scholarly journals Vocal agility in the male adolescent changing voice

2005 ◽  
Author(s):  
◽  
Sally Hook
Keyword(s):  
Music Educators ◽  
Quality Factors ◽  
Voice Change ◽  
Tone Quality ◽  
Baroque Music ◽  
Choral Repertoire ◽  
Voice Students ◽  
Voice Range ◽  
Vocal Agility ◽  
Changing Voice

This study was designed to investigate agility in adolescent changing voice males. Participants (N = 58), 11.5 to 15.9 years old, were from six Midwestern schools. The boys had varied experience in school and/or community choirs. Participants each were assigned to one of five stages of vocal maturation according to Cooksey's range stages, and to one of the two Cooper cambiata/baritone categories. These assignments were based on the participant's lowest terminal range pitch, and other observed tone quality factors. Each participant was recorded while singing a stepwise song pattern at increasing tempi, with and without lyrics. Judges later listened to the randomized recordings, and assigned agility scores for each participant at each of the six tempi, with and without lyrics. Agility scores were statistically analyzed with a 3-way ANOVA. Results were that (a) mean agility scores were increasingly higher from Cooksey stage one through stage five, (b) scores were significantly higher with lyrics than without lyrics, (c) there were significant differences related to tempo, with slower tempi associated with higher scores, and (d) there was a significantly positive relationship between mean agility scores and participants' years of choral experience. A summary of the findings was that: Boys in progressively later stages of voice change were judged to be increasingly more agile (singing a stepwise melisma) than in earlier stages, on average. Differences between cambiata and baritone were statistically significant for Cooper's range categories, but not for Cooksey's five stages of voice change. Agility was more accurate when lyrics were employed, than when "ahhh" was used to sing the stepwise exercises. Agility decreased as tempo increased. Agility correlated positively with years of choral experience.Implications for music educators include: If very fast passages exist in solo or choral repertoire, boys in the earlier midvoice Cooksey voice range stages (or Cooper's cambiata category) may have more difficulty than boys in later stages (baritone) of voice change. Songs using lyrics (consonant and vowel combinations) may be easier for changing voice boys to sing accurately, as compared to melismatic songs or passages using a single vowel.. As the tempo increases, changing voice students may have more difficulty with vocal agility. Choral repertoire such as European Baroque music may be more accessible as changing voice boys' choral experience increases.

Emerging Considerations

2019 ◽  
pp. 161-192
Author(s):  
Bridget Sweet
Keyword(s):  
Classification Systems ◽  
Professional Musicians ◽  
Voice Change ◽  
Choral Repertoire ◽  
Personal Needs ◽  
Female Singers ◽  
Adolescent Voice ◽  
Choral Programs ◽  
Insight Into ◽  
Changing Voice

The chapter discusses emerging considerations of adolescent voice change beyond classification systems and provides new food for thought about working with the adolescent changing voice. A section of the chapter specifically addresses female singers, for while it is common to have more females than males in choral programs, enrollment numbers do not ensure that choral programs are meeting females’ musical, developmental, and personal needs. In addition, discussion of the documentary Riot Acts provides insight into voice change from the perspective of professional musicians who identify as transgender. The chapter ends with ideas for working with changing voices, especially with regard to approaching choral repertoire.

A Description of Vocal Maturation among Fifth- and Sixth-Grade Boys

1999 ◽  
Vol 47 (4) ◽  
pp. 357-369 ◽  
Author(s):  
Janice Killian
Keyword(s):  
Sixth Grade ◽  
Fifth Grade ◽  
School Age ◽  
Voice Change ◽  
Research Findings ◽  
Changing Voice

The present study was designed to explore the idea that boys' voices may be changing earlier than indicated in previous research. Singing and speaking voices of fifth-grade (h = 56) and sixth-grade (h = 43) boys were categorized and compared with the Cooksey changing voice stages. Data consisted of grade in school, age in years, highest and lowest sung pitches, overall singing range, speaking pitches, and voice stage categorization. Results indicated an earlier voice change than in previous research. Findings consistent with previous research included the fact that singing and speaking pitch lowered with each successive voice-change stage, the overall range narrowed in the predicted stages, and the speaking pitch remained 2-3 semitones above lowest sung pitch, regardless of voice stage.

