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Why Boys Don't Sing - Masters Thesis Final 2015 Rev.
Why Boys Don't Sing - Masters Thesis Final 2015 Rev.
Why Boys Don't Sing - Masters Thesis Final 2015 Rev.
CHAPTER
1
THE
EXPERIENCES
OF
BOYS
WHO
SING
My
student
teaching
experience
at
Harbor
High
School
provided
me
with
the
opportunity
to
work
with
talented
students,
dedicated
teachers,
and
allowed
me
freedom
to
pursue
my
own
ideas
about
how
to
teach
choir.
I
was
fortunate
to
work
with
34
wonderful
boys
and
30
fabulous
girls
in
Meistersingers,
the
top
choir
at
the
high
school.
But
the
beginning
choir
only
had
four
boys
and
27
girls.
When
I
taught
choir
in
northern
California
I
had
a
similar
struggle
in
recruiting
boys.
I
had
one
boy
to
24
girls
in
my
beginning
choir,
and
only
three
boys
to
nine
girls
in
my
select
choir.
My
experience
is
hardly
unique.
Across
the
country
it
is
a
truism
that
boys
dont
sing
in
choir
(Koza,
1993).
Perhaps
I
can
shed
some
light
on
this
issue
by
sharing
my
experiences
as
a
boy
singer.
My
Journey:
An
Example
of
What
Happens
to
Boys
Who
Choose
to
Sing
Elementary
school
When
I
was
eight
years
old
I
joined
choir.
I
loved
learning
more
about
how
to
use
my
voice.
I
was
a
very
high
boy
soprano,
placed
in
the
"highs"
section
(versus
the
"lows")
in
the
50
voice
choir
at
Fairmount
Elementary
School
in
Mukilteo,
WA.
I
attribute
my
love
for
singing
to
those
early
years
in
choir,
but
I
also
must
share
other,
darker
emotions
and
experiences
as
well.
My
lot
cast
in
elementary
school
was
not
a
good
one.
I
was
not
a
popular
kid
and
I
did
not
spend
time
talking
about
baseball
or
football.
I
did
not
have
all
the
2
statistics
memorized
and
had
not
seen
the
game
the
previous
night
on
television.
I
was
a
singer
and
I
was
lonely.
There
seemed
to
be
an
unscalable
wall
between
me
and
the
other
boys
at
school.
The
girls
were
friendly
when
I
asked
to
play
four
square
or
jump
rope.
The
other
choir
members
enjoyed
singing
the
latest
tunes
from
the
radio.
And
the
boys
wanted
nothing
to
do
with
me
because
they
considered
me
"gay.
I
will
discuss
this
issue
in
chapter
two
and
what
is
meant
by
the
term
used
so
often
in
schools
now.
I
did,
however
play
in
little
league;
I
played
catch
with
my
father;
I
learned
how
to
play
tennis
beginning
at
age
four;
I
began
skiing
around
the
same
time.
Still,
I
was
shunned
from
the
boys
playground
activities
because
I
was
also
interested
in
music,
which
was
perceived
as
a
"sissy"
activity.
The
label
had
appeared
as
soon
as
my
interest
in
music
emerged.
If
I
sang
like
a
girl,
I
was
a
girl.
I
must
emphasize
that
this
is
the
experience
of
many
boys
in
elementary
school
not
only
here
in
America,
but
in
Australia
and
the
United
Kingdom,
according
to
Clare
Hall
(2007),
Martin
Ashley
(2006),
and
Scott
Harrison
(2003).
Many
[of
Harrison's]
subjects
indicated
parental
in`luence
as
a
factor
in
early
music
making,
before
contact
with
teachers
through
school
(Hall,
2007,
p.
273).
Such
was
the
case
with
me.
Throughout
elementary
school,
my
reputation
as
the
boy
who
sang
hung
around
me,
following
me
home
with
the
neighborhood
boys
and
even
following
me
to
a
new
school
for
the
`irst
semester
of
5th
grade.
I
had
been
given
so
much
grief
3
about
being
different
I
had
decided
to
leave
the
school
I
had
attended
with
the
same
20
children
for
two
years
to
see
if
I
could
start
fresh.
It
was
too
much
to
hope
for.
I
began
singing
at
Colson
Elementary
as
well,
in
a
much
more
accepting
atmosphere
for
boys,
in
the
100+
voice
choir.
Unfortunately,
the
neighborhood
children
who
had
already
been
contaminated
by
my
sissy
gay
reputation
at
Mount
Far
were
in
my
class.
I
kept
asking
myself,
What
is
wrong
with
me?
Then
came
my
`irst
big
break.
My
teacher,
Mrs.
OReilly,
was
much
more
attentive
to
what
was
going
on
in
the
classroom
and
my
demeanor
after
recess.
I
had
`inally
found
an
advocate
in
someone
with
power.
Things
did
not
improve
at
school,
but
Mrs.
OReilly
was
a
comforting
reminder
that
perhaps
something
was
not
wrong
with
me.
I
decided
to
leave
Colson
Elementary
and
return
to
Mount
Far
Elementary
after
Christmas
Break.
A
spot
had
become
available
and
I
wanted
to
be
back
in
a
place
that
was
familiar
and
challenging.
I
really
enjoyed
the
choir
atmosphere
better
there
too.
But
before
I
left
Colson
Elementary,
my
teacher
showed
that
she
understood
my
predicament
by
giving
me
a
small
wooden
plaque
that
she
had
hanging
beside
her
desk.
On
it
was
the
conclusion
to
Henry
David
Thoreaus
Walden,
If
a
man
does
not
keep
pace
with
his
companions,
perhaps
it
is
because
he
hears
a
different
drummer.
Let
him
step
to
the
music
which
he
hears,
however
measured
or
far
away.
It
was
a
very
comforting
gesture,
something
I
always
come
back
to
whenever
I
feel
like
I
am
being
marginalized
for
my
beliefs
or
activities.
4
Upon
arriving
back
at
Mount
Far
Elementary
I
immediately
found
kinship
with
another
new
boy,
Brad,
who
had
not
really
been
able
to
`it
in.
We
became
fast
friends,
spending
nearly
all
of
our
time
together
at
school
and
often
traveled
to
one
anothers
homes.
My
prayers
had
been
answered
for
friendship
without
judgment.
In
the
last
few
months
of
school,
though,
Brad
became
the
brunt
of
much
teasing
because
of
our
friendship.
Over
a
few
days
Brad
began
calling
me
names
and
said
some
very
hurtful
things,
joining
the
rank
of
bully
that
the
other
boys
had
lorded
over
me
for
so
many
years.
Anyone
who
breaks
the
team
to
support
an
accused
'poofter'
can
also
be
considered
suspect
(Harrison,
2003,
p.
53).
Brad
decided
to
rejoin
the
team.
I
was
completely
devastated.
This
time
I
had
Thoreau
to
fall
back
on,
but
it
did
not
seem
to
help.
