The Development of a Vocal Teaching Model Based on Verdi Art Songs for Undergraduate Level in The People’s Republic of China

This research aimed to develop a comprehensive vocal teaching model grounded in Giuseppe Verdi’s art music, tailored specifically for undergraduate music students in the People’s Republic of China. Recognizing the increasing emphasis on culturally diverse and pedagogically sound vocal instruction, the study addressed a growing need for more effective and contextually relevant teaching methodologies in classical singing education. It responded to the limited exploration of Verdi’s lesser known yet pedagogically rich repertoire of art songs, which offered significant value in technical and expressive development for young vocalists. The primary objectives of this study were threefold: 1) to construct a vocal teaching model centered around Giuseppe Verdi’s art music, 2) to critically examine the validity and pedagogical appropriateness of this model through expert input and practical feedback, and 3) to implement and assess the model within undergraduate vocal instruction settings. Through these objectives, the study sought to bridge the gap between historical vocal literature and modern educational practices, enriching students’ learning experiences with repertoire that is both artistically substantial and pedagogically effective. The research followed a qualitative methodology, employing semi-structured field interviews, expert evaluations, and practical trials. A total of 15 vocal instructors from five distinguished music universities across China were interviewed. These instructors, selected based on their professional experience and familiarity with classical vocal repertoire, provided insights into current practices, challenges, and opportunities in undergraduate vocal education. Their feedback contributed to shaping the content and structure of the proposed model. Additionally, five vocal music experts with backgrounds in vocal pedagogy and performance were invited to evaluate the initial version of the model. Their critical assessments were instrumental in refining its design, particularly in instructional clarity, repertoire selection, and student engagement. Then, ten vocal teachers participated in the trial implementation phase, testing the model in their respective institutions and offering further evaluation based on their classroom experiences. The outcome of this comprehensive developmental process was the “APPE” vocal teaching model, which comprises four interrelated phases: Analysis, Practice, Performance, and Evaluation. Each component guided students through a systematic and holistic learning journey. In the analysis phase, students engaged in an in-depth study of the selected Verdi art songs. This included textual interpretation, historical and stylistic contextualization, and structural analysis. This phase aimed to build foundational knowledge and deepen the student’s interpretive understanding of the repertoire. The practice phase emphasized technical vocal training aligned with Verdi’s music demands. Exercises focused on breath control, phrasing, diction, dynamic variation, and stylistic authenticity. Here, the selected repertoire served as a vehicle for targeted skill development. The performance phase encouraged students to apply their analytical and technical knowledge in live or recorded performances. This component enhanced stage presence, interpretive confidence, and communicative effectiveness, preparing students for public performance and professional settings. The evaluation phase incorporated both formative and summative assessments. These assessments included peer reviews, instructor feedback, and self-evaluation methods. Evaluation criteria were developed in consultation with expert vocalists to ensure they aligned with educational standards and professional expectations. The findings from the expert evaluation and classroom trials revealed that the APPE model was both pedagogically valid and practically effective. Expert reviewers commended the model’s clear structure, relevance to student needs, and innovative incorporation of lesser-known Verdi art songs, providing technical diversity and expressive richness. Teachers involved in the implementation phase noted observable improvements in students’ vocal technique, interpretive insight, and overall musicality. Moreover, they reported that the model offered a fresh and engaging approach to vocal training that encouraged deeper student involvement and critical reflection. The results of evaluation by 5 authoritative experts and classroom practice by 10 teachers show that the APPE teaching model has received high praise in five aspects: teaching design, teaching methods, curriculum setting, teaching media, and teaching evaluation. It has a clear structure, closely follows student needs, and innovatively incorporates little-known Verdi art songs, which not only maintains technical diversity but also enhances musical expressiveness. Through teaching students, it is found that students' vocal skills, depth of interpretation, and overall musical literacy have all been significantly improved. This novel teaching method not only makes vocal training interesting, but also inspires students to participate deeply and think critically. By integrating Verdi’s underutilized art songs into a structured teaching framework, the APPE model enriched the existing vocal curriculum and offered a unique cultural and pedagogical perspective. It promoted a more comprehensive understanding of Italian vocal tradition while remaining adaptable to the educational context of Chinese undergraduate institutions. This balance between tradition and innovation was essential for cultivating technically skilled, artistically aware, and culturally sensitive vocal performers. In conclusion, the study contributed to the field of vocal pedagogy by presenting a model grounded in both scholarly research and practical application. The APPE model demonstrated that vocal education could be more effective, dynamic, and inspiring with thoughtful integration of historical repertoire and contemporary teaching strategies. Future research may explore the application of this model across different musical styles and educational contexts, further expanding its relevance and utility in global vocal training.