Critiques and calls for reform have existed for decades within music education, but few publications have offered concrete suggestions as to how things might be done differently. Motivated by a desire to do just that, College Music Curricula for a New Century considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Editor Robin Moore creates a dialogue among faculty, administrators, and students about what the future of college music instruction should be and how teachers, institutions, and organizations can transition to new paradigms.Including contributions from leading figures in ethnomusicology, music education, theory/composition, professional performance, and administration, College Music Curricula for a New Century addresses college-level curriculum reform, focusing primarily on performance and music education degrees, and offer ideas and examples for a more inclusive, dynamic, and socially engaged curriculum of applied musical study. This book will appeal to thoughtful faculty looking for direction on how to enact reform, to graduate students with investment in shaping future music curricula, and to administrators who know change is on the horizon and seek wisdom and practical advice for implementing change. College Music Curricula for a New Century reaches far beyond any musical subdiscipline and addresses issues pertinent to all areas of music study.

Table of Contents1. Introduction. College Music Curricula for a New Century: Guiding Principles (Robin Moore, University of Texas at Austin)Institutional Structures2. Reshaping Undergraduate Music Education in Turbulent Times Through Cultural Rather Than Curricular Change (Brian Pertl, Lawrence University3. Finding a Balance: Music at Liberal Arts Colleges (Victoria Lindsay Levine and Emily Kohut, Colorado College)4. Training in Local Oral Traditions: Analysis of Postsecondary Music Programs in North America (Mark DeWitt, University of Louisiana Lafayette)Case Studies5. Non-Canonical Pedagogies for Non-Canonical Musics: Observations on selected Programmes in Folk, Traditional, World, and Popular Musics (Jack Talty, University of Limerick)6. The Case for Pop Ensembles in the Curriculum: Amateurism, Leadership, Civics, and Lifelong Learners (Justin Patch, Vassar College)7. Latin Music Studies at Texas State University: The Undergraduate Curriculum in Perspective (Ludim Pedroza, Texas State University San Marcos)8. Traditional Music for the People: Chinese Music Departments in the PRC and Taiwan (Eddie Hsu, University of Texas at Austin)Disciplinary and Professional Experiments9. In Honor of What We Can't Groove To Yet (Michael Tenzer, University of British Columbia)10. Embodied Pedagogy: Techniques for Exploring Why and How Music Matters (Sonia Seeman, University of Texas at Austin)11. Standing in the Shadows of Mozart: Music Education, World Music, and Curricular Change (Deborah Bradley, University of Toronto)12. Making A Living, Making A Life: Balancing Art and Commerce As A Professional Musician (Paul Klemperer, professional musician)Best Practices, New Models13. Progressive Trends in Curricular Change (Robin Moore with Juan Agudelo, Katie Chapman, Carlos D?valos, Hannah Durham, Myranda Harris, and Creighton Moench, University of Texas at Austin)14. Sample Curricular Models (Robin Moore with Juan Agudelo, Katie Chapman, Carlos D?valos, Hannah Durham, Myranda Harris, and Creighton Moench, University of Texas at Austin)