LEREW Thomas E ProQuest Submission No 2

PROGRAMMING FOR SUCCESS: A STUDY OF REPERTOIRE SELECTION
PRACTICES BY UNDERGRADUATE-FOCUSED, RELIGIOUSLY-AFFILIATED,

COLLEGIATE CHORAL PROGRAMS NATIONALLY RECOGNIZED FOR
PERFORMANCE EXCELLENCE
by
Thomas Edward Lerew
__________________________
Copyright © Thomas Edward Lerew 2016
A Document Submitted to the Faculty of the
FRED FOX SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
2016
THE UNIVERSITY OF ARIZONA
GRADUATE COLLEGE
As members of the Document Committee, we certify that we have read the document
prepared by Thomas Edward Lerew, titled Programming For Success: A Study of
Repertoire Selection Practices By Undergraduate-Focused, Religiously-Affiliated,
Collegiate Choral Programs Nationally Recognized For Performance Excellence and
recommend that it be accepted as fulfilling the document requirement for the Degree of
Doctor of Musical Arts.
_______________________________________________________________________ Date: May 5, 2016

Bruce Chamberlain
_______________________________________________________________________ Date: May 5, 2016

Donald Hamann
_______________________________________________________________________ Date: May 5, 2016

John Brobeck
Final approval and acceptance of this document is contingent upon the candidate's
submission of the final copies of the document to the Graduate College.
I hereby certify that I have read this document prepared under my direction and
recommend that it be accepted as fulfilling the document requirement.
________________________________________________ Date: May 5, 2016

Document Director: Bruce Chamberlain
2
STATEMENT BY AUTHOR
This document has been submitted in partial fulfillment of the requirements for an
advanced degree at the University of Arizona and is deposited in the University Library
to be made available to borrowers under rules of the Library.
Brief quotations from this document are allowable without special permission,
provided that an accurate acknowledgement of the source is made. Requests for
permission for extended quotation from or reproduction of this manuscript in whole or in
part may be granted by the copyright holder.
SIGNED: Thomas Edward Lerew
3
ACKNOWLEDGMENTS
There are many individuals who have played an essential role in the completion of this
document. Though it is not possible to acknowledge everyone, I would like to express
my gratitude to the following:
The gracious participants of this study: Dr. Jeffery Ames, Dr. Ronald Staheli, Dr. Allen
Hightower, Dr. Richard Nance, and Dr. Mary Hopper.
The members of my advisory committee: Dr. Bruce Chamberlain, Dr. Donald Hamann,
Dr. John Brobeck, and Dr. Elizabeth Schauer (ex-officio).
My mother and brothers for their love and support throughout my pursuit of this degree.
My father, for his lifelong guidance, instilled values, encouragement, and continued
inspiration.
My wife, Kerry, for her unending love and patience, and for being the greatest champion
of my dreams.
Above all, my God, for the strength and focus to finish this degree and for the eternal
hope his grace provides. Soli Deo Gloria!
4
DEDICATION
To the memory of my Dad —

my inspiration, role model, and best friend,
James C. Lerew
(1950-2015)
5
TABLE OF CONTENTS
ABSTRACT....................................................................................................................10
CHAPTER 1: INTRODUCTION ...................................................................................11
Background of the Problem ................................................................................11
Need for the Study ..............................................................................................12
Statement of Purpose ..........................................................................................14
Research Questions .............................................................................................14
CHAPTER 2: REVIEW OF LITERATURE .................................................................16
Literature Related to Criteria for Repertoire Selection .......................................16
Definition of Terms ............................................................................................23
CHAPTER 3: METHODOLOGY .................................................................................26
Design .................................................................................................................26
Participants..........................................................................................................26
Procedure ............................................................................................................28
Data Analysis ......................................................................................................29
CHAPTER 4: BELMONT UNIVERSITY .....................................................................30
Description of Belmont University ....................................................................30
Description of Belmont University Choral Program ..........................................31
Background of Dr. Jeffrey Ames ........................................................................33
Summary of Participant Interview Findings .......................................................33
Summary of Concert Program Repertoire Findings ...........................................36
Consideration of Research Questions for Belmont University ...........................38
CHAPTER 5: BRIGHAM YOUNG UNIVERSITY .....................................................42
6
Description of Brigham Young University ........................................................42
Description of Brigham Young University Choral Program ..............................43
Background of Dr. Ronald Staheli ......................................................................45
Consideration of Research Questions for Brigham Young University...............49
CHAPTER 6: LUTHER COLLEGE .............................................................................52
Description of Luther College ...........................................................................52
Description of Luther College Choral Program ..................................................52
Background of Dr. Allen Hightower ..................................................................55
Consideration of Research Questions for Luther College ..................................61
CHAPTER 7: PACIFIC LUTHERAN UNIVERSITY .................................................65
Description of Pacific Lutheran University .......................................................65
Description of Pacific Lutheran University Choral Program .............................65
Background of Dr. Richard Nance .....................................................................68
Consideration of Research Questions for Pacific Lutheran University ..............73
CHAPTER 8: WHEATON COLLEGE .........................................................................77
Description of Wheaton College ........................................................................77
Description of Wheaton College Choral Program ..............................................77
7
Background of Dr. Mary Hopper ........................................................................79
Consideration of Research Questions for Wheaton College ..............................84
CHAPTER 9: RESULTS ...............................................................................................87
Research Questions Addressed ...........................................................................88
Summary of Interview Prompts ..........................................................................93
CHAPTER 10: CONCLUSIONS ................................................................................103
Connections with Previous Research ................................................................104
Professional Implications ..................................................................................106
Suggestions for Further Research .....................................................................107
APPENDIX A: NATIONAL ACDA CONFERENCE HISTORY & ........................109

INSTITUTIONAL INVITATION FREQUENCY TABLE
APPENDIX B: SURVEY INSTRUMENT .................................................................112
Preliminary Biographical Data Collection Form ..............................................112
Interview Prompts/Questionnaire .....................................................................116
APPENDIX C: INTERVIEW TRANSCRIPTS ...........................................................117
Interview with Dr. Jeffery Ames, Belmont University .....................................117
Interview with Dr. Ronald Staheli, Brigham Young University ......................125
Interview with Dr. Allen Hightower, Luther College .......................................132
Interview with Dr. Richard Nance, Pacific Lutheran University .....................147
Interview with Dr. Mary Hopper, Wheaton College ........................................161
APPENDIX D: COMPILED REPERTOIRE LISTS BY INSTITUTION ..................173
APPENDIX E: COMPILED REPERTOIRE LISTS BY ............................................256
8
COMPOSITION TITLE
APPENDIX F: SKETCHES OF SAMPLE COMMONLY ........................................311

PROGRAMMED REPERTOIRE
APPENDIX G: INDEPENDENT REVIEW BOARD MATERIALS.........................315
Independent Review Board Study Approval ....................................................315
Study Participant Invitation Letter ....................................................................317
Informed Consent Form ....................................................................................319
REFERENCES .............................................................................................................326
9
ABSTRACT
The purpose of this study was to examine the repertoire selection practices of
collegiate choral conductors at nationally recognized, religiously-affiliated,
undergraduate-focused institutions for choral music performance. Participation in the
study was determined based on the institution's history of invitational performances at the
national conferences of the American Choral Directors Association for the period 1995-
2015. The study involved a multiple case study of five Directors of Choral Activities and
their five collegiate choral ensemble programs. Descriptive data were gathered from
these five directors in the form of both concert programs of ten academic semesters and
follow-up personal interviews pertaining to the content of the concert program collected
data. The concert programs were analyzed for genre type, secular versus sacred text,
language, composer, historical era, number of times performed, and any other appropriate
commonalities. An examination of the application of repertoire selection principles
(criteria) to varying levels of musicianship proficiency was conducted and an explanation
regarding the learning purposes for each ensemble at the institutions was studied.
Commonalities in repertoire selection practices for the purposes of vocal and
musicianship growth were identified to support the scholarly literature on the subject of
repertoire selection. This included the need to engage students in the repertoire selected
by providing a balance of variety in historical era or style, genre, modality, key center,
language, meter, and tempi. The repertoire selected for performance by all five
institutions, as well as the individual conversations with the research participants, are
included in the document.
