Atkinson

Download as pdf or txt
Download as pdf or txt
You are on page 1of 10

THE EFFECTS OF

CHORAL FORMATION
ON THE SINGING VOICE
DEBRA S. ATKINSON

Debra S. Atkinson, DA, is assistant professor of music and director of choral activities at Mis-
sissippi University for Women in Columbus, MS, where she directs the MUW Chorale, the
MUW Chamber Singers, and the vocal jazz group, Encore. She also teaches courses in music
education and supervises student teacher interns in music education datkinson@as.muw.edu.

24 Choral Journal • March 2010


There are many benefits to be gained by singing in choral the singer.1 Some voice teachers are reluctant to allow their
ensembles. Performing in an ensemble can foster a spirit students to participate in choral singing groups because
of cooperation and camaraderie, and can help diminish they are asked to sing in a way that is different from what
the negative aspects of competition that sometimes arise is being taught in the voice studio. Many singers, however,
in solo voice study. It is, therefore, imperative that choral can develop the skills that are needed to sing in both solo
conductors, teachers of voice, and singers communicate and choral modes.
with each other about choral singing so that the experience Research suggests that there are many things that can
in a choral ensemble will be a vocally healthy and musically influence choral tone and choral blend. Some of these
enriching experience. Although there are many similarities, include vowel uniformity, vibrato, choral formation, and stra-
researchers believe that choral singing and solo singing are tegic placement of singers.The study, from which this article
unique forms of singing that make different demands on is derived, sought to determine the effect that changes in

Choral Journal • March 2010 25


THE EFFECTS OF
CHORAL FORMATION
ON THE SINGING VOICE

choral formation and spacing between sing- tails interpretive imagination,” while choral differs from what they are being taught in
ers has on select voices of an ensemble as conductors, on the other hand, continue the private voice studio. These students can
revealed through long-term average spectra to testify to their dedication to nurturing become very confused when they get con-
(LTAS) of the individual singers. The singers healthy singers. In order to eliminate some flicting information about singing from choral
that served as research in this article were in of the conflicts, Edwards suggests that voice conductors and teachers of voice. Robert
an ensemble that was given the opportunity teachers should invite students to spend Garretson avers that voice teachers must
to express their preferences for each of the time in voice lessons on issues concerning understand that some deviation in vocal
choral formations. Therefore, this article their choral repertoire.5 production is necessary in order to achieve
concentrates on the singers’ comments and Sharon Hansen, Axel Theimer, and Leon historical authenticity in the performance
opinions regarding choral formation and Thurman state that most college/university of choral music from different periods of
spacing, and the differences they perceived voice teachers believe there is only one cor- music history.10
between choral and solo singing. rect way to sing: the way one sings Western According to John Weiss, Renaissance
opera.6 Dale Moore is concerned about music can sometimes cause problems for
solo voices in choral situations, especially so- operatically trained singers. The style used
Choral Singing Versus Solo Singing pranos with large voices that have operatic for singing this music is often thought to be
According to Rossing, et al., choral singing potential. He thinks that nothing is more dif- “thin, straight, and lifeless.” However, one
and solo singing are two distinctly different ficult for a singer with a big voice than being must remember that the sixteenth cen-
modes of musical performance. For this made to sing at low dynamic levels or always tury cathedrals provided an acoustic that
reason, some voice teachers are reluctant to having to “hold the voice back.”7 According supported vocal resonance without force.
allow their students to participate in choral to Sten Ternström, demands on choral sing- During the nineteenth century, singers devel-
ensembles.2 The demands of solo singing are ers are different from those placed on solo oped vocal techniques that allowed them to
different from those facing the choral singer; singers. Choral singers are expected to blend meet the demands of being heard over large
however, Royal Stanton believes that these with each other while opera singers do just orchestras in large concert halls.Therefore, it
demands are not necessarily contradictory.3 the opposite. Opera singers have developed may be necessary for some twenty-first cen-
A well-trained voice should be flexible vocal strategies that allow them to be heard tury singers to slightly modify their technique
enough to meet the demands of either over the symphony orchestra.8 Frauke Haas- in order to legitimately perform Renaissance
mode of performance.4 eman believes that trained singers may have music. Unfortunately, many singers and voice
Darryl Edwards suggests that conflicts to reduce the vocal force and vibrato when teachers are unwilling to make any kind
between choral conductors and voice singing in a choir but avers that anyone who of adjustments, fearing that some damage
teachers are not a new phenomenon. He has a good vocal technique should be able to could be done to the voice.11 Daryl Edwards
says “voice teachers complain that choral do this without damaging the voice.9 points out that the singers who think singing
singing promotes vocal constriction, limits Voice students are sometimes advised softly in choir is unhealthy are the same ones
the healthy growth of solo singing, and cur- not to use a singing technique in choir that who think nothing of singing sotto voce in an
art song such as Schubert’s An die Musik. He
indicates that responsible choral conductors
will balance personal ideals of choral tone
with healthy vocal production by each singer
in the ensemble.12
The vocal production disagreements that
are faced by American choral conductors
and teachers of voice are not perceived
the same way in Sweden. Gary Anderson
observed Swedish choral conductors and
voice teachers who seem to understand
and agree that there is a difference between
choral and solo singing and were surprised
to learn that this is such a controversial
matter in America.13 Knowing that there are
differing views, how should we go forward
in order to co-exist as teachers of voice and
directors of choral ensembles? The follow-
ing sections present a description of some
of the methods used by choral conductors

