Collaboration in the choral context: The contribution of conductor and choir to collective confidence

Transcription

1 International Symposium on Performance Science ISBN The Author 2013, Published by the AEC All rights reserved Collaboration in the choral context: The contribution of conductor and choir to collective confidence Michael Bonshor Department of Music, University of Sheffield, UK This qualitative study explored some of the factors influencing confidence levels amongst adult amateur choral singers. Three initial focus groups were completed, followed by sixteen individual interviews. The majority of interviewees had participated in a range of different types of choral singing, and each had performed with several different conductors. Emergent themes included: situational and environmental factors, such as rehearsal and concert venues, acoustics, choir formation, and spacing; the influence of other people, with special reference to conductors and fellow choral singers; and a number of significant issues related to choral direction, musical leadership, and group dynamics. Keywords: confidence; choral; singers; choirs; conductors Choral singing as a collaborative activity has not always received the attention it deserves, and confidence issues among amateur choral singers have not yet been widely researched. Existing work in the related area of music performance anxiety (MPA) has tended to concentrate on instrumentalists rather than on singers (Kenny et al. 2004). Where MPA among singers has been studied, soloists have usually been the main focus (Wilson 2002). The relatively rare studies of choral singing generally involve professional choruses (Kenny et al. 2004) or conservatoire students (Hamann and Sobaje 1983). Research into self-efficacy amongst singers and musicians has similarly tended to revolve around professional performers (McPherson and McCormick 2006), music students (Ritchie and Williamon 2011), and semi-professional choristers (Ryan and Andrews 2009). The adult amateur singers who form the bulk of the performing population in the wider community (Pitts 2005) have so far been largely neglected. Earlier research by the author (Bonshor 2002) has indicated that, for adult amateur singers, confidence issues

2 750 are a widespread concern which can impair enjoyment and limit participation in choral activities. This study therefore examined the effects of the collaboration between choir and conductor, and between choir members, on individual and collective confidence levels. The research aimed to (1) explore the lived experience of choral singers, (2) identify some of the main influences on their perceptions of their voices and performance ability, and (3) highlight some of the factors affecting their confidence as singers. The ultimate aim was to provide a set of useful recommendations for conductors with an interest in confidence-building. Participants METHOD Participants (N=34) were drawn from a selection of adult amateur choral ensembles, including church choirs, choral societies, chamber choirs, and amateur operatic societies. Each interviewee was involved in a variety of choral singing types, and had experience working with several different conductors. Materials The focus groups were provided with a series of open questions for group discussion. Semi-structured interviews for the individual sessions developed some of the emergent themes from the group interviews. Background information forms provided additional descriptive and contextual data concerning the participants. Procedure Three preliminary focus group interviews, involving eighteen singers in total, were followed by sixteen individual interviews. The interviews each provided approximately two hours of recorded verbal data (over 40 hours in total). The transcriptions were analyzed using techniques based on interpretative phenomenological analysis (Smith et al. 2009). Post-interview member checks were carried out to confirm the accuracy of the researcher s interpretation. RESULTS The superordinate themes emerging from the data included the collaborative role of the other singers as an adjunct to the leadership of the conductor.

3 INTERNATIONAL SYMPOSIUM ON PERFORMANCE SCIENCE 751 Table 1. The choir as a team. Researcher s commentary The conductor does not criticize individuals. This enhances the sense of the choir as a team. Feelings of cohesion, solidarity, and support for each other, as team members. Exercising patience while others learn. I think the way we do it is that no-one is singled out, so I think that has a definite impact on us feeling like we re a team. 'Cause we all have to get there. And we all have to sing as a unit. It s just like No, we just need to keep going until we all get it right (S10.30). Table 2. Unofficial team leaders. Researcher s commentary Reliance on informal team leaders. This role may vary according to the repertoire. Just knowing that the team leader is there can boost confidence. Influence of team leaders felt by their absence as well as their presence. Identification of team leaders partly based on impact of their absence. Depending on reliable singers for entries and pitches. Knowing that the team leader is reliable boosts confidence. Self-doubt without a strong lead. It s very helpful to have a rock within the group that you can latch on to. Sometimes that rock changes, depending on the type of material it is, cause we re all individuals. But it s good to have that rock. It gives you confidence (FG3.1.16). If we don t have an anchor there, and it s up and down a bit, I get quite disheartened with that (FG3.8.23). In the male voice choir if there are key people missing, they tend to get a bit lost, as we do in the second tenors [laughs], if we ve got a few key people missing (S6.3). Well, standing next to someone who you know is going to pitch the note right and come in at the right time is good for your confidence, cause you can sort of go along on their coat tails! But someone who just doesn t come in I start to think Was I wrong? Can they only hear me? (S15.13).

