In his 1965 speech, Malcolm X (1989) argued that the struggle to meet the needs of Black citizens is “not just an American problem, but a world problem” (p. 117). While these challenges manifest differently across international contexts, they have remained pervasive, influencing political, socioeconomic, and educational spheres- including the field of music education.Current standards for vocal music in higher education remain incongruent with the lived experiences of Black music students. Regardless of recent efforts, curricula, pedagogies, and faculty appointments across the music academy continue to primarily center white, Eurocentric perspectives, histories, and accomplishments (Matasci, 2022). These issues persist in various forms, including in the voice studio. Current repertoire practices for voice generally excludes Black musical genres and compositions, effectively suppressing Black narratives and histories (Brooks, 2021), thus failing to adequately address the needs of Black music students. As a result, Black students at predominantly white institutions (PWIs) across the globe commonly report academic and social struggles including, but not limited to assumption of academic potential, racialized treatment of students in classes, and isolation (Allen, 1987; Brower & Ketterhagen, 2004; McCall, 2015). Conversely, the Historically Black Colleges and Universities (HBCUs) in the United States are unique in that they were built to provide Black people(s) with dignified educational experiences (U.S. Department of Education, Williams et al., 2021; Toldson et al., 2024). As such, they are adept at creating educational spaces and curricula that are affirming of Black students (Bustamante, 2021; Palmer & Gasman, 2008; Grissom-Broughton, 2019; Hamilton, 2008; McCall, 2015; Williams et al., 2021; Williams et al., 2022). However, there remains a lack of scholarship specifically addressing HBCU music programs, HBCU vocal repertoire selection processes, and the ways in which these choices affirm Black identity in musical instruction. This presentation explores the personal and pedagogical experiences of HBCU voice teachers and alumni in order to gain insight on sustainable vocal repertoire practices for Black music students and their potential impact on global Black student affirmation and academic persistence in higher music education. Drawing from research on three HBCUs, this presentation seeks to offer guidance on the environmental resources required to establish a supportive institutional framework that builds bridges for Black music student success. By exploring themes of cultural pedagogical practices, identity formation, student experience, and institutional environment, this presentation aims to foster diversity and equity within global music curricula and strengthen the empowerment of Black music students worldwide.