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Weimar Academy is a self-supporting Seventh-day Adventist boarding high school and part of the Weimar Institute in Placer County, California. To fully equip dedicated Seventh-day Adventist young people, who love Christ, be His end-time disciples, winning the world for Him. Weimar Academy is located on 457 acres of wooded land in the Sierra Nevada Mountain foothills at an elevation of 2,250 feet. It is just off California's Interstate 80, 45 miles northeast of Sacramento, and about 45 miles southwest of Lake Tahoe. Both San Francisco (west) and Reno, Nevada (northeast), are approximately ninety miles from the school. Winters are mild (30/40-degrees Fahrenheit), with occasional snow and frequent rainfall. Daytime summer temperatures can rise above 100 degrees. Spring and fall are mild and sunny. The ladies' and men's dormitories, which house our students, have a large living room that provides a warm, home-like atmosphere for worships or visiting. Classes and chapel meetings are held in the Academy Center, located on the men's dormitory building and the main Institute campus for music. The campus church, cafeteria, and most student work assignments are located on the main campus. Based on the principles of proper education (as outlined in the Bible and Spirit of Prophecy), Weimar Academy's program provides a healthy balance of spiritual, mental, and physical training. It seeks to meet God's standards for proper education and operates under an approved status from California. However, Weimar Academy has not chosen to seek regional accreditation. Weimar's academic program (college preparatory or general) meets or exceeds other accredited institutions' academic expectations regarding curricular quality and verifiable evidence of student achievement (as shown on standardized test scores). Graduates are readily accepted by Christian or secular colleges and universities. View full school

Based in the home-town of German Classicism and rich in tradition, the University of Music FRANZ LISZT Weimar is an institution of higher education for young musicians, academics, and ambassadors of music from across the entire globe. It is indebted to the legacy of Franz Liszt, who successfully combined in his person composer, virtuoso, ensemble musician, pedagogue, and pensive philosopher. The institution aims to compete with the world's most renowned music academies. The envisaged outcome of education at Weimar is the ideal artistic, academic, and pedagogic personality — a figure expressed equally well in performance, musical research, and music mediation. Such a person has commanded a pool of general knowledge regarding the world's and Europe's cultural heritage and holds deep insights into contemporary culture. They are confident music entrepreneurs, active in diverse areas. They have obtained the skills necessary to be successful in the international cultural sphere. The University of Music FRANZ LISZT Weimar gives particular weight to a strong sense of team-spirit in teaching and performance alike, in its dialogue with scholarship, and its many co-operations with the professional music world. It supports personal initiatives and encourages the distillation of an individual profile. The school's teaching centers around the modern musician as an ensemble player who brings to life artistic ideals across diverse periods and styles in various settings and contexts, from musical performance and scholarship to music mediation. The LISZT UNIVERSITY provides broad, cosmopolitan competencies relevant to the current fields of musical performance, scholarship, and music mediation. It seeks to reflect and communicate the world's music in as many facets as possible and pays particular attention to transcultural transfer processes. In an exemplary manner, the LISZT UNIVERSITY is engaged in promoting exceptionally gifted children and adolescents from an early age. Consequently, it includes in its educational portfolio the Music High School for talented musicians at Schloss Belvedere. The University of Music FRANZ LISZT Weimar is proud to have its home in the Thuringian town of Weimar. It grasps the opportunities offered by its historical rootedness in this region: in its close ties with other cultural institutions in the state of Thuringia and intellectually, continuing the tradition represented by this heartland of culture and European art music. It dedicates its work to the promotion of the Baroque music of the country's churches and residencies, the music of Weimar Classicism, and the efforts of Franz Liszt and his circle surrounding a renovation of music during the nineteenth century. Weimar's living tradition of the Bauhaus movement also suggests the active engagement with the music of the historical and contemporary avant-gardes, with particular weight being given to interdisciplinary considerations. Weimar is an excellent choice to study music: the classical city situated on the Ilm has approximately 950 students with almost ideal studying conditions. Four wholly renovated and historically essential locations are distributed around the city but are within walking distance. One can study almost every music aspect: all orchestral instruments, piano, guitar, accordion, voice, theatre, organ, early music, composition, conducting, school music, and music pedagogy. Also, jazz and music theory, musicology, and arts management are offered. Those who decide to study at the University of Music FRANZ LISZT Weimar receive the best quality teachers in a European city of culture. A lively history including Goethe and Schiller and Bach and Liszt greets the students, just as today's active organization. We can take the ultramodern studio of electroacoustic music as such an example, which works in co-operation with the neighboring Bauhaus University. Other examples include the first children's university at a German school of music and an international branch - the German School of Music Weimar in South Korea. Franz Liszt first had the idea to establish a school of music in Weimar: already in 1835, he had thoughts about the establishment of "progress schools of music". Highly-qualified instrumentalists had to be sought after to make the orchestras efficient enough for the new music of their time. For a long time, Liszt fought to establish a training center for orchestral musicians in Weimar. However, in 1872, Liszt's pupil Carl Muellerhartung realized this dream and established the first orchestral school in Germany. View full university

