Chorister Perceptions of Collegiate Top-Level Choral Experiences: Replication and Extension

Abstract

At the collegiate level, directors implement specific strategies to help choristers of mid-level ensembles build a strong sense of identity, thereby promoting a choral experience with intellectual, psychological, emotional, social, and musical benefits. This study examined if such strategies applied only to mid-level ensemble choristers or if they could be generalized to other choral ensembles, specifically those considered top level. We surveyed members of top-level choral ensembles (N = 337) from 8 collegiate institutions in 6 different regions of the United States. Results indicated that although top- and mid-level collegiate choristers share similar values when constructing ensemble identity, these values do not translate into the same kind of dedication and enrollment factors. Top-level choristers tended to identify more, feel more dedication to, and want to remain with their current choirs. In contrast, mid-level choristers often enjoyed their choral experience but were more mobile and in greater pursuit of prestige.

Adolescent Self-Theories of Singing Ability Within a Choral Hierarchy

“…Some argue that these structures can allow for more diverse performance opportunities or motivate students to work harder (Bartolome, 2013). Others have noted that ability-grouped ensembles may create negative feelings in the "lower" ensembles (Carp, 2004;Dakon & Major, 2017;Gauthier, 2005;Wilson, 2012). Additionally, the audition process itself may have an influence over the way students view their musical abilities either positively (Bartolome, 2013) or negatively (Abril, 2007).…”

“…However, it is possible that educators may adopt the audition process they most recently experienced, that of their collegiate director, and follow a similar practice in their own classroom. Within music education, authors have examined the effects of placing students in ensemble hierarchies at the elementary (Haworth, 1992), secondary (Abril, 2007;Bartolome, 2013;Wilson, 2012) and collegiate levels (Dakon & Major, 2017;Major, 2017;Major & Dakon 2016).…”

“…When prompted to provide a reason for wanting to leave their current choir, these participants, described by the authors as movers, overwhelmingly named a desire for prestige. In a follow-up study, Dakon and Major (2017) asked members of the top-level ensembles to complete the same survey and found a negative stigma among these students toward single-gendered choirs. The authors posited that this stigma may be due to the prevalent use of men's or women's choirs as beginning or mid-level groups.…”

“…Wilson (2012) found evidence of the detrimental emotional effects of being placed in an ensemble that is not perceived as being at the top of the hierarchy. Multiple researchers have found a negative stigma attached to women's choirs among both collegiate and high-school singers (Carp, 2004;Dakon & Major, 2017;Gauthier, 2005;Wilson, 2012), likely due to the frequent use of single-gendered choirs at the bottom of the hierarchy structure (Dakon & Major, 2017). Additionally, researchers in general education agree that competition has negative effects on a variety of factors including motivation, self-concept, mindset, actual performance, and persistence.…”

“…Some educational researchers have uncovered concerning, detrimental effects of the mismatch between adolescent needs and school structures (Coelho et al, 2017). A few music education researchers have found that the use of an ensemble hierarchy, a competitive structure, may influence self-efficacy (Hendricks, 2014) and group identity (Dakon & Major, 2017;Major, 2017;Major & Dakon, 2016), but little is known regarding how these structures might influence the self-concept or mindset of individual students. Ability-grouping has been identified in math education as a strategy which may invite a fixed mindset (Sun, 2018) and encountering a failed audition might have lasting negative impacts on musical self-concept (Abril, 2007).…”