The Hidden Struggles of Music Education in Nepal

 In 2017, singer Muskan Ranabhat joined Ratna Rajya Laxmi Campus under Tribhuvan University to study for a Bachelor's degree in music. She had hoped to learn a wide range of subjects, such as music technology, music production, various instruments, and Western music. But those hopes were quickly dashed.

Instead, the university’s curriculum focused only on Eastern classical music and vocals, leaving no room for the diverse training she wanted.

“Music education wasn’t as rewarding as I expected,” Ranabhat says. “I wanted to explore different styles of music, but the course didn’t allow that.”

Nepal formally began teaching music in schools after Padma Kanya High School was established in 1947. A decade later, Nepal Sangeet Maha Vidyalaya—set up in 1957 under the Nepal Sangeet Parishad—became the country’s first music college. Since then, progress in formal music education has been slow.

Currently, Tribhuvan University and Kathmandu University are the main institutions offering music degrees. Kathmandu University began offering undergraduate and postgraduate courses in ethnomusicology in 1996.

But music education in Nepal still faces deep-rooted challenges. Students, teachers, and musicians continue to raise concerns about outdated teaching methods, unclear goals, and a lack of professional training. These issues mirror broader problems across Nepal’s higher education system.

A Curriculum Stuck in the Past

According to Shishir Uprety, Principal at Nepal Sangeet Vidhyalaya, the music curriculum is long overdue for a major update. With artificial intelligence transforming the global music scene, Nepal’s university courses still don’t reflect these changes.

“University-level education focuses only on Eastern classical music,” he says. “But today’s students are more drawn to Western music. That’s why many are going abroad to study—they can’t find the programs they want here.”

Uprety doesn’t dismiss the value of Eastern music but says it needs to be made more relevant, perhaps through fusion with other styles. He believes courses should adapt to students’ interests—whether that’s in Western music, technology, or production.

Musician Rajan Shrestha, known as Phatcowlee, also says the curriculum lacks direction. A graduate of Kathmandu University’s ethnomusicology program, he says students need exposure to fresh material and critical thinking.

“The curriculum doesn’t clearly state whether it’s trying to train performers, researchers, or educators,” he says.

Krishna Kumar Kharel, Assistant Campus Chief and Head of the Music Department at Lalit Kala Campus, agrees. Without a clearly defined goal, he says, music education will continue to stagnate.

Missing Professional Training

Another major gap, according to Kharel, is the lack of training in the business side of music—things like music management, monetization, and branding.

“Music isn’t just about singing,” he explains. “Students need to learn how to survive and succeed professionally.”

Lochan Rijal, a musician and associate professor at Kathmandu University, says KU’s music program takes a broader approach. It focuses on both performance and research and encourages students to see music as part of culture.

“Our course is action-based,” Rijal says. “It supports both artistic growth and academic research.”

Still, he admits it falls short in promoting local music and improving research and development. He also notes that Kathmandu remains the center for all music education in Nepal, limiting access for students from other regions.

Lack of Support from Authorities

Uprety, Shrestha, and Kharel all point out that the government and university officials have never taken music education seriously. They argue that music is often viewed as entertainment rather than as a vital part of Nepal’s cultural heritage.

“Those in power still don’t understand the cultural importance of music,” says Shrestha.

Kharel says university leaders consistently neglect the music faculty, and government funding remains low. According to a recent Journal of Fine Arts Campus (2025) report by Tribhuvan University, the lack of financial support has made it difficult for colleges to improve their curriculum, run exams on time, or conduct proper research.

The journal says:

“Formal music education, a crucial part of Nepal’s cultural heritage, is suffering due to a shortage of funding and qualified staff. Despite having the infrastructure, institutions fail to plan, manage, and evaluate their resources effectively.”

Reform Needs to Start Early

Kharel believes change should begin at the school level. If students only start learning music at the bachelor’s level, they miss out on building a strong foundation.

He also criticizes a recent policy that allows students without a music background to directly enroll in master’s programs. This, he warns, could harm students’ academic progress and lower overall standards.

The Journal of Fine Arts Campus recommends that the government increase the music education budget and conduct regular training and development programs for educators to raise the quality of teaching.

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The Bottom Line

Nepal’s music education system is at a crossroads. Without proper policies, modern courses, and serious investment, music risks becoming an outdated tradition instead of a vibrant, evolving field. The big question is: will our institutions take the lead—or stay stuck in the past and let the music fade out?