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San Jose Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

Santa Clara Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

Saratoga Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

Campbell Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

San Francisco Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

Bay Area Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

Cupertino Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

Fremont Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

California Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

West Coast Composition, Harmony, Counterpoint

For more information on these classes, please contact our administrative office.

San Jose Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

Santa Clara Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

Saratoga Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

Campbell Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

San Francisco Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

Bay Area Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

Cupertino Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

Fremont Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

California Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

West Coast Certification

Each spring, participating students of the academy are evaluated in Certificate of Merit programs administered by the Music Teacher’s Association of California (MTAC) and the Royal Academy of Music. Evaluators hear students perform selected literature, technique elements and sight-reading excerpts. Each student receives a comprehensive assessment of progress. Students also complete a written exam including an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Initiated in 1933, this prestigious program now involves over 25,000 students annually statewide and is a generally accepted measurement standard of musical level and achievement by high schools, colleges, and universities. Registration Students wishing to participate in the annual evaluation must work with their teacher at the Academy to select and prepare for the appropriate level: Preparatory, I - IX, or Advanced. Registration normally occurs in early autumn (August - October) of each year, and registration forms must be completed and submitted to the Academy, accompanied by a check for the appropriate fee amount, made out to Calder Academy of Music by the registration deadline date. Write the student name and "CM Evaluation" on the check. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the Music Theory course for the appropriate theory level as administered by the Academy. Evaluation In March or April of each year, MTAC evaluators will hear students perform selected literature, technique elements and sight-reading. Each student receives a comprehensive assessment of progress. Students also complete a written exam, which includes an ear-training component. Each student receives a certificate for successfully completing all phases of the examination. Senior medallions are awarded to eligible high school seniors. Also, worthy students who demonstrate exceptional skill may be selected to perform at the annual MTAC State Convention. The Calder Academy of Music conducts a pre-evaluation for all CM-program registered students in the beginning of early February and March in order to provide attending students with feedback and an opportunity to strengthen any weak areas which they may have. Details are available from the administrative office.

San Jose Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

Santa Clara Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

Saratoga Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

Campbell Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

San Francisco Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

Bay Area Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

Cupertino Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

Fremont Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

California Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

West Coast Chinese (Traditional & Simplified)

This course offers spoken and written traditional and simplified Chinese language classes with an emphasis on developing fluency and vocabulary for all levels, including beginning, as well as an opportunity to experience in depth different facets of this fascinating and ancient culture. The afterschool Chinese program is a group class which focuses on building a strong linguistic command of tone, pronunciation, and proper usage. Emphasis is especially placed on building a strong grammatical foundation through both reading and spoken comprehension as well as oral and written exercises.

San Jose Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

Santa Clara Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

Saratoga Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

Campbell Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

San Francisco Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

Bay Area Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

Cupertino Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

Fremont Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

California Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

West Coast Competitions

Entry into competitions ranging from local to international scope are available to dedicated students of all levels and ages on a regular basis. Dedicated students of the academy are regular winners of top prizes at most competitions. US Open Music Competition, San Francisco, CA International Russian Music Piano Competition, San Jose, CA Pacific Chamber Symphony Concerto Competition, San Francisco, CA Sylvia M. Ghiglieri Piano Competition, Turlock, CA California State Talent & Performing Arts Competition, San Jose, CA Beethoven Piano Competition, San Jose, CA

