Art, Drama, and Music Teachers, Postsecondary Salary

The median art, drama, and music teachers, postsecondary salary in the United States is $78,620 per year. Salaries range from $47,570 at the entry level to $163,350+ for the top 10% of earners. There are 93,560 art, drama, and music teachers, postsecondary jobs nationwide. Employment is projected to grow 1.7% through 2034.

Last updated: June 2026 Β· Source: U.S. Bureau of Labor Statistics

Median Salary
$78,620
per year
Employment
93,560
jobs in the U.S.

Salary Distribution

10th percentile
$47,570
25th percentile
$61,620
Median
$78,620
75th percentile
$103,850
90th percentile
$163,350

Job Growth (2024-2034)

+1.7%
Slower than average

Annual Openings

9,000
jobs/year (growth + replacements)

Education Required

Master's degree

Art, Drama, and Music Teachers, Postsecondary Career Guide

Interview questions, resume templates, and a career ladder written specifically for art, drama, and music teachers, postsecondarys.

Fine-arts and performing-arts faculty teach studio art, painting, sculpture, graphic design, ceramics, drama, acting, directing, stagecraft, applied music (instrument or voice), music theory, composition, conducting, ensembles, and music history at community colleges, four-year colleges, and conservatories. Day-to-day: studio critiques, rehearsals, private applied lessons, ensemble direction, gallery / recital curation, jury exams, thesis committees, and NASM / NASAD / NAST accreditation self-studies. BLS median $78,620; p10 $44,220; p90 $172,610; ~93,560 employed nationally. The market is bimodal β€” R1 tenure-track and elite conservatory positions ($95-165k + 9-month contract) sit alongside adjunct piecework at community colleges ($3,200-5,500 per 3-credit course, no benefits). Terminal degree norms: MFA for studio art / drama / design; DMA or PhD for music theory / musicology / composition; MM + professional performance career for applied music at conservatories.

Core Skills Hiring Managers Screen For

Terminal-degree studio / performance credibility
MFA (studio art, drama, design) is the terminal degree β€” a 2-3 year residency at a NASAD-accredited program like Yale, RISD, CalArts, Cranbrook, or UCLA. Music divides: DMA / PhD in theory / musicology / composition for academic tracks; MM plus a serious professional performance CV (orchestra chair, opera credits, recorded albums) for applied-music conservatory faculty.
Studio / rehearsal pedagogy
One-on-one critiques in painting studios, sectionals in orchestra, scene work in acting classes, private applied lessons in voice or violin. This is not lecture teaching β€” you're evaluating a live performance or a work-in-progress in front of the student. Requires directness paired with craft-specific vocabulary.
Portfolio / audition-based admissions
Studio art programs review portfolios (typically 15-20 pieces); music programs run live auditions with jury panels of 3-5 faculty scoring against rubric; drama runs monologue + cold-reading auditions. You sit on these panels every fall + spring.
Ensemble / production direction
Music faculty conduct orchestra, wind ensemble, choir, jazz combo, or opera workshop. Drama faculty direct 2-3 mainstage productions per year. Studio art faculty curate BFA / MFA thesis exhibitions. This is a substantial time commitment above teaching load β€” 8-15 hours per week during production runs.
Jury / thesis committee work
Music applied juries every semester (student performs 15-25 minutes for a 3-faculty panel scored against rubric). Drama capstone showcases. Studio art MFA thesis exhibitions with 3-5 faculty on the committee. Rigorous, standardized, and non-negotiable at NASM / NAST / NASAD-accredited programs.
Program accreditation (NASM, NASAD, NAST, HEADS)
National Association of Schools of Music (NASM), Art and Design (NASAD), Theatre (NAST). Programmatic accreditation on a 10-year cycle with midpoint reports. Faculty roles in self-study team + peer-review site visits. Regional accreditation (HLC, MSCHE, WSCUC, NECHE, SACSCOC) sits on top.
Grant + residency + guest-artist coordination
NEA, state arts council grants, guest-artist residencies (visiting composer, guest director, artist-in-residence), and Fulbright placements. Faculty write proposals and host visiting artists β€” a strong guest-artist calendar drives applicant pipeline.
Continued professional practice (exhibits, gigs, recordings)
Studio faculty need active exhibition CVs (solo shows, group shows, gallery representation). Music faculty need active performance CVs (chair positions, festival appearances, recordings). Drama faculty need directing / acting credits (regional theatre, TV / film). Academic promotion committees weigh professional practice heavily β€” a decade without a show or a gig is a red flag.

