Unprofessional instruction of children in choirs and music schools

Whether a child with above average singing talent should even be in a choir is questionable. All of the advantages and disadvantages of such an involvement must be considered. An indisputable benefit is the natural development of musicality and, if the choirmaster is capable, the cultivation of a good relationship towards music.
The fact that a choir does not provide time to work one-on-one with children to catch any voice problems that may emerge presents quite a risk.
Children cannot hear themselves well in a choir and if the overall tendency of the choir is to sing in a louder dynamic, it is very likely that their singing may become forced, which endangers the children's' voice. In better groups, some voice training is fostered - at a higher standard in some cases, lower in others - but there still is not much time for individual work (except for a few selected soloists). But some choirs do not provide even the most fundamental voice training because the choir master considers it superfluous. These choir masters' life philosophy is simple: every ruined voice can be replaced by a new, unworn voice.
If we decide to place a child in a choir, it is very important to gain at least basic information about the choir master's approach to voice training and also about the level of voice training in the group. At least a professional warm-up before rehearsals and one-on-one practice with soloists and children with voice problems is needed.
Repertoire is another important criterion in selecting a choir. On one hand, it should not be too difficult so that its musical or voice complexity does not deter children, while on the other hand, one should avoid infantile choir masters (teachers), who select repertoires on such an elementary level that one could say that "children young enough to like these songs may not even exist". Even in this case children develop an aversion to the repertoire and will not want to remain in the choir. If, then, after considering all of the pros and cons you decide not to place the child in a choir and develop his singing abilities through individual voice training instead, you can choose between an elementary-level art and music school or a private teacher. But not even this form of instruction can guarantee a successful and smooth voice development of a young singer.
The reason is simple. There are very few quality teachers in this field. Working with children constitutes a chapter on its own.
A quality children's voice coach must know how to sing well and above all naturally, because children need a role model who they will be willing to follow. The tired voice of a former opera or operetta soubrette cannot be their inspiration, nor can the raspy, worn out voice of a pop star.
The teacher's psychological approach to children is also very important. The requirements must not be overly demanding so as to deter the children, nor too simple so as to make the instruction pointless. Typically, we encounter the latter, where the teacher mostly sings songs with the children and forgets that he should also teach them the fundamentals of correct voice work.
The cause of this approach lies not only in the lack of quality teachers but also in the teacher's view of children's abilities and needs.
The importance of correct singing instruction of children from the earliest age is greatly underestimated.
How often do we hear the phrase: "That's good enough for kids, they cannot discern quality singing from poor singing yet anyway." Once again, I must state that this is a great error.