The primary purpose of this study was to clarify the underlying principles of singers' resonance and to examine some of the pedagogical practices associated with the traditional schools of singing and contemporary voice science. The secondary purpose was to determine which principles should be retained, discarded, or altered.An examination of the voice pedagogy literature revealed recurrent references to resonance. This implied that the concept is of some importance to voice pedagogy. Singers' resonance has, however, been presented in diverse contexts indicating that (1) it has a number of denotations and connotations, (2) it is sometimes used ambiguously, or inaccurately, and (3) a further investigation of the topic might yield clarity to the field of voice pedagogy.It was determined that though there are many important voice pedagogy methodologies, classically trained professional concert and opera singers of international reputation are taught to optimize singers' resonance both in order to be heard and to produce the accepted tone. It was found that those precepts which are based upon acoustic laws should be conserved and those which are not should be abandoned, altered, or when appropriate, acknowledged as metaphorical.