Tips for Beginners: Attention Getters

1993 ◽  
Vol 86 (4) ◽  
pp. 297
Author(s):  
Carla Moldavan
Keyword(s):  
Changing Voice

Before students can learn, their attention needs to be engaged (Gagne and Briggs 1988). Methods of gaining attention might include using colored chalk, moving closer to the class, changing the size of print on certain portions of a handout, and changing voice inflection. To this list I want to add personalizing mathematics and using humor.

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.

The Boy's Changing Voice

1935 ◽  
Vol 21 (6) ◽  
pp. 53-53
Author(s):  
Susan T. Canfield
Keyword(s):  
Changing Voice

THE CHANGING VOICE

1967 ◽  
pp. 16-26
Author(s):  
HERBERT WISEMAN
Keyword(s):  
Changing Voice

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.

Commentary on the Changing Voice

2004 ◽  
Vol 130 (9) ◽  
pp. 1118
Author(s):  
C. Richard Stasney
Keyword(s):  
Changing Voice

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.

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