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Music programs in higher education systems have historically operated from a Eurocentric point of view, and many programs still endorse an outdated hierarchy that places classical music above all other genres. Despite the inherent cultural and artistic value of American popular music, the United States lags behind other countries in granting popular music study a meaningful place in higher educational models. While significant structural changes to ensure that all genres of music receive equal attention and resources within university music programs develop, the authors have compiled a list of tools voice teachers can use to practice increased equity, diversity, inclusion, and belonging (EDIB) within our singing voice studios. These include (1) embracing intentional pedagogical practices; (2) avoiding cultural appropriation or cultural approximation; (3) continuing to seek education; (4) acknowledging our areas of excellence, knowing what is beyond the scope of our expertise, and having the courage to ask for help; (5) naming courses and programs accurately; and (6) developing an equity, diversity, inclusion, and belonging statement for the voice studio. As a form of combating systemic exclusion, voice teachers can take meaningful steps to foster a racially, ethnically, culturally, and musically inclusive singing voice studio.

Practicing Equity, Diversity, Inclusion, and Belonging in the Singing Voice Studio