Imagine the kind of vitality and programming that might be possible in a symphony orchestra which largely comprises contemporary improvisers-composers-performers, where the music of Brahms and Beethoven is juxtaposed with new works that cross genres and engage musicians in new ways. Imagine a music school … in which the conventional specializations that are currently the norm (e.g. in performance, jazz, theory, history, technology) unite in entirely new curricular pathways that transcend category and exemplify the creative horizons of musical innovators past and present. This kind of scenario is not only possible; it is likely the most apt description of the music school of the future.
–Ed Sarath, from the Preface to Music Theory Through Improvisation: A New Approach to Musicianship Training