It is the purpose of this study to set forth facts, substantiated by investigation of authoritative sources, proving that all selections used on the concert program of a high school chorus should serve a permanently constructive purpose toward the musical growth of the students. The first part of the thesis concerns those elements which have to be taken into consideration in teaeching any high school music group These are: 1. The psychological make-up of the group in regard to age and physical development. 2. The psychological make-up of its audience. 3. The existing level of musical skill of the group as a whole. 4. The existing degree of aesthetic appreciation of the chorus and its audience. The latter part of the work specifies the aims in vocal instruction of the high school choral course. These include sight reading, breathing, tone, pitch, diction, phrasing, and interpretation. It also attempts to demonstrate how the preparation of a concert program serves to accomplish these aims. This involves a critical evaluation of each number on a proposed program in reference to the following points: 1. Psychological reception by the group and its audience. 2. Its contribution toward improved aesthetic discrimination on the part of singers and listeners. 3. The opportunity afforded for specific vocal and musical training.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

Constructivism in music education can help teachers and students alike better their educational experience by working as a collaborative team. In the choral classroom, constructivist teaching establishes the teacher as the facilitator of learning rather than the “teacher as conductor.” Teachers help foster the musical-thinking of the ensemble. Students learn and retain information when teachers can support learners’ understanding of musical ideas and work within the student’s zone of proximal development. Through the use of teacher-guided questioning, cognitive apprenticeship, informal music-making, CMP, problem-solving, and Understanding by Design, students become active participants. Included are supplemental activities for the traditional choir classroom that give a sense of how to provide meaningful lessons to students through a constructivist lens. Each activity is objective-based, working from what the students will know or be able to do by the end of the activity, to how to foster the learning in a way that builds past experiences into new experiences.

Researchers agree that teachers are the single most influential school-related factor in a child's level of academic achievement. Teaching style may influence students' academic achievement as well as facilitate students' development of social skills and a sense-of-community within the classroom. The purpose of this study was to examine the relationship between high-school choir directors' (n = 42) teaching-style and their high-school choir students' (n =1,108) psychological sense-of-community. Student participants in grades 9-12 within a mid-Atlantic state were members of a 9th-Grade Chorus (n = 2), Men's Chorus (n = 1), Women's Chorus (n = 8), Select Ensemble (n = 7), or Concert Choir (n = 38). Results from students' scores on the Classroom Community Scale revealed that 9th-grade students reported lower levels of sense-of-community, connectedness, and learning than students in grades 10, 11, and 12. Students in Select Ensembles reported significantly higher levels of sense-of-community, connectedness, and learning than students in Concert Choirs, and students in choirs that performed five or more times per school year reported significantly higher levels of sense-of-community than students in choirs that performed four or less times per school year. Results revealed no main effect for gender, students' years-of-experience in high school choir, or choir-class length and frequency. Teachers' scores on the Music Teaching Style Inventory revealed that teachers preferred the Assertive Teaching (M = 3.80), Nonverbal Motivation (M = 3.75), Time Efficiency (M = 4.33), and Positive Learning Environment (M = 4.27) teaching-styles that focus on teacher-led activities. Music Concept Learning (M = 3.48), Artistic Music Performance (M = 3.46), Student Independence (M = 3.30), Group Dynamics (M = 2.84), teaching-styles with a focus on student-led activities were least preferred by the teachers in this study. Group Dynamics teaching style was a low or the lowest preferred teaching-style for 40 of the 42 participating teachers. Results revealed no main effect for teachers' gender or years-of-experience teaching. Teaching-style preference was not a significant predictor for students' levels of sense-of-community or connectedness. Time Efficiency and Student Independence teaching-styles positively correlated with students' perceived level of learning while the Artistic Music Performance teaching-style negatively correlated with students' perceived level learning. Within teachers' reports of observed student behaviors, teachers identified all four elements of sense-of-community: membership, influence, integration and fulfillment of needs, and shared emotional connection. Teachers also reported purposefully planning activities in order to facilitate their choir students' sense-of-community. Activities included teaching behaviors found within the Positive Learning Environment, Group Dynamics, Artistic Music Performance, and Student Independence teaching-styles. Teachers expressed that a sense-of-community has importance in that it effects students' musical expression; students' ability to achieve their potential for musical performance; students' retention within choir ensembles; teachers' advocacy for choir programs; and student's participation in musical ensembles beyond high school. / Music Education