The choral music experience was one of the countless areas of daily life upended by the COVID-19 pandemic. The St. Paul’s Episcopal Church Choir , primarily comprised of volunteer congregation singers, transitioned to a fully virtual choir format from March 2020 to May 2021. During this time, the choir members recorded their voices from home to create over 200 virtual choir performances. The purpose of this instrumental case study was to investigate participant perspectives of an established church choir program’s transition into and out of a virtual format during the COVID-19 pandemic. The goal of this study was to answer the following questions: (1) What do participants cite as influences on their choice to participate or not participate in the Virtual Choir? (2) How do participants describe their perceived benefits of their Virtual Choir participation? (3) What do choir members value most in their church choir participation?Data were collected in fall 2021 as the choir returned to in-person singing. Thirteen volunteer choir members participated in the data collection which consisted of a written statement, one-on-one interview, and focus group discussion. Participants reflected on their experiences in the choir prior to, during, and after the COVID-19 quarantine. The participants’ perspectives were compared to existing studies on community choral music participation. Data revealed that participants described the Virtual Choir recording process as musically unsatisfying when compared to in-person singing. Some participants struggled with hearing their own recorded voice and missed the experience of sharing music-making in the moment with their fellow choir members. Despite their frustrations, participants found motivation in supporting the church community and the continued virtual social interactions with the choir. Participants benefited from a virtual social outlet through weekly Zoom choir rehearsals which allowed for continued contact and check-ins with fellow singers. Some participants stated that they benefited from musical gains as the Virtual Choir provided a reason to sing when in-person opportunities became unavailable. Others cited how the weekly recorded process prevented musical skill deterioration as they could practice and monitor their vocal progress through their isolated recordings. Data also revealed that participants valued the church choir community more than the music itself. Participants care for their fellow choir members and their choir participation led to a choir family dynamic described as special and unique compared to other areas of their lives. Findings were compared with existing community choral music participation research to identify many consistencies between the motivations, benefits, and values of the Virtual Choir participation. Despite the similarities, key differences highlighted how the Virtual Choir led to stress and frustration for many participants. Music-making with the Virtual Choir was described as unsatisfying and more challenging than the in-person format. Findings demonstrate that continuing adult music education should not be overlooked by music educators, directors, and teacher educators. Adult music education provides opportunities for choir members to pursue a lifelong love of music and music learning. While the virtual format increased accessibility for choir members during the quarantine, educators must consider supporting singers’ vocal self-efficacy as to not exclude potential ensemble members. As virtual music-making continues to evolve, educators, directors, and teacher educators should consider professional development and training to be prepared for virtual music-making opportunities within their programs. / Music Education

The article gives a historical outline of the amateur and professional choral movement in Wielkopolska in the years 1870-1918, i.e. in the last period of the partition of Poland.

Rezension zu: Rajmund Hanke, Silesia Cantat. Dzieje polskiego śpiewactwa kościelnego na Śla̧sku [Silesia Cantat. The History of Polish Sacred Choral Societies in Silesia], Katowice 1996,333 S.

Die Dissertation widmet sich der Frage, was Menschen motiviert, in evangelischen Kirchenchören mitzuwirken, wobei sich die Forschung auf die Sängerinnen und Sänger des Kirchenchorwerkes der Ev.-Luth. Landeskirche Sachsens fokussiert. Als erster Schritt wird anhand relevanter vorliegender Kenntnisse u. a. der Motivations-, Sozial-, Musik- und Religionspsychologie, der Soziologie und Musikpräferenzforschung ein wissenschaftliches Verständnis der Motivation für die Mitwirkung in Kirchenchören entwickelt, dieses mit dem theoretischen Wissen der Praxis von Kirchenchören in Beziehung gesetzt und ein Kategoriensystem potentieller Anreize bzw. Motive der Kirchenchorpraxis erarbeitet. Anschließend erfolgt die Überprüfung und Erweiterung der gewonnenen Erkenntnisse anhand zweier aufeinander aufbauender empirischer Studien: Einer qualitativen exploratorischen Studie anhand von Leitfadeninterviews, aus deren Ergebnissen sechs Hypothesen zur sozialen, musikalischen und religiösen Motivation, zur Erlebnisqualität in der Chorpraxis, zu Zweckzentrierung und Routineaspekten der Chormitwirkung und zur musikalischen bzw. religiösen Sozialisation der Sänger abgeleitet wurden sowie einer quantitative Studie in Form einer Online-Befragung. Die Stichprobengröße hierfür beträgt 544. Die Ergebnisse der Studien bestätigen im Wesentlichen die Aussagen der Hypothesen, die eine große Bedeutung von musikalischen und sozialen Anreizen der Kirchenchorpraxis, Differenzen der religiösen Motivation bei Mitgliedern für alle offener Chöre im Vergleich zu spezialisierten Chören, das überragende Potential für Flow-Erleben bei der Mitwirkung in Konzerten im Vergleich zu Proben, geselligen Veranstaltungen und Gottesdiensten sowie eine bereits in der Kindheit bzw. Jugend erfolgte religiöse und/ oder überdurchschnittlich musikalische Sozialisation der Chormitglieder postulieren. Als Fazit werden Anregungen für die praktische Kirchenchorarbeit abgeleitet und die Ergebnisse aus theologisch-liturgischer Perspektive reflektiert.