It’s better together: The psychological benefits of singing in a choir
Stewart and Lonsdale, Department of Psychology, University of Bath
Previous research has suggested that singing in a choir might be beneficial for an individual’s psychological well-being. However, it is unclear whether this effect is unique to choral singing, and little is known about the factors that could be responsible for it. To address this, the present study compared choral singing to two other relevant leisure activities, solo singing and playing a team sport, using measures of self-reported well-being, entitativity, need fulfilment and motivation. Questionnaire data from 375 participants indicated that choral singers and team sport players reported significantly higher psychological well-being than solo singers. Choral singers also reported that they considered their choirs to be a more coherent or ‘meaningful’ social group than team sport players considered their teams. Together these findings might be interpreted to suggest that membership of a group may be a more important influence on the psychological well-being experienced by choral singers than singing. These findings may have practical implications for the use of choral singing as an intervention for improving psychological well-being.
More Evidence of the Psychological Benefits of Choral Singing
by Tom Jacobs, 9 Mar 2016
Individualism is a double-edged sword. We in the West deeply appreciate the opportunity to forge our own paths, but this freedom can result in smaller social support networks and poorer emotional health.
If only there was a way to periodically step out of our egocentric lives and join forces with a group of like-minded others, ideally to produce something beautiful.
Well, as it turns out, there is: choral singing.
We will follow the International Standards Organization (ISO) system for register designations. In that system, middle C (the first ledger line above the bass staff or the first ledger line below the treble staff) is C4. An octave higher than middle C is C5, and an octave lower than middle C is C3.
If an octave starts on C it will end on B. So an ascending scale from middle C contains the following pitch designations:
And a descending scale from middle C contains the following pitch designations:
Thanks to http://openmusictheory.com/pitches.html