I spent eight years teaching undergraduates at the Institute of Contemporary Music Performance (ICMP) in London, England, hopefully setting students on paths to careers in the music industry. My work there largely involved lecturing and supervising students on a mandatory final-year project – a 10,000-word critical essay. I enjoyed the process, but wondered about the value of this work in the lives of the aspiring professional musicians whom I was teaching. Many resented undertaking the project and saw it as a distraction from what they felt they should be doing – making music. I became increasingly uncertain of the role played by the school and by higher music education in general; did students really benefit from spending several years at college, honing skills for an uncertain foray into an ever more saturated music market in a dense and intensely isolating city such as London?
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