Basing this study on teachers' perceptions of their own teaching, I identified teaching styles in secondary choral music and developed a self-report scale to assess choral music teaching style. Ten dimensions of choral music teaching style were identified through common factor analysis of 134 teaching behaviors. Eight of these dimensions were validated through confirmatory factor analysis. The dimensions were labeled Student Independence, Teacher Authority, Positive Learning Environment, Aesthetic Music Performance, Nonverbal Motivation, Time Efficiency, Group Dynamics, and Music Concept Learning. Test-retest reliability of the subscales that were used to assess the eight validated dimensions indicated acceptable consistency over time. Eleven choral music teaching styles were identified through k-means cluster analysis of directors, based on their scores on the dimensions. Clusters of directors from two samples were cross-validated with discriminant analysis. The teaching styles were labeled Student-Centered Comprehensive Musicianship Oriented, Teacher-Teaching style has been defined and researched in a large variety of ways. The term is often misconstrued and confused with other aspects of the teaching-learning process. In defining teaching style, discussion arises as to whether it is consistent or changes from situation to situation. Tait and Haack (1984) state that teachers use more than one style in their teaching and that teaching style changes given different situations. Fischer and Fischer (1979) view teaching styles as "distinctive qualities of behavior that are consistent through time and carry over from situation to situation" (p. 245). This controversy reflects a confusion in the literature between what could be called a "microscopic" view and a "macroscopic" view of the teaching-learning process. The former view focuses on the characteristics of teaching behaviors, and the latter focuses on concepts that transcend behaviors and are more appropriate for teaching style. Behaviors do change from situation to situation, but, as Fischer and Fischer (1979) assert, teaching style may not. There is a consensus that teaching style involves a pattern of teaching behaviors, but music education researchers have not gone far enough beyond the behavioral level to examine patterns of music teaching in a macroscopic sense. The premise of this study is that teaching style is a consistent pattern of teaching behaviors and that it transcends the information provided by the unique behaviors in the pattern.Four approaches to the study of patterns of teaching behavior have been used that reflect differing views of the teaching-learning process: The first, the study of combinations of effective teaching behaviors (Forsythe, 1975;Kuhn, 1975;Price, 1983;Yarbrough & Price, 1981, focuses solely on the behavioral level. Although these studies raise issues related to teaching style, the purpose is to analyze behaviors and not style. The second approach is the study of the effectiveness of intact teaching styles, such as direct-in...