All Voices

All Voices

A supplemental curriculum of self-directed learning for conductors working with avocational singers in CCM choral settings

The UK non-professional choir sector is thriving, with more people singing for leisure, health and recreation than ever before. As a conductor it can be difficult to feel fully equipped when working with so many voices, and with the different challenges that this work brings.


This interactive curriculum provides a framework of self-directed learning for trained choral conductors who wish to work with untrained/casual/non-professional (avocational) singers (chorister) in choirs singing CCM repertoire. 


It is a knowledge, skill and confidence raising resource that builds on the existing strengths and interests of trained conductors and invites a synthesis of prior and new learning, classical and non-classical perspectives; an essential step in the development of a relevant avocational choral CCM pedagogy.


Research suggests that at present, with regard to the avocational choral singer of CCM repertoire, UK choral conductor training can be inconsistent. Degree programmes emphasise important technical competencies such as score reading and conducting patterns, but focus less on voice pedagogy, vocal health, leadership and other factors that become increasingly important when working with large numbers of (usually/often) untrained singers. There is no statutorily recognised licensing or quality standard for singing teachers or conductors, and the sector depends on voluntary self regulation. Training, and the research base, also seems divided between CCM versus classical traditions. There remains a historical weighting towards in training programmes towards classical repertoire and approaches, despite this representing the preferred primary genre of the minority of singers in the UK.


Singers in CCM repertoire choirs/choruses have specific needs that classical or CCM training, which is mainly intended for would-be professionals, does not address. They must often emulate stylistic and technical elements not provided for within the classical tradition, while CCM pedagogical approaches, values, techniques and aesthetics are often at odds with the coordinated nature of choral singing (for example, breathing strategies, sustained high tessitura singing and blend). This often leaves the avocational chorister managing complex and sometimes competing performance demands with limited effective guidance, and the conductor without a clear pedagogical knowledge base on which to rely.


Unsurprisingly, research indicates that vocational, untrained and choral singers may be at greater risk of vocal harm than other groups of singers, and that some pedagogues consider choral singing to be incompatible with healthy solo singing, or even to represent the mode of singing that presents the greatest risk. The performing industry increasingly acknowledges pedagogical challenges within professional performance (although significant work remains to be done here also) whereas, for untrained avocational choral CCM singers, there is substantially less specific established knowledge and practice.

This curriculum, will continue to evolve in depth and scope as the evidence base which underpins it matures. There remain notable gaps where the literature does not yet provide an evidentiary basis for specific areas of learning. An additional value of the curriculum is therefore to support the development of a more coherent pedagogical position in avocational CCM choral singing, and to direct future conductors, practitioners and pedagogues towards these much needed areas of research.


This curriculum is for trained conductors, musical directors and choir leaders who work with avocational singers performing CCM repertoire in ensemble settings.  It provides a structured framework for self-directed professional development, designed to be worked through independently and revisited over time, building on practical, pedagogical and research skills acquired in previous formal training. It assumes graduate level study and research skills. Whilst it assumes no prior formal training specifically in voice pedagogy or voice science, conductors with pre-existing knowledge may find material that extends and challenges their practice.


This training does not constitute a formal qualification, and does not aim to be comprehensive in that respect. It is designed to 'fill in gaps' that exist in the training programmes of conductors, to compliment their history of considerable learning and considerable transferable skillset.

The research that underpins this curriculum draws on an audit of current recognised UK choral conducting courses* , a literary evidence base  (including higher quality grey literature), descriptive qualitative content analysis and thematic analysis. A core aim of the methodology was to contribute to the literature and to practice in a culturally responsible, accountable and traceable way, given the historical tensions in pedagogical literature, and socio-political importance of music, singing and choral singing.  

From the literature review of 113 sources, 1,072 verbatim extractions were made and grouped into 31 general themes. These were consolidated into 26 curriculum themes, which were mapped to 10 sequenced modules. Learning outcomes were derived from the specific needs identified within each theme, producing 65 outcomes across the curriculum.

The curriculum was then developed using the five stages of the ADDIE instructional design framework (Analysis, Design, Development, Implementation, Evaluation), a well-regarded approach and one that has been applied to CCM pedagogical training previously.

Curriculum design and content was then further informed by three other major models:

  • •Universal Design for Learning (Sussex), which informs the use of multiple means of engagement, representation and expression throughout
  • •The ITTECF (2024) Standard 5 on inclusive practice, which shapes the expectation that conductors understand and respond to the diversity of their singers
  • •The GOV.UK FE Initial Teacher Education Framework (2026) professional behaviours pillar, which positions equity and inclusion as core professional competencies rather than optional extras

Case-based learning structures each module around a scenario that the conductor responds to before and after studying the content. Reflective practice and cognitive apprenticeship models inform the suggested learning activities. Citations and references are given in the curriculum, not as provided content (although they often are appropriate for this purpose) but for traceability into a literature base that is still in its infancy. This promotes criticality of thought, provenance of knowledge and forms the basis evidence-based practice.

