Page 44 - CJMarch_April25

Research Report

fused-expression sequence compared to songs learned for students who are successful the first time.
through the post-expression sequence. Expressive vocal A choir exploring singing harmony but not reading
modeling can be especially powerful when performed notation yet could first practice identifying the four
from the very beginning of the song learning sequence. expressive elements they will perform in the round
Kinesthetic movement in an infused-expression se- “Ghost of Tom” by sound. First, students should be
quence also improved expressive performance in sixth able to perform expressive elements accurately in a
9
graders. warm-up, then be facilitated through this infused-ex-
pression sequence focused on expressive elements as
they learn the song (see Figure 1 on the next page—ex-
Applications to the pressive elements added).
Choral Rehearsal
Teaching using an infused-expression approach with Students will:
and without kinesthetic movements, could be utilized
when teaching any song. To ensure success from all stu- 1. Listen to the teacher sing an expressive performance
dents, teachers should complete at least two successful of the song.
expressive repetitions between each step as outlined
below. Furthermore, asking students to evaluate what 2. Listen again and then turn to their neighbor and
they do and hear keeps the challenge level high enough “Talk about things they noticed that made this song
interesting and expressive.”

3. Listen to expressive model again and create a move-
ment matching what they hear.
ACCESSIBLE and BEAUTIFUL 4. Listen again and perform the movements they cre-

repertoire for mixed voices to ated.
encourage connection and growth

Compiled and edited by 5. Answer questions (or turn and talk) about why they
Marques L. A. Garrett and Edryn J. Coleman chose the movement they created and how the move-
ment matched the sounds they heard.
• 30 pieces for mixed voices 6. Echo first line and movement performed by the
• Detailed pedagogical advice, including teacher (picking a movement from a student) with ex-
warm-up activities and rehearsal notes pression.
• Music from the 18th century to present day

7. Echo second phrase and movement with expression.

8. (Continue the rote process phrase by phrase focusing
Find out more
on expression.)

9. Perform the entire song with expressive elements us-
ing movements.

10. Perform the entire song with expressive elements
without the movements.

42 CHORAL JOURNAL March/April 2025 Volume 65 Number 7