With no more than forty years context, remarkable growth and development have occurred in the practice of Korean colleges and universities. So we now possess many of intra- and extra-educational achievements. However, we cannot but envisage the current state there are not a few problems and difficulties to be solved. The present study concentrates on the realities of music college vocal course in which the curriculum aims at vultivation of able professional performers. To give a new desirable vocal lesson curriculum, a good many pieces enough to bring full investigation which have been adopted in the curriculum were collected and analyzed to each other. In addition, vocla collegians were asked to set up their own opinions to the betterment. Some major problems revealed in the result are: 1. At present, the college vocal lesson curriculum as a whole is indeed well prepared to region of itself. But there showed a significant difference in the content as well as to grade and individual, according to personal teaching plans of the professors assigned to each of students. 2. There was no found systematic and scientific vocalization, for it is concurrently learned with practical lesson within a short time given. A common problem was indicated by most of the students with a matter-of-fact trouble of vocal exercise. 3. The learning practice of diction that seems to be the most important in vocal education is with no use of Hangul (the Korean language), whereas English, French, German and Italian are all included in the curriculum. 4. The majority of music colleges do not take the strength of teaching-by-branch method for each of stages; indeed, it is desirable for students to learn French, German, Italian and other classical style songs during freshman and sophomore days and then to be rearranged to the sub-department of oper or lied during the last two years. Such a nonspecific curriculum, to a great extent, limits to bringing up a group of musician as a professional with good qualities and theoretical framework. Therefore the study suggests the followings, in parallel with acceptance of go-ahead opinions of music-major students and professors. 1. First of all, both subdivision of the vocal music subjects and firm distinction of the related teachings for each professor should be made prior to dichotomy of lied and opera; the former includes Italian, German, French, English, American and Korean classical songs, and the latter consists of opera, oratorio, concerto, aria and others. 2. In vocal music in which the body acts as an instrument, it is reasonable to separate the vocalization and the lesson of practical exercise to two times a week, rather than providing at the same time. 3. No clear expression of the words of Korean lieds, which is found in such realisties as brightness and rhythm of vowel, accent of consonant, and interrelationship of the two, should be removed by means of earlier introduction of the curriculum of Hangul diction. 4. For the cultivation of much better professional musician than till now, the priority of music college education must be given not to abnormal efforts for the level rise but to the operation according to the curriculum construction. As an institutional support, further, circulation system of the lesson may be expected to be realized inside or outside a college, rather than relying upon one professor of major lesson for four years of college life.