San Jose Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

Santa Clara Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

Saratoga Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

Campbell Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

San Francisco Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

Bay Area Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

Cupertino Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

Fremont Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

California Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

West Coast Ballet, Jazz Dance, Hip-Hop, Chinese Cultural

     If you can Move, you can Dance.      With guidance and technique, structure and discipline,      Movement can become Art...      Whether your goals are recreational, amateur or professional      Achieving them can start now. Tuition: Beginning Classes (1-hour weekly) $45 monthly (6-month rate) Intermediate Classes (1.5 hours weekly) $65 monthly (6-month rate) Ballet I – Beginning Ballet. 1 Hour This class is for those without prior Ballet technique or Ballet training, desiring to master the fundamentals of Ballet. Class will cover the basics of Ballet and prerequisites to actual dance, including the various Ballet Positions: Plies, Tendus, Passes, Frappes, etc., as well as supporting exercises and stretches. The hour-long class begins with a 10–15 minute warm-up session where each major muscle group and all major joints throughout the entire body are stretched and engaged. After warm-up, students begin a more intensive 30-minute training session, emphasizing the essentials of Ballet Technique and appreciation of the poise, grace, attitude, and drama associated with Ballet as well as of the lyrical rhythm of the music guiding their every Ballet move. During the final 15 minutes of the class, students are asked to leave the bar area and dance in the center of the studio in order to practice balance without the use of the bar. Depending on the level of students in the class at the time, an Adagio (small ballet choreography dance piece), Pirouettes and/or Jumps will be the main focus. The class ends with a graceful bow to oneself, to one another, and to the teacher. Ballet II – Intermediate Ballet. 1 Hour This class is for those who have undergone some ballet training in the past, and are familiar with all the basic techniques, positions, and Ballet terms associated with each and every Ballet movement. At a minimum, students should possess a good understanding of a “turn out”, including from whence it originates, its proper execution and why it is so important in Ballet. The class begins with a brief 10-minute warm-up wherein all major muscle groups and joints throughout the body are stretched and engaged. Students then stand by the Ballet Barre for a 35-minute workout aimed at perfecting each of the Ballet Techniques required of an intermediate-level Ballet Dancer. Here the primary focus is on the development and strengthening of the various muscle groups and on enhancing appreciation for the various Ballet movements. knowledge to fully grasp and acquire, students take this class to build onto what they already know. After 35 minutes of Ballet training, students will be asked to move into the center of the studio to begin perfecting their balancing techniques. During this 15 minute session, depending on the level of students taking the class at the time, students will either be learning a new Ballet Technique, going across the floor to do Jumps or Turns, or they will be given a short Adagio to learn and perform for the remainder of the class. The class will end with a graceful bow to themselves, to each other and to the teacher. Jazz/ Hip-Hop I – Beginning Jazz/ Hip-Hop Dance. 1 Hour This is a dance class teaching students how to dance, whether the dance may be Hip-Hop style or Jazz style. Jazz dance is a style of dance that covers ALL styles of dancing whether they may be Hip-Hop, Modern, or even lyrical Ballet. Hip-Hop, on the other hand, only covers street dance where the movements and music selected are limited to those of street funky style. There are no dance training required for students taking this class. Each class will begin with a few sets of warm-up exercises where each student will be asked to engage-in and warm-up various sections of the student’s body. The primary focus during these sets of exercises is to stretch and tone that specific part of the body area in which the exercise set is targeting, whether that area may be the legs, calves, hamstrings, arms, hips, thighs, back and etc. These sets are guided by street music in the back-ground to drive the tempo of these exercises, thereby also engaging the student’s sense of rhythm. Since learning how to dance, regardless of style, requires the understanding of Ballet techniques, these sets may contain Ballet Techniques so as to help facilitate the student’s stretching and toning motivation and thus, capabilities. After 40 minutes of stretching and toning, students will be taught how to do Turns and Jumps for approximately 10 minutes. For the last 10-15 minutes of the class, students will be asked to learn and perform a short choreographed dance piece, either in Hip-Hop or in Jazz style.

San Jose Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

Santa Clara Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

Saratoga Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

Campbell Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

San Francisco Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

Bay Area Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

Cupertino Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

Fremont Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

California Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

West Coast Ear Training - Course Materials

Files in MP3 format for our Ear Training Course are available for course attendees below. To download, click the links below, or you may also right-click the below links and then select "Save Target As...". You will then be prompted for a location to save the file on your computer. Once the files have been downloaded, you may use Windows Media Player or your favorite MP3 player or an iPod to listen to them. If you have any questions, we may be reached at 408-777-8779 or 408-394-3355. Ear Training 1 - Intro Ear Training 1 - Drills Ear Training 2 - Intro Ear Training 2 - Drills

San Jose English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

Santa Clara English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

Saratoga English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

Campbell English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

San Francisco English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

Bay Area English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

Cupertino English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

Fremont English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

California English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

West Coast English Grammar, Writing & Literature

Our classes cover level-appropriate instruction in writing, vocabulary building, grammar and reading comprehension. Students will study basic writing rules and structures and analyze models of exemplary writing. Writing guidance provided in various genres such as essay, poem and story using various writing styles: personal narrative, response to literature, descriptive, persuasive and summary; as well as learning the various writing stages: pre-writing, drafting, revising, editing and publishing. Reading class focuses on improving oral reading skills including speed and fluency, and on increasing comprehension through development of vocabulary and summarization skills employing a variety of reading materials.

San Jose Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

Santa Clara Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

Saratoga Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

Campbell Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

San Francisco Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

Bay Area Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

Cupertino Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

Fremont Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

California Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

West Coast Instrumental Ensemble Workshop

Students meet weekly on Saturday mornings in small groups and improve quickly in this intensive and intimate environment. Attendants of this class enjoy an unprecendented opportunity to learn directly from world-class conductor, Imant Kotsinsh. Mr. Kotsinsh is an exceptionally talented and experienced conductor, recognized worldwide for his conducting and leadership skills. He has directed many famous orchestras of the world, including the legendary Bolshoi Theater of Opera and Ballet in Moscow, Russia. Throughout his performing career, Mr. Kotsinsh also taught orchestral studies and violin to numerous Conservatory students. Young musicians - don’t miss this unique opportunity to enhance your instrumental technique, learn team work, and develop performing skills! You will play beautiful and timeless music by classical composers, learn how to perform as a team – with a true virtuoso!

