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Modelling Effective Choral Conducting Education

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Modelling Effective Choral Conducting Education Modelling Effective Choral Conducting Education Through An Exploration Of Example Teaching And Learning In England MARIA VARVARIGOU Thesis Submitted for the Degree of Doctor of Philosophy at the University of London, Institute of Education 2009 DECLARATION OF OWN WORK I hereby declare that, except where explicit attribution is made, the work presented in this thesis is entirely my own. The exact number of words of the thesis (exclusive of Bibliography and Appendices) is 80.232 words. Signed: W\10yri CUri ABSTRACT • A growing corpus of research provides evidence of the musical and non-musical benefits from choral participation, yet the preparation of individuals for their role as choral leaders and conductors within educational environments has not been given similar attention. Whilst choral leaders within schools, community or church contexts may emphasise the inadequate support mechanisms for choral education, there seem to be very few courses in the United Kingdom (UK) that deal with the preparation of choral conductors. A new socially-located, heuristic framework has been developed, influenced by the theoretical constructs of Cognitive Apprenticeship, Situated Learning, and theories of expertise, as well as educational research on effective teaching and learning within higher education and the workplace. The framework encompasses five interconnected parameters, as part of an investigation into effective choral conducting education within several educational environments in the UK. These parameters relate to biographies, expectations, values and behaviours connected with (i) the tutor, (ii) the learner, (iii) the sequence and amount of training (process of preparation), (iv) the learning outcomes and (v) the socio-cultural contexts, including the teaching contexts, where choral practice takes place. A predominantly qualitative approach has been used for the collection and analysis of the data, concentrating on the participants' written self-reflective narratives, interviews and questionnaire responses. Five choral conducting education courses have been observed; three offered within higher education and two by independent bodies. Although data analyses suggest that none of the observed courses encompassed all the ingredients suggested by the framework, the framework itself offers insights and related methods of examining choral conducting education contexts. 2 ACKNOWLEDGEMENTS • This work would never have been completed without the support and contribution of several people, to whom I would like to express my deepest gratitude and appreciation. Firstly, I would like to express many thanks to my supervisors Dr. Colin Durrant and Professor Graham F. Welch for generously offering their time, guidance and expertise and for giving me several opportunities to present my work in conferences in the UK and abroad. Also, I would like to thank Professor Lucy Green for her valuable feedback on my MPhil thesis and for acting as an independent reader on the final draft of this PhD thesis. Moreover, I wish to acknowledge the A.S. Onassis Public Benefit Foundation for providing me with financial aid. I also wish to acknowledge the contribution of the students and tutors of this study who kindly offered me time, willingly responded to questionnaires and calls for interviews and showed genuine interest in this research. I would also like to thank my sister Vasileia, my friends Kelly Kallitsoglou, Teresa Gomes and Dr. Zoe Dionyssiou for their everlasting support and encouragement. Lastly, I dedicate this thesis to my parents Ioanni and Katerina and to my grandfather Professor Nikos N. Michaelides. Without their support this research study would have been impossible. To all these people I will be forever grateful... 3 TABLE OF CONTENTS Title Page 1 Abstract .2 Acknowledgements 3 Table of Contents 4 List of Tables and Figures 10 CHAPTER ONE: Introduction 1.1 Introduction 12 1.2 The social and psychological benefits from choral participation 15 1.3 The music benefits from choral singing ...18 1.3.1 New initiatives for singing .18 1.4 Terminology of the study 20 1.5 Limitations of the study 21 1.6 Aims of the study .22 1.6.1 Thesis structure 23 CHAPTER TWO: Review of the literature 2.1 Introduction 24 2.2 The responsibilities of a choral conductor 25 2.2.1 Organizing the choir and crafting the rehearsals 25 2.2.2 Warm-up instruction and repertoire selection .27 2.3 Choral conductors and traditional pathways to conducting 