Voice Change in Pop Culture

2019 ◽  
pp. 77-132
Author(s):  
Bridget Sweet
Keyword(s):  
Pop Culture ◽  
Music Educators ◽  
Television Series ◽  
Voice Change ◽  
Media Portrayals ◽  
Mainstream Media ◽  
Music Television ◽  
Adolescent Voice ◽  
Popular Television ◽  
The Way

The chapter discusses the way popular understanding and misunderstanding of voice change is largely perpetuated by mainstream media. Portrayals of voice change distributed via music, television, and movies have contributed to a simulacrum of adolescent voice change, a situated reality not based in fact but accepted in pop culture. The generally embraced perception of voice change is that it is a time of humiliation, anxiety, turmoil, and dread. Voice change is not always pleasant, but students and music educators perceive and approach the experience with such angst and trepidation well before it begins that is rarely given the opportunity to be something positive or exciting. The chapter examines and distills episodes of The Brady Bunch, The Wonder Years, and The Goldbergs, popular television series that spanned a period of more than 40 years, each with an episode focused on the adolescent changing voice.

Anatomy and Physiology

2019 ◽  
pp. 39-60
Author(s):  
Bridget Sweet
Keyword(s):  
Change Process ◽  
Special Section ◽  
Music Educators ◽  
Male Adolescent ◽  
Male Voice ◽  
Voice Change ◽  
Anatomy And Physiology ◽  
Adolescent Voice ◽  
The Impact ◽  
The Voice

The chapter describes how an understanding of the way the voice operates can empower both female and male adolescent singers as well as the teachers assisting them through the voice change process. It unpacks basic vocal anatomy and physiology, and then overlays physiological transformations that occur in the larynx during female and male voice change. A special section addresses the impact of hormones on the adolescent voice (especially for females) and promotes awareness of premenstrual vocal syndrome. The chapter encourages music educators to frequently discuss and reference vocal anatomy and physiology with adolescent singers in order to demystify vocal challenges and dispel myths and misunderstandings about how the voice and body function.

Singing voice range profile: New objective evaluation methods for voice change after thyroidectomy

2020 ◽  
Author(s):  
Jungirl Seok ◽  
Youn Mi Ryu ◽  
Seong Ae Jo ◽  
Chang Yoon Lee ◽  
Yuh‐Seog Jung ◽  
...  
Keyword(s):  
Objective Evaluation ◽  
Evaluation Methods ◽  
Singing Voice ◽  
Voice Change ◽  
Range Profile ◽  
Voice Range

Stylistic aspects reflected in the musical choral volume Cântece pentru copii/Songs for children, signed by Dan Voiculescu

2021 ◽  
Vol 13 (62) (SI) ◽  
pp. 85-92
Author(s):  
Elena-Laura GREAVU ◽  
Roxana PEPELEA
Keyword(s):  
Detailed Analysis ◽  
Formal Structure ◽  
Musical Composition ◽  
Fundamental Feature ◽  
Intrinsic Nature ◽  
The Arts ◽  
Baroque Music ◽  
Choral Repertoire ◽  
Romanian Folklore

In Dan Voiculescu's choral compositions, music and poetry are particularly intertwined, the syncretism of the arts being a fundamental feature in the composer's approach to this type of repertoire. The more detailed analysis, with examples of excerpts from works from the volume Songs for Children, are convincing proof of the compositional mastery that is necessary for the succesful creation of a deep connection between musical construction and text. Even the choice of certain elements related to the mode of musical composition (subordinated to the melodic, harmonic, polyphonic, rhythmic, metrical, dynamic, formal structure, etc.) demonstrates the intrinsic nature of the connection between music and the message of poetic lyrics. At the same time, the capitalization of the Romanian folklore resources, the incorporation in certain works of some underlying influence from baroque music and the preoccupation of introducing innovations related to the singing technique of the choral repertoire on equal voices represent some of the multiple stylistic features reflected in this volume.

Thinking Outside the Voice Box

2019 ◽  
Author(s):  
Bridget Sweet
Keyword(s):  
Music Education ◽  
Choral Music ◽  
Classification Systems ◽  
Female Voice ◽  
Male Adolescent ◽  
Choral Music Education ◽  
Voice Change ◽  
Adolescent Voice ◽  
The Voice ◽  
Changing Voice

Thinking Outside the Voice Box: Adolescent Voice Change in Music Education is different from other books on voice change in that it encourages new and holistic ways of thinking about the female and male adolescent changing voice. It gives choral music educators (or anyone interested in the changing voice) the opportunity to step away from typical considerations of voice change and explore the experience within the bigger picture of adolescence. Female and male adolescent voice change are addressed at length, but special efforts have been made to bring new attention to female voice change to boost considerations of females in choral music education. Holistic considerations encompass the importance of understanding physical development during adolescence, including the body, brain, and auditory system; vocal anatomy and physiology in general, as well as during male and female voice change; the impact of hormones on the adolescent voice, especially for female singers; ideas of resolve and perseverance that are essential to adolescent navigation of voice change; and exploration of portrayals of voice change that have contributed to a situated reality not based in fact, but accepted in pop culture. Choral educators are also given a larger scope of voice classification systems and other foundational ideas in choral music education through examination of some of the most eminent works in the profession. Emerging considerations of adolescent voice change beyond classification systems provide new food for thought about working with the adolescent changing voice.