10
CHAPTER 1
INTRODUCTION
Background of the Problem
One of the basic components of the choral music education experience focuses on
the music (repertoire) selected (programmed) by the conductor. Considered by many to
function as the course textbook or course curriculum of a choral ensemble, repertoire is
an essential component in facilitating student growth as musicians and vocal
development as singers (Collins, 1993). In Conducting Choral Music, Robert Garretson
claims, "The basic consideration in planning a choral program is selection of the music
since the success of the choral programs depends to a great extent on the quality and the
appropriateness of the music performed" (1998, p. 248). In selecting repertoire for
performance, numerous criteria and considerations must be part of the choral conductor's
thinking. Veteran choral conductor Barbara Brinson notes, "To help your choirs grow as
musicians and singers, you will want to choose several selections that will cause them to
stretch their abilities" (1996, p. 57). Similarly, Kenneth Phillips claims, "Choosing music
for teaching and performance is one of the most difficult jobs for the choral conductor.
What may work with one group may not work with other groups; it remains a constant
challenge to find the right music for the right set of circumstances" (2004, p. 147).
Numerous scholarly sources have been written explaining the traditional
considerations conductors undergo when selecting repertoire for performance
programming (Cain, 1942; Davis, 1970; Garretson, 1970; Roe, 1970; Robinson &
Winold, 1976; Miller, 1988; Collins, 1993; Haasemann & Jordan, 1991; Brinson, 1996;
Phillips, 2004; Jordan, 2008). Harmonic and intervallic complexity, harmonic rhythm,
11
meter and subdivision of the macro-beat, language, text meaning, and divisi are just a few
of the technical musical considerations detailed in choral methods and conductor
guidebooks when considering performance programming.
The number of factors and considerations required in selecting repertoire in
general is extensive and specific additional criteria are applied when programmatic
considerations are employed. The application of criteria to repertoire selection highlights
a great diversity in programming philosophy among conductors. As Guy Webb
observed, "Happily, there is not a single correct path to good programming. Many
conductors produce interesting programs, yet they certainly do not all follow the same
model" (1993, p. 265). Conductors must also consider non-literature specific factors in
choosing repertoire. These may include the circumstances surrounding the purpose of the
performance, the vocal and musical strengths of the specific student singers in the
ensemble including within each section, and even the personal preferences of both the
conductor and the students (Robinson & Winold, 1976).
Few researchers have examined the application of traditional selection criteria to
repertoire within the context of a comprehensive tiered choral education organization
such as a collegiate choral program. This research seeks to bridge that gap in relation to
programs of nationally recognized, religiously-affiliated, undergraduate-focused
institutions.
Need for the Study
The purpose of this study was to examine the repertoire selection practices of
collegiate choral conductors at nationally recognized, religiously-affiliated,
12
undergraduate-focused institutions for choral music. The study is needed because there is
a dearth of scholarly literature on the application of repertoire selection practices when
practically applied to collegiate choral programs and the development of student
musicians through their choral curriculum. Many collegiate choral programs offer a
hierarchy of choral ensembles with stated educational objectives that encompass varying
levels of challenges. Few researchers have examined repertoire selection in collegiate
choral programs from the perspective of student development and the choral ensemble
structural hierarchy, and none examined practices of collegiate choral conductors at
nationally recognized, religiously-affiliated, undergraduate-focused institutions. The data
gathered through this study include the repertoire programming selections that noted
conductors/experts have used to develop nationally recognized choral programs. In
detailing the selection criteria used by choral conductors at undergraduate-focused
religiously-affiliated institutions, the conductors' rationale for selecting specific repertoire
were examined in terms of how it serves the learning objectives of the ensemble. Trends
in how each ensemble further develops the musicianship and vocal abilities of their
singers were identified.
Similarly, little has been written about the pragmatic application of the traditional
selection criteria offered in scholarly literature in terms of how that knowledge is applied
to specific choral literature. By not only collecting and examining the repertoire
selections of these select collegiate programs but also interviewing the conductors
responsible for those decisions an application of the known principles of repertoire
selection were thoroughly investigated. This study addressed research gaps by
identifying choral literature appropriate to the selection criteria of choral conductors and
13
demonstrating the use of repertoire to achieve educational objectives stated in course
syllabi.
For purposes of this study, the ensembles included in the literature compilation
and interview discussion were limited to those that are part of the official choral
curriculum at nationally recognized, religiously-affiliated, undergraduate-focused
institutions. Through the data collection process not only the specific literature chosen
for each curricular choral ensemble at five reputable collegiate choral programs but also
details of the criteria the conductor took in selecting the repertoire and the learning
purposes for developing the musicianship of students in those ensembles were examined.
Statement of Purpose
The purpose of this study was to identify the criteria choral conductors at leading
undergraduate-focused religiously-affiliated collegiate institutions use for choosing
choral repertoire for performance. The author also examined what inspires conductors of
such groups to choose the repertoire they do for achieving the learning objectives of
students in their ensembles.
Research Questions
The following research questions guided this study:
1. What criteria have choral conductors at nationally recognized, religiously-
affiliated, undergraduate-focused institutions developed for selecting repertoire?
How are those criteria represented in the repertoire the conductors have selected?
14
2. How do conductors of successful programs specifically those at nationally
recognized, religiously-affiliated, undergraduate-focused institutions feel these
criteria have aided them in selecting the repertoire that bolsters the success of
their programs?
3. What inspires conductors at nationally recognized, religiously-affiliated,
undergraduate-focused institutions to choose particular literature that supports the
development of individual musicianship skills and vocal abilities of the singers of
their ensembles?
4. What inspires conductors at nationally recognized, religiously-affiliated,
undergraduate-focused institutions to choose particular literature that supports the
development of the learning objectives stated in their syllabus/course catalog?
5. How do conductors at nationally recognized, religiously-affiliated, undergraduate-
focused institutions believe the learning objectives of each ensemble at their
school contribute to the development of their students' vocal and musicianship
abilities?
These questions yielded information pertinent to the follow issues: 1. criteria for selecting
repertoire, 2. the conductors' pedagogical rationale and philosophy in selecting repertoire,
3. the structure of each institution's choral program, 4. the learning objectives of each
ensemble in each institution's choral program, and 5. the perceived impact of program
structure on success.
15
CHAPTER 2
REVIEW OF LITERATURE
This study examined the selection practices of collegiate choral conductors at
nationally recognized, religiously-affiliated, undergraduate-focused institutions for
performance excellence. The study involved a document examination of each
institution's concert programs from the last five academic years as well as interviews with
the five leading conductors of those institutions to address the research questions guiding
this study.
No prior researchers have studied the application of specific repertoire to the
tiered ensemble structure of a typical collegiate choral program at nationally recognized,
religiously-affiliated, undergraduate-focused institutions. This chapter undertakes a
discussion of the scholarly literature on the issue of repertoire selection in its broadest
sense pertaining to conductors' rationale and the criteria used in making repertoire
selections for performance.
Literature Related to Criteria for Repertoire Selection
Authors have detailed various criteria that are used in the selection of choral
repertoire. The issue of programming for performance was discussed, but not how
selected repertoire affected student development. Other sources addressed the criteria
used by conductors in choosing repertoire. In their book Group Vocal Technique,
Haasemann and Jordan (1991) detailed the necessity for choosing repertoire for
"pedagogical effectiveness" as well as establishing a "focus on a particular concept or
concepts" rather than selecting repertoire for only aesthetic qualities. Haasemann and
16
Jordan outlined a process for instilling vocal technique in a group setting that would
ordinarily be taught in a one-on-one venue. Repertoire selections that followed the
guidelines reportedly yielded "long-term performance benefits." Haasemann and Jordan
advised choosing literature that "closely matches the technical ability of the choir" (p.
153-155).
In his 1929 article for the Music Educators Journal, Evanson listed six basic
considerations in choosing literature for the public school choral ensemble: (1) it should
use a "suitable text," (2) it should include a "variety of moods," (3) it should be
unaccompanied, (4) it should have an appropriate range for each section of the ensemble,
(5) each selection should serve to balance of performance program, and (6) there should
be selections from the major composers "so the course serves as a music appreciation
course as well" (Evanson, 1929). It is generally agreed that conductors should know why
they choose a piece of choral literature for performance. Such a rationale depends largely
on the conductor's programming philosophy — a philosophy that typically embraces both
aesthetic and pedagogical aspects. Ultimately, the choral program will reveal who you
are as a conductor (Neidig & Jennings, 1967).
Barbara Brinson (1996) affirmed that repertoire played a role in the curriculum.
She cautioned the selection of repertoire based primarily on the preferences of the
conductor. She advocated that the conductor must factor in the performance schedule as
yet another component in choosing repertoire. Brinson added that the size and vocal
maturity of a choir had a large impact on the textural complexity of the music the
conductor can choose.
