Thomas Regelski was based on Aristotle, critical theory, critical pedagogy, and existentialism as the foundations of his theory. Regelski insisted that comprehensive musicianship of the Contemporary Music Project did not produce a long-term influence because only a few teachers can teach it. However, the purpose of this study was to demonstrate that Regelski’s theory shared many common viewpoints with comprehensive musicianship. For this purpose, I researched the similarities and differences between Regelski’s theory and comprehensive musicianship through Regelski’s articles and the reports, papers, and dissertations about comprehensive musicianship to compare and analyze. I found the following commonalities: First, both Regelski and the advocates of comprehensive musicianship insisted on including music from diverse periods, cultures, and traditions in music classes. Second, they both suggested the synthesis of musical activities, especially performing, creating, and listening. Third, both sides emphasized fostering student creativity through composition to acquire broad perspectives in music. Fourth, Regelski and the leaders of the Contemporary Music Project asserted that music educators should incorporate the achievements and developments from other academic disciplines. Finally, they both emphasized students’ active roles in music learning, including stresses on learners’ interests, needs and independence. However, Regelski’s perspectives was different from comprehensive musicianship in the following aspects: First, while Regelski thought comprehensive musicianship as a single large scale college course, the staff members of the Contemporary Music Project considered it as a concept and attitude toward music education; second, the advocates of comprehensive musicianship persistently focused on music as an art and aesthetic experience, but Regelski emphasized music’s social roles and functions, criticizing the aesthetic philosophy of music education; third, while concept learning was considered important in comprehensive musicianship, Regelski thought it hinders students’ skill acquisition; finally, Regelski revealed strong influences from critical theory that the proponents of comprehensive musicianship had never considered. Comprehensive musicianship aimed to address the fundamental problems of music education and to promote transformations. When Regelski discovered the problems of music education after several decades, the problems he raised had much similarity with those that the advocates of comprehensive musicianship pointed out. The recurrence of similar problems in music education suggested that further reflection remains to be addressed in the future. However, owing to the unwavering dedication of passionate music educators like the CMP advocates and Regelski, this field will develop avoiding institutionalization and ossification.