My
continual
prayer
growing
up,
from
age
seven
to
age
eighteen
was
to
have
true
friendship
with
other
men,
devoid
of
judgment
for
my
singing.
Brad
was
not
strong
enough
to
answer
that
prayer
for
me.
as
a
sissy
boy
soprano
behind
me.
Of
course,
that
would
not
be
dif`icult
with
my
voice
beginning
to
change.
weight
training,
played
basketball
and
tennis
and
completely
abandoned
singing.
Then
I
saw
an
advertisement
to
audition
for
the
musical.
I
knew
I
could
sing,
though
5
my
range
had
been
severely
lowered
and
shrunk
in
size,
and
I
had
always
wanted
to
act.
But,
I
did
not
want
the
stigma
that
came
with
drama
either.
`inding
a
group
of
people
where
I
felt
accepted,
but
the
expectations
were
then
placed
upon
me
to
act
in
ways
that
did
not
seem
genuine
to
me.
Again,
I
felt
alone,
but
I
at
least
had
some
acquaintances
at
school.
I
felt
adrift
with
talent
I
wanted
to
explore
with
no
safe
way
in
which
to
do
it.
There
was
no
one
to
guide
me
through
the
perils
of
being
a
thirteen-year-old
male
singer
in
a
place
that
was
hostile
toward
me.
from
junior
high
to
middle
schools
after
my
7th
grade
year)
and
was
able
to
perform
the
part
of
the
Tin
Man
in
The
Wizard
of
Oz.
I
began
to
feel
that
I
was
being
accepted
for
my
musical
talent,
but
now
music
and
drama
were
the
only
things
I
allowed
to
de`ine
me.
High
school
In
high
school,
music
was
still
a
large
part
of
my
life
as
I
continued
piano
lessons,
sang
in
two
choirs,
and
pursued
musical
theatre.
But,
I
was
also
interested
in
tennis
and
writing.
I
found
myself
in
advanced
placement
courses
and
strongly
entrenched
in
a
vigorous
French
program.
I
was
developing
the
talents
I
had,
but
was
still
`inding
my
character
and
personality
to
be
de`ined
by
the
box
that
others
6
had
built
around
me.
I
was
the
guy
who
liked
to
sing,
like
one
of
Harrisons
subjects
who
had
this
to
say:
Richard:
All
through
most
of
my
High
School
life
I
had
to
persevere
with
a
lot
of
nasty
comments
and
rumours
from
most
of
the
mainstream
students
and
for
a
while
I
was
alienated
purely
because
I
enjoyed
singing.
The
really
sad
stuff
happened
in
my
earlier
years
though,
Years
9
&
10.
I
couldn't
sit
through
a
lunch-hour
or
recess
without
people
screaming
things
at
me
and
throwing
pieces
of
food
at
me.
For
a
while
it
was
really
terrible
(2007,
p.
277).
I knew I was good. I was the `irst in my schools history to participate in the
All-State
and
All-Northwest
choirs
and
I
received
almost
every
solo.
I
was
proud
of
my
achievement,
but
by
then
thought
I
was
only
accepted
because
I
could
perform,
not
because
of
who
I
was
as
a
real
person.
My
pride,
sel`ishness,
and
self-hatred
had
reached
such
heights
that
I
contemplated
suicide.
While
it
is
dif`icult
to
determine
the
exact
causes
of
suicide,
there
is
an
argument
that
the
expectation
of
living
up
to
the
demands
of
hegemonic
[natural,
expected]
masculinity
is
one
of
the
reasons
(Harrison,
2003,
p.
58).
I
did
not
see
any
other
way
to
get
out
of
the
box
I
had
meticulously
maintained
around
me.
I
will
be
discussing
in
much
more
detail
hegemonic
masculinity
in
chapter
two,
including
its
de`inition
and
the
effect
this
form
of
masculinity
has
on
boys
who
sing.
7
Moving
On
What
does
all
this
have
to
do
with
boys
singing?
My
experiences
are
not
the
same
as
every
boy,
but
it
is
all
too
common
for
boys
to
have
to
brave
the
ridicule
that
comes
with
following
their
passion
for
singing.
I
want
to
change
the
mindset
America
has
that
singing
is
somehow
less
a
masculine
pursuit
than
football
and
other
sports.
I
needed
to
tell
my
story
in
order
to
show
the
harsh
realities
that
boys
face
who
sing
in
America.
Boys
should
not
be
embarrassed
of
being
part
of
such
a
life-enriching
activity.
A
few
of
the
particular
issues
that
face
boys
who
sing
in
choir
will
be
analyzed
in
chapter
two.
I
will
be
presenting
some
of
the
research
done
on
the
subject
of
boys
in
choir
and
also
discuss
some
of
the
possible
reasons
for
why
boys
dont
sing
in
choir.
Chapter
three
focuses
on
what
I
can
do
as
a
choir
teacher
to
apply
what
I
have
learned
from
this
research,
and
ways
in
which
I
can
encourage
more
boys
to
sing.
8
CHAPTER
2
ANALYZING
MASCULINITY
AND
ITS
EFFECT
ON
SOCIETY
Does
My
Experience
Matter?
Is
it
Common?
The
American
Music
Supervisors
Journal
documented
the
boy
problem,
as
a
lack
of
participation
by
boys
in
choir,
beginning
in
the
late
19th
century
(Koza,
1993).
It
is
not,
therefore,
solely
a
20th
or
21st
century
problem.
But
why
has
it
been
a
problem
for
so
long?
Does
Americas
dominant
de`inition
of
masculinity
affect
boys
who
sing
in
choir?
What
areas
of
support
ensure
that
boys
do
not
give
up?
Family
support?
Cultural
support?
What
about
peer
relationships?
I
will
discuss
these
questions
in
greater
detail
in
this
chapter
and
further
in
chapter
three.
Forms
of
Masculinity
masculinities
and
their
relation
to
one
another.
He
broke
masculinity
into
four
types:
hegemony,
subordination,
complicity,
and
marginalization.
I
will
use
Connells
understanding
to
de`ine
these
four
masculinities
in
order
to
provide
some
context
for
understanding
hegemonic
masculinity
and
the
inherent
de`iciencies
within
that
type
of
masculinity.
Hegemony
men,
in
this
example,
an
obvious
superiority
over
women
and
other
men.
The
hegemonic
male
is
aggressive
and
controlling.
He
exercises
strong
in`luence
over
9
society
and
shuns
anything
feminine
or
weak.
This
role
may
not
be
consciously
enacted
by
a
majority
of
men
in
America,
but
the
de`inition
has
been
institutionalized
to
be
synonymous
with
male.
This rigid de`inition of masculinity, and the ways in which society expects
boys
to
behave
in
very
speci`ic
ways,
such
as
telling
boys
to
act
like
men,
not
to
cry,
and
to
take
charge
of
their
lives
apart
from
their
families,
has
hindered
boys
abilities
to
express
emotion.
They
do
not
learn
how
to
deal
with
emotion
in
constructive
ways,
and
try
to
ignore
it
and
hope
it
goes
away.