17
In a chapter on "Effective Choral Programming," in the book Up Front:
Becoming the Complete Choral Conductor (Webb, 1993), G. Roberts Kolb (1993) urged
the reader to consider two issues for programming music: creating variety on the program
and creating unity in the program selections. He viewed music selection as being a
trichotomy between the audience, the needs of the singers or students, and the
gratification and fulfillment of the conductor. He viewed all three as being equal
considerations. Variety took many forms, according to Kolb, which included "musical
styles and historical periods," "moods," "languages," "keys," "difficulties," and
"performing forces." Kolb believed that all previous considerations must come together
through a unifying factor such as in a theme or through the purpose of the program.
Robinson & Winold (1976) offered a list of guidelines used in selecting repertoire
for a choral program including the selection of works that are "ideally suited for the vocal
abilities of the singers" in "various style periods to show off the choir's understanding of
and sensitivity to style" (p. 174). He also believed a program most contain pieces from at
least two languages and feature new or lesser known works. These authors stated that
conductors must select repertoire to "present the group at its best in technical facility" (p.
173). In an article for Choral Journal John Richmond (1990) argued that the choral
conductor must recognize that there are certain selections in the western canon of choral
literature that all students simply "must know" due to the historical significance and the
compositional techniques utilized in writing the piece.
Decker & Herford (1973) noted that the conductor's task in selecting repertoire
starts in knowing your ensemble and knowing yourself. They cited "personal appeal" as
the driving factor behind selection and encouraged conductors to evaluate the balance of
18
the composition in whether it was truly a composition or simply a harmonized tune. If it
was a composition, did it incorporate contrast and interest? They cite the quality of the
accompaniment (if there is one), the tessitura, rhythmic complexity, and overall
suitability as essential criteria in selection. Noble Cain (1932) and Gordon Lamb (1974)
both agreed that the conductor's first step in choosing repertoire was to develop a
thorough understanding of their ensemble. Cain stated that the conductor must know the
ensemble's "capacity" yet he went on to say that
Underestimation is one of the real obstacles to progress of American choral

societies. The conductors themselves often entertain doubt as to a certain number
and consequently hesitate to give it to the choir. The best procedure is to assume
that the choir can sing anything and then proceed to attack and devour the number
without saying anything to the choir about its difficulty. (Cain 1932, p. 58-59)
In Choral Music: Technique and Artistry, Charles Heffernan (1982) said that the
conductor's overall knowledgeability of the repertoire was paramount to being able to
select the most appropriate repertoire for one's ensemble and was developed through a
constant engagement of scores. "One of the worst things conductors can do is to limit
their study to the compositions under rehearsal at a particular time (p. 8-9)." In Teaching
Choral Music (1993) Don Collins noted that in considering audience appeal, the
conductor should factor in sociological and cultural appeal in the repertoire chosen. He
added that the difficulty of the literature should match the abilities of the singers. In
making this determination, the conductor should consider rhythmic complexities
including changes in meter and syncopations, key and mode changes, melodic features
such as melismas and disjunct leaps, the density of the texture, and the difficulty of non-
English texts.
19
Repertoire should only be selected after the pedagogical and performance
requirements have been established according to Lewis Gordon (1989) in his book
Choral Director's Rehearsal and Performance Guide. He states,
Repertoire selection is a juggling act in which several ingredients for success are
balances." He goes on to list "conductor's preferences," "educational value,"
"programmability," "singers' interests," and "audience expectations" as the pillars
of criteria for choosing literature. (p. 28)
He notes that young singers will likely favor popular music and it is up to the conductor
to determine the craftsmanship of literature in such styles. Repertoire guides have been
published in which the cataloging of repertoire, using common choral pieces as examples,
was completed (Buchanan & Mehaffey, 2005). These resources typically applied rating
systems to indicate difficulty. They did not detail pedagogical objectives nor describe
how the literature would be utilized in a comprehensive tiered choral arts organization
such as a collegiate choral program. Daniel Moe, in his chapter within Harold Decker's
Choral Conducting, (Decker 1973) explained that the conductor must have a thorough
prior knowledge of quality works. Anthony Rucker (1992) cataloged repertoire
selections of honor choirs for the southern division conferences of the American Choral
Directors Association from the period 1970-1990. In addition to his catalog, his work
drew comparative analyses detailing repertoire selection trends between southern division
and national conference honor choir program selections. Similarly, Jaime Spillane
(2004) documented the repertoire selections of senior high school all-state honor choirs
from the period 1995-2000.
Several authors have addressed the non-musical considerations that have affected
repertoire selection (Lamb, 1974; Robinson & Winold, 1976; Webb, 1993). Robinson
and Winold (1976) emphasized the importance of "knowing the individual voices of the
20
choral ensemble, understanding the purpose of the concert, defining the audience,
determining the acoustical properties of the hall (or halls if the choir is on tour), etc."
(1976, p. 172). Robinson and Winold (1976) also noted the issue of "pluralisms of
musical taste."
Brandon Johnson (2003) examined the commonalities of successful collegiate
choral programs at the undergraduate, graduate, and doctoral degree awarding level in his
doctoral dissertation. He examined the structural hierarchy of each institution's choral
program, recruitment techniques, rehearsal techniques, student enrollment, and numerous
other non-musical considerations. He gathered concert programs from each of the
schools and conducted interviews with the leading choral conducting members of the
schools. Each of the participants interviewed emphasized,
The importance of giving the undergraduates a varied and rounded introduction to

choral literature. Each of the conductors articulated the value and importance of
literature selection. The selection of literature is fundamental to the successful
recognition of each of these choral programs. Furthermore, all of the conductors
spoke regarding the necessity of selecting literature appropriate to the specific
ensemble. (p. 69)
Participants viewed the literature as one of the defining characteristics of their
institution's choral music offerings. Both of Johnson's participants, representing
undergraduate-focused institutions, noted that from their experience, audiences connected
with programmed repertoire more positively when it was clearly literature the ensemble
enjoyed performing as opposed to the conductor selecting repertoire they thought the
audience would find entertaining.
The criteria for repertoire selection as detailed above have been examined through
a number of studies at the senior high school level. Hunsaker (2007) conducted a
structured study of nationally recognized high school-level conductors concerning the
21
criteria they used for selecting repertoire. She concluded that successful senior high
school conductors' program repertoire selection was largely based on their professional
experience. The individuality of their experiences resulted in the use of a wide variety of
different criteria for repertoire selection. Some of those criteria included "good voice
leading, sound part-writing, good marriage of music and text, [and] a moving melody" (p.
184-185). Hunsaker's participants agreed that (1) the conductor must program repertoire
he/she likes and (2) they feel obligated to expose their students to music from a variety of
historical eras and styles. She also found that conductors sought to program repertoire
that highlighted their ensembles' strengths and challenged them to grow. Similarly, Guy
Forbes (2001) conducted extensive research on the issue of repertoire selection at the
senior high school level by surveying a significant population of high school choral
conductors whose programs were recognized for performance excellence. His research
led him to conclude an argument existed that "repertoire selection is and should be more
of an art than a science" and that conductors did not have a systematic approach to
repertoire selection. His participants identified “appeal to the conductor” as the most
important consideration guiding their selection of repertoire. Criteria for repertoire
selection of classical literature hinged more on the learning outcomes a piece provided
rather than its performance value. Conductors viewed balance of styles, and specifically,
a balance of classical to contemporary or popular music, as important at the senior high
school level. Forbes found that conductors were careful to program music that would
"bring quick success," and that "students will like" (p. 113).
Authors who have discussed the practices of literature selection have detailed
criteria the choral conductor should consider when making choral repertoire
22
programming choices. Few researchers have examined repertoire selection from the
perspective of student development in conjunction with the choral ensemble structural
hierarchy typical of a collegiate choral program, and none have considered repertoire
selection at nationally recognized, religiously-affiliated, undergraduate-focused
institutions. In this study a comparison of the choral criteria selection, as outlined in the
scholarly literature, will be conducted using the data gathered from choral conductors at
such institutions.
Definition of Terms
For purposes of this study, the term curricular ensemble is any choral ensemble
based in the classical tradition of choral music that is conducted by a member of the
institution's faculty. The ensemble is not required to meet the ensemble degree
requirement for students. Non-classical ensembles such as jazz or show choirs as well as
student-led choral organizations, will not be considered curricular ensembles for purposes
of this study.
