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Well, I agree with all of the serious suggestions above, but I'd add a crucial point: how are new students going to learn music? I mean, complete beginners can't simple sit down and attend hours and hours of musical theory classes... Especially if they're kids. I'd highly suggest that the complete beginners do not start their musical education in a very traditional and absolute method. Many people tend to quit musical courses and start to believe that classical music is not for everyone, and that it's extremely difficult to any human being to learn. Of course there are people with much more difficulty to learn music, but as the goal is to have them learning spontaneously, it'd be great to make them feel comfortable and secure about their learning process. I study music in the university, but my course is focused on Teaching Music, so we discuss these things all the time.^^

A school that builds collaborations, and not just with other musicians. Creating a creative think tank where dancers, performers, actors, cinematographers, writers, designers, artists, and engineers can work together would encourage the very farthest possibilities of arts. Teaching collaboration and building relationships while still in school would help immensely after music school, especially when compared to the hard job market for musicians in most regions. Likewise, a music school should based on shared experiences among performers, teaching each other music of any genre that they enjoy and not elevating one in particular. If all musicians were trained in the manner of a jazz jam session, there would be less stress and nerves issues when the time for performance came. A relaxed, productive atmosphere is the best environment. And ditch the practice rooms. Take it to where someone can hear you, and the motivation to practice increases.

Practice rooms. As many practice rooms as possible. A MASSIVE library full of scores, biographies, recordings, analyses, music history, and pretty much any other type of book you can think of, from as many different views as possible. Some sort of system to get musicians in the school in touch with each others. For example, if a composition student wants to find string players to play a string quartet, instead of having to hunt down string players around the school by awkwardly asking random people if they know a string player, the composer can instead have access to some sort of database that lists all of the students, their instruments, etc. This would be beneficial for the instrumentalists as well as they could use it to find other students to start small ensembles with, or to find composers to write for their instrument. Lots of concerts is obviously important. A good balance of genres and styles. Don't emphasize any specific era (especially contemporary, as many schools seem to). Over emphasizing an area tends to alienate students who are not interested in a particular area, or on the other hand are already well versed in that area, but not others. Never assume your students already know a piece or composer. There are plenty of students who may just be coming to your school who come from a small town and have never heard a string quartet live before, or an orchestra. That leads me to my next point. Understanding for those who come from "outside" traditions. A lot of students don't grow up in households that listen to classical music, or that encouraged classical lessons. Many students pick up the classical tradition only a few months before going to college because it is required for auditions. My experience has been that there is a large assumption that every music student has already heard, studied, and played every piece by Bach, Mozart, Haydn, Beethoven, Tchaikovsky, etc. live. The professors and faculty need to be understanding of students who are not familiar with these pieces, and not be frustrated when students find these pieces more interesting than the pieces the professor may find interesting. That's all I could think of off of the top of my head.

I think it's a pretty handy feature. What I don't care for is the same pieces being played. I'd tune in more often if it had a wider variety. Also, I think it's somewhat bugged. I've tried to use my credits and all I ever get is errors. The quantity I have accumulated doesn't reflect how many I should have.

Coherence is relative. If by coherent you mean technically sound when judged against a set of rules which in some way enforces coherence these are some features that conform to the style it's written in: Melodically, interesting mixture of easily sung leaps and steps. Favours economy over free development with the use of consistent sequences and a recurring appoggiatura motif. Polyphonically, interesting voice leading. Lots of contrary motions between voices and implied inner voices, wedges, bariolages. Shuns bad practice like parallelism and ambiguous doubling. Harmonically, interesting mixture of features such as clearly defined harmonic rhythms with attention paid to stresses, closely related harmonic regions and pedal point. Diatonic in the first half, slightly chromatic with g major/c minor modal mix in second. Formally and rhythmically, nothing of note really. Arpeggios followed by cadenza in straight semiquavers. It's only written as an idiomatic keyboard writing/playing exercise. Free form but coherent nonetheless.