Dismantling the necessity for vocal code-switching

Abstract

For more than 100 years, the Eurocentric Classical model has been offered as the academic institutional standard for vocal music majors in America. Even though there have been slight changes with the addition of Jazz and/or Musical Theater concentrations by numerous academies, the current academic structure for vocal majors has not kept up to date with the current social music evolution. The phenomena of Vocal Code-switching, which extends from DuBois’ theory of double consciousness, is one of many results of the prolonged endorsement of this monopolistic structure upon disenfranchised, under-represented, and historically oppressed communities. The purpose of this study was two-fold: 1) To investigate the methods used for strategic navigation between Eurocentric and Afrocentric voice study and performance; 2) To examine methods for developing a Gospel voice music major within the academy. Five academic specialists, who also identify as Vocal Code-switchers, provided advice for reaching a deeper understanding of Vocal Code-switching both inside and beyond the walls of the classroom, and for creating and implementing a Gospel-centered voice curriculum. For Vocal Code-switching, themes included: keeping the two realms separate, developing one voice that is utilized in both worlds, and developing creative methods by which you can achieve navigation. Regarding the Gospel voice major, participants addressed assessment in a Gospel- centered voice program, spiritual dimensions of a Gospel-centered voice program, and significances of technical knowledge development. Drawing on these ideas, a Vocal Code- switching Coordinate System and undergraduate Gospel Voice Performance curriculum were proposed. Course outcomes of Gospel-based curricula centered around quest-driven pedagogy provide benefits for the students, professors, and academic institutions.