The Director of Choral Activities is the member of the music faculty at a
collegiate institution that administratively oversees the choral music offerings of the
institutions music department, music conservatory, or school of music. Similar job titles
include Director of Choral Studies, Director of Vocal Studies, or Director of Vocal
Music.
Undergraduate-focused institutions do not offer terminal degree programs and
their graduate degree offerings are typically very limited. These institutions
predominantly serve undergraduate students.
23
Religiously-affiliated institutions are higher education collegiate institutions that
embody religious principles as part of their institutional mission statement or statement of
purpose with the intent of attracting prospective students interested in educational
opportunities that center on the stated faith background. These collegiate institutions
often advertise an official affiliation with a religion or religious denomination.
The concept of a feeder ensemble or feeder program is seen in the progression of
course pre-requisites and assumes that a student must achieve a pre-determined level of
proficiency before successfully auditioning into an ensemble that requires a higher level
of proficiency and skill.
Repertoire is the music the choral ensemble prepares for performance.
Repertoire selection is the process and act the conductor undergoes to choose
what repertoire is rehearsed and performed with his/her ensemble.
Selection criteria are the factors the conductor takes into consideration when
selecting repertoire. The pedagogical rationale for selecting repertoire details the
learning objectives the conductor intends for his/her students.
Solfege is a system of applying certain solmization syllables (Do, Re, Mi, Fa, Sol,
La, Ti) to scale degrees of a particular key or mode. Moveable "do" is altering the
syllables applied to a specific pitch class based on the pitch class of the tonic. La-based
minor is following the practices of moveable "do" but allowing for the syllable "la" to
function as the tonic when the key is in a minor mode rather than the traditional "do"
syllable serving as the tonic as it does in a major mode.
24
Scale degree numbers is another solmization system that assigns an Arabic
number to a diatonic scale degree whereas "one" would be assigned to the tonic, "two" to
the supertonic, etc.
Takadimi is a solmization system that assigns syllables to certain beat functions.
The beginning of every beat is assigned "Ta." In simple meters, the beat is subdivided
into fourths as Ta-ka-di-mi. In compound meter, the beat is subdivided into sixths as Ta-
va-ki-di-da-ma.
25
CHAPTER 3
METHODOLOGY
Design
undergraduate-focused religiously-affiliated collegiate institutions directors use for
choosing choral repertoire for performance. The author also examined what inspired
conductors of such groups to choose the repertoire they did for achieving the learning
objectives for students in their ensembles.
Approach
This study involved a multiple case study of five Directors of Choral Activities
and their five collegiate choral ensemble programs. Descriptive data were gathered from
these five directors in the form of both concert programs of ten academic semesters and
follow-up personal interviews pertaining to the content of the concert program collected
data. The concert programs were analyzed for genre type, language, composer, historical
era, and general difficulty.
Participants
In order to ensure homogeneity among study participants, subjects selected for
this investigation were chosen from religiously-affiliated, undergraduate-focused
institutions invited to perform for the national conference of the American Choral
Directors Association. The participants from such nationally recognized, religiously-
affiliated, undergraduate-focused institutions in the United States were music professors
26
who specialize in choral conducting, choral music performance, and choral music
education and typically bear institutional position titles such as "Director of Choral
Activities," "Director of Choral Studies," or "Director of Vocal Music."
The participants were identified and selected based upon the number of occasions
their institution have been invited to perform at the national conference of the American
Choral Directors Association — an authoritative professional organization for choral
music in the United States. A frequency table was constructed for the period 1995-2015,
examining the last eleven (11) conference schedules to determine which institutions had
been invited most frequently. Based on the results of the frequency table, the principal
researcher contacted the individual holding the title Director of Choral Activities (or its
equivalent) at the institution with an invitation to participate in the study.
In order to participate in the study, the individual had to be willing to both provide the
concert program documents of each of his/her institution's curricular choral ensembles for
the last five academic years (10 semesters) from the Fall 2010 to Spring 2015 as well as
participate in a 30-60 minute interview with the principal researcher. The process of
identifying potential participants began in May 2015 and participation invitation letters
along with the Informed Consent Form were distributed shortly thereafter. The
recruitment process took place in the months of May, June, and July, 2015 and the
collection of data and interview process was completed by December 31, 2015. The
collection of past concert program data was conducted both electronically using
university-sponsored e-mail and in paper through the postal service. Once the concert
programs were received, reviewed, and compiled, the interviews with the human
participants was scheduled.
27
Procedure
The study included interviews with five (5) participants and utilized quantitative
and qualitative research methods including:
1. a survey of the demographic and biographical details of the institution,
Director of Choral Activities, and their ensemble offerings,
2. a survey compiling the choral literature selected for performance,
interviews with the Director of Choral Activities on the criteria for
repertoire selection, and
3. a document examination of the selected repertoire and interview
transcripts to ascertain trends in pedagogical rationale behind the
repertoire selection.
A compilation of each institution's chosen repertoire of the last five years
combined with directors' comments from the interviews was examined to ascertain trends
in programming decisions and the impact of those programming decisions in building or
maintaining a collegiate choral program nationally recognized for excellence.
The principal researcher held the interviews via telephone or online video chat
(using Skype and/or Apple FaceTime software). The interviews were structured as noted
in the attached Survey Questionnaire/Instrument. Results were compiled. Participants
that agreed to take part in the study were asked to first complete the Informed Consent
Form and the Preliminary Biographical Data Collection Form found in Appendix F of
this document. Prior to seeking consent, the principal researcher explained the purpose
28
of the study, the procedure for completing the study, including how the principal
researcher would handle the concert program data and utilize responses provided by
participants during the interviews. Each participant was informed that data would not be
masked or coded to conceal identity. However, any and all personal information received
outside the components listed above would remain strictly confidential. Each participant
had the opportunity to review his/her interview transcript to ensure that nothing in the
document would impact his/her employment standing. Upon completion of the study, it
was conveyed that the audio recordings of all interviews would be destroyed. Each
participant was also informed of the timeline for publishing the results of this study and
the participants were guaranteed a copy of the findings.
Data Analysis
Data were analyzed using descriptive techniques using the information gathered
from the Survey Questionnaire/Instrument. These data were gathered through Skype,
FaceTime, and telephone interviews. Results were compiled in the form of interview
transcripts and an examination of the concert program data and analyzed for answers to
the governing research questions of this study.
29
CHAPTER 4
BELMONT UNIVERSITY
Description of Belmont University
Located in Nashville, Tennessee, Belmont University is a private, four-year, not-
for-profit liberal arts university. Belmont describes itself as a "Christian" institution with
no official denominational affiliation. The institution was founded in 1951 with the
support of the Tennessee Baptist Convention as Belmont College and became Belmont
University in 1991. Belmont University offers over 80 areas of undergraduate study, 22
graduate programs, and 5 doctoral degrees to its student body of approximately 7,300
students and is supported by a 13:1 faculty student ratio. The student body is comprised
of 61% female and 31% male who represent all 50 states. Among the university's many
accreditations is the National Association of Schools of Music.
Belmont's School of Music prides itself on equally excellent training programs in
the traditional classical and commercial business music curricula. It is home to
approximately 650 music degree-seeking students. Belmont offers bachelor of music
degrees in church music, commercial music, composition, musical theatre, music therapy,
music performance, piano pedagogy, and music theory; a bachelor of fine arts degree in
musical theatre; a bachelor of arts in music, and a music minor. It offers master of music
degrees in church music, commercial music, composition, music education, piano and
vocal pedagogy, and performance.
30
Description of Belmont University Choral Program
The Belmont University choral program is housed within the university's school
of music. Of the 14 vocal ensembles, five traditional or classical curricular choral
ensembles are offered which are composed of approximately 400 student singers, 100%
of which are music majors. It was estimated, by the survey respondent, that about 80%
of music students are music performance oriented and would be considered performance
majors at other institutions, 10% are preparing to be music educators, and 10% intend to
use their degree for a purpose other than performance or music education. The School of
Music draws a clear distinction between the classical/traditional choral ensembles and the
commercial choral ensembles which focus on non-classical styles such as pop, show
choir, vocal jazz, musical theater, opera, and contemporary a cappella music.
