Factors Contributing to the Development of Vocal Self-Concept

in Adolescent Females Experiencing Vocal Expansion:

A Comparative Case Study of
Four Choral Students

NAfME Poster Session

March 19, 2016

By
Cathy Nichols May Dunstan, DMA
Tyner Middle and Tyner High Academies
cmayteach@epbfi.com

Factors Contributing to the Development of Vocal Self-Concept in Adolescent Females

Experiencing Vocal Expansion: A Comparative Case Study of Four Choral Students

Vocal Self-concept is one of many dimensions of the self that appears during the
normal development of puberty (Coopersmith, 1967; Harter, 1986; James, 1892; Marsh
& ONeill, 1984; Marsh & Shavelson, 1985; Montemayor & Eisen, 1977; Reynolds,
1992; Rosenberg, 1986; Shavelson, Hubner, & Stanton, 1976; Winnie & Marx, 1981).
Vocal expansion or vocal mutation also appears during adolescence as a part of pubertal
development that both boys and girls experience (Barresi, 1986; Cooksey, 1977; Cooper
& Kuersteiner, 1973; Gackle, 1985; McKenzie, 1956; Phillips, 1997, Leck, 2008).
Unfortunately, many adolescents experience with vocal expansion is not completely
positive, and some of these experiences may cause vocal self-concept to decline (May,
2009; Sipley, 1993; Stupple, 2007). Maintaining a high vocal self-concept is important to
music educators because a good vocal self-concept increases participation in singing
activities, including choir (Austin, 1990; Lipka, 1997; Stupple, 2007).
The factors for the development of vocal self-concept must be identified if vocal
music teachers are to help students maintain a high vocal self-concept. As of now, only
two factors have been tentatively identified, vocal expansion and education about vocal
expansion (Lively, 2007; May, 2009; Stupple, 2007). Since vocal expansion is
unavoidable, other factors that teachers can control need to be identified. Teachers do not
accurately identify factors for the development of vocal self concept, students do
(Castelli, 1986). Therefore, to identify the developmental factors we must go to the
individuals experiencing vocal expansion, the adolescent females (Merriam, 1998).

Therefore, the purpose of this research was to identify factors contributing to the
development of vocal self-concept in adolescent females who are experiencing vocal
expansion, previously called vocal mutation. The central question for this study was:
What are the factors contributing to the development of musical selfconcept in adolescent females experiencing vocal expansion?
Guiding questions include:

What rehearsal practices have an effect, either positive or negative, on vocal selfconcept in adolescent females experiencing vocal expansion?

What rehearsal experiences have an effect, either positive or negative, on vocal

self-concept in adolescent females experiencing vocal expansion?

What outside influences affect the vocal self-concept of adolescent females during
choral rehearsals?

Method
Case study method was used so that information to answer these questions could
come directly from individuals whose vocal self concepts were currently developing.
Four adolescent females experiencing vocal expansion served as participants for this
study. All four females participated in the chorus of a racially diverse middle class
suburban middle school.
Data were the statements from the participants, statements from the choral
director, and observations of the researcher. Each participant was a bounded case. The
researcher coded the data, analyzed each case according to the research questions, and
performed cross case analysis to derive meanings from the data.

Main Results of the Study

Fourteen themes emerged from the analysis. Themes are grouped into categories
based on the research questions. The first guiding question for this study was: What
rehearsal practices have an effect, either positive or negative, on vocal self-concept in
adolescent females? A survey of common practices used by choral directors provided
these existing themes. They included: vocal technique instruction, education about vocal
expansion, feelings about choral literature, and feelings about sight singing instruction.
The remaining themes emerged during the study. The emergent themes included:
confidence, feelings about the inclusion of non-singing state standards, and feelings about
changes in instruction.
The second guiding question was: What rehearsal experiences have an effect,
either positive or negative, on vocal self-concept in adolescent females? Themes in this
category were all emergent themes except feelings about voice part assignment and
feelings about vocal expansion. Emergent themes included: work ethic, feelings about
the disposition of the teacher, and feelings about the attitude of others toward rehearsal.
The third guiding question was: What outside influences affect the vocal selfconcept of adolescent females during choral rehearsals? Themes in this category were all
emergent. They were: other singing experiences, feedback from others, and feelings
about the attitudes of others outside chorus.
Each participant rated these influences regarding how much each influences her
vocal self-concept. Analysis of these statements suggests that the following affected their
vocal self concept: vocal technique instruction, education about vocal expansion,

confidence, the disposition of the teacher, sight singing instruction, hard work,
experiencing vocal expansion, and comments from others.
Two rehearsal practices that affected vocal self concept relate directly to vocal
expansion, vocal technique instruction and education about vocal expansion. Vocal
technique instruction that included breath management and vocal focus was the only
rehearsal practice that improved vocal expansion characteristics. All four participants
stated that improving their tone likewise improved their vocal self concept. Voice part
assignment and literature choice only affected their vocal self concept as it applied to
keeping them in a range in which they could sing.
Mr. Harris referred to breath support in almost every rehearsal and referred to
resonance, which is created by focus, about once per week. Though he referred to
resonance and modeled a resonant tone, he used only one vocalise for developing
resonance during this study and did not connect it to the music they were singing. He
likewise taught abdominal breathing but did not teach the abdominal movement to
provide breath support. Since both were indicated on the survey of common choral
practices, the researcher explored them in voice lessons as they related to the rehearsal.
Fallon, Brylee, and Saja were enthusiastic when learning proper breath support in voice
lessons enabled them produce a more resonant tone.
Education about vocal expansion and the characteristics also raised vocal self
concept. These females needed to know that vocal disturbances they were experiencing
were normal and most importantly would go away with growth and physical
development. Figure 1 summarizes the statements of the participants regarding the
practices and experiences that influenced their vocal self concept. Table 1 summarizes

the mean ratings the participants gave each of the practices and experiences that
influenced their vocal self concept.
Figure 1. Themes and Their Importance to Vocal Self Concept Development

