"古典音乐确实挺惨的，小提琴全美国仅有76个就业岗位。"前不久，知名音乐人小柯在接受音乐财经旗下栏目《小鹿访谈》时谈到，古典音乐很难有出路 的现实，在视频号、小红书和抖音均引发了巨大的情感共鸣和讨论。 在访谈语境中，小柯所直指的，并非音乐教师、琴行代课、找家音乐公司上班等泛音乐岗位的生存困境，而是无数古典音乐生心中最 "光鲜" 也最狭窄的 那条路，那就是从苦学考入顶尖名校，再到最终成为职业演奏家的路径，已窄到近乎 "没有出路"。 这件事在音乐财经编辑部也成为热议的话题，当人们谈及 "音乐科班出身""顶尖名校学历""求学花费超百万"，脑海中浮现的往往是光鲜亮丽的形象，可褪 去光环后，这些音乐生的真实就业状况究竟如何？学音乐演奏的孩子还能找到理想的出路吗？ 近年来随着高校扩招，毕业生的数量逐年递增，根据音乐财经编辑部（ID：musicbusiness）统计，仅2025年，国内音乐学院本科管弦乐专业就招收了一千 余名学生。 从院校分布看，沈阳音乐学院以 125 人名列首位，四川音乐学院紧随其后招 121 人，依托管弦乐学科的深厚积淀承接大量生源；武汉音乐学院（110 人）、天津音乐学院（94 人，较 2024 年扩 ...

Group 1 - The core argument is that the Chinese music market is driven more by music education and training rather than actual music production and consumption, indicating a disconnect in the industry [10][30][32] - The overall market size for music performances in China is projected to reach 38.733 billion yuan, while the digital music industry is expected to reach 102.746 billion yuan, and the music education and training industry is estimated at 155.48 billion yuan [10] - The current music industry in China is characterized as a "Ponzi scheme," where the focus is on perpetuating a cycle of training and fees rather than fostering genuine artistic creativity [6] Group 2 - The Korean music industry is described as having a successful but "distorted" model, focusing heavily on idol groups with significant investment but lacking diversity in music production [12][13] - The Chinese music market lacks a robust live performance scene, which is essential for artist development and audience engagement, leading to a reliance on non-music-related revenue streams [14][25] - The industry's focus on data-driven decision-making often overlooks the importance of live interactions and artist development, resulting in a market that prioritizes viral hits over sustainable artist careers [24][28][29] Group 3 - The global music market generated $76.2 billion, with live performances accounting for 46.1% of revenue, highlighting the importance of live music as a revenue source [16][17] - The Chinese music industry's reliance on digital platforms for revenue generation raises questions about its long-term sustainability, as it may not adequately support artist growth [18][30] - The industry's current structure leads to a focus on producing "potential hits" rather than nurturing a diverse range of musical talent, which could stifle innovation and creativity [28][30]