The flagship classical choral ensemble of Belmont University is the Belmont
University Chorale. Directed by Dr. Jeffery Ames, Director of Choral Activities, the
Chorale is the oldest choral ensemble of Belmont and is a mixed choir of 56 singers
comprised of sophomore, junior, senior, and graduate students. A commitment to
participation in both academic semesters of the school year is required prior to an
audition. University Chorale participants tour annually throughout the United States and
have often performed internationally. The ensemble rehearses five days a week for one
hour per rehearsal.
Chamber Singers is directed by Dr. Deen Entsminger and is a mixed ensemble
comprised of approximately 24 singers. The ensemble rehearses for an hour two days per
week and does not use piano in rehearsal. Each singer is provided a tuning fork with
31
which they are directed to find pitches. Dr. Entsminger, though conductor of the
ensemble, sings as a member of the ensemble in performance.
Women's Choir is directed by Dr. Lesley Mann and is an all-women singer
ensemble of approximately 145 singers. The ensemble performs two to three times each
semester both on and off campus. Women's Choir is a required course for all first-year
female vocal majors, but is open to all female singers within the university. The
ensemble rehearses for one hour three days per week during the same hour of the day as
University Singers.
University Singers is directed by Dr. Jane Warren and is a mixed ensemble of
approximately 130 singers. The ensemble performs frequently both on and off campus.
University Singers is open to all singers of the university, but is comprised of primarily
first-year men, transfer students, and female singers from the Women's Choir. The
ensemble rehearses for one hour three days per week during the same hour of the day as
Women's Choir.
Oratorio Chorus is directed by Dr. Jeffery Ames and is a mixed ensemble of
approximately 200 singers. The ensemble's focus is the performance of works with
orchestral accompaniment. Participation is a requirement for every music degree
program. The ensemble rehearses one time each week for one hour and fifteen minutes
per rehearsal with additional rehearsal scheduled as necessary in the weeks prior to
performances. The ensemble is not auditioned but requires instructor permission for
participation if the student is not already enrolled in another choral ensemble.
32
Background of Dr. Jeffrey Ames
Dr. Jeffery Ames, is an Assistant Professor of Music and Director of Choral
Activities at Belmont University. Prior to Belmont, Dr. Ames was the Assistant Director
of Choral Activities at Baylor University and taught choral music at Edgewater High
School and Lincoln High School, both located in Florida. Dr. Ames has directed honor
choirs of all types throughout the United States. In addition to his work as a conductor,
he is an accomplished collaborative pianist and composer. His compositions and
arrangements are published by Colla Voce, Earthsongs, Santa Barbara Music, and Walton
Music. Dr. Ames holds the Bachelor of Music degree in vocal performance and piano
accompanying from James Madison University, and both the Master of Music Education
and the Doctor of Philosophy in choral conducting/choral music education from Florida
State University. Dr. Ames has taught for a total of ten years in higher education with
seven of them being at Belmont University.
Summary of Participant Interview Findings
The data collected from Belmont University included concert programs for the
ensembles Chamber Singers, Oratorio Chorus, University Chorale, University Singers,
and Women's Choir as well as interview survey responses from Dr. Jeffery Ames. Prior
to the interview, preliminary information regarding the structure of the institution's choral
program and Dr. Ames's educational and professional background was gathered using the
Preliminary Biographical Data Collection Form via the forms function of Google Drive.
Nearly 400 titles were collected from Belmont University's concert programs and
examined for commonalities in conjunction with the information provided in the
interview with Dr. Ames.
33
Dr. Ames believed that not only the structure of the program but the strong
tradition of music education, particularly in terms of music literacy, were key
components to the program's successes. He explained that he and his colleagues simply
prioritized developing music literacy at the very beginning of students’ college careers.
Vocal techniques to facilitate music reading skills included traditional tonal solfege
combined with Curren hand signs and the "takadimi" system of rhythm solfege. Even in
the more advanced auditioned ensembles, both tonal solfege and "takadimi" syllables
were preferred when rehearsing difficult musical passages. In addition to music literacy,
vocal development and musicianship were areas in which training emphasis was placed,
particularly in terms of phrasing, dynamics, articulations, and a varied palette of tone
colors. All music degree-seeking students sang with Dr. Ames in the Oratorio Chorus at
some point in their degree program. Dr. Ames viewed Oratorio Chorus as a unifying
force for the choral curriculum and that it served to provide practical application of the
skills students learned in their aural skills and music theory classes.
The hierarchy of ensembles was complicated by the commercial aspect of
Belmont University's School of Music offerings. Dr. Ames viewed the school as having
two distinct sides — the traditional classical side that was comparable to most other
collegiate schools of music and the commercial music side indicative of Belmont's
Nashville, Tennessee locale. The ensembles performed numerous stylistic works "from
bluegrass to opera." The mix of traditional and commercial music studied did not add
clarity to the University Chorale's mission but never the less was viewed as the flagship
ensemble.
34
Dr. Ames believed that he and his colleagues had a very balanced approach to
concert programming. The ensembles containing the more advanced musicians tended to
program more traditional composers like Bach, Beethoven, and Brahms, whereas
ensembles with more entry-level singers combined traditional works with new
contemporary/popular works in a "mash-up" style to make the repertoire more engaging.
Opportunities were also provided for student composers to arrange and compose works
for these choirs. In selecting repertoire for his own ensemble, Dr. Ames sought a ratio of
25 percent music that would be challenging and 25 percent that would be easy. Dr. Ames
stated that selection of the remaining 50 percent of musical works would depend on the
ability of the students in that particular school year. Dr. Ames believed maintaining that
ratio had a huge impact on the students' choral experience in his choir. Dr. Ames thought
that whether or not he liked a piece affected students' enjoyment of the work and whether
they would enjoy working on it. He combined his belief that he needed to like the
repertoire personally with what he believed students needed to round out their college
educational experience such as "Bach motets," "the Romanticism of Brahms," and "off
the wall Penderecki."
The issue of variety was also important in Dr. Ames's repertoire selection process.
Dr. Ames believed in assessing a choir's past performance history in order to determine
future directional performance agendas. Had the choir done enough early music? Had the
choir sung in the madrigal style lately? Had the choir recently prepared music of a living
composer? All of these were critical questions in his thinking. As for thematic
programming, Dr. Ames said he only pursued such programming for either one
performance per semester of the year or for multiple programs in a semester fitting into
35
one overall theme. He believed that incorporating students into that thematic scheme was
important to students being receptive to the repertoire.
Collaboration was essential to Belmont. Dr. Ames noted that collaboration
between ensembles was occurring frequently between traditional and commercial
choral/vocal ensembles as well as between choral and instrumental ensembles.
University Chorale and Women's Choir often performed together and University Singers
performed concerts with the chamber string ensemble. Dr. Ames sought collaborations
with ensembles of other institutions particularly in the musically thriving Nashville area
and with instrumental complements within the School of Music.
Dr. Ames's greatest educational experiences included conducting music that
"spoke to the heart." He considered his high school teaching experiences to be pivotal to
his approach in how he selected repertoire for his Belmont choirs. He did not believe
being a faith-based school limited the repertoire available to him but rather viewed the
repertoire available to him as being inside or outside of "the box." "For the most part
everything's going to be cool in that box. But we are also comfortable stepping out of
that box…to expose our students to material that they may have to do in the real world."
Summary of Concert Program Repertoire Findings
The concert program repertoire data that were collected were examined and
broken down into five categories. These categories include the composer of the work,
whether the selection is based on a sacred or secular text, the language of the text of the
piece, the style period/genre of the work, and whether or not the piece was performed
more than once in the period data were being collected. The style period/genre category
36
was broken down into the following subcategories: Baroque, Classical, Folk, Pop,
Romantic, Renaissance, Spiritual, World, and 20 /21 Century.

th st
A total of 226 repertoire selections were catalogued from Belmont University's
provided concert programs for the data period studied. This total excluded repeat
performances of the same title both within the same semester and throughout the entire
data examination period. A title was duplicated if the work was performed by a different
ensemble voicing such as the difference between a mixed voice ensemble and a gender-
specific ensemble. A total of 163 different composers were programmed in the data
examined. The most programmed composers included Deen Entsminger (11), G.F.
