Music schools grapple with competing visions of what singers need to learn
A new study of conservatory programs reveals fundamental disagreements about how to prepare singers for professional careers—with choices about curriculum directly shaping what schools teach and how they define musical excellence. The findings suggest arts institutions must clarify their mission or risk sending mixed signals to students.
Originaltitel: Cultivating ambiguities within higher music education: preparation for singers’ professional societal participation in opera conservatory and music theatre programs
<p>Earlier research has stated the need for conservatory education to prepare aspiring musicians more thoroughly for a dynamic and changing society. A project that challenges the conservatory tradition is Sammankonst (TogetherArt) where students at a musical theatre program at folk high school level collaborate with intellectually disabled adults. Based on a phenomenological way of thinking, this article aims to describe and analyze the education of aspiring musicians for professional participation in society based on an analysis of experiences among conservatory students, music theater students and their teachers. Interviews were made with six conservatory students, 15 musical theatre students, and two teachers. The results show ambiguities when it comes to what voice students should be prepared for and how the choice of preparations influence the view of singing and musicians’ quality competence.</p>