The Suzuki method, which has revolutionised the way in which children are taught music, is now being applied to other subjects, such as mathematics (`Kumon'), art, languages and physical education.

Ms Linda Judiesch, whose Suzuki Violin Group, `Ensemble Con Brio', is currently visiting Bermuda, says that the basic philiosophy, which relies on repetition, and also known as the `mother tongue' method, because it is learned by heart just as a child learns to talk by listening, has proved an effective tool in all early education.

On their first visit to the Island, the five-member string group has been playing for schools and other groups, and will be giving a concert at the Bermuda National Gallery tomorrow evening. Their programme will include music by Vivaldi, Chopin, Schumann and Mozart.

The group, all senior students, most of whom began their studies as very young children, consists of three violinists (Brian West, Daniel Trinh and William MacLarkey), Elisabeth Orr on Viola, and Sara Ward, cello.

Director Ms Judiesch, who has played with the National Symphonies of Costa Rica and Chile and is now principal second violin with the Symphony Hamilton and the McMaster Chamber Orchestra, studied personally with the famed teacher at his school in Japan. This turned out to be a `master class' format, where each teacher-trainee played in front of the class.

"Shinichi Suzuki, who's 97 now, is Japanese but was educated in Berlin.

Immediately after World War II he went back to Germany where he started what is now known the world over as the Suzuki method. He said he did it principally as a way of bringing some joy into the lives of children after the devastation of the war.'' Because children do not have to begin by reading music -- as is the case in traditional teaching -- they start to play quite naturally by repeating what they hear.

"The stress is on good posture, sound and memory,'' explains Ms Judiesch.

"Eventually, of course, a student is taught to read music and the end result is the same. But for young children, it is especially effective because it has infinite possibilities and the underlying belief is that every child can learn.'' The process relies on achieving mastery of one level at a time -- whether the student is studying music or mathematics. Suzuki, she explains, thought about the skills a child has to go through to learn a language -- it's all a question of endless repetition!'' "Each child goes on to the next step at his or her own pace. The stress is not on how fast you can go, but how thoroughly you learn each phase. We are more concerned with the quality and the sound of the music. I believe in the method very much!'' In Japan, Suzuki has established a pre-school where all subjects are taught in the Suzuki spirit. At the end of a three-year programme, says Ms Judiesch, the children go into first year school with an IQ rating that is considerably above the norm.

Once the method of teaching strings was established, Suzuki realised that the same principles could be applied to other musical instruments, such as the piano, viola and flute: "And nowadays, we even have children learning Suzuki harp and small classical guitars!'' Another huge advantage to learning Suzuki, says Ms Judiesch, is its international appeal. "Suzuki has standardised books, so if a kid goes from, say, Canada to France, they can still play in a group. It's a wonderful way for children to relate to one another. They are not born with the prejudices that adults have, so it's a way to unite all children.'' Ms Anne-Marie Denoncourt, who is the group's accompanist, agrees. "I did not study Suzuki, but since I play for Suzuki students I had to learn a little about how it works. I had to learn the traditions.'' This, she discovered, includes the ceremony of bowing at the commencement and end of each session. "It's a very good way of bringing the kids down to earth. For one thing, it stops the chattering. It's civilising and calming!'' She adds that not only has the Suzuki method created a large number of musicians, but has also increased the number of music lovers.

Ms Judiesch points out, too, that the method relies to a large extent, on participation by parents, especially when the child is very young.

"It's a good way for parents to spend some really positive time with their children.'' The concept of Suzuki, she says, has deeply affected the way in which she approaches teaching: "Some teachers tend to be abrupt and impatient with all but the best students. If the child doesn't do very well, they tend not to bother with them. I don't mind teaching the child who is not very talented -- so long as they work and are really enjoying the process.'' The Canadian Suzuki Group has been brought to Bermuda by the Bermuda Suzuki Association. "There are several schools here now that teach Suzuki,'' explains Assocation secretary Mrs. Maryke Peterich, "and now that there are about 200 students island-wide, we arrange workshops and concerts. We are very pleased to have these top students, several of whom are going on to study music professionally, performing for us in Bermuda. We thought it would encourage students here to see just what can be accomplished. We also thought it would be very good to have boys!'' An Evening of Classic Music with the Suzuki Violin Group from Hamilton, Ontario, takes place tomorrow at 8 p.m. at the National Gallery. Tickets at $15 (members $10) are available in advance from the gallery (Tel. 295-9428), or at the door, and includes wine and hors d'oeuvres in the Watlington Room.

ENSEMBLE CON BRIO -- Members of the Suzuki Violin Group, all senior music students from Canada's Hamilton Suzuki School of Music, play at the Bermuda National Gallery tomorrow evening. Pictured (left to right) are:-Elisabeth Orr (violo), Brian West (violin), Daniel Trinh (violin), William MacLarkey (violin) and Sara Ward (cello).