Handel (5), Z. Randall Stroope (5), Jeffery Ames (4), Will Todd (4), and Eric Whitacre
(4). Of the 226 total repertoire selections approximately 63% of their selections fell into
the category of sacred music and 37% into the category of secular music. Selections
using texts in the English language were most frequently programmed. The language
most programmed other than English was Latin, which comprised 17% of the total data
studied at or 39 selections, followed by French, at 5 selections or 0.02% of the total data,
and German, at 5 selections or 0.02% of the total data, followed by Spanish, at 4
selections or 0.02% of the total data. A total of 12 different languages were represented
in the data examined for Belmont University. The most commonly performed style
period/genre at this institution was 20 /21 Century, at 162 (or 61%) of the data studied
th st
followed by Renaissance, at 14 (or 5%) of the data studied followed by Spirituals and
World, at 11 each (or 4%) of the data studied, followed by Baroque and Romantic, at 8
each (or 3%) of the data studied. Numerous titles were performed more than once within
the same academic year. However, 11 or 5% of the total selections for Belmont
37
University were programmed more than once in different academic years within the time
period data were examined — with different students enrolled in those courses.
Consideration of Research Questions for Belmont University
Research Question 1. What criteria have choral conductors at nationally
recognized, religiously-affiliated, undergraduate-focused institutions developed for
selecting repertoire? How are those criteria represented in the repertoire the conductors
have selected?
Dr. Ames cited several criteria in selecting repertoire. In addition to the level of
overall difficulty, Ames cited rhythmic complexity, tonal complexity, mode, meter,
dynamics, phrasing, phrasing, dynamics, articulation, and tone color as consideration in
selecting repertoire. Dr. Ames also noted that exposing students to all the historical eras
and styles in relative rotation was critical to his selection process. Dr. Ames referenced a
ratio that he considered to be essential to student growth. He selected 25% of his
programmed repertoire that was simple, 50% that was right at the students' level, and
25% that was difficult and challenged the singers to grow. He thought the music he
programmed had to be repertoire to which he personally connected. Ames did not
believe he could effectively lead his students in making personal connections with
repertoire he did not have affection for himself. Dr. Ames considered the issue of variety
as detailed in research question one in developing musicianship skills and vocal abilities
of the singers of his ensembles as well.
Research Question 2. How do conductors of successful programs specifically
those at nationally recognized, religiously-affiliated, undergraduate-focused institutions
38
feel these criteria have aided them in selecting the repertoire that bolsters the success of
their programs?
Dr. Ames viewed the balanced approach to programming that conductors at his
institution showed as the primary facilitator of growth through repertoire. This involved
selecting repertoire that was equally challenging and rewarding and covered the various
genres to which students needed to be exposed at the entry-level before moving on to the
more advanced ensembles. He thought the greatest student growth came from the music
literacy and vocal development skills that were taught in the vocal warm-ups and through
the literature in particular. The entry-level ensemble, University Singers, performed
repertoire that was characterized as engaging. He described this literature as a "mash up"
— being a combination of popular music that the younger students would be drawn to
and the heavier, or more challenging, repertoire that the students would eventually
progress toward in their growth through the choral program.
Research Question 3. What inspires conductors at nationally recognized,
religiously-affiliated, undergraduate-focused institutions to choose particular literature
that supports the development of individual musicianship skills and vocal abilities of the
singers of their ensembles?
Dr. Ames referenced a ratio that he considered to be essential to student growth.
He selected 25% of his programmed repertoire that, in his estimation, was simple, 50%
that was right at the students' level, and 25% that was difficult and challenged the singers'
growth. Ames believed the music he programmed had to be repertoire to which he
personally liked. Without his own artistic connection to the repertoire, he did not believe
he could effectively bring the music to life with his students. Dr. Ames considered the
39
issue of variety important in developing musicianship skills and vocal abilities of the
singers in his ensembles.
that supports the development of the learning objectives stated in their syllabus/course
catalog?
Dr. Ames attributed the balance in repertoire selection between pop and
traditional classical repertoire in achieving curricular aims. He sought to expose students
to all styles and genres of choral literature, including all the western music historical eras
as well as music from living composers. From entry-level ensembles up through his
flagship ensemble, students were challenged to develop vocal and musicianship skills in
daily rehearsals. By facilitating such growth, students gained the necessary skills to
audition and progress into advanced ensembles.
Research Question 5. How do conductors at nationally recognized, religiously-
affiliated, undergraduate-focused institutions believe the learning objectives of each
ensemble at their school contribute to the development of their students' vocal and
musicianship abilities?
Dr. Ames noted that all choral faculty at Belmont University used tonal and
rhythmic solmization systems (such as solfege) in developing music reading abilities.
Instruction was adapted to the level of proficiency of first-year students as the skill sets
they brought to the beginning of their degree varied from year to year. Dr. Ames
believed that the requirement that all music degree-seeking students had to participate in
40
multiple semesters of the Oratorio Chorus, an ensemble he conducted, was a unifying
experience for their growth as choral musicians and vocalists.
41
CHAPTER 5
BRIGHAM YOUNG UNIVERSITY
Description of Brigham Young University
Founded in 1875, Brigham Young University is a private, four-year, not-for-profit
institution serving over 30,000 students. The university's principles and practice are
grounded in their affiliation with The Church of Jesus Christ of Latter-day Saints and is a
formal function of its Church Educational System. Though it has five substantial
campuses, its primary campus and home of the School of Music is in Provo, Utah.
Among its many accreditations is the National Association of Schools of Music.
Brigham Young University offers 180 baccalaureate degree disciplines, 60 graduate
programs, and 25 doctoral programs and is supported by a 19:1 student faculty ratio. The
student body's gender make-up fluctuates greatly year-to-year. Presently, it is 54%
female and 46% male.
BYU's School of Music, a part of the College of Fine Arts and Communication,
includes 700 music majors, 50 full-time, and 50 part-time faculty. The school offers a
bachelor of music degree in commercial music, composition, music education, and music
performance. Additionally, they offer a bachelor of arts degree in dance and a music
minor. Graduate degrees include master of arts degrees in music education and
musicology, and master of music degrees in composition, conducting, music education,
and performance.
42
Description of Brigham Young University Choral Program
The Brigham Young University choral program is housed within BYU's School of
Music and consists of five traditional/classical curricular choral ensembles, one vocal
jazz ensemble, and one all-male contemporary a cappella ensemble. The program
provides a choral experience to approximately 900-1000 total student singers each
semester. According to the study participant about 50% of student singers are pursuing a
degree in music. Approximately 50% of those are studying music performance, 20%
music education, and 20% in yet another music discipline. In addition to their regular
performance schedule, choirs are often invited to contribute music to meetings of the
Church of Jesus Christ of Latter-Day Saints General Conference and university special
events.
BYU Singers is the flagship performing choral ensemble of Brigham Young
University. The ensemble was directed by Dr. Ronald Staheli, then Director of Choral
Activities, during the time period data were being collected for this study and is now
directed by Dr. Andrew Crane who was appointed Director of Choral Activities
following Dr. Staheli's retirement. The ensemble rehearses five days per week; three
days a week for one hour per rehearsal and two days per week for an hour and twenty
minutes per rehearsal, all during the school day. This internationally renowned ensemble
prides itself on a diverse repertory and its extensive touring history both throughout the
United States and internationally. The BYU Singers represented the university at the
national conference of the American Choral Directors Association in 2005 and 2011.
Concert Choir is directed by Dr. Rosalind Hall and is a highly competitive
auditioned mixed ensemble composed of approximately 90-100 singers. The ensemble
43
rarely tours but performs extensively on campus and in the local community. The
ensemble prides itself on its diverse repertoire and successful album recordings. The
ensemble rehearses four days per week; three days a week for one hour per rehearsal and
one day a week for an hour and twenty minutes, all during the school day.
Men's Chorus is directed by Dr. Rosalind Hall and is an auditioned men's-only
ensemble composed of approximately 175-185 singers. Only a small portion of the
ensemble is comprised of music-degree seeking students. The ensemble rehearses four
days per week; three days a week for one hour per rehearsal and one day a week for an
hour and twenty minutes, all during the school day. Founded in 1958, the BYU Men's
Chorus is considered one of the largest all-male choral ensembles in the United States.
Women's Chorus is directed by Prof. Jean Applonie and is an auditioned
women's-only ensemble composed of approximately 170-180 singers. A commitment to
at least two semesters is required in order to audition. The ensemble rehearses four days
per week; three days a week for one hour per rehearsal and one day a week for an hour
and twenty minutes, all during the school day. The Women's Chorus prides itself on its
versatile repertoire and sensitive musicianship. The BYU Women's Chorus represented
the university at the national conference of the American Choral Directors Association in
2015.
University Chorale is a non-auditioned choir that rehearses in two course sections
and operates independently as two different choirs. Directed by Dr. Paul Broomhead,
one section meets three days per week for one hour per session during the school day and
the second section meets two days per week in the evening for and hour and a half per
44
rehearsal. Each section has one performance at the end of each semester. Combined, the
two sections are composed of 450-500 singers.
