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On the Voice
On the V oice

Matthew Hoch, editor <mrh0032@auburn.edu>

Creating a Tapestry of Color: Mindfully Approaching Choral Tone

by Emily Frizzell

With recent emphasis on diversity initiatives and perspectives is necessary to effectively produce authen-
culturally responsive pedagogy in the choral classroom, tic choral performance practice across musical styles.
choral music educators are reexamining methods for The purpose of this article is to share information
introducing diverse styles of choral music to their stu- and strategies for teachers beginning to explore non-
dents. Teachers looking to instruct students in diverse classical styles of choral singing, including contempo-
repertoire may find themselves lacking the skills and rary Western styles and styles from around the world.
experience to do so in a way that stays true to the style We will begin with a brief discussion on the benefits
in question. Therefore, the exploration of respectful of programming music of diverse styles, after which
methods of appropriate performance practice is ongo- we will review the barriers to programming in diverse
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ing. styles, including the preservice educational experience
Every individual style of music is unique. Texture, of choir teachers in the United States. The article will
instrumentation, historical period, and harmonic pro- conclude with practical applications for choir direc-
gression are some of the defining characteristics of a tors looking to empower their students through a more
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musical style. In choral music, one of the most salient comprehensive education in choral tone.
stylistic characteristics is the choral tone of the singers.
Gospel, spirituals, jazz, country, and blues are all styles
of music that developed in the United States, yet they Benefits of Programming
all require a unique vocal tone production. Singing any Diverse Styles of Music
of these styles of music in a choral setting requires au- To understand the value of studying diverse choral
thenticity to the distinctive style. With so many unique tone practices, choral directors must first explore the
styles of music from around the world now more read- value of programming music from various cultural
ily accessible than ever before, choir teachers looking backgrounds. The United States national standards di-
to skillfully teach diverse repertoire have their work cut rect choral music educators to relate artistic ideas and
out for them. Some understanding of choral tone pro- works with societal, cultural, and historical contexts,
duction techniques from various cultural and stylistic providing students with opportunities to demonstrate

CHORAL JOURNAL March/April 2025 Volume 65 Number 7 49