Singing Teacher Written Portfolio

• What are the (academic and professional) qualifications and/or experience required to enter the profession? 

Slater (2025) argues that although holding an undergraduate music degree from a conservatoire, music college or university is beneficial, practical experience in choral and solo singing is more pertinent than additional qualifications in vocal performance. She further contends that a diverse performance background enables educators to better address students’ musical interests and aspirations. She also states that while singing teaching is unregulated and no qualifications are required, schools that employ peripatetic music teachers usually ask for either ABRSM or Trinity College London qualifications, a Qualified Teacher Status (QTS) or PGCE. More specifically, McIver (1992) emphasises the significance of studying vocal pedagogy, seeking guidance from colleagues, and attending conferences to gain a comprehensive understanding of potential vocal problems and to enhance teaching effectiveness. Whereas Zhang (2016) clarifies that an understanding of vocal anatomy “could lead to a better understanding of the laryngeal adjustments that we use to change voice quality, adopt different speaking or singing styles”, which is necessary to know as a singing teacher so students can be informed on how posture and breathing impact the laryngeal tilt which is key in singing. 

• What knowledge, skills and personal qualities/attributes are needed for success within the profession? 

Slater (2025) also highlights the necessity of a diplomatic approach in teaching, recognising that learners exhibit diverse learning styles. Effective teachers must adapt to these differences and remain cognisant of the varied backgrounds of their students. Possessing social sensitivity is essential for ensuring that all children feel valued and welcomed in the practice room. 

Lã (2012) emphasises that a competent singing teacher must discern and understand key elements of singing, including musicality and expression, to provide well-informed guidance that can modify incorrect neuromuscular behaviours. Larkcom (1918) further underscores the necessity for teachers to be well-informed both musically and culturally, enabling them to select appropriate repertoire from a broad catalogue and to approach music from various periods and nationalities with sensitivity and authenticity. 

Effective organisation and communication are essential skills for music teachers. At the end of each term, teachers are typically responsible for organising student concerts, contacting accompanists, and ensuring that students are comfortable with their performance pieces. During examination periods, many students request entry into Trinity College London or ABRSM grade examinations or diplomas, which are often managed entirely by the teacher. Additionally, students may be required to submit theory grades, which will necessitate further organisational support and potentially extra tutoring. Peripatetic music teachers must therefore demonstrate flexibility and competence across a range of responsibilities to best support their students (Hitch, 2026). 

• What are the duties and responsibilities of the profession – what does a typical day’s work involve? 

Hitch (2026) structures her day according to periods of active teaching and non-teaching activities. Each day involves lesson preparation and administrative tasks, such as planning instructional materials that integrate theory and practice, communicating with parents and students, and scheduling and rescheduling lessons as needed. Following individual and group sessions, she documents reflections in her planner to evaluate the effectiveness of strategies for each student. As a self-employed music teacher, Hitch works in various settings: she leads a choir, participatesin a chorus and orchestra, and occasionally accompanies students for ABRSM examinations, which necessitates regular piano practice. During lessons, she systematically assesses students’ vocal abilities, accounting for multiple factors that influence the voice, and tailors warm-up routines accordingly. She also evaluates vocal range to ensure alignment with the selected repertoire. Additionally, Hitch emphasises vocal health and proper technique, consistently reinforcing these principles in every lesson. Doscher (2021) similarly underscores the importance of these practices in singing instruction, noting that certain foundational rules must be communicated to students: 

“(1) Don‘t yell or scream. 

(2) Don‘t continually talk over noise. 

(3) Don’t continually clear your throat. 

(4) Decrease normal periods of talking when you have an upper respiratory infection or a cold. 

CS) Avoid irritants and drying agents such as smoking and drinking alcohol. Antihistamines are also exceptionally drying to the throat.” 

• What are the main financial and legal issues that impact on this profession? 

Peripatetic music teachers are required to obtain an enhanced Disclosure and Barring Service (DBS) check when working with children and vulnerable adults. The Musicians’ Union (2025) outlines the process for self-employed teachers to access this check, whereas those employed through schools typically have it arranged by their employer. Copyright issues present ongoing challenges; according to the Independent Society of Musicians (ISM, 2026), teachers and visiting music teachers were previously prohibited from legally photocopying sheet music without a license. Currently, most schools possess a Schools Printed Music License (SPML), but additional licenses may be required for the use of recorded accompaniments and arrangements in lessons. In such instances, consultation with relevant publishers is advised. Government regulations indicate that working from home may necessitate notifying a mortgage provider or landlord and determining the applicability of business rates, although occasional one-to-one teaching is generally permitted (HM Government, 2026). The Musicians’ Union (2023) emphasises the importance of Public Liability Insurance (PLI), which “protects individuals against the financial consequences of legal liability for damages following injury to a third party (not your employee) or damage to property whilst performing or teaching” and is valid “all around the world.” Furthermore, HM Government (2026) highlights the necessity of GDPR compliance, requiring teachers to securely store students’ sensitive data and obtain consent for video recordings and photographs. Children over the age of 13 may provide their own consent to share data, while younger children require consent from those with parental responsibility. 