Background of Dr. Ronald Staheli
The Director of Choral Activities of Brigham Young University was Dr. Ronald
Staheli, Professor of Music, Director of Choral Activities, and Director of Graduate
Studies in Choral Music. Dr. Staheli retired in May 2015 but led the choral program for
the data examination time period this study covered. Dr. Staheli holds the Bachelor of
Music degree in piano performance and music theory from Brigham Young University,
and the Master of Music and Doctor of Musical Arts degrees in choral music from the
University of Southern California where he studied with Dr. Charles Hirt. He has
lectured and conducted choirs and choirs with orchestra throughout the United States and
the world both as a guest conductor and in tours with the BYU Singers. In addition to his
work as a conductor, Dr. Staheli has published numerous choral arrangements and
recorded over eight CD albums with the BYU Singers. Dr. Staheli's tenure at Brigham
Young University lasted for 37 of his 40 years of collegiate teaching.
The data examination for Brigham Young University included concert programs
for the ensembles BYU Singers, Concert Choir, Men's Chorus, University Chorale, and
Women's Chorus as well as an interview with Dr. Ronald Staheli based on the survey
instrument. Prior to the interview, preliminary information regarding the structure of the
institution's choral program and Dr. Staheli's educational and professional background
was gathered using the Preliminary Biographical Data Collection Form via the forms
45
function of Google Drive. Nearly 600 titles were collected from Brigham Young
University's concert program and examined for commonalities in conjunction with the
information provided in the interview with Dr. Staheli.
Dr. Staheli felt strongly that the combination of program structure and the mutual
support and collegiality of the choral faculty at Brigham Young University were the
driving forces in the program's success. The faculty frequently conducted each other's
ensembles and were in constant communication about their approaches to choral music in
their rehearsals, issues they encountered in their rehearsals including individual students,
and mutual goals. He believed that because they took such similar approaches to the
choral rehearsal and music-making process that the musicianship training process of
students, through the choral experience, was strengthened. Dr. Staheli called this an
"intentional" approach to leading the choral program and maintaining his relationship
with his colleagues.
Dr. Staheli also noted that even though he did not conduct other ensembles, all
students had already worked with him in a variety of music-making settings by the time
they reached the point in their college career that they joined BYU Singers. Dr. Staheli
viewed the development of musicianship to be a constant process from the entry-level
choirs of University Chorale, and the men's and women's choruses up through Concert
Choir to BYU Singers as conductors sought to build "tone production and good musical
skills."
Collaboration between ensembles centered on joint concerts that included
combined numbers and choral-orchestral large works where the choral ensembles
merged. A choral program goal was to undertake a choral-orchestra large work project
46
once each academic year in the spring semester. Dr. Staheli believed that joint
performances built spirit and allowed for the more advanced choirs to model
musicianship and "ensembleship." He prided himself on the fact that choir members
often attended other choirs' concerts.
Dr. Staheli believed a good choral program and quality choral literature went
hand in hand. Developing a highly sophisticated ensemble and individual musicianship
did not necessarily require limitations on style or genre particularly at the entry-level
choirs. As students were just beginning to be trained, variety and the inclusion of "light
things" actually stimulated the learning process in his view. However, all music had to
be of the "highest quality." Dr. Staheli viewed music of the highest quality as repertoire
that communicated meaning and was of "good substance" and "integrity" regardless of
performance length or difficulty. He used the concept of "good substance" to encompass
technical considerations detailed in the background of the problem in Chapter 1.
Communication of meaning was integral to the purpose of the program and was the
genesis for the repertoire selection process. Dr. Staheli prioritized the development of the
program as a whole over the individual numbers selected.
Variety within a concert program was also a priority. For Staheli, variety
manifested itself in changes in accompaniment, changes in tempi, and style. "Finding the
core of the program is not hard for me," he said. "It's always finding those pieces that
complement what I've already decided is the core that will make a logical, unified
program." He believed each program must have "good hors d'oeuvre, a good salad, good
soup, a wonderful main dish, and a great dessert." Dr. Staheli's use of thematic
47
programming was limited and only as it pertained to the core pieces of the program with
which he began the repertoire selection process.
The concert program repertoire data collected were examined and broken down
into five categories. These categories included the composer of the work, whether the
selection was based on a sacred or secular text, the language of the text of the piece, the
style period/genre of the work, and whether or not the piece was performed more than
once in the period data were being collected. The style period/genre category was broken
down into the following subcategories: Baroque, Classical, Folk, Pop, Romantic,
Renaissance, Spiritual, World, and 20 /21 Century.

th st
A total of 591 repertoire selections were catalogued from Brigham Young
University's provided concert programs for the data period studied. This total excluded
repeat performances of the same title both within the same semester and throughout the
entire data examination period. A title was duplicated if the work was performed by a
different ensemble voicing such as the difference between a mixed voice ensemble and a
gender-specific ensemble. A total of 358 different composers were programmed in the
data examined. Most programmed composers included Mack Wilberg (17), Ronald
Staheli (13), John Rutter (12), Howard Helvey (10), and Johannes Brahms (8). Of the
591 total repertoire selections approximately 66% of their selections fell into the category
of sacred music and 34% into the category of secular music. Selections using texts in the
English language were most frequently programmed. The language most often
performed other than English was Latin, comprising approximately 93 (or 16%) of the
48
data studied, followed by German, containing approximately 14 (or 2%) of the data
studied, followed by Hebrew, consisting of approximately 10 (or 2%). A total of 13
different languages were represented in the data examined for Brigham Young
University. The most commonly performed style period/genre at this institution was
20 /21 Century, at 430 (or 73%) of the data studied, followed by Folk at 29 (or 5%) of
th st
the data followed by World at 23 (or 4%) of the data, followed by Spirituals at 22 (or 4%)
of the data studied. Numerous titles were performed more than once within the same
academic year. However, 13 or (2%) of the total selections for Brigham Young
University were programmed more than once in different academic years within the time
period data were examined — with different students enrolled in those courses.
Consideration of Research Questions for Brigham Young University
have selected?
Dr. Staheli claimed that repertoire must be of the "highest quality." He added that
he considered variety in tempi, key center, mode, and textual message in selecting
repertoire for his ensembles to perform. Students in entry-level choirs should be exposed
to just as many styles and genres as more advanced choirs, according to Dr. Staheli, but
that repertoire must be engaging by being less difficult. Staheli believed that simpler
music still had to be of high quality. Dr. Staheli viewed the message of the text and
effectiveness of how the composer set the text as the highest priority in selecting
49
repertoire. The piece had to "have something to say" and he built his programs based on
the concepts to be communicated through the repertoire selections.
their programs?
Dr. Staheli claimed that quality repertoire and successful choral programs go hand
in hand. Choral music had to have substance and a clear meaning or message in order for
the conductor and students to jointly successfully present the music to the audience
according to him. Students struggled to give good performances of music that laced
"good substance." Dr. Staheli considered all the criteria discussed in research question
number one in making his repertoire selections. He believed that the hierarchy of the
program structure was enhanced by the collaborative relationships of all the conductors in
his choral program. Explaining that the choral faculty all sat in on each other's rehearsals
and regularly contributed comments and observations in the middle of rehearsal Dr.
Staheli added that they often conducted each other's ensembles in rehearsals and
performances. Such a practice allowed students to work with multiple conductors and to
experience him before every auditioning for BYU Singers.
50
Beyond selecting repertoire that engaged the students, little was discussed about
the development of individual musicianship skills and vocal abilities of singers in BYU
ensembles. Conductors of entry-level ensembles sought to build "tone production" and
"good musical skills."
catalog?
The learning objectives of all ensembles at Brigham Young University were to
increase the overall skill level of individual students. For the choral program as a whole,
conductors relied on joint performances, such as their choral showcase performances in
the fall, and merging ensembles in the spring to pursue choral-orchestral large works.
According to Dr. Staheli, these opportunities build "spirit" and allowed for higher level
ensembles to model musicianship and ensembleship among entry-level ensembles.
Dr. Staheli described this process as an unending journey of building "vocal tone"
and "ensembleship." Collaborative experiences, attending each other's performances, and
opportunities to encounter all of the choral conductors by sharing the podium fueled the
growth experience from the entry-level ensembles to the flagship ensemble.
