(This article was recently featured on Jarrod Richey's Substack "Musically Speaking." We are publishing here as an introduction to Mr. Richey ahead of his visit to Trinitas this week.)
A Crisis of Singing Among Men
In many Christian circles today, there is a persistent misconception about male voices, especially those of adolescent boys. A muddled view of masculinity often leads to the belief that skilled singing, particularly in higher registers, is somehow unmanly. Fathers, as mature adults, are commonly associated with low voices, beards, a commanding presence, and other similar masculine traits, which can reinforce the idea that boys wanting to be like their fathers should avoid singing high notes. As such, some fathers may even somewhat discourage their sons from singing during and after the “wilderness” months of the voice change, directing them toward other activities they see as forming boys more fully for manhood. Yet our Heavenly Father creates all things well, including our voices and their seasons of transition. As Christians seeking maturity in our understanding, we should embrace the “death and resurrection” built into the changing male voice and see it as a God-given opportunity to challenge boys into becoming the young men He calls them to be.
The Silence of Men: A Consequence of Modern Church Music
A concerning consequence of the last two and a half centuries of church music is the noticeable absence of men singing in many evangelical churches today. While they may mutter and occasionally may raise their hands, a pervasive belief is that truly masculine men do not sing. Singing is seen as something for girls or for effeminate boys who don’t know what end of the baseball bat to hold. This trajectory of worship and church singing is a topic worthy of a deeper, more in-depth discussion. But for now, I aim to persuade readers to acknowledge our current situation and begin to work toward a more biblically grounded and musically healthy approach to male singing.
Our Singing God: A Biblical Foundation for Male Voices
“Our Heavenly Father Sings and So Should We” is a phrase that captures the core of my argument. Scripture consistently portrays God not as silent but as a singing God who rejoices over us with singing (Zephaniah 3:17). He even sang creation into existence, as C.S. Lewis and J.R.R. Tolkien helpfully depict in their respective writings. Speech itself is inherently musical, made of pitch and rhythm. Consequently, all creation sings and makes music.
Satan’s primary tactic since the fall has been to twist God’s truth, and this extends to the topic of singing. Christians may agree in principle that singing is important, yet the notion that singing is unmasculine or effeminate persists. A biblical perspective reveals that singing is a fully human activity, encompassing both masculine and feminine aspects, as men and women are created in the image of God, and God Himself is the Ultimate Singer. Consider how the Psalms frequently admonish us to “Shout to God.” This is not merely a guttural utterance, but a robust and musical activity—a strong, purposeful sound that is nothing less than singing. If our God sings, then all His people must sing, and historically, Christian men have led the way in this.
Historical Perspective: Singing as a Male-Led Endeavor
Historically, liturgical singing in the medieval church was primarily entrusted to men and boys. From roughly 800 to 1500 A.D., the development of music shows that the melody, or cantus firmus, was carried by the tenor voice (“to hold”). Over time, additional voices were added above and below the tenor. By the late Middle Ages and early Renaissance, composers expanded both upward and downward, giving rise to the fuller ranges that later became standardized as soprano, alto, tenor, and bass parts.
The Western church choir tradition in Bach’s era saw young men singing the great works that are still regarded as benchmarks of church music excellence. These Lutheran boy choirs were not just musical ensembles; they were training grounds for manhood. When properly managed, these schools taught boys to sing in the highest parts of their range with skill, taught them to read complex music, and also prepared them for the challenges of adolescence. They helped them persevere through vocal changes into new tenor or bass voices. This is what we need today. We must train young men to sing and guide them through their voice changes into adulthood.
Navigating the “Turbulence”: Guiding Boys Through Voice Change
I propose a different approach, like navigating airborne turbulence. Instead of immediately descending into “the soup” of a lower register at the first wobble, we should encourage young men to “fly above it” for as long as possible. When descent is necessary, it should be an intentional and gradual transition. Too many young men rush to the tenor or bass sections when their speaking voice begins to wobble, like a young foal finding its legs, believing they must have lost some or all of their high range. In reality, they may only be experiencing the initial stages of vocal change.
