The Understanding of Contemporary Vocal Pedagogy and the Teaching Methods of Internationally Acclaimed Vocal Coaches

Abstract

As a result of the growing interest in Contemporary Commercial Music (CCM) singing, and increasing interest in TV shows such as ‘The Voice, ‘X-Factor’ and ‘American Idol’, many singers are realising the importance of developing a strong vocal technique.

Lack of scientific understanding and poor kinaesthetic awareness in the past, has meant that singing pedagogies have relied on the use of imagery and on the sensations of singers and teachers (Morris, 2012, Chapman, 2006). In the 21^st century, however, scientific understanding and knowledge about the voice, as well as a great tradition of imagery and sensation based pedagogies, has led to a great deal of disagreement about the best method to approach the teaching of singing. Vocal music is a broad field and incorporates many genres. Voice qualities vary greatly between these styles and are very different from classical singing (Bjorkner, 2008, p. 533), which has been the predominant style of tuition until relatively recently. The difference in voice quality between classical and CCM styles has raised issues about the nature of appropriate teaching for CCM. Some have argued that different techniques are needed for learning to sing CCM and that classical tuition is not appropriate. The research reported in this project aims to develop further understanding of pedagogy as it applies to CCM by interviewing ten internationally acclaimed vocal coaches as well as finding out what approach they would have to addressing the vocal issues of two singing students shown to them on video.

Epistemologically, this research adopted a phenomenological approach and used semi-structured interviews. The research generated many specific lessons for vocal pedagogy. It has shown: teachers must base their teaching on an in depth understanding of how the vocal mechanism works rather than just teaching how they were taught. They must tailor their teaching to the individual needs of students, as well as stay up to date with the latest developments in vocal pedagogy; that there are differences between teaching singing in the classical and CCM styles; that learning about specific styles requires specific training. Teachers should also have professional performance experience; always support and encourage students; and help their students to understand how to connect with a song and perform with emotional awareness.

Education is ultimately concerned with the improvement of practice. My aim is that this study contributes to the development and re-evaluation of the teaching and learning of CCM singing in Ireland and provides a strong and comprehensive vocal methodology.