Peripatetic music teachers encounter several financial challenges, with income instability being the most significant. The Independent Society of Musicians (2022) reports that teachers’ earnings fluctuate according to term times. Schools may not provide holiday pay during the summer or may only pay a portion of the holiday period, depending on institutional policy. The same study found that self-employed music teachers working in schools charged an average of £36 per lesson in 2021; however, not all of this amount is received by the teachers, as some schools charged students double the amount paid to instructors. Additionally, most teachers felt that their compensation did not reflect “their qualifications or experience” and that payment was limited to contact time, excluding administrative tasks such as “timetabling, answering emails, reports, sourcing and administering music,” as well as organising and accompanying concerts. 

Self-employed musicians are responsible for managing their own tax, pension, and business expenses, including costs for sheet music, professional memberships, and training (Campbell & Reneman, 1995). Many teachers, such as Dr Tonya Lawson (2023), supplement their income by working part-time outside of teaching and developing multiple passive income streams, including blogs, courses, and memberships. 

• What would the potential marketing and promotional aspects of this profession look like? 

Establishing a digital presence has become increasingly important for musicians and performers in recent years. Balfour (2025) recommends that young musicians develop personal websites, describing these platforms as “similar to a public CV (Curriculum Vitae).” Balfour adopted this approach to influence employer perceptions, ensuring that only musically relevant information is available and optimising visibility through search engine optimisation (SEO). Furthermore, many teachers actively use social media to share vocal tips and highlight student achievements, provided that appropriate consent is obtained. Educators such as Freya Casey (2024) frequently publish free educational content focused on technique and warmups. Casey’s “back to basics” series offers support to prospective students and showcases her professional expertise and teaching philosophy. Furthermore, online teaching platforms such as MusicTeachers.co.uk enable instructors to reach international students. Although these platforms may charge a commission, they provide scheduling flexibility and can enhance professional visibility. Community engagement is also effective in increasing recognition of teaching abilities. Conducting workshops, offering group classes or choirs, and participating in local festivals with students’ consent can raise an instructor’s profile while diversifying income streams. Regularly evaluating which marketing strategies are most effective in attracting students allows for ongoing refinement of the overall promotional plan. 

• What are the intellectual and personal challenges presented by the profession and how might these be dealt with?  

Hitch (2026) notes that vocal pedagogy is continually evolving, necessitating that teachers regularly participate in professional development and attend singing lessons to remain current and instruct students using the most effective and healthy methods. Nix (2013) reinforces this perspective, recommending that vocal instructors “catch up on the latest research” and “be a Galileo rather than one of those who still believe the sun and stars rotate around the earth.” 

The Mental Health Foundation (2026) defines burnout as a “state of physical, mental and emotional exhaustion, often related to workplace stress.” Andrea Orem (2025) identifies music teachers as particularly susceptible to burnout, primarily due to continuous engagement with students and the challenge of managing consecutive lessons with minimal breaks. Furthermore, teachers encounter significant pressure from parents to consistently demonstrate the value of their child’s tuition. To mitigate exhaustion, it is recommended that teachers participate in peer support groups to share understanding of these challenges and maintain organised records, such as journals, to reflect on effective teaching strategies and eliminate ineffective practices. Furthermore, it is advisable to schedule adequate breaks between students to prioritise the instructor’s health and wellbeing. Teaching hours should be limited to maintain instructional quality and prevent vocal fatigue, given the physical demands of singing. Additionally, it is important for teachers to continue developing their own musical practice and performance to sustain motivation and inspiration. 

• What career-progression/development opportunities are available within the profession? 

