If you’ve ever wondered about teaching as an adjunct, read on for information about the job, application process, and more!
Do you have a desire to share your knowledge and expertise with others? Are you excited to work with students from all backgrounds? Do you want to serve as mentor and guide for singers? If you answered yes to these questions, teaching part time as an adjunct instructor at a college, university, or conservatory may be a great fit for you.
Before applying for a teaching position, consider what is at stake for both your potential students and you. Remember the care and support you received from your college voice teachers? They were fully invested in your development, dedicating hours outside of the studio to ensure your success. As an adjunct instructor, you will take on this responsibility and become that mentor, guide, and supporter for the musicians you teach. As you know, a caring and talented teacher can make all the difference in a student’s success.
As an emerging artist yourself, teaching part time at the collegiate level could be a great opportunity. You’ll earn money in the music field, have a place to teach and practice, meet other professionals with whom you can collaborate, and potentially create performance opportunities for yourself and others at your school. Teaching as an adjunct instructor, especially if hired to exclusively teach applied voice, will allow you to set your teaching hours based on your availability and the schedule of your students. If you aspire to teach full time in higher education, working as an adjunct is a great way to see academia from “the other side.” And there is no denying that the rewards of teaching, of having the opportunity to make a positive impact on an aspiring musician, can be profound.
Here are some of the considerations you should explore before embarking on this journey.
Time Commitments and Expectations
While the hours of teaching offered to you will be capped at part-time status, no more than 12 credit hours per semester, your contract will clarify any additional duties of the position—duties for which you will not necessarily be compensated. These may include attending faculty meetings, adjudicating auditions, advising, recruiting, and performing.
You will certainly be expected to dedicate time outside of the classroom to research and teaching preparations. As the instructor of record, the following will likely also be required:
- Design course syllabi and submit to the department head before classes begin
- Assess the abilities of students assigned to your studio
- Create and maintain instructional plans for each student, including the selection of repertoire that meet the department’s requirements and is appropriate for each student
- Adjudicate juries
- Maintain records of enrollment and attendance, assessments, and grades, and submit class rosters and grades (mid-terms and finals) by departmental deadlines
- Meet as needed with your area coordinator and departmental chairperson
- Follow all regulations and complete all training as required by the institution
Thanks to your years of study and performing, you have a great deal to share with aspiring singers. As an adjunct instructor you will work with students who represent a wide range of experiences, from those with little or no formal training to those who have studied for years, read music, and have performance experience.
You’ll likely apply for positions as an applied teacher, potentially instructing non-majors, music minors, and students pursuing degrees in music education, music therapy, or performance. Regardless of their age, background, and experience, the students will look to you not just for instruction, but also for guidance, insight, and encouragement.
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The Search
Applying for a teaching position requires as much preparation as auditioning. Do your research so you understand what the expectations are for both students and faculty. Types of institutions that may have adjunct positions available include community colleges, liberal arts colleges, state universities, private colleges and universities, and conservatories. Understanding the needs of the institution will help you to determine if working there will be a good fit for you.
There are a number of excellent resources available when searching for teaching positions. Here are four outstanding options:
Classical Singer Magazine
https://www.csmusic.net/content/classicalsinger/
On the website, go to Listings > All Opportunities & Events. Then in the Search filter, select Type > Teaching Job.
National Association of Teachers of Singing
https://nats.org/
Job Center
https://nats.org/cgi/page.cgi/_article.html/Job_Center
Free to access
The Chronical of Higher Education
https://www.chronicle.com/
Jobs https://jobs.chronicle.com/
The College Music Society
https://www.music.org/
Music Vacancy List https://mvl.music.org/
Access requires CMS membership
You should also search the websites of local institutions and share with your colleagues that you are looking for a teaching position.
The Application Process
Each job notice will list the minimum qualifications for candidates set by the institution and its governing board. Below is a list of the typical minimum qualifications. If you don’t meet these minimums, don’t apply.
