-Social and Emotional Learning for Choirs
-From Matt to Matthew to All of Us: A Cathartic Transformation in Craig Hella Johnson’s Considering Matthew Shepard
-Evolving Identity: Four Works by Tarik O’Regan
-An Introduction to Jennifer Higdon’s Choral Works
-Streaming Live Music: What You Need to Know
-What’s in Your Vocal Model? Establishing a Voice Quality Ideal in the Choral Rehearsal
-Book Reviews
-Choral Journal Index for Vol 62
Choral Journal
May 2022
-Flowers Among Thorns: A Study of Indianas by Carlos Guastavino
-Rejuvenating France’s Choir School Tradition: An Interview with Mark Opstad
-Musical Moments with Philip Brunelle
-An Interview with Amanda Sprague Hanzlik
-The Informed Conductor: Score Study Considerations for the Beginning Conductor
-International Conductor Exchange Program Relaunches
-2022 Summer Festival and Workshop Listings
March/April 2022
-Music and Meditation in Michael McGlynn’s O Maria
-Dialogue with Five Contemporary Canadian Choral Composers
-Attention or Autopilot? Motor Learning and the Choral Warm-up
-We Hold These Truths
-Operationalizing Your Diversity Goals through Repertoire Selection
-Connecting with Our Student Members
-IJRCS Volume 9 Abstracts
-Book Reviews
February 2022
January 2022
November/December 2021
-Healthy Minimization of Vibrato: An Exploration of “Straight Tone”
-Examining Choral Music with a Rhetorical Perspective
-American Christian Orthodox Choral Music
-Encouraging Participation in Choral Ensembles
-Reinforcing Fundamentals through Gesture
-Consider Getting the Blues
-Repertoire Recommendations
-An Interview with Terry J. Barham
-Maintaining Boys’ Interest in Singing
