Tag: singing

RTRL.53: Effects of Choral Performance Movement on Choral Sound (Grady & Gilliam, 2020)

Source:

Grady, M. L., & Gilliam, T. M. (2020). Effects of three common choral performance movement conditions on acoustic and perceptual measures of choral sound. Journal of Research in Music Education, 68(3), 286-304.

What did the researchers want to know?

How does singer movement affect choral sound and perceptions of choral sound?

What did the researchers do?

Grady and Gilliam audio-recorded a non-auditioned, mixed-voice university choir performing a 16-measure excerpt (Klebanow’s arrangement of “Erev Shel Shoshanim”) under three conditions: standing still, slight swaying (up to 2 inches in any direction), and full-body swaying (“natural swaying that could exceed 2 in. in any direction and include a shifting of weight between feet” (p. 290)). Two weeks later the singers were invited to participate as “singer-listeners,” which 19 of the 29 choir members agreed to do. In addition, the researchers invited  16 “expert listeners” with graduate degrees in music education or choral conducting and experience in choral teaching/conducting to participate. The singer-listeners and expert listeners were asked to rate the overall choral sound and expressiveness of each of the three audio recordings (heard in random order and blinded to condition) and to rank them in order of preference. In addition, the researchers acoustically analyzed the sound of each recording for timbre (“spectral energy”) and pitch.

What did the researchers find?

Acoustical analysis showed significant differences in spectral energy between all three conditions, with full-body swaying showing a the highest mean and no movement showing the lowest. Acoustical analysis also showed that the slight sway condition resulted in the smallest overall pitch deviation, with no movement resulting in the largest overall pitch deviation. 

In terms of singer-listeners’ perception of overall choral sound, the average rating was lowest for the no-movement performance and highest for the full-body swaying performance. Although the lowest average rating from expert listeners was also for the no-movement performance, expert listeners rated the slight-swaying performance as having the best choral sound. When rating expressiveness, expert listeners gave the highest average rating to the full-body swaying performance and lowest to the no-movement performance. Singer-listeners also gave the lowest average rating to the no-movement performance but the highest rating to the slight-swaying performance. However, the only statistically significant difference was between expert listeners’ ratings of overall choral sound for slight swaying versus no movement.

When asked to rank the three recordings in order of preference, singer-listeners most preferred the full-body-swaying performance while expert listeners preferred the slight-swaying recording. Both groups ranked the no-movement performance as least preferred.

What does this mean for my classroom?

Many music educators require their students to stand still while singing because they believe this makes the choir’s performance more visually appealing. However, the results of this study indicate that requiring students to stand still can be detrimental to their pitch, expressiveness and overall choral sound. The researchers also asked the singers to comment on their experiences in each of the three conditions, and the singers remarked “that the full-body swaying helped them feel ‘more free’ and ‘breathe easier’ and that ‘anxiety/tension was reduced’” while they “were ‘stiff’ and ‘tight’ during the no-movement condition, with a ‘tendency to hold and clutch’” (p. 299). Teachers might reconsider the requirement that students stand still while singing and experiment to see whether and what kinds of movement might have the best effect on singers’ sound and experience of singing.

Related Studies:

McCabe (2006) found benefits of movement for beginning instrumentalists.

RTRL.34: Relationships Between Tonal Aptitude, Singing Achievement, and Grade Level Among Elementary Students (Hornbach & Taggart, 2005)

Source:

Hornbach, C. M., & Taggart, C. C. (2005). The relationship between developmental tonal aptitude and singing achievement among kindergarten, first-, second-, and third-grade students. Journal of Research in Music Education, 53(4), 322-331.

What did the researchers want to know?

What is the relationship between developmental tonal music aptitude and singing achievement among elementary students?

What did the researchers do?

Hornbach and Taggart studied tonal aptitude and singing achievement among 162 students in kindergarten, first, second, and third grade at two elementary schools in Michigan. Tonal music aptitude was measured using the Primary Measures of Music Audiation (PMMA), a published developmental music aptitude test, which was administered by the general music teachers at the two schools. Singing achievement was measured by asking each individual student to sing a familiar song (“Bow Belinda”); performances were audio-recorded and later assessed by Hornbach, Taggart, and an independent judge using the rating scale shown below.

What did the researchers find?

Analysis showed that mean singing achievement scores tended to increase from kindergarten through second grade and then drop between second and third grades. Mean tonal aptitude scores also increased across grade levels, with one school showing a drop between second and third grades. There were no significant correlations found between singing achievement and developmental tonal aptitude scores at any grade level. While tonal aptitude scores did not differ significantly between the two schools, students from School 2 demonstrated significantly higher singing achievement than students from School 1.

What does this mean for my classroom?

