Reclaiming Group Vocal Instruction

This theoretical paper is grounded in an analysis of historical precedents concerning advocacy, curriculum, and philosophy in music education. General music education began as a singing-based endeavor intended to improve singing in society. It later shifted toward an enterprise predicated on choral performance, particularly at secondary levels. The emphasis on choral performance in schools is problematic because it has pushed a large majority of students away from musical activity in school. At the same time, however, high standards of choral performance quality must continue. The question is not “who sings in our choirs?,” but “who no longer sings at all?.” This paper is purposed to begin a discussion about an approach to group vocal instruction wherein singing reclaims its rightful place in music education.

Singing once served purposes of democratization and socialization in school culture, but current secondary school students hardly ever sing unless they are in choral ensembles. Choral singing has replaced general singing in our schools, focusing exclusively on genres and formats unlike those most people engage with beyond school walls. We need to both support high-level choral performance and develop a framework for singing activity that involves a larger percentage of students. Singing is perhaps the one musical activity that can be engaged in by all and improved upon by all.

The term “educative singing” is used to refer to school singing experiences in which feedback (whether from teachers or peers) strengthens the knowledge and/or skills of the singer. The converse is “non-educative singing” wherein feedback relates merely to the performative realization of a choral score. The author argues for a more optimal balance between educative singing instruction and the application of those skills in repertoire. This is grounded in attention to what is taught, how it is taught, and, crucially, what happens next. Students overwhelmingly report that they want to develop their singing skills. While some are happy to apply their newly acquired skills toward the singing of Western-style choral music, most want to apply their skills in other singing endeavors.

This session will therefore explore two broad issues. First, singers have an innate desire for a sense of control over their instrument. They come to us ready to learn how to sing. How should we respond to that motivation? And, the second issue involves the need for an expanded conception of the singing activity endorsed through our secondary school curricula.