Podcasts about Classical

In this heart-to-heart episode of the Dad Edge Podcast, I sit down with my 19-year-old son, Ethan Hagner, for a raw and honest conversation about growing up, gaining independence, and building strong family bonds in the process. Together, we explore what it means to transition from teenager to young adult while still staying connected to family values, respect, and open communication.   We dive into how to respectfully disagree with parents, how to manage emotions in a healthy way, and the importance of creating space without disconnection. Ethan shares his personal experiences—from turning down college parties to navigating long-distance relationships—and how he's developed healthy coping mechanisms like ice baths, workouts, and prayer.   This episode isn't just for parents of teens. It's for any father who wants to lead his family with grace, patience, and intention—and raise young men of character in a chaotic world.   TIMELINE SUMMARY   [0:00] - Welcome to the Dad Edge movement [1:01] - Raising independent, critical-thinking kids [2:12] - Respectful disagreements with parents and communication [3:02] - Pumpkin spice protein ice cream (yes, seriously) [5:03] - The scary truth about a Starbucks PSL's sugar content [6:42] - Why protein-first choices matter for men's health [9:34] - Introducing today's topic: family ties and independence [10:02] - Life after high school: structure vs. freedom [11:52] - Taking initiative as a young adult [13:35] - Visiting college friends and choosing not to party [15:12] - Why making different choices matters to dads [16:13] - Navigating peer pressure and honoring your values [17:02] - “Liquor is poison in a fancy bottle” – a mindset shift [18:01] - Recognizing alcohol for what it is: a toxin [21:03] - Creating safe space for respectful disagreements [23:04] - How to make kids feel seen, heard, and understood [25:21] - All emotions are welcome, not all behaviors are [26:26] - Ethan's favorite stress relief tool: beating up “Bob” [27:37] - Navigating long-distance relationships as a teen [29:13] - Classical music, cards, and healthy distraction [30:23] - Coping mechanisms that actually improve your life [32:05] - Ice plunges and dopamine boosts [34:20] - Why saunas win over cold plunges for dad [36:26] - A reminder: every man needs a list of positive go-to's [37:15] - The highs and fears of new independence [39:17] - What scares Ethan most about his future path [40:02] - Why dad feels the clock ticking at age 50 [42:25] - Book launch: The Pursuit of Legendary Fatherhood [43:17] - Two free bonus courses for a limited time [44:15] - Why this father-son podcast is one-of-a-kind [46:00] - Temptation and faith: how Ethan calls on God [48:01] - God always provides a way out of temptation   5 KEY TAKEAWAYS   1. Independence Comes With Responsibility Growing up means more than freedom—it means taking ownership of your time, habits, and health.   2. All Emotions Are Welcome—Not All Behaviors Are Feeling anger, sadness, or frustration is normal. Acting with intention is what matters.   3. Respectful Disagreements Build Connection When parents create space for respectful pushback, kids learn how to think critically while staying connected.   4. Healthy Coping Mechanisms Are Essential From ice baths and workouts to music and prayer, having go-to tools keeps stress from taking control.   5. Faith and Intention Defeat Temptation Whether it's porn, partying, or self-doubt, Ethan reminds us that calling on God in moments of weakness gives us strength to choose better.   LINKS & RESOURCES   Order the new book: The Pursuit of Legendary Fatherhood: https://thedadedge.com/legendarybook  Free Courses for a Limited Time: Creating More Patience Creating an Extraordinary Marriage   Episode page: https://thedadedge.com/1376   First Phorm Pumpkin Spice Protein: Only available for a limited time — https://1stphorm.com/collections/pumpkin-spice   James Swanwick's Alcohol-Free Program: https://www.jamesswanwick.com

Dr. Caroline Arbuckle MacLeod, an Egyptologist and professor of Classical and Near Eastern Archaeology at the University of Saskatchewan, joins Lexie to discuss her path through near Eastern archeology, and how the Syrian conflict led her to fall in love with ancient Egypt, the unique interest in daily life, beliefs, and preservation of ancient Egyptian sites, her focus on woodworking in ancient Egypt and the practical and the spiritual significance of various woods used in Egyptian coffins. So tuck in your togas and hop aboard Trireme Transit for this week's exciting odyssey! Don't forget to follow us on Twitter, Facebook & Instagram or visit our website www.theozymandiasproject.com! Originally recorded February 24, 2025. Learn more about Dr. Arbuckle MacLeod: https://stmcollege.ca/contacts/caroline-arbuckle.php?_gl=1*p96iqh*_ga*MTk1NDY2MDgxNC4xNzU3MTc1NjA4*_ga_7P8QY8C9QK*czE3NTcxNzU2MDckbzEkZzEkdDE3NTcxNzU2MzIkajM1JGwwJGgw#topCheck out her personal website: https://carriearbuckle.wordpress.com/Check out her publications on Academia: https://usask.academia.edu/CarolineArbuckleMacLeodFind her on Women Know History: https://womenalsoknowhistory.com/individual-scholar-page/?pdb=7591Support us on Patreon: https://www.patreon.com/TheOzymandiasProject Custom music by Brent Arehart of Arehart Sounds and edited by Dan Maday. Want a transcript of the episode? Email us at theozymandiasprojectpodcast@gmail.com and we can provide one. Hosted on Acast. See acast.com/privacy for more information.

Music includes: Let Em Jump by Pete Johnson, I'll See You In My Dreams by Teddy Wilson, Hungarian Rhapsody #10 by Arthur Rubinstein, Caravan by Ferante & Teicher and Night Wind by Roger Williams. 

