If monopoly of recognized skill is anything to go by, then, prima facie,
musicians & music teachers are in a poor position to claim professional
status. But while laymen cannot be effectively excluded from music making
they can be barred from entering certain positions, occupations, &
organizations. Swedish music education is an example of a successful
monopolization, which later became precarious: the Swedish Royal Academy
of Music provided the only educational route to the title of director
musices, which in turn was a requisite for admission to a number of positions
and occupations. After WWII, a sharply increasing demand for music
education created a need for the mass production of music teachers, unsettling
the topology of tasks in the field. The aim of this paper is to examine
the historical case of Swedish music education, and to theoretically
explore the demands raised by a sudden rise in demand upon a precarious
monopoly of recognized skill.