In order to meet the demands of the modern music industry, singers are expected to be able to perform across a wide range of singing styles. Historically, the links between higher education and industry have been weak or non-existent (Bennett, 2016); this is apparent in training programs for singers, which have tended to focus on genre-specific lessons, providing limited opportunities for the development of performance skills across a range of musical styles and settings. This pigeonhole approach has focused developing artists into single genres, such as opera, jazz, musical theatre and contemporary commercial music (CCM), with singers struggling to meet current industry demands for style versatility. Recent literature acknowledges the insufficiencies of applying the classical model of voice training in the teaching of contemporary styles. However, while CCM style-based pedagogies are emerging, training options for singers seeking to perform across a range of genres remain limited. While multi-genre singing does not feature in the current voice pedagogy literature, there is some evidence that genre-based teaching practices could be synthesised to support singers to perform across a range of contemporary and classical vocal styles. Studies highlighting the benefits of crosstraining for singers also lend support to the idea that multi-genre singing is unlikely to have a negative impact upon vocal health, particularly where voice-science-based pedagogies are employed. The aim of this research project was to explore the outcomes of genre-based singing voice lessons across three major music styles and to document any impact on the singer participant’s performance ability and vocal health. It is hoped that the findings will inform a more diversified approach for multi-genre singers and teachers in the field. [...]