-Remember You: Mental Health in a Life Dedicated to Choral Music
-Burnout Prevention for Conductors and Their Choirs
-Breath, Body, and Being: A Yoga-Inspired Choral “Practice”
-Sound Teaching: Trauma-Informed Pedagogy in Choir
-African American Spirituals in the Public-School Choral Ensemble: Our Most Powerful Weapon Against Racism
-Singing in Hebrew
-Representation, Mentorship, and Empowerment: Insights from Contemporary Female Choral Conductors
Choral Journal
September 2021
-Utilizing the Principles of Storytelling to Design Engaging Concert Programs
-Who’s a Good Director? Dog-Training Strategies for Better Rehearsing
-How Will Your Choir be Judged? What Adjudicators Are Listening and Looking for at Festivals
-Lift Every Voice and Sing: Why African Americans Stand
-Michael Praetorius’ Nigra sum à 6: A Pedagogical Experiment
-On Resilience: A Conversation with Darla Bair
-Book Reviews
August 2021
-Samuel Barber’s Interpretation of Choral Portamento
-Inside the Choral Classroom: Advice for the First-Year Teacher (Part 2)
-A Textual Analysis of Eleanor Daley’s Requiem
-Seven Essentials for Developing Voices in Choir: Part 2
-Trends in Young Male Puberty and the Changing Voice
-Reviewing the Los Angeles Master Chorale’s Virtual Performance of Reena Esmail’s TaReKiTa
-Critical Thinking in Rehearsals
-2021 Virtual Conference Recap
June July 2021
-Performing Religious Music of the African American Experience
-Sacred Music Choral Reviews
-Daniel Friderici’s Rules for Choral Singing
-A Consideration of Marc Blitzstein’s Choral Opera, The Condemned
-Seven Essentials for Developing Voices in Choir: Part 1
-Children’s Choral Repertoire with Highlighted Pedagogical Elements
-NAXOS MusicBox Review
