Personal stories can be a vital way to communicate the value of your chorus.
After more than a decade as chief executive of the Atlanta Symphony Orchestra, Allison Vulgamore took a sabbatical to travel to a prison in Morocco for boys. She shares her transformative experience of preparing them to sing in a concert without the benefit of a shared language.
Choruses are pouring more resources and creativity into education outreach programs that have a far-reaching impact on students, teachers, schools, and communities—as well as on the choral artists who deliver them.
Renowned choral composer and conductor Alice Parker shares with us her observations about singers and tells us why we are a special bunch.
The late Robert Shaw used to give this directive—right before explaining what a ridiculous request it was. Even so, choral directors continue to say it, and singers continue to wonder, Is it me? What should I do?
What allows one chorus to thrive for more than a century while another is forced to close down after just a few years? Leaders of some of the longest-running choral organizations credit a combination of factors for their longevity.
How Minnesota's VocalEssence and composer Eric Whitacre helped high school students, choral directors, and community members of all ages discover the power of contemporary choral music through a festival and community sing event.
Choral music sleuth Helene Whitson has sifted through used CD bins and trolled the Internet to bring you some of the hidden gems of the choral repertoire.
Eric Whitacre muses on how he gets inspired to compose, his special connection with young people, and what he thinks about the future of choral music.
In times of economic drought, singers and choruses wonder if and how their chorus will survive. Glen Howard, arts consultant and choral singer, shares his insights about approaching potential funders and making a compelling case for choral music.
The impact of the governance committee is far-reaching—the character of a board and indeed the effectiveness of the organization itself, emerge from its efforts.
In this musical tradition, singers read a variety of different note shapes—each one corresponding to a different syllable: fa, so, la, or mi.