Robin Moore is a Professor in the School of Music at the University of Texas at Austin. He has received fellowships from the Rockefeller Foundation, the MacArthur Foundation, the National Humanities Center and the ACLS. His written work includes Nationalizing Blackness (University of Pittsburgh Press, 1997), Music and Revolution (University of California Press, 2006), Danzón: Circum-Caribbean Dialogues in Music and Dance (2013, co-authored with Alejandro Madrid) and articles numerous journals and book anthologies. He edits the Latin American Music Review.

• Table of Contents 1. 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 University 3. 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 Dávalos, Hannah Durham, Myranda Harris, and Creighton Moench, University of Texas at Austin) 14. Sample Curricular Models (Robin Moore with Juan Agudelo, Katie Chapman, Carlos Dávalos, Hannah Durham, Myranda Harris, and Creighton Moench, University of Texas at Austin)

This book is a meaningful and timely addition to the literature, and I recommend it to anyone invested in higher music education.

Robin Moore is a Professor in the School of Music at the University of Texas at Austin. He has received fellowships from the Rockefeller Foundation, the MacArthur Foundation, the National Humanities Center and the ACLS. His written work includes Nationalizing Blackness (University of Pittsburgh Press, 1997), Music and Revolution (University of California Press, 2006), Danzón: Circum-Caribbean Dialogues in Music and Dance (2013, co-authored with Alejandro Madrid) and articles numerous journals and book anthologies. He edits the Latin American Music Review.

• Table of Contents 1. 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 University 3. 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 Dávalos, Hannah Durham, Myranda Harris, and Creighton Moench, University of Texas at Austin) 14. Sample Curricular Models (Robin Moore with Juan Agudelo, Katie Chapman, Carlos Dávalos, Hannah Durham, Myranda Harris, and Creighton Moench, University of Texas at Austin)

This book is a meaningful and timely addition to the literature, and I recommend it to anyone invested in higher music education.

Robin Moore is a Professor in the School of Music at the University of Texas at Austin. He has received fellowships from the Rockefeller Foundation, the MacArthur Foundation, the National Humanities Center and the ACLS. His written work includes Nationalizing Blackness (University of Pittsburgh Press, 1997), Music and Revolution (University of California Press, 2006), Danzón: Circum-Caribbean Dialogues in Music and Dance (2013, co-authored with Alejandro Madrid) and articles numerous journals and book anthologies. He edits the Latin American Music Review.

• Table of Contents 1. 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 University 3. 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 Dávalos, Hannah Durham, Myranda Harris, and Creighton Moench, University of Texas at Austin) 14. Sample Curricular Models (Robin Moore with Juan Agudelo, Katie Chapman, Carlos Dávalos, Hannah Durham, Myranda Harris, and Creighton Moench, University of Texas at Austin)

This book is a meaningful and timely addition to the literature, and I recommend it to anyone invested in higher music education.