Breaking the Sound Barrier: Spectrum–Based Pedagogies in Modern Vocal Music Education

Statement of the problem. Vocal pedagogy in the drama theater arts has a shorter history than the training of academic singers. Unlike the academic tradition, which preserves fixed teaching methods, vocal training for actors is constantly changing to respond to new stage practices and to give students relevant skills. The study of approaches by Kharkiv teachers to actor’s vocal training is important not only from a historical point of view; it is that allows us to see their individual contribution to the development of the performance arts in the region. In the article, we focused on several vocal teachers, including both, the famous singers and the specialists, whose work was devoted mainly to vocal pedagogy. Recent research and publications. In historical discourse, the topic of vocal training for student actors within the Kharkiv school of theatre has yet to attract significant scholarly attention. Brief biographical sketches of some vocal instructors can be found in the two-volume encyclopedic publication prepared by the Kharkiv I.P. Kotlyarevsky National University of Arts to mark its centenary in 2017. A more comprehensive overview dedicated to theater education in Kharkiv is provided in detailed article from the second volume of this edition (Botunova, 2017), which offers insight into the historical contexts and institutional transformations that shaped the principles and methods of vocal pedagogy for actors. A significant information was also gathered from archival documents housed at the Kharkiv I.P. Kotlyarevsky National University of Arts. These include personal files of faculty members, as well as administrative orders issued by the Kharkiv State Theatre Institute, the Kharkiv State Conservatory, and the Kharkiv State Institute of Arts during the relevant periods. Objectives, methods, and novelty of the research. The purpose of the study is to fill in historical gaps in knowledge about vocal pedagogy in Kharkiv theater education in the 1930s–1960s and to investigate trends in the vocal training of actors during this period. The novelty of the work lies in drawing attention to the problems of developing vocal education for student actors in Kharkiv’s higher education during the mid-20th century, highlighting the figures of vocal teachers and their methods for the formation of a singing actor. Historical and chronological, documentary and biographical approaches were used, as well as archival work with documents and personal files of teachers, and an analytical method to reconstruct the vocal training system of student actors during the 1930s–1960s. Research results. The Ukrainian theatrical tradition has always emphasized the importance of the vocal component as one of the basic elements of acting. In the 20th century, this was also supported by Les Kurbas’s associates. The figures of the vocal teachers are considered, in particular Zinaida Maliutina, a famous singer and teacher who significantly influenced the vocal education of both actors and singers; Liudmyla Kurilenko, who occupied a significant place in vocal pedagogy in Kharkiv; Liia Shamesh, who worked exclusively with actors for over three decades; Tetiana Chubuk-Oleksiienko, an opera and chamber singer and vocal teacher, who enriched acting training with her deep practice of the Ukrainian singing repertoire. The archival documents allow us to reconstruct the “official” position regarding vocal pedagogy in Kharkiv. The problems faced by the teachers were identified, both, the external factors, such as wartime conditions, and the internal factors – lack of resources and political pressure. Despite the difficulties, the teachers managed to adapt their own methods to the specific needs of dramatic actors. Conclusion. Until the mid-20th century, academic vocal technique was dominated in the training of actors, who were expected to skillfully use the capabilities of their vocal apparatus for professional performance. This was achieved through the pedagogical traditions of academic voice training carried out by teachers of that period. Further archival research is needed to examine methodological materials and collect testimonies from graduates. This will help reconstruct the history of actor vocal training in Kharkiv.

Стаття присвячена висвітленню особливостей організації та змістового наповнення вокальної підготовки майбутніх учителів музичного мистецтва в умовах професійно-спрямованого навчання у педагогічних закладах вищої освіти України. Розкрито сутність науково-теоретичного, художньо-виконавського та музично-педагогічного напрямків вокальної підготовки студентів, серед яких виокремлено. Обґрунтовано доцільність впровадження у процес вокальної підготовки таких науково-педагогічних принципів її організації: науковості, усвідомленості, персоніфікації, інтеграції художнього і технічного компонентів, методичної спрямованості навчання. Виокремлено професійно-необхідні знання, уміння і навички, що сприяють активізації творчої самореалізації студентів, серед них навички внутрішнього слухового та виконавського інтонування; умінням аналізувати вокальні твори; знання з алгоритмізації засобів виконання творів; розробка та використання інноваційних методів вокальної роботи з учнями.

