3 days / 70+ speakers
80+ lectures, seminars, and workshops
National Symposium for Classical Education

Phoenix Convention Center
February 22-24, 2023
Southern Methodist University (Emerita)

Carol B. Reynolds

A musicologist, pianist, and organist, Carol specializes in Russian, East European, and German cultural history.

After a long career as a professor of music history at Southern Methodist University, Dallas, she and her husband moved to a ranch in North Texas. In 2009, they began creating courses to teach history through the lens of the Fine Arts under the rubric “Professor Carol” ( Now deeply engaged in the revival of Classical Education, Carol works closely with Great Hearts Institute, Memoria Press, Classical Academic Press, and CIRCE Institute. Carol is a regular member of the panel “Classical Education Unhinged” along with Andrew Kern, Martin Cothran, Christopher Perrin, and Andrew Pudewa. She travels extensively as a cultural expert for Smithsonian Journeys. She and Hank presently live in North Carolina and maintain second home in the city most closely associated with Goethe: Weimar, Germany.


A Classical Approach to Radical Modernism in the Arts
It’s easy to wax eloquent about Da Vinci or Beethoven. But how do we, as educators, approach the new styles unleashed by Western artists in all fields, starting around 1900? Can we formulate a “classical approach” to teaching radically innovative (and sometimes off-putting) music, art, and dance? Are we diminished as educators if we avoid this challenge?

Teaching Principles and Milestones of our Western Musical Heritage
Children respond instantly to music. As educators, we try to stretch and deepen their understanding of this music while struggling against the constraints of limited time and resources. What honored traditions and principles will best help us in this work? Which strategies can we apply effectively from the early grades through the elementary years?

Traditional Tools for Teaching Music History
Conveying the rich legacy of Western Music is not easy. Certain tools proliferate in today’s marketplace (like the popular “composer studies”) but these run risks, including presenting music history without sufficient focus on the music, overlooking core factors that bring compositions into being, and side-stepping critical issues of musical style. To engage fully our older students, let us consider together the best historical practices for teaching music history (starting with the idea of the master teacher).