Perspectives on Males and Singing

  title={Perspectives on Males and Singing},
  author={Scott David Harrison and Graham Frederick Welch and Adam J. Adler},
Over the centuries, there has been reluctance among boys and men to become involved in some forms of singing. Perspectives on Males and Singing tackles this conundrum head-on as the first academic volume to bring together leading thinkers and practitioners who share their insights on the involvement of males in singing. The authors share research that analyzes the axiomatic male disinclination to sing, and give strategies designed to engage males more successfully in performing vocal music… 

Perspectives of European boys about their voice change and school choral singing: developing the possible selves of adolescent male singers

This article reports analysis of interviews with 85 boys from England, Greece, Ireland and Spain about the voice change, school singing and choral music instruction. Consistent, former and

The Self-Perceptions of Young Men as Choral Singers in Singaporean Secondary Schools

The persistence of young men in choral singing activity has been widely studied in North America, with emerging parallel research in Europe (Freer, 2013; Harrison & Welch, 2012). There has been

The changing voices of male choristers: an enigma … to them

This paper reports a study designed to identify the understandings and perceptions of boys enrolled at the London Oratory School about the male adolescent voice change, singing and choral pedagogy.

The self-perceptions of young men as singers in Singaporean pre-university schools

The persistence of young men in choral singing activity has been widely studied in North America, with emerging parallel research in Europe (Freer, 2013; Harrison & Welch, 2012). There has been

Are the psychological benefits of choral singing unique to choirs? A comparison of six activity groups

This study compared the psychological well-being of choral singers to those who took part in five other activities: solo singers, band/orchestra members, solo musicians, team sport players, and solo

The Developing Female Chorister Voice: Case-Study Evidence of Musical Development.

Experiences in, Benefits, and Perceived Instrumentality of St. Paul University (SPU) Manila Glee Club Participation: An Integral Human Development Inquiry

The study describes the manner in which participation in SPU Manila's Glee Club is instrumental in the lives of its members. Through a focus group discussion (FGD) involving eight members, the

Male Participation in Secondary Choral Music

This qualitative phenomenological study investigated why ninth-grade boys choose to participate in high school choral music utilizing two focus groups. Focus Group 1 consisted of boys who continued

Choral possible selves: The interaction of Australian males’ past, present and future identities in shaping decisions about participation in choir

This paper reports on the findings related to the possible selves of males who participate in choir. It focuses on the perceptions of participants’ past, present and future identities and the way

Conductorless singing group: a particular kind of self-managed team?

Purpose Coordination of group activity is rarely more important than in a singing group that has no designated conductor. This paper aims to explore the group dynamics in an 11-man singing group



A Historical Comparison of Public Singing by American Men and Women

Period writings about singing activity from early eighteenth-century Boston and current data on singing in the United States provide material for a comparison of sex-related differences in public

Male voices : stories of boys learning through making music

This volume brings together leading thinkers and practitioners in the field - from the conductor of the award-winning, mould-breaking Birralee Blokes, Paul Holley who comments on the phenomenal success of his choir, through to Scott Harrison and Robert Smith who bring research into adolescent participation and Indigenous music-making respectively.

Music versus Sport: What's the Score?

Australian schools perpetuate systems that support hegemonic masculinity by which women and nontraditional males are dis-empowered and subordinated. This is often achieved through the rewarding of

Singing, gender and health: perspectives from boys singing in a church choir

A growing literature is now claiming that participation in the arts, and music in particular, is beneficial to health. Whilst some claims are made for music benefiting physiological health, the main

Gender and boys' singing in early childhood

  • C. Hall
  • Psychology
    British Journal of Music Education
  • 2005
This article derives from a research project investigating the singing behaviour of a group of Australian boys in their first year of school. The project showed that the genesis of the ‘missing male’

How High Should Boys Sing?: Gender, Authenticity and Credibility in the Young Male Voice

'A boy sings...a beautiful thing' (, but is it? What kinds of boy, singing what kinds of music and to whom? Martin Ashley presents a unique consideration of boys' singing that shows

Gendered Voice in the Cathedral Choir

The past decade has seen the initiation and growth in the number of cathedrals who have admitted girl choristers in addition to boys. Almost without exception, these initiatives have provoked

‘I’ll sing with my buddies’ — Fostering the possible selves of male choral singers

The stories of three high school boys about their experiences in school-based choral music provide the framework for a discussion of the role music educators can play in retaining male singers. The

Real men don’t sing

The problem of males' non-participation in certain musical activities has been the subject of research for many years. This paper revisits some of the issues in relation to this phenomenon.

Perspectives on Teaching Singing: Australian Vocal Pedagogues Sing Their Stories

This volume draws together leading researchers and practitioners in voice pedagogy in Australia and serves as a snapshot of work in the field, and encompasses voice science, studio pedagogical and the role of the performer-teacher.