*intentionally undisclosed to avoid accidental and unhelpful denigration of their good standing and contribution to UK choral activity

The All Voices curriculum recognises the challenge of the WEIRD principle; that 85% of the global population do not fall into the 'white, educated, industrialised, rich, democratic' category and that research on choral singing is overwhelmingly drawn from WEIRD populations. It therefore attempts to avoid unintended othering, privilege positioning and the creation of an implicit 'reference' population by embedding multiple perspectives and population-specific issues across the curriculum, rather than confining them to a single module. However, Module 3 also addresses inclusion, cultural competence and gender-inclusive practice in more detail (due to the complexity of interaction between population characteristics and choral singing).

It is recognised that the curriculum draws on the available literature, and that literature has significant gaps.  Choristers with disabilities, those who are more neurodivergent, and gender, sexuality and relationship diverse choristers are largely absent in research efforts in this field. Older singers are not strongly represented, and there is little evidence which considers class, age and religion. 

Where the literature is absent, this curriculum cannot speak with authority, and as a tool of largely unsupervised, self-directed learning it is deemed more responsible to omit comment on these populations at this stage, highlight their absence and contribute to the call for more representative research.


How This Curriculum Was Built

Based on a directed qualitative document analysis of 21 UK choral conductor training routes. Institution names omitted.

Six Training Gap Themes
Gap Theme Key Finding
1. Classical Bias 52% of programmes classical or partially classical; CCM absent from all conservatoire routes but one.
2. Absent CCM Pedagogy Only 10% explicitly include CCM. No programme presents a coherent CCM choral pedagogy.
3. Minimal Vocal Health Only 10% explicitly reference vocal health. Where present, it appears as one item rather than a structured strand.
4. Generic Avocational Framing 57% have avocational orientation, but focus on song-leading rather than voice pedagogy for untrained singers.
5. No Psychosocial Content None of 21 programmes reference psychological literacy, performance anxiety, group dynamics, or self-efficacy frameworks.
6. Fragmented Provision No programme integrates the full range of needs. Conductors must assemble knowledge from disparate routes without systematic guidance.
How these gaps shaped this curriculum. Each of the six themes maps directly to module content. Classical bias and absent CCM pedagogy informed Modules 7 and 8 (unifying pedagogies; CCM style and repertoire). Absent vocal health provision informed Module 6. The generic framing of avocational needs informed Modules 2 and 9 (singer profile; the rehearsal room). Absent psychosocial content informed Module 2 (psychological safety, self-efficacy, feedback). Fragmented provision was the structural argument for building a single integrated curriculum at all.

113 sources were reviewed, generating 1,072 verbatim extractions across 31 themes. These were consolidated into 26 curriculum themes, grouped into 10 sequenced modules using the ADDIE instructional design framework. Each module contains learning outcomes traceable back to the original literature.

113 SourcesLiterature1,072 VerbatimsExtraction26 ThemesAnalysis10 ModulesDesign65 LOsOutcomes

65 learning outcomes across 10 modules, derived from 26 curriculum themes. Each outcome is traceable to specific needs identified in the literature.

Learning outcomes per moduleRole8Singers10Inclusion7Form5Function5Health6Pedagogy6CCM6Rehearsal6Practice6

Each learning outcome was derived from the needs identified in the literature review. Verbatim extractions were grouped into themes, themes were mapped to modules, and the specific knowledge gaps and skill deficits within each theme were converted into learning outcome statements. These are coded as "Learn that" (LT: declarative knowledge the conductor should understand) or "Learn how to" (LH: an applied skill the conductor should be able to demonstrate). Every outcome is traceable to its source verbatims.

LT: 38 (58%)LH: 27 (42%)LT = "Learn that" (knowledge)LH = "Learn how to" (applied skill)

How to Use This Curriculum

1Start with the case study/vignette. Most modules open with a case study/vignette. Write your initial response before reading the module content.
2Work through the topics. Content is organised under sub-headings with citations. to direct your research and learning. It is recommended to follow the modular sequence in full.
3Revisit the case study/vignette. After completing the module (3 and 4s on the competency self-assessment tool), return to the case study/vignette and write a revised response. Compare your before and after and submit for feedback to your chosen mentor/tutor.
4Try the learning activities. Suggested activities are provided to help you apply what you have learned in practice. Consider that these can be organised with a study group, study-buddy or colleague.
5Track your progress. Use the competency self-assessment below to rate your confidence across all topic areas and revisit over time. Consult with mentors, supervisors, colleagues and peers to assess your learning accurately.
Module content is indicative only. Fully developed content, resources, reading lists, activities, and assessments are outside the scope of this assignment.