Singing achievement and tonal music aptitude seem to be separate from one another. Therefore, a teacher should not assume that a child who demonstrates low singing achievement has low tonal potential nor that a child who demonstrates high singing achievement necessarily has more “talent” than students with lower singing achievement. The fact that students at one school scored significantly higher in singing achievement that students at the other school (despite there being no significant difference in aptitude scores) suggests “that if singing is taught, students’ singing achievement may improve” (p. 328).

Music educators should also be conscious that a student’s lack of success in demonstrating singing skill may be due to choice rather than inability. The drop in singing achievement from second to third grade among students at both schools “may be the result of issues relating to social rather than musical development” (p. 328). Due to increasing social awareness and/or self-consciousness, third-grade students may have chosen not to use their singing voices, even if they were capable. “Teachers and parents may need to find ways to encourage the valuing of singing voice use by children in the upper grade levels in elementary school, as it may be that peer pressure results in less singing achievement in older children” (p. 328).

RTRL.15: Adults’ Anxiety Toward Singing (Abril, 2007)

Source:

Abril, C. R. (2007). I have a voice but I just can’t sing: A narrative investigation of singing and social anxiety. Music Education Research, 9(1), 1-15.

What did the researcher want to know?

What is the nature of adults’ anxiety toward music/singing, and what do they feel is the root of this anxiety?

What did the researcher do?

Abril conducted a narrative inquiry to examine singing anxiety among three adults who expressed fear of singing and claimed they lack musical ability. These young women (who were enrolled in a university music methods course for non-music majors taught by the researcher) participated in multiple interviews and kept journals to reflect on their experiences with music/singing.

What did the researcher find?

These adults believed that success in music, specifically singing, is the result of a natural “gift” or “talent.” According to one participant, “the ability to make music is something that comes to you when you are really young … you just have it or you don’t. It’s not like other subjects in school because those you can work at and get better” (p. 8). Because they felt they lacked “musical talent,” they believed they were incapable of singing.

All three participants recalled negative musical experiences from their childhood, in which they received the implicit message from their music teachers that they were not musical. One participant began to feel she lacked musical ability when she tried out for the school choir in fifth grade but didn’t make the cut, saying, “It really hurt my self-esteem regarding my musical ability” (p. 8). Another participant described a similar experience of not being accepted into the school choir in sixth grade. She shared, “I was devastated! I quit singing after that because I figured. . . my music teacher was the expert! That really shattered my musical self-image. Since then I’ve felt pretty incapable” (p. 6). The third participant recalled an instance during childhood in which her music teacher was upset because someone was singing “wrong notes.” Worried that it was her, she stopped singing and soon after quit the choir. This participant said, “It was that bad experience that has stifled me. Since then I haven’t developed or grown in music. I don’t think teachers realize the great impact they have” (p. 10).

What does this mean for my classroom?

A teacher’s words and actions have tremendous power. Music educators should be aware that many students may attribute success in music to innate talent, and the perception of a lack of talent can be damaging to one’s musical self-concept and motivation to engage in music-making. Rather than perpetuate the myth of musical ability as the result of innate talent, we can emphasize the importance of effort and practice and work to communicate the powerful message that anyone can become a competent music maker and enjoy making music in their daily lives.

RTRL.05: “Voice Change and Singing Experiences of Adolescent Females” (Sweet, 2018)

Source:

Sweet, B. (2018). Voice change and singing experiences of adolescent females. Journal of Research in Music Education, 66(2), 133-149.

What did the researcher want to know?

How does the adolescent female voice change influence young women’s use of their voice and their participation in singing in middle school, high school, and/or college?

What did the researcher do?

Sweet (2018) studied 17 female collegiate choral singers through one-on-one and focus group interviews.  She prompted the young women to reflect on their singing experiences since age 11, vocal challenges they have faced, and perceptions of how others interacted with them during their voice change experiences.

What did the researcher find?

Participants recalled experiencing numerous vocal challenges during adolescence, including vocal cracks, breaks, weakness, and unpredictability.  Additional challenges, such as laryngeal tension and lack of vocal flexibility, continued throughout adolescence.  Some participants noted that these changes extended into their 20s.

Participants’ recollections of their singing experiences since age 11 were more negative than positive. Emotions like frustration, fear, sadness, self-doubt, insecurity, and self-deprecation were prominent in their memories of singing during voice changes.  Sweet keenly noted that, as conveyed via participants’ tone of voice, facial expressions, and word emphasis, vocal challenges during adolescence were highly emotional experiences.

Teachers’ classification of adolescent female voices was a notable theme among the singers’ experiences.  “Participants who experienced a loss of strength or color in their higher range and had a stronger lower range mostly sang alto lines; participants who experienced a lack of phonation or lost power in lower notes were mostly assigned to higher vocal lines” (p. 142).  Rather than working with these singers through their difficulties, they felt their teachers had assigned them voice parts based on what was needed for the choir as a whole, at times even assigning them to sing vocal parts that were physically uncomfortable.  Additionally, “many participants felt that being assigned a particular voice part in middle school or early high school and rarely (or never) singing notes outside of that assigned voice part, sometimes for the entirety of their involvement in school choir, limited their vocal development and/or singing potential” (p. 142). 

