The conservatory model of teaching through private lessons and small group instruction has gone largely unchanged since its original conception and introduction through European conservatoires. While there is theoretical discussion on the usefulness of the conservatory model in post-secondary music schools, there is less discussion on how the early introduction of the conservatory model potentially affects educational and health outcomes in post-secondary institutions. This presentation explores links between Canadian conservatory curricula and the curricular and performance expectations set for post-secondary music students. The authors will discuss the implications of these links for those of lower socioeconomic status, musicians with disabilities, and the impact on mental health. Analysis will draw on data from two research projects, one using institutional ethnography at a Canadian post-secondary music school, and another using surveys and interviews of Canadian music teachers and conservatory examiners. These studies were carried out by the primary authors, and the presentation will examine the connected themes between both studies to describe the nature of the Canadian conservatory system and how it shapes musicians’ experiences. This presentation will provide a historically-informed description of the conservatory curriculum, which remains the “gold standard” for many Canadian music teachers. Then, it will outline the core components of a typical Canadian university music program, including course and performance-related requirements. After exploring relationships between the conservatory and university-level music curricula, it will describe how these two systems form a “pipeline” for students seeking admission to university music programs. For example, many teachers expect that incoming students have abilities typically developed through conservatory study, such as the ability to independently practice, learn complex repertoire, apply theoretical and historical knowledge, and perform in front of examiners. The presentation will provide examples of how students’ educational experiences within a university program can vary widely based on prior conservatory training, or lack thereof. The authors will discuss whether this model prepares students for their profession, and how it may impact admission, education, and health outcomes of students based on financial means, ethnicity, or disability. These potential implications will be situated within ongoing conversations about “inclusion” and the notion of “excellence” in music education, and the broader function of music education within the current artistic and professional landscape.