CCM in the choral classroom: Pedagogical practices of two high school music educators

References

1. Adjapong, E. and Emdin, C. (2015), ‘Rethinking pedagogy in urban spaces: Implementing hip-hop pedagogy in the urban science classroom’, Journal of Urban Teaching and Research, 11, pp. 66–77.
   [Google Scholar]
2. Allsup, R. E. (2008), ‘Creating an educational framework for popular music in public schools: Anticipating the second-wave’, Visions of Research in Music Education, 12:1, pp. 1–12.
   [Google Scholar]
3. Bartlett, I. (2010), ‘One size doesn’t fit all: Tailored training for contemporary commercial singers’, in S. Harrison (ed.), Perspectives on Teaching Singing: Australian Vocal Pedagogues Sing Their Stories, Brisbane: Australian Academic Press, pp. 227–43.
   [Google Scholar]
4. Bartlett, I. (2014), ‘Reflections on contemporary commercial singing: An insider’s perspective’, Voice and Speech Review, 8:1, pp. 27–35, https://doi.org/10.1080/23268263.2013.829711.
   [Google Scholar]
5. Bartlett, I. and Naismith, M. L. (2020), ‘An investigation of contemporary commercial music (CCM) voice pedagogy: A class of its own?’, Journal of Singing, 76:3, pp. 273–82.
   [Google Scholar]
6. Björkner, E. (2008), ‘Musical theater and opera singing: Why so different? A study of subglottal pressure, voice source, and formant frequency characteristics’, Journal of Voice, 22:5, pp. 533–40, https://doi.org/10.1016/j.jvoice.2006.12.007.
   [Google Scholar]
7. Chandler, K. (2014), ‘Teaching popular music styles’, in S. Harrison and J. O-Bryan (eds), Teaching Singing in the 21st Century, New York: Springer Publishing, pp. 35–51.
   [Google Scholar]
8. Cooper, G. (2003), ‘Once more with feeling: The crossover artist’s first steps in making an emotional connection with a popular or jazz song’, Journal of Singing, 60:2, pp. 153–57.
   [Google Scholar]
9. DeSilva, B. (2016), ‘A survey of the current state of contemporary commercial music (CCM) vocal pedagogy training at the graduate level’, doctoral thesis, Philadelphia, PA: Temple University.
   [Google Scholar]
10. Edwards, M., Zito-Edwards, J. and Meyer, D. (2023), ‘The emerging future of collegiate voice instruction: Updated SWOT analysis of current practice and implications for the next generation’, Journal of Singing, 79:3, pp. 331–38, https://doi.org/10.53830/BOAJ2091.
    [Google Scholar]
11. Edwin, R. (2000), ‘From classical to pop: A case study’, Journal of Singing, 56:3, pp. 71–72.
    [Google Scholar]
12. Edwin, R. (2008), ‘Cross training for the voice’, Journal of Singing, 65:1, pp. 73–76.
    [Google Scholar]
13. Elpus, K. and Abril, C. R. (2019), ‘Who enrolls in high school music? A national profile of U.S. students, 2009–2013’, Journal of Research in Music Education, 67:3, pp. 323–38, https://doi.org/10.1177/0022429419862837.
    [Google Scholar]
14. Forbes, G. (2001), ‘The repertoire selection practices of high school choral directors’, Journal of Music Education, 49:2, pp. 102–21.
    [Google Scholar]
15. Green, L. (2002), How Popular Musicians Learn: A Way Ahead for Music Education, Aldershot: Ashgate.
    [Google Scholar]
16. Green, L. (2006), ‘Popular music education in and for itself, and for “other” music: Current research in the classroom’, International Journal of Music Education, 24:2, pp. 101–18, https://doi.org/10.1177/0255761406065471.
    [Google Scholar]
17. Hannan, M. (2006), ‘Contemporary music student expectations of musicianship training needs’, International Journal of Music Education, 24:2, pp. 148–58, https://doi.org/10.1177/0255761406065476.
    [Google Scholar]
18. Heyman, L., Perkins, R. and Araujo, L. (2019), ‘Examining the health and well-being experiences of singers in popular music’, Journal of Popular Music Education, 3:2, pp. 173–201, https://doi.org/10.1386/jpme.3.2.173_1.
    [Google Scholar]
19. Hoch, M. (ed.) (2018), So You Want to Sing CCM: A Guide for Performers, Lanham, MD: Rowman & Littlefield.
    [Google Scholar]
20. Howard, K. (2020), ‘Changing perceptions and pedagogies in choral music education’, International Journal of Research in Choral Singing, 8, pp. 2–21.
    [Google Scholar]
21. Howard, E. and Austin, H. (2006), Sing! Vocal Technique, Vocal Style, Los Angeles, CA: Vocal Power Inc.
    [Google Scholar]
22. Jaffurs, S. (2004), ‘The impact of informal music learning practices in the classroom, or how I learned to teach from a garage band’, International Journal of Music Education, 22:3, pp. 189–200.
    [Google Scholar]
23. Jaffurs, S. E. (2006), ‘The intersection of informal and formal music learning practices’, International Journal of Community Music, 22:3, pp. 189–200.
    [Google Scholar]
24. Kempfer, B. (2014), ‘Contemporary commercial music pedagogy: Selective exercises for developing healthy technique in adolescent singers’, master’s dissertation, Milwaukee, WI: University of Wisconsin-Milwaukee.
    [Google Scholar]
25. Kramer, M. K. and Floyd. E. G. (2019), ‘Required choral repertoire in state music education performance events’, Contributions to Music Education, 44, pp. 39–54.
    [Google Scholar]
26. Kratus, J. (2007), ‘Music education at the tipping point’, Music Educators Journal, 94:2, pp. 42–48, https://doi.org/10.1177/002743210709400209.
