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The article argues that a quantified approach to learning stringed instrument is no way to become a rounded musician. Topics discussed include the educational system of measuring the educational, social and mental benefits of learning a musical instrument with numerical quantitative units; efforts of students to top schools' ranking lists and qualify for scholarships; and the failure of the grade system in hampering the learning of students.

The article features viola music student Sagnick Mukherjee and his reflections on his academic experience at the Royal Conservatoire of Scotland in Glasgow, Scotland. Topics discussed include the teaching approach at the institution, projects and performance opportunities being offered to its students, and the improvement in his instrument skills while at the institution.

The article features violin music student Maya Anjali Buchanan and her reflections on her academic experience at Curtis Institute of Music in Pennsylvania. Topics discussed include the freedom she have with chamber music while studying at the institution, the school's environment and faculty, and a lesson with her teacher that she will never forget.

The article features double bass music student Adalberto Ambotta and his reflections on his academic experience at Conservatorio Giuseppe Tartini in Trieste, Italy. Topics discussed include the influence of his teacher Stefano Sciascia in his decision to study at the institution, the uniqueness of the institution, and the opportunities to travel and perform offered by the institution.

The article features violin music student Mia Stanton and her reflections on her academic experience at the Australian National Academy of Music (ANAM) in Melbourne, Victoria. Topics discussed include the musical enhancement programmes being offered at the institution, student-led initiatives being supported by the institution, and the opportunities she had as a student at ANAM.

The article features violin music student Matej Mijalic and his reflections on his academic experience at the University of Zagreb Academy of Music in Croatia. Topics discussed include the prominence of Zagreb as a music academy in the country and the surrounding Balkan countries, the impact of the teachers on students, and the academy's connection with orchestras in the country.

The article focuses on how COVID-19 pandemic has affected the young musicians' ability to travel and music conservatoires. Topics include decrease in applications from European students for 2021-22 according to the Royal Conservatoire of Scotland (RCS) and Royal College of Music (RCM), and special study schemes for students still unable to travel and access face-to-face tuition.

The article presents a profile of music education in Palestine, highlighting the success of the region's musicians despite multiple political, physical and cultural challenges. Details are given particularly noting the isolation between Palestine and Israel in regards to musical cooperation, despite the latter's large infrastructure. Several anecdotes of individual musicians and music schools are also included.

The article reflects on the role of conservatoires to include 17th century music in curriculum. It emphasizes on musical interpretation for early music education. It highlights the cultural and historical connection of musical psyche by Baroque music. It also offers recommendation on the employment of musical instruments specialist by conservatoires for music education to students, as of May 2021.

The article discusses the issue about teacher-student relationships in music schools in Great Britain. It highlights several stories related to the issue and the lessons that they taught about the limitations of teachers' roles to their students. It recommends the need to prohibit the development of intimate relations between them like other professions.

The article reports on the campaign of the freelance music teachers to be treated like a full time professor but struggles in driving for recognition. Topics mention including the total number of students which are enrolled in German conservatoires according to the German Music Information, funding and improving the wages and working conditions.

The article focuses on developing a Technology Enchanced Learning of Musical Instrument Performance (TELMI) project by the Centre for Performance Science at the Royal College of Music in London, England, as a day-to-day resource for students. Topics discussed include the aim of the project such as to bring audio and video recordings and giving real-time feedback for students, the motion-tracking technology of the project and the benefit of the performance stimulator for stage-fright students.

The article offers suggestions for music students for involvement in different music courses. Topics discussed include attainment of advice from teachers regarding future prospects of the degree; analysis of preference for musical study either a conservatoire or colleges; examination of an accommodation and travel facilities while possession of the degree; and analysis of scholarships presence that assist in funding process.

The article presents the author's views on the group music tuition which is becoming common in schools. Topics mention including providing innovative ways on bringing the children into the world of music by the music educators, giving the teachers the opportunity to engage more in music through teaching music and playing with others serve as the main point in playing an instrument.

An interview with cellist Judith Ermert who teaches at the Royal Conservatory of Ghent is presented. When asked regarding her teaching approach, Ermert refers to the first challenge on finding the right approach which is appropriate to the temperament and talent of every student. She states that she films the concerts of her students and discusses with them their performances. She adds that she tells her students to put passion and confidence on whatever they do.

The article focuses on the launching of the Digital Debut series from EMI Group Ltd. with seven extended play-length (EP-length) albums which gives music schools' students an edge to record. It says that violinists Sean Lee and Mari Poll participated in the making of the series. Poll mentions that being able to record contemporary music with EMI was a great opportunity for her. Moreover, an interview with Manhattan School of Music (MSM) president Robert Sirota is discussed.