In reply to Scoopz.

First, even within vocal pedagogy, there isn’t a single universal agreement on all standards. Different schools of training (classical, contemporary commercial music, jazz, etc.) prioritize different tonal qualities, stylistic choices, and even definitions of “good” technique. What’s considered ideal in opera would not necessarily be ideal in pop or R&B.

Second, assessing a singer isn’t just about technical execution. Tone color, emotional delivery, stylistic authenticity, phrasing, and artistic interpretation all matter—and those are inherently shaped by cultural context and personal perception. Two technically proficient singers can be judged very differently depending on the listener’s taste or exposure.

Finally, being familiar with technical standards doesn’t grant complete objectivity, it just narrows the margin of subjectivity. Even trained vocal coaches can disagree when evaluating the same singer, which shows that interpretation still plays a role.
So yes, technical knowledge adds credibility, but it doesn’t eliminate subjectivity. Singing sits at the intersection of science and art. You can measure parts of it, but you can’t reduce the whole experience to objective standards alone.