We have found that boys become very enthusiastic when separated from the greater chorus and are permitted to perform as a small ensemble apart from the girls. There are many folk song octavos in which the boys may be given a lead melody and choreography. For our boys, this has been a morale booster.
To retain boys once they are .involved in the program, conductors have several suggestions. First, directors emphasize developing a good rapport with the boys by working with them as a section or individually, discussing topics that the boys find especially interesting, and using sports analogies when working during rehearsal. Second, Diane Nielsen, Ann Williams, and Julia Shaw advocate bringing in male role models such as conductors, composers, or performers. Diane arid Ann invited a choir alumnus planning a career in conducting to come back and conduct a choral selection. In this activity, boys in the choir saw first-hand how participation in an ensemble can lead directly to music making as an adult. Finally, directors advocate discussing the voice change openly and coaching individual voices as they enter this new stage of vocal development. Perhaps Diana Gillespie sums it up when she states that she works to develop the cultural attitude that “choir is cool.”
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