My personal experience as an elementary music teacher had afforded me the opportunity to build a thriving choral program in my school, but I had reached a stale mate in my ability to facilitate maximum progress for my students to achieve a sound that my administrators, colleagues, and audience would recognize as masterful. The purpose of this study was to ascertain how master teachers of elementary children’s choirs approach teaching in order to emulate their results. By observing and interviewing masterful choral educators and reviewing the literature on the pedagogical approaches recommended for successful choral programs, it was hoped that I could apply this knowledge to inform and transform my practice. The review of the literature is discussed according to themes that emerged from my reading. These themes included: 1) Planning and Organizing Rehearsals; 2) Repertoire Selection; 3) Teaching Vocal Technique; 4) Seating Arrangement; 5) Audition Versus Non-Audition; and 6) Effective Choral Teaching. An action research methodology was employed in this study and involved collecting data from three sources: a pre- and post-observation of my practice by a jury; observations of master teachers; and interviews with master teachers. Observations and interviews were conducted with the same group of master teachers. Data were analysed using a qualitative approach (Bogdan & Biklen, 2003; Mills, 2007). Data from the observations and transcribed interview data were reviewed and coded according to key findings that emerged on a repeated basis (Stringer, 2008). The findings of the study revealed several themes that dominated the pedagogical approaches of master choral teachers. These themes included: planned and organized rehearsals with flexibility to address learning needs that arise unexpectedly; choosing high quality repertoire with inspirational text and good musical construction, and considerations to appropriateness of range with a preference to up-tempo selections; vocal techniques that encompassed strong listening skills and their appropriate application, good posture, proper breath control, face and jaw alignment, use of kinesthetics and imagery, attention to unified vowel and consonant production; seating arrangements that considered non-musical criteria such as height, behaviour, and grade level; and teaching demeanour that was positive and nurturing, with a penchant for a quick pace, delivered in a lively, animated manner, punctuated by good eye contact and supported by significant score knowledge. Master choral teachers were found to have personal experiences that contributed to their success and were found to be passionate about their teaching. Recommendations for further research and personal study are given.

My personal experience as an elementary music teacher had afforded me the opportunity to build a thriving choral program in my school, but I had reached a stale mate in my ability to facilitate maximum progress for my students to achieve a sound that my administrators, colleagues, and audience would recognize as masterful. The purpose of this study was to ascertain how master teachers of elementary children’s choirs approach teaching in order to emulate their results. By observing and interviewing masterful choral educators and reviewing the literature on the pedagogical approaches recommended for successful choral programs, it was hoped that I could apply this knowledge to inform and transform my practice. The review of the literature is discussed according to themes that emerged from my reading. These themes included: 1) Planning and Organizing Rehearsals; 2) Repertoire Selection; 3) Teaching Vocal Technique; 4) Seating Arrangement; 5) Audition Versus Non-Audition; and 6) Effective Choral Teaching. An action research methodology was employed in this study and involved collecting data from three sources: a pre- and post-observation of my practice by a jury; observations of master teachers; and interviews with master teachers. Observations and interviews were conducted with the same group of master teachers. Data were analysed using a qualitative approach (Bogdan & Biklen, 2003; Mills, 2007). Data from the observations and transcribed interview data were reviewed and coded according to key findings that emerged on a repeated basis (Stringer, 2008). The findings of the study revealed several themes that dominated the pedagogical approaches of master choral teachers. These themes included: planned and organized rehearsals with flexibility to address learning needs that arise unexpectedly; choosing high quality repertoire with inspirational text and good musical construction, and considerations to appropriateness of range with a preference to up-tempo selections; vocal techniques that encompassed strong listening skills and their appropriate application, good posture, proper breath control, face and jaw alignment, use of kinesthetics and imagery, attention to unified vowel and consonant production; seating arrangements that considered non-musical criteria such as height, behaviour, and grade level; and teaching demeanour that was positive and nurturing, with a penchant for a quick pace, delivered in a lively, animated manner, punctuated by good eye contact and supported by significant score knowledge. Master choral teachers were found to have personal experiences that contributed to their success and were found to be passionate about their teaching. Recommendations for further research and personal study are given.

