Pop Pedagogy
Monday 17th February 2025, 5:00 PM - 7:00 PM (London Time)
As the ‘newest’ of the singing styles to be taught in music institutions and private studios, the pedagogy for teaching popular singing is still in its early stages relative to other styles of singing, particularly classical singing. However, pop pedagogy has been developing steadily since the year 2000 when the author was part of the team that developed and delivered one of the very first degrees in Popular Music in the UK. Since then, pop music courses have proliferated worldwide.
We also live in a time when some successful pop stars are celebrating career lengths of over sixty years, having been around since the 1950s when pop music emerged and diversified from jazz, so pop singing has been in existence sufficiently long now that, for teaching purposes, we can observe and analyse what type of approach serves it best, in and of itself.
Whilst contemporary singing certainly shares many areas with other styles of singing, the specifics are distinctive and “non-generic”, thereby requiring a certain level of specialised knowledge, training, experience, and competence to perform it authentically. This course will deliver an overview of the requirements for teaching contemporary singers, presented under three main headings: Technique, Musicianship and Interpretation.
To further fill out the content for each category, the author has reverse engineered what pop singers need to be able to do and know about to be effective in the music industry, so it’s based on observations from her many years of high-level performing, teaching experience and post-graduate studies. These findings have been published in book form and summarised as a curriculum poster.
Kim Chandler
Kim Chandler (MMus BMusEd) is a renowned contemporary vocal coach & session singer. She runs a busy private studio in Marbella, Spain, where she coaches an elite clientele of stadium band singers, including BRIT award winners & GRAMMY nominees, artists from a range of genres, professional singers and vocal coaches online.
Attend this course for as little as £22 as part of the Voice Professional Training CPD Award Scheme.
Learn MoreSorry, this is an archived short course...
We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.
Monday 7th July 2025
2:00 PM - 4:00 PM
Tuesday 8th July 2025
2:00 PM - 4:00 PM
Wednesday 9th July 2025
2:00 PM - 4:00 PM
Friday 11th July 2025
2:00 PM - 4:00 PM
Monday 14th July 2025
2:00 PM - 4:00 PM
Tuesday 15th July 2025
2:00 PM - 4:00 PM
Wednesday 16th July 2025
2:00 PM - 4:00 PM
Friday 18th July 2025
2:00 PM - 4:00 PM
(London Time)
Introduction to statistics and working with quantitative data for Voice Professionals: 8-Session Online Bootcamp
Dr David Cane
This certificated statistics course is ideal for individuals interested in laying a solid foundation in quantitative research methods. By focusing on essential statistical principles, you will be equipped with the tools to understand and apply quantitative research techniques effectively. Statistics is a crucial component of quantitative research; mastering it will enable you to grasp quantitative methods more confidently and precisely.
Tuesday 15th July 2025
5:00 PM - 7:00 PM
(London Time)
Exploring the roots of the tongue: Ideas for performance
Walt Fritz
As a relative outsider looking into the voice and performance world, I witness the bell curve of thoughts and actions on how the tongue contributes to voice problems and how best to tame that tension. Traditional ways of taming tongue tension seem adequate (or would seem so, based on feedback), so what is different and new? In this short course for the Voice Study Centre, Walt Fritz will introduce the learner to variations on self-applied tongue stretches and exercises.
Wednesday 16th July 2025
2:00 PM - 4:00 PM
(London Time)
Emotion and Performing Accents and Dialects: why does Emotion Get in the Way?
Louisa Morgan
At points of heightened emotion, it is common for actors working in an accent to default to their natural speech. How do we help performers to avoid this issue and provide them and their directors with the confidence they need regardless of the emotional demands of the piece? What can we learn from research in vocal expression of emotion to help actors to embody the emotion and keep control of their voice and accent? Our very own Louisa Morgan will guide participants through the latest research and offer practical suggestions for working with performers needing to navigate this challenge.