Practicing Equity, Diversity, Inclusion, and Belonging in the Singing Voice Studio

ABSTRACT

Music programs in higher education systems have historically operated from a Eurocentric point of view, and many programs still endorse an outdated hierarchy that places classical music above all other genres. Despite the inherent cultural and artistic value of American popular music, the United States lags behind other countries in granting popular music study a meaningful place in higher educational models. While significant structural changes to ensure that all genres of music receive equal attention and resources within university music programs develop, the authors have compiled a list of tools voice teachers can use to practice increased equity, diversity, inclusion, and belonging (EDIB) within our singing voice studios. These include (1) embracing intentional pedagogical practices; (2) avoiding cultural appropriation or cultural approximation; (3) continuing to seek education; (4) acknowledging our areas of excellence, knowing what is beyond the scope of our expertise, and having the courage to ask for help; (5) naming courses and programs accurately; and (6) developing an equity, diversity, inclusion, and belonging statement for the voice studio. As a form of combating systemic exclusion, voice teachers can take meaningful steps to foster a racially, ethnically, culturally, and musically inclusive singing voice studio.

KEYWORDS:

• Voice studio
• CCM singing
• antiracist
• diversity
• inclusion
• belonging
• applied pedagogy

Disclosure Statement

No potential conflict of interest was reported by the author(s).

Additional information

Notes on contributors

Elizabeth Ann Benson

Elizabeth Ann Benson, DMA, is recognized as a dynamic scholar, pedagogue, and performer. Her book, Training Contemporary Commercial Singers, is hailed as “a remarkable and long-awaited contribution to the world of voice pedagogy” (Journal of Singing). She has published research in Voice and Speech Review, the Journal of Singing, and American Music Teacher. Dr. Benson is an Associate Professor of Music Theatre Voice at Auburn University and the founder of Benson Music Studios, offering training for musical theatre, popular, and contemporary singers. She holds an MM from New England Conservatory and a DMA from the City University of New York Graduate Center.

Trineice Robinson-Martin

Trineice Robinson-Martin, EdDCT, is a specialist in the pedagogy and performance for African American folk-based music styles and serves on faculty at Princeton University. In addition to Princeton, Dr. Robinson-Martin is an internationally recognized clinician and performer, the creator of Soul Ingredients® Methodology and Voice studio, serves on the national faculty of Gospel Music Workshop of America and LoVetri Institute of Somatic Voicework™, is the executive director of the African American Jazz Caucus, is a board director for the Jazz Education Network, on the editorial board of Journal of Singing, and is a member of the American Academy of Teachers of Singing.

Marisa Lee Naismith

Marisa Lee Naismith, PhD, has been commercially active in the entertainment industry for over 45 years as an award-winning vocalist, singing teacher, voice researcher, and industry mentor. Dr. Naismith is presently employed as a voice teacher in the BM (popular music) program at Queensland Conservatorium, Griffith University. In 2019, she was awarded a PhD based on her investigation into the field of contemporary commercial music (CCM) singing voice pedagogy. Dr. Naismith identified a foundational pedagogical framework for the training of singers across CCM styles and has presented the findings of this study at voice conferences internationally and has a book due for publication in mid-2021.