"Choral directors and voice teachers who work with singers whose voices are changing encounter many challenges and learn quickly that the only thing on which they can count with any confidence is change!"¹

It is well said that the adolescent years are among the most trying, if for no other reasons than the physical and emotional changes that occur within the child. Boys in particular undergo quite a drastic physical upheaval, not the least of which occurs in the evolution of the voice. It is rarely a smooth, easy transition, and the child often finds himself or herself at developmental odds with other classmates. The options for coping with the emotional "baggage" incurred by the invariable crack in the voice are typically: "a) he feels a little ashamed that he cannot keep pace with his fellows; b) he adopts a defensive air of sophistication--with discernible fuzz on his upper lip, and voice 'broken,' he is just about grown up; obviously, such feminine pursuits as singing are for the weaker sex; or c) he is sufficiently imbued with the urge for further experiences in music to seek them out in instrumental work, or in a listening class, always providing such outlets are available." This necessitates careful choice among parents and teachers both of proper outlets ² and developmental coaching ³ to insure that students not become "musical casualties" in this delicate transition period.

Changes besides "breaking" or "cracking" are not the first indicators. Prior to difficulties in a students range, such anomalies as huskiness of voice, change in vocal power among lower pitches, a "general change in quality of the singing voice towards greater richness or heaviness," and difficulty with upper notes.⁴ In fact, Mayer and Sacher contend that breaking (or other sudden change) only occurs due to harmful practice, usually keeping a voice on a part it can no longer perform (7).

Practically every voice undergoes some type of change, typically beginning around ages 13 to 14 (or in extreme cases from 12 to 18), and lasting around 2-3 years.⁵ John Cooksey has determined that "throughout the period, from early, middle, climax, tapering, to postmutational stage, range parameters are generally consistent, but highest terminal pitch vary more than [lowest ones]."

History indicates that there has never been a real agreement on what to do with boys as the voice changed. "As early as 1885, Emil Behnke and Lennox Browne researched the attitudes of singing teachers and students in teacher training colleges. Their survey indicated that teachers and students believed that 'the bulk of evidence most strikingly proves the injurious and even ruinous consequences arising from the exercise of the voice by singing during the period of change.'" Not everyone held this view, insisting that only individual choirmasters had all the facts to make such determinations of his singers.⁶ The fault in the "no-singing" policy did as much damage to a boy's future interest in singing as improper teaching, so most "sing-through" proponents emphasized the importance of light singing.⁷ "Many music masters... [have proven] that boys can sing with a beautiful tone quality, and without any harm to the vocal organs."⁸ In fact, Irvin Cooper went so far as to blame the teachers themselves for any difficulty in the singing of "junior high boys."⁹

Care must be taken by those who elect to teach adolescent boys that they not only be handled carefully, but that they be kept engaged in their singing. Range, fluidity and speed of note articulation must all be engaging factors for the singer; he must not feel defeated or bored by the part his voice insists he sing.¹⁰ Additionally, the boy must not be given the impression that because of his physiological situation, however drastic it may affect his voice, he cannot sing:¹¹ "In most cases, the inability to match pitch is a result of a lack of understanding about the singing voice."¹² Cooper insists that there is no such thing as a monotone, regardless of vocal facility. If a boy can speak with inflection, he can sing.¹³

The teacher also needs to "watch his language." Use of terms like "open your mouth" inspires incorrect muscular reactions; it is better to tell him to drop his jaw,¹⁴ but take care not to have the student overly do so. Excessive and "elaborate vocal exercises" should also be avoided, as the goal must be to "promote the use of the correct resonance chambers," not manufacture some vocal powerhouse.¹⁵

Basically, the teacher must know his students. He must be informed and indefatigable, ready to analyze the voices under his direction,¹⁶ and cognizant of the fact that no two voices develop alike.¹⁷

The teacher needs to have a firm grasp on the anatomical and physiological factors involved in changing voices. While listening is of highest importance in diagnosing the singer's situation, visual clues such as neck tension and other strains can help make those determinations more accurate--or, in the case of visible (if not aural) tension, possible.¹⁸ This applies not just to male singers, but female ones as well.

