<p>sk8rmom, you bring up some valid points, but as the parent of a conservatory trained performing musician, I'd like to make a couple of observations.</p>
<p>Gigging at the conservatory level can range from a marginal few $ to some decent per semester earnings, but it's a function of the institution's active, tacit or implied support (many will actively market their performers/ensembles and maintain a small office/website to handle bookings) in conjunction with a studio instructor's personal support of these activities.
Some go so far as to discourage active outside participation, particularly in the first couple of undergrad years, seeing it as diversionary. </p>
<p>The harp is not as rare an instrument as you may perceive, particularly in the metro areas where most strict conservatories are located. NYC, Boston, Baltimore, (in fact the whole DC-Boston corridor) as well as LA, Rochester, Montreal and most metro areas are home to many conservatory trained harpists, some with tenured orchestra chairs in ICSOM and ROPA orchestras, and a greater number still performing in numerous unpaid community and recreational ensembles. To make ends meet, most of will have active freelance, contract, or teaching positions (as well as non-music employment), so please don't assume there is little competition. Your competition will also include grad and doctoral/GPD/AD candidates as well, particularly at the "name" conservatories.</p>
<p>Breaking in is tough, for all. </p>
<p>For a student contemplating a performance career, the key criteria in pegging a school is often the studio instructor/private teacher, and the overall peer quality of the student musicians. For those playing at a conservatory level, finding the right mix is a tough choice, and while there may be options at public and private institutions, not all aspects always mesh. Having to "play down" to the level of those around you is self-defeating and counterproductive.</p>
<p>The OP's son is obviously talented. The level of the award indicates a strong candidate, and I know his financial dilemma and the choices he must make. But the criteria and circumstances of school selection for performance based admits vary considerably from the norms of the standard academic based admits that comprise the bulk of the posters at CC.</p>
<p>Any audition based admit is a crapshoot, regardless of the level of talent of the applicant. As it's been said, it's akin to writing your essay on the spot, and in front of those who will grade it. Performance/talent scholarships are a direct result of how a candidate fares within a specific audition pool. The OP's son may well have received a full tuition or perhaps even a full ride at a smaller, less prestigious program. Whether that would "fit" is a personal choice, as is putting all your eggs in one or very similar baskets. </p>
<p>Just for information, those wanting an overview of the music admissions process should read the great thread by BassDad here: <a href="http://talk.collegeconfidential.com/music-major/258796-so-you-want-music-major-one-familys-experience.html%5B/url%5D">http://talk.collegeconfidential.com/music-major/258796-so-you-want-music-major-one-familys-experience.html</a></p>
<p>This path is not for the faint of heart, or the undedicated. It is critical to know your options going in, and balance program selections accordingly as best as possible. The reach/match/safety methodology still applies, but the criteria for selection doesn't follow the standard academic based criteria. Thoroughly understanding an institution's scholarship and financial awards process is an important part of this, and for many is the determining factor.</p>
<p>I wish the OP and son success.</p>