlanta's Local Black History and Jazz

We continue our discussion about teaching with John talking about the importance of sound and concept along with the importance of singing. I then ask John about the question, should the school be there for the student, or should the student be there for the school (spoiler alert: John sees this as a black and white question!).  We talk about why so few great trumpet players are great musicians, and what the quality is that makes a great trumpet player a great musician.

In the Bonus Room we begin by talking about what auditions are like at Indiana University, and what John looks for in a student that is auditioning. We end our conversation by talking about John's playing career.

John Rommel is Professor of Trumpet at the Jacobs School of Music at Indiana University. Early in his playing career he was a member of the Nashville Symphony and principal trumpet of the Louisville Orchestra, and recently he has performed with both the Cleveland Orchestra and the Cincinnati Symphony. He is also known as one of the premier teachers in the U.S., and it was a pleasure to speak with him in depth about his philosophy on teaching.We begin our conversation with my asking John to talk about how both students and also his teaching have changed over the 30 years he has been at the Jacobs School of Music. Drawing on a wide variety of influences, from his lessons with Bill Adam to an interview with Hall of Fame football player Walter Peyton to John Wooden and his Pyramid of Success, John discusses the problems facing music students in universities today, and how a student can strive to move forward in spite of difficulties and struggles.

Join the Cramer Quartet next week at Music Mountain Summer Festival Sunday, August 14, 2022 | 3:00 p.m. Gordon Hall 225 Music Mountain Rd Falls Village, CT >> Get Tickets Now Don't miss the WORLD PREMIERE of Alexandra du Bois' NEW String Quartet No. 6!Get TicketsFranz Joseph Haydn String Quartet in C Major, Opus 20, No. 2 Alexandra du Bois (b. 1981) String Quartet No. 6, strolling in the ultimate ***WORLD PREMIERE*** Franz Joseph Haydn String Quartet in G Major, Opus 76, No. 1We are thrilled to make our debut at the renowned and scenic Music Mountain Summer Festival next Sunday, August 14th, as the first ever period instrument string quartet in the Festival's 92-year history! For this concert, we will be joined by our longtime friend and collaborator cellist Ana Kim, who will be stepping in for Shirley Hunt. This past April, we launched Haydn: Dialogues, our ambitious multi-year cycle combining Haydn's 68 string quartets with sixteen new commissions by composers of marginalized identities, with the world premiere of Alexandra du Bois' String Quartet No. 6 strolling in the ultimate. Next week's performance unveils the new and significantly expanded version of the same work. We hope to see you there! >>GET TICKETS THE CRAMER QUARTET Jessica Park (she/her), violin Chiara Fasani Stauffer (she/her), violin Keats Dieffenbach (they/them), viola Ana Kim (she/her), cello The Cramer Quartet performs on period instruments with gut strings at A=430 Hz.Get to know cellist Ana Kim!Indiana-native Ana Kim is a cellist based in New York, who performs on modern and historical instruments with various ensembles including Philharmonia Baroque, American Classical, and Boston Baroque Orchestras. She has received a Doctorate at the University of Southern California and has studied Historical Performance at Juilliard.Please support our next Haydn: Dialogues commission from NYC-based composer inti figgis-vizueta. We will premiere inti's new work during the 2022-2023 season!Donate now

