What I experienced was "Conceptual Photography". Don't buy any equipment until you have a specific use for it. [continued on]
I don't get it. What on Earth does a (rather screwed-up) darkroom and teaching situation have to do with conceptual photography? There's nothing conceptual about washing processes and not buying film.

Conceptual refers to work that is about the artist and the idea rather than the final product - not whatever you're talking about.

I've never been a full-time photo major (yet), but I've taken classes in my university's department and know it fairly well. Students start out with traditional B&W, printing on RC paper in the gang darkroom, with a professor there to help them along with printing. Intermediate and upper students have access to a 24-hour gang darkroom and a dozen or so small individual darkrooms (primarily used for color), they're encouraged to print on FB paper and follow archival steps (though most students cheated a bit on them).

There are also alt. processes, digital imaging and studio/portraiture classes that I have yet to take.

There's very little technical instruction on different developers and films. You pretty much follow the recommended box times using D76 1:1, and the paper developer is Dektol. That works out OK, better to have students concentrating on doing the work rather than futzing around and screwing up their negatives. The problem is when a little more technical inventiveness is needed. My intermediate class had a Holga project to be put on exhibition in one of the galleries - the only problem was that about half the class barely got a usable neg, because they didn't know anything about different films or developing times, and being students were too lazy to start early. I ended up having to handhold many of them through re-shoots, as I had some idea about how to get around the quirks of the Holga.

By and large, I think I prefer the approach that values concept slightly over technical skill. It is a BFA program, and prospective artists are expected to enter the contemporary art world (of which the technical bravado of Ansel Adams isn't much of a selling point). Learn enough to keep getting better technically as the ideas progress.