This volume considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Its goal is to create dialogue among faculty, administrators, and students about what the future of college music instruction should be and how to transition to new paradigms. Critiques and calls for reform have existed for decades, but few publications have offered concrete suggestions as to how things might be done differently. This book suggests new concepts or guiding principles that might be used to reconceive applied music education at the university level and, based on existing experiments taking place nationally and internationally, how such principles might be implemented in practical terms. The book’s essays concentrate primarily on changes to performance degrees rather than other subdisciplines since the former constitute the center of activity in most institutions. Ethnomusicologists feature prominently among the contributors, but the volume also includes input from those with specialization in music education, theory/composition, professional performance, and administration.