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On the Voice

nique and expression exercises for specific skill acquisi- Conclusion
tion, and (d) preperformance exercise routines. Table As the literature identifies, the role of a choir direc-
1 provides a summary of these categories along with tor in music education can extend far beyond leading
their context and related considerations, examples, or a choral ensemble. In recognizing the influential role
outcomes. These are broadly presented; each style of of choral directors as primary voice teachers for many
singing would have its own proclivities for classical and singers, a collaborative path between choral singing,
contemporary stylisms. singing voice pedagogy and voice science, that maxi-
We envisage that the distinctions provided in Table mizes the benefits of warm-ups and nurtures the true
1 will assist in clarifying warm-ups and their contexts. potential of our students’ voices is justified. In the con-
This is particularly relevant to the duality of the choral text of the choir, warm-ups require consideration of
director role. Despite conflicting research results iden- the group context and its situation, the body/mind
tifying differences in the self-perception of singers and connection, vocal production for efficient delivery, the
other measures, it remains judicious to continue warm- acquisition of vocal and musical skills, and the facili-
ing up the voice. Broadly, though, research is needed tation of preperformance confidence. These consider-
to explore the impact of warm-ups on executive func- ations cross physiological and psychological boundaries
tions such as attention, focus, and memory in relation and bridge the knowledges afforded by singing voice
to performance preparation. Additionally, considering pedagogy and voice science.
that singers perceive warm-ups as being beneficial, in-
vestigating the role of warm-ups as psychological or Regina McAllen has been a choral music educator
mind–body preparations, alongside their physiological and voice teacher in New Jersey for thirty years and
aspects, is warranted. is a PhD candidate at the University of Southern
Queensland, Toowoomba, Australia.

Table 1. Choral warm-up contexts, categories, and considerations/examples.

Context Preparation Functional Technical/Expressive Pre-performance

Nonverbal Movement Breathing for singing Breath management Readiness
Gestures Context dependent

Vocal Sounds Vowels Range extension Selected exercises
Articulation Resonance
Registration

Physiological Breathing Tone initiation Specific skill development Selected repertoire
Balanced/flow phonation Expressive techniques
Vocal health

Psychological Focus Focus Focus Focus
Confidence

56 CHORAL JOURNAL October 2025 Volume 66 Number 3