<p>There are different "schools of singing", which historically have corresponded to the major nationalistic music genres. Think of the bright, dramatic brilliance which satisfies Italian opera; the molding of sound into the transmission of text which is appropriate for French melodie and opera; the "covered" German sound which can be a vehicle for the intimate German lieder as well as powerful Wagnerian singing; the somber, comforting sounds of English oratorio and the fresh simple sounds of English folk song reinvented in art song. These are gross generalizations, and it has become a different era, where most successful singers (academic and professional) must be able to satisfy a broad spectrum of repertory. More and more, the techniques of the different schools have been mined to develop techniques which make the voice capable of handling great breadths of style, range, tone, and diction. </p>
<p>You will, however, find that each educational institution consists of a faculty which may self-perpetuate itself. A faculty member will not be hired or get tenure if the sound both produced and taught is not pleasing and acceptable both aestheticaly and functionally to those already on the faculty. At a different school, different approaches and sounds may be quite acceptable. This is one reason why, for instance, seriously ambitious solo singers are not drawn to the "choir" schools, thinking the sound taught will be more blendable than brilliant, which may or may not be an accurate perception.</p>
<p>[As I understand it, there are issues of genre playing for the string instrumentalists, i.e. different styles appropriate for orchestral playing, chamber playing, solo playing. Certainly there are different things happening visually (from my amateurish observations): orchestral players seem stiller, more controlled physically, chamber players more "dance-like" with their bodies (even when seated), solo players (concerto and recitalists) more individually expressive.] </p>
<p>My hunch is that for singers, the differences in sound is less regional and more idiomatic to the mission of the particular school and the backgrounds of its faculty (which will have been coordinated to that mission).</p>
<p>I cannot find the original post about being on a campus where there are relationships with many faculty members, but I most heartily agree that is highly desirable. Where all of the students within an area of emphasis are known by all of the faculty, there is more nurturing and there is more accountability. There are more resouces for advice and referrals. It is one reason why I am so opposed to the major "graduate" conservatories for undergraduate voice majors. The more advanced singers are the "stars" and they do get all the attention. [This is less an issue for instrumentalists, because they are not so dependent on physical maturity for prowess in their art.]</p>