Despite the growing recognition of the importance of Pedagogical Content Knowledge (PCK) in music education, there is a significant knowledge gap regarding the precise nature of its role and how it contributes to effective teaching and learning. The objective of this systematic literature review is to examine and synthesize existing research on the roles of teachers' PCK in music education. Specifically, the study aims to explore how the PCK of music educators influences their teaching strategies, curriculum development, student engagement, and assessment practices. The research seeks to examine how these roles may vary across different scenarios and the implications of these variations for teaching and learning, especially in the context of music education across various educational settings. By synthesizing findings from diverse educational levels and cultural contexts, this review seeks to offer profound insights into the optimization of music education across various educational settings. The study follows the Preferred Reporting Items for Systematic Review and Meta-Analysis (PRISMA) guidelines. The analysis focused on the research question and identified themes related to the PCK in music education. The analysis revealed four emerging themes: understanding of music concepts, pedagogical strategies, student-centered teaching approaches, and assessment practices. These findings provide insights into effective practices for music curriculum designers and instructors in designing and developing strategies in teaching and learning in music education. These insights can inform the development of effective teaching strategies, curriculum design, and assessment practices in music education, ultimately enhancing the quality of instruction and learning experiences for students.

Since approximately 30 years, we are witnessing a re-emergent interest in learner voice from researchers, teachers, policymakers, and students themselves. This widespread movement foreshadows the potential for a shift of paradigm from a unilateral top-down directivity to an inclusive and dialogical decision-making process in school systems. Youth voice is crucial to reimagine education from a global, multi-stakeholder perspective, which can foster student engagement and promote meaningful learning experience. While the interest on the learner voice has burgeoned recently in the field of music education, the body of literature in this field is still relatively small, and its impact in the classroom and policies is limited. That said, a few research studies have been led to study specifically the learner voice in both in- and out-of-school contexts. However, so far, no systematic attempt to integrate these findings into a broader framework, depicting the diversity and the commonalities of the young learner voice in music education, has been made. To bridge this gap, we realize a systematic literature review of the research studies that are capturing the essence of young music learner voice, a corpus mostly comprised of narrative and storytelling studies. A thematic analysis is carried out to explore how young music learners describe their own musical experiences and meaning-making in informal and formal musical contexts. The results emerging from this systematic literature review are organized into a framework representing young learners’ perspectives on what they like and dislike about their musical experience. Practical implications resulting from this analysis are proposed for innovative pedagogical approaches and policies in music education, where the learner voice is inclusively engaged into a dialogical decision-making process. Finally, avenues for promoting a more significant inclusion of learner voice in music education and research are also explored.

Regarding the context of creating an interactive learning environment, the impact of bel canto vocal pedagogy on the development of performance abilities among Chinese vocal students was studied. Based on the method of analysis, the authors identified the advantages of using IoT devices for studying the Bel Canto technique by calculating the coefficient of significance. The use of IoT devices for studying the Bel Canto technique contributes to training in breath control (2.557), standardization of musical sounds (2.518), development of vocal power (2.493), expansion of phonetic resonance (2.397), and vibrant expressiveness (2.009). The implementation of voice sensors facilitates detailed monitoring and analysis of students' vocal techniques. Utilizing these technologies enables instructors to provide more precise and timely recommendations, enhances students' technical skills, and accelerates their progress. It is crucial to investigate the pedagogical and social aspects of IoT integration in music classes, as well as the economic efficiency of these solutions. Standardized methods for assessing the effectiveness of IoT systems in music education need to be developed, and optimal approaches for their integration into traditional teaching methods must be determined.