How to Become a Art, Drama, and Music Teachers, Postsecondary

  1. 1
    Earn a terminal degree (MFA, DMA, PhD, or MM + performance CV)
    MFA (studio art / drama / design): 2-3 years at a NASAD / NAST-accredited program β€” RISD, Yale, CalArts, Cranbrook, UCLA, SAIC, Tisch, Yale School of Drama, Juilliard Drama. DMA / PhD (music theory, musicology, composition): 4-6 years at an R1 like Eastman, Indiana, Michigan, Yale School of Music. MM + performance CV (applied music at conservatories): 2 years MM at Juilliard / Curtis / Manhattan School of Music / New England Conservatory plus a serious performing career.
  2. 2
    Build a professional practice CV alongside grad school
    Studio: solo + group exhibitions at commercial galleries, museum shows, published catalogs, gallery representation. Drama: regional theatre credits (LORT houses), professional directing / acting credits, festival appearances. Music: orchestra chair positions, chamber recitals, competition wins, recorded albums, festival appearances. The academic job market weighs this equally with the teaching CV.
  3. 3
    Adjunct or one-year visiting appointment first ($3.2-5.5k per course; visiting $52-72k/9-mo)
    Community college adjunct: $3,200-5,500 per 3-credit course, no benefits. Four-year visiting assistant professor: $52-72k on a 9-month contract, some benefits, 1-3 year appointment. Conservatory adjunct: $3,500-6,500 per course. This is where you build the teaching CV; nearly all tenure-track hires come from a pool with adjunct or visiting experience.
  4. 4
    Land a tenure-track assistant professor line ($58-95k, 9-month)
    Tenure track at four-year college / conservatory / R1 university. 3-4 years teaching + 3-4 years scholarly / professional practice review, then tenure vote in year 6. NASAD / NASM / NAST-accredited programs are the target. Prestigious R1s, conservatories (Juilliard, Curtis, MSM, Berklee), and elite liberal arts colleges (Oberlin, Bard, Sarah Lawrence) all recruit through the Chronicle of Higher Ed, HigherEdJobs, CAA (College Art Association), CMS (College Music Society), ATHE (Association for Theatre in Higher Education).
  5. 5
    Advance to Associate β†’ Full Professor β†’ Department Chair β†’ Dean of Arts
    Associate Professor with tenure ($75-125k). Full Professor ($95-165k). Department Chair adds $8-18k stipend + course release. Dean of Fine / Performing Arts ($135-215k, 12-month). At conservatories and R1s the compensation ceiling stretches to $200k+ for endowed chairs and named professorships.

