Pavarotti recalls his meeting with the Pope was very special. Singing "Ave Maria" for him was like God lit up, explained Pavarotti. There are more younger people in the audience, said Pavarotti. They're very surprised that opera's so beautiful, as they believed it was an old fashioned thing.

Instead of being called "The King of the High C's," Pavarotti would rather be known as "The King of the Bel Canto". Pavarotti said he didn't have the greatest of enthusiasm prior to performing his first concert. However, it ended up being a phenomenal experience, he said. A great singer, Pavarotti added, is very human and romantic. One needs to feel what one's singing and lastly, one must be a beautiful person inside.

In a nightclub in Chicago, at two in the morning and after a performance, Louis Armstrong talks about his music stylings. Notes are good to learn the tune, says Armstrong, but it's all about the phrasing. Armstrong explained, it's up to you to express yourself. Armstrong shared the one piece of advice that had always stuck with him. King Oliver told Armstrong not to worry about the notes but rather to put some lead into the song.

Lotte Lehmann discusses her retirement from opera and how she knew when to stop singing concerts.

Interviewing Madame Lotte Lehmann about her opera roles and how the genre of opera has changed.

The Peking Opera and "Taking Tiger Mountain by Strategy" are among topics discussed in Lois Wheeler Snow's book, "China on Stage: An American Actress in the People's Republic". While visiting China, Snow learned the Chinese plays were both of the traditionally old ways and of the new revolutionary ways. Snow also adds that performances of Chinese acrobatics is like nothing in the United States.

Studs Terkel sits down to interview American Violinist Isaac Stern. Stern performs for Terkel on the radio.

Listening to the Living Music Collection

Lino Chavez and his Mexican Folk Ensemble discuss, through a translator, Mexican culture and music and perform their song "El Jarabe" at 2:50, "El Tilingo" at 13:50, "Maria Chuchena" at 23:05, "El Cascabel" at 29:31, "La Bamba" at 38:39, and "El Ahualulco" at 47:55. These songs have been removed from this recording.

Art critic Linda Winer discusses her Chicago Tribune series on Cuba social culture and political conditions, especially in regards to dance companies. Studs plays a live version of "Guantanamera" - Pete Seeger (1963), "Canto Para Elegua" - Grupo Folklorico de Cuba, and “Canto a Wamba” - El Conjunto Experimental Santero.

Studs Terkel and Lincoln Mayorga discuss the evolution of American popular piano music with Mayorga playing examples.