Something else I meant to add about my students and the piano: Perhaps it’s just Bard culture, but I see many students today, perhaps a majority, coming to musical creativity from the guitar rather than the piano, as they used to, or any other instrument. This could have profound consequences. In the Renaissance, composers usually got their start as child singers. Baroque and Classical composers were often string players (Corelli and Haydn, the violin; Bach, Mozart, and Beethoven, the viola). Romantic and modern composers were more often than not pianists. Such choices have profound consequences, and if there really is a sea-change of composers now coming from the guitar world rather than the piano, that alone could bring about a rift in musical eras. Berlioz, who played the clarinet and guitar, was almost the only non-pianist composer of his era, and as a result became its most innovative orchestrator. Guitarists visualize music theory in more contextual, less fixed and abstract, ways than pianists do. Interval size is less of a constant for them, melodies more conveniently leap throughout the register than proceed by steps, and their instruments are easily retunable and portable, tremendously louder (if electric), and carrying no upper-class connotations. By their 20s, these composers have been conditioned by a completely different relationship to pitch and volume than the pianist-composers of my generation and earlier. I’m curious as to whether professors in other music departments notice the same demographic change.
And this is not to even mention the other new musical instrument nearly as ubiquitous as the guitar: the laptop computer.