Career Progression

Adjunct Instructor / Applied Instructor
0-4 (typically alongside performing / studio career) yrs$3,200-5,500 per 3-credit course Β· applied lessons $65-125/hour Β· ~$18-52k annually depending on load
  • β€’Teach 1-3 sections per semester (studio, ensemble, applied lessons, or academic-music courses)
  • β€’Grade portfolios, deliver critiques, run applied juries as invited
  • β€’No committee service or advising responsibilities typically
  • β€’Maintain professional practice CV (exhibits, gigs, recordings)
Next: Visiting Assistant Professor at 1-3 years once a full-time posting opens.
Visiting Assistant Professor / Instructor
0-3 in role yrs$52,000-$72,000 (9-month contract) + partial benefits
  • β€’Full teaching load (2-3 courses per semester + 1 ensemble or 4-8 applied studio hours)
  • β€’Serve on juries, admissions auditions, and portfolio-review panels
  • β€’Contribute to guest-artist programming; host visiting artists in your specialty
  • β€’Continue professional practice (exhibits, performances, recordings) at the pace expected of a tenure-track hire
Next: Tenure-track Assistant Professor at 2-4 years; visiting roles cap at 3 years typically.
Tenure-Track Assistant Professor
0-6 yrs$58,000-$95,000 (9-month contract) + summer teaching option + benefits
  • β€’Teach 2-3 courses per semester (varies by ensemble / studio load)
  • β€’Serve on department, division, and college committees
  • β€’Advise BFA / BM / BA majors; serve on MFA / DMA thesis committees
  • β€’Sustain professional practice + scholarly output for the tenure dossier (typically 6-8 solo or juried group shows, 2-4 major recording projects, or 1 book + 3-6 peer-reviewed articles depending on discipline)
Next: Tenure vote in year 6; promotion to Associate Professor with tenure.
Associate Professor (tenured) / Full Professor
6-20 yrs$75,000-$165,000 (9-month) + summer + endowed chairs $15-45k on top
  • β€’Lead specialty tracks or studios (advanced conducting, MFA-level painting, opera workshop)
  • β€’Chair or co-chair MFA / DMA thesis committees
  • β€’Mentor junior faculty and visiting artists
  • β€’Sustain top-tier professional practice β€” solo shows at commercial galleries, principal chair positions, major recordings, invited festivals
Next: Department Chair or endowed / named chair at 10-18 years.
Department Chair / Dean of Fine / Performing Arts
12+ yrsChair $105-145k (9-mo + stipend) Β· Dean $135-215k (12-month) + benefits
  • β€’Own a department or division: curriculum, budget, faculty hiring, accreditation
  • β€’Lead NASM / NASAD / NAST self-study cycles
  • β€’Advance donor relationships (arts patrons fund conservatories heavily)
  • β€’Represent the department at university leadership + national CAA / CMS / ATHE meetings
Next: Provost, President of a conservatory, or move to a major arts organization (museum, symphony, LORT theatre) in a senior leadership role.

Interview Questions & Answers

5 free questions below. Career Kit unlocks 15 total plus resume bullets for every level.

Q1. Walk us through your teaching philosophy in a studio / applied lesson / rehearsal setting.technical
Studio: I teach through structured critique β€” students set the stakes for what they were trying to accomplish, peers respond formally, then I close with craft-specific observations tied to the work rather than the artist. In applied music: diagnose the technical or musical issue in the first 5 minutes, prescribe two things to work on before the next lesson, model the passage myself when helpful. In rehearsal: come in with a specific rehearsal plan tied to the concert or production deadline, run the room efficiently, and never waste ensemble time on individual coaching that belongs in sectionals. The through-line across all three is respect for the student's intent + directness about craft. Avoid the two failure modes: therapist-mode (all encouragement, no craft feedback) and dictator-mode (all correction, no room for the student's voice). Cite specific pedagogical influences β€” Josef Albers at Yale for color theory, Nadia Boulanger's teaching methodology for composition, Sanford Meisner's technique for actor training β€” depending on your discipline.
Q2. How do you balance your professional practice with teaching load and service?behavioral
Structural time-blocking. Practice-studio or writing time is scheduled first, non-negotiably β€” for me that's 6-11am four days a week during term. Teaching happens in the afternoon. Committee service and admin get one dedicated day per week, not scattered. Summers are for major projects (exhibitions, recordings, book chapters) that require sustained time. The reality of tenure-track fine-arts jobs is that professional practice is what gets you tenure β€” you cannot let teaching or service crowd it out. Talk with your department chair up front about what production or exhibition schedule you're planning, ensemble commitments you're bringing in, and be honest if a heavy year of teaching prep needs to happen in year one. NASAD / NASM peer reviewers explicitly evaluate faculty professional practice β€” this is not optional.
Q3. A first-year MFA student pushes back on your critique in front of the class. How do you handle it?situational
Don't win the argument in the room. Slow down. Acknowledge that critique is hard and that the student is entitled to disagree. Re-articulate your point in one sentence tied to a specific craft observation rather than to intent or personal taste. Invite the peer group to respond β€” MFA critique is a peer-taught format; my voice is not the only voice. If the student is still hot, offer to continue the conversation in office hours where the emotional stakes are lower. After class, reflect honestly on whether the critique was fair β€” sometimes the pushback is justified and the observation was off-base. MFA critique culture at RISD, Yale, CalArts, Cranbrook is direct but respectful; the failure mode to avoid is either bulldozing students or backing off from craft feedback because the room is tense.
Q4. Tell me about a program-level change you drove and its measurable outcome.behavioral
STAR. Situation: my department's BFA graphic design track was placing 42% of grads into design jobs within 6 months of graduation, well below the NASAD-accredited peer average of 68%. Task: raise the placement rate without diluting the studio-art foundation the program was known for. Action: I redesigned the senior capstone to require a client-facing design brief with a real regional nonprofit or small business, added a portfolio-review week with 8 visiting art directors from Weiden+Kennedy, IDEO, Sagmeister & Walsh, and Pentagram, and built a required internship semester with a network of 22 studios and in-house design teams. Result: 6-month placement rose to 74% over the next 3 cohorts, and the program was re-accredited by NASAD with commendation on career-preparation outcomes. Interviewers want a specific numeric outcome, a concrete curriculum or programmatic action, and evidence that you worked the internal curriculum-approval process (dean, curriculum committee, accreditation liaison).
Q5. Where do you see yourself in 5-10 years and what's your specialty focus?closer
Show that you understand the fork. IC / artist-scholar track: tenure β†’ full β†’ endowed chair β†’ distinguished professorship (Yale, Juilliard, Curtis, RISD career arcs). Administrative track: tenure β†’ chair β†’ dean β†’ provost. Name which fork you're leaning toward and why, but leave room. Cite specific subfield ambitions β€” 'I want to be the go-to faculty at an NASM-accredited program for contemporary opera performance' or 'I want to build out the 3D printing + digital fabrication studio at my institution and become a recognized voice at CAA' β€” this signals concrete planning. Name credentials or recognitions you're building toward (NEA fellowship, MacArthur, gallery representation with a specific NYC or LA gallery, Grammy nomination, LORT directing credit) as evidence of measurable trajectory.

