Choir Teachers Research Articles

A Survey of Secondary Choir Teachers’ Immediacy, Ensemble Setup, and Use of Classroom Space

In every music classroom, nonverbal forces—including immediacy, ensemble setups, and teacher use of space—may impact student outcomes. Immediacy refers to a collection of nonverbal behaviors that communicate psychological closeness. The purpose of this survey study was to examine secondary choir teachers’ ( N = 137) self-reported immediacy behaviors, ensemble setups, and use of classroom space when teaching. Women reported significantly higher levels of immediacy than men, and all participants reported using proximity-related behaviors the least. Most participants reported using choir setups that limited teacher movement in contrast to setups that might help teachers move toward or among students. Participants reported spending most of their time at the piano instead of in other areas of the room. Finally, men spent significantly more time at the podium or behind the conductor’s stand than women. Recommendations for choir teachers to improve their immediacy, ensemble setup, and use of space are presented.

“The Children Are Not Okay”: Choir Teachers’ Perceptions of Students Post Shutdowns

During the COVID-19 pandemic, most students in the United States experienced full school closure followed by a hybrid of online and in-person learning before ultimately returning to fully in-person instruction in the Fall of 2021. I investigated the experiences of three high school choir teachers during the 2021–2022 academic year to examine their perceptions of students’ engagement before, during, and post-pandemic school shutdowns. Analysis revealed common themes of (a) concerns about student attrition, (b) learning loss, (c) psychological impacts, (d) teaching accommodations, and (e) learning inequities. Choir teachers perceived the most significant difference in students post-shutdown to be their psychological health. Positive accommodations include a focus on student psychological well-being, engagement in retention and recruitment strategies, and new uses of technology in the choral context. The results provide guidance to music teacher educators preparing preservice educators to enter the workforce post-pandemic.

Assessment Practices and Beliefs of Secondary Choir Teachers

Previous research findings of assessment in choir indicated that teachers favor non-performance criteria such as attendance and attitude over music knowledge and skill. Music education researchers have encouraged teachers to instead use measurable learning goals that inform teaching practices and document student growth. New assessment technologies designed to assist teachers with individual assessment may have affected the assessment practices of secondary choir teachers. The purpose of this study was to describe the current assessment practices and beliefs among secondary choir teachers in Indiana. Respondents ( N = 182) completed an online survey regarding their use of formative and summative assessments in choir. Findings suggest that choir teachers in this study continued to rely upon non-achievement data such as attendance and participation in assessment. Given these findings, I offer implications and suggestions for practicing choral music educators.

A Phenomenological Exploration of the Co-Teaching Experiences of Associate Choir Teachers in Texas

The purpose of this descriptive phenomenological study was to examine the co-teaching experiences of secondary choir teachers in associate director positions in the state of Texas. We interviewed 12 participants, who had held an associate director position for at least 3 years, two times across a 4-month period. Three themes emerged from the data: personal compatibility with head director, context for mentoring and learning, and hierarchical structures. The most satisfied associate directors had a positive relationship with their head director colleague, felt that their input was valued, and collaborated as part of a team. They desired to learn and receive mentorship from their colleague, though that mentorship was facilitated or impeded by context. Hierarchical structures were pervasive and affected job roles, associate directors’ sense of agency, and the choirs they taught.

The right choice of choral repertoire - a weakness or good opportunity for encouraging students’ musical talent development

This study investigates the views and practices of teachers on the way of selecting the choral repertoire and the opportunities that this repertoire offers for encouraging musical development of from primary and lower secondary schools students within the framework of general education in Kosovo. In this aspect, the experiences during the practical work of choir teachers and the technical or professional difficulties they encounter during the selection of choral songs have been studied. Among other things, the research aims to identify and analyze these factors, through which it is intended to pave the way for further improvement in this matter. The design of this research was carried out through semi- structured interviews, including the detailed analysis of choral songs, both in terms of musical content and pedagogical aspects. The research was carried out with choir teachers of different schools in Kosovo and satisfactory results were achieved, which highlight the real situation regarding the selection of the repertoire, its quality in terms of musical and textual content and the opportunities it offers to students in encouraging and developing musical talent. The recommendations from this study are addressed to the relevant institutions which should aim to encourage and support the work with choral ensembles and the improvement of practices regarding work with choir within general education.