San Jose News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

Santa Clara News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

Saratoga News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

Campbell News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

San Francisco News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

Bay Area News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

Cupertino News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

Fremont News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

California News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

West Coast News & Events

Summer Camps 2009 newly updated full and half day programs Summer 2009: Hope Envoy to Sichuan, China Middle and High School kids can boost college chances while having fun in China. Help earthquake victims by volunteering your skills and talents this summer. Become an American Youth Hope Envoy to Sichuan! Hindi Language Courses Weekly instruction held Thursdays Calder English Program Contact the main office or from online for scheduling Bilingual After-School Chinese, English, Math, Homework, Yoga, Music [August 2008 - June 2009, Grades K-7] Photo Archives Slide Show (NEW) See more Upcoming Events CalderOneWorld

San Jose Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Santa Clara Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Saratoga Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Campbell Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

San Francisco Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Bay Area Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Cupertino Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Fremont Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

California Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

West Coast Instrumental Lessons

The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

San Jose Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

Santa Clara Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

Saratoga Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

Campbell Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

San Francisco Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

Bay Area Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

Cupertino Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

Fremont Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

California Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

West Coast Introduction to Calder Academy

The cultural centers in Europe and the East coast of the United States are dotted with numerous institutions of renown which are devoted to music and arts development, performance and education. Despite a high popular interest, the West Coast offers few choices to those demanding a thorough music and arts education of the highest quality. Apart from a few notable exceptions, most universities offer only a mediocre arts program, and most private institutions only provide specialized instruction of varying degrees of quality for a particular instrument, wherein emphasis is placed upon more-easily-measured aspects, such as performance, rather than overall musicianship and musical comprehension. The Calder Academy of Music was established upon a philosophy and goal of assisting students attain excellence in musicianship & other artistic pursuits through inspiration, understanding, character development and discipline. Our Academic Enrichment programs broaden this vision to cover a variety of other subjects and studies as well. Our faculty comprises musicians and teachers skilled in various methods applicable to students of all levels and ages, and includes graduates from many of the major conservatories and universities throughout the world. We require dedication to constant self-improvement of each faculty member as we feel that excellence in teaching is an on-going process of learning and of embracing greater and greater challenges. In this way only can we challenge and inspire the minds and spirits of our students to demand excellence of themselves. Over the past several years, the Calder Academy of Music has been pleased to contribute to the musical and cultural education of hundreds of youths and adults of the Silicon Valley and lower San Francisco Bay Area communities. The Academy, with an active current enrollment of more than 300 students, has an exceptional faculty of noteworthy teachers, musicians and artists, specializing in teaching all levels of Western and Chinese performing arts, with an emphasis on Western classical and Chinese classical music. As part of our "East Meets West" project and other ongoing American and Asian musical and cultural exchange programs, and at the invitation of local Chinese governments, the Academy sends a contingent of talented students to Beijing, Shanghai and other Chinese cities each summer to learn about China and to take part in performances and presentations introducing Chinese youth to aspects of American music, art and culture. Supported by the universal nature of the music and art we teach, we are able to continually fulfill our purpose of enhancing understanding and appreciation of the various forms of creative expression born in the East and the West, and thereby inspire our students to strive for musical and artistic mastery. Being thus enriched by humanity"s cultural treasures of the past and present, they are empowered to develop the wealth within themselves and in their turn enrich the culture of the future.

San Jose Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

Santa Clara Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

Saratoga Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

Campbell Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

San Francisco Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

Bay Area Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

Cupertino Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

Fremont Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

California Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

West Coast Ludwig Calder

An accomplished pianist and composer like his father Philip, Ludwig was the first place winner in the 1994 US Open Music Competition. Born into a musical home, Ludwig studied under the tutelage of his father from the age of 6. His mother, Magdalena, is a soprano concert singer. At age 10, he was awarded a scholarship to the Boston Archdiocesan Choir School for boys in Cambridge, Mass. Under Theodore Marier, he received a thorough musical foundation, performing often at such places as Tanglewood, and soloing with Maestro Seiji Osawa and the Boston Symphony Orchestra. His teens were spent in South America, where he studied with Conductor Marcus Pavan. Graduating later from Sydney University, he continued his musical scholarship in piano performance and pedagogy, receiving interpretive coaching with Santa Clara University music department chair Hans Boepple. In 1987 Mr. Calder began providing instruction in piano performance, and music theory, harmony and history to a select number of students; a practice he continued throughout the years despite a demanding career in which he served as president of a software company and later as president and CEO of a nationwide managing general agency for insurance carriers. Ludwig founded the Calder Academy of Music in 1997. In addition to his role as director, he also provides master classes, lectures and individual instruction, and directs/conducts various choral groups. Ludwig has recorded a video production and a CD of his father’s work, and as performed throughout North and South America, and in Russia and Asia. Recently, he gave live and televised performances in Beijing, Shanghai, Qingdao, Nanjing, and other cities in China.

San Jose Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

Santa Clara Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

Saratoga Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

Campbell Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

San Francisco Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

Bay Area Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

Cupertino Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

Fremont Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

California Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

West Coast Course on Western (Classical) Music

* Develop Your Listening Skills * Enhance Your Understanding            presented by Ludwig Calder A penetrating analysis of Western Classical Music, from Ancient to Modern, examining the underlying historical context and forces that have shaped it. Thorough treatment of musical form and its development as well as the various musical styles, periods and composers. Full course, 12 weekly one-hour sessions Tuition:    $200 + $20 materials Ages 7 to adult - Parents encouraged to enroll

