-George Walker: His Story, His Song, His Legacy
-Heinrich Schütz: Choral Composer Extraordinaire
-Lesser-Known or Infrequently-Performed Choral Works of Ralph Vaughan Williams
-Culturally Responsive, Relevant, and Sustaining Pedagogies
-Book Reviews
-Choral Reviews
Choral Journal
September 2022
-Salamone Rossi’s Synagogue Motets: The 400th Anniversary
-Morten Lauridsen’s I Will Lift Up Mine Eyes: A Meditation on Psalm 121
-Sacred Choral Music Reviews
-Community and Collaboration through Choral Music: Reflections of Three ACDA
-Repertoire & Resources
-How to Live Long and Prosper as a Choral Music Educator
-Lift Every Voice Mentoring Program: A Reflection
-Film Review: “The Choir and Conductor”
June/July 2022
-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
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
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