Over a century ago, Émile Jaques-Dalcroze (1865-1950) began experimenting with a pedagogical approach that would give students access to their personal musical voice and a system of technique to express that voice with ease and sensitivity. Music education had lost sight of certain key qualities of exceptional musicianship; qualities such as flow, nuance, imagination, and individuality, so valued in expressive performance, were absent in music pedagogy. According to Jaques-Dalcroze, the antidote to musical arrhythmy (a lack of musical ease and expressivity) lay in the integrated use of the whole body in both musical perception and performance, a coordination he termed eurhythmy. The purpose of this study is to investigate the applications of Dalcroze Eurhythmics to the choral context, including the ways in which the Dalcroze approach shapes the philosophical, pedagogical and musical outcomes of choral pedagogy and practice. More specifically, how do these two areas interact in relationship to the following topics: (1) conductor, chorister and choir as instrument, (2) conductor and chorister score study, (3) conductor and chorister gesture, and (4) choral pedagogy and rehearsal techniques? The original writings of Émile Jaques-Dalcroze provide a framework for the discussion, while interviews with two groups, Dalcroze master-teachers with choral conducting training and/or experience, and Dalcroze-trained choral conductors illustrate the specific applications of the choral context. Study participants reported the use of the Dalcroze approach for three main purposes in the choral context: (a) to develop choral skills, including vocal skills, aural skills, kinesthetic skills, ensemble skills and music literacy skills; (b) to prepare the whole body for accurate and expressive performance of choral repertoire (conducting and singing); and (c) to develop non-musical outcomes that support choral conducting and singing, including mental acuity, creativity, a contextualized view of self and others, self-confidence and risk-taking, and enjoyment in music making.

Over a century ago, Émile Jaques-Dalcroze (1865-1950) began experimenting with a pedagogical approach that would give students access to their personal musical voice and a system of technique to express that voice with ease and sensitivity. Music education had lost sight of certain key qualities of exceptional musicianship; qualities such as flow, nuance, imagination, and individuality, so valued in expressive performance, were absent in music pedagogy. According to Jaques-Dalcroze, the antidote to musical arrhythmy (a lack of musical ease and expressivity) lay in the integrated use of the whole body in both musical perception and performance, a coordination he termed eurhythmy. The purpose of this study is to investigate the applications of Dalcroze Eurhythmics to the choral context, including the ways in which the Dalcroze approach shapes the philosophical, pedagogical and musical outcomes of choral pedagogy and practice. More specifically, how do these two areas interact in relationship to the following topics: (1) conductor, chorister and choir as instrument, (2) conductor and chorister score study, (3) conductor and chorister gesture, and (4) choral pedagogy and rehearsal techniques? The original writings of Émile Jaques-Dalcroze provide a framework for the discussion, while interviews with two groups, Dalcroze master-teachers with choral conducting training and/or experience, and Dalcroze-trained choral conductors illustrate the specific applications of the choral context. Study participants reported the use of the Dalcroze approach for three main purposes in the choral context: (a) to develop choral skills, including vocal skills, aural skills, kinesthetic skills, ensemble skills and music literacy skills; (b) to prepare the whole body for accurate and expressive performance of choral repertoire (conducting and singing); and (c) to develop non-musical outcomes that support choral conducting and singing, including mental acuity, creativity, a contextualized view of self and others, self-confidence and risk-taking, and enjoyment in music making.

Treatise (D.M.A.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Dissertation (Ph. D.) -- Florida State University, 2003. / Advisor: Jack A. Taylor, Florida State University, School of Music. Title and description from dissertation home page (viewed 9-23-04). Document formatted into pages; contains 249 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph. D.) -- Florida State University, 2003. / Document formatted into pages; contains 204 pages. Advisor: Judy K. Bowers, Florida State University, School of Music. Title and description from dissertation home page (viewed 11-19-03). Includes biographical sketch. Includes bibliographical references.

Thesis (Ph.D.)--University of Melbourne, 1977. / Typescript. Includes bibliographical references (leaves 350-354).

Thesis (D. Mus. Arts)--University of Washington, 1992. / Vita. Includes bibliographical references (leaves [189]-191).

Thesis (M.A.)--University of Rochester, 1940. / Typewritten. Bibliography: l. 66-68. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7599