Effect of Magnitude of Conductor Behavior on Students in Selected Mixed Choruses

Abstract

The purpose of this experiment was to investigate the effect of magnitude of conductor behavior on performance, attentiveness, and attitude of students in mixed choruses. Four mixed choruses (one university and three high schools) were rehearsed under three conditions: (1) with regular conductor, (2) with high magnitude conductor, and (3) with low magnitude conductor. Magnitude was defined a priori by the experimenter and subsequently observed using the Music Conductor Observation Form developed for this study. In addition the effect of magnitude was measured by (1) judges' ratings of audiotaped musical performances, (2) behavioral observation of student attentiveness, and (3) self-report of student attitude. Although results indicated no significant differences in musical performance, attentiveness, or attitude ratings among baseline and the two experimental conditions, high and low magnitude, three of the groups received their lowest ratings under the low magnitude condition, off-task percentage was lower during the high magnitude condition, and data demonstrated student preference for the high magnitude conductor.

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

“…However, the infrequent use of praise and the failure of teachers to incorporate specific, contingent praise (i.e., specific comments that include reference to what was being praised) has led some researchers to suggest that praise may not function as expected in secondaiy music classes (Yarbrough, 1973;Madsen & Duke, 1993).…”

“…This procedure intentionally replicated the approach used in systematic observations of music classrooms, since investigations of teacher praise in performance ensembles are the established standard in music education. The approach ensured that the behavior about which students and teachers would subsequently make decisions was the same as that traditionally identified by trained adult observers in previous music education research (Murray, 1973;Yarbrough, 1973;Price, 1981).…”

“…Music education research informs teachers that student attitudes in choral rehearsals are more positive toward the teacher and the class when the teacher is more approving than disapproving (Murray, 1973;Yarbrough, 1973). Similarly, student attentiveness has been shown to improve when teachers incorporate praise, or positive feedback, in their teaching (Price, 1989;Yarbrough & Price, 1989).…”

Propostas para o ensino e a pesquisa em cursos de graduação em instrumento musical: bases para uma reformulação do bacharelado

“…De acordo com YARBROUGH (1975;, o contato visual configura-se quando o professor fixa sua atenção visual no aluno por, no mínimo, três segundos. Esse tempo foi estipulado por meio da observação comportamental, pois esta autora considera que o trabalho do aluno é passível de influência dessa estratégia somente a partir desse intervalo.…”

Synchronization analysis of choir singing

“…Williamon and Davidson [4] analyzed timing synchronization of piano plays, whereas Nakamura [5] studied synchronized breathing between co-performers in piano plays. Yarbrough [6] emphasized importance of eye contact and facial expression of conductor in mixed choruses. Yamamoto and Miyake [7] measured the breathing rhythm and play rhythm between co-performing pianists and found dependence of the degree of synchronization on the difficulty of the musical note.…”