ABSTRACT
The frameworks and modes of learning music in Senegal have not escaped the effects of economic and social change initiated since colonisation. The period that followed the struggle for and attainment of independence has, by subverting social structures, influenced the rising and development processes of artistes, on the one hand. The development of other training areas has, on the other hand, led to a reshaping of the musical scene and restructuring of the musical landscape. In this article, I outline the relationship between the musical arts school and the cultural scene by examining the patterns and methods used in institutional training frameworks. I complement this by reviewing the music training and practice journeys of musicians who are part of the Senegalese artistic elites. This exercise will shed light on the points of connection and differences between the academic sphere and the professional world, a useful exercise in considering the relevance of arts education. Finally, we will focus on new initiatives, examining the educational promises that they offer and the professional opportunities they open. It is worth noting at this point that this is a common phenomenon and a shared experience Africawide. The question of relevance of music education often rises in relating formal training and demands of the industry. These trends are, therefore, not necessarily peculiar to Senegal, especially since some of the music figures herein discussed traversed geographic boundaries in both their education and practice.
