Page 52 - CJMarch_April25

On the Voice

an understanding of relationships between music, oth- Barriers to Programming
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er disciplines, and their daily lives. These standards Diverse Styles of Music
are used to create choral music curricula and text- Although there are numerous benefits to teaching
books, which can then be referenced by teachers when music in diverse styles, teachers face barriers when en-
planning lessons. deavoring to teach music in styles that may be unfamil-
Choral music educators who program music of di- iar to them. In Stefanie Cash’s 2019 survey, teachers
verse styles see the intrinsic value of providing their stu- self-reported their greatest perceived barrier is a fear
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dents with a range of choral experiences. Additionally, of misrepresenting foreign cultures. Perceived bar-
including music from cultures represented in the en- riers also included difficulty accessing authentic ar-
semble can provide many unique opportunities. For ex- rangements and text pronunciation guides. Addition-
ample, students from the represented culture can take ally, teachers expressed concern about students’ vocal
on leadership roles in teaching music and sharing their health and interest in or maturity with unfamiliar styles
culture with their peers. of music.
Choral styles outside the classical singing norms can Vocal health concerns may be further barriers to
also prove beneficial to students. A few examples are teachers’ programming of diverse repertoire. There
contemporary a cappella, gospel, and barbershop. Con- has long existed a perception amongst vocal music
temporary a cappella is touted as an effective means of professionals that singing in nonclassical styles can be
teaching independent musicianship and nurturing stu- unhealthy; however, there is little evidence to support
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dents’ artistic expression. Gospel music, traditionally that there is one optimal singing technique. Theoreti-
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taught by rote, provides inclusivity and community for cally, vocalizing in any style could be done in unhealthy
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musicians of various music-reading abilities. It can also ways if singers unknowingly employ unhealthy singing
be a safe place for students to practice improvisation habits. Similarly, arguments exist that singing in unfa-
and singing with spontaneity and a sense of freedom. miliar styles can be damaging to the voice since singers
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Barbershop harmonies require impeccable intonation haven’t been sufficiently trained in the unfamiliar style
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to achieve the desired characteristic ring. Regardless and, therefore, lack the specialized knowledge of its
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of the style, all choral music has something to offer. practices. While there may be validity to this particu-
lar concern, its mere existence is further evidence that
choir directors should be training in and familiarizing
their choristers with various singing styles.

Diverse Music Styles in
Hold your own. The National Association of Schools of Music
Choral Music Teacher Education

(NASM) handbook stipulates that undergraduate mu-
sic programs develop “increased understanding of mu-
sical achievements from various analytical, historical,
and cultural perspectives [and] musical perspectives
informed by studies of various cultures and historical
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periods.” However, not all American choral music
education programs are the same, and with so much
content to cover, they may not fully prepare preservice
music educators to teach diverse styles of music to their
future students. Choral music education programs may
not require courses like vocal pedagogy or choral lit-
Toll-free: 1.877.246.7253 sales@musicfolder.com
erature, and even the ones that offer such courses may
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(604) 681-5386
50 CHORAL JOURNAL March/April 2025 Volume 65 Number 7