Analysis of Vocal Methods Course Content in Undergraduate Music Education Degree Curricula

Objective: Certification criteria for music education training vary widely by locality and institutional accreditation in the United States (US). Voice pedagogy training in music education programs has not received assessment. The objective of this study is to assess the content and length of training in undergraduate music education degree programs.

Methods/Design: 661 institutions offering undergraduate music education programs were gathered from listings found in the College Music Society Directory of Music Faculties. The course number, credit hours, description, and title for all Vocal Methods, Vocal Pedagogy, or equivalent classes were collected. Degree tracks (instrumental, vocal, general, etc.) requiring these courses were also noted. A survey was sent to course instructors to collect information about class goals, singing styles, syllabi, textbook choices, and the amount of active singing versus teacher training in the course. Data was compared with the broader credentialing requirements of accrediting bodies and state governments.

Results: Thirty-one states offer music educator certification for K–12 (or equivalent) music, while almost every institution separates majors into distinct course tracks based on instrument groupings. Singing tracks are delineated as “choral” or “vocal.” The amount of vocal pedagogy training in music education curricula is approximately one credit hour for instrumentalists and two for vocalists. Almost all institutions require some level of vocal pedagogy alongside singing requirements like participation in a vocal ensemble or taking applied lessons. Courses offered to instrumental music education majors typically blend class voice and vocal pedagogy. Classes taught to vocal music education majors seem to be more substantive and focused on vocal pedagogy. Course descriptions sometimes included mentored teaching practice but most often did not. Survey results indicate diverse and discordant philosophies regarding course content, goals, and structure.

Conclusions: While students in the US first experience formalized music learning in the public school classroom, the training music educators receive to teach voice is highly variable and opaque. Acknowledging critical differences between teaching voice and other instruments is necessary alongside advocacy for more robust vocal pedagogy training given the culturally significant, identity-defining, and injurable organic nature of the human voice.