What does this mean for my classroom?

Compared to the male voice change, the female adolescent voice change has received far less attention.  Choral teachers need to be aware of the unique challenges that voice change can pose for female students.  Teachers should be sensitive to the negative emotions adolescent female singers may experience as their voices change and help support students through these transitions.  Additionally, teachers might consider the ways in which the assigning of voice parts can benefit or hinder female singers and communicate and collaborate with them to determine flexible voice part assignment and enable a healthy and positive singing experience. 

Resources:

  • Thinking Outside the Voice Box: Adolescent Voice Change in Music Education, by Bridget Sweet
    • This upcoming book, scheduled for publication in October 2019 by Oxford University Press, encourages a holistic approach to working with adolescent changing voices and addresses female and male voices equally. According to Sweet, “the book is about understanding that voice change is tied up in so many aspects of adolescence and, to best teach/assist/support our students, we have to understand the bigger picture of this time of life, including psychological factors, emotional factors, many different facets of physiological growth, as well as the influence and impact of society’s perceptions of adolescence and voice change” (personal correspondence).
    • Update: Pre-order is available! Find on Amazon here.
  • Sweet’s 2016 Choral Journal article, “Choral Journal and the Adolescent Female Changing Voice:”
(click to view)Download
  • Sweet’s 2016 Choral Journal article, “Keeping the Glass Half Full: Teaching Adolescents with a Holistic Perspective”
(click to view)Download
  • The Female Voice, by Jean Abitbol
    • This brand new book features a variety of topics related to the female voice, including voice change during puberty, throughout the menstrual cycle, and as a result of hormonal birth control.

RTRL.01:“The Effects of Harmonic Accompaniment on the Tonal Improvisations of Students in First Through Sixth Grade” (Guilbault, 2009)

Source:

Guilbault, D. M. (2009). The effects of harmonic accompaniment on the tonal improvisations of students in first through sixth grade. Journal of Research in Music Education, 57(2), 81-91.

What did the researcher want to know?

How might experiencing root melody (bassline) accompaniment to songs affect elementary students’ tonal improvisations?

What did the researcher do?

Guilbault (2009) studied 419 of her own students in grades one through six for almost an entire school year.  These students were divided into two groups, with approximately half of the classes (the “treatment” group) experiencing “root melody” accompaniments during music instruction and the other half (the “control” group) experiencing only a cappella singing.  Similar to a bassline, “a root melody is the melodic line created by the fundamental pitches of the harmonic functions found in a song” (p. 84).  Pitches in a root melody can be played/sung and sustained once per chord change or repeated on each beat.  The students in the treatment group experienced root melodies with approximately 80% of the songs included in each class period and during improvisation activities.  These root melody accompaniments were either played on a pitched instrument (e.g., xylophone, piano), played by a voice recording, sung by the teacher/researcher as the students sang a song, sung by the students as the teacher/researcher sang a song, or sung by the student(s) as another student(s) sang a song.  The students in the control group experienced all the same songs and improvisation activities as the treatment group but without any accompaniment.

What did the researcher find?

At the end of the school year, Guilbault (2009) recorded each student vocally improvising an ending to an unfamiliar song without accompaniment. Three music educators judged the recordings, rating the degree to which each student improvised a melodic ending that used clearly implied harmonic changes and good harmonic rhythm. Statistical analysis of these ratings revealed that the students in the treatment group (who had experienced root melody accompaniments throughout the school year) were able to vocally improvise song endings that made more harmonic sense than students in the control group (who had not experienced root melody accompaniments).

What does this mean for my classroom?

Exposing students to harmonic progressions in familiar songs helps them develop better harmonic understanding, which in turn enables students to vocally improvise with a better sense of harmonic progression. If music teachers wish to help their students develop the ability to vocally improvise with a good sense of harmonic progression, they might consider providing students with many opportunities to experience root melody accompaniments to the songs they learn in music class. Teachers could do this by playing root melody accompaniments on an instrument, singing them while students sing a song, teaching students to sing root melody accompaniments while the teacher sings the song, or having students sing songs and root melody accompaniments in two groups or even as duets.

Examples of Tunes with Simple Chord Root Accompaniments:

Video of first grade students practicing singing a melody and bassline/chord root accompaniment in partners. (View video description on YouTube site for an overview of the teaching process used.)
Video of first grade students singing a duet with me: I sing melody; student sings chord roots in solo. (View video description on YouTube site for an overview of the teaching process used.)
Click here to view a handout from a workshop on helping students audiate and learn to sing in harmony, including chord roots accompaniments

Note: Some text featured in this post was originally published in the following article:

Shouldice, H. N. (2016). Research to ‘real life’: Implications of recent research for elementary general music. Michigan Music Educator, 53(2), 23-26.