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Research Report

Bryan E. Nichols, editor

Teach Expression First! Applying Research Results to the Rehearsal

by Rebecca L. Atkins and Craig R. Hurley

Whether in the context of rehearsals or performanc- introduce expressive elements, we created two varia-
es, one of the greatest joys for an artist and teacher is tions of a pre-recorded learning sequence. The first we
to hear the choir effectively embody the appropriate called an infused-expression learning sequence which
dynamics, phrasing, articulations, tone, and connec- incorporated expressive elements (i.e., dynamics, ar-
tion to the text, culminating in a genuine heartfelt ex- ticulations) alongside rhythm, pitch, and text. For ex-
pressive performance. Finding ways to lead students to ample, students listened to the text spoken in rhythm
consistently sing musically in both rehearsal and per- performed with expression, and then were prompted
formance requires a plethora of teaching strategies. to echo the text in rhythm with the expressive qualities
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Jaques-Dalcroze held the belief that students should phrase by phrase. Then singers listened and echoed the
concurrently learn rhythm, pitch, and expressive ele- text and rhythm sung on pitch with expression phrase
ments. Similarly, Robert Shaw incorporated expres- by phrase. Conversely, what we called the post-expres-
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sive elements early in the learning process by combin- sion sequence, choirs were introduced to rhythm, pitch,
ing each element of a song (rhythm, pitch, or text, with and text first, then prompted to add expression as the
expressivity) in various ways during rehearsals, aiming last step. Songs learned under the infused-expression
to create a precise and expressive performance. Both learning sequence were performed with significant-
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Jaques-Dalcroze and Shaw regarded all four elements ly more expression compared to those learned under
(rhythm, pitch, text, and expression) of a song as equal- the post-expression learning sequence whether singing
ly significant contributors to the overall performance. solo or in a group. 7
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Similarly, some choral method textbook authors suggest In a fourth study, a modification was made to the vo-
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expression should be learned early in the song-learning cal model. The vocal model was expressive throughout
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sequence. However, other authors advocate rhythm, the learning sequence, regardless of whether expressive
text, and pitches should be learned first, with the in- elements were being emphasized or not. Surprisingly,
troduction of expression at a later stage when learning in this study, there were no statistical difference between
a song. With this conflicting information, we decided the songs learned, whether an infused- or post-expres-
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to run a series of studies to test the timing of adding sion sequence, though the results approached signifi-
expressive elements in song acquisition. cance (p = .059). The mean percentage of expression
To explore the most effective timing on when to ratings were higher on songs learned through the in-

CHORAL JOURNAL March/April 2025 Volume 65 Number 7 41