San Jose Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

Santa Clara Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

Saratoga Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

Campbell Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

San Francisco Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

Bay Area Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

Cupertino Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

Fremont Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

California Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

West Coast Philip Calder's Compositions

Sonata for Oboe and Piano Opus I 20 min Trio for Violin, Violoncello and Piano Opus II 45 min Variations and Fugue for Piano Opus III 45 min Variations and Fugue - Transcription for Violoncello and Piano Opus IIIa 45 min Quintet for Clarinet and String Quartet Opus IV 8 min First Piano Sonata Opus V 9 min First Concerto for Piano and Orchestra Opus VI 15 min First Symphony, "David" - Movement 1 Opus VII 26 min First Symphony, "David" - Movement 2 Opus VII 34 min First Quartet for two String Quartets Opus VIII 15 min Second Sonata for two Pianos Opus IX 54 min First Song, “Fly On, O Love” for Soprano & Piano Opus X 5 min Hymn, "The Splendors of the Eternal Father" for Chorus, Organ, Brass, and Timpani Opus XI 6 min Overture to Prophet Elias for Organ and Orchestra Opus XII 9 min Concerto for Violin and Orchestra (Concerto Rhapsody - "Reflections on China") see a performance of a piano/violin transcription Opus XIII 24 min Philip Calder - biographical notes

San Jose Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

Santa Clara Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

Saratoga Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

Campbell Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

San Francisco Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

Bay Area Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

Cupertino Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

Fremont Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

California Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

West Coast Philip Calder

Born in Pittsfield, Mass., Philip Calder showed notable musical gifts at an early age, beginning piano at age seven and organ soon afterwards. His first composition was written at age eleven, and at thirteen he became the favored pupil of internationally-renowned composer and conductor, John Duffy, in theory, counterpoint, harmony, orchestration and conducting, and under whose tutelage he joined the famous Tanglewood Music Festival. At the Julius Hartt Conservatory of Music, he studied keyboard artistry with chairman and piano master Leo Rewinski, later graduating in piano study and performance after attaining first place in the 1958 Conservatory Competition. Philip then went on to study organ with Ernest Nichols, highly regarded disciple of the legendary Virgil Fox. Mr. Calder, eminent composer of numerous works for solo piano, instrumental ensemble and orchestra, has performed throughout the Western and Eastern Hemispheres as composer, pianist, organist and conductor, including featured appearances at Carnegie Hall and with the Metropolitan Opera. Recently, he has given live and televised performances of his works in various California venues as well as Asia. His works have been recorded at Columbia Records. Calder As Composer In the six years following the composition of his first piece at age eleven, Calder wrote hundreds of pieces. Later, he would consider these pieces to be “only of sentimental value,” serving but to bring him “closer to the first statement.” In the fall of 1959, he composed a sonata for oboe and piano, rapidly followed by four other piano solo and chamber works. It was at this time that, looking back and subjecting his body of works to an intense and impersonal scrutiny, he concluded that the oboe sonata would “mark the beginning,” bearing the distinction of being his Opus 1. With that, he destroyed his earlier work in its entirety, in the uncompromising thoroughness and unswerving dedication to the highest artistic standards which throughout the years and to this day have been characteristic of his creative musical output. Calder, at the height and maturity of his creative power, has recently completed his Concerto for Violin and Orchestra, Opus XIII, (subtitled: Concerto Rhapsody - "Reflections on China"), and is currently completing work on the third movement of his first symphony and a Fanfare for Brass and Percussion. Calder, as a composer, remains aloof from trends and musical experiments. Rich in those attributes common in the music of the Greats, attributes which have withstood the test of time, his work is nevertheless anything but reactionary conservativism. What sets his music apart is the song-like beauty and universal appeal of his melodies, gracing a formidable architectural and artistic craftsmanship, in which an inventive and dramatic flair is combined with a marvelous ability to be at once grandiose and intimate. The Berkshire Eagle writes, “...Calder is regarded as a musical genius...” In the words of world-renowned composer, conductor, and founder of Meet the Composer, John Duffy, “Philip was a child prodigy, my foremost student. His love for and dedication to music is boundless... Few match his determination and deep musical gifts... His main assets are an unusual melodic gift, pastoral and lyric, combined with love of his work and tenacity.... I commend him on the highest level of musical craft and art.” To date, Calder has 13 opuses, which may well be considered to carry on where Johannes Brahms’ left off....

San Jose The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

Santa Clara The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

Saratoga The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

Campbell The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

San Francisco The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

Bay Area The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

Cupertino The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

Fremont The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

California The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

West Coast The Calder Academy Philosophy

Our teaching philosophy for adults is based on a strong conviction that “to teach” and “to learn” mean equally to be in constant quest, in constant process. Our teaching philosophy for children is based on the strong belief that every child can and should learn music for the following reasons: We believe that music is the language of emotions, and is charged with feelings and significance. It challenges our intellect, kindles our imagination, and enchants our senses. We believe that all children are artists. The world for them is a thing of wonder. They invent stories and poems; they compose songs; they paint. Our goal is to help them retain this wonder, and develop the need to communicate their feelings through the Language of Music. We believe that this language will also dramatically enhance the child’s abstract reasoning abilities – the most necessary skills for learning math and science, as recent scientific studies have shown. Plato once said, “Music is a more potent instrument that any other for education.” We believe that teaching is a flexible, ever-changing and subtle process. That it is an art in which a good teacher-artist constantly searches for new approaches, new ideas, different pedagogical means. Our students are challenged to think critically, understand contexts, engage with learners, reflect and act. This requires dedication from both the teacher and the student, but we are rewarded with the joy of making music together, which keeps us moving forward toward our goal. We believe that each one of our students is a complicated and wonderful world; each one a unique individual with special talents; and that all students have the potential to succeed in mastering the instrument. Thus, one of the cornerstones of our teaching philosophy is the task of creating a series of successes for our students through constant and sensible progress, and through active performance. We don’t promise to create a concert artist from every student. We can say, however, as the instrument becomes a part of a students’ daily discipline, education and development, that his life will become more interesting, more rich, and more colorful. We believe our students will become better humans over all!

