The Adolescent Male Voice

1. The Adolescent Male Voice

2. Physiological Changes • Vocal folds become longer • Larynx increases in height • Hormonal growth

3. Physiological Changes • Are there other physiological changes that could effect the development of the male singers? • What physiological changes are similar or different with the changing female voice? • What are ways that we as teachers could approach these challenges?

4. Physical Changes Christopher and Dona White explain in “Commonsense for the Changing Male Voice” • The voice drops to a full register in the bass range very quickly, leaving no treble range. • The voice lowers gradually one or two pitches at a time while retaining the treble range. • The voice retains the treble range using a head register and is capable of singing several pitches in the bass range; however the voice is incapable of singing in the middle range between the bass and treble. • The voice retains the young treble quality and, at the same time, is capable of singing comfortably in a full register with baritone quality and range.

5. Physical Changes • There have been thoughts of having split choirs (males versus females). What are your thoughts on this? • What happens if there is low enrollment of males? High enrollment?

6. Psychological Changes • Role Models • How can female and male teachers differ on this? • Are there advantages/disadvantages? • Peer Pressure • How does this come into play in the classroom? • In Elementary School? • In Middle School? • In High School?

7. Psychological Changes • Changing times: • In the 1930s, males would work in factories and females would keep the house maintained. • Now the roles are blurred and there are no defined roles. • How could this idea be applied to music education? • Did the changing of roles (Rosie the Riveter) effect music education? • Are there any strong defined roles today?

8. Abeles and Custodero • Psychoanalytical Theory • Interest in childhood experience • Musical Activity functioning in service to the self • Cognitive Stage Theory • Children’s interactions with objects, rather than with people. • Sociocultural Theory • Natural optimism and enjoyment of learning. • Ecological Theory • Environmental contexts that influence human development.

9. Abeles and Custodero • Musical Strengths: • Belonging/Select Group • Identity • Formal operations • Introspection • World view • Developmental Issues: • Commitment • Genre • Innovation & Style • Technical Facility • Expressivity • Response Mechanisms: • Interpretation • Role Experimentation • Hypothesizing • Abstraction • Expertise • Moral Sense • Teaching Implications • Diverse Opportunities • Authenticity • Compositions/solos • Analysis and critique • Performance • Social Justice

10. Final Thoughts • Are there other changes that could lead to developmental issues with the adolescent male? • What are some ways that we can adjust our teaching styles? • We all have classes and discuss this topic. We won’t really know how to handle it until we get out there. What would you say to underclassmen at this point who may deal with this issue in the future?

11. References • Banks, A. Leslie (1958). Puberty. The British Medical Journal, 1(5064), 193‐196. • Custadero, Lori (2010). Musical Learning and Musical Development. Critical Issues in Music Education. 113-142. • Friar, Kendra Kay (1999). Changing Voices, Changing Times. Music Educators Journal, 88(3), 26‐29. • White, Christopher D, White Dona K. Commonsense Training for Changing Male Voices. Music Educators Journal, 87(6), 39‐43+53.