Modules

Hover over the dots for evidence from the literature
Module 1The Conductor's Role and ResponsibilityThis module introduces a rationale that establishes the conductor in a modified, more extended role when working with avocational choral singers of CCM repertoire.
Module 2Who You're ConductingThis module develops the understanding of the profile of the avocational choral singer.
Module 3Inclusion, Diversity and Cultural CompetenceThis module extends the conductors knowledge of issues of equity, diversity and inclusion.
Module 4Voice: FormThis module provides the anatomical and physiological knowledge that underpins all subsequent technical content.
Module 5Voice: FunctionThis module applies the anatomical knowledge from Voice: Form (Module 4) to three vocal subsystems in practical, style-aware contexts.
Module 6Vocal Health and Duty of CareThis module equips the conductor to recognise, manage and where necessary refer vocal health problems in avocational singers.
Module 7Classical and CCM: Unifying PedagogiesThis module builds on the understanding developed in previous modules, and addresses the pedagogical divide between classical and CCM vocal traditions.
Module 8CCM Style, Repertoire and TechnologyThis module applies the unified pedagogy from Module 7 to the specific demands of CCM genres, repertoire selection and amplification technology.
Module 9The Rehearsal RoomThis module is where everything from Modules 1-8 converges in practice.
Module 10Into PracticeThis module is deliberately open-ended.

Competency Self-Assessment

Rate your confidence in each topic area as you continue your learning journey. These descriptors are indicative only and rely on your ability to self-appraise (see Module 1). Your ratings are saved locally and can be exported.

Where do these competency areas come from? Each item is a sub-heading from the module syllabus content, derived directly from needs identified in the literature review. They are not externally validated competency standards; they represent the specific knowledge and skill areas the curriculum was designed to address.

1: New Learning
Unfamiliar with the area, its relevance and impact. Lacks deliberately acquired knowledge and skills. Might fail to recognise emerging practice issues. Would seek guidance on the basics.
2: Subject Awareness
Aware of the subject area and what learning is needed. Understands its relevance and impact. Would recognise emerging practice issues. Able to understand and formulate a response, but not yet autonomous.
3: Practice Confidence
Broad and deep understanding of the subject, its relevance and impact. Recognises emerging practice issues. Autonomous in handling most situations.
4: Pedagogical Confidence
Advanced knowledge. Can differentiate by population characteristics and health needs. Autonomous in complex situations. Able to consult to those at level 3.
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Rated
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1.1 Training pathways and gaps
1.2 The interdisciplinary conductor
1.3 Competency frameworks
1.4 Models of conductor learning
1.5 Self-audit and development planning
2.1 The avocational singer profile
2.2 Singer motivations
2.3 Wellbeing benefits and their limits
2.4 Psychological safety
2.5 Feedback and communication
2.6 Balancing standards and inclusion
3.1 The choral context for inclusion
3.2 Decolonising choral practice
3.3 Cultural competence in practice
3.4 Gender-inclusive choral practice
3.5 TGE vocal pedagogy
3.6 LGBTQ inclusion
3.7 Self-assessment and ongoing development
4.1 Vocal anatomy for conductors
4.2 The three-component model
4.3 Common myths and misconceptions
4.4 Posture and alignment
4.5 Knowledge gaps and how to address them
5.1 Phonation: registration
5.2 Phonation: the passaggio and belt
5.3 Respiration: breathing for singing
5.4 Resonance: shaping the sound
5.5 Subsystem interaction
6.1 Vocal risk in avocational choirs
6.2 Symptom recognition
6.3 Screening and referral
6.4 Vocal load management
6.5 Addressing vocal problems in rehearsal
6.6 Vibrato, straight tone and choral blend
6.7 Assessment in CCM and choral contexts
7.1 The classical-CCM divide
7.2 Shared tenets and functional foundations
7.3 Named methods and frameworks
7.4 The terminology problem
7.5 Evidence-based practice
8.1 CCM vocal identity
8.2 CCM sub-genres
8.3 Repertoire selection and programming
8.4 Amplification and microphone technique
8.5 CCM performance practice
9.1 Warm-up design
9.2 Rehearsal pacing and communication
9.3 Individual attention within group instruction
10.1 Observation of expert practice
10.2 Observed rehearsal and self-evaluation
10.3 The development cycle
10.4 Peer learning and ongoing support

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Thalén, M. and Sundberg, J. (2001) 'Describing different styles of singing: A comparison of a female singer\'s voice source in "Classical", "Pop", "Jazz" and "Blues"', Logopedics Phoniatrics Vocology, 26(2), pp. 82-93.

Watson, A. (2014) Breathing in Singing. In: Welch, G., Howard, D.M. and Nix, J. (eds.) The Oxford Handbook of Singing. Oxford: Oxford University Press.

White, A.R. (2017) 'Vocal traditions: Somatic Voicework The LoVetri Method', Voice and Speech Review, 11(2), pp. 240-248.

Wilson, S. R. (2011) Community Choir: What Motivates People to Join, Stay, and Sing: A Mixed Method Research Study. MEd thesis. University of Victoria.

Winnie, B.J. (2014) Contemporary Vocal Technique in the Choral Rehearsal: Exploratory Strategies for Learning. DMA dissertation, University of Washington.

Winnie, B.J. (2017) 'Bridging the gap between classical and contemporary vocal technique: implications for the choral rehearsal', Voice and Speech Review, 11(1), pp. 55–71.

Woodruff, N.W. (2011) 'Contemporary Commercial Voice Pedagogy Applied to the Choral Ensemble: An Interview with Jeannette LoVetri', Choral Journal, 52(5), pp. 39-53.

Yoo, H. (2017) 'Multicultural Choral Music Pedagogy Based on the Facets Model', Music Educators Journal, 104(1), pp. 34-39.