30 2.3.1 Conducting technique as physical movement 30 2.3.2 Gestural intensity 32 2.3.3 Interpersonal skills and general leadership 34 2.3.4 Verbal communication during choral practice 36 2.3.5 Summary 39 2.4 Choral singing within education 40 2.4.1 Programmes for choral activities in educational environments 41 2.4.2 Teachers' professional development in music and singing activities .42 4 2.4.3 Effective models of choral practice 46 2.5 Summary 51 CHAPTER THREE: Theoretical constructs 3.1 Introduction 52 3.2 Cognitive Apprenticeship 53 3.2.1 Content and Methods 54 3.2.2 Sequencing and Sociological aspects 55 3.3 Theories of expertise .57 3.4 Situated Learning .61 3.5 Theoretical Summary 62 3.6 General theoretical underpinnings in a model of effective choral conducting 63 3.6.1 The profile of an effective choral conductor 63 3.6.2 Effective teaching and learning environments and the role of an effective choral conductor educator 66 3.6.2.1 Management of material 68 3.6.2.2 Expectations/Aspirations 69 3.6.2.3 Perceptions of subject matter .69 3.6.2.4 Planning and preparation 69 3.6.2.5 Monitoring 70 3.6.2.6 Evaluation/Feedback 71 3.7 A suggested model for the examinations of effective choral conducting preparation 71 3.7.1 The tutors 72 3.7.2 The learners 72 3.7.3 The process of learning to be a choral conductor 73 3.7.4 The learning outcomes 73 3.7.5 The socio-cultural contexts, including teaching contexts 74 3.8 Summary 75 CHAPTER FOUR: Research design and methodology 4.1 The purpose and nature of the research 78 4.2 Phenomenography as a research methodology .79 5 4.3 Approach and methods for data collection and analyses 81 4.3.1 The Case Study approach 82 4.3.2 Web-based Survey 83 4.3.3 Documentary sources .83 4.3.4 Audio-visual material .84 4.3.5 Questionnaires 84 4.3.6 Interviews 85 4.3.7 Field notes 86 4.4 Choral Conducting Courses in the UK ...86 4.4.1 Conducting courses in higher education 87 4.4.2 Conducting courses offered by independent bodies 91 4.5 The data analysis process — ethical considerations 93 4.5.1 Procedures 93 4.6 Limitations of the study 95 4.7 Summary 96 CHAPTER FIVE: Analysis and Findings I — Absolute Beginners 5.1 Introduction .97 5.2 Case Study I (Absolute Beginners) 98 5.2.1 The tutor .99 5.2.2 The learners 100 5.2.3 The process of preparation 102 5.2.4 The learning outcomes 105 5.2.5 The socio-cultural context .106 5.3 Summary .108 CHAPTER SIX: Analysis and Findings II — Intermediate Level 6.1 Introduction 110 6.2 Case Study 2 (Intermediate/ Independent) ...110 6.2.1 The tutors 113 6.2.2 The learners ...114 6.2.3 The process of preparation 117 6.2.3.1 Methods for teaching and learning in choral conducting 118 6.2.3.2 The teaching context ..119 6 6.2.4 The learning outcomes .121 6.2.5 Summary 125 6.3 Case Study 3a (Intermediate/ HE 1) .126 6.3.1 The learners 128 6.3.2 The process of preparation 130 6.3.2.1 Reflection in-action and on-action ...131 6.3.2.2 Effective teaching and learning methods 132 6.3.2.3 Collaborative learning and feedback 134 6.3.3 The learning outcomes 138 6.3.4 Summary 140 6.4 Case Study 3b (Intermediate/ HE 2) 142 6.4.1 The learners 143 6.4.2 The process of preparation 146 6.4.2.1 Reflection on-action and confidence development 147 6.4.2.2 Observation of other conductors 150 6.4.2.3 Feedback. .152 6.4.2.4 Practice with a choir and collaborative learning ...154 6.4.3 The learning outcomes 156 6.4.4 Summary 161 6.5 Chapter Summary 162 CHAPTER SEVEN: Analysis and Findings III — Advanced Level 7.1 Introduction 165 7.2 Case Study 4 (Advanced) .165 7.2.1 The tutors 166 7.2.2 The learner .169 7.2.3 The process of preparation 170 7.2.3.1 Regular practice with a choir 171 7.2.3.2 Performance opportunities 172 7.2.3.3 Regular and detailed feedback .173 7.2.4 The learning outcomes .174 7.2.5 The socio-cultural context .175 7.2.6 Summary 178 7 CHAPTER EIGHT: Discussion 8.1 Introduction 180 8.2 Choral conducting teaching and learning — tutor responsibilities and perspectives 181 8.2.1 The tutors' background and attributes 182 8.2.1.1 Charisma and choral conducting practice 182 8.2.1.2 Interpersonal skills and choral conducting practice .185 8.2.2 The tutors' pedagogical approach .187 8.2.2.1 A teacher-focused approach 187 8.2.2.2 A learner-focused approach .191 8.3 The learners 192 8.4 The process of preparation 196 8.4.1 Attributes of effective learning environments 196 8.4.1.1 Empathy, enthusiasm and explanation ..196 8.4.1.2 Clarity, structure, level and pace .197 8.4.2 The pedagogical context of Cognitive Apprenticeship .198 8.4.2.1 Content ..199 8.4.2.2 Methods .201 8.4.2.3 Reflective practice .201 8.
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