The study examines the essence, definition, principles, and methods of vocal (voice) pedagogy as a vast area of music pedagogy, rapidly growing and developing, taking shape in the mainstream of the pedagogy of culture and art and, at the same time, general pedagogy. Contemporary trends and problems existing in vocal pedagogy are summarized. The topics studied within the framework of this pedagogy concern the theory of vocal pedagogy, its history, methodology, and the education of vocalists. The historical stages of its development are outlined. It is determined that this development is specific to each country. At the same time, often the influence of some musical and vocal traditions of some countries (for example, of European countries) on others (for example, Russia, China), their mutual influence at various historical stages. The focus of vocal pedagogy as a scientific direction also includes its phenomena, approaches, principles of implementation, and outstanding representatives. The problems of vocal pedagogy include insufficient unity in understanding and using its terminology, difficulties in implementing an individual approach to training vocalists, insufficiently effective use of healthsaving and digital teaching technologies, and low efficiency of some teaching methods. Comparative vocal pedagogy, which examines the features of vocal schools, systems, and traditions of training vocalists in different countries, has been rapidly developing recently. In recent years, the number of comparative scientific papers devoted to the training of vocalists in China has increased in Russian science; even more such works are published by Chinese researchers studying Russian vocal pedagogy. В исследовании рассмотрены суть, определение, принципы и методы вокальной педагогики или педагогики вокала как обширной области музыкальной педагогики, быстрорастущей и быстроразвивающейся, оформляющейся в русле педагогики культуры и искусства и одновременно общей педагогики. Данное направление педагогической науки развивается на уровне теории и практики, на стыке различных областей знаний Обобщены современные тенденции, проблемы, существующие в вокальной педагогике. Изучаемая в рамках данной педагогики тематика касается, прежде всего, теории вокальной педагогики, ее истории, методики, воспитания вокалистов. Обозначены исторические этапы ее развития. Определено, что данное развитие специфично для каждой страны. При этом нередко влияние некоторых музыкальных, вокальных традиций одних стран (например, стран Европы) на другие (например, на Россию, Китай), их взаимовлияние на различных исторических этапах. В фокусе вокальной педагогики как научного направления также есть: ее феномены; подходы; основы реализации; выдающиеся представители. Традиционные методы обучения в рамках вокальной педагогике соотносятся с существующими методами в педагогике в целом. Проблемы вокальной педагогики включают: недостаточное единство в понимании и использовании ее терминологии; сложности реализации индивидуального подхода при подготовке вокалистов; недостаточно эффективное использование здоровье-сберегающих и цифровых технологий обучения; низкая результативность некоторых методик обучения. Стремительным развитием в последнее время характеризуется и сравнительная вокальная педагогика, где рассматриваются особенности вокальных школ, системы, традиции подготовки вокалистов в разных странах. В российской науке в последние годы увеличилось количество сопоставительных научных трудов, посвященных подготовке вокалистов в Китае, ещё больше таких трудов у китайских исследователей, изучающих русскую вокальную педагогику.

This paper presents a Systematic Literature Review (SLR) about pedagogical innovation and disruption in music education. A rigorous SLR process was applied to the selection of papers related to innovative practices in music education at different educational levels and in a range of contexts. Although there are similar studies on innovation in education, there is no SLR on pedagogical innovation and disruption in music education using this method. The purpose of this study is to present an example of how to do an SLR and to share the findings of the review itself. We also provide a snapshot based on a tight SLR process of some instances of innovation in music education that, in some way, are drawing the paths to be followed in future investigations. According to the categories of innovation that we have established to analyze our corpus of papers, disruption is produced by modifying four fundamental factors in the act of learning (purpose and context learning, teacher/student relationship, and learner role). These factors can contribute to developing a more flexible and open curricula incorporating a holistic, collaborative, and interdisciplinary vision of learning. We consider that the value of this study lies in reflecting a systematic methodological process for the analysis of the scientific literature as well as the findings.