About Our GuestJason Caros serves as the headmaster at Founders Classical Academy. He graduated from Florida State University, earning a Bachelor of Arts with concentrations in History and Religion. He also holds a Master's Degree in Educational Leadership from Nova Southeastern University. Mr. Caros was a high school history teacher and a district-level curriculum administrator for more than fifteen years. In 2012, he was selected by Hillsdale College's Barney Charter School Initiative and Responsive Education Solutions to serve as the first headmaster of Founders Classical Academy, a K-12 grade classical charter school in Lewisville, TX.  Mr. Caros attributes the growth and success of the school to the efforts of an excellent faculty and staff, supportive parents, dedicated students, and the work of its parent organization, Responsive Ed. In addition to his headmaster duties, Mr. Caros loves to teach his high school Western Civilization I class. Mr. Caros lives in Flower Mound with his wife and children; his daughter is a Founders alumna, and his son attends Founders as a rising junior.Show NotesIn this episode, Adrienne and Trae meet with headmaster Jason Caros to discuss the American Classical Charter School model. Founded initially as a Barney Charter School Initiative in American Classical Education, Founders Classical Academy in Lewisville, Texas, is an example of a thriving charter school. They are part of the Responsive Education Solutions (RES) charter schools community with a mission to provide education options that promote a free society with moral and academic excellence. Mr. Caros shares stories about how a love of learning and reading paired with patriotism bring his community together. Mr. Caros describes how commencements, holiday programs, and events focused on civic virtue give shape and meaning to the life of his school.  Furthermore, Mr. Caros explores the qualities of a good teacher pertaining to the classical categories of Logos, Pathos, and Ethos. Mr. Caros explains how the stability of his school rests on consistency in the faculty and maintaining ongoing alumni relationships. Some questions in this episode include: What are the qualities of a good headmaster? How do you foster deep conversations in pursuit of the highest good in your particular context? What is at the heart of American Classical Education? How do you retain teachers? How do you support your faculty? Resources and Books & Mentioned In This EpisodeDante's Inferno by Dante AlighieriParadise Lost by John MiltonThe Divine Comedy by Dante AlighieriShakespearean Plays by William Shakespeare The Abolition of Man by C.S. LewisNicomachean Ethics by AristotleRepublic by PlatoCicero by PlutarchThe Roots of the American Order by Russell KirkVideo: Jordan Peterson interviews Yeonmi ParkThe Bill of RightsThe Constitution of the United States of America The Restoration of Christian Culture by John SeniorNorms and Nobility: A Treatise on Education by David V. Hicks_________________________________Credits:Sound Engineer: Andrew HelselLogo Art: Anastasiya CFMusic: Used with permission. cellists: SaraSant'' Ambrogio and Lexine Feng; pianist: Alyona Waldo  © 2022 Beautiful Teaching. All Rights Reserved ★ Support this podcast on Patreon ★

Katy O'Toole, Assistant Provost for K-12 Education at Hillsdale College, joins host Scot Bertram to talk about what we mean by politics in an educational setting, making sure our children become good citizens, and how the curriculum in classical education relates back to civic education.

This week, we start out with a rousing round of Two Truths and a Lie and then we move on to our three interviews, all probing the same topic: what is American Classical Music?We asked each of our guests to select two works to frame our discussions: one from music history and one of their own composition.JENNIFER HIGDONhttp://jenniferhigdon.com/Copland, Appalachian SpringHigdon, blue cathedralDAMIEN GETERhttps://www.damiengetermusic.com/Gershwin, Porgy & Bess, Opening of Act IIIGeter, String Quartet No. 1 “Neo-Soul”JEROD IMPICHCHAACHAAHA' TATEhttp://jerodtate.com/Erb, “Ritual Thunder”Tate, “Clans”CLASSICAL MIXTAPEThe full playlistKENSHOChristopher Rouse, IscariotWILLBernstein, West Side Story: “Dance at the Gym”TIFFANYWilliam Grant Still, Wood NotesTHINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” GET A COPY OF ALEX ROSS'S WAGNERISM FOR OUR BOOK CLUBhttps://us.macmillan.com/books/9780374285937You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

Tyler Alderson interviews Seb Lewin about a region of the world often overlooked when it comes to classical music: Latin America. The interview covers the lives and music of several important composers, discussing how their music is a reflection of musical and societal trends in their countries. 77 minutes