Playlist for The Everything Show 1/30/2021Lenny Kravitz / Are You Gonna Go My WayCoriky / Clean KillThe Jesus and Mary Chain / AmputationThe Ink Spots / That Cat Is HighElla Fitzgerald / When I Get Low I Get HighCab Calloway / Reefer ManStill Corners / The Last ExitBilly Stewart / SummertimeDelvon Lamarr Organ Trio / Call Your MomBilly Idol / Flesh for FantasyBeck / Everlasting NothingLed Zeppelin / Ramble OnBilly Nomates / HeelsMink DeVille / Mixed Up, Shook Up GirlRoyal Blood / Trouble's ComingSpirit / Nature's WaySister Rosetta Tharpe / This TrainDead Can Dance / AnabasisAngélique Kidjo / SummertimeAltin Gün / Yaniyorum - Old Growth Sessions@Pickathon 2019Korin F. / Bye Bye Baby LouWooden Shjips / Staring At The SunDanny Lynn Wilson / Middle Class BluesFrank Sinatra / September in the RainRod Stewart / Cut Across ShortyBlack Pistol Fire / Hope in HellRobin Trower / Too Rolling StonedVAST / I Don't Have AnythingChristian Sands / Can't Find My Way HomeDaft Punk / Lose Yourself to DanceThe Beatles / This BoyLuke Combs / Beer Never Broke My HeartWilco / Wilco (the song)Pretenders / My City Was GoneBones (UK) / I'm Afraid of AmericansRoxy Music / More Than ThisStill Corners / A Kiss Before Dying

Hear the Dance host Silas Farley returns for a deep-dive discussion with former Principal Dancer Merrill Ashley and Repertory Director Glenn Keenan on George Balanchine's Ballade, a ballet returning to the NYCB stage after a hiatus of more than 20 years. Keenan shares that when she was a student at the School of American Ballet, Ashley's "humongous care and attention" as a teacher helped shape her approach to her current role, and that watching Ashley in the studio today has been both helpful and inspiring. Ashley recalls the surprise of learning that Balanchine had chosen to make this first work post-heart surgery on her; as he told her then, Ballade is "like skating," though she describes it as one of the most challenging ballets she ever performed. (1:02:43) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Ballade for piano and orchestra, Op. 19 (1881) by Gabriel Fauré All music performed by the New York City Ballet Orchestra Reading List:  Dancing For Balanchine by Merrill Ashley Mr B: George Balanchine's 20th Century by Jennifer Homans Gabriel Fauré: A Musical Life by Jean-Michel Nectoux, Translated by Roger Nichols Dancing Across the Atlantic: USA – Denmark, 1900-2014 by Erik Aschengreen and Grete Hvam

Fabio D'Andrea a composer and pianist talks about music's profound influence on culture. From classical to contemporary, discover how music shapes society, bridges generations, and adapts in the digital age. Fabio also shares his journey and insights on music's power to tell stories and inspire change.- https://www.fabiodandrea.com- https://www.instagram.com/fabiodandreaofficial- https://www.youtube.com/channel/UCk6hjQZQZopdl8fa6EwEf0wYouTube Version: www.youtube.com/RadicalLifestyle- Radical Lifestyle Instagram Click Here- X: Click Here- TikTok: Click Here- Telegram channel and discussion: Click HereYou can also follow Andrew and Daphne on their social media platforms:Andrew Kirk: Facebook | InstagramDaphne Kirk: Facebook | InstagramTo support the channel: Click Here- UK only Donations here: Click Here

Harding Conducts The Planets by CSO Association

Laufey's a young Icelandic/Asian jazz aficionado. Studying the music from her parents, she's kept the genre alive through self-compositions this decade. Fans are dazzled of her writing, singing, playing piano/guitar/cello! "Third time's the charm" for 3rd album A Matter of Time, topping jazz charts, and just crossed over #4 on Billboard's 200 albums chart. Brilliantly romanticizing a "timely" concept record. I share this young lady's music journey, review the tracks, and evaluate its popularity in this episode. Theme Song: "Dance Track", composed by Jessica Ann CatenaFan Favorite Singles: "Like the Movies" debut on Jimmy Kimmel Live (2022)"From the Start" (2022, 2024-2025); New Years' Rockin' Eve (2024); GMA (2025)Remix: "Confess Your Love" - Jiandro ft. ola.wav (2025); Tiktok dance"Goddess" (2024); Tonight Show with Jimmy Fallon"Christmas Magic" from Red One; UK's The Graham Norton Show (2024)"Silver Lining" (2025); GMA3"Tough Luck" (2025)"Letter to My 13-Year-Old Self" with Barbra Streisand (2025)"Lover Girl" (2025); GMA; Studio"Snow White" (2025)Interviews: CBS Sunday Morning (edited); MTV; Buzzfeed with puppiesRelated Episodes: Ep. 42 - Taylor Swift's folklore (Track by Track)Ep. 75 - "Time" & Clock Songs CountdownEp. 166 - 'Wednesday' & "Goo Goo Muck"Ep. 235 - Eclipse PlaylistEp. 237 - The Tortured Poets DepartmentEp. 269 - Christmas 2024 PlaylistEp. 294 - Prom 2025 PlaylistFollow us on Facebook, Twitter, Instagram, and Spotify playlists. 

This week marks the second session of "Rockabilly 2 Rachmaninoff," a captivating new series of "In the Flamingo Lounge" dropping every two months on the second Saturday. Each episode promises unique insights, featuring a special guest from the Buffalo Philharmonic Orchestra. Joining us on the second episode of the “Rockabilly 2 Rachmaninoff” series, is Classical crossover tenor Jay Dref. Jay inspires audiences with his passionate, transcendent voice. His uplifting, timeless interpretations of classic standards and modern material has quickly made him one of the premier vocalists of his generation. Reviewers have called him “Groban-like” and his music has become very popular on classical crossover and adult contemporary playlists on Spotify where he has over 100,000 listeners in 157 different countries.  A Buffalo native, Jay is a graduate of The Juilliard School. He has toured internationally and performed at venues such as New York's Lincoln Center, Los Angeles' Dolby Theatre, and the Ryman Auditorium in Nashville. Jay also has appeared in concert with the Buffalo Philharmonic Orchestra, the Niagara Symphony Orchestra and the Hilton Head Symphony Orchestra.  Most recently, Jay has collaborated with world-renowned soprano Sarah Brightman on several concert tours spanning four continents. He will continue to tour with Ms. Brightman throughout this year.

This episode is a discussion of the loss of the classical arguments that are found in St. Thomas Aquinas's Summa for the existence of God among evangelical apologists.

