This article reports on a research project carried out in 2002, with funding from the United Kingdom's Arts and Humanities Research Board, i on choral activity and its relationship to singers' identity. Using a model of effective choral conducting (Durrant 1996; 2003) as a starting point, a connection is sought between perceptions of the conducting role and of singing in the shaping of singers' identity. The project focused on the choral music traditions of Finland and Sweden, where choirs are noted for their fine-quality singing, imaginative use of folk music and extensive involvement. A qualitative methodology was adopted; specifically a descriptive and interpretive case study, using interviews with conductors and singers, extensive observation of choral rehearsals and, on occasions, concerts. Issues arising from the research are reported, including: the role of choral repertoire and national folk song, singers' reasons for engaging in choral activity and the role of conductors. The research confirmed (i) that the musical and interpersonal skills of the conductor are vital in the motivation of the singers, (ii) that singers identify themselves socially as well as musically with a group, (iii) that choral activity enhanced these singers' sense of national and cultural identity through use of folk traditions and a creative approach to musical practice.

M a r i a V a r v a r i g o u a n d C o l i n D u r r a n t

Despite pockets of excellence, singing in British secondary schools is not only weak but in a state of continuing decline. The unpopularity of singing is well documented but the reasons for that unpopularity are less certain. Through interviewing adults between the ages of 20 and 40 about their school days, the authors located the principal sources of most people's unease with singing, and also the seat of pleasure among those who enjoyed it. Some differences between age groups and the sexes emerged through the study. Unexpectedly, all interviewees were united in the view that singing should be retained as a worthwhile element of the secondary school curriculum.

Recent teaching with PGCE secondary music students has revealed that conducting ensembles is a musical activity in which they have variable knowledge, skills and experience. It is a general expectation, nevertheless, that music teachers still conduct choral and instrumental ensembles as part of their job in schools, and some may also undertake such roles in the wider community. This paper seeks to identify from research literature aspects of effective conducting that warrant greater attention. This forms part of a research project which is exploring definitions of effective conducting and making an analysis and case for more structured teaching in this area within higher education.