While development of the male vocal organs is more prominent, female voices change as well. The female larynx lengthens in a similar fashion to the male, but its girth does not increase as much. The range is not so prone to change as is the quality of tone.¹⁹ Lynn Gackle uses the phrase "shades of change" to denote the change in "richness, depth and warmth," essentially suggesting that girls' voices would be better categorized as "light" or "rich soprano" rather than "soprano" and "alto." These changes may be characterized by voice cracking, hoarseness, breathiness or tonal huskiness, difficulty in phonation, noticeable registers, and a fluctuating tessitura. As these changes are primarily those of quality rather than actual range, it is perhaps more accurate to refer to them as varying flavors of "treble" rather than "soprano" or "alto," and "vocalization throughout their entire range should continue."²⁰

The changes in the male voice are so dramatic they almost need no description. As the larynx increases in mass (it doubles in size, as do the vocal folds themselves), the mean pitch drops about an octave.²¹ In more dramatic transformations, a vocal gap occurs between the chest voice and the falsetto where the boy can create no sound for several months.²²

Training the boy's voice should begin with attention to the quality of the speaking voice. It must be constantly treated with care (though no one really thinks that the boy is not going to shout when excited), or it may forever lose its ability to create soft, beautiful tones. "If the voice is correctly produced, and if attention is directed to the clear enunciation of words, power of voice will gradually develop. Attention to breathing and 'placing' will produce real resonance of tone. Tension only makes the voice thing and harsh. Flexibility must be preserved at all costs."²³

With regard to classification, one thing almost everyone agrees on is that "the process of mutation is essentially one of development, not of abrupt change."²⁴ It is not a matter of "sets of ranges" in the voice; there are only two vocal cords. In classifying the boy's voice it is more prudent to determine primarily what notes lie in his comfortable reach, although tone quality is also a factor.²⁵ "Brief vocal excursions outside the tessitura can be very effective, but if the general line of any song lies outside the tessitura, vocal strain results."²⁶

There are several methods for determining vocal classification. Mellalieu recommends having the boy sing a simple folk song in different keys until the most comfortable range is found;²⁷ Cooksey suggests singing a scale down, then up to test for what he refers to as low and high terminal pitches.²⁸ He maintains that, due to the propensity of the developing to change rapidly, this inspection be done every six to eight weeks, charting the singer's progress.²⁹ Whatever method used, be confident but quick. With all the developmental upheaval it is better to care for the voice than be overly concerned about tone.³⁰

Seating is one effective arrow in the choir director's quiver for dealing quickly and efficiently with boys undergoing voice change: keep the younger (developing) voices in front of the older (developed) ones to prevent forcing.³¹ Additionally, Mellalieu suggests seating the best sopranos farthest from the piano, then very good voices, voices with weak intonation, and indeterminate voices seated progressively closer.³² Cooksey recommends his "midvoice I's" (described later) sing the alto part in mixed SATB pieces, warning that his "midvoice II's" cannot sing adult tenor parts that descend past A3 or G3 (below middle C).³³ With a little care in classification, voices that seamed "untuneful" will learn quickly to match pitch well enough to move them into a more accurate section, if necessary.³⁴

More effective, however, is making sure the voices are singing music that fits them best. It should be allowed "to work in its own idiom with freedom and flexibility."³⁵ Mellalieu gives this rough breakdown for boys voices: 2nd soprano: C4 to E5; alto: G3 to B4; tenor: D3 to F4; baritone: B2 to D4; and bass: G2 to B3 (16). Mayer and Sacher advise that upper notes becoming restricted is not cause for alarm, but a manifestation of the voice's development (16). They warn to watch for fatigue, even in what seem to be comfortable ranges (12). Furthermore, "grade of difficulty is not the issue... However much you like a certain composer and wish to use it, if the vocal ranges or general tessitura do not agree with [your student's ranges], it just cannot be sung successfully by a Junior High mixed group, unless of course you have a small, hand-picked group of exceptional voices from grade 9 only."³⁶

Basically, there are two registrations in the male voice, including those that are changing: a head voice (referred to often as "middle" voice) and chest voice. The latter becomes a point of excitement for the singer, as its presence is seen as a manifestation of his burgeoning manhood. Choir directors must be aware that this is happening and take care to allow the singer to use his voice in its new idiom.³⁷ Mellalieu proposes two different kinds of chest tone: a "round and rich quality," produced with correct resonators; and a "very reedy quality" that indicates wrong production (12). He advises use of the medium voice below the apparent break between them, laying down "the foundation for a beautiful and resonant voice in adult life" (13). Collins agrees with this, but Mayer and Sacher say that it is tantamount to having a baseball pitcher only throwing with a fraction of his arm (7).

