On Becoming a Choir: Choir and Person-Centered Theory

Dr. Sarah J. Graham

Professor of Music at Lewis-Clark State College

Many people refer to choral singing as “therapy.” While most choirs are not designed for the purpose of music therapy, nor are they directed by licensed therapists or music therapists, they can resemble some aspects of therapeutic environments. This may be one reason why the choral ensemble and choral rehearsal could be deemed “therapeutic.” One counseling theory that mirrors much of what some successful choirs experience is Person-centered theory (PCT).

20^th Century psychotherapist, Carl Rogers (1902-1987), developed what is now known as PCT. PCT asserts that change or growth toward becoming a fully functioning person occurs when three things are present in the therapy relationship: unconditional positive regard, congruence (or authenticity), and accurate empathy (Rogers, 1961). Research shows that the number one predictor of change in therapy is the quality of the therapeutic alliance, that is, the quality of the relationship between the therapist and the client (Bayliss-Conway et al., 2021). Similar to therapy, one might assert that the number one predictor of success in a choral ensemble is the alliance between all involved, thinking of the conductor as the therapist and the choir members as the client. Rogers felt that he was more successful with clients when he acted naturally (authentically), rather than approaching therapy from the perspective of an expert (O’Neill, 2010). A parallel may be drawn between PCT and the way one approaches the choir. The elements of unconditional positive regard, congruence, and empathy may help to create a positive and transformative choral experience. 

A 2022 study on choral singing and wellbeing with members of a choir in England confirmed the connection between some of Rogers’ ideas and the choral rehearsal. The study mentioned that singing benefits speech-motor abnormalities, swallowing control, pain management, the immune system, and results in lowered blood pressure, lowered pulse, and increased oxygen saturation levels (Hendry et al., 2022). Even with all of these benefits, Hendry et al. (2022) note that much research also points to the positive impact group singing has on one’s quality of life. In fact, Judd and Pooley (2014) suggest that singing be recommended by practitioners as a positive coping mechanism for those who are struggling. 

PCT applied to the choral rehearsal could look different for everyone but might look like knowing the names of choir members, providing opportunities for the conductor and choir members to know one another, or allowing time to discuss interpretations and personal meanings of texts. Conductor vulnerability is one of the ways congruence is present in the choral rehearsal- showing up as one’s authentic self. Hendry et al. (2022) writes “the personability of the group leader and their lead in making the group a fun, welcoming, safe, but organized experience was also considered important and further facilitated feelings of competence in the members.” The conductor’s personality, musical ability, teaching style, and vision for the group have an impact on the overall choral experience (Judd & Pooley, 2014). Just as the therapist sets the tone for a counseling session, the conductor sets the tone for the choral experience.

Rogers’ ideas in his book, On Becoming a Person (Rogers, 1961), translate well into ideas for the choral program. In his book, he discussed various learnings he took away from his sessions using PCT. First, he found that it was not helpful to act like someone he is not (Roger, 1961). Rogers (1961) also noted that he was more effective when he could listen to himself with acceptance and be himself. These two learnings align with the condition of congruence. Rogers’ (1961) third learning asserts that he found enormous value in giving himself permission to understand another person, which aligns with accurate empathy. Rogers states that “I have found it enriching to open channels whereby others can communicate their feelings, their private perceptual worlds, to me” (Rogers, 1961). Rogers also found it “highly rewarding” when he could accept another person, which aligns with the condition of unconditional positive regard (Rogers, 1961).

Another learning that Rogers noted, which may be of particular interest to conductors is that “The more I am open to the realities in me and in the other person, the less do I find myself wishing to rush in to ‘fix things’” (Rogers, 1961). While not necessarily about ‘fixing things’ with people, conductors can often be focused on details as they are working on a piece of music. This learning can be valuable in understanding that the other person (or the choir members) are able to fix problems on their own when given the chance in an environment that reflects Rogers’ three conditions.

Learning to trust one’s experience is another learning that Rogers discusses (Rogers, 1961). This can be particularly difficult as a young conductor. Trusting one’s experience and training allows one to approach rehearsals without having to prove one’s worth or knowledge to the ensemble. In a similar vein, Rogers also learned that evaluation by others did not guide him, falling in line with trusting one’s experience (Rogers, 1961). He then goes on to add the following “Experience is, for me, the highest authority” (Rogers, 1961). Again, an example of trusting one’s experience.

Rogers (1961) asserts that in his experience, people have a basically positive direction in life, in other words, they want to be successful. In his final learning, Rogers notes that change is inevitable and not something to be feared, “Life, at its best, is a flowing, changing process in which nothing is fixed” (Rogers, 1961). A choral work is never complete, it lives and breathes its own life with each ensemble that performs it and with each new performance.  

We see the consistency of Rogers’ three conditions for change in the therapeutic relationship in the things that he has learned, which can all be applied to the choral organism. Conductors may read this and think, “I already do that.” Much of what we already do falls into the category of PCT. While most of us are not trained therapists, consciously applying Rogers’ tenets is a way to continue creating a positive, safe, and engaging rehearsal environment grounded in PCT.   

Dr. Sarah J. Graham is Professor of Music at Lewis-Clark State College in Lewiston, Idaho, where she teaches courses in music, humanities, ethics, and conducts the Concert Choir. She earned a Bachelor of Arts in Music Education from Whitworth University, a Master of Arts in Classroom Teaching and English from Pacific Lutheran University, and both a master’s and doctorate in music conducting from Michigan State University. She recently finished a Master of Science in Clinical Mental Health Counseling through Capella University in Minneapolis. Dr. Graham has been teaching for over thirty years, twenty-five of which have been in higher education. Much of her current work has to do with mental health and teaching pedagogy. She spent her recent sabbatical working on an internship in counseling and compiling a 15-week guide for incorporating “Mental Health Moments” into the classroom. At LC State, Graham conducts the Concert Choir, practices counseling serving in the Student Counseling Center, is a co-founder of the Black History Experience, and serves as a member of the President’s Campus and Community Commission.

References

Bayliss-Conway, C., Price, S., Murphy, D., & Joseph, S. (2021). Client-centred 

therapeutic relationship conditions and authenticity: A prospective study. British Journal of Guidance & Counselling, 49(5), 637-647. https://doi.org/10.1080/03069885.2020.1755952

Hendry, N., Lynam, D. S., & Lafarge, C. (2022). Singing for wellbeing: Formulating a 

model for community group singing interventions. Qualitative Health Research, 32(8-9), 1399-1414. https://doi.org/10.1177/10497323221104718

Judd, M., & Pooley, J. A. (2014). The psychological benefits of participating in group 

singing for members of the general public. Psychology of Music, 42(2), 269-283. https://doi.org/10.1177/0305735612471237

O’Neill, S. (2010). On becoming a music listener: Understanding relationships that 

foster growth. Canadian Music Educator 51(3), 26-28.

Rogers, C. R. (1961). On becoming a person. Mariner Books.

Rogers, C. R. (1957). The necessary and sufficient conditions of therapeutic personality

change. Journal of Consulting Psychology, 21, 95. https://doi.org/10.1037/h0045357