26 Choral Journal • March 2010


to strategically place singers in their choral vocal comfort, and aesthetic satisfaction of ments extensively. He expresses the notion
ensembles. the choristers.16 that the advantage to this arrangement is a
Gerald Langner discusses the pros and homogenous sound, better balance of the
cons of different choral formations and the voices, and improved intonation. Lamb also
Voice Placement and Choir Formations rationale for each formation. In summary, cautions that this formation is best used for
Research implies that the specific place- Langner observes that individual placement homophonic music of the nineteenth and
ment of voices within the ensemble based of singers in an ensemble should not be left twentieth centuries. Polyphonic music may
on vocal compatibility, frequency of the tone, to chance.The conductor should categorize suffer in mixed formation because of the
and a singer’s formant has definite effects the quality of each voice in order to optimal- clarity of line that is needed in its perfor-
on choral tone and blend.14 According to ly place them in an ensemble. Placement is mance.18
Sandra Willetts, careful placement of sing- an art and science that, when combined with Arthur Lambson found that the sectional
ers with vibratos that are even will solve listening by the conductor, can significantly block formation appears to be the best
blend problems and intonation problems.15 affect the choral sound. Even more micro acoustical formation for the performance
Ekholm agrees, stating that arranging choris- decisions could include the exact placement of polyphonic choral music in more than
ters so the voices are acoustically matched of each individual singer within the rows of four parts. It is inferior, however, to other
may enhance blend, phrasing, and overall the ensemble.17 formations with regard to recording, radio
tone quality. It is possible that arranging According to Gordon Lamb, choral broadcasting, and other events that might
choristers may also benefit vocal production, conductors are using mixed seating arrange- require the use of microphones. The quar-

Festival Founder David T. Searles returns with 37 years experience to


produce two of Europe’s finest festivals for American Choirs!
Children’s Choir Festival British Church Music Festival
at Canterbury & London at Edinburgh, Canterbury & London
July 26 – August 1, 2011 June 15 – 22, 2011
Co-Conductors Co-Conductors

David Flood, Master of the


Henry Leck, St. Giles Cathedral, Edinburgh
Final Concert with orchestra at Westminster Central Hall Choristers, Canterbury
Indianapolis C. C.

Final Concert with orchestra


at Westminster Central Hall

David Flood, Master of Michael Harris, Master of the


Festival Choir Evensong Festival Concert Canterbury the Choristers, Canterbury Canterbury Cathedral Music, St. Giles Cathedral
Three Festival Choir concerts: Evensong and Evening Concert in Three Festival Choir concerts at Britain’s most historic locations of the faith:
Canterbury Cathedral plus Final Festival concert in Westminster Central St. Giles Cathedral, Edinburgh (Presbyterian), Canterbury Cathedral
Hall with orchestra! Individual concerts at St. Martin-in-the-Fields, (Anglican), Westminster Central Hall with orchestra (Methodist).
St. Paul’s Cathedral, Holy Trinity Church, Stratford Extensions to explore your denominational heritage.

