Technical Differences and Teaching of Contemporary Commercial Music vs. Classical Singing

Abstract

For voice instructors, it is essential to understand both the voluntary and involuntary uses of the anatomical structures of the voice and the vocal tract, as well as the unique characteristics of musical genres and the individual vocal traits of students. This essay aims to explore the technical differences and similarities between classical and contemporary commercial music (CCM) singing and their application depending on the genre being performed. To provide a thorough analysis, a bibliographic review was conducted, complemented by the authors' contributions and observations as experienced instructors in classical and CCM singing. The findings reveal a significant increase in research on CCM singing, particularly in North and South America, over the past two decades. Notable differences were identified in aspects such as laryngeal position, vocal tract shaping, subglottic pressure mechanics, vocal intensity, acoustic features, use of electronic devices, and the flexibility to modify music and vocal tone. The study concludes that the distinctions between classical and CCM singing significantly influence how singing should be taught. Three key recommendations for educators are highlighted: First, being a proficient singer does not necessarily equate to being an effective teacher; formal training in vocal pedagogy is essential. Second, teaching genres outside one's own training and performance background requires specific education in those styles. Finally, no genre is inherently superior or more valuable; each presents unique vocal demands and distinct ways of interpretation, emotional expression, and communication.