Effect of Voice Change on Singing Pitch Accuracy in Young Male Singers

Background in music performance and pedagogy. During the voice-change process, singing for adolescent boys may become more difficult and unpredictable. Many boys cease singing when they reach puberty as they experience their voices as unreliable and a potential source of embarrassment. They often leave choirs and singing experiences they have previously enjoyed because they and their teachers believe they can no longer sing in tune, or that their voice range and quality no longer meet requirements of singing in pitch or blending with other voices. Teachers may also be fearful that the boys could do harm to their voices if they sing during this period of change. Background in music acoustics. There has been little previous scientific research that has assessed acoustically the nature and extent of pitching inaccuracy in adolescent males undergoing voice change. The work of Cooksey (1992, 2000) and Cooksey, Beckett & Wiseman (2000) developed the use of the descending speaking fundamental frequency (SFo) as an indicator of stage of voice change. Cooksey’s typology of the six stages of change (Unchanged, Midvoice I, II, IIA, Newvoice and Emerging Adult) provides the theoretical basis for interpreting the pitch findings in the current study. Aims. The aim of this study was to assess the effects of the male changing voice process on boys’ ability to pitch-match to a given note, and accuracy when singing perfect 4ths, 5ths and octaves. Main contribution. Through analysis of 79 recordings of the perfect 4th, perfect 5th and octave sung by adolescent boys (mean age 13y5m), this study investigated singing-pitch accuracy of boys at varying stages of voice change. This study confirmed Cooksey’s finding (2000) that a SFo of 196 Hz [g3] is a critical point in voice-change, and that boys undergoing voice-change rely on their SFo as a reference point for pitching in singing. It was found that the perfect 4th was the most accurately sung interval, followed by the perfect 5th. Boys in all stages of voice-change found the octave difficult possibly due to varying vocal range limitations experienced during the changing voice process. Implications. In confirming that a SFo of 196 Hz [g3] is the critical point of voice change for adolescent males, and identifying the difficulties in singing perfect 4th, 5ths and octaves for boys as they progress through change, this study allows teachers and students to develop strategies (eg. the use of the SFo as a guide to the appropriate key) to accommodate singingpitch difficulties in young male singers.