The way to really make a difference in your scoring in the next 12 months. Don't waste any more of your time chipping incorrectly Today on the show we welcome back my very good friend and colleague Jim Waldron to help you get a really clear view on the short game. In this conversation we expose many of the myths and misconceptions around the short game and give you an excellent pathway to look forward to a better game around the greens. Jim has an absolute wealth of experience in all aspects of the game but over the past 40 years or so he has really specialized in the short game. This conversation shows that clearly. The big difference between the SHORT GAME swing and the POWER SWING and why you need to know the difference. Learning a new set of physical skills The crucial element of the pivot in the short game Why you don't have time to ‘save' the shot in the short game in the way you do in the long game The difference between CLASSICAL chipping and MODERN chipping The debate between STEEP and SHALLOW, using the leading edge or using the bounce What is the real truth and is it a combination of the two The law of forward shaft lean and the low point How to turn your skills into SHOTS Taking your short game skills to the course As ever with Jim this is a brilliant conversation full of absolute gems of great information It would be impossible to listen to this podcast and not have a better and more clear approach to your scoring shots To find out more about Jim Waldron go to https://balancepointgolf.com/ To join us on the Mind Caddie journey to better golf go to www.mindcaddie.golf Shop with code : MINDFACTOR10 at checkout for 10% OFF your next order at www.fenixxcell.com @fenixxcell    

Joshua Andrew, Head of School at Atlanta Classical Academy in Atlanta, Georgia, delivers a lecture on the joys and difficulties of leading a classical school. This lecture was given at the Hoogland Center for Teacher Excellence seminar, “The Art of Teaching: Mathematics” in October 2024. The Hoogland Center for Teacher Excellence, an outreach of the Hillsdale College K-12 Education Office, offers educators the opportunity to deepen their content knowledge and refine their skills in the classroom.See omnystudio.com/listener for privacy information.

Join Elizabeth, Forte the Lion, and special guest Caleb (Elizabeth's 12-year-old son!) for a musical adventure featuring lively fiddle tunes and a calming lullaby. Caleb shows us the difference between a graceful waltz and a toe-tapping rag, and then we all wind down together with the sweet lullaby Golden Slumber. In this episode, your child will: Learn the difference between violin music and fiddle music Move and sway to a waltz's 1-2-3 beat Tap their toes to a bouncy fiddle rag Calm their body with a soothing lullaby Don't forget to grab the free Golden Slumber Lullaby PDF with lyrics, ukulele chords, and fun ways to enjoy this lullaby with your child!

We continue our look at historically black colleges and universities (HBCUs) and their legacy. Evan Dawson and co-host Racquel Stephen welcome guests who are graduates of HBCUs, and can talk about why they chose to attend. They'll discuss the value of HBCUs today, after so much has changed in access to higher education.In studio: Shirley Green, Ed.D., commissioner of the department of recreation and human services for the City of Rochester and graduate of Delaware State Seanelle Hawkins, Ed.D., president and CEO of the Urban League of Rochester Kearstin Piper Brown, vocal artist, creative consultant, community activist, host at WXXI's Classical 91.5, and graduate of Spelman College

Classical Christian schools have inspiring goals for their students and offer a stunning curriculum of Homer, Plato, Dante, Shakespeare, and many more great books. But our education won't work without good teachers. How do we spot a good teacher? How can teachers become better? And what can parents do to help? Dr. Chris Perrin, a leading figure in the Classical Christian education movement, joins the podcast to help us find out, in this friendly guide to Classical Christian Education. Click here to learn more about Dr. Perrin's new book, The Good Teacher: Ten Key Pedagogical Principles That Will Transform Your Teaching.

This week on Chess Journeys, I spoke with Lara. We had a fascinating conversation about chess improvement without direct chess studying. Lara discussed her improvement system which involves proxy learning from a wide range of areas such as speaking Latin, strategy video games, and books on war strategy. She made great points about how limiting chess study can be and how broadening one's approach can expand how they see the game.  My Chessable Course! https://www.chessable.com/chess-journeys-tactics-workbook-turning-knowledge-into-skill/course/268850/ Chessnut Link/Code: Code - KEVINSCULL https://www.chessnutech.com?sca_ref=7643464.HueBIKWTYE Get 20% off GM Noël Studer's courses with Coupon chessjourneys20 The Simplified Chess Improvement System: https://courses.nextlevelchess.blog/courses/simplified-chess-improvement-system?ref=04f5d8 My Road to 2200 Youtube series: https://youtu.be/BzKYDt5oBU8 Be sure to check out the Chess Journeys Merch Store! You can support the show and look amazing in the process. https://chess-journeys.creator-spring.com/ I've been streaming somewhat regularly on https://www.twitch.tv/drskull_tinygrimes If you would like to be a guest on Chess Journeys, contact me on Twitter or fill out the following Google Form:  https://forms.gle/gSnvmUnvpykkgT1y5 As always you can support the show at https://www.patreon.com/ChessJourneys.  Also, be sure to check out my Chessable page at www.chessable.com/chessjourneys   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Classical trumpeter Alison Balsom talks to John Wilson about the most significant influences and experiences that have inspired her career. Having recorded 17 studio albums since 2002, she has been named Gramophone Artist of the Year, won three Classical Brit Awards, along with an OBE for services to music. She has performed with leading conductors and orchestras around the world, including at the Last Night of the Proms.Producer: Edwina Pitman

Broadly speaking, there are to archetypical non-dual traditions, two very valid paths to bliss: The Non-Duality of Total Negation (Classical Advaita) & Kālī's Non-Duality of Total Acceptance (i.e Tāntrik Non-Duality or paramadvāya). Of course there are infinite shades of nuance and variation in between these two extremes. In this talk, we do a comparison of these two extreme models (or rather, flavor)s of non-dual Sādhanā, playing off of some ideas from last week's “Who Should Worship Kālī? | Dakṣiṇa Kālī vs Smaśāna Kālī” talk! This lecture is mostly a theoretical survey of the absolute state of realization which can anyone anywhere can attained through grace (i.e, sudden spontaneous insight) of course, but which is more likely to be a result of sincere spiritual practice! As for the practical side of this discussion, you might like to pair this talk with the What Do You Need To Start Worshipping Kālī & Practicing Tantra? lecture from two weeks ago! PS: you might find this lecture somewhat reminiscent of Who Created The World? | Vedanta vs Tantra and also Who or What is God? | Vedanta vs Tantra but we've certainly developed the ideas quite a bit since then! Support the showLectures happen live every Monday at 7pm PST and Friday 10am PST and again Friday at 6pm PST.Use this link and I will see you there:https://www.zoom.us/j/7028380815For more videos, guided meditations and instruction and for access to our lecture library, visit me at:https://www.patreon.com/yogawithnishTo get in on the discussion and access various spiritual materials, join our Discord here: https://discord.gg/U8zKP8yMrM