Figure 1. This figure lists the factors for the development of vocal self-concept and
illustrates which factors have the greatest and least effect on the vocal self concept of
each participant.
Factors That Did Not Affect Vocal Self Concept
The following experiences did not affect the vocal self concept of these
participants: the inclusion of non-singing state standards in instruction, changes in
instruction, the attitudes of others toward rehearsal, and the attitudes that others outside
of chorus have toward chorus and singing.

Table 1
Final Importance Rating by Mean Score
________________________________________________________________________
Themes, listed in order of importance
Mean Score
________________________________________________________________________
Attitude of others toward rehearsal

Disposition of teacher

Confidence as a singer

Education about vocal expansion

Hard work

Knowing the notes to be performed

Singing other than chorus

Correct breathing

4.75

Attitude of people outside chorus

4.25

Evaluating performances

Knowledge of musical terms

3.75

Pain in lungs when singing

3.75

Sight singing

3.75

Free days

3.5

Voice part assignment

3.25

Having their time wasted

3
________________________________________________________________________

Implications for education

Some common choral practices affect vocal self concept and there are eight
implications for students and teachers. While teachers cannot control the fact that a
student will experience vocal expansion, they can control rehearsal practices that affect
vocal self concept.
Teach vocal technique
Even though the teacher mentioned raised soft palate, modeled tall vowels and
resonant vocal placement, and modeled deep abdominal breathing, this did not appear to
be adequate instruction on correct vocal technique for these participants. When
researcher provided specific vocal technique instruction and immediate application to
vocal literature, these participants successfully applied the techniques in rehearsal with
positive results to vocal tone and to vocal self concept. Vocal music educators should
communicate to individual students specific corrections they need to make, such as a
more relaxed jaw position.
Diagnose correctly
Teachers need to check students experiencing vocal expansion characteristics to
determine whether their difficulties in tone or ability to hold out notes are due to
improper breath management or vocal expansion. Teachers should assess a breathy tone
in females to determine whether they are supporting correctly before blaming the
breathiness on inadequate support. The breathiness may be due to vocal expansion and
the mutational chink that may accompany this development.

Listen to students
Students may hesitate to inform their teacher when a voice part assignment may
no longer be appropriate. Teachers should develop a relationship of trust so students feel
they can communicate vocal changes to them even if the student thinks it might not be
the best thing for the group and leave it to the teacher to determine what is best for all
concerned.
Educate students about vocal expansion
For these participants, merely mentioning that they would experience vocal
expansion was not enough to protect their vocal self concept. They needed specific
examples of what the different vocal characteristics sounded like. When participants first
experienced cracking and breathiness in particular, one participant either thought she had
abused her voice and two others did not know what was causing pitch and breath
management problems. Teachers should list, describe, and provide examples of the
various vocal expansion characteristics for students so they will recognize these sounds
should they experience them with their own voice.
Foster confidence
A great deal of choral rehearsal time is spent teaching and assessing whether
students are singing correct notes in the correct manner. These participants indicate this
is highly important to the development of their vocal self concept. They asserted that
knowing the notes is one of the most important factors to their confidence and that
confidence is one of the most important factors to the development of their vocal self
concept. In fact, their vocal self concept suffers if they sing wrong notes. Therefore,

teaching strategies should build toward assuring that each singer can sing her part
confidently.
Teach sight singing
Participants said sight singing was of medium high importance to the
development of their vocal self concept. Marrie stated emphatically, It made me feel a
lot better and confident in what Im doing. Fallon declared that sight singing improved
her vocal self concept because, it helps me learn my notes and when I want to sing and I
dont have an instrument, I can. All four participants thought that sight singing raised
their vocal self concept because this ability is important to them as musicians. This
should send a message to all choral directors that they should teach their choristers how
to read music.
Consider students range needs when choosing literature
Literature choice is often a concern for choral directors. These participants stated
that literature choice had no affect on their vocal self concept. The genre of music
performed did not affect the vocal self concept of these participants, but singing notes
that were in their ranges did. If the song was out of the participants range, her vocal self
concept declined.
Final Thoughts
Vocal self-concept is emotionally charged and determines who an individual
singer will become. Therefore it is vital that researchers identifying the factors for vocal
self-concept development over which teachers have an influence in order to encourage
young singers to continue singing. This study identified 17 factors for the development
of vocal self-concept. The factors will guide researchers as we identify factors for vocal

self concept development for the general population. Armed with the knowledge of the
factors that influence the development of vocal self concept, teachers can guide their
charges as they negotiate the difficulties of adolescent growth and development and
encourage them to remain singers throughout their lives.