Fall registration

Hands On! classes have ended for the summer, but we are still registering for our fall session. Call or email your nearest studio to sign-up! Fall classes begin September 9th!


LoftOpera Summer Sessions

A young Brooklyn-based company presenting opera in unusual spaces. They are now performing Gustav Mahler’s Lieder eines fahrenden Gesellen, and Hector Berlioz’s Les units d’été based on poems by Theophile Gautier. This production is staged with a thirty-piece orchestra!

Let’s play the bassoon

Each studio has a bassoon that children can listen to and touch! #savethebassoon


LEGO Kits and Your Creative Soul

“According to new research by business professors Page Moreau and Marit Gundersen Engset, there is a serious, meaningful, and potentially long-term difference between those who “free build,” meaning they put the bricks together without a guide, and those who follow the instructions. In the lab, those who put together kits were less creative when they completed follow-up tasks. Researchers say instruction-following and free-building are two different “mindsets.” The way we use LEGO provides the perfect window into a growing challenge we face: how to encourage creative thinking not just for children, but employees and businesses who always have to come up with the next big thing.” Listen to the full podcast that looks at the ways to unlock creativity. Uncertainty, play and learning through the solving became paramount; our Hands On! music and art classes take this same approach!


Bedtime Stories for Young Brains

Creating the opportunity for children to imagine nurtures abstract thinking and other skills, while also creating life-long memories. Read more via the New York Times here.

Apple Music and Beats 1

Streaming services are changing the way we listen to music and these services are affecting music royalties for artists.  This podcast discusses the somewhat complicated topic of music streaming.

A look into period-instrument playing

“So for the Mendelssohn performance, it may have been a simple matter for Ms. Ibragimova to turn her violin into a so-called period instrument, or something close. She used gut strings instead of steel and wielded a lighter bow. As for the changing pitch standards of Mendelssohn’s era, she and the orchestra settled on an A of 430 cycles a second, below the modern standard (440) but well above generally accepted Baroque pitch (415). The rest was up to Ms. Ibragimova and her playing.” Read the full New York Times Review of the Academy of Ancient Music playing Mendelssohn at the Mostly Mozart Festival.