    [Google Scholar]
27. LoVetri, J. (2002), ‘Contemporary commercial music: More than one way to use the vocal tract’, Journal of Singing, 22:3, pp. 260–62.
    [Google Scholar]
28. LoVetri, J. (2008), ‘Contemporary commercial music’, Journal of Voice, 22:3, pp. 260–62, https://doi.org/10.1016/j.jvoice.2006.11.002.
    [Google Scholar]
29. LoVetri, J. (2009), ‘Essay Somatic Voicework™: The LoVetri method’, Voice and Speech Review, 6:1, pp. 436–42, https://doi.org/10.1080/23268263.2009.10767606.
    [Google Scholar]
30. LoVetri, J. (2014), ‘Classical and contemporary commercial music: A comparison’, in M. Hoch (ed.), Dictionary for the Modern Singer, Lanham, MD: Rowman & Littlefield, pp. 207–11.
    [Google Scholar]
31. McCoy, S. (2007), ‘A classical pedagogue explores belting’, Journal of Singing, 63:5, pp. 545–49.
    [Google Scholar]
32. Musgrove, K. (2019), ‘Practical approaches to including popular music in the secondary ensemble’, Journal of Popular Music Education, 3:3, pp. 487–96, https://doi.org/10.1386/jpme_00008_1.
    [Google Scholar]
33. Naismith, M. (2019), ‘A class of its own: Towards a pedagogical framework for singers of contemporary commercial music (CCM)’, doctoral thesis, Brisbane: Queensland Conservatorium, https://doi.org/10.25904/1912/3040.
    [Google Scholar]
34. National Association for Music Educators (NAfME) (2017), ‘Inclusivity and diversity in music education’, 3 August 2021, https://nafme.org/about/position-statements/inclusivity-diversity/. Accessed 22 August 2024.
35. Popeil, L. (n.d.), ‘Voiceworks® Method’, Lisa Popeil’s Voiceworks®, https://www.popeil.com/. Accessed 5 April 2024.
36. Pulman, M. (2014), ‘Popular music pedagogy: Band rehearsals at British universities’, International Journal of Music Education, 32:3, pp. 296–310, https://doi.org/10.1177/0255761413491207.
    [Google Scholar]
37. Sadolin, C. (2012), Complete Vocal Technique, Copenhagen: CVI Cop.
    [Google Scholar]
38. Springer, G. (2015), ‘Teaching popular music: Investigating music educators’ perceptions and preparation’, International Journal of Music Education, 34:4, pp. 403–15, https://doi.org/10.1177/0255761415619068.
    [Google Scholar]
39. Stake, R. (1995), The Art of Case Study Research, Thousand Oaks, CA: Sage Publications.
    [Google Scholar]
40. State Education Agency Directors of Arts Education (SEADAE) (2014), ‘National core arts standards: Music’, nationalartstandards.org, https://www.nationalartsstandards.org/sites/default/files/Music%20at%20a%20Glance%20rev%2010-2-14.pdf. Accessed 5 September 2024.
41. Steinhauer, K., McDonald Klimek, M. and Estill, J. (2017), The Estill Voice Model: Theory and Translation, Pittsburgh, PA: Estill Voice International.
    [Google Scholar]
42. Story, B. H., Titze, I. R. and Worly, A. S. (2011), ‘Source-vocal tract interaction in female operatic singing and theater belting’, Journal of Singing, 67:5, pp. 561–72.
    [Google Scholar]
43. Tan, T. P. (2020), ‘Shifting technique: From Wagner to Warwick a micro case study: Developing CCM chest voice quality in a classically trained female singer’, Journal of Arts & Humanities, 9:3, pp. 57–66.
    [Google Scholar]
44. The American Academy of the Teachers of Singing (AATS) (2008), ‘In support of contemporary commercial music (nonclassical) voice pedagogy’, Journal of Singing, 65:1, pp. 7–10.
    [Google Scholar]
45. Top Hat (2020), ‘Pedagogy’, 22 April, https://tophat.com/glossary/p/pedagogy/. Accessed 22 August 2024.
46. Voytko, L. (2023), ‘These top-earning celebrities, musicians and creators made more than $1.3 billion last year’, Forbes Magazine, 13 February, https://www.forbes.com/sites/lisettevoytko/2023/02/13/the-worlds-top-10-highest-paid-entertainers-of-2022/. Accessed 6 April 2024.
    [Google Scholar]
47. Weekly, E. M. and LoVetri, J. (2003), ‘Contemporary commercial music (CCM) survey: Who’s teaching what in nonclassical music’, Journal of Voice, 17:2, pp. 207–15, https://doi.org/10.1016/S0892-1997(03)00004-3.
    [Google Scholar]
48. Weekly, E. M. and LoVetri, J. (2009), ‘Follow-up contemporary commercial music (CCM) survey: Who’s teaching what in nonclassical music’, Journal of Voice, 23:3, pp. 367–75, https://doi.org/:10.1016/j.jvoice.2007.10.012.
    [Google Scholar]
49. Wilson, L. C. (2019), ‘Bel canto to punk and back: Lessons for the vocal cross-training singer and teacher’, doctoral dissertation, Columbia, SC: University of South Carolina, https://scholarcommons.sc.edu/etd/5248. Accessed 16 October 2023.
    [Google Scholar]
50. Woody, R. (2007), ‘Popular music in school: Remixing the issues’, Music Educators Journal, 93:4, pp. 32–37.
    [Google Scholar]
51. Edwin, R. (2007), ‘Belt is legit’, Journal of Singing, 64:2, pp. 213–15.
    [Google Scholar]