<p>And room and board alone at CCM for oos is about $42k.</p>
<p>CCM and Eastman are rough admits for singers, CCM much more difficult for undergraduates than Eastman. At an earlier time there were fewer singers competing for slots....there are no guarantees.</p>
<p>Violadad,</p>
<p>How did you come up with the figure 42K for room and board at CCM? The last time I checked, tuition at CCM was in the neighborhood of $21,000 for OOS and room and board was around $7000. I would be astounded to learn that room and board is actually $42K. This is not a high-cost-of-living area of the country.</p>
<p>I've heard that SUNY Purchase is pretty good for music. I don't know about voice, but I know their double-bass program has great faculty so perhaps the rest of their music school is good too.</p>
<p>In an effort to be completely accurate, I just went to the U.Cincinnati website. (For those who may not know, CCM is one of the colleges at the U. of Cincinnati.) OOS tuition is $23,922 and room and board is $9765. That's a total of $33,687, which I believe is a pretty average figure nowdays.</p>
<p>With decent academics and high SAT scores, CCM has some generous non-need scholarship help.</p>
<p>Eastman is also running around $33,000/ year. Eastman gives some merit aid to most students. Amounts will vary greatly depending on the audition.</p>
<p>dancersmom- I inadverently picked up the OOS tuitition for the School of Law of at$33,100 and took the traditional R&B charges of about $8700 for my $42k figure. I stand corrected. </p>
<p>Your number is the accurate one for OOS. Mea culpa.</p>
<p>Last year, I was accepted to Eastman. The grand total would have been somewhere around $45,000 if I had went. You are required to live on campus your first two years so you wouldn't save anything there, and tuition increases almost every year. They do give every accepted student money, but it won't put a huge hole in it, they don't even guarentee that they will meet the family EFC, or they will but through a ton of loans.</p>
<p>If you can afford it great, but I would definitely have a few cheaper/aid giving schools on the list as well.</p>
<p>P.S. I think they typical merit scholarship given to every student runs somewhere between $8000-$12000, which seems like a lot, but they are not great with need-based aid.</p>
<p>Regarding Univ. of North Texas: Most out-of-state students are there on scholarships which amount to perhaps $1,000 (maybe more) per year. However, if your student is admitted and gets this scholarship, it automatically ensures 'in-state Texas tuition' for as long as said student is at UNT (keeping up grades, music requirements, etc.). A good deal, as tuition runs approx. $6k a year, and add room and board to that. Then add an exceptional music department. The voice faculty is excellent. They do two full operas a year and then another evening of scenes from operas. Plus numerous opportunities for gigs in the greater Dallas area. The original question was regarding state schools. Of course UNT isn't Julliard or Eastman, or probably even Indiana U. But for a 'state school', it's one of the best in the US.</p>
<p>On UNT....I also recall reading someting a few years ago about how State schools in Texas were having trouble getting people to graduate in 4 years, so they were giving an incentive of turning loans into grants for people who did graduate in 4 years. I don't remember where I read this, it might not even be true anymore, but it might be something worth looking into.</p>
<p>Also, I forgot to mention in my earlier post, I'm a student at Crane at SUNY Potsdam, so if you have any questions let me know. Financial aid here is pretty decent.</p>
<p>sorry to disturb everyone again, but does anybody have anything glowing to say about the voice faculty at CCM beyond what's on the website?</p>
<p>Might I suggest that career singer wantabees go to the websites with bios of the singers in various intern and apprentice programs and observe where they got their undergraduate and graduate degrees. Of the various singers I have heard in beginning professional venues, more have gotten their "sea/stage" legs in the regional colleges and universities than one might predict. That is where the teaching really happens, where those who are not such obvious vocal talents are nurtured and developed into careers. The premiere conservatories get the most polished talents, and some of them do progress, but just as many progress from a much less obviously predictable potential. </p>
<p>That being said, there are good singers on voice faculties everywhere, but the questions are "what do they know about teaching singing?" and "how well are their singers developing?" Conservatories tend to hire based on the performance careers of the applicants and/or their current level of professional activity. It sets a great example for the students, and there is a wealth of knowledge about roles, languages, and style, but solving the problems of a developing student, i.e. range, projection, consistency, dependability, and finding the correct/best Fach requires (perhaps) a different kind of talent.</p>
