“While you are studying, observing, experimenting, do not remain content with the surface of things….In your work there must always be passion.”

— Ivan Pavlov, scientist who first modeled classical conditioning as a mechanism of learning, “Bequest of Pavlov to the Academic Youth of His Country,” 1936

Hi!  Thanks for visiting Classical Conditioning!

My name is Carly, and I’m an oboe grad student based in Montréal, Québec (by way of Upstate New York, by way of South Florida, because apparently I’m one of those insane people who actually likes gray skies and snow).

Up until recently, I’ve been posting on this blog anonymously, but as I look to the future, I’ve realized that writing about music is one of my biggest passions.  (And that perhaps I’m not half bad at it?)   I used to be sort of embarrassed of this blog: I don’t have many friends who keep blogs, and it felt… egocentric?  presumptuous?… to act like I might be any more of an authority on classical music than my non-blogger acquaintances.  But Classical Conditioning has become a really fun project for me.  I love infusing the topics I write about — whether it’s an awesome piece of music or news of an orchestra’s bankruptcy — with some interesting facts and a dash of humor.  Whenever I publish a piece, I always feel more informed and aware than when I first set out to write it — and I hope that you, the reader, learn something new as well!

This blog’s tagline reads, “Because classical music could use some help right about now” — but what exactly does that mean?  What is behind the struggle to maintain a large and vibrant audience for classical music?  How is the classical music world changing?  Who is enacting these changes?  In my posts (which will ideally be weekly, but let’s be real, I’m a grad student with zero free time so look out for a couple posts a month), I explore these and other questions.  I’d love to hear from you!  Leave a comment — recommend a piece or group, share your opinion, ask a question — and feel free to get in touch via:


5 thoughts on “About

  1. simonsometimessays January 12, 2013 / 1:10 am

    Hello – since someone was nice enough to give me a Versatile Blogger Award (clearly he hasn’t met me), I feel duty bound to pass that on. Here’s the link, and if I’ve done this right it will explain everything in words which I have faithfully cut and pasted (thereby proving my versatility).
    Whether or not you choose to follow this up (and it’s taken me, as a rookie, ages to do it) I do mean it, as I enjoy your blog very much.

  2. emiliadaffodil January 15, 2014 / 5:08 pm

    Hey. I’m starting a new radio show about light music, wind orchestral music and film music and I’m looking for opinions from people, I saw your only post on wind orchestral music -suggested listening Rocky Point Holiday, I played that a few years ago it’s fun, lots of sweeping and expansive sounds.. Are you familiar with much music for wind orchestra?

    • musicjg9 January 15, 2014 / 6:02 pm

      Hi! Thanks for checking out my blog! I am by no means an expert on wind orchestra rep, but I’ve definitely played a lot of it. I’ve been playing in various wind ensembles for 8 years, and currently play with the Eastman Wind Ensemble. I don’t know if that is helpful at all, but I’d be happy to collaborate … Feel free to email classicalconditioningblog@gmail.com if you have any more questions!

      • emiliadaffodil February 3, 2014 / 11:46 am

        Hey I have just started a blog on wind band music.
        My first piece is up there now and my About section is written, I’d love for you to check it out. I take it you study at the Eastman school of music? what instrument do you play? Collaborating sounds cool, I’m not sure what we could do yet. I plan on talking about pieces, composers, history, well regarded bands, concerts and places to find good wind band music so Eastman would be a valuable resource.

  3. mariaholm December 15, 2015 / 7:48 am

    I am glad you are fighting for the classical music. Here in Denmark classical ensembles and fine orchestras are facing lack of support. It doesn’t matter how many prices they have won. Those who decide don’t seem to know about the hard work that precedes the ability to perform quality concerts

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