In western society music performance is generally considered from the perspective of the elite performer, and the performance literature within the psychology of music has been representative of this preoccupation. But, in spite of much attention being directed to the ‘how’ of creating exceptional performances, little attention has been given to the ‘why’ of performance. Results of an investigation with members of a choir for homeless men indicated that group singing and performance, at the most amateur levels of musicality, yielded considerable emotional, social and cognitive benefits. The present article further explores the effects of group singing and performance with (a) a second choir formed for homeless and other marginalized individuals who had little or no music training or group singing experience, and (b) middle-class singers with low to high levels of music training and choral singing experience. Results indicate that the emotional effects of participation in group singing are similar regardless of training or socioeconomic status, but the interpersonal and cognitive components of the choral experience have different meanings for the marginalized and middle-class singers. Whereas the marginalized individuals appear to embrace all aspects of the group singing experience, the middle-class choristers are inhibited by prevalent social expectations of musicianship. The outcomes may be of relevance to music educators, therapists and choral conductors who wish to create a choral environment in which the benefits of singing and performance override elitist concerns.

choirs, cognitive stimulation, emotional, homeless, musical elitism, social