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The purpose of this investigation was to examine the effects of three commonly observed choral singer performance conditions (no movement, slight swaying, full-body swaying) on acoustic and perceptual measures of choral sound. We audio recorded an established university choir ( N = 29 singers) performing a memorized piece while viewing the same conductor video and participating in one of the three performance conditions. We analyzed data through long-term average spectrum (LTAS), overall pitch deviation, and singer and listener (singer-listeners, expert-listeners) perceptions. LTAS results showed significant differences ( p < .001) in spectral energy between all three conditions. The full-body swaying condition averaged a noticeable difference of 2.50 dB across the spectrum when compared to the other two conditions. Pitch analysis indicated the least overall pitch deviation during the slight swaying condition (−27.67 cents) and the most pitch deviation during the no-movement condition (−58.31 cents). Results indicated singer and singer-listener preferences for the full-body swaying condition and expert-listener preferences for the slight swaying condition. We discuss results in terms of future research and practical application for choral music educators.

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.

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This historical investigation explores the life of George N. Heller (1941–2004) and his influence on historical research in music education and music therapy. By means of primary source materials, including preserved presentation resources and outlines, publications, and interviews, this historical investigation explores Heller’s life and career and the influences that informed his work. This study argues that at a time when quantitative methods dominated music research journals, George Heller’s efforts coincided with the progress and acceptance of historical research in music education and music therapy. Through his historical research publications, his encouragement of student research, his mentoring of colleagues, and his position as founding editor of the Bulletin of Historical Research in Music Education, George Heller championed historical research at a critical juncture in music education scholarship.