Resume Template β€” Tenure-Track Assistant Professor (0-6 yrs)

Copy these bullets into your resume as a starting point. Career Kit includes bullets for every level of the ladder.

Tenure-Track Assistant Professor (0-6 yrs)
  • β–ΈAssistant Professor of Studio Art (Painting) at [NASAD-accredited SLAC]; teach 5 courses per year (2 undergrad studio + 2 seminars + 1 MFA critique) and advise 6 MFA candidates.
  • β–Έ6 solo exhibitions and 14 juried group shows across the tenure clock; represented by [regional gallery]; work acquired by 3 university museum collections and 1 regional art center.
  • β–ΈRedesigned the BFA senior capstone to include client-facing design briefs and visiting art director portfolio reviews; 6-month placement rose 42% β†’ 74% over 3 cohorts.
  • β–ΈMFA Painting, Yale School of Art; BFA Studio Art, RISD. $72k base (9-mo) + $6k summer teaching + full benefits + $12k research / studio budget.

What Gets You Rejected

  • βœ—Terminal degree without professional practice β€” MFA / DMA on paper without exhibitions, gigs, or recordings across the last 5 years is disqualifying for tenure-track hires.
  • βœ—Cannot demonstrate applied / studio teaching in the on-campus interview β€” every campus visit includes a live studio critique, master class, or rehearsal demo. Bombing this ends candidacies.
  • βœ—Weak student evaluations from prior adjunct terms β€” NASM / NAST / NASAD reviewers pull evaluations, and sub-3.8 / 5 with any pattern of comments about being dismissive or absent is a hiring knockout.
  • βœ—No professional network β€” search committees ask 'who reviewed your last exhibition' or 'who conducts the ensemble you played in.' Isolated candidates without a discoverable professional footprint don't move forward.
  • βœ—Cannot fund own practice β€” search committees at underfunded programs (community colleges, regional publics) want faculty who can bring grant + residency + exhibition income; candidates who rely entirely on institutional funding are seen as high-risk.
  • βœ—Ensemble / production disaster history β€” a documented rehearsal walkout, cancelled production, or public professional-conduct issue at a prior institution is disqualifying at NASM / NAST-accredited programs.
  • βœ—Ideological or aesthetic rigidity β€” MFA / DMA culture prizes intellectual range. Faculty who only teach or make within a narrow style (formalist painting only, common-practice tonal music only) struggle in contemporary programs.
  • βœ—Missing the professional practice + service line β€” mid-career candidates (Associate Professor track) without department or division-level service experience are seen as unready for promotion.