← Back to modules
Module 10

Into Practice

This module is deliberately open-ended. It moves the conductor from learning about practice to learning through practice, using the observation, reflection and iterative development models introduced in Module 1. It aims to embed the curriculum content into the conductor's own rehearsal context through structured observation, guided self-evaluation and ongoing peer learning. There is no fixed end point; the module establishes a cycle of development that continues beyond the curriculum.
Cognitive apprenticeship: observation phase LT1 LH1
Cooper, 2017
""The framework outlined three theoretical perspectives on the training of choral conductors: effective teaching and learning environments, cognitive apprenticeship contexts and theories of expertise. Teaching and learning environments in higher education and the workplace were described as an 'interactive system' between the learner, the subject matter and the environment (Varvarigou and Durrant, "
Durrant & Varvarigou, 2008
""In a Cognitive Apprenticeship environment 'modelling', 'coaching' and 'scaffolding' support students in the acquisition of cognitive and meta-cognitive skills, such as self-correction and self-monitoring, through processes of observation and guided practice. In addition, 'articulation' and 'reflection' help students focus their observation on expert problem-solving and 'gain conscious access to ("
Observing a conductor who has completed the curriculum or equivalent
Magid, B.A. (2023)
"there are reasons to question whether bel canto pedagogy alone can help students navigate the many different genres they sing as part of a diverse and balanced curriculum." (p. 54)"
Schade, D.B. (2017)
"Choral pedagogy is a combination of voice pedagogy, choral conducting, and voice science (Smith & Sataloff, 2006)."
Structured observation: what to look for across the three competency layers
Jansson et al., 2019
""While the value of conductor education is appreciated, it is practice that shapes the perception of one's own competency. Connecting back to the close linkage between importance and competence level, practice is also the arena where the individual conductors reconcile their various strengths and weaknesses in the context of the ensemble at hand." (p. 14)"
Observing warm-up design, exercise selection and rationale
Cooper, N. (2017)
"There are many textbooks on choral conducting, and these provide a rich source of information for learning the traditional skill set. However, these books rarely address voice pedagogy or voice science in any depth."
Observing feedback and communication: language, tone, inclusivity
Cooper, N. (2017)
"There are many textbooks on choral conducting, and these provide a rich source of information for learning and practising choral conductors."
Miller, D.G. (2000)
"In the face of these difficulties, it is perhaps remarkable that singing is taught at all. The practical teaching situation, however, need not depend heavily upon language."
Observing rehearsal pacing: speech vs gesture vs modelling
Cooper, N. (2017)
""There are many textbooks on choral conducting, and these provide a rich source of information for learning and practising choral conductors."
Observing how the conductor responds to individual vocal needs within the group
Naismith, M.E. (2019)
"The pedagogues agreed that efficient vocal instruction should be geared to function and style according to individual student needs."
Jansson, D., Elstad, B. and Døving, E. (2019)
"These requirements translate into functions that have been headlined as artist, craftsman, mentor and manager (Jansson, 2018)."
Observing repertoire delivery: style authenticity, cultural competence
Bartlett, I. (2014)
"In addition to tessitura and registration differences, articulation, breath flow, and abdominal support needed for CCM repertoire is effectively different from that of classical singing and will also..."
Hewitt, A. (2009)
"The musical and extramusical aspects of musical styles constitute the elements of a 'community of practice'."
Post-observation debrief: structured conversation with the observed conductor
Bartlett, I. (2014)
""We observed an overall pattern where elements related to the conductor's existential foundation (layer 3) obtained high competence level scores whereas musical-technical elements generally were ranked lower. A similar score pattern was observed for importance."
Mentored shadowing LH1
Joseph & Southcott, 2020
"Some MD/Cs have formal training but others "report learning on-the-job and through trial and error""
Extended shadowing over multiple rehearsals, not a single visit
Panteli, M., Bittner, R., Bello, J.P. and Dixon, S. (2017)
"Listening to some examples we observe that clusters can be distinguished by characteristic uses of vibrato, melisma, and slow versus fast syllabic singing."
de Villiers, A.C. and Gillmer, R. (2023)
""Working with a live accompanist or incorporating a band in an exam would require that the student lead the band and ensure that the standard for performance is met by organising rehearsals, so develo..."
Gradual increase in participation: observing, then assisting, then leading sections
Durrant, C. and Varvarigou, M. (2008)
""Research in music education that seeks to define high-quality preparation in choral conducting education should provide a basis for strengthening the position of choral activities in schools and comm..."
White, A.R. (2017)
""The posture advocated embraces traditional values such as a level head, slightly lifted rib cage, a lengthened spine, a level pelvis, with feet positioned for good balance directly under the torso."
Succession planning: mentoring the next conductor within the group
Joseph & Southcott, 2020