Therefore,
the
lessons
of
hegemonic
masculinity
distance
boys
from
physical
weakness,
expressive
skills,
creativity,
and
cooperation
(Harrison,
2003,
p.
37).
Subordination
femininity
places
a
man
in
the
subordinate
category.
By
de`inition
they
are
seen
as
less
masculine
than
real
men
and
stigmatized.
This
form
of
masculinity
is
the
repository
of
whatever
is
symbolically
expelled
from
hegemonic
masculinity
(Connell,
1995,
p.
78).
Complicity
hegemonic
view.
Though
this
type
of
man
may
not
agree
with
the
hegemonic
view
of
masculinity,
they
recognize
that
it
is
the
normative
standard
for
masculinity.
Despite
the
fact
that
these
men
fail
to
live
up
to
the
normative
standards
of
10
hegemonic
masculinity,
they
are
nonetheless
bene`iciaries
of
the
patriarchal
and
oppressive
constructs
of
it.
My
friend
Brad
from
chapter
one
falls
under
this
type
of
masculinity
Marginalization
dominant
and
subordinated
classes
or
ethnic
groups
(Connell,
1995,
p.
81).
This
masculinity
only
has
in`luence
over
speci`ic
spheres
of
society.
This
type
of
masculinity
is
hegemonic,
but
on
a
smaller
scale,
subordinate
to
hegemonic
masculinity,
which
in
turn
refers
to
men
of
the
dominant
race
or
class,
the
white
race
and
rich
class,
in
America.
According
to
Connell,
despite
the
adherence
to
hegemonic
masculinity
in
minority
groups
in
America,
they
are
quali`ied
as
marginalized
because
they
will
always
be
subordinate
to
the
majority.
Is
masculinity
the
key?
I realize that I must focus on some common issues that face boys who sing in
choir
in
order
to
determine
why
many
choose
not
to
sing.
The
aperture
through
which
I
`ind
myself
gazing
is
masculinity.
Three
lenses
I
will
be
focusing
on
are
community
involvement,
the
value
society
places
on
choral
education,
and
the
prevalence
of
hegemonic
masculinity
found
in
Pollacks
(1998)
concept
of
the
Boy
Code.
The
three
lenses
all
come
back
to
issues
of
masculinity.
Masculinity
is
interwoven
with
the
issues
that
surround
the
many
reasons
boys
(dont)
sing.
11
Issues
of
Masculinity
It was a BBC article that caught my eye entitled, Why boys do not join the
choir.
The
simplistic
treatment
this
article
gave
to
the
subject
is
part
of
the
root
issue:
masculinity
surrounding
choral
singing.
When
young
people
listen
to
boys
singing,
they
hear
the
changed
voices
of
boy
bands
and
thats
what
they
think
boys
are
(BBC,
2008)
witnessed
Dr.
Martin
Ashley
(2006)
of
the
University
of
the
West
of
England.
Ashley
conducted
a
study
on
what
happens
when
cathedral
choristers
(boy
sopranos)
go
in
and
sing
to
the
children:
[the
audiences]
say
its
weird
and
unnatural
(BBC,
2008).
Boys
do
not
want
to
sound
like
girls.
I
believe
this
is
a
central
issue.
But,
what
happened
in
society
that
denigrates
a
boys
natural
singing
voice?
Dr. Ashley mentioned the affect of boy bands on society. These include N
Sync,
Backstreet
Boys,
New
Kids
on
the
Block,
and
many
others
throughout
the
1980s,
1990s,
and
through
the
turn
of
the
century.
Most
of
the
male
singers
in
popular
music
are
tenors
(the
high
male
voice),
they
are
not
sopranos
and
they
sound
quintessentially
male.
Boys
may
choose
not
to
sing
because
they
want
to
sing
like
a
mature
male,
and
so
choose
not
to
sing
until
their
voices
have
changed,
which
can
be
detrimental
to
developing
the
talent
apparent
in
so
many
young
boys.
By
not
using
their
voice
before
and
during
the
change
boys
are
less
likely
to
be
able
to
sing
and
match
pitch
after
the
change.
G.
F.
Welch
as
quoted
by
Hall
(1997,
2005,
p.
3)
says
the
lack
of
12
any
signi`icant
differences
in
pitch-matching
ability
between
boys
and
girls
at
the
beginning
of
school
suggests
that
the
decline
in
boys
song-singing
ability
is
more
likely
to
be
cultural
in
origin
than
biological.
The
consequence
of
boys
not
learning
to
sing
before
their
voices
change
is
disadvantageous
to
their
future
singing
ability.
Many
of
the
boy
band
members
sang
from
an
early
age
in
the
soprano
range,
just
like
the
cathedral
choristers
in
Ashleys
study,
which
may
explain
why
they
are
highly
skilled
and
professional
vocalists.
Unfortunately,
this
fact
does
not
appear
to
be
widely
known.
We are not educating boys about their voice and what it takes to develop
vocal
skill.
That
seems
to
be
one
of
the
causes
for
why
boys
dont
sing.
Because
of
social
stigma
against
boys
sounding
like
girls,
due
to
hegemonic
masculinity,
boys
stop
singing
and
therefore
cease
their
development
as
vocal
musicians.
Though
society
has
enforced
hegemonic
masculinity
in
the
way
we
treat
boys,
there
has
also
been
a
call
for
a
more
sensitive
and
emotionally
present
man
during
the
last
two
decades.
Can
these
two
expectations
of
how
men
should
act
be
reconciled?
Juxtaposing
masculinities
In
order
to
shed
some
light
on
the
aversion
boys
have
to
singing,
I
have
prepared
a
chart
(Figure
1)
that
juxtaposes
what
society
encourages
boys
to
be
(hegemonic
masculinity)
with
the
expectations
and
tenants
espoused
in
choir.
The
chart
provides
a
context
for
the
argument
that
hegemonic
masculinity
is
in
direct
opposition
to
the
experiences
and
skills
learned
in
choir.
13
Figure
1
Hegemonic
Masculinity
Choir Experience
Competitive
Cooperative
Individualist/Independent
Cooperative/Family
14
Men
are
oppressed
and
isolated
by
the
models
to
which
they
are
expected
to
conform.
Men
struggle
to
prove
themselves
to
be
men
and
the
penalties
for
failing
to
do
so
are
considerable.
They
are
teased,
isolated
and
forced
into
constant
competition
in
drinking,
sport,
womanizing
and
risk-taking
behavior
(Harrison,
2003,
p.
49).
If
a
boy
is
struggling
to
establish
his
manhood
but
has
a
proclivity
for
singing,
is
there
really
a
choice,
or
is
he
oppressed
and
pushed
into
the
mold
set
aside
for
him?
We
must
allow
boys
to
make
choices
that
engage
their
passions,
whether
those
passions
lead
him
to
sport,
music,
or
both.
Both
must
be
seen
as
masculine.
The
gender
straitjacketing
that
Pollack
describes
(1998,
p.