Welcome to the latest episode of Harmonious World, in which I interview musicians about how their music helps make the world more harmonious.In preparation for this episode, I sat in on a recording session at the famous Abbey Road studios. Composer Jamie Poulsen and I then met for coffee and a chat a few days later.The recording session was principally for Jamie's Piano Concerto (a few clips of which you can hear alongside our conversation), performed by members of the Royal Philharmonic Orchestra and pianist Robert Thies. On hand for Production was my past guest Danae Xanthe Vlasse and it was a delight to experience the magic of recording once more.Jamie and I also discussed his wide-ranging piano and composing credits, as well as his work (that sounds like a lot of fun) with the NOLA Jazz Band.I hope you enjoy listening in on my chat with Jamie and I'm grateful to him for sending me a sneak preview of his Piano Concerto to feature alongside our conversation.Get in touch to let me know what you think!Thank you for listening to Harmonious World. Please rate, review and share: click on the link and subscribe to support the show.Don't forget the Quincy Jones quote that sums up why I do this: "Imagine what a harmonious world it would be if every single person, both young and old, shared a little of what he is good at doing."Support the showRead reviews of albums and gigs and find out more about me at hilaryseabrook.co.ukFollow me on instagram.com/hilseabrookFollow me on facebook.com/HilarySeabrookFreelanceWriterFollow me on twitter.com/hilaryrwriter

On today's episode of The Literary Life podcast, our hosts Angelina Stanford and Thomas Banks attempt to get us closer to an answer to the question "What is the literary tradition?" After acknowledging the difficulty of approaching this question, Angelina shares an analogy for understanding the literary tradition as differing degrees of ability to see. The first big idea she wants us to consider is that literature is not a closed system but is a coherent, consistent, self-referential world of literature. Thomas and Angelina also discuss the resonances and symbols of the tradition, the problem with works of literature as self-expression, and how the tradition upholds the imagination, plus so much more! Don't forget to check out of full show notes for quotes, today's poem, and links to books and more! Visit https://theliterary.life/293. 

Chloe's Top 5 CliftonStrengths are:  Input, Strategic, Responsibility, Discipline and Restorative  Chloe Larson has been teaching Latin in the School of Rhetoric at Veritas Academy in Austin, Texas, for the past five years, where she also serves as the Dean of Student Life for 5th-12th grade. A grateful alumna of Regents School of Austin (Class of 2015), Chloe went on to earn her B.A. in Integrated Marketing from Gordon College. Though her degree was in marketing, she found herself most inspired by her Liberal Arts courses—a love that continues to fuel her passion for classical Christian education. Outside the classroom, Chloe is a member of Providence Church, where she especially enjoys serving in the nursery. In her free time, she's usually reading a good book, out on an evening walk, or catching up with friends over coffee. Find out your strengths by taking the CliftonStrengths Top 5 Assessment   Workshops and Coaching with Barbara Culwell Subscribe & Leave a Review on Embrace Your Strengths

Playlist for The Everything Show 9/8/2025Hank Mobley / Dig DisLos Palms / Way Too ColdBlack Rebel Motorcycle Club / Love BurnsRobben Ford & The Blue Line / Tell Me I'm Your ManThe Limiñanas / La fille de la ligne 15The Supremes / Jonny Und Joe (Come See About Me)Chet Faker / LowWild Wild Wets / Sunshine SueThe Turtles / Happy TogetherVan Morrison / Into The MysticRy Cooder & Manuel Galban / La Luna En Tu MiradaElise Trouw, Travis Barker, Paul Raci  / Enter SandmanTuba Skinny / It Hurts Me TooElmore James / It Hurts Me TooAngine de Poitrine / SherpaThe Beatles / Free As A BirdAli Farka Touré / Lasidan (with Ry Cooder)ST Kim / Be The BoyOliver Nelson / Stolen MomentsCream / BadgeThe Seeds / Pushin' Too HardRuby Sinclair / Where I LayFlat Worms / Suburban SwansThe Rolling Stones / 2000 Light Years From HomeKALEO / Hey Gringo

Considered the godfather of A.I. music, UC Santa Cruz professor and composer David Cope, who died in May, 2025, developed the computer program EMI, or Experiments in Musical Intelligence, in the 1980s. It was one of the earliest computer algorithms used to generate classical music. This documentary film by UC Santa Cruz's Bob Giges looks at the impact of Cope's genius on the world of music. Series: "Arts Channel " [Science] [Arts and Music] [Show ID: 40968]

IIn this episode, Mike sits down with audiobook narrator and author Sanya Simmons to talk about her path from classical musician to becoming a voice actor and audiobook narrator. What We Cover: Building an Audiobook Career: Moving from ACX royalty-share projects to working directly with publishers The real time investment: why 5-10 hours of finished audio takes 30-40+ hours total Prep strategies for fiction vs. nonfiction projects Getting family help with research to save time Using Your Musical Background: How Sanya's flute and vocal training helps her narration Treating your voice like an instrument for better breath control and phrasing Avoiding monotonous reads by "hearing" what the author intended Networking That Actually Works: Why relationship-building beats transactional approaches How APA committee work and APAC conferences led to unexpected opportunities Staying in touch with producers without being pushy The power of showing up consistently Expanding Beyond Audiobooks: Getting into political VO and broadcast narration Dealing with union rules in right-to-work states The reality of competitive commercial and promo markets Social Media Without the Overwhelm: Building authentic presence with help from others Choosing the right platforms (Instagram, LinkedIn, TikTok) Why "good enough" content beats perfect content you never post From Author to Narrator: Sanya talks about her book "A Single Mom's Guide to Raising Black Gentlemen" and how her parenting experience shapes her storytelling approach. Plus, how her sons contributed to both the book and audiobook. Key Points: Balance active projects with ongoing training Reliability builds lasting relationships: communicate early, deliver clean work, say thank you Think like a business owner: proper structure, strategic investments, tax planning Community matters: connect with mentors, peers, and people you can help Whether you're starting out or scaling up your audiobook business, Sanya shares practical advice on production, relationships, and sustainable growth. Connect with Sanya: Book: "A Single Mom's Guide to Raising Black Gentlemen"  Real talk about building a thriving audiobook career while keeping your sanity and artistic integrity. Check out more episodes over at: https://mikelenzvopodcast.com/ Voice 123 15% Discount Code link:  https://bit.ly/3BsPSaw