4 752 Subordinate themes included positive feedback from other singers and support and encouragement from peers, role models, and informal mentoring. Many participants viewed the choir as a team, with team spirit and teamwork seen as important for the success of the choir and for collective confidence (see Table 1). As an extension of the teamwork theme, all three focus groups and several individual interviewees spontaneously introduced the subject of unofficial team leaders who gave confidence to the singers around them (see Table 2). Reciprocal trust between the singers and the conductor, and between the singers themselves, was seen as vital to the development of a supportive rehearsal environment. Positive feedback and constructive criticism from peers were particularly valued. Relationships with fellow singers were often seen in terms of mutual support and shared learning (see Table 3). Table 3. Trust and collaboration. Researcher s commentary Importance of trust and respect. Feedback from fellow singers. Honesty and good-humored banter. Learning from each other rather than solely from the conductor. I know his voice. I trust him. We like each other! And I nudge him and say You made a balls there! or something like that [laughs]. And he does to me as well, I may hasten to add. It s two-way traffic. That s what learning s about, isn t it? (S ). Table 4. The choir as a team. If we re somewhere like in the open air, it s really difficult to hear everybody unless we re really, really close together. [Indoors], it s a lot easier Even with people talking and other noises going on, you know, you can hear each other. And that gives you confidence as well (S2.5). The Students Concert, the annual one, was the most appalling one, because of where we stood, and the acoustics. We just couldn t hear each other, and everybody was really disappointed that we hadn t done what we meant to do (S5.4).

5 INTERNATIONAL SYMPOSIUM ON PERFORMANCE SCIENCE 753 Partly due to this collaborative approach, and the reliance on team leaders, acoustic conditions or physical positions which limited the ability to hear other singers were reported as having a negative impact on perceived self-efficacy (see Table 4). DISCUSSION The results of this research demonstrate the importance of collaboration between choral singers, both as a factor in the confidence levels of individual performers and in the development of collective self-efficacy. The conductor might capitalize upon this collaborative process by maximizing the strengths of the team in order to build choral confidence. Individual voice placement could be judiciously used by conductors to optimize the contribution of choral team leaders. By placing strong singers and readers next to less confident performers the identification of senior learners could be used to contribute to human compatible learning (Thurman and Welch 2000). It may also be advantageous to experiment with different choir formations in rehearsals in order to foster adaptability to different acoustics and positions (Durrant 2003). Earlier studies indicated that an optimum self-to-other ratio allows choral singers to hear their own voices (Ternstrom 1999), and that this can be facilitated by wider spacing between performers, combined with a mixed voice formation (Daugherty 1999). However, for the adult amateur singers in this study, formations that enabled them to hear other singers were paramount. It is worth noting that previous research on choir formation and position has largely prioritized assessments of choral blend rather than the subjective experience of the singers (Daugherty 1999, Ekholm 2000). The current study suggests a dual-pronged strategy for enhancing amateur choral confidence, combining a flexible approach to choir formation and placement with an understanding of the collaborative situated learning that is taking place in this context. Finally, data gathered during this research confirmed that confidence is a significant issue for some amateur choral singers. This is a pity, as the benefits of ensemble singing have been well-documented (Clift and Hancox 2010). It is therefore hoped that this on-going study will suggest additional strategies to enable less confident singers to participate to their full potential, and to reap the full rewards of choral activity. Acknowledgments With many thanks to my supervisor, Stephanie Pitts, and to my wife, Hazel.

6 754 Address for correspondence Michael Bonshor, Department of Music, University of Sheffield, Leavygreave Road, Sheffield S3 7RD, UK; References Bonshor M. J. (2002). Musical performance anxiety amongst adult amateur singers: The effects of age, experience and training. Unpublished masters thesis, The University of Sheffield. Clift S. and Hancox G. (2010). The significance of choral singing for sustaining psychological wellbeing: Findings from a survey of choristers in England, Australia and Germany. Music Performance Research, 3(1), pp Daugherty J. F. (1999). Spacing, formation, and choral sound: Preferences and perceptions of auditors and choristers. Journal of Research in Music Education, 47(3), pp Durrant C. (2003). Choral Conducting: Philosophy and Practice. New York: Routledge. Ekholm E. (2000) The effect of singing mode and seating arrangement on choral blend and overall choral sound. Journal of Research in Music Education, 48(2), pp Hamann D. L. and Sobaje M. (1983). Anxiety and the college musician: A study of performance conditions and subject variables. Psychology of Music, 11, pp Kenny D. T., Davis P., and Oates J. M. (2004). Music performance anxiety and occupational stress amongst opera chorus artists and their relationship with state and trait anxiety and perfectionism. Journal of Anxiety Disorders, 18(6), pp McPherson G. E. and McCormick J. (2006). Self-efficacy and music performance. Psychology of Music, 34(3), pp Pitts S. E. (2005) Valuing Musical Participation. London: Ashgate. Ritchie L. and Williamon A. (2011). Measuring distinct types of musical self-efficacy. Psychology of Music, 39(3), pp Ryan C. and Andrews N. (2009). An investigation into the choral singers experience of music performance anxiety. Journal of Research in Music Education, 57(2), pp Smith J. A., Flowers P., and Larkin M. (2009). Interpretative Phenomenological Analysis. London: Sage Publications Ltd. Ternstrom S. (1999). Preferred self-to-other ratios in choir singing. Journal of the Acoustical Society of America, 105(6), pp Thurman L. and Welch G. (2000). Bodymind and Voice: Foundations of Voice Education. Collegeville, Minnesota, USA: The VoiceCare Network. Wilson G. D. (2002). Psychology for performing artists (second edition) London: Whurr.