I wonder what today’s voice teachers would think of the composer Gioacchino Rossini’s ideas for a vocal training curriculum.

I’ve spoken about this before, but the subject seems to come up a lot, so why not go over it again: in America, 99.9 per cent of the people who play the flute for a living call themselves flutists, not flautists. That’s not a scientific number, but I think it’s pretty accurate.

There are many people who say they love classical music, but not “that modern stuff.” What’s interesting is that some of “that modern stuff” is well over a hundred years old.

If you explore the history of psychotherapy, you’ll come upon the name Franz Anton Mesmer. In 1767 Mesmer moved to a magnificent estate in Vienna, and among the guests he entertained there were Leopold Mozart and his family. When Leopold’s 12-year-old son Wolfgang wrote an opera called Bastien und Bastienne, the premiere took place in Dr. Mesmer’s private theater.

The most common tempo markings in music are words like allegro, adagio, and andante. But often composers indicate expression along with tempo, and this is when foreign-language dictionaries can come in handy.

In May of 1761, Benjamin Franklin was in Cambridge, England, and he heard a man play a performance on musical glasses. They were crystal wine glasses filled with different levels of water, and when the performer rubbed the edges of the glasses, they produced different notes.

Galileo, whose full name was Galileo Galilei, was one of the great figures in the history of science. What may surprise you is that Galileo’s father, Vincenzo Galilei, was one of the great figures in the history of Western music.

Musicians tend to tell lots of stories about funny things that have happened on stage during concerts. Often the stories are about disasters or near-disasters, and to be honest, they usually seem much funnier later on than the events themselves felt when they were actually happening. But one of the funniest stories I know isn’t about a disaster.

When you hear a Baroque piece described as a trio sonata for “flute, violin, and continuo,” remember that the continuo isn’t an instrument, it’s a part, and with two instruments playing it.

Percussion instruments, whether alone or in combination, have always been very useful ingredients for adding flavor and color to orchestral compositions.