Burnout and Perceived Agency Among Texas Choir Teachers

The purpose of this exploratory study was to examine variables that contribute to burnout among Texas choral teachers. Specific research questions included: (1) What demographic variables predict burnout in Texas choir teachers? and (2) How do perceptions of teacher agency impact Texas choir teachers’ experience of burnout? After providing demographic information, participants ( N = 151) completed a researcher-designed questionnaire assessing perceived teacher agency and the Maslach Burnout Inventory. We conducted three multiple regression analyses for each of the three dimensions of burnout: emotional exhaustion, depersonalization, and personal accomplishment. Four variables (perceived teacher agency, teaching at a Title 1 school, years of teaching experience, and outside employment work hours) significantly predicted emotional exhaustion. Perceived teacher agency, gender, teaching at a Title 1 school, and years of teaching experience significantly predicted depersonalization. Perceived teacher agency and years of teaching experience significantly predicted personal accomplishment. When perceived teacher agency was lower, teachers experienced greater emotional exhaustion, more depersonalization, and reduced personal accomplishment. Women experienced more depersonalization compared to men, and teachers who taught at Title 1 schools reported more emotional exhaustion and depersonalization. Years of teaching experience correlated negatively with emotional exhaustion and depersonalization but positively with personal accomplishment.

Research-to-Resource: Persistence and Recruitment in Elective Choral Music During the Pandemic Recovery

The coronavirus pandemic has disrupted music education worldwide with a particular impact on choral music. The purpose of this research-to-resource article is to provide music educators with research-based strategies for recruitment and persistence in choral music during the pandemic recovery. Using the theoretical frameworks of self-determination theory (Ryan & Deci, 2017) and expectancy-value theory (Wigfield & Eccles, 2000), I identified the themes of (a) value, (b) competence, (c) relatedness, (d) autonomy, and (e) costs as contributing factors to participation and persistence in elective music. As we recover from the pandemic, choir teachers and those who support them may benefit from the use of student-centered instruction, inclusive teaching practices, and aligning choral program values with that of the community in which a program exists.

Choral Singing and Solo Singing in the Conditions of the Society and the Education System of Our Schools

Choral singing is the highest level of singing and artistic collaboration of more people. The beginnings of this kind of singing are in the first human societies. It is thought that before singing in society, man began to sing himself as an individual. Therefore, solo singing and choral singing are closely related to each other. General music education in schools also includes systematic work in school choirs. Choir teachers and leaders (conductors) should plan not only to learn songs and compositions, but also to learn and practice vocal singing. In this way students would be trained in solo singing and choral singing. In primary schools, there is an opportunity for the development of amateur choirs, from which future singers for amateur choirs often emerge. This research has been done in schools of Kosovo and North Macedonian regions. The cultural and social mission of amateur choirs lies not only in the massification of music, but also in social and cultural development, and strengthens the discipline of a collective work and wider cooperation.

Music Teacher Self-Perceived Vocal Health and Job-Related Stress

Abstract Vocal health and job-related stress issues have both become endemic with teaching. Oftentimes, vocal health issues and/or stress lead to “burnout” and can result in teachers leaving the profession entirely. Stress is a confounding variable addressed by researchers in previous vocal health literature, but they rarely examine both as equally contributing factors (Dietrich, Abbott, Gartner-Schmidt, & Rosen, 2008; Gotaas & Starr, 1993; Seifert & Kollbrunner, 2005). The purpose of this study was to examine self-reported vocal health and job-related stress in prekindergarten to 12th-grade school music teachers. A questionnaire containing the Voice Handicap Index (VHI; Jacobson et al., 1997) and Teacher Stress Inventory (TSI; Fimian, 1984) was disseminated to members of a larger music educator association in the United States (N = 3,741). Completed surveys (n = 372) were collected and results indicate that there is a correlation between vocal health concerns and job-related stress. Results also suggest that teachers with less teaching experience report higher levels of stress. Finally, results showed that female music teachers report higher levels of vocal health issues and that choir teachers reported the highest scores of both vocal health issues and job-related stress.

