The evolution of contemporary musical theatre, particularly in the Australian industry, has prompted a re-evaluation of traditional vocal training models in response to the growing dominance of Contemporary Commercial Music (CCM) styles in musical theatre productions. As productions increasingly incorporate pop, rock, R&B, and other popular music genres, performers are expected to demonstrate advanced vocal adaptability, physical endurance, and stylistic fluency. However, existing pedagogy often fails to provide the necessary technical tools to support healthy cross-genre performance, leaving performers underprepared for the realities of professional practice post-study. This study investigates the experiences of musical theatre students, graduates and working performers in navigating the demands of contemporary musical theatre, with a specific focus on contemporary cross-genre vocal technique. It further explores the role and relevance of such training in preparing musical theatre performers for current industry expectations and the extent to which participants have engaged with it. A mixed-methods design was used, with 68 participants completing a survey incorporating both quantitative and qualitative questions regarding their training, performance experiences, and perceived preparedness. Thematic analysis of qualitative responses indicated a strong consensus on the importance of cross-genre training and revealed recurring concerns around technical challenges and the need for more relevant pedagogical strategies to support its implementation. The findings highlight a persistent gap between current pedagogical approaches and the realities of professional requirements, reinforcing the need for review and the integration of CCM-specific strategies into musical theatre vocal pedagogy. This study contributes to the growing discourse on vocal cross-genre training by providing first-hand insights into performer needs.
This paper is Part 1 of a larger study exploring the belt voice as a defining and technically demanding feature of R&B/soul singing, examining its physiological and stylistic dimensions. Despite its prominence in the genre, the belt voice still remains one of the most misunderstood techniques within vocal pedagogy, often marginalised by classical or music theatre frameworks that dominate formal training. To address this gap, this study employed a mixed-methods design, integrating a literature informed listening survey with a follow up questionnaire to examine vocal characteristics in R&B/soul singing. Three key sources (Borch, 2007; Howard, 2006; Phillips, 2010) guided the development of auditory-perceptual parameters—such as lung pressure, onset/offset, vocal colour, vibrato, and belt—and were rated on a 1–5 continuum scale to serve as a methodological literature review. While extensive research exists on R&B/soul as a musical style and its defining musical traits, there is very little focused discussion on the specific vocal characteristics (as distinct from musical characteristics) of R&B/soul singing. Eleven internationally recognised Contemporary Commercial Music (CCM) practitioners and pedagogues participated, evaluating five iconic R&B/soul artists (Mariah Carey, Aretha Franklin, Donny Hathaway, Whitney Houston and Stevie Wonder), providing subjective qualitative insights to compliment quantitative data. This dual approach enabled both validation of existing literature and identification of additional stylistic features. Part 1 generated rich insights into R&B/soul vocal performance through expert commentary and auditory-perceptual analysis of iconic recordings. Key findings included refinements to existing descriptors, such as expanding onset types, redefining offsets as breathy, and clarifying vocal colour shifts as rapid changes between twang and loft, alongside new characteristics identified from qualitative data, including dynamic shaping, emotional texture, flexibility, and vocal noise. Belt emerged as a defining and technically demanding feature, with 89% of ratings indicating moderate to high use and 64% of experts citing it as the most challenging to master. These results underscore the expressive complexity of the genre and highlight the value of integrating expert perspectives with perceptual analysis to advance pedagogical understanding.
This paper is the second part of a two-part study that is designed to examine the technical, physiological, and pedagogical demands of sustainable R&B/soul belting. Part 1 of this study, titled Defining the Sound: R&B/Soul Vocal Characteristics and the Role of Belting—Insights from Global Practitioners, identifies key vocal characteristics of R&B/soul singing through a mixed‑methods analysis of surveys and questionnaires with experts from around the world, confirming belting as both stylistically central and technically demanding within the genre. Expert panel commentary reveals nuanced variations in resonance, tonal shaping, and dynamic use of belt, highlighting the need for clearer pedagogical frameworks to support sustainable execution. Building on these findings, Part 2 investigates R&B/soul belting as a biomechanical technique, a stylistic practice, and a sustainability concern. Through in‑depth interviews with internationally recognised practitioners, this study offers subjective expert perspectives on the skills, challenges, and strategies required for healthy and sustainable belt production. Drawing on interview data from five internationally recognised expert practitioners, including Dr Irene Bartlett, Lisa Popeil, Kim Chandler, and two anonymous contributors, this part explores the advanced skills required for healthy belt production, such as precise breath management, vocal fold thinning, and strategic resonance adjustment. These insights highlight the complexity of R&B/soul belting and underscore its legitimacy as a distinct vocal technique that warrants sustainable and formalised pedagogical approaches. To address the challenges identified in the interviews, the study proposes a four-part sustainability framework—Air, Body, Resonance, and Voice—that integrates physiological awareness with stylistic authenticity. Qualitative feedback from the survey and questionnaire in Part 1 also informs the development of targeted sustainability strategies. By linking expert commentary with artistic application, this research offers a holistic approach to vocal instruction around R&B/soul belt that supports expressive freedom and vocal health. This paper is a valuable resource for vocalists, educators, and scholars seeking to understand and teach the belt voice as a vital element of R&B/soul artistry, and advocates for evidence-based practices that reflect the unique demands of the genre.
Through conversations with teachers of singing in the private, secondary and tertiary sectors, it became evident that current literature surrounding Australian art song did not satisfactorily address the wealth of composition available to practising teachers. Additionally, there are currently few avenues from which to source repertoire and this selection is impeded by the limitations of available data. This article provides an overview of the initial phase of a broader research project investigating the accessibility of Australian art song in singing studios. With the authors’ extensive first-hand experience of Australian art song, this project shares their specific knowledge of this rich area of repertoire and its composers and explores a newly developed and much-needed tool to assist both teachers and students in their search for repertoire. The research question for Stage 1 of the research project is: What Australian art song is currently being taught within Australian singing studios? A secondary research question is: What factors and obstacles influence repertoire selection and accessibility? The methodology consisted of a mixed-methods survey to gain teacher-tested data on current song usage, sources, challenges in selecting material, and song selection criteria. The analysis of this data was used to formulate Stage 1 of the Australian Art Song Resource (AASR). Findings included a catalogue of over 70 songs taught, key criteria for song selection, and outlined challenges in sourcing material. This resource will provide a comprehensive catalogue, allowing access to repertoire and media via voice type, vocal range, and level of ability, among other determined criteria.