SummaryIn this conversation, Shannon Valenzuela, Robert Puschautz, and AnneMarie Johnson explore the profound role of art in education, emphasizing its ability to connect beauty with truth and goodness. They discuss the artist's vocation as a divine calling, the importance of constraints in fostering creativity, and how beauty serves as a powerful tool for evangelization. The conversation also highlights the necessity of creating beautiful learning environments and integrating art into various subjects, and the deep desire for human authenticity in the age of AI.Resources & Links:Stabat Mater FoundationTopics Covered:Art and teaching students to appreciate beautyThe vocation of the artistArt and evangelizationBeauty and our environmentThe rise of AI and the desire for authentic human experiencesToday's Guests:Robert Puschautz is a representational artist based out of Tyler, Texas. He received his bachelor's in Painting and Art Education from the University of Illinois in Urbana-Champaign and continued his studies in classical painting at the Ravenswood Atelier in Chicago. He is the Executive Director of Stabat Mater Foundation, a nonprofit whose mission is the renewal of beauty in our world and culture by praying for and supporting artists. To see more of his work visit robertpuschautz.weebly.com.AnneMarie Johnson's work focuses on the relationship between finitude and transcendence in the human experience. She graduated from the University of Dallas in 2018 with a B.A. in Art - Painting. In 2024 she completed the three-year Classical drawing and painting program at the Lyme Academy of Fine Arts. Additional studies include classical drawing at the Florence Academy of Art, U.S., and graduate painting and art history at the University of Dallas (2021). AnneMarie is currently the Art Fellow and an instructor of drawing at the Stabat Mater Foundation in Tyler, TX.Timestamps:02:26 The Mission of the Stabat Mater Foundation04:18 Bringing Beauty into Education06:49 Art as a Reflection of Divine Creation12:02 Art as a Means of Evangelization22:27 Co-Creating with God: Integrating Beauty and Intellect24:48 Training Discernment: Truth, Goodness, and Beauty28:33 Bringing Art into the Classroom33:30 The Human Connection: Art in the Age of TechnologyUniversity of Dallas Links:The Way of Beauty (Season Two, The Quest television series): quest.udallas.eduClassical Education Master's Program at the University of Dallas: udallas.edu/classical-edSt. Ambrose Center Professional Development for Teachers and Administrators: https://k12classical.udallas.edu/Resources Mentioned in Today's Episode:Ever Ancient, Ever New: Art History, Appreciation, Theory, and Practice, Level One (Grades 5-9)Ever Ancient, Ever New: Art History, Appreciation, Theory, and Practice, Level Two (Grades 7-12)Support the showIf you enjoyed the show, please leave a rating and review — it helps others find us!

Playlist: Nicholas Papador - A Very WelcomePura Fe, Jerod Impichchaachaaha Tate, Dover Quartet - Rattle SongsNico Muhly, Andy Clausen - LiltPaul Lansky, Gwendolyn Dease - SpiralsKaija Saariaho, Anssi Karttunen, Olivier Latry - OffrandeSean Clarke - A Flower for My DaughterSteve Reich, Trio Xenakis - Marimba PhaseMaximilian Steinberg, Ural Youth Symphony Orchestra - Symphony No. 3Lavinia Meijer - Showing Me

The New York City based Indo-American Arts Council is a not-for-profit organization passionately dedicated to promoting, showcasing and building an awareness of arts and artists of Asian Indian heritage. From September 18-21 in Manhattan, IAAC presents the Erasing Borders Dance Festival, featuring classical dance from India. Our guest is Deepsikha Chatterjee, Festival Director. 

The Charlotte Symphony Orchestra's 2025-26 season gets underway at its annual Gala concert on September 18th with a very special guest. The CSO's President and Chief Executive Officer, David Fisk, tells us all about that and some other upcoming highlights from the season. Plus, a preview of new Visual Arts offerings across our region and the weekly FanFare segment to help you fill out your events calendar. Learn more about the Charlotte Symphony

Welcome to the latest episode of Harmonious World, in which I interview musicians about how their music helps make the world more harmonious.This is my third episode chatting with Matthew Detrick, one of the founding musicians of Apollo Chamber Players. You can listen to our earlier episodes from November 2021 and January 2023 to find out more about the work the ensemble is doing, especially in commissioning new work.For this episode, we're discussing Ban: Stories of Censorship, which includes The Book of Names by Marty Regan, which includes narration by George Takei, who is so much more than the actor who portrayed Mr Sulu in Star Trek. You will find out why during our conversation.The discussions around censorship and this fascinating music were particularly interesting as I have just finished reading James, by Percival Everett, which is a brilliant version of Huckleberry Finn. I can heartily recommend the book as well as this album. Thanks to Matthew and the other members of Apollo Chamber Players for allowing me to use tracks from Ban: Stories of Censorship alongside our conversation.Get in touch to let me know what you think!Thank you for listening to Harmonious World. Please rate, review and share: click on the link and subscribe to support the show.Don't forget the Quincy Jones quote that sums up why I do this: "Imagine what a harmonious world it would be if every single person, both young and old, shared a little of what he is good at doing."Support the showRead reviews of albums and gigs and find out more about me at hilaryseabrook.co.ukFollow me on instagram.com/hilseabrookFollow me on facebook.com/HilarySeabrookFreelanceWriterFollow me on twitter.com/hilaryrwriter

This week, two string quartets from the Music Institute of Chicago Academy play Haas, Dvořák, Brahms, Prokofiev, and a double helping of C major Haydn. The post Porphyrion String Quartet and The Hemingway Quartet appeared first on WFMT.

