Challenging Vocal Imperialism: The Pioneers of Undergraduate Curriculum Change

Abstract

The undergraduate years are often a uniquely vulnerable period of transition for young singers, marked by significant vocal, psychological, and artistic change. Even as increasing numbers of North American voice teachers recognize the pedagogical value of embracing non-classical styles of singing, post-secondary academic programs in the United States and Canada have been slow to reflect this shift in their core curricular offerings. Whether through rigid degree requirements or an implied stylistic hierarchy, most undergraduate voice students are currently compelled to prematurely choose an area of stylistic specialization. The following dissertation examines the evolving landscape of undergraduate voice education in North America through qualitative research methods. I conducted in-depth interviews with eleven pioneering academics who have been at the forefront of curricular change and analyzed the shared pedagogical philosophies and institutional challenges that have shaped their experiences. These interviews provide insight into how these educators have navigated resistance in order to successfully implement more stylistically inclusive models. This research adds to the academic literature on formalized singing training by sharing, in their own words, the opinions and experiences of some of the most widely recognized figures currently shaping the field of voice pedagogy. It is guided by two primary questions: How can an undergraduate voice degree better reflect the broadening acceptance of stylistically diverse pedagogies to effectively meet the needs of aspiring singers? What can be learned from the experiences of educators who have been leaders of curricular change? Centering the interviews throughout, I examine and advocate for recent changes to undergraduate voice curricula that challenge the hegemony that a Western classical voice training is essential for all singers and superior to other, more stylistically diverse, pedagogies. I define this Eurocentric myth as vocal imperialism. Ultimately, I argue that degree programs grounded in an exposure to multiple musical styles and a broad spectrum of vocal function are more effective in supporting student development during the critical undergraduate years than those still shaped by vocal imperialism.