OK, let me get more (but not too) specific(I include first initials to
protect the innocent and yet to keep track in my mind of who is who):I
soprano who has already won an important award in Europe (e); 1 tenor
making a living doing only opera roles(j); I baritone likewise(h); I
soprano (M); I 'baritenor' semi-pro chamber choir(s); 3 sopranos in opera
choruses(p+b,a); 1 soprano starting to get stuff and poised for bigger
things(l); I soprano doing some sort of opera (rather out of touch with
her)(jh);1 soprano country music stuff (apparently mod. well-known?)(k).
These over the last 15 years may not seem much unless you take these facts
into account:(1) At any one time there are maybe 20 - 30 voice majors here,
with a turnover of 6-12 per year (2)of whom maybe around 8 have been
accepted into the performance stream. (there are also a substantial number
of students minoring in voice + and even larger number taking voice lessons
through the adjunct music conservatory).(3) Most of those cases cited are
graduates fron the second half of the time period mentioned, which I assume
means (4) there are others who are doing just as well that I just don't
know or have forgotten about.Also (5) these are mostly young singers -
presumably some will decide to change careers and others will rise from
obscurity as voices mature more.
So it shouldn't be hard to see that we've managed to attract some rather
gifted students to our programme, and have managed - at the very least - to
allow their development to continue! Now that I see this I'm rather proud
of what we've managed to accomplish- given also that despite a plethora of
conservatory teachers, all of the voice majors have been in the hands of
one teacher (and more recently the minors too).
You do the math; it's a lot more than 1% however you figure it!
john
At 06:46 PM 3/19/01 +0000, you wrote:
>John,
>
>Are you including those making a living in some way other than as the
>paradigmatic 'freelance operatic soloist', such as in musical theatre,
>choirs, etc.? Are they entirely supporting themselves from singing, or
>do they still live at home, have a spouse support them, etc... Are you
>basing your 3-5% on those who enter the bachelor of voice program, or
>are you adding grad students and 'late bloomers,' or not deducting
>those who don't finish the program.
>
>If the estimate stands, then your school is doing far better than mine,
>although it's one of the top music schools in the states. (Still, I
>don't know of too many other career areas that would "boast" of a 3-5%
>placement rate.)
>
>-John (keepin' it real)
>
>
>
>
>--- In vocalist-temporary@y..., John Alexander Blyth <vocalist-temporary@y..., John Alexander Blyth < >While none of them are big stars (yet?) a number of young singers of my
>acquaintance do have careers (in singing, I should add!). Even so I
>would put the percentage (rough estimate) a 3-5%. I remember doing an
>informal survey of the people (all instruments) who got their B. Mus.
>here at the same time I did. I think about 15% of them were fully
>employed in some kind
>> of musical activity apart from teaching. When I included teaching it was a
>> much higher figure - more like 80% of the whole group.
>> But having said that: there are easier ways to make more money. You must
>> have either an aptitude or a need.
>> It occurs to me a lot recently that a singer is not necessarily a person
>> with a beautiful voice (there are many of those around) but a person with a
>> particular kind of determination, a capacity for peculiar discipline and
>> (for lack of a gentler epithet) a willingness to make a fool of herself in
>> public. The voice is just an optional bonus - many more people have
>> beautiful voices, a great ear and a pleasing countenance than have what it
>> takes to be
>> a singer.
>> That's what I think.
>> john
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>Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
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John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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