SECTION ONE: ISSUES AND RESEARCH 1. Policy Frameworks, Research and K-12 Schooling 2. MENC: A Case in Point 3. Recent Trends and Issue in Policy-making 4. Law Research and Music Education INTRODUCTION: TOWARD AN UNDERSTANDING OF THE 'AIMS OF MUSIC EDUCATION' 1. Contemporary Curriculum Practices and Their Theoretical Bases 2. Theory, Research, and the Improvement of Music Education 3. A Comparative Review of Human Ability Theory: Context, Structure, and Development 4. Critical Thinking 5. Improvisation 6. Improvisation and Curriculum Reform 7. Adult Education 8. Music and Early Childhood Education 9. Systematic Research in Studio Instruction in Music 10. Philosophical Issues in Curriculum 11. Educating Musically 12. Distance Learning and Collaboration in Music Education SECTION THREE: MUSICAL DEVELOPMENT AND LEARNING Introduction: Issues in Perception, Cognition, and Development 1. Learning Theories as Roots of Current Musical Practice and Research 2. Systematic Instruction 3. Behavioural Research on Direct Music Instruction 4. Self-Regulation of Musical Learning: A Social Cognitive Perspective 5. Motivation and Achievement 6. Developmental Characteristics of Music Learners 7. Creative Research in Music, Visual Arts, Theater, and Dance 8. Computer-based Technology and Music Teaching and Learning SECTION FOUR: MUSICAL COGNITION 1. The Neurobiology of Music Cognition and Learning 2. Cognitive Constraints on Music Listening 3. The Development of Musical Abilities 4. Making Music and Making Sense of Music: Expressive Performance and Communication 5. Taking an Acquired Skills Perspective on Music Performance SECTION FIVE: SOCIAL AND CULTURAL CONTEXTS 1. The Sociology of Education and Connections to Music Education Research 2. Sociology of Music 3. Social Psychology and Music Education 4. Music, Culture, Curriculum and Instruction 5. Feminism, Feminist Research and Gender Research in Music Education 6. The Social Construction of Music Teacher Identity in Undergraduate Music Education Majors 7. Transforming Research in Music Education History 8. Music Transmission and Learning: A Conspectus of Ethnographic Research in Ethnomusicology and Music Education 9. Community Music: Toward an International Overview SECTION SIX: TEACHER EDUCATION Introduction: Fuzzy Teacher Education 1. Reform-minded Music Teachers: A More Comprehensive Image of Teaching for Music Teacher Education 2. Teaching as a Profession: Two Variations on a Theme 3. Changing Concepts of Teacher Education 4. Strengthening the Teaching of Music Educators in Higher Education 5. Research by Teachers on Teacher Education 6. Research in Music Student Teaching 7. Professional Development SECTION SEVEN: MUSIC EDUCATION CONNECTIONS Introduction: The Growing Impact of Partnerships: A Reason for Research 1. Policy Issues Connecting Music Education and Arts Education 2. The Evaluation of Arts Partnerships and Learning Through the Arts 3. The 'Use and Abuse' of Arts Advocacy and its Consequences for Music Education 4. Research in Visual Arts Education: Implications for Music Education 5. A Review of Research in Theater, Dance, and Other Performing Arts Education: Implications for Music SECTION EIGHT: NEUROSCIENCE, MEDICINE, AND MUSIC 1. Music and Neuroscience 2. Performing arts Medicine 3. Musicians' Health MIRIAM HENOCH, AND JOHN HIPPLE SECTION NINE: INSTRUMENTAL OUTCOMES 1. Nonmusical Outcomes of Music Education: Historical Considerations 2. Teaching Other Subjects Through Music 3. Research: A Foundation for Arts Education Advocacy SECTION TEN: RESEARCH DESIGN, CRITICISM, AND ASSESSMENT IN MUSIC EDUCATION 1. Philosophical Perspectives on Research 2. Maintaining Quality in Research and Reporting 3. Trends in Data Acquisition and Knowledge Development 4. Assessment's Potential in Music Education 5. Contemporary Issues in Qualitative Research and Music Education

In North America, post-secondary music education is heavily focused on (and limited to) the repertoire and techniques of the Western Art Music canon. Vocal training at these institutions is no exception: vocalists are trained in the bel canto technique whose lineage reaches back to seventeenth-century Italy. This conservatory-based curriculum supports a categorical vocal pedagogy, one that seeks to produce a particular type of singer with a very specific kind of sound. Instead of embracing what each individual singer is capable of, this model focuses on what singers should be capable of from the perspective of repertoire and technical mastery in the operatic tradition. In this paper I will argue that this model risks our losing sight of what the singer has to say in favour of what the composer has to say. Recently there has been discussion and research around a more inclusionary model of vocal pedagogy that would incorporate other techniques alongside bel canto. However, these discussions have been focused on inclusion of musical theatre and belt techniques, with very little discourse on the inclusion of extended vocal techniques. By drawing on the scholarly discourse on the limits and extensions of technical training in post-secondary vocal performance, as well as interviews with several women working in the performance and teaching of extended vocal techniques in Canada, I will explore the potential for extended vocal techniques to contribute to a more inclusive model of vocal pedagogy.

Prior to the onset of the COVID-19 pandemic, digital tools were progressively integrated into instrumental and vocal education at the university level. During the pandemic, these tools evolved from a supplementary role to an indispensable component of classroom instruction, thereby attracting growing scholarly attention. While existing research acknowledges this shift, there remains a scarcity of systematic comparison and synthesis regarding the impact of digital tools on instrumental and vocal pedagogy in higher education before and after the pandemic. Furthermore, insufficient studies have addressed the associated negative effects. This study combines literature review and questionnaire survey to summarize both the positive and negative influences of digital tools on university-level instrumental and vocal teaching before and after the pandemic, and proposes strategies to mitigate the adverse impacts. Findings indicate that digital tools provide students with increased opportunities for collaboration and enrich classroom teaching. To counter negative effects such as internet instability and reduced learning efficiency, the study recommends the development of specialized teaching software and enhanced classroom discipline. By summarizing the evolving role of digital tools in music education across the pre- and post-pandemic periods and expanding the research on mitigating adverse effects, this study offers valuable directions for the future development of digital tools in university music education.

