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Research Report

worsening in this demographic during the pandemic. Collaborative Ensemble Models:
Choral music educators stand in a unique position to A Learner-Centered Design
serve the wellness needs of female students. 11 The learner-centered design of collaborative ensem-
bles is not a new concept in educational theory, but one
that may specifically benefit female adolescents in choir
Benefits of Choral Participation because of the level of empowerment it adds to the re-
for Female Adolescents hearsal. Much of the learner-centered design approach
Choir participation has the potential to help change agrees with and is derived from constructivist models,
the course of declining mental health in female adoles- which would complement findings for women in edu-
cents through “encouraging and empowering women cational settings that show an emphasis on narrative
as holistic individuals, leaders, and musicians.” The thinking and community interaction. A peer-based,
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benefits of singing and the benefits of choral singing social-learning classroom encourages empowerment
overlap in the areas of self-esteem and self-confidence. 13 in all students regardless of gender through recogniz-
To further enhance these benefits, directors can inten- ing their lived experiences as valuable knowledge for
tionally incorporate a collaborative ensemble model. 14 problem solving within the music. When the singers
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A sense of belonging is one of the most powerful and use their own knowledge to solve musical problems,
beneficial byproducts of choral singing, but especially the authority shifts from the conductor to the ensemble
from a developmental standpoint for adolescents. The members, tapping into the developmentally appropri-
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teamwork of ensemble singing can elicit a sense of uni- ate modes of belonging, social affiliation, and relation-
ty among singers. Additionally, choral students may al learning experiences through the co-construction of
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be more comfortable and at peace with their identity, dialogue with peers. Through learner-centered col-
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enhancing the sense of community through expressing laboration, all singers become harnessed for learning
individuality in the music. Members of a choir are able experiences.
to connect and be vulnerable with each other and the
group, effectively breaking down the barriers to friend-
ship that are so sought after in adolescence. Adderley et A Closer Look at the
al. echo this in their research, identifying respect from Collaborative Model Ensemble
peers as an additional benefit of consistent music par- The equalization of power between the student
ticipation. 17 and the teacher in a collaborative model can empow-
Parker notes that one of the most important outcomes er individuals to express their own voice. This peer-
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of choir participation for teens is increased self-accep- based, social-learning classroom cultivates feelings of
tance and understanding. Teen girls, in particular, re- empowerment in students by recognizing their lived
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port actively exploring and developing their changing experiences as valuable knowledge for problem solving
voices rather than concentrating on their limitations. within the music. Bartolome noted that when control
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This is in opposition to factors like rumination on dis- of the artistic process was handed over to singers in a
ordered symptoms and body image dissatisfaction that girls’ choir, an “empowered ownership was evident in
are characteristic of the age group. Forming identity each rehearsal.” Mitchell also found that the relation-
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is a large part of adolescence, and choral participation al nature of rehearsals gave opportunities for personal
may be a proactive tool to empower female adolescents risk-taking, which actually increased self-efficacy. 29
through this developmental stage. Additionally, pride Throughout the course of the rehearsal season, the
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in achievements and accomplishments through music ensemble members and conductor must provide op-
making can help to combat low self-esteem and low portunities for the practice of open-discourse, valida-
self-confidence, which are two main factors cited in the tion of ideas, balancing of group dynamics, and listen-
literature as predictors of anxiety and depression for ing in order for this process to be successful. However,
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adolescent girls. 22 Bryson cautions that individuals must be “willing to
learn, experiment, and take on new responsibilities” in

30 CHORAL JOURNAL June/July 2025 Volume 65 Number 9