General pedagogical foundations of D. V. Andrusenko’s work with children musical collectives

Background. The relevance of the topic of this article is determined by the trends of modern musicology to thorough studying the achievements of ensemble bandura performing, in order to use the practical experience of talented teachers-bandurists. As a result of the radical changes that took place in the cultural realm during the 1990s, the folk vocal-instrumental performing was a subject to stagnation. The mass character that had distinguished this area had been lost. However, the needs of contemporary (early 21st century) socio-cultural practices in the realities of existence of folk vocal-instrumental musical culture are increasingly being linked to the rethinking of former forms of collective music playing. After all, the folk vocal-instrumental performing is a form of manifestation of national consciousness, and therefore it functions as an important factor in restoring the Ukrainian national tradition. To bandura vocal-instrumental performing field a talented teacher, choirmaster, bandurist, master of making these musical instruments – Dmytro Vasyliovych Andrusenko (1895–1965) belongs, whose figure draws attention due to his contribution to pedagogical, cultural-educational, artistic space of some regions of Ukraine (Poltava, Sumy). Objectives. The article analyzes D. V. Andrusenko’s artistic-pedagogical activity. The peculiarities of work of the bandurist and conductor as an organizer and leader of children’s music collectives, capellas of bandurists and choirs, are highlighted. The results of the study. The pedagogical principles, techniques and methods of work of the teacher with the pupils in terms of mastering performing skills, development of vocal skills, civic and patriotic education are clarified. It should be emphasized that D. V. Andrusenko fruitfully worked not only as a musician, teacher, but also as a propagandist, popularizer of national culture. His pupils received musical, national-patriotic education, grew spiritually, enriched culturally. This is evidenced by their repertoire, which included a lot of songs in T. G. Shevchenko’s words, Ukrainian folk songs, classical works, as well as songs of different peoples – the members of the collectives got a spirit of respectful attitude towards musical cultures of other countries. As the organizer and leader of the collectives, D. V. Andrusenko taught his pupils vocal skills and playing bandura. He used the principles of music didactics to solve these problems. D. V. Andrusenko used such a system to work with bandurists of his capella, which was based on the leader methods of music pedagogy. His system included learning the techniques of playing the instrument, step by step, formation of pupils’ technical skills, systematic exercises. As a highly skilled choirmaster, D. V. Andrusenko used in his pedagogical arsenal the necessary basic methods of work for the formation of the voice apparatus of his pupils. The important task of the choir teacher is correct, vocally competent distribution of the pupils’ voices. This part of work was not difficult for D. V. Andrusenko, since he was a choirmaster of the high level, had absolute pitch. Musical-pedagogical activity of D. V. Andrusenko was connected with institutions of education and culture. On the basis of education institutions and houses of culture he organized large creative collectives: capellas of bandurists, choirs, instrumental ensembles. According to the memoirs of witnesses and participants of the collectives, their head, while selecting future pupils among the schoolchildren, carefully listened to each person. The selection was serious, the best pupils came to the collectives. It should be mentioned that D. V. Andrusenko – a teacher, musician, master – was an example for his pupils. They all mention him with respect, emphasizing his exceptional professionalism, intelligence, education and high moral qualities. Conclusions. Thus, the conducted research proves the presence of general pedagogical foundations in D. V. Andrusenko’s work with children’s musical collectives, the use of the leading principles of music teaching, such as: systematicity and graduality; availability of knowledge; retention of learning (by the methods of repetition, exercises); individual approach to the learning process; student and teacher activity; ostensiveness, visibility, clarity (by methods of showing and explanation); communication of learning with life practices; formation of a situations of creative competition and encouragement to success. The principles and methods used by D. V. Andrusenko as a teacher in his work with amateur musical teams have not lost their relevance today.

Singing in School Culture: Exploring Access to Participation in a Rural Choral Program

Abstract Music programs interact in complex ways with the schools and communities in which they reside. This article explores ways that access to participation in a secondary rural choral program was impeded or enabled by facets of the school culture. Data generation for this case study included 34 hours of observation, semistructured interviews, and document analysis. Participants included the choir teacher, students in grades 7–12, parents, and school staff. Findings suggest the choir teacher’s beliefs and practices, perceived benefits to choir participation, and academic and social features of the choral program enabled participation by aligning with school and community values, including a well-rounded education, academic excellence, career exploration and college preparation, and relationships. Factors impeding access to choir participation included social meanings of singing related to gender and class and curricular programs, including the scheduling of career and technical education (CTE) and Advanced Placement (AP) courses. Students disrupted stereotypes related to class, gender, and choir participation utilizing resources such as relationships and the value of well-roundedness. Students enrolled in CTE courses missed a year of choir and other electives, while conflicts that arose between limited AP offerings and choir courses were overcome with accommodations requested by students and families and agreed to by the choir teacher. The community and school valuing of access to music for all students as part of a well-rounded education was in tension with limited resources and the value placed upon providing varied career exploration opportunities to students living in an economically depressed area.

