This is the story of one student's path to graduate school, from the initial curiosity about the subject through the application process.

As a freshman in college, I sang the title role in a production of my school's first-ever undergraduate opera company (which has since flourished into a legitimate body of student singers and faculty members). I participated in the school's only vocal performance class for three years, sang in various theatrical productions, and even joined an a capella group. At the very least, these experiences (operatic and otherwise) gave me constant outlets for my urge to perform.

Still, my graduate school aspirations were in constant flux. I considered applying to medical school, law school, and even graduate art history programs. I harbored ambitions to study opera, but I resigned myself to focusing on more stable, academic pursuits while singing as a hobby. After ample reflection and re-thinking, I realized that, regardless of practicality, I wanted to apply to graduate-level opera programs. Many find this type of decision-making process to be both arduous and ambiguous, but for me, it was simply a matter of acknowledging how I spent my time.

After committing to this educational trajectory, I decided that in order to sing at the same level as my conservatory-trained peers, I would need to take a year off from college to study voice and prepare for graduate school auditions. I studied with several teachers, demonstrating a strong work ethic and commitment that I hoped my recommendation letters would later reflect. During this time, I also applied to an opera program at the Aspen Summer Music Festival, and I was fortunate enough to be accepted.

At Aspen I performed in a wide range of operatic scenes and studied with internationally recognized faculty, including some from the Manhattan School of Music and other conservatories to which I planned to apply. Aspen proved invaluable in introducing me to many musicians so that I could speak to them about their graduate school experiences. Furthermore, I knew that my participation would only reinforce my commitment to singing in the minds of a graduate school admissions committee.

After being admitted to the Manhattan School of Music, I considered the inevitable: how would a graduate degree in vocal performance serve me? The somewhat nebulous answer to this question still provokes my parents' immediate skepticism; it is the source of much dismay for many musicians, particularly those who attend conservatories at the undergraduate and graduate level. After graduating from the Manhattan School of Music in 2005, I hope to enter a young artist or apprenticeship program, many of which require a graduate degree. Most opera singers use these programs as a springboard for their careers, gaining recognition and singing in regional opera companies, ideally the Metropolitan Opera and other famous international venues. However, what other options are open to an aspiring singer?

Should my career be cut short, a master's degree will at the very least suggest my experience and knowledge as a singer, enabling me to establish a private voice studio, perhaps to join the faculty at a conservatory or to conduct master classes. Admittedly, it is my hope, and the hope of many of my colleagues, that a master's degree in music will not be entirely useless in other career paths. Theoretically, a graduate-level degree demonstrates more in-depth critical study in a given subject or field. Many opera singers persist that a master's degree in music will reflect a fundamental character trait, a level of commitment that can only support one's resume for any career path. As a current student, I have yet to disprove this hypothesis.

The application process for a musician is somewhat unique. Most vocal programs require a short statement of purpose, several letters of recommendation from established musicians, a recording or CD that showcases your instrument, and an actual audition before the full faculty. For my personal statement, I considered what all applicants consider: how to distinguish myself from other musicians in some way. Why did I want to be a singer?

Most every singer has contemplated this question, and a great many compelling answers exist. Some singers love the act of performing, others love an audience, and some simply enjoy the mechanics of producing sound. Ultimately, however, I found that in order to make my statement the most distinctive, I would have to be the most honest, allowing my language (rather than some extraordinarily unique driving force) to compel the reader. Interestingly enough, I simply decided to write about honesty, considering the most fundamental meaning of the word: "fairness and straightforwardness of speech."

Singing, as an art form, hinges upon honesty. A singer aims to reveal the most 'honest' and intrinsic qualities of his or her instrument while singing, striving to imbue a character with realistic and compelling qualities. We attempt to give life, truth and dimension to a character, simultaneously showing the audience nuance, vulnerability and control. A lapse in honesty in one of these pursuits ultimately leaves a singer unsatisfied, while achieving honesty in singing can be a highly therapeutic, fulfilling and self-actualizing art form.

Initially, the prospect of graduate school induced considerable anxiety and fear. For most students, applying to graduate school implies committing to a career path – a scary prospect for those still completing their undergraduate career. However, I felt most comforted by the knowledge that graduate school alone would give me the opportunity to focus and specialize like college could not. Moreover, I felt as though, intellectually, I deserved to devote the energy and time to the subject which for years had interested me most.