Perceptions of the Voice-Change Process: Male Adult versus Adolescent Musicians and Nonmusicians

1997 ◽  
Vol 45 (4) ◽  
pp. 521-535 ◽  
Author(s):  
Janice N. Killian
Keyword(s):  
Teacher Preparation ◽  
Change Process ◽  
Positive Experience ◽  
Adolescent Boys ◽  
Voice Change ◽  
Male Adult ◽  
Voice Changes ◽  
Verbal Content ◽  
The Voice ◽  
Changing Voice

To examine the changing-voice process, 141 males were interviewed regarding their voice change. Subjects included changing-voice boys (both singers and nonsingers) and men (both singers and nonsingers during time of voice change). Audiotaped interviews were scripted and verbal content analyzed. Results included the following: Boys remembered significantly more about their voice changes than did men. Singers remembered more than nonsingers. Significantly more singers than nonsingers noticed their voice change themselves and indicated that it affected both their singing and speaking. Five of every six interviewees regarded his voice change as a positive experience, but eight times more negative than positive comments were made. Vocabulary was limited to few words and was similar across all groups. Boys used “crack” and men used “break” to describe the sensation; few used musical terminology. Results are discussed in terms of teacher preparation for those working with adolescent boys.

Movement, Gesture, and Singing: A Review of Literature

2020 ◽  
Vol 38 (3) ◽  
pp. 29-37
Author(s):  
Carlton E. Kilpatrick
Keyword(s):  
Music Educators ◽  
Music Instruction ◽  
Future Research ◽  
Perceived Benefits ◽  
Review Of Literature ◽  
Aesthetic Movement ◽  
Tone Quality ◽  
Music And Emotion ◽  
Emotional Concepts ◽  
Movement Activities

The purpose of this review of literature was to explore intersections between movement and gesture, and to examine their effects on singing. Music educators have long championed the integration of movement into music instruction. The effects of movement have been studied and correlations found between an individual singer’s intonation, internal pulse, and tone quality. The incorporation of movement activities into choral rehearsals has shown a significant level of perceived benefits by singers. The conducting gesture as a form of aesthetic movement has also been examined. One factor consistently reported is a relationship between the intentional use of movement in rehearsal and increased engagement. Additionally, movement has also been found to share a meaningful link with music and emotion. Movement and music both illustrate abstract emotional concepts and can aid in the formation of concrete relationships between them. Recommendations for music educators and suggestions for future research are provided.

Voice Therapy With Seniors: Attendance, Outcomes, and Associated Patient Characteristics

2019 ◽  
Vol 4 (5) ◽  
pp. 814-824 ◽  
Author(s):  
Bonnie E. Smith ◽  
Ruth Huntley Bahr ◽  
Hector N. Hernandez
Keyword(s):  
Outcome Data ◽  
Voice Therapy ◽  
Similar Data ◽  
Success Rates ◽  
Reflux Symptom Index ◽  
Voice Change ◽  
Related Factors ◽  
Symptom Index ◽  
Younger Patients ◽  
Unsuccessful Treatment

Purpose The purpose of this study was to determine the attendance and success rates for seniors in voice therapy, identify any contributing patient-related factors, and compare results to existing findings for younger patients. Method This retrospective study included information from the voice records of 50 seniors seen by the same speech-language pathologist in a private practice. Analysis of attendance and outcome data divided participants into 6 groups. Outcomes for Groups 1–3 (64% of patients) were considered successful (positive voice change), while outcomes for Groups 4–6 (36% of patients) were considered unsuccessful. These data were compared to similar data collected for younger adults in a previous study. Results The attendance and success rates for seniors in this study were higher than those previously reported for younger patients. Further consideration of patient factors revealed that reports of increased stress, Reflux Symptom Index scores > 13, and higher Voice Handicap Index functional subscale scores were significant in distinguishing between patients in the successful and unsuccessful treatment outcome groups. Conclusions The relatively high attendance and success rates among this sample of seniors suggest the desire to achieve voice improvement does not diminish with age, and chances for success in voice therapy among nonfrail seniors may be greater than for younger patients.

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