The Bauhaus, the most influential design school in the 20th century, was founded in 1919 in our main building on campus. Distinguished experts from various disciplines and countries have worked here together with their students to revolutionize education. They have left a permanent mark on the living world's design through modern art, technology, and science. They produced an answer to the burning questions of art, culture, and society in the modern age. A tie to this history was established in our institute's renaming as the Bauhaus-Universität Weimar in 1996. We are an international university at home in the unique, cultural city of Weimar. We are a vibrant institution, not a museum. We invoke this tremendous paradigm to answer central questions regarding art and culture, technology, science, and society using modern methods. This also includes the critical analysis of the Bauhaus history and its historical impact, which is part of the contradictory history of progress that began almost 100 years ago. To meet these requirements, we have carefully created our university's profile, which is focused on our four faculties: Architecture and Urbanism, Civil Engineering, Art and Design, and Media. Experimentation and excellence prevail throughout these faculties in which transdisciplinary projects and cooperations in research and education are also conducted. The formation of the »Kunstschule« came about through a long-sighted developmental strategy for the Grand Duchy: After the intellectual golden age in Weimar had passed, a new cultural significance should be recovered through the cultivation of art and music education. The Weimar School became one of the leading art schools in Germany during the 19th century. The school became part of art history under the heading »Weimarer Malerschule« (Weimar School of Artists). Students came from all parts of Germany and from around the world. Among them were Max Liebermann and Max Beckmann. Despite the dependency upon the Grand Duke and the authorities' conservative attitude, a progress teaching and learning concept prevailed. So much so that the students were able to select their professors. In 1910 the »Kunstschule« was revaluated as the »Großherzoglich Sächsischen Hochschule für bildende Kunst« (Grand Ducal Saxon College of Fine Arts) in Weimar. The painter Fritz Mackensen, a committed and reform-oriented, who later became a significant Nazi-activist, took on the director's role. Since the 1860s, there had been efforts within the Grand Duchy to connect trade and industry with the arts. Henry van de Velde, an internationally renowned designer and reformer, was appointed in 1902. Van de Velde set up a vocational art seminar that was succeeded in 1908 by the »Großherzogliche Kunstgewerbeschule« (Grand Ducal Vocational Arts School) he directed until its closure in 1915. The school attended to the Thuringian craftsmen and industry's products and became an early modernist laboratory. The Vocational Art School's faculty was composed of individuals from various countries. However, the work of the »Kunstgewerbeschule« suffered due to a lack of institutional and financial recognition from the Grand Duchy. Professional competitors and conservative citizens in Weimar also antagonized van de Velde. In 1905 and 1906, the building of the »Kunstgewerbeschule« was erected, which today houses the Faculty of Art and Design, according to van de Velde's plans. During this time, he was commissioned to create a new building for the College of Fine Arts. The building was completed in 1911. Today it is the Main Building of the Bauhaus-Universität Weimar. Under the direction of the architect Otto Bartning, who in 1918 was one of the master-minds behind the foundation of the Bauhaus, the university offered a conventional architectural education for the first time in Weimar, the continuation of the artisan workshops that followed the industrial form design trends. The »Hochschule für bildende Kunst« (College of Fine Arts) existed simultaneously as its institution, but it had already become decreasingly important. In addition to Bartning, other prominent individuals had a global impact on the shape of architecture and urban design in the 20th century. Ernst Neufert became the architecture faculty director in 1926 and managed the »offense Bauatelier« (open constructional atelier) together with Bartning. Neufert specialized in the rationalization of construction management and reformed the dissemination of technical information. He later worked on behalf of Albert Speer for the Nazi regime and became a Darmstadt professor in 1952. Cornelis van Eesteren began teaching urban design in Weimar in 1927. He was the chairman of the Congrès International d'Architecture Moderne (CIAM) from 1930 to 1947 and thus a central figure of international modernity. With the arrival of the civil engineer Max Mayer, the university gained a powerful advocate for significant technical and economic rationalization along Fordism's lines. Today the Bauhaus-Universität Weimar, with its four faculties of Architecture and Urbanism, Civil Engineering, Art and Design, and Media, has a unique profile and offers a range of nearly 40 study courses that are unique in Germany from fine arts and product design to media design and media culture, architecture and civil engineering environmental science and project management. Currently, there are 4,000 students enrolled at the Bauhaus-Universität Weimar, including about 450 international students. Indebted to Humboldt's ideal of unity between university research and teaching, the Bauhaus-Universität Weimar has defined four research focal points and four art-design core areas, in addition to its traditional working sectors. The research focal points are cultural-scientific media research, digital engineering urban, infrastructure and space research, and materials and constructions. In the art-design core areas, special attention is given to film and the moving image, art in the public domain, product design, and architects' training in general. View full university