More than a century ago, Antonín Dvořák prophesied that American music would be rooted in the black vernacular. It’s come true, to a certain extent: when we think of American music—jazz, blues, rock, hip hop, rap—we are thinking of music invented by black musicians. The field of classical music, however, has remained stubbornly white. At one point in the last century, classical music was on the cusp of a revolution: the Englishman Samuel Coleridge-Taylor was writing works like his Twenty-Four Negro Melodies, Dvořák’s own assistant Harry Burleigh was reimagining black spirituals for the concert stage that would be performed by the likes of Marian Anderson. And the lineage continued with William Grant Still, Nathaniel Dett, Florence Price, and Margaret Bond. The arrival in 1934 of William L. Dawson’s Negro Folk Symphony seemed to usher in the imminent fulfillment of Dvořák’s prophecy—and yet Dawson never wrote another symphony. Why not? Joseph Horowitz, a cultural historian and the executive director of the PostClassical Ensemble, joins the podcast to explore why. Scholar managing editor Sudip Bose guest-hosts.Go beyond the episode:Read Joseph Horowitz’s essay, “New World Prophecy,” from our Autumn 2019 issueAnd read more about Antonín Dvořák’s time in Spillville, Iowa, in Tom Zoellner’s essay, “No Harmony in the Heartland,” about how the national struggle over immigration has hit an American town built by immigrant CzechsListen to Leopold Stokowski conduct the American Symphony Orchestra’s 1963 performance of William L. Dawson’s Negro Folk SymphonyListen to Samuel Coleridge-Taylor’s Twenty-Four Negro Melodies, played by David Shaffer-GottschalkListen to Marian Anderson perform Harry Burleigh’s composition of the spiritual “Deep River”Listen to Dietrich Fischer-Dieskau perform Charles Ives’s extraordinary setting of “Feldeinsamkeit”Read about the rediscovery of the composer Florence PriceAnd keep an eye out for Dawson’s Negro Folk Symphony at the following events:Georgetown University’s PostClassical Ensemble will perform the second movement on April 25, 2020The Brevard Music Festival may perform the complete symphony next summerTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play •

More than a century ago, Antonín Dvořák prophesied that American music would be rooted in the black vernacular. It’s come true, to a certain extent: when we think of American music—jazz, blues, rock, hip hop, rap—we are thinking of music invented by black musicians. The field of classical music, however, has remained stubbornly white. At one point in the last century, classical music was on the cusp of a revolution: the Englishman Samuel Coleridge-Taylor was writing works like his Twenty-Four Negro Melodies, Dvořák’s own assistant Harry Burleigh was reimagining black spirituals for the concert stage that would be performed by the likes of Marian Anderson. And the lineage continued with William Grant Still, Nathaniel Dett, Florence Price, and Margaret Bond. The arrival in 1934 of William L. Dawson’s Negro Folk Symphony seemed to usher in the imminent fulfillment of Dvořák’s prophecy—and yet Dawson never wrote another symphony. Why not? Joseph Horowitz, a cultural historian and the executive director of the PostClassical Ensemble, joins the podcast to explore why. Scholar managing editor Sudip Bose guest-hosts.Go beyond the episode:Read Joseph Horowitz’s essay, “New World Prophecy,” from our Autumn 2019 issueAnd read more about Antonín Dvořák’s time in Spillville, Iowa, in Tom Zoellner’s essay, “No Harmony in the Heartland,” about how the national struggle over immigration has hit an American town built by immigrant CzechsListen to Leopold Stokowski conduct the American Symphony Orchestra’s 1963 performance of William L. Dawson’s Negro Folk SymphonyListen to Samuel Coleridge-Taylor’s Twenty-Four Negro Melodies, played by David Shaffer-GottschalkListen to Marian Anderson perform Harry Burleigh’s composition of the spiritual “Deep River”Listen to Dietrich Fischer-Dieskau perform Charles Ives’s extraordinary setting of “Feldeinsamkeit”Read about the rediscovery of the composer Florence PriceAnd keep an eye out for Dawson’s Negro Folk Symphony at the following events:Georgetown University’s PostClassical Ensemble will perform the second movement on April 25, 2020The Brevard Music Festival may perform the complete symphony next summerTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Feedburner • Stitcher • Google Play • 

The quartet mousai REMIX gives a concert this week featuring the work of African-American classical composers. Jennifer Arnold (Viola), Marilyn de Oliveira (Cello), Emily Cole (Violin), and Shin-young Kwon (Violin) join us.

