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Course Code: 7011QCM

Course Name: Introduction to Music Research

Due Date: 25/10/2021 Assessment Item # : 2

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Course Convenor:   Catherine Grant Postmark:

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Student Number: S5089526

Student Name: Anna Tafani

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 7011QCM Introduction to Music Research:

Research Proposal Template

Part A: Project Administration

1. Your Name: Anna Tafani

2. Project title: How are the conservatoriums preparing the classical voice students for the
opera industry: a case study.

3. Abstract:
This study aims to examine the preparation that the classical voice students are receiving in their
tertiary study preparation toward an operatic career. It will identify the challenges that the
conservatories are facing in order to meet the requirements that the opera industry is demanding
from the young artists. This research will be conducted at Queensland Conservatorium Griffith
University and might help the conservatory staff to review their approaches of training towards
potential future opera singer and guide the classical voice students on possible pathways to a
successful career.

4. Total word count of Part B (only):

2,336 words

Part B: Project Description

1. Introduction
Classical singing is a complex art form that requires long-term training in many skills such as: vocal
technique, musicianship, performance, and artistry (Crocco, 2015). For this reason, classical voice
students must spend many years mastering their talent, until they adapt to the vocal challenges of
the operatic repertoire and meet the standards required for a professional career. My interest in this
topic comes from my desire to pursue an international career in opera, and since I am on the last
stage of my tertiary studies, many questions of how I reach that goal led me to dig deeper in this
subject matter.

Carey & Lebler (2012) state that there has never been ‘a clear-cut predetermined path into
professional life’ for music students and Chapman (2012) adds that each student’s pathway is

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individually tailored. Schindler (2014) further corroborates that the aspects of vocal technique are
fundamentally motor learned, therefore the development process is often nonlinear and quite slow.
Overall, the consensus of the literature shows that skills such as vocal technique and repertoire
knowledge can be taught at a conservatorium level. Furthermore, musicianship, performance and a
level of artistry can be achieved through performance exposure either as a soloist or in ensemble
(Chapman, 2012). However, the level to which these skills are obtained is depended on the
individual’s work ethic and commitment.

2. Research Question and Aims

The principal question of this project is what training the classical voice students are receiving at
the conservatorium and if this training is adaptive for the requirements of the contemporary world
of opera. The underlying question in this research is: What specifically determines the success of a
classical voice student as an opera singer? The data collected from Gaunt’s (2012) semi-structured
interviews with classical voice students in United Kingdom, informs us that ‘students are sure about
their passion for music, but a few are confident about the process of taking this passion to a
functioning profession’. The following aims will be included in this research:
- To review the curriculum of the QCGU training for classical voice students and compare it
with the industry requirements.
- To investigate the significant factors that determine a successful career in the opera industry.
- To assist the GCGU staff to guide their classical voice students towards a vocal and mental
preparation for the operatic career.
The most important key aim of this project is to outline a detailed guide for the classical voice
students to follow throughout their tertiary studies and help them find strategies to transforming
their passion into a profession. It is hoped that through this research, the classical voice students
who aspire to become opera singers will have a clearer idea about their goals and professional
pathway.

3. Literature Review
The field of opera industry has developed significant changes, since it emerged as an art from
around 1600, and has gone beyond traditional approaches in the 21st century (Belina-Johnson &
Scott 2016). This has affected both established singers and the students who aspire to be part of
the industry but has also put the conservatoires under the ‘pressure’ to prepare graduates to adapt
to these changes (Carey & Lebler, 2012). In their literature review, Carey & Lebler (2012) admit
that ‘the conservatoires have been very slow to respond to the increasingly diverse needs of the
music industry’ which is a consequence of reduced fundings for tertiary institutions and a quickly
changing opera industry. Schindler (2014) states that the undergraduate degree curriculum at