San Jose Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

Santa Clara Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

Saratoga Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

Campbell Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

San Francisco Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

Bay Area Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

Cupertino Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

Fremont Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

California Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

West Coast Student Recitals & Concerts

Evaluation recitals in which students are evaluated on the various aspects of performance from presentation and posture to fidelity and accuracy of reproduction and interpretation are held at least once per month, as a means to provide performance training to students of all levels. Regular formal school recitals and concerts provide performance and listening opportunities. Featuring vocal and instrumental music for solo and ensemble, recitals provide diversified learning opportunities for all. Recitals are open to the public.

San Jose SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

Santa Clara SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

Saratoga SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

Campbell SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

San Francisco SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

Bay Area SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

Cupertino SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

Fremont SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

California SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

West Coast SAT Writing Course Syllabus

WEEK I Introduction:   Overview of the course objectives. Writing sample: Describe yourself, your past year in English, at least one book that made an impression. Diagnostic grammar materials: Exercises from English Simplified, 1-6. Return writing samples. Explanation of holistic grading. Discussion of individual students’ essays. Collation of grammatical and usage errors. BARRON’S: pp. 3-15. BARRON’S Self-Assessment Test, pp. 35-55. BARRON’S: The Essay Question, pp. 59-81. HOMEWORK: pp. 99-112.  Rewrite original, diagnostic essay. WEEK II Comments and Questions. Review of last session’s points. Check homework: see BARRON’S, pp. 156-57 and review. Diagnostic Grammar review: English Simplified, pp. 25-31. Collect re-write on original essay and re-assess. Return and discuss. Writing Essays to Given Prompts: practice and graded responses: BARRON’S, pp. 114-153. Method: 2 one-hour series of 2 (3, if time permits) essay topics plus the students’ responses and evaluations from the text. HOMEWORK: Choose 2 topics from pp. 154-55 and develop each in 20 minutes for submission at WEEK III. WEEK III Comments and Questions. Review of last week’s points. Collect HOMEWORK ESSAY TOPICS for evaluation. Diagnostic Grammar review on prepositions, English Simplified, pp .33-38. Return and discuss HOMEWORK ESSAYS and evaluations. BARRON’S PART IV: pp. 161-231. HOMEWORK: Assign pp. 232-258.  Prepare to review answers to various exercises. Choose 2 more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK IV Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: English Simplified, pp. 39-49. BARRON’S PART V: Essay and Practice Test A, pp. 273-292.   Review answers and discuss. Essay and Practice Test B, pp. 293-318. HOMEWORK: Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK V Comments and Questions. Review of last week’s points. Collect two 20-minute essays for evaluation. Diagnostic Grammar review: pp. 50-59. BARRON’S PART V: Essay and Practice Test C, pp. 319-344. Essay and Practice Test D, pp. 345-370. HOMEWORK: Review of all assigned pages from English Simplified. Choose two more topics from pp. 154-55 and develop two 20-minute essays for evaluation. WEEK VI Comments and Questions. Review of last week’s points. Diagnostic Grammar review and assessment: English Simplified, pp. 118-129. Collect and evaluate two 20-minute essays and discuss. BARRON’S PART V: Essay and Practice Test E Review and discussion Test E. Students will use final hour to write impromptu essays on unused topics from pp. 154-55 that each students has not individually yet developed.  Submission of the student’s essay will qualify as his/her FINAL EXAM.

San Jose Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

Santa Clara Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

Saratoga Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

Campbell Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

San Francisco Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

Bay Area Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

Cupertino Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

Fremont Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

California Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

West Coast Music Theory

This course for students in school grades 1 through 12 is designed to supplement instrumental and vocal training and to ensure that each student’s development and understanding of music theory is maintained at a level correlating to their performance skill. The course is laid out in three levels, A, B, and C, comprising a structure that proceeds gradually from basic concepts up through more advanced material. Each class includes a section on Ear Training, Dictation, and Music History and Appreciation. Students currently taking instrumental or vocal lessons are encouraged to enroll. Your individual instrumental or vocal lessons cover basic and applied music theory (music theory as it relates to your specific coursework and pieces), however these one-on-one classes are more costly, and as time is therefore at a premium, the class is designed to focus on the performance, technique and sight-reading skills for your medium rather than a thorough treatment of musical theory. Royal Academy and Certificate of Merit Evaluations This theory course offered by the Academy is specially designed to prepare the student for the written theory portion of the MTAC Certificate of Merit and the Royal Academy of Music certification. All students intending to register for the statewide MTAC Certificate of Merit evaluation or Royal Academy of Music evaluation are required to enroll and pass the course for the appropriate theory level as administered by the Academy. Registration Students wishing to attend the theory course should ask their teacher at the Academy to recommend the appropriate class: A (Preparatory, Level I, II) B (Level III, IV, V) C (Level VI - IX and Advanced) Registration normally occurs in the autumn (August - October) of each year. Registration forms must be completed and submitted to the Academy, accompanied by a check for the tuition, made out to Calder Academy of Music by the registration deadline date. Please remember to write the student name and "Theory (A/B/C)" on your check. For more information, please contact our administrative office.

