Unfreezing identities: Exploring choral singing in the workplace

Balsnes, Anne Haugland; Jansson, Dag

doi:10.1386/ijcm.8.2.163_1

Cited by 11 publications

(8 citation statements)

References 14 publications

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“…Third, as we have argued and found empirical support for in our study, corporate singing that emphasize harmony may be particularly effective at developing a sense of connection with others (e.g., Balsnes and Jansson 2015;Carter 1954;Faulkner and Davidson 2006;Jansson 2018). Consistent with this claim, a study of a choir that sang in mostly four-part harmony found that it had a spiritual impact on members, particularly in fostering a greater sense of social connectedness with others (both choir members and audience; Dingle et al 2013).…”

Section: Corporate Singing and Spiritualitysupporting

confidence: 67%

An Exploratory Study of Corporate Singing and Organizational Culture

Dyck¹,

Caza²

2021

Journal of Management, Spirituality & Religion

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This study examined corporate singing, specifically when members sing together in religious organizations. Consistent with the literature, we found that organizations whose members participate in corporate singing, versus merely listening to others sing, had more prosocial behavior (i.e., greater voluntarism). In addition, the study examined whether four different types of singing (chanting, unison, harmony, or a combination of types) aligned in predictable ways with the four organizational cultures associated with the Competing Values Framework (bureaucracy, market, clan, and adhocracy, respectively), and found some support for three of the hypothesized relationships. Implications are discussed.

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Section: Corporate Singing and Spiritualitysupporting

confidence: 67%

An Exploratory Study of Corporate Singing and Organizational Culture

Dyck¹,

Caza²

2021

Journal of Management, Spirituality & Religion

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“…Some of the earliest theories about the power of group singing were proposed by sociologists ( Durkheim, 1912/1995 , p. 232; Collins, 2004 , p. 61). Recent empirical studies have revealed that participatory singing does in fact create and reinforce community bonds ( Li and Southcott, 2012 , p. 67–70; Tarr et al, 2014 ; Balsnes and Jansson, 2015 , p. 168; Pearce et al, 2016 , p. 12–15). At the core of this research is the hypothesis that synchronization of voluntary and involuntary biological processes – a process termed “entrainment” ( Hayward, 2014 , p. 10; Thaut et al, 2015 ) – can promote altruistic behavior ( Kokal et al, 2011 ; Cirelli et al, 2014 ), increase positive feelings felt by participants toward one another ( Launay et al, 2014 ), enhance feelings of social connection and inclusion ( Lumsden et al, 2014 ; Welch et al, 2014 ), improve cooperation ( Valdesolo et al, 2010 ; Reddish et al, 2013 ), and raise trust levels ( Launay et al, 2014 ).…”

Section: Introductionmentioning

confidence: 99%

“Like Pieces in a Puzzle”: Online Sacred Harp Singing During the COVID-19 Pandemic

Morgan-Ellis

2021

Front. Psychol.

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Sacred Harp singers the world over gather weekly to sing out of The Sacred Harp, a collection of shape-note songs first published in 1844. Their tradition is highly ritualized, and it plays an important role in the lives of many participants. Following the implementation of lockdown protocols to combat the COVID-19 pandemic, groups of Sacred Harp singers quickly and independently devised a variety of means by which to sing together online using Zoom (“zinging”), Jamulus (“jamzinging”), and Facebook Live (“stringing”). The rapidity and creativity with which Sacred Harp singers developed ways to sustain their activities attests to the strength and significance of this community of practice, and in this article I describe each modality and provide an account of how it came to be developed and widely used. As a participant-observer, I completed extensive fieldwork across these digital sites and conducted semi-structured interviews with 22 other singers. I found that online singing practices have reshaped the Sacred Harp community. Many singers who did not previously have the opportunity to participate now have access, while others have lost access due to technological barriers or lack of interest in online activities. At the same time, geographical barriers have disintegrated, and singing organizers must make an effort to maintain local identity. A stable community of singers has emerged in the digital realm, but it is by no means identical to the community that predated the pandemic. I also identify the ways in which online singing has proven meaningful to participants by providing continuity in their personal and communal practice. Specifically, online singing allows participants to access and celebrate their collective memories of the Sacred Harp community, carry out significant rituals, and continue to grow as singers. While no single modality replicates the complete Sacred Harp singing experience, together they function “like pieces in a puzzle” (as one singer put it), allowing individual participants to access many of the elements of Sacred Harp singing that are most meaningful to them.

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“…Elias, som takket for at studentkoret var obligatorisk, er ett eksempel. Paradokset er at når først flytsituasjonen oppleves og alt som er i spill er indre motivasjon, vil selv uerfarne amatører gjerne bli bedre (Balsnes & Jansson, 2015). Dermed genereres en ny ytre motivasjon, som en konsert, mestring av mer avansert repertoar og liknende.…”

Section: Diskusjonunclassified

Att bli en sjungande tonårspojke: En livshistoria om att sjunga tillsammans med andra i skolan

Hentschel¹

2022

Samsang Gjennom Livsløpet

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This chapter aims to present knowledge about teenage boys’ experiences of singing together in school. The study that the chapter is based on uses a phenomenological, gender theoretical and music didactic perspective. Earlier research shows that singing is practiced, and anticipated to be practiced more often by girls than boys in Western societies and schools. An analysis of interviews with the student Andreas and his music teacher Victor is presented, as they explore co-singing in a music profiled class in elementary school. The interviews were performed in 2013 and 2020, and analysed and presented as a «life story». It entails Andreas’ journey from being a teenage boy who refuses to sing in school to becoming a teenage boy who sings, and the role that Victor, as a music teacher, plays in Andreas’ journey. The chapter shows several gendered and pedagogical aspects in Andreas’ situation that influence him to at first mime and later on sing during choir lessons – especially the perception of singing as feminine coded and singing knowledge in choir.

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Unfreezing identities: Exploring choral singing in the workplace

Cited by 11 publications

References 14 publications

An Exploratory Study of Corporate Singing and Organizational Culture

An Exploratory Study of Corporate Singing and Organizational Culture

“Like Pieces in a Puzzle”: Online Sacred Harp Singing During the COVID-19 Pandemic

Att bli en sjungande tonårspojke: En livshistoria om att sjunga tillsammans med andra i skolan

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