Page 56 - CJMarch_April25

On the Voice

in music, so it is likely that some styles of music will Emily Y. Frizzell, PhD, is assistant professor of music
be unfamiliar to the director, some students, or all in- education at the University of Memphis in Memphis,
volved. Teachers who lack background in certain choral Tennessee. emilyfrizzell02@gmail.com
tone practices will likely need guidance as they become
equipped to teach choral music from diverse stylistic
backgrounds. NOTES
This article is meant to be a starting point, and these
1
suggestions are intended to help choir directors begin to Catherine Bennett, “Teaching Culturally Diverse Choral
explore varied tone production techniques that could be Music with Intention and Care: A Review of Literature,”
useful in teaching music of styles outside the bel canto Update: Applications of Research in Music Education 40, no. 3
realm. There are many other practical steps choir di- (2021): 60–70; Karen Howard, “Equity in Music Edu-
rectors can take to inform teaching practices in choral cation: Cultural Appropriation Versus Cultural Appre-
tone. Following research-based suggestions for choral ciation: Understanding the Difference,” Music Educators
tone development in various styles can open the door Journal 106, no. 3 (2020): 68–70.
2
to a world of diverse repertoire for choral teachers and Roger B. Dannenberg, “Style in Music,” in The Structure of
students. Facilitating students’ exploration of all registers Style, ed. Shlomo Argamon, Kevin Burns, and Shlomo
and placements in their voices is quite possibly the most Dubnov (Springer, Berlin, Heidelberg, 2010), 45–57.
3
important mechanism for guiding them through any un- “Music Standards (Ensemble),” National Association for Mu-
familiar stylistic territory. The more familiar choristers sic Education, 2014. https://nafme.org/resource/2014-
are with all parts of their voice and how to use them, the music-standards-ensemble/
4
more easily they can comfortably and healthily produce Jacob A. Berglin, “Teaching Independence in (and through)
sounds needed for diverse styles of music. Contemporary A Cappella,” in The Choral Conductor’s
Companion, ed. Brian J. Winnie (Meredith Music Publi-
Additional Resources cations, 2020), 29–30; Matthew Swope “Starting a Con-
temporary A Cappella Group,” in The Choral Conductor’s
Companion, 203–4.
• Theodore Dimon, Jr., Anatomy of the Voice: An Illustrated 5
Guide for Singers, Vocal Coaches, and Speech Therapists (North Karen M. Burke, “Gospel Choir: Community in Motion”
Atlantic Books, 2018). (master’s thesis, York University, 2015).
6
Jaron M. LeGrair, “The Gospel Choir Sound: Explanation,
Production, and Pedagogical Exploration,” in The Choral
• National Association of Teachers of Singing: Sci-
ence-Informed Voice Pedagogy Resources: https:// 7 Conductor’s Companion, 127–29.
www.nats.org/cgi/page.cgi/Science-Informed_Voice_ Justin Miller, “Barbershop Harmony in the Choral Class-
Pedagogy_Resources.html room,” in The Choral Conductor’s Companion, 148–49.
8
Stefanie Cash, “Middle and High School Choral Directors’
Programming of World Music,” International Journal of
• Summer Institutes and Workshops, such as:
Research in Choral Singing 7 (2019): 36–55.
9
Erin Hackel, “Teaching Your Singers to Sing in ALL Styles”
• Shenandoah University’s CCM Vocal Pedagogy
Institute: https://www.ccminstitute.com/ in A Cappella Warm-Ups for Pop and Jazz Choirs, ed. Deke
Sharon and J. D. Frizzell (Hal Leonard, 2017): 15–23;
Darryl A. Jordan, “Break Every Chain: Unleashing the
• Westminster Choir College’s Voice Pedago-
gy Institute: https://www.rider.edu/academics/ Cultural Pedagogy of Black Gospel Singing” (Doctor-
colleges-schools/college-arts-sciences/westminster- al dissertation, Teachers College, Columbia University,
choir-college/programs-opportunities/voice- 2021); Cory M. Pinto, “Listeners’ Perception of Vocal
pedagogy-institute Effects During Singing,” Journal of Voice (2023); Hyesoo
Yoo, “Multicultural Choral Music Pedagogy Based on

54 CHORAL JOURNAL March/April 2025 Volume 65 Number 7