184)
is
also
something
that
must
be
discouraged.
According
to
the
old
Boy
Code,
we
expect
our
boys
to
be
little
men:
tough,
independent,
autonomous
creatures.
We
restrict
how
much
affection
they
show
one
another.
Society
teaches
us
that
boys-and
men-are
less
in
need
of
friends,
close
personal
bonds,
or
connections.
Furthermore,
society
often
views
open
displays
of
empathy
and
affection
from
boys
as
somehow
inappropriate.
Music
requires
exactly
what
hegemonic
masculinity
is
denying
our
young
boys,
as
described
in
Figure
1.
Choir
requires
empathy
in
order
to
communicate
the
emotions
of
the
text
to
the
audience.
Choral
singing
also
requires
a
wordless
understanding
of
the
individuals
around
each
singer
that
transcends
emotion
and
15
develops
a
greater
bond
within
the
choir.
Self-denial
is
an
integral
part
of
[gender
straitjacketing]:
as
certain
actions
are
unacceptable
for
males,
they
guard
themselves
from
experiencing
vulnerable
feelings
and
revealing
that
vulnerability
to
others
(Harrison,
2003,
p.
38).
The
very
elements
of
human
connection
and
communication
that
are
so
important
to
relationships
and
inherent
in
choral
singing
are
not
being
taught
to
our
boys
and
young
men
because
of
the
insidious
nature
of
hegemonic
masculinity.
Post-feminism
Post-feminism
may
be
an
appropriate
balance
to
hegemonic
masculinity.
Post-feminists
claim
that
the
feminists
(male
and
female)
lack
an
understanding
of
the
disproportionate
ways
in
which
males
suffer,
are
disempowered
and
are
at
risk
of
abuse
and
neglect
(Harrison,
2003,
p.
43).
Feminists
have
labeled
any
male-
af`irming
voice
as
misogynist
and
damaging
to
the
feminist
doctrines
established
over
the
last
thirty
years
(Harrison,
2003,
p.
43).
The
call
of
feminism
to
stop
the
oppression
of
women
in
society
is
noble,
but
it
must
not
deny
the
post-feminist
observation
that
there
are
men
who
are
oppressed
under
the
hegemonic
masculinity
of
America
as
well.
Post-feminists
af`irm
the
need
for
society
to
establish
true
equality
between
men
and
women,
to
encourage
broader
de`initions
of
feminine
and
masculine,
and
to
address
the
needs
of
men
who
are
disempowered
and
marginalized
(Harrison,
2003,
p.
44).
The
application
of
post-feminism
to
the
case
16
of
boys
singing
in
choir
seems
most
natural
because
of
the
stigma
that
`ilters
through
hegemonic
masculinity,
and
the
need
to
change
societal
labeling
of
certain
activities
as
feminine
or
masculine.
By
not
applying
post-feminist
concepts
to
the
problems
we
have
seen
in
choir,
boys
are
avoiding
anything
that
labels
them
feminine
or
calls
into
question
their
sexuality.
Boys
do
so
because
of
the
prevalence
of
the
current
de`inition
of
hegemonic
masculinity
(Harrison,
2003).
The
existence
of
male
gender
role
rigidity:
the
restriction
of
their
gender
role
development
and
expression,
[is]
brought
about
through
a
lack
of
ability
to
experience
femininity
as
much
as
females
experience
masculinity
(Harrison,
2003,
p.
37).
Another
issue
that
has
emerged
is
the
evidence
that
women
are
crossing
the
gender
boundary
in
order
to
assume
traditionally
masculine
roles.
A
feature
of
this
process
is
that,
while
females
are
pursuing
'masculine'
endeavors,
they
are
still
retaining
their
participation
in
traditional
'feminine'
activities.
This
gives
women
the
broader
base
rightly
demanded
in
feminist
thought,
while
marginalizing
male
participation
(Harrison,
2003,
p.
124).
Post-feminist
thought
encourages
men
to
participate
in
activities
that
have
been
labeled
feminine
in
the
20th
century,
for
example
music,
dance,
and
cooking.
Men
can
learn
from
post-feminist
thought
by
adopting
certain
feminine
pursuits
like
singing,
without
giving
up
their
masculinity.
Perhaps
a
less
stereotypical
de`inition
of
'masculine'
might
be
'pertaining
to
things
men
do.'
Using
this
de`inition,
one
may
appeal
directly
to
boys'
gender
17
identity
in
a
much
more
natural
way
(Demorest,
2000,
p.
2).
By
expanding
the
de`inition
of
masculinity
to
include
things
that
men
do,
singing
may
become
much
more
appealing
for
boys.
Communicating
the
expanded
de`inition
to
society,
on
the
other
hand,
could
be
complicated.
Societys
InRluence
parents
feel
about
choir?
Is
it
masculine
enough
for
them?
Do
their
family
and
ethnic
cultures
see
the
bene`it
of
choral
education?
So
often
I
see
boys
who
love
to
play
the
guitar
and
sing
along,
or
sing
in
the
choir
at
church,
but
refuse
to
sing
at
school.
What
is
the
different
perception
of
choir
at
school?
Is
there
a
type
of
singing
that
is
OK
for
boys
in
which
to
participate?
Harrison
(2003)
discovered
that
rock,
alternative,
pop,
and
country
musical
styles
are
dominated
by
men.
Therefore,
boys
should
be
lining
up
to
sing
in
choir.
Yet,
they
are
not.
Why
is
the
opportunity
to
learn
proper
vocal
production
shunned
by
boys
in
school
when
they
aspire
to
be
professional
musicians?
Are
boys
intimidated
by
the
way
the
girls
may
view
them
if
they
make
a
mistake
and
their
voice
cracks?
This
may
be
one
reason
for
the
lack
of
participation
by
boys
in
choral
programs
in
middle
school.
Perhaps
boys
choose
to
pursue
music
outside
of
school
to
avoid
the
stigma
and
possible
embarrassment
that
comes
with
singing
in
the
school
choir.
18
Boys tend to choose to participate in choir if there is a safe place for them to
discover
their
new
voice,
in
middle
school
and
early
high
school
in
particular.
If
there
is
an
all-male
choir
option
available
for
them
to
have
fun
with
other
boys,
and
learn
to
sing
apart
from
the
watchful
eye
of
girls,
they
are
much
more
likely
to
participate.
If
the
boys
trust
the
choral
teacher,
they
will
be
willing
to
try
just
about
anything
to
improve-if
the
girls
are
out
of
the
room
(Munson,
1998,
p.
34).
This
boost
in
con`idence
in
the
early
stages
of
vocal
change
can
propel
boys
into
choir
participation
in
high
school
and
beyond.
The
same
is
true
for
boys
in
an
all-boys
boarding
school.
With
the
absence
of
girls,
boys
are
much
more
willing
to
take
the
risks
necessary
to
discover
the
boundaries
of
their
voices
and
how
to
better
use
them.
