Research has increasingly examined the role of expressive movement in musical performance. Studies show that performers’ movements can enhance audience perceptions of performance quality (Tsay, 2013), improve technically proficient choral performance (Nápoles et al., 2021), and yield higher ratings when musicians engage in full-body movement (Juchniewicz, 2008). Despite this evidence, questions remain regarding the prevalence, effectiveness, and perceived appropriateness of specific expressive movements across musical styles, eras, and performance contexts.The purpose of this descriptive study is to examine how expressive movement shapes choral performance from the perspectives of singers, conductors, and audience members. Research questions include: (1) How frequently do choral singers incorporate expressive movement, and how comfortable are they in doing so? (2) How do participants perceive the impact of expressive movement on various aspects of performance quality? (3) Which specific facial and bodily movements are considered most or least effective? (4) How do perceptions of the effectiveness and appropriateness of expressive movements vary across musical eras, genres, and settings? (5) How do perceptions and practices differ across demographic factors?Data are being collected via a quantitative Qualtrics survey. Participants receive the operational definition of “expressive movement” as any movement performed by singers that is not required to produce sound, nor is strictly choreographed. Demographic questions include role, age, gender, region, musical training, and frequency of choral concert attendance. Likert-scale items address the frequency, comfort, and perceived impact of expressive movement on aspects of performance quality, including balance, phrasing, intonation, rhythm, tone quality, professionalism, audience engagement, and performer experience. Additional Likert scales assess the effects of specific expressive movements (eyebrow movements, eye contact, head tilts, hand/arm gestures, etc.), and the appropriateness or necessity of expressive movement across eras of the Western Canon (Medieval through Contemporary), different musical styles (folksongs, spirituals, jazz, etc.), and performance settings (symphonic, sacred, rehearsals, etc.).The pilot sample includes choral students (music majors and non-majors, undergraduate through doctoral) and faculty from a single research university. Upon IRB approval, the broader study will recruit a multi-institutional sample of students and faculty across the U.S. Descriptive statistics will summarize prevalence, comfort, and perceived impacts and appropriateness of expressive movement. Results will provide insight into how distinct expressive movements are employed and their perceived effects and suitability across styles and settings. These findings aim to offer choral educators and performers evidence-based guidance for expressive rehearsal strategies and performance practices to enhance sound, audience engagement, and overall performance.