""The MD/Cs of community choirs must take into account diverse factors that the older members of the ensembles bring. They must adopt the role of leader, conductor, teacher, organizer, motivator, musician, performer, administrator, counsellor, and factotum. They must also be directive, flexible, didactic, respectful, and dynamic." (p. 1493)"
Preparing for observation LH2
Bartlett, I. and Naismith, M.L. (2020)
"their individual pedagogic approaches were guided by personal performance experiences, observations of successful CCM performers/recording artists, and an ongoing investigation of past and current voi..."
Durrant, C. and Varvarigou, M. (2008)
"In a Cognitive Apprenticeship environment 'modelling', 'coaching' and 'scaffolding' support students in the acquisition of cognitive and meta-cognitive skills, such as self-correction and self-monito..."
Planning a rehearsal that demonstrates application of curriculum content
Moreno, A.M. (2025)
"Choral educators and voice instructors can integrate BMG techniques seamlessly into daily instruction to enhance vocal production and longevity."
Benson, E.A. (2018)
""When the vocal techniques of classical and CCM singing are identified in terms of function, there is much in common."
Identifying specific areas of focus drawn from the personal development plan (Module 1)
Cooper, N. (2017)
""Specialized degree programmes are not available in Australia and only a few degree programmes offer units of study on choral conducting."
Cooper, N., Manion, N. and Harrison, S. (2024)
"Specific vocal exercises applicable to all transgender singers, regardless of gender identity, included strategies for breath management and a "bringing the head voice down" approach (Gurss, 2018, p."
Being observed LH2
Bartlett, I. (2014)
""We observed an overall pattern where elements related to the conductor's existential foundation (layer 3) obtained high competence level scores whereas musical-technical elements generally were ranked lower. A similar score pattern was observed for importance."
Observation by a peer, mentor or course-equivalent conductor
Jansson, D., Elstad, B. and Døving, E. (2019)
"These requirements translate into functions that have been headlined as artist, craftsman, mentor and manager (Jansson, 2018)."
Coelho, A.C.C., Daroz, I.F., Silvério, K.C.A. and Brasolotto, A.G. (2013)
"These requirements translate into functions that have been headlined as artist, craftsman, mentor and manager (Jansson, 2018)."
Video recording of own rehearsal for self-review
Durrant & Varvarigou, 2008
""In a Cognitive Apprenticeship environment 'modelling', 'coaching' and 'scaffolding' support students in the acquisition of cognitive and meta-cognitive skills, such as self-correction and self-monitoring, through processes of observation and guided practice. In addition, 'articulation' and 'reflection' help students focus their observation on expert problem-solving and 'gain conscious access to ("
Structured self-evaluation LH2
Heath, L. (2024)
""Multiple theories and methods exist, each bringing unique insights and valuable strategies, although often employing terminology with different understandings and different pedagogical approaches."
Self-evaluation against the three competency layers
Jansson et al., 2019
""While the value of conductor education is appreciated, it is practice that shapes the perception of one's own competency. Connecting back to the close linkage between importance and competence level, practice is also the arena where the individual conductors reconcile their various strengths and weaknesses in the context of the ensemble at hand." (p. 14)"
Self-evaluation against the four conductor functions
Jansson et al., 2019
""These requirements translate into functions that have been headlined as artist, craftsman, mentor and manager (Jansson, 2018). The artist is the one who creates meaning from the musical material and establishes an idea of the sound in music. The craftsman moulds the sound towards this idea, by correcting errors, blending voices, shaping timbre, and unifying expression. The conductor mobilises, gu"
Identifying what went well, what didn't, and what was avoided
Bourne, T., Garnier, M. and Kenny, D. (n.d.) 'Musi
"Training for music theatre singing should include the following: 1) Women need to practice in both 'chest' register (for 'belt') and 'head' register (for 'legit'), as well as with a seamless register..."
Heath, L. (2024)
"Multiple theories and methods exist, each bringing unique insights and valuable strategies, although often employing terminology with different understandings and different pedagogical approaches."
Observer feedback: structured debrief using the same framework
Naismith, M.E. (2019)
""This framework serves as a reminder that each student presents with a unique set of vocal issues, special interests, and needs."
Moreno, A.M. (2025)
"Unlike traditional pedagogy, which often relies on intuition or anecdotal methods, BMG provides a structured, anatomically informed framework that educators can systematically teach and musicians can ..."
Comparing before and after LH2
Carroll, L.M. (2000)
"Detailed assessment before treatment includes the patient's general posture and athleticism, general coordination, respiratory control and flexibility, source control (the vocal folds) and flexibility, filter control (the resonators) and flexibility, clarity of speech, quality of voice during speaki..."
Re-administering the competency self-rating from Module 1
Rosa, M. and Behlau, M. (2017)
"Self-assessment questionnaires are convenient tools to screen singers who might be at risk for vocal injury. The questionnaires are inexpensive and easy to administer. They have been proven useful."
Comparing initial and current self-assessment
Bartlett, I. and Naismith, M.L. (2020)
"their individual pedagogic approaches were guided by personal performance experiences, observations of successful CCM performers/recording artists, and an ongoing investigation of past and current voi..."
Bruder, C. and Larrouy-Maestri, P. (2023)
