Beatboxing in choral music: Perspective case study exploring the use

of vocal percussion in the small vocal ensemble

 

 

QUALITATIVE FINDINGS

 

        The demographic analysis revealed 17 trained musicians (63%), completed a degree in voice, piano, composition, music education, or ethnomusicology.   Of the remaining 10 musicians (37%), 1 individual (3.7%) was in secondary school, 2 individuals (7.4%) were studying in a post secondary institution, and 7 individuals (25.9%) had professional jobs in areas other than music.

            Six beatboxers investigated in this study comprised of individuals with a music degree from a post secondary institution (n=2), a bracteolate in an area unrelated to music (n=1), enrolled in a general degree at post secondary institution (n=2), enrolled in a secondary school (n=1).  Training in beatboxing comprised of formal music lessons from an accredited beatboxer (n=1), learning first through experimentation by listening to recordings and music videos (n=4), learning first through YouTube instructional videos (n=1), learning from a friend (n=5), and using YouTube for advanced beatboxing techniques (n=4).   The beatboxers had other musical influences including drums (n=4), voice (n=4), piano (n=4), guitar (n=3), saxophone (n=1), and violin (n=1).  The beatboxers had various levels of expertise, with knowledge in beatboxing ranging between 19 months to 11 years (mean = 7.6).

         Six composers analyzed in this study trained in the area of piano (n=4), voice (n=2), and composition (n=3).  Composers wrote original or arranged compositions for adult choir (n=2), youth choir (n=4), or small vocal a cappella choir (n=4).  Outside the area of composing, the individuals hold positions of choral conductor (n=4), educator (n=3), or guest conductor/presenter (n=5).

            The number of people in the five small vocal ensembles ranged from 2 to 10 members, consisting of female only (n=2), male only (n=1), mixed-group (n=2).  Five ensembles all performed a cappella, with one group using both a cappella and instrumental pieces with guitar.  Two ensembles had a dedicated human beatboxer, one ensemble had two members that provided vocals as well as beatboxing techniques, and two ensembles used songs that required vocal percussion in the selection.  Three ensembles sang without a microphone, one ensemble used microphones, and one ensemble used a mixture of vocal selections with and without microphone.