Popular Music in Choir: Helping Students “Find Their Voices”

Despite renewed interest in a cappella singing in mainstream culture, there are relatively few opportunities for vocal students to participate in popular music in choir, especially while using the learning processes of real-world musicians. In this article, we describe possibilities for using popular music to support singing with good technique, developing music literacy, and exposing students to new repertoire. Additionally, we explore how choir teachers can incorporate popular music into their classes using student-led creative projects as well as how they can develop parameters and scaffolding to help facilitate students’ learning in these activities. Finally, we include practical strategies for choir teachers at any level and describe how these projects have helped our students “find their voices” by developing their musicianship and expressing their creativity.

The Process of Social Identity Development in Adolescent High School Choral Singers

The purpose of this grounded theory study was to describe the process of adolescent choral singers’ social identity development within three midsized, midwestern high school mixed choirs. Forty-nine interviews were conducted with 36 different participants. Secondary data sources included memoing, observations, and interviews with the choir teachers. The data analysis revealed an eight-stage process beginning with the student’s choice to audition and remain involved to the final stage, a desire to give back to the community. The central phenomenon of social identity was identified as team. Contextual conditions, including time, intensity, and size of group, strengthened participant experiences substantively. Social cliques and egos emerged as intervening conditions that impeded social identity development. Several individuals influenced participant social identity including peers, parents, school and community members, as well as the choir teacher. A temporal matrix is presented as well as propositions illustrating the development of social identity.

Robert Klotman: A Life of Musical Leadership

When Robert was inducted into the Music Educators National Conference Hall of Fame in 2004, the nominating statement read, Klotman is best known for his extensive work in string pedagogy, his leadership in professional organizations, and his teaching at Indiana (1) By this time, his career had spanned decades, and he had been active across the whole spectrum of music education from K-12 through university levels. Because of his forceful personality, his leadership skills, and his ability to anticipate the impact of new teaching ideologies, significantly influenced how stringed instruments are taught in public schools in this country. Perhaps most importantly, he had the vision to reach out internationally and helped to bring Suzuki violin pedagogy to the United States. Given the impact of Klotman's work on string education, it is appropriate to look beyond the formal trajectory of his career at his childhood and education, the people and ideals that motivated him, and the major life experiences that shaped his career. For music educators it is appropriate to search out, in particular, the distinct issues that were important to and to consider how his advocacy for those issues shaped the path of music education in the United States during the last half of the twentieth century. Robert Howard was born in Cleveland, Ohio, on November 22, 1918. (2) His parents, Louis Harry and Pearl (Warshawksy) Kaplan were immigrants from Tetiev, a small town in the Ukraine located approximately seventy miles southwest of Kiev. (3) In the late 1800s, many Jewish families from that region came to the United States, often settling in the Cleveland area. Louis and Pearl married on December 16, 1917, but divorced when Robert was young. (4) Pearl raised her children on her salary as the owner of a beauty shop. began his musical studies at the age of nine. He remembers his father as being a very musical person who could pick up and play the violin without any instruction. In his family, it was just as natural to excel in music as it was to work hard in academic subjects. (5) Robert sang in the school choir in the third grade. However, when he sang he wanted to hear himself over the other children's voices, so he would sing louder than anyone else. His teacher said to him, I've got a special job for you, and made him the curtain puller. Disappointed, he went home to his mother who stated, Don't cry. You've always liked to play the violin. Thus, attributes the beginning of his violin career to his third-grade choir teacher. (6) His mother could not afford for him to take violin lessons, so she worked out an agreement with a local violinist named Hyman Schandler of the Cleveland Symphony Orchestra. Pearl would style the hair of Schandler's wife in exchange for a weekly lesson for her son. Klotman's mother was supportive of his music lessons, requiring him to practice daily. Later, she said that had she known he would become a professional musician, she would have made him practice three hours per day instead of only one hour. (7) During the years 1932-36, attended Glenville High School in Cleveland Heights, a suburb originally settled by northern European immigrants. After World War I and during the Great Depression, this area became an epicenter of Cleveland's Jewish population. (8) Ralph E. Rush (1903-65) was Klotman's high school orchestra teacher and an early mentor. (9) Rush became the band and orchestra teacher at the school in 1933 and immediately led the orchestra to first division honors at the national orchestra competition in Madison, Wisconsin. (10) says that Rush eventually became a father figure for him. Rush was likely Klotman's first real influence in his career choice and instilled in him the responsibility of belonging to a professional organization and serving the profession. (11) [ILLUSTRATION OMITTED] According to Klotman, people are often curious as to why he attended the Methodist school Ohio Northern University. …

