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The treble boy voice is considered by many to be a treasure of nature. HBC in collecting information for these choral pages, notes many references to boys' voices. We have been able to find, however, no definitive study. There are some clearly established facts. It is clear that some choral music was written for boy singers as old as 18 years. It is also clear that boys' voices now break sooner than they did even a few generations ago. Several accounts indicate that boys' voices before World War II were breaking at age 14-15 years. I'm not sure why this was, but presumanly improved diets are an important factor. This we can not, however, yet confirm. What seems much less likely is that earlier boys; voices may not have been breaking until age 18 years. We can not say definitively that this was not the case, but there are other explanations. Some observers believe that it is more likely that choir masters were teaching boys whose voices were breaking to adjust the register and manner of singing. [Beet]
The treble boy voice is considered by many to be a treasure of nature. HBC in collecting information for these choral pages, notes many references to boys' voices. We have been able to find, however, no definitive study.
There are some clearly established facts. It is clear that some choral music was written for boy singers as old as 18 years. It is also clear that boys' voices now break sooner than they did even a few generations ago. Several accounts indicate that boys' voices before World War II were breaking at age 14-15 years. I'm not sure why this was, but presumanly improved diets are an important factor. This we can not, however, yet confirm. What seems much less likely is that earlier boys; voices may not have been breaking until age 18 years. We can not say definitively that this was not the case, but there are other explanations. Some observers believe that it is more likely that choir masters were teaching boys whose voices were breaking to adjust the register and manner of singing. [Beet]
Church goers throughout Europe for centuries have gathered beneath the soaring arches of the great cathedrals to celebrate the mass and later the services of Protestant denominations. The services would be enriched by the sweet soprano voices of generations of boy choristers. This tradition has begun to change. At several of England's great cathedrals, girl choirs have been formed. Girl and mixed choirs are not a new phenomenon. They exist in many countries and individual churches often organize such choirs. But the new girl choirs in England are being organized for serious music. There is no though to creating a serious mixed choir as the great choral master works have been in fact written for boys' voices. But even the creation of girl choirs is proving extremely controversial.
HBC has noted a debate over wether there is a difference between boy and girl voices. Some argue passionately that there is a destinct difference. Others argue that ther is no differenc. A HBC reader writes, "For sure you and I and other laymen won't be able to distinguish, but real enthusiasts and specialists can descriminate between the two. A boy's treble voice as more power than a girl, specially when trained to sing with head tone. A boy who already broke voice could still sing soprano with head tone ...and bariton with chest voice." Thi may well be the case, but HBC has noted that som of the choir mastrs orking with girls are not coninced of this.
A HBC who was a chorister as a boy and has some background in theatricals has provided us some insights about boys' voices and how they change. He is also particularly interested in the Elizabethan Theater.
Beet, Stephen. Sleeve notes to "Tis there, my child, the Better Land".
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