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camp, writing, “It is telling that Olson concludes the gram repertoire that matched the developmental needs
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chapter with exercise to cultivate vibrato.” Greschner of the singers in the choir. In Part II, McCoy offered a
also quoted a passage from the book that noted a di- somewhat more direct opinion of vibrant versus non-
minished use of non-vibrato singing as conductors vibrant singing than the indirect approach taken in
familiarized themselves with voice science. Freed, con- Part I. In a 2019 article, however, McCoy was firmly
versely, repeatedly featured the reconciliatory nature of “pro-vibrato” after invoking luminary vocal pedagogue
Olson’s text and took space to include twelve maxims Richard Miller. McCoy wrote:
from the chapter “Benefits of Choral Participation:
What Conductors Should Tell Singers.” Despite the But it is reasonable to assume that legato ar-
striking difference in reviews, it would be injudicious ticulation is an essential element in choral sing-
to characterize Freed and Greschner as wholly repre- ing. And if Miller is correct that legato only
sentative of the two contentious sides. Coincidentally, can be achieved with vibrato, we can infer that
beyond the common affirmation of Olson’s book, both choristers must sing with healthy, well-balanced
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authors cited Dr. Scott McCoy’s 2011 Journal of Singing vibrato at all times. (italics appear in the orig-
article titled “The Choir Issue—Part I.” 47 inal for emphasis)

Calling Dr. McCoy Clearly the debate rages on, with a little give and take
In “The Choir Issue—Part I” McCoy recalled their periodically from both sides. Amidst the controversy,
own love of choir, their early career work as a choral di- some scholars chose further investigation of a third
rector, and their pride at being a voice teacher at West- way: synchronized vibrato.
minster Choir College. In their lab, McCoy asked stu-
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dents to sing with and without vibrato and calculated
several measurements via spectrum analysis and elec- Other Options for Vibrato Singing
troglottography. They admitted the lack of scientific in the Choral Setting
protocol, and therefore anecdotal nature of the data, A study from 2022 presented a meta-analysis of
but noted that some singers achieved “straight tone” seventeen empirical studies of group vibrato. The re-
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singing through hypophonation, hyperphonation, and searchers concluded that due to the relatively few num-
coordinated efforts. McCoy likened this third group to bers of studies, drawing definitive conclusions about
a comparison of competent operatic “markers” ver- vibrato during group singing was impossible. Some
sus those that needed to always sing fully supported: studies indicated that trained singers could adjust their
some can, and some cannot. McCoy continued with vibrato to external stimuli but did not conclude if these
pedagogical suggestions for those attempting “straight adjustments were possible independent of the stimuli.
tone,” which seemed markedly like advice for vibrant Another study showed that vibrato increased the per-
singing: freedom of the larynx and vocal articulators, ception of multiple voices at some combinations of
vowel modification, periodic rest, and a willingness to pitches and formants, but not at others. Three studies
make different sounds. McCoy closed with an invita- explored “coherence,” or when two frequency signals
tion to choral conductors: “Let’s Talk.” 49 maintained a fixed phase relationship, and “phase-lock-
In “The Choir Issue—Part II,” McCoy positioned ing,” when the phase difference between two oscillating
vibrant and nonvibrant choral repertoire pedagogi- sources fixes through interaction. Vibrato synchroniza-
cally in terms of Fach. They argued that groups like tion is possible; however, positive correlations exist as
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the Sixteen specialized in early music interpretation well as negative correlations, or “anti-phase synchro-
but did not perform Verdi’s Requiem. They noted many nization.” One study found that a lack of vibrato did
professional choral ensembles sing with “straight tone” reinforce accuracy of the fundamental frequency, yet
by auditioning singers comfortable with that vocalism. another reported that when participants could control
Pedagogically, they suggested, conductors should pro- vibrato extent via a joystick to effect intonation, the

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