In
America,
however,
very
few
schools
allow
time
in
the
schedule
for
an
all-
boy
choir.
This
will
be
discussed
further
in
chapter
three.
the
association
of
choir
with
femininity,
especially
in
the
younger
grades
when
boys
voices
have
not
changed.
The
experiences
I
shared
in
chapter
one
are
more
common
than
I
think
many
of
my
readers
want
to
admit.
The
consistent
bullying,
calling
into
question
the
masculinity
of
boys
who
sing,
with
remarks
like
sissy,
fag,
gay,
and
queer,
is
also
used
to
devalue
anyone
who
deviates
from
the
traditional
role.
It
is
only
incidentally
directed
at
homosexuals
it
is
more
common
against
the
heterosexual
male
(Harrison,
2003,
p.
52).
This
tactic
by
boys
who
are
steeped
in
19
the
hegemonic
mold
is
meant
to
not
only
pull
boys
who
have
deviated
from
the
path
back
to
the
normative
masculinity
accepted
and
enforced
by
society,
but
to
point
out
that
anything
feminine
is
not
meant
for
boys
to
pursue.
Harrison
continues,
Teachers
who
challenge
students
on
the
use
of
these
words
are
met
with
the
response
that
the
words
have
no
connection
to
homosexuality
but
are
used
to
brand
an
individual
as
odd,
non-traditional
or
girlish
(1995,
p.
56).
Our
current
concept
of
hegemonic
masculinity
con`ines
masculinity
to
too
narrow
a
view.
By
de`ining
masculinity
as
something
men
do,
the
door
opens
to
allow
men
to
pursue
more
activities.
and
behaviors
(Harrison,
2003,
p.
52).
As
boys
move
through
puberty
and
their
voice
changes,
the
stigma
of
singing
being
a
feminine
activity
does
not
go
away.
The
bullying
is
perpetuated
by
the
homophobic
and
anti-feminine
concepts
that
the
hegemonist
masculine
male
assumes.
Lehne
(1995,
p.
334)
is
aware
of
the
limited
way
in
which
men
see
whatever
seems
to
be
sissy
when
she
con`irms
that:
Homophobic
men
do
not
participate
in
sissy,
womanly,
homosexual
activities
or
interests.
Maintenance
of
the
male
sex
role
as
a
result
of
homophobia
is
as
limiting
for
men
as
female
sex
roles
are
for
women.
An
appreciation
of
many
aspects
of
life,
although
felt
by
most
men
in
different
times
of
their
lives,
cannot
be
genuinely
and
openly
enjoyed
by
men
who
must
defend
their
masculinity
through
compulsively
male-stereotyped
pursuits.
Fear
of
being
20
thought
to
be
a
homosexual
thus
keeps
some
men
from
pursuing
areas
of
interest,
or
occupations,
considered
more
appropriate
for
women
or
homosexuals.
Boys
are
afraid
that
if
they
break
out
of
the
expected
mold
of
masculinity
they
will
be
branded
feminine,
and
thus,
less
masculine,
stigmatizing
them
and
denying
them
a
positive
expression
of
their
gifts
through
participation
in
choir.
All
boys
are
affected
by
our
current
American
de`inition
of
hegemonic
masculinity.
Boys
with
changed
voices
rarely
return
to
sing
after
the
change
and
as
a
result,
the
gender
bias
remains
into
adulthood
(Harrison,
2003,
p.
165).
Once
boys
begin
to
pursue
hegemonic
masculinity,
they
do
not
see
singing
as
part
of
their
paradigm,
which
is
constructed
by
how
they
think
men
should
act.
participation
in
choir.
Competition
in
sports,
developing
the
body,
and
getting
the
girl
are
often
regarded
more
highly
than
developing
the
spirit
and
providing
healthy
competition
with
oneself
(hegemonic
masculinity
vs.
balanced
masculinity).
I
will
describe
my
concept
of
balanced
masculinity
in
chapter
three.
Still,
choir
is
not
devoid
of
teamwork.
In
fact,
choir
may
be
the
best
arena
for
learning
how
to
work
as
a
team.
Sports
teach
many
of
the
same
skills
boys
learn
in
choir.
However,
sports
can
also
enforce
hegemonic
masculinity.
21
As
much
as
they
offer
a
break
from
the
Boy
Code,
a
chance
for
openness,
expression,
and
intimacy,
sports
can
also
push
boys
back
to
loneliness,
shame,
and
vicious
competitionthe
goal
of
winning
at
any
cost,
a
quest
for
narcissistic
glory
at
the
expense
of
others.
They
cause
some
boys
[who
are
not
interested
or
skilled
in
sports]
to
feel
left
out,
unworthy,
ashamed
(Pollack,
1995,
p.
273).
Although
with
the
right
coach
and
watchful
parents,
sports
can
be
a
positive
place
for
boys.
There
has
to
be
perspective
and
balance
in
order
to
combat
hegemonic
masculinity
in
sports.
Yet,
sports
trump
the
arts
in
nearly
every
community
in
America.
The
bene`its
of
choral
singing
also
include
learning
to
work
as
a
team,
but
in
a
different
way
from
sports,
and
it
demands
self-discipline
and
respect
for
the
conductor
(Fairbank,
2007,
p.
2).
There
are
bene`its
to
both
sports
and
choral
participation,
but
are
parents
and
communities
aware
of
the
bene`its
and
willing
to
encourage
participation
in
both?
This
concept
will
be
discussed
further
in
chapter
three.
It
takes
a
lot
of
discipline
and
time
to
pursue
both
sports
and
music.
I
know
from
`irsthand
experience,
as
do
many
of
the
boys
who
have
participated
in
choir
with
me
and
under
my
tutelage.
over
music
participation,
my
mentor
teacher
for
my
student
teaching
experience
has
been
at
the
high
school
for
nearly
20
years.
However,
he
has
not
seen
any
22
improvements
to
the
facilities
for
the
arts
since
he
began
teaching
there.
The
drama
department
`inally
raised
money
over
the
last
few
years
to
replace
old
lighting
equipment,
purchase
wireless
microphones
for
the
musical
theatre
productions,
and
upgrade
the
sound
system
to
bene`it
drama
and
choir.
However,
also
during
that
time,
the
sports
`ields
were
completely
overhauled
more
than
once,
the
tennis
courts
were
resurfaced,
and
the
track
was
resurfaced.
In
fact,
not
only
were
the
arts
amenities
not
improved,
but
the
choir
was
downgraded
to
a
room
with
poor
acoustics
and
a
low
eight-foot
ceiling
which
is
too
small
for
the
premier
65-voice
choir.
The
stage
is
hardly
large
enough
to
hold
the
choir
and
far
smaller
than
ideal
to
provide
the
opportunity
for
a
representative
number
of
the
1700-member
student
body
to
participate
in
the
annual
musical.
Now, this is not a typical high school choir. It has been ranked highest in
performance
and
preparation
for
almost
all
of
my
mentors
20-year
career.
