This dissertation investigates the experiential processes in music training and performance techniques of solo tenor voice practitioners. It is informed by teaching methodologies in baroque performance practice within higher education and links theoretical phases of the research with functional aspects of music making. The dissertation also examines applied performance practice in music for the solo tenor voice by a pivotal composer of the baroque period, George Frideric Handel (1685–1759). Solo vocal literature of the baroque period forms a core component of studies in conservatoires and universities. However, empirical data compiled in this research indicates that emerging performers frequently experience only limited formal instruction that combines theoretical and practical aspects of baroque performance practice. Furthermore, most vocal teachers’ exclusive focus upon their students’ technical development often prevails to the detriment of interpretive considerations. Students therefore may commonly develop little capacity to balance the development of their personal vocal technique with the declamatory practices and theoretical awareness required in the professional performance of baroque music. Practitioners suggest such experiences articulate a pervasive ‘on the job’ training scenario in terms of baroque performance practice. This enquiry incorporates a multi-faceted qualitative research framework. Informed by documented literature cited within the investigation, the methodologies used include semi-structured interviews, case studies and reflexivity.