Effective High School Choral Music Teaching

2017 ◽  
pp. 148-171
Author(s):  
Patrice Madura Ward-Steinman
2009 ◽  
Vol 57 (3) ◽  
pp. 267-279 ◽  
Author(s):  
Jessica Napoles

The purpose of this study was to determine whether viewing a musical score while listening (as opposed to not viewing the score) would affect musicians’ ratings of choral performance excerpts. University musicians ( N = 240) listened to four excerpts of choral music (from Vivaldi’s Gloria) and rated them on a 10-point Likert-type scale for overall impression. Some of the participants heard a professional chorus and orchestra recording, and others heard a high school group recording. For both of the recordings, participants were divided into four groups in a counterbalanced design, with one group viewing the score for all four excerpts, another group never viewing the score,and the other two groups viewing the score for two of the excerpts but not the other two. Results of a three-way ANOVA with repeated measures indicated significant differences among groups. The group that never saw the scores gave significantly lower ratings than the group that saw all of the scores.The excerpts performed by the professional group were rated significantly higher than the excerpts performed by the high school group.


Author(s):  
Marshall Haning

Through the use of an intrinsic case study, I investigated student and teacher perceptions of a collaborative and student-directed music learning approach in a high school choral classroom. Students ( N = 29) in a beginning high school choir were asked to choose and learn a piece of repertoire without substantive input or help from the choral teacher. Results indicated that students completed this project successfully and achieved a well-received public performance of the piece. Students reported a strong sense of accomplishment as well as increased collaboration skills and opportunities to apply their music knowledge. Although students and teacher acknowledged some social conflicts and relatively high levels of social loafing and off-task behavior during this project, these challenges did not seem to reduce the overall perception of success.


1934 ◽  
Vol 21 (2) ◽  
pp. 26-28 ◽  
Author(s):  
Max T. Krone ◽  
Florence M. Wallace

2021 ◽  
pp. 002242942098167
Author(s):  
William J. Coppola

In this study, I build on growing research examining humility in musical contexts by investigating whether band students perceive humility to be a positive and desirable social quality or a social weakness among band directors. Middle school, high school, and undergraduate band students ( N = 117) evaluated the likability, knowledgeability, and preference for humble and arrogant band director targets by assessing recorded interviews with each director following a fictitious performance. The humble target demonstrated nonsuperiority and other-orientedness and acknowledged his room for growth in his interview, while the arrogant target spoke with a degree of self-importance, an inflated self-view, and a desire for credit and prestige in his interview. Results indicated that overall, participants expressed greater likability toward the humble director and overwhelmingly preferred him to the arrogant director (82.76%) but did not ascribe greater knowledgeability to either target. These differences were contingent on school level and whether participants were presented with the humble or arrogant target first. Findings support the pertinence of modeling humility in music teaching and refute the implicit premise that teachers who behave in an arrogant manner might appear more competent or capable among students.


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