What if we took a different approach to our curriculum in music training? What if we start with what our students are making with music–the repertoire they’re preparing–and base all other classes on that music?
In the spring semester, ensemble, opera, and chamber music directors select their repertoire for the coming year. Then, with that repertoire shared with those who teach core classes (theory, ear-training, keyboard harmony, conducting, history), the core classes can use that music to draw examples for study, analysis, exercises, etc.
Perhaps that might broaden the impact of the curriculum–all students in their early years (the “core” years) would be studying the same works of music, though at different levels of sophistication. And the connection of (and impact of) basic studies on performance (music-making) would be made both clearer and more practical to students.