San Jose Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

Santa Clara Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

Saratoga Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

Campbell Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

San Francisco Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

Bay Area Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

Cupertino Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

Fremont Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

California Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

West Coast Vocal Instruction

The Calder Academy of Music individual vocal classes are individually tailored to each student based upon his/her individual abilities, experience and interests. Our vocal instructors are experienced in accommodating all ages and all levels of vocal proficiency. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. The technical and stylistic basis of our vocal program is traditional classical and operatic, as the attainment of proficiency in these styles provides the most complete and thorough training. Depending on the age and interests of the student, the teacher will also explore a wide range of styles and techniques encompassing folk and popular repertoire (Disney, etc) to Broadway musicals, as well as Chinese art and folk songs. Beginning students will work on self-consciousness, tone production and projection, breathing, legato singing, diction and musical accuracy. An ability to read music is not a pre-requisite, but is of course very helpful. Advanced student instruction stresses the correction of individual vocal flaws, legato singing and solo-performance techniques with emphasis on the development of good musicianship.

San Jose zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

Santa Clara zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

Saratoga zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

Campbell zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

San Francisco zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

Bay Area zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

Cupertino zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

Fremont zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

California zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

West Coast zh Language Camp

    旧金山, 加利福尼亚 7月2005 日   国际 英语&西方文艺 游学夏令营 Ludwig Calder （路易斯 凯德）, 主任   十四日密集英语语言与绘画巡游 英语语言密集学习课程与绘画课程融汇了对美国文化的介绍与了解。 英语语言课程藉由美国大学和中学师生的参与，使学生不但有机会融入英语语言交流和英语语言文化的环境中去学习英文与英语会话，并有机会参与各种户外运动和郊游。 每日清晨将由美国街舞Hip-Hop Dance, 吉他伴唱美国校园流行歌曲，西洋打击乐器等作为一天的开始。 完成全期课程者将颁于德翰学院结业证书 日程及住宿介绍              报名表     接着安排密集英语课程融入式教学和参与性语言实践， 旨在通过语言交流实践，文法词汇教学以及读听理解课程提高英语口语表达和笔头表达能力。 为通力加强学生对英语语言的运用和掌握，课程还包括基础英语写作理论及文章结构分析，并配有范文分析辅导。藉写作指导融括论文，诗歌及各种风格的叙述文体。 阅读课重点放在提高口头阅读能力上，既强调速度与流利，又强调通过词汇积累与概述能力的提高以增强阅读理解力。       专业美术课程融合素描与专业绘画课为一体，由资深专业画家，艺术家，雕塑家任教。 素描课程强调基本技能训练，引导学生逐步掌握运用铅笔和碳笔的技能与构图。 构图包括线透视 （单点，两点，外部，内部，视平线， 消失点，阴影消失点， 三点透视，俯瞰，近景），景深透视，明暗效果，整体构图等基本技能。 专业绘画课程 探讨分析色调与光的运用， 强调对色彩组合，基色，补色，光与光效应，颜色过渡等运用和掌握。 通过绘画课学生能够从绘画材料到绘画技能，从准备到作画过程有一整体的认识。每个学生都配有一套画笔，颜料，铅笔和碳笔及绘画材料与工具。      课程结束并伴有七日观光游览迪斯尼世界--加州，拉斯维加斯—内华达，大峡谷—亚利桑那 观光城市：旧金山，圣何塞，蒙特里，滨海城市卡迈尔， 拉斯维加斯，洛杉矶，阿纳海姆   招收美国，亚洲及欧洲各地学生 课程日期：7 月17 日 - 8 月7 日 费用：美元 $ 2600     注册报名费美元 $ 50 （报名费盖不退还） 费用包括：14天课程学费和7天观光游览费 （总共21天）其中包括21天住宿饮食费， 观光旅游费，以及各项门票入场费 费用不包括：个人旅行保险费，国际国内往返旅途所涉及的费用 Taiwan Contact: Chao Huang, phone 02-5584-2910, cell 913-885-942

San Jose ESL International Summer Camp -Beijing 2008

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Santa Clara ESL International Summer Camp -Beijing 2008

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Saratoga ESL International Summer Camp -Beijing 2008

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Campbell ESL International Summer Camp -Beijing 2008

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San Francisco ESL International Summer Camp -Beijing 2008

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Bay Area ESL International Summer Camp -Beijing 2008

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Cupertino ESL International Summer Camp -Beijing 2008