After completing her MA in Vocal Pedagogy, Baker (2024) achieved professional success by operating a studio, providing training for young singing teachers, encouraging their development, hiring them, and establishing a music school. In contrast, Slater (2025) became an examiner for ABRSM, works for In Harmony North East, an immersive program funded by Arts Council England for children interested in orchestral performance. Furthermore, she selects repertoire for ABRSM grade examinations, and is employed at a Centre for Advanced Training on weekends, teaching children aged 10 to 18, mentors trainee teachers, and also teaches in higher education institutions such as Newcastle University as well as being a freelance violist for the Royal Northern Sinfonia at The Glasshouse, International Centre for Music. Conversely, Hitch (2026) emphasises the significance of specialising in a specific genre or in two closely related genres. She teaches classical music and musical theatre from students aged 11 to 50. While her primary focus is on young adults, this specialisation enables her to select repertoire more effectively, aligning with her particular area of interest. Her next career goal is to take up a position as a music minister as her experience isgreatly informed by choral singing and her past as a chorister. 

Bibliography 

Andrea Orem (2026) Are Music Teachers Prone to Burnout? Let’s Talk About It https://andreaorem.com/blog/47757/are-music-teachers-prone-to-burnout-let-s-talk-about-it- [Date Accessed: 1st January 2026] 

Baker, H., & Bathgate, T. (2024) Institute for Vocal Advancement, LLC. Getting Started as a Singing Teacher – Vocal Advancement Podcast S2 E01. [Video]. https://youtu.be/yMyIVIt3XIY?si=JReph9UUduKH-Ynt [Date Accessed: 4th January] 

Balfour, N. (2025) Working in the Creative Industries [Lecture]. SHR4C007R. Leeds Conservatoire. 6th October 2025 

Campbell, V. F., & Reneman, P. M. (1995). Independent Music Teachers Forum. American Music Teacher, 44(4), 56–57. http://www.jstor.org/stable/43539012 

Casey, F (2024) Freya Casey – Master Your Voice. Back to Basics Challenge – Day 1: Breathing, Posture, Support [Video] https://www.youtube.com/live/j5dZyrzx3Mw?si=WFQx2YyDkD0H3jiv 11th December 2025 

Department of Education (2023) Data protection in schools https://www.gov.uk/guidance/data-protection-in-schools[Date Accessed: 29th December 2025] 

Doscher, B. M. (1992) Teaching Singing. The Quarterly, 3(2), pp. 61-66 

Dr Lawson, T. (2023) Tonya Lawson. How much does a private music teacher make? My income teaching lessons full time. https://youtu.be/T04wR7XXLRo?si=uR8N5XqN8AhxQXRS Date Accessed: 22nd December 2025] 

Hitch, M. (2026) Personal Interview, 4th January 2026 

HM Government (n.d.) Running a business from home https://www.gov.uk/run-business-from-home [Date Accessed: 4th January 2026] 

Independent Society of Musicians (2022) The case for change: The music education workforce in 2022 https://www.ism.org/images/images/ISM-The-case-for-change-Report_July-2022_Online.pdf [Date Accessed: 1st January 2026] 

Independent Society of Musicians (2026) Understanding Copyright for Printed Music https://www.ism.org/advice/using-printed-music/ [Date Accessed: 5th January 2026] 

Lã, F. M. B. (2012) Teaching Singing and Technology. Bundersverband Deutscher Gesangspädagogen 

Larkcom, A. J. (1918). The Art of Teaching Singing. The Musical Times, 59(904), 261–263. https://doi.org/10.2307/909864 

McIver, W. (1992) Pedagogical Considerations For Teachers Of Singing. The American Music Teacher  

Mental Health Foundation (2026) Burnout: signs, causes and ways to recover https://www.mentalhealth.org.uk/explore-mental-health/articles/burnout-signs-causes-and-ways-recover [Date Accessed: 5th January] 

Musicians’ Union (2023) Public Liability Insurance for Music Teachers https://musiciansunion.org.uk/working-performing/music-teaching/working-as-a-music-teacher/public-liability-insurance-pli-for-teachers [Date Accessed: 27th December 2025] 

Musicians’ Union (2025) Safeguarding https://musiciansunion.org.uk/working-performing/music-teaching/working-as-a-music-teacher/safeguarding [Date Accessed: 27th December 2025] 

Nix, J. (2013). “You want me to do what?”: Twenty-First-Century Voice Pedagogy Encounters Pedagogical Fundamentalism. The Choral Journal, 53(10), 43–51. http://www.jstor.org/stable/43051711 

Slater, C. (2025) Personal Interview, 22nd December 2025 

Williams, J. (2012) Teaching singing to children and young adults. Compton Publishing 

Zhang, Z. (2016). Mechanics of human voice production and control. The Journal of the Acoustical Society of America, 140(4), 2614. https://doi.org/10.1121/1.4964509