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 21st 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.