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Fremont ESL International Summer Camp -Beijing 2008

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California ESL International Summer Camp -Beijing 2008

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West Coast ESL International Summer Camp -Beijing 2008

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San Jose International Summer Camp at Windsor

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Santa Clara International Summer Camp at Windsor

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Saratoga International Summer Camp at Windsor

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Campbell International Summer Camp at Windsor

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San Francisco International Summer Camp at Windsor

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Bay Area International Summer Camp at Windsor

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Cupertino International Summer Camp at Windsor

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Fremont International Summer Camp at Windsor

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California International Summer Camp at Windsor

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West Coast International Summer Camp at Windsor

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San Jose BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

Santa Clara BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

Saratoga BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

Campbell BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

San Francisco BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

Bay Area BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

Cupertino BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

Fremont BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

California BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

West Coast BeijingDance

practice Feedback - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Feedback - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT. practice Fever - Dance Make sure to practice daily, counting aloud until you are able to memorize all the moves to prepare to practice at speed. with music Fever - Dance Make sure to practice daily, counting aloud until you are able to dance all moves from memory without the need to look at other dancers and so that your movements are fluid, confident, and most importantly ON THE BEAT.

San Jose ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

Santa Clara ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

Saratoga ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

Campbell ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

San Francisco ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

Bay Area ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

Cupertino ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

Fremont ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

California ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

West Coast ‘table’_?

Supreme Court decisions, by reality Cases Roe v. Wade Alien v. Predator Relevance Reality 86% 14% Unreality 10% 90% Problems of Dostoevskys Poetics Those characteristics of Dostoevsky’s poetics investigated by us in the preceding chapters presuppose, of course, a completely new treatment in his work of generic and plot-compositional elements. It comes as no surprise that the image of an "artist of the idea" had already occurred to Dostoevsky in 1846-47, that is, at the very beginning of his career as a writer. We have in mind the image of Ordynov, the hero in "The Landlady." He is a young scholar. He has his own creative system, his own unusual approach to the scientific idea; He was creating a system for himself, it was being evolved in him over the years; and the dim, vague, but marvellously soothing image of an idea, embodied in a new, clarified form, was gradually emerging in his soul. And this form craved expression, fretting his soul; he was still timidly aware of its originality, its truth, its independence: creative genius was already showing, it was gathering strength and taking shape. [SS I, 425; "The Landlady," Part I, 1] "The Landlady" Ordynov Young Lonely Representation Idea Impression And further, at the end of the story: Possibly a complete, original, independent idea really did exist within him, Perhaps he had been destined to be the artist in science. [SS I, 498; "The Landlady," Part II, 3] We repeat again: what is important is not the ordinary qualifications of a person’s character or actions, but rather the index of a person’s devotion to an idea in the deepest recesses of his personality.

San Jose China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

Santa Clara China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

Saratoga China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

Campbell China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

San Francisco China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

Bay Area China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

Cupertino China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

Fremont China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

California China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

West Coast China Disabled People’s Delegation

To All Parents & Students: This weekend, October 11 & 12, the China Disabled People’s Performing Art Troupe will be coming to San Jose on another of their world-class performances. Calder Academy and the CalderOneWorld Foundation with the Beijing 2008 Olympic Friendship Delegates visited and exchanged performances with them during our trip to China this summer and found it to be one of those lifetime memories, so we would like everyone to share in this special opportunity occasioned by their visit to our area to see their performance and to spend some time with them. They have performed in over 50 countries throughout the world and for all major heads of state, including Presidents Clinton and Bush. The schedule is as follows: Saturday, October 11, 2008 at 7:30pm China Disabled People’s Art Troupe will perform at the Center for the Performing Arts, 255 Almaden Blvd, Downtown San Jose, CA 95113. Tickets are $130 premium, $80, $60, and $45 and are available at the box office by calling 888-455-7469 or visiting www.sjtix.com. Be sure to use the CalderOneWorld Foundation code “COWF” to get a special 10% discount for you and your family and friends. Sunday, October 12, 2008 from 12pm to 3pm, we will have a special BBQ picnic and performance with the China Disabled People at the Memorial Park in Cupertino (off Stevens Creek Blvd and Homestead) where we will have a chance to spend an informal afternoon as their hosts in an American-style day at the park, complete with food, games, and some small performances. They may perform for us and some of our kids will sing and dance for them. (There will be an Iranian Festival at the park as well so don’t be confused.) Since this is a potluck BBQ and the disabled people will not be bringing any food themselves (there are approx. 50 of them) we should all try to bring at least two dishes (American, Chinese, Indian foods are all good) which we think they will enjoy. Dishes can be meats, veggies, pasta, potato, rice, as well as dessert items. We will also need volunteers to help with food preparation, manning the bbq, helping assist the performing kids (ours) and keeping them organized, assistance with any equipment, props or costumes, trash collection and organization, etc. Please signup at the front desk at Calder Academy or let Christine know.