Euro Arts Tours Ltd. Call Today Toll Free: 877-761-3876


3 Avenue Monet, Palm Coast, FL 32137 Email: info@euroartstours.com Web: www.euroartstours.com

Choral Journal • March 2010 27


THE EFFECTS OF
CHORAL FORMATION
ON THE SINGING VOICE

tet plan (placing singers in heterogeneous best if members of the ensemble had a voice Voice Matching
groupings of four singers each; a soprano, an in deciding the placement of voices within Voice matching is a technique developed
alto, a tenor and a bass) appears to be the the ensemble.20 by Weston Noble for use with the Nordic
preferred formation for the performance of According to Lewis Gordon, the forma- Choir at Luther College.The first step in the
four-part homophonic music.19 tion of the choir should be based on several procedure is to find two voices in a section
James Daugherty, one of the pioneers in factors: the number of singers, the balance that have a natural blend. Gradually, singers
choral acoustics, states empirical studies sug- between the parts, the abilities of the sing- are added one by one until all singers in the
gest that mixed formation does not produce ers, contrast between the individual voices, section are in one horizontal line. Noble
a noticeably better sound for the audience. and the structure of the music. He suggests says the blend must be present on both
However, experienced singers may prefer placing strong singers toward the back or sides of the singers and he has learned that
mixed over sectional formations. Daugherty next to weak singers. Soloistic voices should like voices are not always the best choices
also suggests that compatibility placement never be placed on the ends of the rows to stand next to each other. Opposites also
of voices in an ensemble could be beneficial but should be put in the middle of the rows have the potential for blend (differences in
to choirs of all ages because it encourages toward the back. He also encourages try- tone color, vibratos, etc.).25
sensitivity to the ensemble sound and allows ing several formations while rehearsing a Eckholm’s research suggests that ar-
singers to consider their own phonation. He piece: starting in a circle or semi-circle, using ranging singers so that voices are acousti-
adds that perhaps this method would work sectional formation to learn the parts, using cally matched may “enhance blend, dynamic
mixed quartets or circle within a circle to range, phrasing, and overall tone quality.” It
polish, and returning to the original plan for may also benefit vocal production, comfort,
interpretation and staging.21 and satisfaction in choral singing.26 Neil
Woodruff proposes that voice matching
reduces the vocal changes for singers in
Self-to-Other Ratio an ensemble and could possibly begin to
Sten Ternströ m discovered another reduce tensions between choral directors
acoustical phenomenon that affects the and teachers of voice because of perceived
individual singers in an ensemble. He made differences in pedagogical practices.27
several investigations into what he calls Self-
to-Other Ratio (SOR) in choral singing. The
singers in a choir apparently have definite Purpose of This Study
preferences for the balance between self- Research indicates that many factors in-
sound and others-sound.22 If spacing is too fluence choral tone and choral blend. Some
close, there is a masking of the individual of these are vowel uniformity, vibrato, choral
voice by the sound of the surrounding voices formation, strategic placement of singers, and
creating a decreased amount of auditory spacing between singers. Accordingly, this
feedback. In this situation, choristers will author conducted an investigation to deter-
push or force their voices in order to be mine the effects of choral formation (mixed
able to hear themselves. This phenomenon or sectional) and spacing (close or spread)
is described as the “Lombard” effect. The on the voices of four select singers in a select
Lombard effect occurs if the others-sound sixteen-member college ensemble. Addition-
overpowers the self-sound, causing over- ally, all sixteen singers in the ensemble were
singing, intonation problems, and vocal fa- asked questions regarding their preferences
tigue.23 However, Steve Tonkinson found that for singing in each of the four formations.
singers can be taught to resist the “Lombard” The four randomly selected individuals—a
effect with proper training.24 soprano, alto, tenor, and bass—were also
The exact amount of space that is need- asked to describe the differences, if they
ed between singers has not been clearly thought there were any, between solo sing-
determined. Research does support the idea ing and choral singing.
that spacing of twenty-four and thirty-six It was instructive to read the comments
inches provided positive comments from that the singers made about singing in the
singers in the ensemble and from the audi- different formations and about singing in
tor’s who were rating their performances. choral ensembles in general.
The four formations used in the study