They
have
traveled
all
over
the
world,
performed
for
political
leaders,
and
acted
as
ambassadors,
internationally,
for
their
school
and
community.
I
believe
the
quality
is
one
thing
that
attracts
the
junior
and
senior
boys
to
join
choir.
The
prestige
and
the
ability
to
be
part
of
something
spectacular
is
very
alluring.
But
everybody
likes
shiny
new
facilities
and
boys
are
no
different.
Boys
also
want
to
work
with
the
best
facilities,
the
`inest
equipment,
and
a
respected
and
supported
program.
Without
support
from
the
community
in
the
arts
arena
and
with
the
overabundance
of
23
support
in
the
sports
arena,
boys
choose
to
belong
to
the
most
supported
activities:
sports.
But
what
is
that
doing
to
our
boys
in
America?
Boy
Culture
The boy culture, how boys interact with each other, is one of cruelty,
according
to
Kindlon
&
Thompson
in
Raising
Cain.
anything
a
boy
says
or
does
thats
different
can
and
will
be
used
against
him
(1999,
p.
72).
Painful
repercussions
come
with
being
a
boy.
As
evidenced
in
my
own
stories,
boys
can
be
cruel
to
each
other.
With
every
lesson
in
dominance,
fear,
and
betrayal,
a
boy
is
tutored
away
from
trust,
empathy,
and
relationship
(1999,
p.
73).
Boys
are
so
cruel
as
to
[urinate]
on
other
boys
belongings
or
into
their
shampoo
bottles
and
many
other
horrid
acts
of
cruelty
described
by
Kindlon
&
Thompson
(1999,
p.
73).
Boys face these dif`iculties daily. Even if a boy is in the popular crowd, the
boys
who
make
the
rules
about
what
is
okay,
he
is
not
immune
to
the
same
ridicule
if
he
steps
out
of
line.
Here
again,
like
my
friend
Brad
from
chapter
one,
the
culture
of
cruelty
imposes
a
code
of
silence
on
boys,
requiring
them
to
suffer
without
speaking
of
it
and
to
be
silent
witnesses
to
acts
of
cruelty
to
others
(Kindlong
&
Thompson,
1999,
p.
92).
This
is
the
result
of
hegemonic
masculinity.
It
is
very
dif`icult
to
step
out
of
the
mold.
Many
boys
are
kept
in
the
mold
by
their
fathers
who
grew
up
under
the
same
culture.
Many
fathers
fear
that
if
they
dont
follow
the
old
Boy
Code
by
acting
tough
around
their
sonsand
by
pushing
their
boys
as
early
as
24
possible
to
act
strong
and
independenttheir
sons
will
become
outcast
sissies
rather
then
real
boys
(Pollack,
1995,
p.
128).
As
evidenced
in
Kozas
(1993)
study
of
the
Music
Supervisors
Journal
articles
from
1914
to
1924,
the
culture
of
cruelty
is
not
a
new
thing
in
America
or
elsewhere.
But
there
must
be
a
way
to
counteract
it
because
hegemonic
masculinity
has
masked
and
obfuscated
what
masculinity
truly
is.
What strength is evident in boys who bully others because of their own
Masculinity,
on
the
other
hand,
in
its
truest
sense,
is
being
comfortable
and
secure
in
physically
being
a
man
and
boldly
following
ones
passions.
When
boys
relate
in
ways
that
are
considered
traditionally
feminine
when
theyre
tender
and
affectionate,
when
they
are
emotionally
expressive,
when
they
talk
sensitively
about
dif`icult
friendshipssociety
often
does
not
support
them
because
it
sees
them
as
violating
the
Boy
Code
of
masculine
toughness
and
independence
(Pollack,
1995,
p.
65).
25
Is
there
a
way
to
reclaim
masculinity
from
its
hegemonic
shell?
Until teachers, fathers, and other role models are willing to train boys to be
more
than
stereotypically
hegemonic
men
there
will
not
be
a
change.
The
constant
pressure
on
boys
to
be
tough,
combative,
unnaturally
competitive,
and
independent
is
denying
men
an
opportunity
to
express
themselves
in
healthy
ways
that
can
still
be
considered
masculine.
26
CHAPTER
3
WHAT
CAN
WE
DO
TO
MAKE
SINGING
SOMETHING
MEN
DO?
Let me point out again that the missing male problem is not a new issue, but
something
that
has
persisted
throughout
the
20th
and
21st
centuries.
Julia
Eklund
Koza
wrote
about
a
question
posed
to
a
presenter
at
the
1917
National
Convention
of
Music
Supervisors
in
Grand
Rapids,
Michigan:
[O]ne
supervisor
asked
Allen
how
the
boys
were
made
to
sing;
Allen
indicated
that
because
the
boys
were
encouraged
to
use
proper
vocal
technique
early
on,
they
like
to
sing
and
they
do.
(1992,
p.
20).
27
Boys
will
naturally
sing
if
they
are
taught
that
it
is
something
men
do.
But
we
must
be
diligent
as
music
educators
in
garnering
the
support
of
the
administration
and
other
teachers,
as
well
as
coaches,
parents,
and
the
larger
community,
working
with
them
to
create
a
school
community
that
encourages
choral
participation
for
boys.
Role
Models
It is imperative that boys have strong role models as they learn to sing. Too
often
boys
have
no
paradigm
for
knowing
what
they
should
sound
like.
To
overcome
this,
Mizener
(1993,
p.
241)[,
who
surveyed
78
American
students
from
grade
three
to
grade
six,]
advocated
the
use
of
role
models
in
singing
and
raising
the
awareness
of
men's
roles
in
social
singing
activities
to
contribute
to
more
positive
impressions
of
singing.
The
disparity
between
those
who
liked
singing
(64%)
and
those
who
were
willing
to
sing
in
a
choir
(33%)
is
noted
(Harrison,
2003,
p.
111).
Hall
(2007)
pointed
out
in
her
research
regarding
Year
1
boys
in
Australia,
that
when
they
were
able
to
see
a
boy
older
than
them
modeling
the
proper
singing
technique
and
sound,
they
were
much
more
engaged
in
the
process
of
learning
to
sing.
The
tradition
of
cathedral
choirs
in
England
provides
a
built
in
discipleship
system.
As
boys
voices
change,
they
move
to
lower
sections
in
the
choir:
alto,
tenor,
bass
respectively.
Thus,
they
provide
leadership
and
act
as
role
models
for
the
younger
choir
boys
entering.
28
The
traditional
avoidance
boys
with
changing
voices
have
to
singing
is
damaging
to
their
future
musical
participation,
as
evidenced
in
chapter
two.
Despite
the
nature
of
the
change,
the
young
male
is
still
capable
of
free,
natural
singing
throughout
puberty,
provided
he
receives
encouragement
(White
&
White,
2001,
p.
2).
This
encouragement
from
the
teacher
can
come
in
many
forms.