There's more than one way to do apologetics. In this episode of The Apologetics Guy Show, I talk with Dr. Melissa Cain Travis and Dr. Timothy Paul Jones, co-authors of Understanding Christian Apologetics, about five practical methods Christians can use to explain and defend their faith. We'll unpack the unique strengths of each approach, how they've been used in church history, and what they mean for conversations about the gospel today. The five major approaches to apologetics—Classical, Evidential, Presuppositional, Cultural, and Ecclesial—and why each one matters. How Melissa Cain Travis makes the case for the enduring value of Classical Apologetics in a modern, scientific age. Why Timothy Paul Jones emphasizes Ecclesial Apologetics and the church's lived witness as a defense of the gospel. How different methods complement each other rather than compete, giving you a fuller toolkit for engaging skeptics and seekers.

Beeflow's Global Director of Field Development, Angie De la Luz says they are not beekeepers, but work with beekeepers while expanding their focus to the training of honeybees.

On The New Mason Jar this week, we bring you a special Q&A episode recorded with Kay Pelham and Jami Marstal as a follow-up to our 2025 Back to School Online Conference How can a mom of many finish well with her last few students, implementing more of Mason's methods now that she has more time with fewer children? What is some advice for dealing with disrespect from teens and pre-teens? What are some principles to help guide the upper years, making time for what really matters without overloading ourselves and our students? How should you approach starting a Charlotte Mason education with an older student? How can we communicate about Charlotte Mason's principles with those unfamiliar with them in a community or cooperative context? To view the full show notes for this episode, please visit https://thenewmasonjar.com/119. 

Stephen Shipp, headmaster at Seven Oaks Classical School in Ellettsville, Indiana, delivers a lecture on the rewarding life of a classical school leader. This lecture was given at the Hoogland Center for Teacher Excellence seminar, “The Art of Teaching: Children's Literature” in September 2024. The Hoogland Center for Teacher Excellence, an outreach of the Hillsdale College K-12 Education Office, offers educators the opportunity to deepen their content knowledge and refine their skills in the classroom.See omnystudio.com/listener for privacy information.

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

Beeflow's Global Director of Field Development, Angie De la Luz says they are not beekeepers, but work with beekeepers while expanding their focus to the training of honeybees.

In this episode of Unlocking Academia, host Raja Aderdor speaks with Dr. Mutaz Al-Khatib, Associate Professor at the Research Center for Islamic Legislation and Ethics and Director of the Master's program in Applied Islamic Ethics at Hamad Bin Khalifa University. Together, they explore Key Classical Works on Islamic Ethics (Brill, 2024), a groundbreaking edited volume that brings together foundational texts spanning hadith, fiqh, kalam, Sufism, and Islamic medicine. Dr. Al-Khatib traces the intellectual lineage of Islamic ethical thought, highlighting how these texts offer practical guidance for lived moral practice while challenging dominant Greco-centric frameworks in ethical theory. The conversation delves into the interdisciplinary nature of Islamic ethics, its historical evolution, and why understanding ethics as a lived tradition remains vital in contemporary scholarship. Listeners will gain insight into the methods behind compiling and editing classical texts, the thematic threads that connect diverse genres, and the enduring relevance of Islamic ethical thought for scholars, students, and anyone interested in the intersections of religion, law, and philosophy. Lyrical, insightful, and rigorously scholarly, this episode invites audiences to engage with the rich, evolving tradition of Islamic ethics and consider its impact on both historical and modern contexts. We are Clavis Aurea: a dynamic team dedicated to advancing academic publishing and sharing groundbreaking scholarship with scholars, students, and enthusiasts worldwide. Based in the historic publishing hub of Leiden, we eat, sleep, and breathe publishing! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Playlist for The Everything Show 10/17/2020The Rolling Stones / 19th Nervous BreakdownRadiohead / Street Spirit (Fade Out)Kurt Vile / PearlsThe Music Explosion / Little Bit O'SoulThelonious Monk / Easy StreetThe Mavericks / Blue MoonEels / Baby Let's Make It RealMong Tong / A NambraChet Faker / LowDonovan / Hurdy Gurdy ManThe White Stripes / Seven Nation ArmyEOB / Shangri-LaFontaines DC / I Don't BelongGarbage / Stupid GirlKevin Morby / The Dead They Don't Come BackSam Roberts Band / I Like the Way You Talk About the FutureMassive Attack / ProtectionStill Corners / The TripBeck / ChemicalLos Invaders / Wrong Is RightErskine Hawkins and His Orchestra / After HoursThe Supremes / Back In My Arms AgainPaul McCartney / The World Tonight (feat. Jeff Lynne)The Chemical Brothers / BelieveThe Shins / New SlangPuscifer / Momma SedElmore James / Dust My BroomMint Royale / Blue SongJohnny Rivers / MemphisTom Snowdon / Can't Get You Out of My HeadThe 1975 / If You're Too Shy (Let Me Know)Eilen Jewell / Green RiverMiles Davis / So WhatThe Commodores / Machine GunSteely Dan / Chain LightningBlack Foxxes / BadlandsThe Vines / Don't Listen to the Radio

In this episode of Unlocking Academia, host Raja Aderdor speaks with Dr. Mutaz Al-Khatib, Associate Professor at the Research Center for Islamic Legislation and Ethics and Director of the Master's program in Applied Islamic Ethics at Hamad Bin Khalifa University. Together, they explore Key Classical Works on Islamic Ethics (Brill, 2024), a groundbreaking edited volume that brings together foundational texts spanning hadith, fiqh, kalam, Sufism, and Islamic medicine. Dr. Al-Khatib traces the intellectual lineage of Islamic ethical thought, highlighting how these texts offer practical guidance for lived moral practice while challenging dominant Greco-centric frameworks in ethical theory. The conversation delves into the interdisciplinary nature of Islamic ethics, its historical evolution, and why understanding ethics as a lived tradition remains vital in contemporary scholarship. Listeners will gain insight into the methods behind compiling and editing classical texts, the thematic threads that connect diverse genres, and the enduring relevance of Islamic ethical thought for scholars, students, and anyone interested in the intersections of religion, law, and philosophy. Lyrical, insightful, and rigorously scholarly, this episode invites audiences to engage with the rich, evolving tradition of Islamic ethics and consider its impact on both historical and modern contexts. We are Clavis Aurea: a dynamic team dedicated to advancing academic publishing and sharing groundbreaking scholarship with scholars, students, and enthusiasts worldwide. Based in the historic publishing hub of Leiden, we eat, sleep, and breathe publishing! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