The teacher is urged to always "spotlight" the changing voice in a positive manner.³⁸ It can be detrimental (or embarrassing at best) to refer to boys as "sopranos" or "altos"--terms reserved for girls--so alternative terminology should be used. Brinson recommends using terms like "Treble I" or "Treble II" rather than "Soprano I" or "Soprano II" (221), or "neutral designations such as 'high,' 'middle,' and 'low' voice" (238). It is also important to be aware of boys who have "little or no knowledge about how to use the head voice." They equate it with the female sound and need to be reinforced in their masculinity in using it.³⁹

Tactics for dealing with the changing voice typically find their roots in the philosophies a few significant individuals and their proposed methodologies: Duncan McKenzie and the "alto-tenor;" Frederick Swanson and the "adolescent bass;" Irvin Cooper and the "cambiata concept;" and more recently, John Cooksey's "contemporary eclectic theory."

While not the originator of the alto-tenor plan, Duncan McKenzie recommends it for changing male voices. He maintains that the so-called "alto-tenor is still an alto, but the voice has lowered sufficiently so that the young singer can sing in the tenor range." His plan suggests predictive tessituras for developmental types: a faster change will likely yield a bass, while a slower one will produce a tenor. He also leaves room for the possibility (good thing for tenors I) that "some voices will actually move upward in pitch once they have attained their lowest notes."

Typical ranges, as prescribed by the alto-tenor plan, are as follows:

	Range	Tessitura
Soprano I Boys	B3--B5	C4--G5
Soprano 2 Boys	B3--E5	Same
Alto Boys	A3--C5	Same
Alto-Tenor	G3--A4	G3--G4
Jr. High Basses A	C3--B3	Same
Jr. High Basses B	A2--E4	B2--C440

McKenzie concurred with most other pedagogues that vocal exercise should proceed downward to help "develop the lower notes and causes the higher notes to disappear," but not to the point of forcing.⁴¹

Frederick Swanson advocated the concept of the "adolescent bass" for the boys unable to sing above middle C. Further research shows that this is in fact the case, but typically among boys who "are allowed to sing literature that (1) keeps them singing in the comfortable area of the voice, (2) does not overextend the upper range, and (3) moves them gradually downward as natural maturation occurs, the incidence of the presence of this gap is significantly less."⁴² Like McKenzie, Swanson recommended descending vocal exercises to try to bring the head voice (medium register) down to meet the chest.

Irvin Cooper stated that "[the existence of cambiate] passed unnoticed for centuries, although there is a hint of its use in some sixteenth-century modal writings." He proposed the concept of the vocal cambiata (changing voice) in the late 1950s, insisting that "young men could sing completely throughout vocal mutation as long as they sang music written in accordance to their unique range and tessitura limitations. He felt that no attempt should be made to make the voice fit already existing music but that the music should be made to fit the voice."⁴³

Based on his belief that adolescent girls were essentially equal (similar but not identical to Gackle's findings), he treated them all as sopranos and divided them more or less arbitrarily into two sections. Boys' voices, however, were somewhat more varied:

	Range	Tessitura*
Girls and Boys unchanged range	B3--F5	D4--D5
Boys changing (cambiata) range	F3--C5	A3--A4
Boys changed (baritone) range	B2--F4	D3--D4
Boys changed (bass) range	F2--C4	B2--C4

*Indicate the general tessitura of each voice. The outer limits [range] are available only for occasional excursions, but may be used freely as such.44

Cooper used the term "wooly" to describe the vocal quality of the cambiata, "rich, undeniably masculine almost to the point of belligerency, and truly beautiful if the sound is controlled in volume and not permitted to become strident from sheer vocal exuberance."⁴⁵ He attributed difficulty in identifying the cambiata to what he called the "aural illusion," where the listener confuses the timbre with pitch (the pitches sung are an octave higher than perceived), and warned that any attempt to classify voices individually without hearing the cambiata voice against a true baritone would cause it to "escape."⁴⁶

For directors who subscribe to the cambiata theory, there is the formidable matter of literature. If the cambiata is to be acknowledged, music that fits in his A-to-A range and does not require fast melismatic passages is the only option.⁴⁷

Cooper had what for him was an effective method for quickly identifying his various voice types. Placing the girls on the back rows of seats and the boys in front (with ample walking room among them), he would start the boys singing "Jingle Bells" or some other familiar song, pitched in some way as to quickly identify the basses. He would walk among them, tapping the boys who were obviously baritones or basses, indicating that they stop singing. Once finished, the remaining boys were asked to sing the song again, but this time up a fourth or fifth. Boys that were treble had no trouble with the new tonality, but those he considered cambiata were identified by singing an octave lower. Any singers with placement difficulties were seated with the cambiata boys until their classification became clearer.⁴⁸