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Queensland Conservatorium Griffith University went under a review in 2010, abolishing some of
the courses although, expanding some others. More emphasis was put on languages, movement
and stagecraft for singers and more performance activities were enhanced for the classical voice
students, goes on Schindler (2014). However, a core subject such as History and Literature of
Music was removed from the curriculum after the amalgamation, which used to provide two hours
of lecture per week for six semesters of study (Schindler, 2014). Language study plays a
significant role in the classical singer's professional craft. Singers are required to sing in many
different languages mainly Italian, French, German and English, but also in Russian and Czech
(Harrington, 2020). Consequently, an opera singer is demanded to master a perfect diction in
signing but also to have a general comprehension of the language to assist their artistic
performance (Chapman, 2012). Schindler (2014) states that QCGU offers to classical voice
students one semester of phonetics studies in Italian, German and French in first year, one year of
Italian language study in second year, and one semester for each of the two other languages in
third year. On the other hand, Lewis (2000) argues that one semester of language study ‘provides
only enough time to gain a minimal familiarity with its grammatical structure’ yet, the field of
opera requires singers to effectively communicate in various languages. Lewis (2000) further
encourages the classical voice students who wish to pursue an international opera career, to take
intensive language courses outside of the conservatory if the latter doesn’t provide it. 

The bachelor’s degree is the first step where the classical voice students receive a broad training in
vocal technique and stagecraft, preparing them for the operatic stage and professional life.
Although the conservatoriums’ curriculum might differ from one another, the one-to-one singing
lessons remain the primary focus of a classical voice student’s preparation (Schindler, 2014;
Chapman, 2012). Chapman (2012) states that one-to-one singing lessons are essential for a
student's development in their early stage of training, when their instrument and technique are
largely undeveloped. Schindler (2014) adds that students at the Conservatorium receive weekly
voice lessons of 60 - 90 minutes based on their level of training. James Harrington, a professional
baritone, declares that a good vocal lecturer who can guide the student to build a sustainable and
healthy vocal technique, grants the fundamental key for a long-life career (Harrington, 2020,
p.35). Furthermore, the QCGU curriculum has regular department workshops, masterclasses,
recite classes and movement and stagecraft giving access to performance opportunities (Schindler,
2014). Chapman (2012) supports that performing experience is vital for a young singer throughout
their training journey, bringing along confidence and emotional courage (p.140). Schindler (2014)
states that the teachers at the Conservatorium strive for their students’ excellence in performance,
focusing on vocal technique as well as vocal physiology, anatomy, and vocal health. Achey, He &

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Akst’s (2016) journal encourages the classical voice students to develop healthy vocal hygiene
practices during their tertiary studies and maintain those habits throughout their career. Studies
show that stress and dehydration can impact a student’s voice quality and their vocal longevity.
‘The musical, academic and social demands of the conservatory environment necessitate frequent
voice use, placing those students at increased risk of vocal problems’ (Achey, He & Akst, 2016).
They add that daily behaviours such as screaming, talking over crowds or even over-singing for a
long time, can leave permanent voice issues if they are not avoided.  

To be an opera singer nowadays is not an easy pathway, due to the flexibility and the commitment
that this profession demands (Gaunt, 2012). Despite this, Schindler (2014) states that most
students who audition for classical voice programmes at the Conservatorium have the ambition to
become performers in the future. She defines vocal art study as a holistic undertaking, nurturing
and facilitating students’ development as a whole artist, not only as a singer (Schindler, 2014).
Bennet (2009) proposes to conservatoires to encourage the students to be flexible by approaching
the current developments of the profession. Crocco, Madill & McCabe (2017) encourage students
to take care of their general health due to ‘the busy nature of the profession and the athleticism in
operatic singing’. This is supported by King & Nix (2019) that in addition to that, recommend
students to strengthen their time-management skills, be self-motivated and emotionally robust for
the downtimes of their career. Dayme (2009) emphasises the mental preparation for singing as the
key ingredient in a conservatorium training (p.10). Achey, He & Akst (2016) state that stress is
common among the classical voice students considering the high level of academic and musical
performance expected from the conservatorium students. 

