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focus primarily on Western classical choral music. 12 They are intended to serve as a quick and easy-to-im-
Therefore, some undergraduates may only learn plement starting place for teachers interested in branch-
how to sing in non-Western languages and styles by ing out into diverse styles of repertoire.
doing so in choral ensembles or applied voice lessons.
This can be problematic, as some choir directors may 1. Share Characteristic Vocal Models with Your
focus the majority of rehearsal and performance time Students.
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on music from the dominant culture. Additionally, Singers must have an impression of the desired vocal
many applied voice teachers primarily focus on bel sound before they can effectively produce the sound. 17
canto–style singing with their students. This tendency
to focus on what is most familiar can result in a gap in • When introducing new styles of singing to your en-
knowledge, contributing to the perpetuation of igno- sembles, play recordings of ensembles and soloists na-
rance, transfer of misinformation to students, or even tive to the style. When possible, bring in guest artists
inappropriate or offensive performance practices of or friends who are experienced in the style to present,
music from cultures not native to the ensemble. 14 model, and teach. College professors and local voice
Tone production of the ensemble is one specific as- teachers can be great resources as models of vocal tone
pect of performance practice in choral music that can for new and diverse musical programming.
be particularly delicate. When music styles of a com-
munity reflect the diverse cultures within that com- • Listen to several vocal models within a style—not just
munity, disparate ideas about performance practices, one—so that the stylistic characteristics, rather than the
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like considerations regarding choral tone, can exist. individual singer’s or choir’s characteristics, become fa-
Directors may have preconceived notions of what miliar to the ensemble. 18
constitutes “good” tone. How can choral directors be
expected to educate their singers in authentic tone pro- • In the same vein, provide opportunities for your stu-
duction across a variety of music styles when they have dents to listen to more songs in the style than the one
not been wholly educated in it themselves? your choir may be performing. Diversifying the singers’
aural experiences may contribute to a more efficient
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learning process when introducing diverse repertoire.
Implementing Stylistically Appropriate The more familiar they are with a style, the more likely
Choral Tone in Diverse Music Styles they are to produce the characteristic sounds with ease.
How singers approach nonclassical styles depends
on the traditional style and its historically appropriate 2. Incorporate Diverse Foundational Vocal Pro-
performance practices. Since choir directors typically duction Skills into Warm-Ups.
spend four or more years in college studying primarily Students who spend the entirety of warm-ups de-
bel canto–style singing and the Western choral tradi- veloping their classical voices cannot be expected to
tion, there are many vocal techniques to which they healthily, readily, or appropriately sing anything other
haven’t been exposed. For instance, they are trained than the classical style. When students practice using
in maintaining a low larynx and elongating vowels— resonators and articulators in various ways, they are
great for singing Palestrina and Verdi, but not always more likely able to imitate the differences between tone
the best tools for singing in styles that require variations production techniques. Allow time for practicing non-
of belting. Many belting styles, for example, require the classical tone production early in the learning cycle and
larynx to be raised and the mouth to be spread more early in the rehearsal to reinforce new habits that could
horizontally to achieve a brighter vowel. 16 benefit students as they learn new styles of music. Once
In an attempt to support choir directors as they in- they are familiar with these sensations, they can recall
troduce diverse repertoire to their choristers, here are them when needed in rehearsal and apply them to the
three ideas for developing stylistically appropriate and diverse music styles they are learning.
healthy tone production across various styles of singing. Here are some specific elements of tone that can

CHORAL JOURNAL March/April 2025 Volume 65 Number 7 51