Cooper felt the cambiata voice had too little in common with the tenor to arbitrarily lump them all on the same part; alternatively, adult female parts tended to be too high. The same rule applied for the young baritone, who will typically have difficulty with adult baritone/bass parts.⁴⁹ "[None] of the boys will be able to sing in the best area of his voice. Putting them together hampers both cambiatas and baritones."⁵⁰ If SATB music can be found that can accommodate these conditions, it will be a more successful experience for the singers.⁵¹

Critics of the cambiata philosophy say that the term itself is a misnomer. "[Some consider] that the boy's changing voice has two slightly different qualities, the upper register somewhat like an alto, the lower register with tenor characteristics. Thus 'alto-tenor' is a more appropriate designation."⁵² In opposition to both cambiata and alto-tenor philosophy, Mayer and Sacher have said:

The... suggested tenor range... advanced by proponents of the cambiata theory... suggests an improperly taught lower register. Furthermore, a boy singing in the cambiata classification with a production based primarily on the upper register, or his "boy's voice," will be interfering with the very change which is taking place.

The... most desirable production of this tone would be that which uses elements of both [upper and chest] registers and thus will achieve a fuller sound with acceptable quality. To do this the boy must think essentially as a tenor, not as an alto, and the nomenclature of "alto-tenor" or cambiata becomes unnecessary and confusing. If, in handling such voices, the suggestion arises to consider them high tenors, it should be readily accepted; but let us be sure that such a decision is based on the quality which the boy's voice will be going toward, not the one it is coming from. (16)

Cambiata defenders, however say that the alto-tenor terminology is not talking about the same thing anyway, so it is incorrect to criticize them as such. "'Alto-tenor' is misleading because the changing voice contains only a few notes from each of the two voices, while neither voice quality is heard in the cambiata. So long as [choirs] are enjoying singing and consistently performing within the ranges we have discussed, their results will refute any adverse argument."⁵³

John Cooksey's contemporary eclectic theory stipulates that the"[vocal growth pattern] is highly correlated with the development of primary and secondary sexual characteristics associated with puberty."⁵⁴ He categorizes voices thus:

	Range	Tessitura
Unchanged	A3--F5	C4--A4
Stage I (Midvoice I)	A3--C5	B3--G4
Stage 2 (Midvoice II)	F3--A4	G3--F4
Stage 3 (Midvoice IIA)	D3--F4	F3--D4
Stage 4 (New Baritone)	B2--D4	D3--A3
Stage 5 (Developing Bari)	G2--D4	B2--G355

Stage 1 (midvoice I) "begins as the physiological changes take place. Higher pitches are lost (usually between C5-F5);" any high notes produced will reveal "increased constriction and breathiness... [with] an overall decrease in the richness of the tone;" it begins between ages 12-13 or sooner, lasting from several months to more than a year. In midvoice II "lower pitches begin to appear in the adolescent's range while higher notes become more unstable;" the lower pitch plateau is established around E3-F3, while the high terminal pitch (HTP) (A4-C5) fluctuates. Falsetto emerges, but because of transition adjustments between modal and falsetto registers, "some coordination can be lost." Voice quality is distinctively thicker, darker in color, and less resonant. The most stable pitch area is A3-F4. For most boys this lasts about 12-13 months, beginning near age 13. Midvoice IIA is "when the voice is most vulnerable to abuse." LTP (low terminal pitch) drops to D3, while the average HTP is around F4. The falsetto continues to develop, but is not easily produced--"particularly in the area just above the highest pitch in the modal range." The voice is most comfortable between G3 and C4/D4. It is huskier than during midvoice II, tending to be breathy. There is loss of agility, with a tendency to push or force tone. Midvoice IIA may last from four weeks to ten months, and usually occurs in eighth grade, or at 13-14 years old. The New Baritone stage brings more stability; the range is firmer (B2/B2--C4/D4), and the voice is clear but light & thin (not adult-like). There is less pitch agility, but the boy can "pop" into falsetto fairly easily. "In some cases, however, there is a 'blank spot' (C4--F4) where no notes can be produced at all. Some may experience difficulty in 'finding the falsetto.' Others can sing falsetto very easily above F4, but cannot produce pitches below that point without pushing or forcing the one in the modal register. Register transition vocalizes (exercises) may help, but sometimes it is best to be patient and not 'force' the issue." Most of these boys are found in 8th & 9th grades, around 14 years old, "but can very between ages 13-15." Developing Baritone (the postmutational stage) "represents a marked tendency towards vocal maturity." He still does not sound like an adult, but range and ability increase, and vocal production is more consistent. The falsetto is clear and "focused," as the register transition area drops to D4--E4. "[They] can sing most bass parts, but their optimum pitch area is B2/A3." Overall body dimensions increase, and vocal folds are at maximum length. "[Prominent] among ninth grade boys, this stage begins at approximately age 14-15."⁵⁶