In this episode of Unlocking Academia, host Raja Aderdor speaks with Dr. Mutaz Al-Khatib, Associate Professor at the Research Center for Islamic Legislation and Ethics and Director of the Master's program in Applied Islamic Ethics at Hamad Bin Khalifa University. Together, they explore Key Classical Works on Islamic Ethics (Brill, 2024), a groundbreaking edited volume that brings together foundational texts spanning hadith, fiqh, kalam, Sufism, and Islamic medicine. Dr. Al-Khatib traces the intellectual lineage of Islamic ethical thought, highlighting how these texts offer practical guidance for lived moral practice while challenging dominant Greco-centric frameworks in ethical theory. The conversation delves into the interdisciplinary nature of Islamic ethics, its historical evolution, and why understanding ethics as a lived tradition remains vital in contemporary scholarship. Listeners will gain insight into the methods behind compiling and editing classical texts, the thematic threads that connect diverse genres, and the enduring relevance of Islamic ethical thought for scholars, students, and anyone interested in the intersections of religion, law, and philosophy. Lyrical, insightful, and rigorously scholarly, this episode invites audiences to engage with the rich, evolving tradition of Islamic ethics and consider its impact on both historical and modern contexts. We are Clavis Aurea: a dynamic team dedicated to advancing academic publishing and sharing groundbreaking scholarship with scholars, students, and enthusiasts worldwide. Based in the historic publishing hub of Leiden, we eat, sleep, and breathe publishing! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Reiner Rarities by CSO Association

A recap of 26 graduating seniors, some highlight performances, and where they're heading next. The post Introductions Class of 2025 appeared first on WFMT.

Episode Notes Did you know you can support my podcast for as little as $1 a month? You can do that by heading over to my Patreon HERE!!  This week my guest is classical mandolinist Dor Amran. Dor is a Classical Mandolin player who has won many competitions in Israel in various genres like contemporary music, and chamber music in the plucked instruments category. In May 2024, he won the 2nd prize at the International Mandolin Competition in Modena, Italy. He regularly performs as a soloist with symphonic orchestras and gives solo recitals all over the world. In 2024, Dor recorded Paganini's 24 Violin Caprices on the mandolin for the Italian label “Dynamic” and went ahead to perform them all at “Genova Paganini Festival 2024”.  To learn more about Dor, head over to his website HERE and to pick up a copy of his remarkable recording, head over HERE! To download a copy of the score of Paganini's 24 Carprices, head over HERE! Songs featured in this episode: The song's featured in this episode are from Dor Arman's recording available HERE.  The songs in order of appearance during the episode or No. 1, No. 5, No. 2 and No. 6 As Always a HUGE thank you to all of my sponsor's that make this podcast possible each week! Mandolin Cafe Peghead Nation promo code mandolinbeer Northfiled Mandolins Ear Trumpet Labs Ellis Mandolins Pava Mandolins Tone Slabs Elderly Instruments String Joy Strings promo code mandolinbeer Tone Traveller 

On this episode of Anchored, Soren is joined by Dr. Cornelis J. Schilt, Professor of History and Philosophy of Knowledge at the Vrije Universiteit in Brussels, and Founder and President of Lux Mundi, a new Catholic university in Belgium. Dr. Schilt shares his unique educational journey from a small town in the Netherlands to prestigious institutions like Oxford. He discusses the challenges he has faced in academia in Europe, and his vision for Lux Mundi as a transformative educational institution that emphasizes character development and the pursuit of truth.

South Asia, the British Empire, and the Rise of Classical Legal Thought: Toward a Historical Ontology of the Law (Oxford UP, 2024) considers the legal history of colonial rule in South Asia from 1757 to the early 20th century. It traces a shift in the conceptualization of sovereignty, land control, and adjudicatory rectification, arguing that under the East India Company the focus was on 'the laws' factoring into the administration of justice more than 'the law' as an infinitely generative norm system. This accompanied a discourse about rendering property 'absolute' defined in terms of a certainty of controlling land's rent-and made administrable mainly as a duty of revenue payment--rather than any right of ostensibly physical dominion. Leaving property external to its ontology of 'the laws, ' the Company's regime thus differed significantly from its counterparts in the Anglo-common-law mainstream, where an ostensibly unitary, physical, and disaggregable notion of the property right was becoming a stand in for a notion of legal right in general already by the late 18th century. Only after 1858, under Crown rule, did conditions in the subcontinent ripen for 'the law' to emerge as a purportedly free-standing institutional fact. A key but neglected factor in this transformation was the rise of classical legal thought, which finally enabled property's internalization into 'the law' and underwrote status and contract becoming the other key elements of the Raj's new legal ontology. Formulating a historical ontological approach to jurisprudence, the book deploys a running distinction between the doctrinal discourse of (the) law and ordinary-language discourse about (the) law that carries implications for legal theory well beyond South Asia. Arighna Gupta is a doctoral candidate in history at the University of Michigan, Ann Arbor. His dissertation attempts to trace early-colonial genealogies of popular sovereignty located at the interstices of monarchical, religious, and colonial sovereignties in India and present-day Bangladesh. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