- Master’s degree in Music, Music Education, Music Therapy, or a related field. Degrees in a related field can include an MFA in Classical, Musical Theatre, or Contemporary Commercial Music or an MA in teaching with a music concentration
- Teaching experience in higher education, which can include graduate teaching assistant positions
- Strong oral/written communications skills
- A minimum of 18 graduate credit hours earned related to the courses to be taught
Your Application Materials
- CV—the Curriculum Vitae, which is quite different from a performance resume. A CV, typically longer than a resume, should include the following basic categories, organizing each section starting with your most recent experiences. Do NOT include your headshot or physical description on your CV.
- Education: Include degrees earned, names of schools, years of graduation if recent, GTA appointments, GPA (if above 3.5), special honors, and title of thesis if applicable. For your undergraduate degree, you can also include Dean’s List and named scholarships. Do not list high school.
- Teaching Experience: List all teaching positions held including GTAs, student teaching, practicums, team teaching, and peer mentoring/tutoring.
- Recent Performances: Include the information found on your performance resume.
- Additional Training: You can include YAPs, internships, summer stock, and Continuing Education certifications.
- Teachers and Coaches: You should list only individuals dating back to your undergraduate years.
- Publications: Organize publications as you would a bibliography, including links if possible. Examples of publications include articles and books/book chapters, conference presentations, lecture-recitals, blog posts, podcasts, TV appearances, and panel discussions.
- Cover Letter: Create a dedicated cover letter for each job application. This is an opportunity to highlight your accomplishments, delve into your experiences, and explore how you hope to be a contributing member of the faculty. This should be no more than 1–2 pages.
- Unofficial Transcripts: Acquire these from your institution and save as PDF files. Redact sensitive information such as your social security number before uploading. Once you are hired, official transcripts will be requested.
- Recent Performances: Include a document with links to recent performances of any specific repertoire requested. Be sure the links work.
- Personal References: List of 3–5 professional references with contact information (name, position, institution, email, and phone). Choose a combination of professionals who can address your teaching and performance abilities, including professors, faculty advisors, directors, voice teachers, or coaches. Always ask permission before using anyone as a reference.
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Evaluating an Offer
As with any offer, be sure to read the contract carefully, especially as it relates to payment per credit hour and the number of students you will be teaching. Most institutions use a percentage formula for calculating the number of lessons per credit hour. For example, your contact may state that three 50-minute lessons equal 2 contract hours. Therefore, if hired to teach 6 credit hours of applied voice, you would be teaching 9 student lessons each week.
Academic courses such as diction, song literature, history, music appreciation, voice class, and theory typically carry 2 or 3 credit hours. If hired to direct one of the performing ensembles, which can carry 0 or 1 credit hour for the student, you’ll need to negotiate payment since you will likely be engaged in rehearsals for up to 6 hours a week plus performances.
Most semesters run 14–17 weeks. Before accepting a position, consider how many weeks you might be away for performances. While the institution might hire you knowing that you will miss multiple weeks during the semester, you need to consider what these absences will mean to your students.
“Doubling up” before and after your absence may work for applied lessons, but what plans will you make for absences to the academic courses you teach? Will you ask a colleague to take over the classes, offering to take their courses when they must be away? Perhaps you will arrange for students to work on a research project, or you might continue meeting your classes remotely, using the institution’s distance-learning capabilities (Zoom, Blackboard, etc.). Your absences do not have to have a negative impact on your students as long as you plan ahead.
Starting Your Position
This is an exciting time for you and your students. Create a welcoming and safe learning environment in your studio space and classroom. Build relationships with your colleagues and get to know each of your students, listening to their hopes and concerns and helping them to reach their goals.
Work within the structures of the institution to maximize your effectiveness, tapping into support offered through the library and learning centers. Share your knowledge of “The Business,” assisting your students to participate in performance, adjudication, and competition opportunities. But temper your goals with the understanding that there is no “one size fits all” approach to teaching.
I wish you great success and joy as you embark on this new adventure. Be open to opportunities, embrace challenges, ask for help when needed, and be prepared to make a difference in the lives of these aspiring musicians. Doing so will allow them and you to be successful in ways you cannot yet imagine.