San Jose My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

Santa Clara My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

Saratoga My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

Campbell My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

San Francisco My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

Bay Area My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

Cupertino My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

Fremont My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

California My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

West Coast My Dream

Reading Comprehension Grades 1 - 2 Classes focus on reading silently and aloud, as well as listening and following along to, teacher-approved fiction and non-fiction. Literary modes cover both prosaic and poetic modes of written expression, including story, biography, and various types of poem. Instructional materials include course readers consisting of short stories, non-fiction publications, and classical as well as contemporary poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading enjoyment, reading skills, and vocabulary enhancement are stressed. Writing & Response Classes focus on expository and creative writing. Expository writing is at the sentence and paragraph level. Creative writing includes creation of rudimentary stories and poems, similar to materials read. Study of spelling, grammar, and punctuation accompany writing and revision. Literary Analysis Grades 3 - 5 Classes focus on reading silently and aloud. Class materials include novels, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework may be assigned. Reading enjoyment, critical reading skills, and vocabulary are stressed. Discussion of fiction focuses on rudimentary character analysis, setting, plot, problem/resolution, and theme. Adv. Writing Composition Classes focus on expository and creating writing. Expository writing is at the paragraph and composition level. Creative writing includes creation of stories and poems. Study of spelling, grammar, and punctuation accompany writing and revision. Critical Theory Grades 6 - 12 Class materials may include novels, short stories, nonfiction, and poetry. The reading level of class materials is determined by the abilities of the students in each class. Reading homework is assigned. Discussion of fiction focuses on character analysis, setting, plot, problem/resolution, and theme. Discussion of nonfiction and poetry includes content, structure and style. Reading enjoyment, critical reading, and vocabulary are stressed. Creative Interpretation Classes focus on expository and creative writing. Expository writing is at the composition level. Study of sentence style, logical flow, concision and clarity, as well as spelling, grammar, and punctuation accompany writing and revision. Creative writing includes creation of stories and poems. Footer Section

San Jose Grades 3-5

Lesson Times: Monday 3:30-4:30 Wednesday 3:30-4:30 Friday 3:30-4:30 Tuition & Fees: All new students and those returning after an absence of more than ninety days must pay a registration fee of $25. Policies Student requests to reschedule an individual lesson must be made at least 24 hours in advance, or the lesson will be forfeited. Rescheduling is subject to teacher’s discretion and availability. Makeup lessons are only permitted for individual lessons in cases of medical emergency (doctor’s note required). Rescheduling is subject to teacher’s discretion. The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Santa Clara Grades 3-5

Lesson Times: Monday 3:30-4:30 Wednesday 3:30-4:30 Friday 3:30-4:30 Tuition & Fees: All new students and those returning after an absence of more than ninety days must pay a registration fee of $25. Policies Student requests to reschedule an individual lesson must be made at least 24 hours in advance, or the lesson will be forfeited. Rescheduling is subject to teacher’s discretion and availability. Makeup lessons are only permitted for individual lessons in cases of medical emergency (doctor’s note required). Rescheduling is subject to teacher’s discretion. The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Saratoga Grades 3-5

Lesson Times: Monday 3:30-4:30 Wednesday 3:30-4:30 Friday 3:30-4:30 Tuition & Fees: All new students and those returning after an absence of more than ninety days must pay a registration fee of $25. Policies Student requests to reschedule an individual lesson must be made at least 24 hours in advance, or the lesson will be forfeited. Rescheduling is subject to teacher’s discretion and availability. Makeup lessons are only permitted for individual lessons in cases of medical emergency (doctor’s note required). Rescheduling is subject to teacher’s discretion. The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

Campbell Grades 3-5

Lesson Times: Monday 3:30-4:30 Wednesday 3:30-4:30 Friday 3:30-4:30 Tuition & Fees: All new students and those returning after an absence of more than ninety days must pay a registration fee of $25. Policies Student requests to reschedule an individual lesson must be made at least 24 hours in advance, or the lesson will be forfeited. Rescheduling is subject to teacher’s discretion and availability. Makeup lessons are only permitted for individual lessons in cases of medical emergency (doctor’s note required). Rescheduling is subject to teacher’s discretion. The Calder Academy of Music curriculum includes a variety of classes and individual instruction covering a complete musicianship education and development for levels ranging from beginning to very advanced, and designed for the very earliest ages through adult. Our programs are designed to provide a systematic and comprehensive plan for the development of performance skill, technique, ear-training and sight-reading skills, and understanding of music theory. Individual Lessons Our individual (one-on-one) classes include beginning, intermediate and advanced instruction for ages three to adult for piano, voice, violin, viola, violoncello, guitar, flute, oboe, clarinet, saxophone, trumpet, trombone, timpani, theory, harmony, composition, counterpoint and orchestration. We do not offer instrumental group lessons, such as group piano, violin, etc., as these settings can not provide the student with the necessary individual attention for the correct execution and achievement of many of the fundamentals, such as posture, hand position, touch, tone production, rhythm, etc.

San Francisco Grades 3-5

Lesson Times: Monday 3:30-4:30 Wednesday 3:30-4:30 Friday 3:30-4:30 Tuition & Fees: All new students and those returning after an absence of more than ninety days must pay a registration fee of $25. Policies Student requests to reschedule an individual