The Doctor of Musical Arts (DMA) degree has been the terminal degree in music performance, composition, and conducting in North America since the early 1950s. Originally met with criticism, some of which continues to this day, the DMA continues to serve as the gateway for applied music-makers that wish to join the academy. This document investigates and echoes these criticisms surrounding the necessity and design of the DMA in Voice Performance, while submitting new criticisms based in curriculum theory, learning science (pedagogy), and educational psychology. A comparative look at DMA in Voice Performance programs at 57 American universities and conservatories provides context and inspiration for a much-needed consensus on the desired outcomes of this terminal degree in singing. This document responds to this need by proposing a new, revised, and ideal course of study that encourages the singing community to reconsider the limitless possibilities that exist for artist-teachers in the pursuit of a DMA. In so doing, it serves as a mindful guide that institutions may use to tailor their doctoral programs to their strengths, while following best practices that uplift, validate, and ensure the existence of such a degree. [The dissertation citations contained here are published with the permission of ProQuest LLC. Further reproduction is prohibited without permission. Copies of dissertations may be obtained by Telephone (800) 1-800-521-0600. Web page: http://www.proquest.com.bibliotheek.ehb.be/en-US/products/dissertations/individuals.shtml.]