The purpose of this case study was to analyze the outcomes of a newly designed graduate course for choral conducting students as they engaged in singing traditions from marginalized and lesser-known music cultures.
IJRCS
Facilitating Musical Expression in School Choirs: Honoring Individuality, Seeking Unity
Self-Efficacy and Achievement among Secondary School Vocalists: An Exploratory Study
The purpose of this study was to investigate music performance self-efficacy and achievement among secondary school choral music students. I specifically examined the relationships between the four sources of self-efficacy (enactive mastery experience, vicarious experience, verbal/social persuasion, and physiological and affective state) and the composite construct, as well as years of private lessons and practice […]
“Sing, sit, and leave”: Engagement and Disillusionment in a High School Chorus
This study provides insight into why students leave voluntary school choral experiences, through an analysis of interviews with four high school students at a single New York City high school who left, or were considering leaving, their high school choral program. This study provides a voice often unheard in the research literature, since many research […]
Music Teachers’ Perceptions of Nonverbal Conducting Technique Items in Teaching Choir in the Classroom
The purpose of this descriptive study was to examine music teachers’ perceptions of nonverbal conducting technique items based on their classroom choral teaching experiences. One hundred and fifty classroom choral music educators (N = 150) participated in this study. I employed two procedures. First, using a seven-point Likert-type scale, participants rated 15 nonverbal conducting technique […]
Real Voices, Virtual Ensemble 2.0: Perceptions of Participation in Eric Whitacre’s Virtual Choirs
The purpose of this study was to examine perceptions of participation in Eric Whitacre’s virtual choirs among mostly amateur singers (N = 312) from 31 countries and answer four researchquestions: (a) What did participants gain from their participation? (b) What did they learn abouttheir voices and themselves as performers? (c) What were their perceptions of […]