Henry Leck of the Indianapolis Children’s Choir offers valuable insights on the changing male voice. He encourages young men to maintain their head or falsetto voice so they keep muscle memory and breath support during growth. His DVD on the changing boys’ voice demonstrates this by having the same young men sing Gabriel Fauré’s Cantique de Jean Racine in SSAA, SATB, and TTBB configurations one right after another, adjusting their vocal register as needed. He repeatedly demonstrates that these singers’ range spans approximately three octaves from top to bottom. I am firmly convinced that Leck’s perspective is key. If the voice is a muscle and we stop using it for one or two years, it is no surprise that many young men stop singing after their voices change. This is precisely why we must encourage our young men to lean into this challenging process and do the tough work it requires. Embracing this journey teaches perseverance and resilience. It is a refining fire that can lead to greater strength and glory. This is the encouragement I offer to my Christian colleagues as we seek to train our young men to sing with strength, skill, and joy.
The Joy and Discipline of Male Song: A Personal Reflection
Having directed a school boychoir for a time, I deeply cherished the weekly rhythm of 4th through 10th-grade young men gathering to rehearse at my home. Some boys came straight from wrestling practice or afternoon activities, still sweaty and full of energy. They would shoot hoops or play a quick round of knockout in the driveway before rehearsal began, their laughter echoing through the yard. They inevitably brought with them into the house the unmistakable scent of “wet dog,” that familiar smell of pre-pubescent youth. The older boys, having discovered the blessing of deodorant, were quick to remind the younger ones of its communal benefits, often forgetting how recently they themselves had shared the same ignorance.
Inside, we would settle down and rehearse the likes of Randall Thompson, Mendelssohn, Bach, and more. I watched their faces light up as they learned to blend their voices, to listen to one another, and to shape high phrases with control. There was something profoundly endearing about those moments, young men doing something beautiful, disciplined, and challenging with joy. When rehearsal ended, my wife would bring out cookies or another sweet treat, and the room would fill with the sound of chatter and laughter.
Those rehearsals were wholesome, formative, and full of delight. I discovered that when these young men were given difficult music and encouraged to sing through the challenges of the changing voice, they could rise to the challenge and take real delight in their work as young men. Plus, they could navigate the changing voice without the pressure of females watching or listening nearby. Our Geneva Boychoir time is one of my favorite choir memories, and, Lord willing, I hope to revive it in some way once I complete my PhD dissertation work in Church Music.
Redefining Masculine Strength Through Song
Our concerns about misguiding young men can be overcome with the proper perspective on masculine youth. Many fathers, unable to sing themselves, unintentionally model a form of masculinity that omits singing, often unaware that this paints an incomplete picture for their sons. They drone two octaves below the melody, if they sing at all, and may very well imprint this mold onto the next generation. In doing so, they can convince them that skillful singing, especially when it involves higher registers, is unmanly. In reality, an inability to sing is a stronger indication of masculine lack. The cantus firmus is the steady melodic line around which all harmony dances. We must train our young men to reflect their Heavenly Father, who sings joyfully, skillfully, strongly, and continually.
Conclusion: Sing On!
We must guide our sons to resist grasping for an adult voice before God has ordained that change. They should not run from the challenge of the changing male voice but stay the course with courage and perseverance, trusting the Lord to bless their faithfulness on the other side of the voice change. We should embrace the natural development of the male voice and understand it as a masterful creational design, not a blunder. Our task is to teach young men to navigate the transition from boyhood into manhood by refining their singing voices and shaping them into strong, masculine sounds. Doing this will enable our churches to enjoy robust singing in worship and at home for years to come. We must abandon the all-too-convenient idea that singing is not masculine and joyfully reform our thinking and practice to the glory of God and the building up of His church.
Jarrod Richey is a music educator, choir director, church musician, hymnal editor, and author, inviting readers into a deeper appreciation of the beauty, history, theology, and music literacy in the life of the church. You can find out more about he and his work here.