<p>Beware.</p>
<p>Great post Lorelei - I enjoy reading a forum of professional singers and the schools they suggest for nurturing and training a young voice are ones with which I am often unfamiliar. I don't post there much because they like to keep it to working singers but their advice mirrors yours. Some of the schools mentioned there in a thread asking for a good place for undergrad were Stetson, Converse, North Texas, Shorter and several others. Rarely do they recommend the household name teachers at the household name conservatories. In fact, there are lots of complaints of singers out of the top conservatories that had to rehab their voices after singing with some very well known teachers. Now I know that one person's horrible teacher is another person's hero. There are different needs for different students and the trick is to find the teacher for you and they are just as likely to be at a state school as Juilliard. Another thing these singers recommend is to to someplace where you will get excellent instruction in theory and other core courses so you can test out of some of these areas when you go to graduate school.</p>
<p>Oh! That's is so good to know. Well, it looks as though UNT is moving into my number one spot.(actually, I did think that I should leave the "household name conservatories" for graduate work, but it seems alot of the people I know going into voice are going, have gone, or are auditioning to these schools. I have to ask about the students from the NFAA program, they all seem to be going to the top conservatories. Is it because they are much better than the rest of us that they are better equipped to go to the conservatories?) Anyway back to my original thought. Does anyone have anything glowing to say about Linda Di Fiore? She seems to intrigue me and I don't know why.</p>
<p>She looks good. Check out Steve Austin, fine teacher, person, pedagogue...I know him well, and would not hesitate to send someone to him....his wife is a fine soprano, too, so he has broad knowledge. Jennifer Lane, mezzo, is there, lots of performance experience in Baroque/classical repertory, perhaps contemporary. I have had conversations with her, and she says all the right things. There is a new chancellor there, and there seems to be a strong commitment to the arts. I understand the building is wonderful, though the campus is less than lovely. Good luck! Lorelei</p>
<p>does steve or linda leave campus much? you probably don't knwo, but I guess there is no harm in asking. It has been my fear that my teacher would always be out and there would no consistence in my studies. Is that a potential problem?</p>
<p>I do not know about Linda, but Steve is less likely to be gone. Google her name and see if she has performance commitments with operas, they would require longer rehearsal periods than singing teachers who are concertizing/recitaling. Good luck.</p>
<p>You can go to UNT's Music website and check out all of the performances month-by-month. You will see that the faculty members perform on a regular basis. In general, I don't believe that they travel alot to perform during the school year. Many of them are involved in summer programs and festivals, however. I have listened to an archived performance of Linda Di Fiore and she is a very good singer. I also heard Jennifer Lane in concert a few years ago and was impressed. All in all, their faculty is top-notch and the teachers really seem to care about their students as individuals (for such a big school). They are doing two operas this year: Gounod's Romeo & Juliet and also Britten's Midsummer Night's Dream. They also do a concert of scenes from operas.</p>
<p>Yes, many voice faculty teachers ARE gone from campus to do roles in various venues, even during the school year. Theoretically they are supposed to make up the lessons, but that does not help when young singers go weeks without access to their major teacher. Some schools will allow a teacher to bring in an assistant or visiting teacher, but some will not. I have known (semi-retired) voice teachers who spelled their own students who had teaching jobs based on their singing careers, and that is a good deal for the students, word of wisdom from the original masters on the pedagogical tree. Looking at the university site for performances tells nothing about such things. When I was teaching at a university and was awarded a sabbatical, the first person I contacted, with my dean's blessing and understanding, was my then retired teacher from graduate school.....unfortunately there were spousal health problems and it did not work out, but it would have been the best thing for my students for pedagogical continuity.</p>