Historically, the opera singers have always been judged on their vocal abilities and artistry: it is
not common in opera to cast artists based on their physical appearance as much as it is in musicals
or film industry (Stephenson, 2012). However, research show that physical image is being
emphasised in present days since opera is part of a society where technology and social media are
on their peak manifestation (Stephenson, 2012). Oakland (2014) admits that vocal ability alone is
unfortunately no longer sufficient for a successful career in opera. Since video and cinema
screening are becoming a normal practice in the opera industry, singers are under the pressure to
become glamorous performers apart from developing an excellent vocal technique (Oakland,
2014, p.223). However, Belina-Johnson & Scott (2016) perceive cinema screening and social
media as a positive tool that assists the young artists to reach a broader audience on the first stages
of their career and beyond. Harrington (2020) motivates students to cultivate a professional online
presence and reminds them of the importance of network and meaningful connections. Therefore,

6
 this requires students to develop entrepreneurship and communicative skills before launching an
opera career (Gaunt, Creech, Long & Hallam (2015). In conclusion, Hall (2019) formulates that
the emerging artists in the operatic fields are expected to demonstrate strong musicianship and
performance skills, a reasonable level of languages, good vocal health and stamina and
commitment.

4. Methodology / Methods

This project will employ ethnographic approach, interviewing staff who are currently training the
classical voice students at QCGU as well as past and current students of the Conservatorium. The
information collected from their answers, which will be based on their personal life experience, will
be the main source of data collection for this human qualitative research.

Gaunt (2012) collected data from 34 semi-structured interviews with music students from different
conservatoires in United Kingdom. I intend to approach the same method by interviewing some of
the QCGU staff from classical voice department and a few alumni graduated from the same
Conservatorium who have established their career in the industry of opera. The interviews will be
audio-recorded, transcribed, and analysed with the data collected from the literature review. The
data collected from the QCGU staff, aims to find out and analyse the different layers of training that
the students are receiving at the Conservatorium in one-to-one lessons or group practices offered.
An important emphasis will be put on their views on the current developments in the opera industry.
On the other hand, the interviews directed to the alumni students, aim to examine their transition
from the Conservatorium walls to the opera business. I intend to carefully structure open ended
questions to reveal if they had any gap in their preparation during their tertiary studies that they
only realised when we’re facing the industry environment. Interviewees will be informed that they
will be de-identified in the research paper and the data will be shared only with the convenor of the
course. Emphasising that the goal of this research is to generate an ideal curriculum at the
Conservatorium that will ideally prepare the classical voice students for the opera industry today, I
intend to maintain a neutral position when conducting the interviews. A one-hour interview slots
will be allocated to each of the interviewees with a prior invitation to meet in an informal setting.
The overall timeframe for the data collection will be approximately one month, allowing me enough
time to analyse and form thematic ideas by interpreting the data gathered from the surveys and the
interviews.

Online surveys are another method that will be used to gather data for the purpose of this research,
from the current students studying classical voice at QCGU, in their undergraduate and
postgraduate degree. Similar to Chapman (2017), these surveys will gather data from students’

7
personal study experience in the present-day at the Conservatorium and discover their aspirations
for their future career. The answers will be anonymous, and an objective analysis will be conducted
based on the answers of the students. By employing surveys towards the current students, I seek to
identify the challenges they are facing, if they have any, collect their opinions about the opera
industry nowadays and if they have figured out any strategies to make a living as an opera singer.
The following questions are some examples that are planned to be asked in the surveys:

- What year of your studies are you currently enrolled?

- What is your primary goal as a future classical voice singer (eg. solo performance, choral
performance, musical education, personal enjoyment)?
- What are the main factors that have supported you as a student at Queensland
Conservatorium Griffith University?
- What aspect of your training as a classical singer you would want to be more emphasised at
the Conservatorium?
- Have you ever felt judged on your physical appearance in any professional environment (at
the Conservatorium or outside)?

The data collected from these questions will help me to understand the students’ position at the
Conservatorium, their aspirations and how they are being motivated to achieve their professional
goals.