Salary Negotiation Levers

  • βœ“Studio / research budget β€” most fine-arts tenure-track offers include a $6-25k annual studio, research, or performance budget; ask for it in writing.
  • βœ“Summer teaching option (music, drama, or studio-art summer intensives) adds $8-22k on top of the 9-month base at most institutions.
  • βœ“Course release for major professional projects β€” negotiate a 1-course release in years the department knows a solo exhibition, opera production, or major recording is happening.
  • βœ“Named / endowed chairs at conservatories and R1s add $15-45k salary premium + $25-100k research funds; more available at senior levels but sometimes offered at hire for star candidates.
  • βœ“Relocation assistance β€” $5-20k for domestic; $15-50k for international hires. Conservatories often pay for studio-shipping of instruments or artwork.
  • βœ“Housing allowance / faculty housing at conservatories (Juilliard, Curtis, MSM) and elite urban SLACs (Sarah Lawrence, Barnard) β€” negotiable at hire.
  • βœ“Guest artist / performance fees β€” if you're bringing in a signature ensemble or exhibition, negotiate the honorarium and travel budget as part of the hire.
  • βœ“Sabbatical timing β€” every 6-7 years at tenure-track institutions; some conservatories offer earlier or more frequent sabbaticals for active performers.
  • βœ“Health insurance for a partner + dependents β€” critical at 9-month contract institutions since summer coverage can be a gap.
  • βœ“Course load β€” negotiate the exact course + ensemble + studio-hour load in writing. A 2-2 vs 3-3 load is a meaningful career difference.

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Art, Drama, and Music Teachers, Postsecondary Salary by State

Best Cities (cost-adjusted) β†’

Salary Map β€” Click a state for details

$53K
$103Kβ–  No data

Top Paying States

Delaware
$103K
+31%
California
$99K
+26%
New York
$99K
+26%
Vermont
$98K
+25%
Rhode Island
$98K
+24%
District of Columbia
$97K
+23%
Massachusetts
$86K
+9%
Maryland
$86K
+9%
Michigan
$83K
+6%
New Jersey
$80K
+2%
Vertical line = national median. Click a state for full details.
StateMedianvs. National
Delaware$103,320+31.4%
California$99,410+26.4%
New York$98,850+25.7%
Vermont$97,980+24.6%
Rhode Island$97,580+24.1%
District of Columbia$96,900+23.3%
Massachusetts$85,820+9.2%
Maryland$85,590+8.9%
Michigan$82,990+5.6%
New Jersey$80,100+1.9%
1–10 of 49

Art, Drama, and Music Teachers, Postsecondary Salary by Metro Area

Metro AreaMedianvs. National
Riverside-San Bernardino-Ontario, CA$163,750+108.3%
Fresno, CA$135,970+72.9%
Visalia, CA$128,910+64.0%
San Francisco-Oakland-Fremont, CA$127,800+62.6%
Sacramento-Roseville-Folsom, CA$124,680+58.6%
Trenton-Princeton, NJ$104,910+33.4%
Charlottesville, VA$104,570+33.0%
Ithaca, NY$102,910+30.9%
Eugene-Springfield, OR$101,270+28.8%
San Diego-Chula Vista-Carlsbad, CA$101,010+28.5%
1–10 of 150
Data Source: U.S. Bureau of Labor Statistics, Occupational Employment and Wage Statistics (OEWS). Data reflects the most recent annual survey.
How does this compare to pro athletes?
A art, drama, and music teachers, postsecondary earning $78,620/year would need 758 years to match Stephen Curry's NBA salary, or 814 yearsto match Patrick Mahomes' NFL contract.
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πŸ“ˆ See how art, drama, and music teachers, postsecondary salaries have changed over the past decade.
View Art, Drama, and Music Teachers, Postsecondary salary trend (2011–2024) β†’