The Perceived Value and Frequency of Vocalization Techniques in Instrumental Ensemble Rehearsals

This study aimed to determine the perceived value and frequency of singing, chanting, and additional vocalization techniques in school instrumental ensembles. Vocalization tools are meant to enhance student musicians' concepts of music. Music directors, both band and orchestra, in a southeastern American state completed a questionnaire that asked: (1) the frequency of vocalization techniques used with instrumental students, (2) the frequency of modeling vocalization techniques with students, (3) the frequency of listening and discussion exercises with students, (4) the frequency of other rehearsal exercises, (5) the perceived importance of vocalization tools, (6) reasons for using singing exercises, (7) reasons for using rhythm-counting systems, (8) open responses for the goals of using singing exercises, and (9) open response for the goals of using rhythm-counting tools. The questionnaire included demographic questions to identify ensemble type (band or orchestra), educational level (elementary, middle, and high school), teaching experience (years), personal experience with choirs, singing comfort, and background. The study analyzed the primary teaching tools of directors' overall importance of vocalization techniques: singing with notes names, neutral syllables, solfege, and chanting rhythm. The 148 survey participants ranged in experience from 1 to 20 years of teaching. For singing techniques, the survey determined that the frequency of neutral syllable singing had the highest frequency of use and is used more than solfege or pitch-name singing. For rhythm techniques, the survey determined that chanting rhythm (rhythm-counting) had the highest frequency of use followed by sizzle/tizzle/bop. Chanting pitch names and multiple systems were infrequent and had the highest percentage of responses with at no rehearsals. The frequency of the modeling techniques (singing, chanting, playing) had at every rehearsal as the highest percentage of responses, and a low percentage (less than 10%) of directors used modeling at few or no rehearsals. For non-performance exercises, the survey determined the frequency of guided listening to a band or orchestra recordings and open dialogue/discussion about repertoire had at some rehearsals as the highest percentage of responses, whereas listening to vocal ensemble recordings had at few rehearsals as the highest percentage of responses. For other techniques, the survey found that the frequency of clapping rhythms had at most rehearsals as the highest percentage of responses, while breathing exercises/breathing gym and student-led sectionals had at some rehearsals as the highest percentage of responses, and silent rehearsals had at few rehearsals as the highest percentage of responses. The perceived value of pitch/melody and rhythm-counting vocalizations had very important as the highest percentage of responses. The most common response directors gave for using vocalization (pitch/melody and rhythm-counting) in rehearsal was the choice "I know from experience it works." Surveyed directors indicated 94.6% were comfortable singing for their students, 51% had experience singing in a choir, and 78% had experience teaching a choir. The majority of directors responded that vocalization was important for instrumentalists, but the frequency of vocalization techniques indicated a difference in actual practice.