Professionalism has long been a highly debated topic in the Music Industry for centuries amongst academics in music, members of the public, vocalists, instrumentalists and vocal and instrumental instructors alike. What are the similarities and differences in the perceptions of the qualities, abilities, attributes, skills and characteristics that truly define a Professional Vocalist; and how might this differ from the Novice or Amateur?
Since the birth of Opera in the seventeenth century, vocal training and vocal pedagogy have vastly developed to prepare the singer for the professional career as a vocalist. Composers have always pushed the boundaries of the capabilities of the vocalist to be able to perform extensive vocal agility. What once defined a Professional Vocalist in the seventeenth century is different from today. Should the Professional Vocalist have a secure understanding of the vocal techniques which underpin their practice, or does advancements in music technologies such as auto-tuning mean that standards of today have slipped? Will we ever reach virtually polished performances, or does the threat of music technologies put further strain on Professional Vocalists to adhere to the perceptions of the untrained ear who might expect the auto-tuned sound in live performance?
In a fast-paced society where choice of vocal repertoire and specialism’s mean that choices are virtually unlimited. How can the vocalist help define their Professional Identity through the choice of repertoire and how they carry themselves? What does it mean to be a Professional Vocalist in the twenty-first century?
(“Scholarly Abstractions” is a feature highlighting brief abstracts from recent graduate projects in choral music. To share your thesis abstract, contact Scott Dorsey at )
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