MARK O�CONNOR returns with a brand new album and fiddle method book to play and give the WoodSongs audience a global violin lesson. Mark is the prominent American classical and multi genre violinist and composer. A product of America's rich aural folk tradition as well as classical music, he has melded and shaped his early influences into a new American Classical music, and a vision of an entirely American school of string playing. He has sold over two-million CDs as a solo recording. His collaboration with Yo-Yo Ma and Edgar Meyer received a Grammy Award in February 2001. The O'Connor Violin Method has been widely praised since its debut in fall 2009 as "an American grown rival to the Suzuki method" (The New Yorker). It includes great folk songs, fiddle tunes and classic themes culled from 400 years of traditional American violin playing. It pulls from all regions of North America and from diverse musical styles including classical, folk, Latin, jazz, rock and ragtime. �American Classics,' is a collection of new recordings arranged for violin and piano and performed by O'Connor and pianist Rieko Aizawa. The album features the repertoire on Mark�s new Method Book III. Mark will be performing with pianist Melissa Tong and serveral of the students from Lexington�s Carwile String Studio for a global violin workshop and lesson.

MARK O�CONNOR is a multi-Grammy-winning violinist and composer who is widely recognized as one of the most gifted contemporary composers in America, and one of the brightest talents of his generation. He's studied and recorded with some of the 20th Century's greatest musicians, including Stephane Grappeli, Benny Thomasson, and Yo Yo Ma. Along the way, between these many marvelous musical extremes, Mark absorbed knowledge and influence from the multitude of musical styles and genres he studied. Now he has melded and shaped these influences into a new American Classical music, and is perpetuating his vision of an American School of string playing. Tommy Emmanuel is one of Australia's most respected musicians. The legendary guitarist has a professional career that spans almost five decades and continues to intersect with some of the finest musicians throughout the world. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to try this "fingerpicker" style as a child. Decades later, Atkins himself became one of Emmanuel's biggest fans.

Continuing our musical journey into the through the 20th Century, this segment explores how America took its place as force in the world of classical music; not so much through its experimental work but through the music of Hollywood movies. Miles Hoffman, Morning Edition music commentator and dean of the Petrie School of Music at Converse College in Spartanburg, South Carolina, takes us through the early years of the last century and discusses where we can, sometimes unexpectedly, find new classical compositions today.

This segment looks at some little-known stories about American Classical music like the role of Cuba in Classical Music and the American who made "Carmen" a hit. NPR's Miles Hoffman continues to lead us through the development of a uniquely American take on traditional European music.

While Europe was alive with new, sophisticated works by Vivaldi, Bach, and Handel, America was a backwater. If you looked for classical music in the early days of America, you'd be hard-pressed to find it, even in the big cities and the centers of wealth, commerce, and social sophistication. But it *was* there; in far-flung locations including the backwoods of North Carolina and the Port of New Orleans. Miles Hoffman, NPR Morning Edition music commentator and dean of the Petrie School of Music at Converse College in Spartanburg, South Carolina takes us on a tour of classical music in early America.

Continuing our musical journey into the through the 20th Century, this segment explores how America took its place as force in the world of classical music; not so much through its experimental work but through the music of Hollywood movies. Miles Hoffman, Morning Edition music commentator and dean of the Petrie School of Music at Converse College in Spartanburg, South Carolina, takes us through the early years of the last century and discusses where we can, sometimes unexpectedly, find new classical compositions today.

This segment looks at some little-known stories about American Classical music like the role of Cuba in Classical Music and the American who made "Carmen" a hit. NPR's Miles Hoffman continues to lead us through the development of a uniquely American take on traditional European music.

While Europe was alive with new, sophisticated works by Vivaldi, Bach, and Handel, America was a backwater. If you looked for classical music in the early days of America, you'd be hard-pressed to find it, even in the big cities and the centers of wealth, commerce, and social sophistication. But it *was* there; in far-flung locations including the backwoods of North Carolina and the Port of New Orleans. Miles Hoffman, NPR Morning Edition music commentator and dean of the Petrie School of Music at Converse College in Spartanburg, South Carolina takes us on a tour of classical music in early America.