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(2017): 34–39. 21 Erin Hackel, “Teaching Singers to Sing in All Styles: The
10 Emily Y. Frizzell and Leah C. Windsor, “Effects of Teach- Spectrum Method,” in Teaching Music through Performance
ing Experience and Culture on Choral Directors’ De- in Contemporary A Cappella, ed. Marc Silverberg, J. D. Friz-
scriptions of Choral Tone” Plos one 16, no. 12 (2021): zell, and Deke Sharon (GIA Publications, 2020): 23–29.
e0256587. 22 Julia Shaw, “The Skin That We Sing: Culturally Responsive
11 National Association of Schools of Music Handbook 2022– Choral Music Education,” Music Educators Journal 98, no.
2023 (National Association of Schools of Music, 2022), 4 (2012): 75–81; Hyesoo Yoo, “Six Facets of Teaching
90. Culturally Diverse Musics,” in The Choral Conductor’s Com-
12 Alethea Cassandra de Villiers, “(Re)organizing the Music panion, 224–25.
Curriculum as Multicultural Music Education,” Interna- 23 Davids and LaTour, Vocal Technique.
tional Journal of Music Education 39, no. 4 (2021): 383–93; 24 Clifton Ware, Adventures in Singing: A Process for Exploring,
Juliet Hess, “Troubling Whiteness: Music Education and Discovering, and Developing Vocal Potential, 4th ed. (Mc-
the ‘Messiness’ of Equity Work” International Journal of Graw-Hill, 2006).
Music Education 36, no. 2 (2017). 25 Davids and LaTour, Vocal Technique; Richard Miller, On the
13 Stefanie Cash, “Middle and High School Choral Directors’ Art of Singing (Oxford University Press, 1996).
Programming of World Music”; Jui-Ching Wang and 26 Davids and LaTour, Vocal Technique.
Jere T. Humphreys, “Multicultural and Popular Music 27 Ibid.; Christianne Roll, “The Evolution of the Female
Content in an American Music Teacher Education Pro- Broadway Belt Voice”; Ingo Titze, “Belting.”
gram,” International Journal of Music Education 27, no. 1 28 Davids and LaTour, Vocal Technique; Hackel, “Teaching
(2009): 19–36. Singers to Sing in All Styles”; Ingo R. Titze, “Belting.”
14 Tina Beveridge, “Equity in Music Education: Avoiding Cul- 29 Hackel, “Teaching Singers to Sing in All Styles,” 29.
tural Appropriation in the Music Classroom,” Music Edu- 30 Ibid.; Christianne Roll, “The Evolution of the Female
cators Journal 109, no. 1 (2022): 60–62. Broadway Belt Voice”; Ingo Titze, “Belting and a High
15 Frizzell and Windsor, “Effects of Teaching Experience and Larynx Position.”
Culture.” 31 Hafiz Muhammad Ather Kahn, Muhammad Tahir Khan
16 Erin Hackel, “Teaching Your Singers to Sing in ALL Styles”; Farooqi, Atif Khalil, and Imran Faisal, “Exploring Re-
Christianne Roll, “The Evolution of the Female Broad- lationship of Time Management with Teachers’ Perfor-
way Belt Voice: Implications for Teachers and Singers,” mance,” Bulletin of Education and Research 38, no. 2 (2016):
Journal of Voice 30, no. 5 (2016): 1–9; Ingo Titze, “Voice 249–63.
Research and Technology: Belting and a High Larynx 32 Debra Gordon, “Sources of Stress for the Public School
Position” Journal of Singing 63, no. 5 (2007): 557–58. Music Teacher: Four Case Studies,” Contributions to Music
17 Meribeth Bunch, Dynamics of the Singing Voice 5th ed. (Spring- Education 27, no. 1 (2000): 36; Barbara Payne McLain,
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land Press, Inc., 2012). (2005): 71–84.
18 James C. McKinney, The Diagnosis and Correction of Vocal
Faults: A Manual for Teachers of Singing and for Choir Directors
(Waveland Press, Inc., 2005).
19 Kenneth D. Carper, “The Effects of Repeated Exposure
and Instructional Activities on the Least Preferred of
Four Culturally Diverse Musical Styles with Kindergar-
ten and Pre-K Children” (Doctoral dissertation, Univer-
sity of Hawai’i at Manoa, 2000).
20 L. P. H. Eijkman, “The Soft Palate and Nasality,” Neophilogo-

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