28 Choral Journal • March 2010


were: sectional formation with one inch
spacing between the shoulders of the singers Table 1 Mean Ranks for Questions About Choral Formations (N=16)
(Sectional-Close), sectional formation with
twenty-four inch spacing between singers
(Sectional-Spread), mixed formation with Ease of Hearing Ease of Choral
one inch spacing between the shoulders of Choral Ease of and Blending Hearing Sound Preference
the singers (Mixed-Close), and mixed forma- Formation Singing With Section Others Preference for Singing
tion with twenty-four inch spacing between
Sectional-Close 3.1+ 2.6 3.7*+ 3.3* 3.7*+
singers (Mixed-Spread). A twenty-four inch
dowel was used to measure the spacing Sectional-Spread 2.3 1.6* 2.6 2.4 2.6
between the singers. The twenty-four inch
spacing was chosen because previous stud- Mixed-Close 3.1* 3.3* 2.1+ 2.6 2.4+
ies have determined that auditors preferred
the sound of a choir using a spacing of Mixed-Spread 1.5*+ 2.6 1.6* 1.7* 1.4*
twenty-four inches between the singers.28
r2 (16.72) (14.02) (22.27) (12.75) (25.88)
Illustration 1 shows the diagrams of the four
df =3
choral formations.
Immediately following the session all level of significance .001 .005 .001 .01 .001
sixteen choristers answered a questionnaire
regarding their preferences for singing in the
four choral formations. Each member of the Note. r2 = a version of the chi square statistic calculated by the Friedman test.
ensemble was asked to rank the four choral df = degrees of freedom.
formations from 1 to 4 (with 1 being best * and + = significant difference between means in columns indicated in post hoc
and 4 being worst) for each of the five ques- comparisons.
tions. (Table 1).
In addition, the four randomly selected
members of the ensemble answered a ques-
tionnaire regarding the differences between
solo singing and choral singing (Table 2). The
singers were encouraged to add comments
to the questionnaire.
The four selected singers’ comments
provided some interesting insights into
the way different singers approach the
differences between solo and choral sing-
ing modes. They agreed on several of the
answers. There was one item thought to be
a problem for all but the tenor: three sing-
ers felt they are asked, at times, to sing at

Illustration 1 The Four Choral Formations

Sectional-Close TTTTBBBB
SSSSAAAA

Sectional-Spread T T T T B B B B
S S S S A A A A
Mixed-Close STABSTAB
ABSTABST
Mixed-Spread S T A B S T A B
A B S T A B S T

Choral Journal • March 2010 29


THE EFFECTS OF
CHORAL FORMATION
ON THE SINGING VOICE

Table 2 Answers to the Questionnaire Given to the Four Selected Singers

How do you classify your voice? How many years of private voice instruction?

Soprano – An average size voice 8


Alto – An average size voice 3
Tenor – A big voice 3½
Bass – A big voice 6

Do you place or focus your tone while singing in the choir in the same way you do while singing a solo?

Soprano – (often) “It really depends on the type of music I am singing”


Alto – (seldom) “We are encouraged to sing with a straighter, smaller tone and volume in choral singing.”
Tenor – (always) “In choral singing I’m always trying to blend and hold back because I stick out easily.
In solo singing I just let my voice go.”
Bass – (seldom) “I focus on straight tone and working with less vibrato in choral singing.”

Do you use the same dynamic levels of forte or mezzo forte in the choral ensemble that you use in solo singing?

Soprano – (often)
Alto – (never)
Tenor – (seldom)
Bass – (seldom)

Are you asked to sing at dynamic levels that are too soft to be sung in an efficient manner while in a choral ensemble?

Soprano – (often)
Alto – (often) “I feel that sometimes to achieve a smaller, more blended choral sound, I have to use much
less of my voice than would be acceptable in solo singing.”
Tenor – (seldom)
Bass – (often) “At times I have a hard time sustaining soft dynamics above a certain high range in my voice.”

Private voice study improves my ability to perform in the choir.

Soprano – (strongly agree)


Alto – (strongly agree) “Private study helps me learn to use my voice - differentiation between solo and
choral techniques is important to healthy singing.
Tenor – (agree)
Bass – (agree)

If there is a voice that does not seem to blend with the ensemble? How often do you think the voice to be of
someone who has had formal voice lessons?

Soprano – (no answer)


Alto- (often) “A person with formal training may sometimes be unwilling to relinquish vocal color and
beauty for the good of a more blended choral sound.”
Tenor – (often)
Bass – (often) “A lot of people who’ve had private voice lessons are too stubborn to tone down their
voices and blend.”

