Singing with awareness: A phenomenology of singers’ experience with the Feldenkrais Method

Though methods of somatic education such as the Feldenkrais Method are becoming more widely recognized as complementary approaches in vocal and choral pedagogy, there is little research that examines the experiences of singers who participate in such mind–body approaches. With the intent of exploring pedagogical implications of somatic education in music education, the purpose of this phenomenological study was to examine the experiences of undergraduate vocal music education majors enrolled in an elective, 7-week Feldenkrais course. Specifically, how do singers describe in their participation in Feldenkrais Awareness Through Movement lessons, and how do these experiences inform their understanding of how they sing? Data were gathered from questionnaires, weekly journals, and semi-structured interviews. Phenomenological data analysis following Moustakas’s approach revealed three themes reported as textural and structural descriptions: (a) improved quality of movement, (b) heightened awareness of singing, and (c) enhanced practice. The overall essence of participants’ experience may be summarized as a process of self-discovery that provided individualized benefits for singing. Discussion includes pedagogical implications of somatic teaching and learning in PreK through university contexts as well as suggestions for future research.

Effects of Choir Spacing and Riser Step Heights on Acoustic and Perceptual Measures of SATB Choir Sound Acquired From Four Microphone Positions in Two Performance Halls

We assessed the effects of singing in two venues on acoustic and perceptualmeasures of performances by an SATB choir ( N = 28) as it sang in three spacing conditions, on two different riser unit heights, with data acquired from four microphone locations in each hall. Among primary acoustic results, long-term average spectra measures yielded a systematic pattern of significant contrasts between close and spread spacing conditions, with decreasing high-frequency energy as space between singers increased, regardless of venue, riser unit, or microphone location. Unlike previous findings with 12-in. (0.30-m) riser step heights, a doubled 16-in. (0.41-m) height did not enhance this pattern. Primary perceptual results were as follows: (a) All choristers (100%) thought spread singer spacing facilitated best hearing of their own voices in relation to the rest of the ensemble. (b) Nearly all singers (96%) reported their most comfortable vocal production in spread spacing. (c) All choristers thought the doubled riser step heights influenced choral sound, but 78% described vocal production as most comfortable with spread spacing on the regular riser unit. We discuss results in terms of implications for choral pedagogy and directions for future research.

Kinesthetics as a factor of pedagogic effectiveness of vocal and choral education of primary school pupils

The article is devoted to the topical problem of increasing the effectiveness of vocal and choral lessons with primary school pupils. In particular, in the conditions of general availability and speed of obtaining information, pupils are determined to receive a quick "visible" result. As an effective method for solving this problem, according to the author, the kinesthetic method is used in vocal and choral classes not as an auxiliary method, but as the main method, where vocal and choral training becomes its natural continuation. The article is devoted to a detailed analysis of the kinesthetic method, the justification of its effectiveness in vocal and choral classes. A comprehensive analysis of the application of the kinesthetic method in vocal and choral pedagogy of primary school age is carried out. The idea of the effectiveness of the kinesthetic method in this age category is substantiated, since at the initial stage of training the child goes through several stages of personal growthand development, the combination of which greatly complicates the process of obtaining basic skills.

Choral Pedagogy and the Construction of Meaning

In this chapter, the authors focus on pedagogies, such as the theories of Lev Vygotsky and the active learning concepts of John Dewey, that contribute to the making of meaning, and the acquisition of meaningfulness by proposing a sociotransformative approach to choral pedagogy in the teaching of the expert chorister. Based on constructivist learning theories, and applying reciprocal teaching, this perspective centers on the conductor’s influence as they design opportunities for dialogic conversation, authentic activity, metacognition, and reflexivity. When skillfully integrated into the fabric of the choral rehearsal/performance continuum, the pedagogy brokers singers into a community of practice. The rehearsal scaffolds and schema foster competency, personal and musical agency, identity, and critical consciousness among the singers. This ensures that the performance is more than the singing of pitches with accurate rhythms, dynamics, and intonation, and embodies both cognitive and affective responses to the music and the music making.

Fostering Musical and Personal Agency

With the goal to create personal and musical agency in choral conductors, this chapter discusses the application of constructivist principles to choral pedagogy and the teaching of an undergraduate conducting class. In addition to teaching the requisite conducting skills, reflective practice, meaning making, and problem solving were included to foster habits of mind to prepare students to eventually conduct their own ensembles. Undergraduate students in their first conducting class provided the data, which included reflective journals, in class feedback, along with the teacher’s reflective memos. The chapter describes how conducting students navigated the challenges that called upon their previous experiences as ensemble members and their prior musical knowledge. In the end, conducting students expressed feelings of confidence and empowerment that suggested they had achieved both musical and personal agency.