Becoming Dr. Singer: The DMA Path

If you are considering a DMA, read on for reasons to pursue it, what to expect, how to prepare for application, and more from a singer currently in a DMA program.

So…what’s the significant change in my life since I became a DMA student? For one, people often assume I’m getting a PhD, and I find myself explaining that no, what I’m getting is a DMA, meaning Doctor of Musical Arts. Then, inevitably, the daunting question follows: “Why? Do you really need that as a performer?”

Reflecting on when I was still a master’s student, getting a DMA seemed like a new trend. A few landed Young Artist Programs. The rest either stayed in school to pursue postgraduate studies such as a DMA, PD (Performance Diploma), or PPD (Professional Performance Diploma)—or they changed majors, chose different careers, and left the field entirely. 

This industry was, and still is, brutal. It can be unforgiving. You don’t just need to be good. Or great. Or excellent. You need to be extraordinary to be successful in this industry. In other fields, like engineering or finances or computer science, there’s a general correlation between talent and outcome. Top students usually land high-paying jobs, mid-tier ones still find stable and decent work, and even those at the bottom can still land somewhere—maybe in smaller firms or entry-level roles. But in showbiz? If you’re not in the top 10%, and also lucky enough to be noticed by some big names, the system treats you like you’ve failed. There just aren’t enough opera houses, enough roles, enough funding to support everyone graduating into the field.

As intimidating as it sounds, deciding whether to pursue a DMA means confronting these realities head-on. And that brings us to the elephant in the room.

Why DMA?

For me, pursuing a DMA is about more than just credentials. It’s a chance to grow into a complete and versatile artist. The structure of the program gives me time to reflect, refine my craft, and deepen my understanding of music from multiple angles: performance, scholarship, pedagogy, and creative exploration. Whether through research, teaching, or artistic inquiry, I feel that the DMA can help me define my artistic voice and my role within the larger musical world.

That personal growth is one reason among many. Some are drawn to the intellectual challenge, others to the teaching opportunities or long-term academic goals. Understanding the full range of motivations can help clarify whether this degree fits your own journey.

Many see the DMA as a professional passport, especially in academia. These days, most university and conservatory teaching positions require a terminal degree, unless you’re already a recognized name in the field. 

It’s true that many of our own professors built impressive teaching careers without a doctorate, but most of them had highly successful performing careers to back it up. That path still exists, and some singers begin transitioning into teaching in their forties, balancing both worlds before fully shifting into academia. For many, this phase offers a more stable lifestyle with steady income, good health insurance, less travel, paid leave, and long summer breaks. 

For those still establishing themselves, without decades of stage experience to lean on, a DMA significantly strengthens your qualifications when applying for faculty roles. It signals not only advanced performance training but also preparation in pedagogy, research, and academic leadership. 

There’s also a more practical reality: not everyone lands a Young Artist Program or major performance contract right after their bachelor’s or master’s. In that case, staying in school can be a smart way to maintain momentum, avoid resume gaps, and continue developing both artistically and academically. Some people pursue a DMA simply because the professional world hasn’t opened up yet, and this path keeps them engaged in the field.

And beyond academia, the DMA opens many doors. It adds credibility to your performing career, prepares you for leadership roles, and supports work in areas such as research, writing, stage direction, and voice science. With this degree, you can become a professor, artistic director, voice consultant, opera producer, musicologist, or voice therapist—all roles that value both artistic depth and academic training.

What to Expect?

What is a Doctor of Musical Arts? It is a doctoral degree for music majors that combines advanced performance study with academic research. The program is designed as a three-year track, though, like a PhD, it can extend if you need additional time to finish. Daily life revolves around the crucial weekly voice lessons, optional music or acting coachings, and coursework in areas such as diction, language, pedagogy, theory, and musicology/music history. 

Requirements vary by institution: some programs allow considerable elective freedom, while others prescribe a tight schedule to keep you moving forward. Basic diction may be waived if prior transcripts or proficiency exams satisfy the language requirement, same for the others. Most schools also stage opera productions you can audition for, ensuring your resume shows continuous performance activity.