"LeBorgne and Rosenberg (2021) refer to the "hybrid singer" as a highly skilled vocal athlete, able to perform in multiple vocal styles, possessing a solid vocal technique that is "responsive, adaptab..."
Identifying where growth has occurred and where gaps remain
Braun-Janzen, C. and Zeine, L. (2009)
""Scores of the choir directors (CDs) within the group were not significantly superior to the remainder of the group except in the area of functional vocal pathologies." (p. 470)"
McKinney, J.C. (1994)
"One of the most effective techniques used in analyzing the cause of a particular fault is to empathize with the student—to try to feel in your own vocal mechanism the actions that are taking place in ..."
Design-based research in own practice LH3
Cooper, 2017
""The number of community choirs continues to grow, and literature endorsing the benefits of choral singing for physical, mental and emotional health and well-being is rapidly expanding, meaning that the professional development of community choral conductors is in the public interest. However, research on choral conductor education remains limited." (p. 358)"
Selecting a specific area to develop, based on self-evaluation and observer feedback
Naismith, M.E. (2019)
"The pedagogues agreed that efficient vocal instruction should be geared to function and style according to individual student needs."
Winnie, B.J. (2014)
"Singers too should not be marginalized as only "classically trained" with only one specific vocal setup or vocal quality recipe."
Planning a targeted intervention in own rehearsal practice
Moreno, A.M. (2025)
"Choral educators and voice instructors can integrate BMG techniques seamlessly into daily instruction to enhance vocal production and longevity."
Dumont, F.L. (2016)
"Repertoire selection is constantly in the thinking of the choral conductor, targeted to age, skill, voice type and the varied purposes of the programme selection."
Trialling the intervention
Moreno, A.M. (2025)
"William Conable and Barbara Conable developed Body Mapping (BMG) as a somatic method for musicians in the 1970s (B. Conable, 1995)."
Evaluating the outcome: what changed, what didn't, what was unexpected
Desjardins, M. and Bonilha, H.S. (2020)
"This review highlighted the importance of choosing the right respiratory exercises (if any) depending on specific patient needs instead of a "one size fits all" approach."
Abrahams, F. and Head, P.D. (eds.) (2017) The Oxfo
"I wanted to provide a choral experience that would build a bridge between the singers and people from diverse cultures in ways that would honor cultures by singing their music respectfully."
Refining and repeating
Durrant, C. and Varvarigou, M. (2008)
"In a Cognitive Apprenticeship environment 'modelling', 'coaching' and 'scaffolding' support students in acquiring an integrated set of cognitive and metacognitive skills through processes of 'articulation' and 'reflection'."
Updated personal development plan LH3
Bartlett, I. and Naismith, M.L. (2020)
"their individual pedagogic approaches were guided by personal performance experiences, observations of successful CCM performers/recording artists, and an ongoing investigation of past and current voi..."
LoVetri, J. and Woodruff, N.W. (2011)
"The basic principles of vocal function in Somatic Voicework™ The LoVetri Method are very simple."
Revising the Module 1 development plan in light of everything learned
Woodruff, N.W. (2011)
"The basic principles of vocal function in Somatic Voicework™ The LoVetri Method are very simple."
Desjardins, M. and Bonilha, H.S. (2020)
"This review highlighted the importance of choosing the right respiratory exercises (if any) depending on specific patient needs instead of a "one size fits all" approach."
Setting specific, observable goals for the next development cycle
Arce, C. (2021)
""Its widespread popularity created a demand for lessons in singing its interpretation, so teachers of operatic singing had to adapt to the new generation of students who wanted to learn it."
Morris, R. (2013)
"Accent Method would give singers the necessary repetitive practice to allow them to develop the fine interactions between inhalation and exhalation that constitute breath support."
Identifying resources, training and support needed for next steps
Bartlett, I. (2014)
"In addition to tessitura and registration differences, articulation, breath flow, and abdominal support needed for CCM repertoire is effectively different from that of classical singing and will also..."
Sauerland, W.R. (2018)
"Teachers demonstrated emotional support in the applied studio by being cognizant of student needs."
Identifying where referral or specialist input is still needed
LoVetri, J. and Woodruff, N.W. (2011)
"The vocal quality needed should be taught on an on-going basis for some time before the director expects the chorus to deliver the specific sounds that are best for any given song or arrangement (p."
Bartlett, I. (2014)
""In addition to tessitura and registration differences, articulation, breath flow, and abdominal support needed for CCM repertoire is effectively different from that of classical singing and will also..."
Breaking conductor isolation LT2 LH4
Durrant & Varvarigou, 2008
""Research in music education that seeks to define high-quality preparation in choral conducting education should provide a basis for strengthening the position of choral activities in schools and communities. On the one hand, if choral conductors can be prepared effectively in professional practice, it may be that more people will be encouraged to take up the role of a choral conductor with confid"
Conductors work in isolation and need structured reflection opportunities
Levett, J. and Pring, T. (2023)
"Smith and Sataloff (2003) and Stegman (2003) were early advocates of the need to warm up the voice prior to singing."
Woodruff, N.W. (2011)
