Perspectives of European boys about their voice change and school choral singing: developing the possible selves of adolescent male singers

Abstract

The singing experiences of boys are often interrupted by adolescence. These interruptions permeate boyhood across cultures and nations, within and outside school settings.They have been documented since the formalisation of singing instruction in school music programmes (Harrison & Welch, 2012). Music educators often seek to prevent the interruptions, or to at least provide opportunities for student reengagement with music at a later time. The interruptions can be traced to both intrinsic factors including the voice change and identity development, and extrinsic factors including societal and peer influence. Though pervasive, discontinuance of male singing during adolescence is not universal; indeed, many boys continue singing with great artistic satisfaction and personal enjoyment. Research suggests, however, that once their singing is interrupted during early adolescence, very few return to singing as older adolescents or young adults (Ashley, 2008).The examination of these phenomena has, in recent years, been furthered by a growing interest in narrative analysis. Researchers no longer ask if boys withdraw from vocal-choral 2 music programmes during adolescence. Instead, researchers are asking boys to explain their perceptions about why they choose to continue or discontinue school-based singing activity. The aggregate implications from many such studies could point toward curricular and pedagogical reforms necessary for vocal-choral music education. These implications could address current concerns about the relevance of school-based large performing ensembles (Allsup & Benedict, 2008;Williams, 2011;Allsup, 2012). The Adolescent Male Voice Change, Motivation, and Identity DevelopmentThe anatomical process of male adolescent voice change has been well documented since the late 1970s (see Cooksey, 2000). The implications for concurrent vocal pedagogy are less clear, and many teachers either avoid differentiating instruction or are unsure of how to best meet the vocal and related psychological needs of these boys (Ashley, 2013;Freer, 2009a; Harrison & Welch, 2012). Narrative studies about boys and singing suggest that boys understand neither the physiological process of voice change nor the phonational and musical effects of the changes (Ashley, 2008(Ashley, , 2009Freer, 2009b). Other studies note adolescent boys' preference for sociallyoriented, action-based singing environments and the negative effect on motivation when these activities are reduced (Freer, 2009a;Ashley, 2010;Lucas, 2011). A host of recent and related narrative studies collectively indicates that adolescent boys' motivation for continued singing activity results from their self-perceptions of musical autonomy and vocal skill within a network of peer social support (Harrison, 2010;Sweet, 2010;Elorriaga, 2011;Abrahams, 2012;Collins, 2012;Freer, 2012; Legg, 2013;Bennetts, 2013). These factors include gender, age, peer influence, stereotypes, and the presence of role models (Raider-Roth, Albert, Bircann-Barkey, Gidseg & Murray, 2008;Shepard, Nicp...

“We are often invisible”: A survey on safe space for LGBTQ students in secondary school choral programs

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Choral Configuration: An Overview of Research and Implications for the Choral Music Educator

“…Instead, acoustical placement is about finding voices that fit together and that make all singers the most comfortable when producing sound. Freer (2015) found that adolescent boys value and enjoy learning about the mechanics of the voice and of choral singing. If a choral music educator’s goal is to lay a foundation for independent musicianship, students must understand what they are doing and why.…”

A Description of Middle School Male Singers’ Voice Change and Voice Part Assignment

“…The voice change can negatively affect male singers’ perception of their voice quality, but correct information about the nature and progression of the voice change can reduce negative perceptions of voice quality (Freer, 2015; Kennedy, 2004) and reduce behaviors harmful to the voice (Kennedy, 2004). Owen (2017) found that singing exercises increased adolescent females’ singing self-efficacy and Killian (1997) concluded that singing through the voice change affects males’ memories and perceptions of the voice change.…”

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