Tripartite Unity: What Students Expect From Their Teacher and Accompanist During Individual Singing Lessons

Abstract

A successful singing lesson requires coordinated efforts from the three parties involved: student, teacher, and accompanist. Results are reported of a survey in which 32 statements were rated on a 5-point Likert scale by high-school students, university students, and professional singers from an opera chorus. The statements were related to students' expectations of their teacher and accompanist during individual singing lessons. Participants were also able to add their own comments to the questionnaire. Results demonstrate that students expect a partnership to develop between the three parties in a singing lesson. The teacher is expected to have a positive attitude, professional and up-todate skills, and the ability to motivate students to work more efficiently. Alongside progress in musical terms, students expect to receive assistance from their teacher in how better to cope with increasingly stressful situations during a public performance.

Examining the empathic voice teacher

“…Highlighting that clear, effective, and positive communication is one of the empathic behaviors of voice teachers (Lewis & Hendricks, 2022), this study resonates with Stojiljković et al’s (2014) finding that training through social activities can contribute to developing an empathic practice. As students appear to seek trustworthy relationships with their teachers (Kiik-Salupere & Ross, 2011; Lewis & Hendricks, 2022), voice teachers should be trained to actively seek to understand their students through responsive listening (Parker, 2007). Above all, developing empathetic pedagogies must consider that voice teachers use multiple, intertwined empathic characteristics in their practices, and that the development of these can benefit not only their teaching but also their (future) students.…”

“…Studies have identified that teacher empathy enables successful communication (Berkovich, 2020; Goroshit & Hen, 2016; Stojiljković et al, 2012) and connection with students (Arghode et al, 2013; Hutton, 2022). For voice teachers, empathy is essential for training students both physically and psychologically (Kiik-Salupere & Ross, 2011). A voice teacher’s success with their students is reportedly linked to their ability to empathize and demonstrate care (Helding, 2017b; Hendricks, 2022); support their student’s ability to cope in the performing arts industry (Kiik-Salupere & Ross, 2011); generate trust through demonstrating knowledge, experience, and candor (Lewis & Hendricks, 2022); and assist in diagnosing vocal issues in students (Brown, 2002).…”

“…For voice teachers, empathy is essential for training students both physically and psychologically (Kiik-Salupere & Ross, 2011). A voice teacher’s success with their students is reportedly linked to their ability to empathize and demonstrate care (Helding, 2017b; Hendricks, 2022); support their student’s ability to cope in the performing arts industry (Kiik-Salupere & Ross, 2011); generate trust through demonstrating knowledge, experience, and candor (Lewis & Hendricks, 2022); and assist in diagnosing vocal issues in students (Brown, 2002). Given this evidence that voice teacher empathy is important and correlates with student success, examining voice teachers’ perceptions of their pedagogy and behaviors when teaching could offer greater insights as to how they demonstrate empathy.…”

“…Notably, students consider it especially important to have an empathic voice teacher. Kiik-Salupere and Ross (2011) found that: (a) singing students appreciate a calm, constructive, and supportive lesson atmosphere and expect their teachers to be positive and innovative; and (b) teachers should facilitate a partnership with their students based on mutual trust and develop their students’ psychological skills to help them cope in the industry. Trust also factors strongly into how students perceive their performance and development, as their relationship with their teacher influences their confidence (Lewis & Hendricks, 2022).…”

Coaching e feedback durante os exercícios iniciais em aulas de voz de nível avançado

“…An increasing amount of research has begun to investigate the nature of interactions in studio lessons without necessarily distinguishing between singers and instrumentalists, and this work has employed a wide range of methodological approaches to highlight different aspects of the subject. For example, the perceptions and attitudes of lesson participants have been sought through a survey of high-school pupils, university students and professional singers (KIIK-SALUPERE;ROSS, 2011), and mixed groups of singers and instrumentalists have participated in interviews and focus groups, encouraged to engage in "storytelling and reflection" (CAREY; GRANT, 2015, p. 7). In other studies, interviews have been used in conjunction with video observation, to collect richer data about studio participants' own understanding of their practices (BURWELL, 2012;BURWELL, 2016a;JAMES et al, 2010;JOHANSSON, 2013).…”