In this study, the usability of lip trill, yawn–sigh and tongue relaxation exercises in vocal training programmes was evaluated. The exercise programmes were carried out with first-year students in a music teacher education programme, and the effect of these exercises on the quality of the voice was measured using acoustic measurement techniques. Thirty-one subjects were included in the study. The experimental group (n = 16) and the control group (n = 15) were determined randomly. While determining the groups, attention was paid to ensure that the characteristics of the groups were the same. An 8-week vocal exercise programme (one session per week) was carried out with the students in the experimental group. The voices of the students were recorded before and after each exercise, and then acoustic measurements of these recordings were made. The data obtained from the measurements conducted before the vocal exercises were compared with the measurement data obtained after the vocal exercises were carried out. The significance assessment of the differentiation of voice parameters in both the short term (comparison of the data obtained before the exercise and the data obtained immediately after the exercise) and in the long term (after the 8-week implementation phase) was made. A significant improvement was shown in voice quality in terms of frequency and amplitude perturbation parameters compared to the control group after each session and at the end of the 8-week exercise programme. Keywords: Vocal training, music education, lip trill, yawn-sigh, tongue relaxation, frequency perturbation, amplitude perturbation

The purpose of this study was to describe the university vocal training and vocal health of music educators and music therapists. The participants ( N = 426), music educators ( n = 351) and music therapists ( n = 75), completed a survey addressing demographics, vocal training, voice usage, and vocal health. Both groups reported singing at least 50% of the work day; moreover, music educators complained of vocal fatigue and hoarseness at the end of the week. Music educators expressed concern about their vocal health, due to the unique demands of music instruction and large classes. A majority of participants, particularly instrumental concentration majors, expressed a desire for more career-focused vocal training. Results suggest that additional university training in vocal health could help prevent vocal abuse and misuse among music educators and therapists; furthermore, music educators may be better qualified to promote healthy singing among developing voices.

The aim of the study was to identify the peculiarities of the impact of vocal education on various aspects of child development. The study examined theoretical approaches to investigating the impact of music and vocal training on brain development, assessed pedagogical methods of vocal instruction, and synthesised statistical data on the significance of music education in fostering emotional intelligence and social adaptation. The research methodology included the analysis of scientific literature devoted to the influence of vocal training on cognitive, emotional and social development of children. Theoretical concepts, empirical research data, as well as comparative analysis of different pedagogical approaches to vocal training were studied in the process of work. Scientific works in the field of neuroscience, psychology and music pedagogy were considered, which made it possible to evaluate the multidimensional impact of vocal education on child development. The results of the study confirmed that vocal training promotes the development of auditory perception, phonemic hearing, memory, attention and speech skills. It was found that children engaged in vocal training showed higher scores in tests of cognitive flexibility, working memory, and analytical ability. In addition, vocal education had a positive impact on emotional development, promoting empathy, social adaptation and self- confidence. Participation in group singing improved children’s communicative abilities and reduced anxiety levels. Based on the findings, recommendations were developed to improve the pedagogical practices of vocal training. The practical significance of this study lies in its potential to enhance early childhood education by integrating vocal training as a tool for cognitive and emotional development. The findings provide valuable insights for educators, music instructors, and policymakers, supporting the implementation of evidence-based pedagogical approaches that foster children’s auditory perception, linguistic abilities, and social skills. Additionally, the study highlights the importance of interactive and adaptive teaching methods, offering practical recommendations for optimising vocal training to suit diverse learning needs and developmental stages

Artificial intelligence (AI) is transforming the field of education by emulating human cognitive processes, boosting adaptability, and improving efficiency across various domains. This integration of AI with music education, which involves a rich tapestry of history, culture, theory, and instrument instruction, facilitates the efficient utilization of musical resources. The growing demand for AI-driven online education is reshaping the landscape of learning and music instruction, particularly in the realm of music education, where the amalgamation of AI technology heralds innovative teaching approaches. This article reviews three significant AI-driven approaches: the "Flipped Classroom", which redefines traditional teaching paradigms by seamlessly combining online and offline learning experiences; the "Music Learning System Based on the RBF Algorithm", employing intricate neural network structures and large-scale music samples for personalized music education; and the "Music Learning System Based on the SCMA Algorithm", which utilizes advanced multiuser detection algorithms for tailored learning experiences. Each method leverages AI techniques, including Convolutional Neural Networks (CNN) and sophisticated algorithms, to enhance content delivery, automate feature extraction, and differentiate individual student needs. These approaches collectively signify a paradigm shift in music education, fostering personalized, interactive, and efficient learning environments for diverse learners. This article proposes future developments that could revolutionize the landscape of AI in music education. The "Singing Teaching System" mentioned in the article creates open-access AI music education software accessible to non-music majors.

RETRACTED: Music education: Which is more effective – Traditional learning or the introduction of modern technologies to increase student motivation?