A Descriptive Study of Cooperating Teachers’ Perceptions Regarding Student Teacher Preparation

Abstract The purpose of this study was to investigate the perceptions of cooperating teachers regarding the level of preparedness of specific student teachers at the beginning of the student-teaching experience. Fifty-three secondary ensemble teachers (orchestra, band, and choir) completed a survey rating how prepared their most recent student teacher was in the areas of personal skills, teaching skills, and musical skills and provided feedback regarding the skill that needed the most attention from the university to improve music teacher preparation. Cooperating teachers rated student teachers similarly in all three categories. Differences were found between orchestra, band, and choir teachers relative to the skill that was selected in each category as needing the most attention. Orchestra and band teachers selected effective rehearsal pace, knowledge of subject matter, and secondary instrument skills as needing additional focus from university programs, while choral teachers selected piano skills and teaching and learning strategies as important areas to develop. Additional trends were noted between orchestra, band, and choral teachers and implications for music teacher education were discussed.

Should I Use a Classroom Microphone?

Music teachers in all specialties seem to struggle with voice problems. Although little research has been done specifically regarding music teachers, teachers in general are known to be at risk for developing voice disorders that can lead to difficulty teaching or even to leaving the profession. In an attempt to prevent this, some teachers have adopted use of a microphone in the classroom. However, many teachers use a microphone (or refuse to use a microphone) with little awareness of the impact this could have on their voices or on the classroom climate. This article presents a literature-based exploration of the pros and cons of using a microphone in the music classroom, illustrated by a case study of one choir teacher.

No Wasted Moments

B rrring! The sound of the end-of-the period bell pierces through the band's playing, creating a startling, jarring dis sonance with the notes of the piece. By condi tioned reflex, the students cease playing at the sound of the bell, and all quickly rise to pack up and leave the band room before the next bell. The director raises her voice over the de parture din to remind the players to practice the movement they had just been rehearsing and that their field trip permission slips are due tomorrow. Few students hear these final words as they stampede out to avoid being late for the next period. Sound familiar? How about this one? Brrring! Same school, same music depart ment, same bell signaling the beginning of the next period. In the adjacent rehearsal room, the choir teacher opened the classroom door at the bell, stepped to the doorway, and stands awaiting the arrival of his students. Music is playing on the classroom sound system, fill ing the room with a recording of a work by the composer of one of the incoming choir's repertoire pieces. Chairs are arranged in an organized manner. The choral folder cabinet is near the door for easy pickup and return of folders. Posted on the board is a written rehearsal agenda containing the order of the pieces to be rehearsed and that day's target objective for each piece. Next to the posted agenda are the words THIS fol lowed by the cue Be ready to discuss how this recording illustrates the dynamic con trast we are seeking in our own piece by this composer. As the students enter and retrieve their folders, the teacher greets each by name with eye contact and a smile and reminds each to attend to the DO THIS NOW cue on the board. When the start-of-the-period bell rings, all choir students are seated and provi sioned, as well as aurally, visually, and men tally focused. During the first minutes of the period, the teacher asks students to respond to the listening focus question, getting many to speak about what they heard and how it connects to the upcoming rehearsal. These two anecdotes are identified as

A Case Study: Middle School Boys’ Perceptions of Singing and Participation in Choir

The purpose of this intrinsic case study was to learn about the perceptions of singing and participation in choir of the author’s eighth grade choir students. Specific areas of focus included insight on why the eighth grade boys sing and enjoy singing, perceptions of singing in a daily choir class, and perceptions of singing in an auditioned after-school choir. Primary data collection techniques included one formal group interview with the five boys, informal field notes, concert programs, difficulty level of choral music, and the author’s personal insights and observations as the boys’ choir teacher and participant observer. Four primary themes emerged: singing, other people, Choralier Men, and silliness. This study cannot be generalized to the general population of eighth grade boys or middle school choir. However, other middle school choral teachers may recognize similarities between the author’s teaching practices and their own, and benefit from consideration of these findings.

Influence on the Curriculum Choices of Middle School Choir Teachers

Influence on the Curriculum Choices of Middle School Choir Teachers