About time for a new discussion topic I say!  Since I may actually have a guitar again soon after not playing for a few years, I thought pretending I was completely new and starting over might not be a bad thing.
 
In my mind, I have always looked at [insert musical endeavor here] (I'll use "learning to play guitar well") like a multi-legged table.  You need to build each leg up a bit at a time or your table is going to be very unstable!  Here's what I mean by multi-legged:
 
Leg one - Knowledge of your chosen instrument.
 
You should understand how your instrument makes sound, how to set it up, how to clean and maintain it, what each part does and how to tune it.  You should also know what it's musical range is, how the notes and chords are configured, how to alter the basics (e.g., alternate tunings, capo use, baritone vs. standard, how many strings?, string gauges, slides, tremolos, in-series or out pickups, single coils vs. multiple coils, in phase or out, muting, etc.) as well as correct playing techniques for whichever styles you are interested in.
 
Leg two - Music theory.
 
Here is where you learn what music itself is all about.  From chords, chord progressions, arpeggios, notes, keys, scales, rests, bends, portamento, vibrato, harmonics, modes, octaves, bars, tab and staff.  And on and on and on.  Circles of 5ths and 4ths as well as being able to read music (either staff notation or tab).  Being able to communicate with other musicians (when needed) or playing something already created without hearing it.
 
Leg three - Ear training.
 
This falls into two camps:  Absolute pitch and relative pitch.  The abilities to know what a note is when you hear it and to know what chord is being played when you hear it.  This could be the easiest leg to describe, but the hardest (for some) to become proficient at!
 
Leg four - Song theory.
 
This area includes song structure, verses, choruses, codas, bridges, intros, outros, time signatures, melody, harmony, soloing, song writing, orchestrating, etc.
 
 
Naturally, these tend to blend together, but I'm kind of looking at the whole process as different subjects like you would at school.  Period 1 - Music Theory, Period 2 - Ear Training, Period 3 - Instrument Work, Period 4 - Song Theory.  Rinse and repeat.  I've seen lots of people who spend most of their time in one or two areas.
 
So what do you guys think?  Sound about right?  Something missing?  After these (which I consider the basics or the foundation for everything else), you're going to have other areas appear like learning other instruments (or just how to interact with other players using other instruments), understanding amplification & effects, playing live and recording (including getting the best signal, learning a DAW, mixing, mastering, etc.).
 
Randy will be teaching the class on finding hookers and blow while dealing with clingy groupies.  CJ will discuss studio setup.  Dave covers security concepts.  Bapu has asked to teach a morning class apparently (all it says is "Am").  Rain and Jarvse will co-teach a class on how to dress to match your chosen genre.  Others are still signing up!  Well, except for the "percussion" teachers who haven't figured out how to get the tip to show by clicking on the top of the pen yet... 

security?  Because I know the bouncer handshake?  haha  Oh wait, you must have meant Dave 003 for security.  I'll be doing the masterclasses.

A subject area to add perhaps...

"Taste, the difference between a technician and a musician".

tlw
A subject area to add perhaps...

"Taste, the difference between a technician and a musician".

Actually, I almost doubt that part can be taught.  They're either an insecure dweeb who can only justify their existence if they can play 64th triplets at 240bpm, or a music lover from birth I would say.  LOL.

eph221
security?  Because I know the bouncer handshake?  haha  Oh wait, you must have meant Dave 003 for security.  I'll be doing the masterclasses.

Sorry, the reference was for Bitflipper.  I keep forgetting how many Daves are here now... 

I'm afraid that my skills in procuring hookers and blow have deteriorated to the point that I can't even remember the basics.

craigb

tlw
A subject area to add perhaps...

"Taste, the difference between a technician and a musician".

Actually, I almost doubt that part can be taught.  They're either an insecure dweeb who can only justify their existence if they can play 64th triplets at 240bpm, or a music lover from birth I would say.  LOL.

I think that's part of LIFE training, not just musical...

Randy P
I'm afraid that my skills in procuring hookers and blow have deteriorated to the point that I can't even remember the basics.

RTFM

craigb

eph221
security?  Because I know the bouncer handshake?  haha  Oh wait, you must have meant Dave 003 for security.  I'll be doing the masterclasses.

Sorry, the reference was for Bitflipper.  I keep forgetting how many Daves are here now... 

I understand, I'm a frog and you need a dog.

Hi,
 
I've always enjoyed the free form, and the unusual in music. In reading, it's hard to disseminate what somethings are, and where they come from. For example, in reading about CAN, they were older than most rockers, and were also high level students in music in big name schools. And yet, what they were famous for? The complete and total opposite, and only one thing was brought from their "training" ... the discipline to stick with it, and learn from it. THAT, is missing in your notes, sort of.
 
The other two read's, I have mentioned here. Syd Barrett did not even know the chords ... and many went on to copy him! Robert Wyatt has become a "master" of child play (literally), and one can not say he does not know music. He knows more than most. And, just recently, reading about XTC's Andy Partridge (review upcoming), he was not knowledgeable of the chords for a long time, and a lot of his playing, was simply ... and he insists on it to the end ... plain intentional errors sometimes, simply to find where things go, and how. AND, he states that is where the "magic" and "voodoo" is.
 
I will not, however, trash well rehearsed stuff, and played. Seeing King Crimson recently, with 3 drummers, was probably one of the best examples of great music, well rehearsed and beautifully played all the way through, and the drummers, were all complementary of each other and then some, and even added so much to the depth and strength of the music itself.
 
A lot of the stuff you say is about mechanics. Yes, one has to know something or other about it, I suppose, but it does not matter, if one lacks one very important factor ... and the "Future Days" book about the German music scene, makes it clear via the same CAN folks ... the main lesson in those experiments, was ... you ready ... LISTENING to each other, so you know how to adjust and evolve and continue (in their case) on with the piece, instead of falling back into something already done and known.
 
There is a saying that sometimes, to over come your knowledge, you have to unlearn it all, so you can have a fresh start. One of the ways to work with that is ... to spend less time on the rigidity (or computerized!!!!!!!!!!) schooling in music, and teach folks to "talk to each other", with their instrument.
 
Now you got music, instead of something on a piece of paper!