The Crisis of Classical Music in America

As its title suggests, this book exposes a serious situation, one Freeman is especially qualified to address. A graduate of Harvard and Princeton, he served as director of the prestigious Eastman School of Music, president of New England Conservatory, and dean of the College of Fine Arts, University of Texas. But he is also a successful performer, so he is able to offer an insightful assessment of the world of classical music as a professional musician as well as an academic insider. He examines in depth how universities and conservatories are graduating numerous fine performers, conductors, and music scholars who endure arduous training only to find, upon graduation, that few job opportunities exist.  Freeman issues a clarion call for honesty and realism from the educators and other stakeholders who help music students decide where and what to study and what to expect. Thinking outside the box, he offers constructive advice for everyone from parents and students to deans and provosts who seek to improve conditions.  He also suggests ways of enhancing music’s benefit to society. This is an invaluable resource for potential and current music students, music professors, administrators, and professional performers. Summing Up: Essential. All readers. * CHOICE *
If you’re planning on going to music school or if you’re the parent of a child who is thinking of majoring in music, I’d highly suggest reading this book.  And if you’re on the faculty or in administration at a music school, I strongly recommend that you read this book.  Changes in the way we do things need to be made, and Dr. Freeman’s recommendations would be a great place to start. * Classical Music Today *
[Freeman] is undoubtedly one of the most respected and influential scholars to provide insights on the past, present, and future of classical music education in American colleges. . . .Freeman’s writing is accessible to readers both inside and outside of academia. Some of the issues discussed in the book are quite personal (growing up in a musical family) and specific to the schools where Freeman worked (certain curriculum reforms). This book benefits, however, from Freeman’s experience and positions in professional classical music circles in America, and is valuable documentation of the development of classical music education in this country. Compared to other available books on classical music education (many of which focus on teaching methodology or the educational perspectives involved in sustaining a performing career), Freeman’s book provides more well-rounded insights. Lay audience members who are interested in the classical music industry and music education in the United States, as well as prospective professional musicians, will find this book extremely informative. * Notes: Quarterly Journal of the Music Library Association *
Freeman is the most complete ‘package’ of musician/educator/administrator I know. He understands the issues in greater depth and with greater clarity than the majority of his colleagues. Perhaps annoyingly to some, he doesn’t hesitate to articulate improvements that would make any musical institution work more efficiently, economically and with greater impact on the constituencies and communities they serve. Yet, in one chapter of the book he describes his own education, 'the better for the reader to identify my own prejudices on the subject.'. . . .Most of Freeman’s chapters profer advice, respectively to parents, students, faculty, deans, provosts and presidents, and foundations. When parents wonder if their child can really make a living as a musician, Freeman says, 'You can if, while still a student, you can begin to compare your own unique skill set with those of your competitors.' These are of course life lessons and, if I may say, refreshingly retold. * Performing Arts Monterey Bay *
Along with wisdom that only a leader like him can have, I like much of what he says in passing. For example, he points out that though music is more widely disseminated than ever before and more people are studying it, the range before and more people are studying it, the range of interpretation has actually narrowed . The standards are higher than ever, but few are willing to take risks or put much personality into their playing. He also mentions that music historians (his training) have contributed to that by narrowing interpretive possibilities. He says that in any style or period 'there is a broader latitude of dynamic, articulative, and agogic possibilities' than the musical notation can possibly indicate. . . .[Robert] has pointed out problems in a very convincing way–as only a top music educator could do. For that he deserves our thanks. * American Record Guide *
Any involved in music or music education will find fascinating and revealing this survey revealing how an overabundance of classically-trained musicians in America is causing employment issues for all. It considers the underlying causes of the dilemma, maintains that music schools need to include wider education if they are to succeed in changing the poor results for classically-trained musicians after graduation, and it considers a range of reforms in education. * Midwest Book Review *