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The article offers information on the musicians, Rick Stotijn, Roman Patkoló and Daxun Zhang focused on double bass in the U.S. It mentions that young performers are embracing repertoire and producing transcriptions. It states that Roman is committed to Zurich Opera House orchestra and teaching with the music school at Munich, Germany.

The article discusses the significance of teaching the students about stringed jazz music at conservatories in Europe and the U.S. It mentions that specialist teaching in the U.S. is high due to the importance of stringed instruments to the American popular styles, such as bluegrass music. It states that Europe had few conservatories that are specializing in string jazz because students preferred to play traditional jazz intstruments.

The article features violinist Jordi Savall in the U.S. It outlines Savall's collaboration with his wife Montserrat Figueras, a soprano and harpist Andrew Lawrence-King to set up the Hespèrion XX and XXI. It recalls Savall's first encounter with orchestral music while performing in Dublin, Ireland, and relates how he introduced his music to the students of Juilliard School in New York. Further information about Savall's music is presented.

This article presents a list of contact information for various music schools around the world. Schools on the list include the Ilsa Intenationale Lutherie School Belgie in Belgium, the Corbett O'Neill Violin Making School in Limerick, Ireland, the Daikanyama Music Academy in Shibuya-Ku, Japan, the Leeds College of Music in Leeds, Great Britain, and the Chimneys Violin Maker's Apprenticeship Programme in Boiling Springs, Pennsylvania.

Gives advice on how to land a career in the music world after graduating from college. Number of music schools in the United States; Tips for those aspiring for a chamber music position; Process of auditioning for an orchestral position.

Provides information on the Curtis Institute of Music in Philadelphia, Pennsylvania. Distinguished musicians who graduated from the institute; Facilities; Requirements from students; School supplies; Faculty members; Expansion of the emphasis on chamber music under Curtis Institute President Gary Graffman.

The article discusses the significance of teaching Baroque and Classical music genres to players of modern instruments in the U.S. and Europe. It mentions that the music conservatories had acknowledged period-instrument playing; encouraging the students to play both period and modern instruments, and expanding their activities. It states that music colleges had opened their resources for students who are interested in studying period performance style and techniques.

The article reports on the growing trend of musical colleges and universities offering degrees in folk and non-classical music. The growth in folk music in the United States and Great Britain is highlighted, influencing the foundation of the programs. Details surrounding the ideological and practical differences between classical and folk-tradition based music are described, along with overviews of several specific programs offered by colleges in Great Britain. INSETS: Ross Couper;Lori Watson;Patircia Clark.

Presents information on the Henry Mancini Institute in Los Angeles, California. Historical background of the institute; Training and education offered by the institute; Programs and activities offered by the institute for the musical development of its students.

Provides information on Kneisel Hall String and Ensemble Summer Music School near Blue Hill in Maine. Description of the school; Background information on Kneisel Hall; How Kneisel Hall attracts musicians around the world; Type of music played at Kneisel Hall; Segments on the repertoire of the Kneisel Hall.

Focuses on the Music Academy of the West in Santa Barbara, California. Features of the training center; How the school of music was established; Background on the school; Faculty members of the school.

Takes a look at the team teaching program for violists at the Aspen Music School in Colorado. Basic idea behind the program; Advisors for the program; Focus on performance, experience and group support; Potential for the team approach to teaching viola; Shared rewards for the program.

The article profiles violinist Isaac Stern in the U.S. Stern studied at the San Francisco Conservatory in California between 1932 and 1937, and recalls his experience with Naoum Blinder, a concertmaster of the San Francisco Symphony Orchestra (SFSO). It describes Stern's unique instinct for harmonic structure and phrasing, and his musical ability had produced a sound of raw emotional intensity and impact. An overview of Stern's recordings and brief personal background is presented.

Presents updates on several musicians in the U.S. as of September 2005. Appointment of Robert Sirota at the Manhattan School of Music in New York City; Resignation of cellist Peter Rejto at the Oberlin Conservatory of Music in Ohio; Selection of British violist Roger Tapping at the Longy School of Music in Cambridge, Massachusetts.

Profiles Chinese violinist Vera Tsu. Career background of Tsu; Her efforts to study at various music conservatories in the U.S.; Views on the difference between musical education in China and in the U.S.

Reports on the opening of a new music school at Bard College in Annandale-on-Hudson, New York as of September 2004. Information on the school curricula.

Reports the construction of a building for the San Francisco Conservatory of Music. Cost of the construction; Facilities of the new building; Location of the center.

Announces the opening of the Eloise W. Martin of the Chicago Symphony Orchestra at its music complex on September 26, 1998. Features; Main areas of the music center.

Reports that selection has been completed for the inaugural class of the Special School of America, a public music school in New York City. Schedule of opening; Contact information.