"The basic principles of vocal function in Somatic Voicework™ The LoVetri Method are very simple."
Conductor study groups: regular peer meetings for shared reflection and problem-solving
Cooper, N. (2017)
""Specialized degree programmes are not available in Australia and only a few degree programmes offer units of study on choral conducting."
Reciprocal observation: observing and being observed by peers on the same development pathway
Beede, D. (2025)
"Five suggestions from trans educators to their cisgender peers: 1. Learn about the trans community. 2. Inspect your language and biases. 3. Represent the diversity of trans people. 4. Promote healthy music-making and identity development. 5. Model allyship. (Cayari et al., 2021, cited p.121)"
Blended and online approaches LH4
Durrant & Varvarigou, 2008
"Professional development in conducting is inconsistent across the U.K., leading to a lack of confidence amongst teachers."
Online reflection forums between face-to-face sessions
Arce, C. (2021)
""the "non-linear source-filter" theory, defined by Dr."
Winnie, B.J. (2014)
""The warm-up process provides a transition between speaking and singing. The average choral singer has little recognition of habitual speech faults, breath flow, or articulatory tensions." (p. 59)"
Uploaded video extracts for peer review and discussion
Desjardins, M. and Bonilha, H.S. (2020)
"This review highlighted the importance of choosing the right respiratory exercises (if any) depending on specific patient needs instead of a "one size fits all" approach."
Beede, D. (2025)
"Five suggestions from trans educators to their cisgender peers: 1. Learn about the trans community. 2. Inspect your language and biases. 3. Represent the diversity of trans people. 4."
Small support groups for ongoing accountability
Bartlett, I. and Naismith, M.L. (2020)
"their individual pedagogic approaches were guided by personal performance experiences, observations of successful CCM performers/recording artists, and an ongoing investigation of past and current voi..."
Tan, T.P. (2020)
"Based on my own experiences in Europe and Asia, I understand that most voice teachers have more professional singing experience than pedagogical knowledge."
Professional networks and continuing development LH4
Cooper, N. (2017)
"Specialized degree programmes are not available in Australia and only a few degree programmes offer units of study on choral conducting."
Durrant, C. and Varvarigou, M. (2008)
"Professional development in conducting is inconsistent across the U.K., leading to a lack of confidence amongst teachers." (p. 72)"
ABCD, RSCM, Natural Voice Network and other professional organisations
Arce, C. (2021)
"the "non-linear source-filter" theory, defined by Dr."
Tan, T.P. (2020)
"Based on my own experiences in Europe and Asia, I understand that most voice teachers have more professional singing experience than pedagogical knowledge."
Conference attendance and CPD events
Tan, T.P. (2020)
"Based on my own experiences in Europe and Asia, I understand that most voice teachers have more professional performance experiences rather than voice science training."
Cooper, N. (2017)
"Specialized degree programmes are not available in Australia and only a few degree programmes offer units of study on choral conducting."
Engaging with current research: voice science, choral pedagogy, CCM literature
Bartlett, I. and Naismith, M.L. (2020)
"their individual pedagogic approaches were guided by personal performance experiences, observations of successful CCM performers/recording artists, and an ongoing investigation of past and current voi..."
Schade, D.B. (2017)
"Choral pedagogy is a combination of voice pedagogy, choral conducting, and voice science (Smith & Sataloff, 2006)."
Expert CCM pedagogues draw on performance experience, artist observation and voice science research
Bartlett & Naismith, 2020
"their individual pedagogic approaches were guided by personal performance experiences, observations of successful CCM performers/recording artists, and an ongoing investigation of past and current voice science research (p. 277)"
The emerging CCM philosophy: nonjudgmental, style-neutral, health-first
Bartlett & Naismith, 2020
"the field of CCM singing lacks clear and cohesive pedagogy that addresses the specific style-related technique and vocal health needs of CCM singers (p. 273)"
  • Structured observation of an expert conductor using Jansson's three-layer framework
  • Observed rehearsal with structured self-evaluation and peer/mentor debrief
  • Video self-review comparing current practice with Module 1 baseline
  • Design-based research project: plan, trial, evaluate and refine one intervention
  • Competency re-assessment: comparing Module 1 and Module 10 self-ratings
  • Peer learning group: presenting own development journey and receiving feedback
  • Establish a regular peer observation and debrief schedule
  • Join or form a conductor study group
  • Set annual development goals using the design-based research cycle
  • Mentor a less experienced conductor
  • Continue engaging with current research in voice science and choral pedagogy
LT1Learn that: Conducting expertise comes from deliberate practice structured through observation, reflection and iterative cycles, not from study alone.
LT2Learn that: Conductors work in isolation and need structured peer learning and reflection opportunities to sustain development.
LH1Learn how to: Conduct a structured observation of expert practice using the competency framework developed in Module 1.
LH2Learn how to: Evaluate own rehearsal practice through video self-review, observer feedback and competency self-rating.
LH3Learn how to: Use the design-based research cycle to plan, trial and evaluate targeted interventions in own practice.
LH4Learn how to: Build and sustain a peer learning network for ongoing professional development.