Boys
need
to
be
told
what
is
happening
with
their
voice,
and
what
they
can
expect
to
happen,
and
be
allowed
to
use
the
range
they
are
capable
of
using
pro`iciently,
no
matter
how
small
that
range
may
be.
Boys
also
need
to
see
what
they
have
to
look
forward
to
if
they
continue
singing.
Male
role
models
can
be
gathered
from
alumni,
current
high
school
students,
parents,
barbershop
quartets,
or
mens
glee
clubs.
The
emphasis
must
be
on
proper
vocal
production
and
making
boys
aware
that
men
do
sing.
It is also important for boys to have role models outside the choral classroom
as
well.
Being
a
good
role
model
during
the
middle
school
years
requires
that
choral
teachers
make
an
effort
to
form
connections
with
students
interests
outside
the
classroom
and
incorporate
those
interests
into
their
teaching.
Choir
teachers
can
get
involved
in
the
school
culture
by
volunteering
to
coach,
keep
score
for
games,
and
simply
be
present
in
front
of
as
many
students
as
possible.
As
football
has
the
highest
pro`ile
of
any
sport,
the
advantages
of
having
a
music
teacher
coach
rugby
union
[or
American
football]
were
appreciable
(Harrison,
2003,
p.
217).
Male
choir
teachers
who
can
de`ine
themselves
as
a
singer
and
something
that
is
currently
29
valued
in
the
hegemonic
masculinity
accepted
by
America
have
a
much
better
opportunity
to
recruit
boys
for
their
program
and
rede`ine
hegemonic
masculinity
in
society.
Phillips,
as
quoted
in
Harrison,
recommends
music
teachers
cultivate
good
relationships
with
athletic
coaches
to
help
bridge
the
gap
between
music
and
sport.
He
advocates
open
discussion
with
students
about
vocal
change
and
single-sex
classes
for
music
in
middle
schooling
years.
Phillips
advocates
a
physiological
approach
to
singing,
rather
than
a
song-based
approach
to
keep
boys
engaged
(1992
Harrison,
2003,
p.
211).
Teaching
the
physical
aspects
of
singing,
such
as
the
use
of
the
diaphragm,
breath
management,
and
vocal
support,
can
help
bridge
the
perceived
gap
between
choir
and
sport
because
they
require
the
use
of
targeted
exercises
to
develop
speci`ic
muscles
needed
to
perform
these
tasks.
Another aspect of social role modeling is found within the social hierarchy of
the
school
community
itself.
The
most
successful
high
school
choral
programs,
those
with
the
highest
participation
by
boys,
recruit
the
political
and
athletic
leaders
of
the
school.
Koza
(1993)
found
in
her
study
of
the
Music
Supervisors
Journal
from
1914
to
1924,
that
getting
role
models,
including
student
athletes
and
student
leaders,
into
the
choral
program
was
advocated
by
the
journal
at
that
time
as
well.
30
teaching
as
well.
Teachers
who
know
how
to
engage
students
in
music,
choose
appropriate
repertoire,
and
develop
an
understanding
of
music
in
their
students
are
much
more
likely
to
recruit
and
maintain
a
large
number
of
young
men.
Teachers'
subject
knowledge,
enthusiasm,
con`idence
and
practical
competence
matters
a
great
dealLack
of
opportunity
and
appropriate
teaching
are
emerging
as
more
signi`icant
factors
than
either
cultural
norms
or
even
the
'sing
like
a
girl'
factor
(Ashley,
2006,
p.
201).
Again,
boys
want
to
be
part
of
a
program
that
has
a
strong
leader
at
the
helm
who
knows
how
to
teach
and
can
guide
them
as
a
competent
role
model.
Parental
and
School
Support
Parents
Another
front
the
music
educator
must
engage
is
parental
involvement
and
institutional
support
for
the
music
program.
In
an
article
written
for
a
website
in
Victoria,
B.
C.,
Nicholas
Fairbank
(2007)
quotes
a
renowned
Canadian
tenor,
Benjamin
Butter`ield,
as
saying,
If
boys
are
to
choose
singing
it
starts
with
the
parents.
The
choir
has
to
be
something
they
need
for
their
kids.
We
have
to
persuade
parents
that
singing
is
an
important
part
of
the
whole
package
[growing
up
playing
sports
and
singing
in
choir].
Singing
in
a
choir
is
not
about
being
cool
but
about
31
achieving
something.
Like
in
a
good
sports
team,
building
a
choir
is
about
building
a
community
which
draws
members
in.
A
well-coached
choir,
just
like
a
well-coached
athletic
team,
is
encouraging,
holds
its
members
accountable
for
their
vocal
(physical)
preparation,
and
provides
a
safe
environment
to
risk
learning
new
things.
In
order
to
be
successful,
a
choral
music
teacher
must
convince
parents,
the
school
administration,
and
the
community
at
large
that
the
positive
outcomes
of
athletics
are
also
developed
in
choirs.
However,
music
educators
must
be
careful
not
to
suggest
an
either/or
philosophy
to
music
and
sports.
Students
would
be
well-served
to
do
both
to
become
well-rounded
individuals.
[Parents]
need
to
be
challenged
in
their
own
lifestyle
to
look
at
prejudices,
to
challenge
institutions
in
which
their
children
may
be
involvedto
reduce
assumptions
and
increase
inclusiveness
and
support
the
agents
of
change
(Harrison,
2003,
p.
203).
Parents
need
to
be
made
aware
of
the
many
bene`its
of
choral
participation
and
the
opportunities
their
sons
will
have
to
grow
and
learn.
This
information
can
be
communicated
in
many
different
ways,
but
a
newsletter
home
and
an
often-updated
website
are
two
communication
techniques
that
have
worked
well
for
me.
Getting
parents
involved
in
the
choir
program
can
have
a
signi`icant
effect
on
how
dedicated
students
are
in
the
pursuit
of
learning
music.
Parents
need
to
be
willing
to
show
their
sons
that
they
value
their
choral
participation
by
volunteering
32
for
the
Boosters
club,
attending
the
concerts,
providing
refreshments
for
the
concert
intermission,
chaperoning
the
tour,
or
simply
asking
questions
about
their
experiences.
Almost
all
candidates
reported
the
in`luence
of
a
close
family
member
or
music
teacher
as
having
fostered
their
interest
and
talent
(Harrison,
2003,
p.
177).
Boys
show
and
understand
love
through
action.
Showing
sons
that
you
care
through
action
can
be
the
most
powerful
way
of
approving
of
the
choices
boys
make
(Pollack,
1995,
p.
111).
School
and
community
School communities begin to change in the last couple of years of high school,
If boys have not previously participated in the arts, encouraging them to take
advantage
of
the
opportunities
present
in
high
school
is
another
challenge
that
must
be
overcome.
Although
boys
want
to
participate
in
the
musicals,
stage
productions,
and
choir,
they
are
often
ill
equipped
to
do
so.
So,
if
boys
show
any
interest
in
the
arts
late
in
high
school,
music
educators
must
get
them
involved
and
help
them
catch
up.
