An Investigation of Contemporary Commercial Music (CCM) Voice Pedagogy: A Class of its Own?

Abstract

Within the fields of singing voice pedagogy and voice science, there is wide acceptance that the sound production inherent in contemporary commercial music (CCM) singing styles differs greatly from accepted, classical vocal practice-most notably in areas of voice quality, tone, and registration, and associated style-related technical requirements, such as speech quality phonation and style-related vocal effects. Given the growing public demand for singing voice training in CCM styles, this proposition poses a dilemma for teachers and singers/students who have been trained only in the traditional classical model.1 The main challenge lies in the fact that the field of CCM singing lacks clear and cohesive pedagogy that addresses the specific style-related technique and vocal health needs of CCM singers. According to Potter, one of the most notable advantages classical singing has over contemporary commercial music (CCM) singing is a systemized field of voice pedagogy. 2 To date, the teaching-learning situations in CCM have traditionally been perceived as less intentional, less goal oriented, and generally less formal than in classical music. In contrast, Wilson suggests that, irrespective of genre, all professional vocalists are confronted with numerous technical and artistic demands, while forcefully asserting that CCM singers should be granted the same respect as their classical colleagues.3 Wilson states also that “technical” elements of voice production for classical and CCM styles differ. There is strong support for this view. For example, in 2008 the American Academy of Teachers of Singing offered the following observations.

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