Why Singing Teachers Should Engage in Socially Just Music Education Research

In recent years, the call for socially just music education has gained momentum across the field of music pedagogy.

For singing teachers, this shift represents not just a theoretical or political trend, but an opportunity to reimagine their teaching practices in ways that are more inclusive, equitable, and responsive to the diverse identities and needs of their students. Engaging with socially just music education research allows singing teachers to reflect critically on their own positionality, broaden their pedagogical approaches, and better support the full range of learners in their studios, classrooms, and communities.

Singing has historically been shaped by powerful traditions - many of which are rooted in Western classical ideologies and elite institutional structures. While these traditions have produced valuable artistic and pedagogical legacies, they have also excluded many voices: those of people from racially marginalised communities, people with disabilities, LGBTQ+ singers, and those from working-class or non-formal musical backgrounds. Socially just music education research examines how these exclusions happen and asks how we might teach differently to address them.

For singing teachers, engaging in this research offers a practical and ethical benefit. It helps uncover the assumptions embedded in vocal pedagogy - for instance, ideas about what a "good" voice sounds like, whose repertoire is considered standard, or what types of bodily presentation are deemed "appropriate" on stage. Such assumptions can unintentionally marginalise students who do not fit into dominant norms. By reading and contributing to socially just research, singing teachers can identify and challenge these biases, creating learning environments that are more empowering for all singers.

Moreover, socially just music education research encourages teachers to explore multiple vocal traditions beyond the Western canon, and to recognise the value of culturally sustaining pedagogies. This might involve integrating gospel, folk, South Asian classical, or contemporary commercial styles into the curriculum - not as “add-ons,” but as equally valid forms of vocal expression. For teachers, this kind of work can be creatively invigorating. It opens up space for collaboration with students, community musicians, and scholars from different traditions, expanding both the technical and cultural horizons of vocal teaching.

Participating in this research also fosters stronger relationships between teachers and students. When teachers demonstrate a willingness to learn about and validate students’ musical identities and lived experiences, it cultivates trust, motivation, and mutual respect. Social justice in music education is not just about representation - it’s about creating conditions where all students feel seen, heard, and capable of flourishing artistically.

Finally, engaging in socially just research positions singing teachers as agents of change within their broader professional networks. Whether working in schools, universities, private studios, or community choirs, teachers who embrace these principles contribute to a larger movement for a more inclusive, relevant, and humane music education system.

In a world increasingly aware of inequality and difference, socially just music education research offers singing teachers a powerful framework for reflection, action, and transformation. It challenges them to reimagine what singing education can be - and who it is for.