It seems to me that our original OP is asking two basic questions. Where can a person study classical mandolin in higher education and will our instrument ever be recognized as a mainstream "classical" instrument?
There are several helpful answers already to question 1 and I would only add that there are a number of young virtuosi from various European countries, not only Germany, who have somehow been to college or university. These folks may or may not have been able to study mandolin at their schools, other forum threads may have more details.
I can say, however, that the question of mandolin recognition and legitimacy has been talked about at conventions of the Classical Mandolin Society of America since, probably, the very beginning (1986).
We often look to the history of the classical guitar in North America as potential model. A century ago, I believe, there were very few (if any) colleges that offered instruction in guitar and today it is more common than not for most schools to recognize guitar (primarily "classical" but sometimes other styles) and have at least a part-time faculty member on the faculty.
Jeffrey Noonan's excellent book,
The Guitar in America, is partly a study of how the mandolin missed the boat as the guitar came to prominence in the first half of the 20th century. There were many brilliant mandolin soloists in the "golden era" but their popularity didn't translate into legitimacy in the Academy. Theories abound.
CMSA has managed to keep the fire burning for over thirty years but as an all-volunteer, modestly funded organization it has not raised the profile of classical mandolin as much as it would like. Progress is slow but steady and the quality of playing at the annual convention continues to improve.
It remains extremely difficult, if not impossible, in North America for a classical mandolin virtuoso to make a living. The classical guitar, on the other hand, has reached the point where many talented guitarists can piece together a career by teaching at one or more colleges, maintaining a private studio, performing, composing and recording. Maybe someday for mandolinists.
Despite not being established in the Academy the mandolin in America is in a very good place because of it's versatility in a wide variety of styles of music. The legacy of Bill Monroe (and not only Bill but I won't make a list here) has inspired thousands of musicians, from beginners to wizards, to pursue mastery of our instrument.
It may be that the mandolin will just continue to make its own way forward. There is no doubt, however, that the instrument is moving ahead and gaining followers every day.
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