South Asia, the British Empire, and the Rise of Classical Legal Thought: Toward a Historical Ontology of the Law (Oxford UP, 2024) considers the legal history of colonial rule in South Asia from 1757 to the early 20th century. It traces a shift in the conceptualization of sovereignty, land control, and adjudicatory rectification, arguing that under the East India Company the focus was on 'the laws' factoring into the administration of justice more than 'the law' as an infinitely generative norm system. This accompanied a discourse about rendering property 'absolute' defined in terms of a certainty of controlling land's rent-and made administrable mainly as a duty of revenue payment--rather than any right of ostensibly physical dominion. Leaving property external to its ontology of 'the laws, ' the Company's regime thus differed significantly from its counterparts in the Anglo-common-law mainstream, where an ostensibly unitary, physical, and disaggregable notion of the property right was becoming a stand in for a notion of legal right in general already by the late 18th century. Only after 1858, under Crown rule, did conditions in the subcontinent ripen for 'the law' to emerge as a purportedly free-standing institutional fact. A key but neglected factor in this transformation was the rise of classical legal thought, which finally enabled property's internalization into 'the law' and underwrote status and contract becoming the other key elements of the Raj's new legal ontology. Formulating a historical ontological approach to jurisprudence, the book deploys a running distinction between the doctrinal discourse of (the) law and ordinary-language discourse about (the) law that carries implications for legal theory well beyond South Asia. Arighna Gupta is a doctoral candidate in history at the University of Michigan, Ann Arbor. His dissertation attempts to trace early-colonial genealogies of popular sovereignty located at the interstices of monarchical, religious, and colonial sovereignties in India and present-day Bangladesh. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

You've heard those shimmering disco strings in Miley Cyrus's "Flowers," the cinematic arrangements on Phoebe Bridgers' Punisher, and the orchestral flourishes across Taylor Swift's catalog, but you probably didn't know they're all the work of one person: Rob Moose. The violinist and multi-instrumentalist has contributed to nearly 1,000 albums, quietly becoming pop music's most prolific string architect. In this conversation, Moose reveals how he translates classical training into contemporary pop language, working with everyone from Sufjan Stevens to Bon Iver to create arrangements that feel both intimate and epic. We dive into his process, explore how he's reshaped what strings can do in popular music, and uncover the craft behind those arrangements you can't get out of your head. MORE Subscribe to our newsletter to receive your own bingo card! Songs Discussed Miley Cyrus “Flowers” Phoebe Bridgers “Punisher” Phoebe Bridgers Copycat Killer (EP, includes re-arranged versions of “Punisher,” “Kyoto,” “Savior Complex,” “Chinese Satellite”) Sufjan Stevens “Chicago” Bon Iver “Everything Is Peaceful Love” RINI “Miracle” Bon Iver “Short Story” Bon Iver “Speyside” Phoebe Bridgers “Chinese Satellite” Phoebe Bridgers “Savior Complex” Phoebe Bridgers “Kyoto” Lizzy McAlpine “Ceilings” Gracie Abrams “I Love You, I'm Sorry” Rob Moose “I Bend But Never Break” ft Brittany Howard Alabama Shakes “Sound & Color” Taylor Swift “Hoax” Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on The Literary Life Podcast we wrap up the book discussion portion of our series on Edith Wharton's The Age of Innocence. Today, Angelina and Thomas begin with chapter 22, going through the significant scenes all the way to the end of the book. They talk about the ways in which this book is an elegy, as well as the continued glimpses of “the family” as the main character. They also discuss the ways in which May shows herself to be more cunning that she pretends in contrast to Ellen's lack of pretense. Other topics of discussion are America's relationship with foreign influence, Archer's desire to live in an illusion, and the recurring theme of “Faust.” They conclude with some thoughts on this book as a parable of American culture. Join us next week for an episode on the film adaptation of this book with our film guru, Atlee Northmore. Visit the HouseofHumaneLetters.com to sign up for all the upcoming and past mini-classes and webinars, especially “The Viking World” taught by Dr. Michael Drout. To view the full show notes for this week's episode, please visit https://theliterary.life/291. 

Homeschooling isn't just about academics.  It's about shaping character, habits, and family culture in the everyday moments.  In this conversation with Erin from Gentle + Classical Press, we talk about what the early years can look like without the pressure of early academics, how to raise children who know how to use their free time well, and why consistency matters more than perfection.  You'll hear encouragement for the overwhelmed mom, perspective on kids' different personalities, and practical ways to build a gentle and classical foundation in your home. If you're looking for fresh vision and tangible ideas for your homeschool days, this is an episode you won't want to miss! In this episode, we cover: Erin's family life with four children, 15 years of homeschooling, and a business run alongside homesteading A shift from academic goals to discipleship, character development, and strong family habits The meaning of a “gentle and classical” approach, blending Charlotte Mason influence with classical education in a soft, approachable way Preschool years centered on scripture memory, virtues through song, habit training, and life skills, with limited academics before age six Encouragement for overwhelmed moms: God equips you for the children He gave you, one hard day won't undo everything, and comparison online is misleading The role of children's personalities in shaping both family dynamics and parental growth Homeschooling with a deeper purpose of individualized learning, supporting specific needs, and cultivating family culture Lessons learned from the early years, including the importance of consistency in habits and the danger of overemphasizing grades or peer influence Recognizing readiness for formal learning by watching attention spans, keeping lessons short, and letting children progress in their own time Homeschooled kids often learn to use free time creatively, developing projects and play rather than becoming bored or dependent on screens View full show notes on the blog + watch this episode on YouTube. Thank you for supporting the sponsors that make this show possible! RESOURCES MENTIONED Listen to Erin's recent podcast episode about why homeschooling is a foundational choice for her family Check out Erin's preschool homeschool offerings  Join my FREE masterclass to learn my 4-step framework for making money on YouTube Master the rhythm of sourdough with confidence in my Simple Sourdough course Gain the sewing knowledge and skills every homemaker needs in my Simple Sewing series Turn your content creation dreams into a profitable business with my YouTube Success Academy Keep all my favorite sourdough recipes at your fingertips in my Daily Sourdough cookbook CONNECT Erin Cox of The Gentle + Classical Press | Website | Facebook | Instagram | YouTube Lisa Bass of Farmhouse on Boone | Blog | YouTube | Instagram | TikTok | Facebook | Pinterest Do you have a question you'd like me to answer on the podcast?  A guest you'd like me to interview?  Submit your questions and ideas here: bit.ly/SFLquestions.