Abrahams, F. and Head, P.D. (eds.) (2017) The Oxford Handbook of Choral Pedagogy. New York: Oxford University Press. [Chapters 12, 13, 18, 19, 20, 22, 24, 27]

Anderson, D.P. (2011) A Systematic Analysis of Risks to Adolescent Vocal Health. Master of Music thesis, Columbus State University.

Atchison, M. (2014) The Soloist as an Ensemble Singer. DMA Exegesis. University of Auckland.

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. 273–282.

Bonshor, M. (2017) 'Conductor feedback and the amateur singer: The role of criticism and praise in building choral confidence', Research Studies in Music Education, 39(2), pp. 139-160.

Braun-Janzen, C. and Zeine, L. (2009) 'Singers' Interest and Knowledge Levels of Vocal Function and Dysfunction: Survey Findings', Journal of Voice, 23(4), pp. 470-483.

Browder, L.L. (2023) Contemporary Vocal Pedagogy in the Choral Ensemble Rehearsal: A Guide for Secondary Educators. DMA dissertation, University of South Carolina.

Coelho, A.C.C., Daroz, I.F., Silvério, K.C.A. and Brasolotto, A.G. (2013) 'Amateur choir singers: self-image, difficulties and symptoms of the singing voice', Revista CEFAC, 15(2), pp. 436-442.

Cooper, N. (2017) 'Design-based research as an informal learning model for choral conductors', London Review of Education, 15(3), pp. 358-371.

Dumont, F.L. (2016) The Competent Choral Conductor: An Investigation into the Skills and Knowledge Required for the Development of Australian Choral Conductors. PhD thesis, RMIT University.

Durrant, C. and Varvarigou, M. (2008) 'Real time and virtual: tracking the professional development and reflections of choral conductors', Reflecting Education, 4(1), pp. 72-80.

Igna, O.N. and Ma, H. (2025) Vocal Pedagogy as a Contemporary Scientific Direction. Education & Pedagogy Journal, 2(14), pp.41-58.

Jansson, D., Elstad, B. and Døving, E. (2019) 'Choral conducting competences: Perceptions and priorities', Research Studies in Music Education, 43(1), pp. 3-21.

Joseph, D. and Southcott, J. (2020) '"Compassionate Dictatorship": Leading Old Singers in Community Choirs in Australia', The Qualitative Report, 25(6), pp. 1489-1504.

Kempfer, B.A. (2014) Contemporary Commercial Music Pedagogy: Selective Exercises for Developing Healthy Technique in Adolescent Singers. Master of Music thesis, University of Wisconsin-Milwaukee.

Levett, J. and Pring, T. (2023) 'Amateur choir singers - Does good vocal health matter?', International Journal of Language & Communication Disorders, 58, pp. 1286-1293.

Miller, R. (1995) 'The Solo Singer in the Choral Ensemble', The Choral Journal, 35(8), pp. 31-36.

Moline, L.M. (2019) Vocal Jazz in the Choral Classroom: A Pedagogical Study. Doctor of Arts dissertation, University of Northern Colorado.

Pitts, S. and MacGregor, E.H. (2025) 'Investigating amateur choirs in the United Kingdom as sites of musical learning and ambition', International Journal of Music Education.

Pitts, S.E. and MacGregor, E.H. (2024) 'Investigating amateur choirs in the United Kingdom as sites of musical learning and ambition', Music Education Research. University of Sheffield.

Ravall, S. and Simberg, S. (2020) 'Voice Disorders and Voice Knowledge in Choir Singers', Journal of Voice, 34(1), pp. 157.e1-157.e8.

Rodgers, J.M. (2020) A Voice in the Choir: Modernizing the Language and Practice of Voice Pedagogy in the Choral Culture. DMA Dissertation. University of Washington.

Rodríguez Marconi, D., Morales Cárdenas, C., Gaete Antilen, L., Garrido Ormeño, M. and Pardo Reyes, C. (2018) 'Level of physiological, anatomical and pathological knowledge of the singing voice on the part of professional and amateur singers', Revista CEFAC, 20(5), pp. 621-631.

Rooney, T. (2016) 'The Understanding of Contemporary Vocal Pedagogy and the Teaching Methods of Internationally Acclaimed Vocal Coaches', International Journal of Learning, Teaching and Educational Research, 15(10), pp. 147-162.

Rosa, M. and Behlau, M. (2017) 'Mapping of Vocal Risk in Amateur Choir', Journal of Voice, 31(1), pp. 118.e1-118.e11.

Schade, D.B. (2017) The Usage of Vocal and Choral Pedagogies in the Choral Rehearsal: Perspectives of High School and Collegiate Choral Conductors. PhD dissertation, The Pennsylvania State University.

Silva, F.R.F.R., Simões-Zenari, M. and Nemr, K. (2024) 'What do amateur singers who perform in religious services know about vocal health and hygiene?', Audiology - Communication Research, 29, e2842.

Sparks, J.A. (2014) Transformative Singing Engagement: A Study of Cross-Cultural Leadership and Pedagogical Implications for Choral Music Education. PhD Thesis. Simon Fraser University.

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 and Humanities, 9(3), pp. 57-66.

Winnie, B.J. (2014) Contemporary Vocal Technique in the Choral Rehearsal: Exploratory Strategies for Learning. DMA dissertation, University of Washington.

Winnie, B.J. (2017) 'Bridging the gap between classical and contemporary vocal technique: implications for the choral rehearsal', Voice and Speech Review, 11(1), pp. 55–71.

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