Justin Klotzle

504-343-290
Winter 2016
M100B, Prof. Chen
2/21/16

Addressing the Challenges of the Adolescent Voice

Justin Klotzle
University of California, Los Angeles

Justin Klotzle
504-343-290
Winter 2016
M100B, Prof. Chen
2/21/16

The young middle school choir is likely one of the most intimidating prospects a choral
music educator could face. The violent and seemingly unpredictable swings in vocal range, and
emotional stability that accompany the hormonal changes of adolescence are often enough to
discourage any director from electing to teach middle school choir. However, modern research
and experimentation shows that there are definitive ways to reduce the stress and unpredictability
of this volatile environment. Three strategies to be implemented in any middle school choir are:
the careful and appropriate selection of repertoire, the consistency and purposefulness of the
vocal pedagogy, and the essential division of gender between classes. With these three strategies
in mind it is possible to overcome any difficulty in teaching students whose voices are constantly
changing, and produce a choir capable of singing in a mature and advanced style.
The most fundamental aspect of any music educators choral program should be the vocal
pedagogy. From this personal philosophy stems every physical and tangible piece of evidence
the choirs will produce. Vocal pedagogy in middle schools should never shy away from the
troubling problem of the changing voice. This is often the case as a teacher may be
uncomfortable, or unlearned in this area of vocal pedagogy. Therefore, it is the music educators
utmost responsibility to understand vocal production for the boys changing voice
(Dilworth, 2012, p.24). From this point of understanding, it is critical to imbue the students with
a sense of self-awareness of this physical change that is happening inside of them. Much of a
middle school students uncomfortableness with their changing voice is due to the mystery and
misunderstanding of what is otherwise a scientific and completely natural process. Helping
students to understand their changing voices as a natural and normal process that every

Justin Klotzle
504-343-290
Winter 2016
M100B, Prof. Chen
2/21/16

adolescent experiences will cultivate an atmosphere of unabashed vulnerability rather than

fearful timidity.
Developing a systematic process of voice classification will help students to logically
understand and track the changes affecting their voices. Students should be encouraged to check
their own vocal ranges with voice range charts. When implemented in a middle school choir by
Frederick Swanson he found that instead of fearing their changing voices they boys instead were
intrigued with what is happening to their voices. They often look(ed) forward to each voice
check and stud(ied) the results on their voice graph with great interest (Swanson, 1984, p. 50).
Referring to any assessment of a students voice as an audition creates unwanted anxiety and
tension. Dilworth instead suggests that the term voice checked be used as a way of alleviating
the anxiety that is often associated with the term audition (Dilworth, 2012, p. 24). It is integral
that students are respected for who they are as individuals and what their individual voices can
do. When separating students into voice parts it is necessary to keep in mind that a musical label
is not as important as continually nurturing their self-esteem and helping them recognize their
overall growth, personally, and musically, during the year (Dilworth, 2012, p. 26).
Creating a classroom atmosphere of trust and vulnerability will allow young boys to
explore their changing voice without feeling self-conscious. The easiest way to facilitate this is
to separate the genders between classes. Swanson points out that many middle school already
separate boys from girls in physical education classes and in competitive sports. (Swanson,
1984, p. 49). Since there is already a great degree of gender segregation in classes where this
adolescent development affects performance, why then should choral classes not follow a similar
practice of separating the genders so as to more specifically address each group? The changing

Justin Klotzle
504-343-290
Winter 2016
M100B, Prof. Chen
2/21/16

voice is just as real an effect of adolescence as is physical strength and capability and should be
treated in the same regard.
While adolescent boys voices are radically changing throughout their years in middle
school, the female voice remains relatively stable. If both genders remain in the same classroom
setting, there will be a disconnect between the vocal capabilities of both genders. Young male
students, constantly struggling to adapt to their changing voices will naturally be less capable
vocalists than their female counterparts; who already comfortable with their tessitura will be
much better equipped to tackle technically difficult pieces of music. In addition to catering to
each groups technical limitations, separating the genders will create a more effective social
dynamic. Without the emotional tension present between boys and girls in middle school the
level of concentration will increase. It is also conducive to alleviating any feelings of selfconsciousness. If the entire class is full of adolescent boys whose voices are changing, there will
be no room for teasing. Phrases like you sing like a girl will disappear, voice cracks will be the
norm and not an oddity, and the productivity of rehearsals will exponentially increase.
Lastly, the selection of repertoire that is appropriate for the choir is essential. Dr. John
Cooksey holds that these three categories should be considered when selecting repertoire:
technical demands, emotional relatability, and educational value. It is imperative that a music
educator know the technical limitations of their group. This can be achieved through the voice
checks mentioned previously. An accurate measurement of the choirs general tessitura will help
in selecting repertoire that will make the choir sound mature. The tessitura is where theyre
most comfortable in singing and where the medial compression is most efficient in the scientific
way (Cooksey, 1998, p. 23). While this range is important to consider when selecting repertoire

Justin Klotzle
504-343-290
Winter 2016
M100B, Prof. Chen
2/21/16

it should be remembered that the goal is not to simply stay at the core but to find the core first
and go from there (Cooksey, 1998, p. 23). Thus, challenging repertoire that will expand the
students range and challenge them to push their limitations should be selected. Emotional
relatability and educational value should be considered in tandem when selecting repertoire for a
middle school choir. It is essential to remember that repertoire should not cater to the students
but should be music that stands on its own as having educational aesthetic value (Cooksey,
1998, p. 22). Selecting repertoire that is appropriate for the ensemble will create a productive and
conducive atmosphere for learning.

Justin Klotzle
504-343-290
Winter 2016
M100B, Prof. Chen
2/21/16

References
Cooksey, John; Cox, Nancy; Hook, Sally. (1998) Changing Voice and Middle School
Music. The Choral Journal, August 1998, vol. 39, no. 1, pp. 21-26
Dillworth, Rollo. (2012) Working with Male Adolescent Voices in the Choral Rehearsal.
The Choral Journal, March 2012, vol. 52, no. 9, pp 24-33
Swanson, Frederick. (1984) Changing Voices: Dont Leave Out the Boys. Music
Educators Journal, January 1984, vol. 70, no. 5, pp. 47-50