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120 choir leader is working with mature men and women, most of whom have probably learned to use their voices as well as they ever will; but in directing a boy choir, the sopranos must be taught not only the actual music to be sung at the church service, but, what is much more difficult, they must be trained in the essentials of correct breathing, tone placement, et cetera, from the ground up. Hence the absolute necessity of the choirmaster being a voice specialist. He need not have a fine solo voice, but he must know the essentials of good singing, and must be able to demonstrate with his own voice what he means by purity of vowel, clearness of enunciation, et cetera. These things are probably always best taught by imitation, even in the case of adults; but when dealing with a crowd of lively American boys, imitation is practically the only method that can be used successfully. We shall not attempt to give information regarding this highly important matter in the present volume, because it is far too complex and difficult to be taken up in anything short of a treatise and because, moreover, the art of singing cannot be taught in a book. The student who is ambitious to become the director of a boy choir is advised, first, to study singing for a period of years, and second, to read several good books upon the training of children's voices. There are a number of books of this character, some of the best ones being included in the reference list in ../Appendix A/ (p. 164).

The child's larynx grows steadily up to the age of about six but at this time growth ceases, and until puberty the vocal cords, larynx, and throat muscles develop in strength and flexibility, without increasing appreciably in size. This means that from six until the beginning of adolescence the voice maintains approximately the same range, and that this is the time to train it as a child voice.