Much of your energy goes toward preparing DMA recitals, written program notes, preliminary exams and, eventually, the dissertation. Doctoral recitals demand more than a curated set of learned pieces. Each program expects a unifying theme that reflects scholarly research and artistic intent, often accompanied by detailed program notes or an analytical paper. Preliminary exams mark the transition from doctoral student to candidate. They usually cover language proficiency, performance, theory, musicology, and pedagogy, with some schools adding an oral component. Only after passing these exams do you focus fully on your dissertation and, simultaneously, begin serious job hunting.

Now for the money: how much will you spend? Funding models vary dramatically. Some universities grant every DMA student full tuition remission and a living stipend in exchange for teaching assistantships. Others offer competitive fellowships, merit-based partial awards, or a mix of salary and tuition credit tied to campus jobs. 

And there are some schools, facing applicant pools larger than they can fund, that admit students without offering a dime. If that happens, treat the offer as a starting point, not a final verdict. Use a stronger package from another institution as leverage, or seek out whether assistantships might open later in the cycle. Negotiating cannot hurt, and landing an assistantship both covers costs and adds university teaching experience to your resume.

Will it be stressful? Expect stress, because the workload is substantial anywhere you go. The key is to choose a program whose demands align with your goals. If you intend to continue auditioning and performing, look for a curriculum that leaves room for outside engagements. With clear priorities and strong time-management skills, the DMA can become a rigorous but rewarding path toward a multifaceted career in voice.

How to Prepare?

Doctoral degree—sounds scary, right? But here’s some good news for you: the application materials aren’t that different from a master’s. You’ll need good audition recordings, a repertoire list, a resume, a personal statement, recommendation letters, etc. Same old, same old. What’s new are the writing sample, interviews, and possible entrance exams. Most schools want to see something that shows your academic research skills through one or a couple of writing samples. You can revise an essay from your master’s work, tailoring it to each DMA program’s focus. If your previous coursework didn’t include any substantial papers, consider reaching out to a theory or music history professor for help. Think of a topic that excites you, and build from there.

Some institutions also test you before you even sing. Independent conservatories such as Juilliard and Manhattan School of Music require written theory and music history exams during audition week, and you must pass to remain in the running. Some university-affiliated schools, like Peabody, also administer their theory placement exams online as early as January, weeks ahead of live auditions, so weak areas can sink an application early. However, most large universities typically postpone diagnostic exams until after you enroll, so they do not affect your admission decision. 

If you do not pass, the worst case scenario is that you will be required to take more review courses. Therefore, make sure to check each school’s policy, track down past exam samples when possible, and brush up with a trusted theory or history mentor so that no surprise test undermines an otherwise strong application. 

Interviews can follow the audition as well. Faculty use them to learn your goals and assess how you will fit into the program, so be ready to talk about both artistic vision and academic interests.

Also, don’t rely only on recommenders from the performance side. While voice teachers, coaches, conductors, and directors are important, it’s a good idea to include at least one academic recommender. Someone who taught you in pedagogy, music history, or theory and can speak to your academic strengths will light up your application nicely.

Another crucial part of the preparation process is choosing the right programs to apply to. It’s almost as important as choosing a life partner—it will directly affect your happiness for at least the next three to five years. Take time to study the curriculum and the specific requirements for reaching candidacy and graduation. Some schools don’t offer review courses to prepare you for the preliminary exams, assuming you’ve already mastered music theory and history during your bachelor’s and master’s. But how hard are the prelims? And how many chances do you get? 

For example, I discovered that at one school, the prelims were extremely difficult, and they didn’t offer any prep courses. You only got two chances to pass. If you failed both, you were dismissed from the program. That’s it. Years of work gone just like that. No one wants to end up in that situation. 

In cases like that, you really have to think carefully before applying or accepting an offer. A program advertised as three years could easily stretch into five or more, especially if you’re struggling with requirements. And if you’re not on a full scholarship, every extra semester means more tuition, more living expenses, and more stress. You could end up stuck in a program that drains both your time and your finances.

If the exams are reasonable, then maybe it’s manageable. Try to search for sample prelim exams from previous years or contact the school directly to ask about them. Also, keep in mind that the DMA is not a PhD. Therefore, the program’s research expectations may be lighter and, in some cases, you can substitute coursework for written exams or fulfill the dissertation requirement with recitals and a shorter document.

Pursuing a DMA is not an easy path, but with the right preparation and mindset, it can be a deeply rewarding one. And, hey, at the end of it all, you get to be called Dr. — how fun is that?