Background

Scearace (2016) has proposed that the maintenance of vocal health is of paramount importance for all, with particular relevance for those engaged in vocal performance. Alderson & Alderson (2020) highlight the singer's experience of vibrations in multiple bodily regions. Chipman (2008) emphasised that, when employed correctly, the voice should not become hoarse or strained during use.

The initial phase in attaining natural vocalisation entails the establishment of a synchronised functioning of the muscular system (Dimon, 2011). Kiik-Salupere & Ross (2020) highlight the importance of maintaining physical health as a fundamental aspect of a singer's profession.

Aims

The objective of the study was to elucidate the understanding of singing students regarding the optimal utilisation of the voice during singing, as well as to ascertain their preferred vocal techniques. The research questions were as follows:

1. What were the most prevalent vocal issues among singing students?

2. How do singing students cope with vocal problems?

Method

The research method is qualitative, which permits the collection of information in the form of personal experiences and statements from the sample.

The sample for the pilot study (N=14) was constituted of music students enrolled in the Bachelor's programme in Integrated Art, Music and Multimedia at the Baltic Film, Media and Art School, Tallinn University.

Results

The voice was evidently experiencing a degree of discomfort as a consequence of a number of factors, including psychological stress, performing when unwell, singing with a fatigued voice, not warming up, and inappropriate vocal technique.

The implementation of breathing exercises, increased water consumption, and vocal exercises in a tranquil state of mind proved advantageous for vocal health.

Conclusions

The findings of the study indicate that young people engaged in vocal activities should be furnished with a more comprehensive understanding of the optimal utilisation of the voice.

Choral competitions have long been valued for their capacity to provide ensembles with public recognition and foster technical refinement and collective identity. Nevertheless, scholarly discourse suggests a duality in their influence. While Battersby (1994) highlights competitions as powerful motivators that elevate ensemble quality and institutional prestige, Stollak and Stollak (2015) caution that competitive frameworks in choral education may paradoxically undermine sustained musical engagement by shifting focus to external accolades over intrinsic artistic fulfillment. An emphasis on measurable outcomes may sideline deeper aesthetic education. As students mature, their focus often pivots from external rewards to valuing artistic expression itself (Stamer, 2004, 2006). Millard (2014) and Fauls (2008) further underscore that while competitions can serve as catalysts for musical growth and cultural exchange, an excessive focus on evaluation risks diminishing intrinsic motivation. Despite these contributions, research on choral competitions remains limited, especially outside the U.S. context.

Recognizing both the positive and challenging dimensions of choir competitions, this study seeks to explore how choir conductors perceive their role within competitive frameworks and how competitions influence their educational practices. It examines conductors’ approaches to competition participation, repertoire selection, and motivational strategies. Utilizing an anonymous online survey across multiple European countries, this quantitative study gathers insights from conductors working with singers aged 15 to 19. The survey addresses conductors’ views on competition-related benefits, motivation, and definitions of success, analyzed through descriptive and causal-nonexperimental methods. The results of preliminary findings, as broader research is planned as part of a doctoral study, suggest varied conductor perspectives, reflecting a range of educational and artistic values within choral pedagogy. These insights aim to inform a more nuanced understanding of how competitions shape the professional development of conductors and influence the artistic journey of their choirs, balancing performance goals with long-term motivation and community engagement.

As an affordable and accessible instrument, the ukulele offers valuable opportunities for creative expression in music education, making it an important tool in music education programs. Research also supports its integration into diverse educational settings (Doebler, 2021; Giebelhausen & Kruse, 2018; Kruse, 2013; Thibeault & Evoy, 2011).

This study, conducted at the Department of Music Education, Bursa Uludağ University, examines the integration of improvisation and movement-based approaches into ukulele teaching. It focuses on the development of vocal improvisation skills, creativity and emotional states in music education students using the ukulele as a teaching tool. A needs assessment conducted in the spring of 2024 led to the introduction of an elective ukulele course designed to integrate ukulele knowledge into the pedagogical practices of future music educators. Sixteen students who chose to take the elective ukulele course participated in a 10-week class that included structured vocal improvisation activities while learning to play the ukulele. By incorporating rhythmic, tonal and movement-based activities, the lessons encourage students to explore musical improvisation and develop their individual musical voices in a supportive, student-centered environment.

Data collection includes pre- and post-assessments to measure creative thinking (Torrance Test of Creative Thinking) and improvisation skills, assessed using a researcher-developed rubric. Emotional states are tracked using the Positive and Negative Affect Schedule (PANAS), while qualitative data are gathered through researcher journals and semi-structured interviews. Preliminary observations suggest an increase in improvisational ease and creativity, with students demonstrating increased confidence in generating unique musical ideas in spontaneous music-making.

The results of the study will highlight the potential of integrating movement-based and improvisational approaches into ukulele education. By enabling students to discover their unique musical voices and providing opportunities for spontaneous expression, the approach fosters a more inclusive and empowering music education experience that can provide a foundation for sustained emotional well-being.