Teach
them
whatever
they
need
to
know
(Ashley,
2007).
Again,
boys
understand
love
through
action
(Pollack,
1995).
As
I
pointed
out
in
chapter
two,
33
boys
rarely
choose
to
become
singers
after
their
voices
have
changed
because
of
the
lack
of
support,
which
is
why
such
encouragement
from
the
wider
community
is
important
when
boys
show
interest
later
in
high
school.
Expanding
the
DeRinition
of
Masculinity
It
is
useful
to
communicate
the
bene`its
of
choir
to
a
society
that
sees
hegemonic
masculinity
as
normal.
The
current
expectation
of
men
to
prove
their
masculinity
through
competition,
drinking,
and
womanizing
can
have
too
high
a
cost
to
society.
Men
are
forced
into
isolation,
a
narrow
range
of
acceptable
emotions,
and
risky
behavior
in
order
to
`it
the
mold
of
hegemonic
masculinity
(Harrison,
2003,
p.
49).
This
masculine
identity
has
been
identi`ied
by
feminists
as
patriarchy,
or
the
power
men
hold
over
women.
Arguably,
the
concept
of
patriarchy
could
be
applied
to
men
holding
power
over
other
men,
as
Connell
(1995)
pointed
out.
The
societal
reaction
to
such
patriarchy
generated
support
for
the
development
of
post-
feminism,
the
concept
that
men
should
be
encouraged
to
cross
the
gender
barrier
and
be
allowed
to
participate
in
activities
that
have
historically
been
perceived
as
feminine.
Post-feminist thought can help music educators combat the concept that
singing
high
equates
a
young
boy
with
being
a
sissy
or
girlish,
one
of
our
most
dif`icult
tasks
as
music
educators.
As
Ashley
(2006)
points
out
in
his
article,
You
sing
like
a
girl?
An
exploration
of
boyness
through
the
treble
voice,
34
All
boys
aged
between
roughly
8
and
14
sing
with
a
high
voice.
If
questions
of
sexuality
and
gender
identity
associated
with
the
voice
result
in
boys
not
singing
during
this
period,
then
males
are
excluded
from
the
opportunity
of
developing
a
life-long
and
life-enriching
interest
in
singing
(p.
199).
The
pressure
to
become
a
hegemonic
male
before
they
have
grown
up
and
before
their
voice
changes
is
another
barrier
to
boys
participating
in
choir
with
their
natural
voice.
This
is
a
fundamental
truth
that
all
choir
teachers
must
grasp
and
understand
in
order
to
relate
to
and
assuage
the
fears
of
boys
who
are
hesitant
to
sing.
Then
they
must
convince
parents
of
the
same
and
the
incorrect
nature
of
this
stereotype.
Using
Jane
Roland
Martins
concepts
of
encouraging
the
3Cs
of
care,
concern,
and
connection
(1994,
p.
5),
it
is
important
to
convey
that
music
is
the
ideal
place
for
these
enriching
traits
to
be
taught.
Music
is
a
way
to
foster
connections
between
diverse
cultures.
Many
marginalized
groups
are
able
to
communicate
what
they
are
experiencing
through
choral
publication
and
performance.
The
study
of
history,
culture,
values,
and
self-con`idence
are
all
part
of
choir,
which
supports
Martins
3Cs.
Again, one of the most in`luential ways to get boys singing at an early age is to
provide
them
with
a
credible,
older
role
model.
Halls
study
of
her
Year
1
(roughly
age
six
or
seven)
boys
in
her
Australian
classroom
indicates
that
providing
students
with
a
role
model
makes
a
difference
in
how
boys
engage
in
music.
A
boy
who
is
just
a
few
years
older,
who
is
competent
and
comfortable
with
his
treble
singing
voice,
35
can
provide
the
peer
modeling
[that]
achieved
increased
levels
of
vocal
participation
while
contributing
to
the
boys
learning
on
many
levelsBoys
were
interested
in
learning
about
the
joy
and
usefulness
of
singingand
how
to
sing
well
(Hall,
2005,
p.
12).
But
with
only
a
handful
of
boy
choirs
in
the
United
States,
it
can
be
dif`icult
to
`ind
a
proper
role
model
for
the
typical
music
teacher.
However,
good
recording
or
competent
role
models
close
in
age
to
the
students,
if
they
can
be
found,
provide
examples
of
how
the
young
male
voice
is
supposed
to
sound.
Students
not
only
appreciated
a
singing
role
model,
but
a
teacher
who
acted
more
like
a
parent
than
an
educator.
According
to
Stollak
and
Stollak
(1996),
participants
appreciated
choirs
in
which
the
family
element
was
employed
more
than
those
which
had
a
team
element
(Harrison,
2003,
p.
116).
The
concept
of
family
and
belonging
is
important
to
the
draw
and
importance
of
choir.
Providing
a
safe
space
with
ample
opportunity
for
students
to
share
who
they
are
and
how
they
are
feeling
is
essential
to
a
choir.
By
developing
an
atmosphere
of
family,
a
feeling
of
singing
with
brothers
and
sisters
because
of
what
choir
members
share,
students
were
more
likely
to
appreciate
their
choral
experience.
The
choir
director
then
becomes
a
type
of
surrogate
parent.
What
we
can
learn
from
this
as
choir
directors
is
the
importance
of
nurturing
our
students
and
being
willing
to
listen
to
the
suggestions
of
choir
members,
[and
to]
exert
`irm
control
and
communicate
clearly
in
a
non-manipulative
way.
These
principles
correlate
with
`indings
attributed
to
positive
and
effective
parenting
(Harrison,
2003,
p.
116).
36
Conclusion
What we are trying to do in the long term is to expand the current narrow
37
gender-just
society
where
men
and
women
can
engage
freely
and
productively
in
activities
of
their
choice
(Harrison,
2003,
p.
228).
By
encouraging
boys
to
participate
in
music
we
can
help
change
the
de`inition
of
hegemonic
masculinity,
what
is
seen
as
dominant
and
normal,
and
expand
what
is
acceptable
for
boys
to
do,
helping
them
to
cross
the
gender
boundary.
despite
the
labels
of
masculine
or
feminine.
Encouraging
boys
to
cross
the
gender
boundary,
as
some
have
done,
by
joining
the
nursing
profession,
womens
fashion,
hair
styling,
and
interior
design,
will
expand
the
boundaries
of
what
is
considered
masculine.
By
applying
the
concept
that
masculine
simply
means
what
men
do,
boys
will
attain
the
same
freedom
to
choose
their
path
as
women
have
garnered
through
the
feminist
movement.
Through
the
concepts
of
post-feminism
men
will
once
again
be
able
to
pursue
music
and
other
professions
that
have
been
labeled
feminine
by
society.
The
goal
of
a
gender-just
society
in
the
context
of
choral
education
is
attainable
with
the
right
focus
on
expanding
the
de`inition
of
masculinity,
providing
support
for
arts
education,
and
encouraging
parental
and
community
involvement
in
education.