5. Benefits and Outcomes

This project will firstly outline the current developments in the opera industry by embracing a
suitable preparation for the classical voice students in the 21st century yet retaining the heritage of
artistry that this profession is relied (Chapman, 2012). This project intends to fill gaps in the
existing training programmes at the conservatoriums towards the classical voice students who aspire
to pursue an operatic career. It is hoped that through the data collected through this research, some
practical ways to achieve student’s goals might be stimulated. This data might help the
Conservatorium staff to review their curriculum based on the demands required in emerging artists
from the contemporary world of the opera industry.
Finally, a desirable outcome would be expanding this project further into a master’s thesis that I
wish to promulgate to teachers and students of the classical voice department of the Queensland
Conservatorium Griffith University.

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Part C: References

Achey, M. A., He, M. Z., & Akst, L. M. (2016). Vocal hygiene habits and vocal handicap among
conservatory students of classical singing, Journal of Voice, 30 (2), 192-197. Retrieved
from https://www-clinicalkey-com-au.libraryproxy.griffith.edu.au/#!/content/1-s2.0-
S0892199715000144

Belina-Johnson, A. & Scott, D. B. (2016). The business of opera. Taylor & Francis Group.

Bennett, D. (2009). Academy and the real world: developing realistic notions of career in the
performing arts. Arts and Humanities in Higher Education, 8(3), 309-327. doi:
10.1177/1474022209339953

Carey, G. & Lebler, D. (2012). Reforming a Bachelor of Music programme: A case

study. International Journal of Music Education, 30(4), 312-
327. doi:10.1177/0255761412459160

Chapman, J. L. (2017). Singing and teaching singing: A holistic approach to classical voice. Plural

Publishing.

Crocco, L., Madill, C. J., & McCabe, P. (2017). Evidence-based framework for teaching and
learning in classical singing training: a systematic review, Journal of Singing, 31(1),
130.e7-130.e17. Retrieved from https://www-clinicalkey-com-
au.libraryproxy.griffith.edu.au/#!/content/1-s2.0-S0892199715002830

Dayme, M. B. (2009). Vocal pedagogy in the 21st century. Dynamics of the singing voice (5th ed.).

Springer.

Gaunt, H., Creech, A., Long, M. & Hallam, S. (2015). Supporting conservatoire students towards
professional integration; one-to-one tuition and the potential of mentoring. Music
Education Research. 14(1), 25-43. doi:10.1080/14613808.2012.657166

Hall, G. (2019, May 21). How do you train to become an opera singer? The
Stage. https://www.thestage.co.uk/advice/how-do-you-train-to-become-an-opera-singer

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Harrington, J. (2020). Building a career in opera from school to stage: operapreneurship. Taylor &
Francis Group.

King, M., & Nix, J. (2009). Conservatory teaching and learning. In G. F. Welch., D.M Howard., &
J. (Nix) (Eds.), The Oxford handbook of singing (1st ed. pp. 689-7060. Oxford
University Press. doi: 10.1093/9780199660773.013.004

Lewis, S. S. (2000). An interdisciplinary approach to operatic role preparation. The University of

Texas. Retrieved from https://www.proquest.com/docview/304623478?
accountid=14543

Oakland, J. (2014). Negotiating an ‘opera singer identity’. In S. D. Harrison & J. O’Bryan

(Eds.), Teaching singing in the 21st century (pp. 221-233). Springer.

Schindler, M. (2014). The conservatorium environment: reflections on the tertiary vocal setting past
and present. In S. D. Harrison & J. O’Bryan (Eds.), Teaching in the 21st century (pp.
353-366). Springer.

Stephenson, E., L. (2012). If there’s no “fat lady”, when is the opera over? An exploration of
changing physical image standards in present-day opera. University of Denver.
Retrieved from
https://www.proquest.com/docview/1113384809/fulltextPDF/C5146A1BEC16487APQ
/1?accountid=14543

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