While agreeing with Cooper regarding the importance of classroom auditioning, Cooksey insists that nothing substitutes individual auditioning. "Voice classification should be done on a person-by-person basis as time permits."⁵⁷ Cooper's argument was that human nature is prone to assert itself--the boy "will choose the most comfortable singing area of the voice; thus literally classifying himself."⁵⁸

Terry J. Barham and Darolyne L. Nelson found much to agree with in Cooksey's research, but they have found what for them is a more practical table of voice categories:

	Range
Treble	A3--F5
Cambiata I	G3--C5
Cambiata II	E3--F4
Baritone	A2--D459

Repertoire is the most basic issue of all. Authorities may disagree as to how to accommodate changing voices with music, but on the simple issue of its importance nearly everyone agrees. Frederick Swanson insisted that "the range and especially the tessitura must be suitable for the singers, allowing them to sing only that which is comfortable for them without any strain whatsoever."⁶⁰ Cooper disapproved of unison or octave singing at this stage, believing that the range and tessitura of notes comfortable to all voice types was too narrow to be practical.⁶¹ He felt that these aspects should be dictated by the voices available, not the other way around. His stipulations and reasoning were:

	1.	Choose music with interesting parts for all voices. Nothing is as boring to a middle school/junior high singer as a part that only provides harmony for a melodic line.
	2.	Pay close attention to difficult intervallic leaps. Boys lose agility as their voices change, and wide leaps, especially those that require a register change, will be difficult for them to exercise.
	3.	Check the articulation speed required to sing the music. Sopranos are fairly flexible, but cambiate move slower, and baritones move the slowest of all.
	4.	Choose quality music with texts that will appeal to young singers.62

The matter of vocal versatility is one of which there is no real disagreement. Changing voices are less flexible, necessitating music relatively free of--or at least spare with--sudden register changes, melismatic passages at very fast tempi, and extreme vocal ranges at wide dynamic ranges for extended periods of time.⁶³ In apparent agreement with Cooper, Cooksey goes so far as to making sure that part ranges for changing voices should be limited to a major sixth and re-keyed if necessary (24), even rewriting or re-voicing the music if usable versions are not available (46).

Composers, arrangers, and publishers are attempting to respond to this issue, but vary on solutions such as voice grouping, voice terminology (naming), clef determination, and number of parts.⁶⁴ A common "solution" is to use SSA or SAB music, lumping boys voices in the alto (or bass) parts; this is rarely a workable solution, however, as ranges and tessituras usually prohibit workability.⁶⁵

Finally, phrasing must be considered. The relative weakness and instability of the changing voice typically results in poor breath control; hence, music that requires more difficult articulation or longer phrasing (like Renaissance music) be considered with greater care.⁶⁶

WORKS CITED

Brinson, Barbara A. Choral Music: Methods and Materials. New York: Schirmer Books, 1996.

Collins, Dr. Don L. Teaching Choral Music. Englewood Cliffs, NJ: Prentice Hall, 1993. (chapters 8-10)

_____. The Cambiata Concept. http://www.boychoirs.org/brc/library/article010.html. Accessed 30 October 2003.

_____. "How to Choose Music Adolescents Can Sing." The Cambiata Concept. http://www.cambiatapress.com/CVMIA/cvmia.htm. Accessed 1 November 2003.

_____. "Singing Four Parts with Mid-Level Students." The Cambiata Concept. http://www.cambiatapress.com/CVMIA/cvmia.htm. Accessed 1 November 2003.

_____. "Differences Ways Boys' Voices Change." The Cambiata Concept. http://www.cambiatapress.com/CVMIA/cvmia.htm. Accessed 1 November 2003.

_____. "Training the Uncertain Singer." The Cambiata Concept. http://www.cambiatapress.com/CVMIA/cvmia.htm. Accessed 1 November 2003.