30 Choral Journal • March 2010


If a balance or blend problem is caused by a trained singer, it is usually because

Soprano – the singer will not change his/her individual vocal style
the singer is not aware that he/she has a problem
Alto – the singer will not change his/her individual vocal style
Tenor – the singer is uncertain about how to sing in choir
Bass - the singer will not change his/her individual vocal style

I am able to participate in choir with little or no affect on my individual vocal technique.

Soprano - (agree)
Alto - (strongly disagree)
Tenor - (don’t know)
Bass - (agree)

Does singing with a straight tone cause vocal problems for you?

Soprano - (seldom) “I don’t have a heavy vibrato, so it doesn’t really bother me.”
Alto - (often) “I find that because I sing in straight tone so much in choir, this sneaks into my solo singing.”
Tenor - (seldom) “Sometimes it’s difficult to switch between solo singing and choral singing.”
Bass - (seldom) “At times it can wear my voice out a little quicker.”

There is a way to sing a “straight tone” that will not cause vocal problems.

Soprano - (strongly agree)


Alto - (don’t know)
Tenor - (agree) “I don’t exactly know what it is.”
Bass - (agree) “with the correct air flow it doesn’t cause problems”

What do you think is the best method that can be used to achieve choral blend?

Soprano - “listening to the people around you and making sure you don’t stick out. Also vowel modification.”
Alto - “placing singers so that they can hear all parts and thereby encourage a beautiful sound”
Tenor - “mezzo piano straight tone”
Bass - “singers who are willing to adjust their voices and listen to each other.”

Briefly comment about how you think singing in choir affects your voice and/or your overall musicianship.

Soprano - “I believe singing in choir has helped me to greatly improve in sight-reading. Choir also makes
me more aware of rhythmic accuracy. Although at times my voice becomes tired from over-singing,
singing in choir has strengthened my voice because I have grown accustomed to using it more often.”

Alto - “Singing in choir benefits my musicianship because I am introduced to new styles and technical
challenges, but it hurts my voice in that holding it straight for an extended period of time seems to
have a tiring effect on my voice.”

Tenor - “Sometimes I think it makes my voice slightly weaker.”

Bass - “I think it makes me a better singer because I am able to work and blend with others to achieve
great music.”

Choral Journal • March 2010 31


THE EFFECTS OF
CHORAL FORMATION
ON THE SINGING VOICE

dynamic levels that are too soft to be sung not seem to “blend with the ensemble, it is good of a more blended choral sound.’ ”
in an efficient manner in a choral ensemble. often thought to be the voice of someone All the singers except the alto thought
Additionally, they all concurred that private who has had formal voice lessons, because that singing with a “straight tone” did not
voice study improves their ability to sing in these singers can sometimes be ‘unwilling cause problems for them, and that there
the choir, and that if there is a voice that does to relinquish vocal color and beauty for the is a way to sing a “straight tone” that will
not cause vocal problems. All four selected
singers said singing in the choir has had a
positive effect on their musicianship and
sight-reading skills.
University of Kentucky 2010 Summer Choral Workshop
Summary
From the singers’ comments, it appears
that they have experienced differences in the
techniques used while singing in the choir
and those used when singing in the private
voice studio. The comments also suggest
that some singers, for whatever reason, are
sometimes unwilling to modify their singing
style in order to blend with the choral en-
semble. Perhaps acknowledging that choral
singing and solo singing are two different
modes of vocal performance and giving
students “permission” to explore different
June 13–15, 2010 • Lexington, Kentucky singing techniques would help eliminate
some of the problems these students have
experienced with respect to blend.
The members of this ensemble were
accustomed to singing in many different
formations. Therefore, it was easy for them
to consciously think about how they sang in
each of the four formations. This familiarity
would not be as easy for a group that never
changed choral formations. Therefore, the
Guest Clinician, Dr. Ann Howard Jones results of this study cannot be generalized to
Director of Choral Activities choirs who only sing in sectional formation.
Boston University
Host Clinician, Dr. Jefferson Johnson
NOTES
Director of Choral Activities
University of Kentucky 1
Thomas D.Rossing, Johan Sundberg, and Sten
Ternström̈ , “Acoustic Comparison of Voice
Use in Solo and Choir Singing” The Journal
of the Acoustical Society of America 79 (1986):
1975-1981
2
Rossing, et al, 1975– 81.
3
Royal Stanton, The Dynamic Choral Conductor
(Delaware Water Gap, PA: Shawnee Press,
Inc., 1971).
4
Rossing, et al., 1975– 81.
For more information: 5
Darryl Edwards, “Music Makers: Closing the Gr-
email jeff.johnson@uky.edu eat Divide Between Choral Conductors and
Voice Teachers,” Canadian Music Educator 46
(2005): 36–37.

