The Adolescent Female Changing Voice

The purpose of this phenomenological study was to investigate the experience of female voice change from the perspective of female middle and high school choral students. The study was guided by two questions: How do adolescent female choir students experience voice change? What is the essence of the experience of voice change for middle school and high school females in choir? “Co-researchers” included two students in Grades 6 through 12 (14 students total) at the Durham School of the Arts in Durham, North Carolina; the female singers demonstrated a variety of voice change characteristics, from vocal breathiness to limited vocal range. Data collected in November, January, and April included written responses to an open set of questions that were discussed thoroughly during a corresponding interview. Analysis revealed three core themes: (a) Phonation Experiences, (b) Emotional Experiences, and (c) Contexts of Singing. The essence of the experience of female voice change was that vulnerability and fear of embarrassment determined all use of the females’ singing voices, resulting in risk assessment for each singing situation and setting.

Patriotism, nationalism, and national identity in music education: ‘O Canada,’ how well do we know thee?

The purpose of the study was to determine Canadian secondary school choral students’ skill in singing the national anthem. The sample ( N = 275) consisted of students from 12 schools, representing six provinces in Canada. Students were audio taped singing ‘O Canada’ in English, French, or in a combination of both languages and subsequently completed a questionnaire. Results indicated that few students could sing the national anthem perfectly. Although students were significantly more accurate in remembering the lyrics than in singing the melody ( p < .0001), only 67% were judged proficient in lyrics whereas a mere 46% were judged proficient in melody. Possible reasons for these poor results include the frequency with which students sing the anthem in secondary schools, the fact that three-quarters named a classroom teacher in the early/elementary years as being the one responsible for teaching them the anthem, the shift to solo versus group singing in public events, and the inconsistency with which music education is delivered in elementary schools. Implications for practice indicate that more emphasis be placed on assisting choir members to sing the anthem accurately, more opportunities be provided in secondary schools for students to sing the anthem, and more curricular attention be placed on teaching students both English and French versions.

The Effect of Selected Nonmusical Factors on Adjudicators’ Ratings of High School Solo Vocal Performances

The purpose of this study was to examine the effect of differentiated performance attire and stage deportment on adjudicators’ ratings of high school solo vocal performances. High school choral students ( n = 153) and undergraduate ( n = 97) and graduate music majors ( n = 32) served as adjudicators ( N = 282). Adjudicators rated recorded solo vocal performances displayed in audio-only and four audiovisual presentation conditions with differentiated combinations of performance attire and stage deportment. Performance quality ratings were affected significantly by soloists’ performance attire and stage deportment and adjudicators’ academic level. Significant two-way interactions were identified: adjudicator gender by academic level for comparisons of performance ratings assigned in four of the five presentation conditions and adjudicator gender by academic level when differentiated attire was isolated from presentation conditions. Adjudicators assigned significantly higher ratings to performances presented in the audio-only condition.

The Pitch-Matching Ability of High School Choral Students

The purpose of this study was to determine the pitch-matching ability of high school choral students. Years of piano experience, middle school performance experience, and model were considered as variables that might affect pitch-matching ability. Gender of participants was also considered when identifying the effectiveness of each model. Participants (N = 164) were students of a rural school corporation in Northern Indiana and were enrolled in auditioned and nonauditioned choral ensembles. Results indicated that the study population had poor pitch-matching skills based on the rubric used by the researchers. Significant associations between pitch-matching ability and years of piano experience and middle school performance experience were revealed. At a 95% confidence interval, the female model elicited more accurate responses from participants than the male or piano model.

Student Interpretations of Teacher Verbal Praise in Selected Seventh- and Eighth-Grade Choral Classes

This study was an investigation of the effect that familiarity with a teacher and rehearsal context might have on seventh- and eighth-grade choral students' interpretations of teacher verbal praise. Teachers (N = 4) labeled randomly selected videotaped examples of their praise according to the purpose it was intended to serve. Students (N = 80) viewed 16 brief (30-second) examples of the praise and labeled it as deserved (directed at the performance) or one of three instructional uses (i.e., to encourage, to gain student cooperation, or to send a message to other members of the class). Results showed students across choirs could separate deserved from instructional praise, but in 9 examples, familiarity with a context made a significant difference in labeling praise as deserved and in detecting a specific instructional purpose. Results suggest the importance of further investigations that determine how teachers intend praise to function and how their students interpret its use.