_____. "Understanding Adolescent Vocal Registers." The Cambiata Concept. http://www.cambiatapress.com/CVMIA/cvmia.htm. Accessed 1 November 2003.

Cooksey, John M. Working with the Adolescent Voice. St. Louis: Concordia, 1992.

Cooper, Irvin. Letters to Pat. New York: Carl Fischer, Inc., 1957.

Mayer, Frederick D. and Jack Sacher. The Changing Voice. Minneapolis: Augsburg Press, 1964

Mellalieu, W. Norman. The Boy's Changing Voice. London: Oxford, 1957.

ENDNOTES

¹ Barbara A. Brinson, Choral Music: Methods and Materials (New York: Schirmer Books, 1996), 210.

² Irvin Cooper, Letters to Pat (New York: Carl Fischer, Inc., 1957), 6.

³ Frederick D. Mayer and Jack Sacher, The Changing Voice (Minneapolis: Augsburg Press, 1964), 8.

⁴ Ibid., 7.

⁵ W. Norman Mellalieu, The Boy's Changing Voice (London: Oxford, 1957), 13.

⁶ Dr. Don L. Collins, Teaching Choral Music (Englewood Cliffs, NJ: Prentice Hall, 1993), 140.

⁷ John M. Cooksey, Working with the Adolescent Voice (St. Louis: Concordia, 1992), 50.

⁸ Mellalieu, 5.

⁹ Cooper, 5.

¹⁰ Cooper, 35.

¹¹ Mellalieu, 15.

¹² Dr. Don L. Collins, "Training the Uncertain Singer," The Cambiata Concept (http://www.cambiatapress.com/CVMIA/cvmia.htm, accessed 1 November 2003).

¹³ Cooper, 34.

¹⁴ Mellalieu, 27.

¹⁵ Ibid., 23.

¹⁶ Cooper, 7.

¹⁷ Dr. Don L. Collins, "Different Ways Boys' Voices Change," The Cambiata Concept (http://www.cambiatapress.com/CVMIA/cvmia.htm, accessed 1 November 2003).

¹⁸ Barbara A. Brinson, Choral Music: Methods and Materials (New York: Schirmer Books, 1996), 211.

¹⁹ Mayer and Sacher, 6.

²⁰ Brinson, 211.

²¹ Mayer and Sacher, 5.

²² Collins, "Different Ways Boys' Voices Change." (Internet)

²³ Mellalieu, 9.

²⁴ Mayer & Sacher, 3.

²⁵ Mellalieu, 16.

²⁶ Collins, The Cambiata Concept. (Internet)

²⁷ Mellalieu, 16.

²⁸ Cooksey, 22.

²⁹ Ibid., 20.

³⁰ Cooper, 23.

³¹ Cooksey, 19.

³² Mellalieu, 15.

³³ Cooksey, 17.

³⁴ Collins, "Training the Uncertain Singer." (Internet)

³⁵ Mayer and Sacher, 13.

³⁶ Cooper, 12.

³⁷ Mayer and Sacher, 11.

³⁸ Cooksey, 27.

³⁹ Collins, "Approaches to Teaching Boys with Changing Voices." (Internet)

⁴⁰ Brinson, 216.

⁴¹ Ibid., 217.

⁴² Collins, 142.

⁴³ Cooper, 30.

⁴⁴ Collins, The Cambiata Concept. (Internet)

⁴⁵ Ibid.

⁴⁶ Cooper, 19.

⁴⁷ Collins, "How to Choose Music Adolescents Can Sing." (Internet)

⁴⁸ Collins, The Cambiata Concept. (Internet)

⁴⁹ Ibid.

⁵⁰ Collins, "Singing Four Parts with Midlevel Students." (Internet)

⁵¹ Collins, "How to Choose Music Adolescents Can Sing." (Internet)

⁵² Cooper, 32.

⁵³ Ibid., 35

⁵⁴ Cooksey, 10.

⁵⁵ Brinson, 219.

⁵⁶ Cooksey, 10-11.

⁵⁷ Ibid., 16.

⁵⁸ Collins, The Cambiata Concept. (Internet)

⁵⁹ Brinson, 220.

⁶⁰ Ibid., 217.

⁶¹ Collins, The Cambiata Concept. (Internet)

⁶² Brinson, 216.

⁶³ Ibid., 223.

⁶⁴ Collins, "How to Choose Music Adolescents Can Sing." (Internet)

⁶⁵ Cooksey, 48-49.

⁶⁶ Brinson, 224.