Page 40 - CJAug25

On the Voice

ademic applied voice studio and independent business agogy. While elements of these two fields can be ef-
and conducted mixed-methods, longitudinal research fectively merged (which is the focus of this article), an
on student perceptions of a group-voice curriculum. important distinction remains. Traditional choral ped-
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In 2023, I established the Center for Group-Voice Ped- agogy emphasizes creating a unified collective sound
agogy and Research at Coastal Carolina University with necessary attention given to aspects of blend and
and launched our summer Group-Voice Pedagogy In- balance. Group-voice pedagogy prioritizes the solo
tensive, which features a dedicated session on applying voice outcomes of singers training together in groups.
group-voice teaching principles in the choral setting. Choral directors may spend time on vocal exercises
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and developmental voice training; however, it can be
challenging to hear and give feedback to individual
What Is Group-Voice Pedagogy? voices when the entire group sings together, especial-
Cynthia Vaughn, coauthor of the popular class- ly in larger ensembles. By integrating principles from
voice textbook, The Singing Book, describes group voice group-voice pedagogy, choral directors may be able to
as “not exactly like private lessons” and “not exactly more effectively balance attention on individual voices
like choir. It’s something different.” At its core, group- while also engaging the entire group in repetitions of
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voice pedagogy refers to the study of the art, science, or functional voice exercises and repertoire tasks.
practice of applied voice teaching in group settings. We know that the sound of an ensemble depends on
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Unlike a one-to-one voice lesson between one singer much more than the sum of its parts. As James Daugh-
and one voice teacher, group-voice teaching involves erty states, singers will sing differently in an ensemble
paired, small, and large groups of singers working to- than they do as soloists due to the unique acoustical,
ward solo singing outcomes together in a shared envi- perceptual, and sociological elements present when
ronment. Group-voice classes can provide a supportive singing in a group. We cannot, therefore, assume that
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and collaborative atmosphere where individuals can an ensemble of excellent solo voices will automatically
develop functional, observational, and artistic singing have an excellent choral sound. And yet, we under-
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and performance skills . . . together. stand that each singer’s overall voice function, mastery
Group-voice instruction has had a long-standing of their instrument, and ability to technically and stylis-
presence in voice pedagogy, although historically, the tically adapt to genres they wish to perform (including
content of these classes may have been more focused various genres of ensemble music) can lead to dramatic
on music reading and ensemble singing. Currently, differences in the overall timbre and artistic flexibility
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practitioner-based articles and class-voice textbooks of the group. Most singers will not be able to gain these
offer resources for group-voice study in various con- skills through one-to-one voice lessons. The vocal in-
texts. While many might assume that voice classes struction they receive in choral ensembles may be the
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only include avocational singers, beginning singers, or only formal voice training they ever experience. Inte-
nonvoice majors, some authors have also discussed the grating group-voice instruction into choral rehearsals
inclusion of group training with voice majors in aca- and choral programs can be one way to ensure all sing-
demic settings. However, research specifically focused ers have access to quality voice instruction.
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on group-voice pedagogy remains limited. Choral directing demands a deep understanding of
both voice and choral pedagogy. Similarly, group-voice
pedagogy requires specialized knowledge, skills, and
Why Group-Voice Pedagogy training that can differ from one-to-one voice instruc-
in the Choral Setting? tion and traditional choral methods. This article cannot
Among voice professionals, choral conductors deep- comprehensively address all the facets of group-voice
ly understand both the benefits and challenges of pedagogy or describe in words the dynamic and com-
teaching and directing singing in groups. In fact, some plex interactions between individuals in group-voice
might argue that choral pedagogy is group-voice ped- classes. However, the following concepts can serve as a

38 CHORAL JOURNAL August 2025 Volume 66 Number 1