32 Choral Journal • March 2010


6
Sharon Hansen, Axel Theimer, Leon Thurman, (San Diego, CA: Singular Publishing Group, Singing,” (Doctoral diss., University of
“The Cart, the Horse, and a Ride In the 2000). Missouri—Kansas City, 1990).
Choral Countr yside,” Choral Journal 41 15 25
Sandra Willetts, Beyond the Downbeat (Nashville, R. Paul Crabb, “Choral Audition Procedures of
(2001): 45–55. TN: Abbingdon Press, 2000). Six Well-Known Conductors: Webb, Noble,
7 16
Dale Moore, “A Plea for Dialogue,” NATS Journal Eckholm, 123–35 Bruffy, Carrington, Ehly, and Warland,” Choral
46 (1990): 53–56. 17
Gerald Langner, “The Placement of Singers in a Journal 42 (2002): 35– 51, 54– 58.
8
Sten Ternström, “Preferred Self-to-Other Ratios Mixed Choir,” Canadian Music Educator 43 26
Eckholm, p. 124
in Choir Singing, Journal of the Acoustical (2002): 26–29. 27
Neil Woodruff, “The Acoustic Interaction of
Society of America, 105 (1999) : 3563–74. 18
Gordon Lamb, Choral Techniques (Dubuque, IA: Voices in Ensemble: An Inquiry Into The
9
Frauke Haaseman, “Thoughts on Choral Music Sm. C. Brown Company Publishers, 1974). Phenomenon of Voice Matching and the
in America: Report of a Sabbatical Trip to 19 Arthur R. Lambson, “An Evaluation of Various Perception of Unaltered Vocal Process,”
Six American Institutions,” Choral Journal 27 Seating Plans Used in Choral Singing,” Journal (Doctoral diss., The University of Oklahoma,
(1986): 23–27. of Research in Music Education 9 (1961): 2002).
10
Robert L. Garretson, Conducting Choral Music 47– 54. 28
James Daugher ty, “Spacing, Formation, and
(Upper Saddle River, NJ: Prentiss-Hall, Inc., 20
Daugherty, 69– 75. Choral Sound: Preference and Perceptions of
1998). 21
Lewis Gordon, Choral Director’s Rehearsal and Auditors and Choristers,” Journal of Research
11
John R. Weiss, “Operatically Trained Singers Performance Guide (West Hyack, NY: Parker in Music Education 47 (1999): 224 –38.
in the Collegiate Choral Rehearsal,” Choral Publishing Co., 1989).
Journal 43 (2002): 27–33. 22
Sten Ternström, “Preferred Self-to-Other Ratios
12
Edwards, 36 –37. in Choir Singing,” Journal of the Acoustical
13
Gary L. Anderson, “The Swedish Sound,” Choral Society of America 105 (1999): 3563–74.
Journal 41, (2001): 35–39. 23
Daugherty, 69–75.
14 24
Richard Sataloff, Barbara Smith, Choral Pedagogy Steve Tonkinson, “The Lombard Effect in Choral

Do you care about choral music’s future in worship? So does ACDA.


Our art transcends the stage, classroom and sanctuary to reveal that which is most profoundly human and divine. That
intersection is the setting for “ONE SONG”—a unique, affirming learning experience designed to impact professional,
amateur and bi-vocational conductors who lead choirs in sacred spaces. Over three days we will explore the “… worthy
things” which dignify the calling of sacred music:
• Ample lab chorus time for all participants with

O n e S o n g
one-on-one conducting coaches
• Literature for “real life” situations
• Technology for learning
• Musical literacy
• Administration / Time Management
• Approaching a major work
• Rehearsal strategy
• Networking / Mentoring

Sponsored by the American Choral Directors’ Association


And
American Classic Tours and Music Festivals

October 21-23, 2010


Atlanta, Georgia
Marietta First United Methodist Church
Visit the “ONE SONG” booth at the Memphis conference in March or send an email
request to info@amclass.com for more information and registration materials.

Choral Journal • March 2010 33

You might also like