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CHAPTER 6
LUTHER COLLEGE
Description of Luther College
Luther College is a private, four-year, not-for-profit, liberal arts institution.
Founded in 1861 by Norwegian immigrants, the school is still closely affiliated with the
Lutheran church and specifically the Evangelical Lutheran Church in America. The
school offers more than 60 degree areas of study to its entirely undergraduate 2,400
students supported by a 12:1 student faculty ratio. The student body is 56% female and
44% male. The main campus is located in rural northeastern Decorah, Iowa and the
institution's accreditations include the National Association of Schools of Music. More
than two-thirds of the student body studies abroad during their degree program.
The Department of Music is home to over 1,000 student musicians with over 300
music majors. The department offers a bachelor of arts degree with specifications in
church music, history and literature, vocal and instrumental performance, jazz studies,
and theory/composition.
Description of Luther College Choral Program
The Luther College choral program is housed within the college's Department of
Music. The program's six curricular ensembles offer a choral experience to
approximately 535 of the institution's 2,400 students. Approximately 40% of these
student singers major in a music discipline. Luther College offers a bachelor of arts
degree and does not delineate between performance and education degrees. It was
estimated, by the survey respondent, that about 35% of the music majors were interested
52
in music performance and would be considered performance majors at other institutions,
while 60% were preparing to be music educators, and 5% intended to use their degree for
a purpose other than performance or music education.
Nordic Choir is directed by Dr. Allen Hightower, Director of Choral Activities,
and is the flagship mixed ensemble of Luther College. Founded in 1946, the ensemble is
comprised of approximately 80 select juniors and seniors singers. The choir is nationally
renown for their musical sensitivity and sophisticated performance proficiency within the
Lutheran choral tradition. The ensemble typically tours internationally every year with
tours being conducted predominantly in European countries. Nordic Choir annually tours
domestically during winter break in addition to numerous performances on and off
campus throughout the school year. The ensemble rehearses five days per week for an
hour per rehearsal during the school day. As one of their numerous conference
performances, the Luther Nordic Choir represented Luther College at the national
conference of the American Choral Directors Association in 2005 and 2009.
Collegiate Chorale is directed by Dr. Andrew Last and is a highly competitive
auditioned mixed ensemble composed of approximately 100 singers. The choir is
comprised of select juniors and seniors who, in addition to an extensive performance
schedule, sing in daily chapel and Sunday worship services. Performances include
various on and off campus performances, and an annual tour. Collegiate Chorale has
performed with orchestras throughout the United States and sung world premieres of
choral-orchestral works. The ensemble has been invited to perform at various regional
conferences. The ensemble rehearses three days per week for an hour per rehearsal
during the school day.
53
Cathedral Choir, directed by Dr. Jennaya Robison, is an auditioned mixed
ensemble composed of approximately 100 singers. The ensemble is comprised of
exceptional sophomore students and performs frequently in worship services on and off
campus, at various campus performances, and in the annual summer Dorian Vocal
Festival. Additionally, the choir tours annually during the spring semester. Cathedral
Choir is known for its premieres of new works by highly regarded contemporary
American composers. The ensemble rehearses three days per week for one hour per
rehearsal during the normal school day.
Comprised of approximately 64 sophomore, junior, and senior female singers
Cantorei was founded in 1996 and is directed by Dr. Jill Wilson. It is an auditioned
women's-only ensemble that performs frequently in worship services on and off campus,
in campus performances, and at the annual summer Dorian Vocal Festival. Cantorei
regularly collaborates with Northern Lights Women's Chorus, a community women's
choral ensemble in northeastern Iowa. The ensemble rehearses three days per week for an
hour per rehearsal during the normal school day.
Norsemen, founded in 1981, is directed by Dr. Andrew Last and is an auditioned
men's-only ensemble comprised of approximately 85 first-year male singers. Norsemen
performs frequently in worship services on and off campus, in campus performances, and
at the annual summer Dorian Vocal Festival. They have been invited to numerous
conference concerts throughout the Midwest and is known for its performances of world
music. The ensemble rehearses three days per week for an hour per rehearsal during the
school day. Norsemen represented Luther College at the national conference of the
American Choral Directors Association in 2011.
54
Comprised of approximately 105 first-year female singers, Aurora, founded in
1981, is directed by Dr. Jennaya Robison. It is an auditioned women's-only ensemble that
performs frequently in worship services on and off campus, at Luther performances, at
the annual summer Dorian Vocal Festival, and at numerous conference performances
throughout the Midwest. Aurora is known for its premieres of new works by highly
regarded contemporary American composers. The ensemble rehearses three days per
week for an hour per rehearsal during the school day.
Norsemen, Aurora, and Cathedral Choir combine in performance each Spring
semester and contribute to the college's bi-annual, choral-orchestral, large masterwork
performance project. All ensembles record extensively with many recordings credited to
each ensemble.
Background of Dr. Allen Hightower
Dr. Allen Hightower III is Director of Choral Activities, Professor of Music, and
is the Weston Noble Endowed Chair in Music at Luther College. Dr. Hightower joined
the Luther College faculty in 2010 and oversees the institutions six choral ensembles and
four choral faculty. He serves as the artistic director of the annual, nationally acclaimed,
Christmas at Luther program series. Dr. Hightower has spent the last five of his 16 total
years in collegiate teaching at Luther College. Prior to his service at Luther College, Dr.
Hightower served on the faculty of Sam Houston State University in Huntsville, Texas
for ten years and California State University, Long Beach for one year, both in similar
capacities. Dr. Hightower has conducted such noted groups as the Los Angeles Master
Chorale and the Houston Masterworks Chorale. He has extensive experience as a church
musician and is presently a Worship Pastor at Autumn Ridge Church in Rochester,
55
Minnesota. Hightower is a seasoned clinician and guest conductor in both the choral and
choral-orchestral repertories. Before pursuing graduate work and collegiate teaching, Dr.
Hightower taught choral music for four years in two public senior high schools in Texas.
Dr. Hightower was awarded the Doctor of Musical Arts degree in conducting
from the University of California-Los Angeles where he studied with Dr. Donald Neuen.
He holds two graduate degrees — the Master of Music degree in choral conducting from
the Eastman School of Music and the Master of Music in orchestral conducting from
Baylor University. He completed his undergraduate degree at Sam Houston State
University with a Bachelor of Music in music education.
The data gathered for Luther College was comprised of concert programs from
the ensembles Aurora, Cantorei, Cathedral Choir, Collegiate Chorale, Nordic Choir, and
Norsemen as well as survey data from an interview with Dr. Allen Hightower. Prior to
the interview, preliminary information regarding the structure of the institution's choral
program and Dr. Hightower's educational and professional background was gathered
using the Preliminary Biographical Data Collection Form via the forms function of
Google Drive. Over 500 titles were collected from Luther College's choral ensemble
concert programs. These were examined for commonalities in conjunction with the
information provided in the interview with Dr. Hightower.
Dr. Hightower stated that the structure of the college's choral program had been in
place for "quite some time" and that he was of an "if it ain't broke, don't fix it" mindset.
He believed there were huge benefits to first-year students being assigned to gender-
based choirs in terms of the focus they can give vocal development and the expediency
56
with which they can build the musicianship and literacy skills necessary to audition into
more demanding ensembles. He noted that sight singing, using solfege skills, and vocal
development, through the warm-up as it was applied to the literature, were key priorities
to the conductors of those underclassmen ensembles. The first-year gender-based choirs,
in his view, were much like sororities/fraternities in that the social guardedness, often
attributed to singing with peers of the opposite sex, was not as strong as in mixed gender
ensembles and that bonding and ensemble were developed more easily and more quickly
among gender-based choirs.
Dr. Hightower praised his colleagues on being able to retain students in the
various choral ensembles citing an 85% retention rate from year to year. Roughly 75% of
all choral singers study privately at Luther College, which Hightower stated may have
been a factor in the vocal student retention rate. Similarly, Dr. Hightower had high praise
for the successes his department had in sending vocal students out into the professional
world following their training at Luther College. Hightower noted that the hierarchical
structure that led to the Collegiate Chorale and Nordic Choir was truly bolstered by the
Cathedral Choir – an ensemble dedicated to advanced sophomores – and Cantorei – an
ensemble focused on non-freshmen women. Those ensembles were designed to build the
skills of singers. Dr. Hightower marveled at the singers' proficiency in the Collegiate
Chorale given the size of Luther College and that the college had two very high-level
upperclassmen touring mixed ensembles. A close working relationship existed between
Dr. Hightower and his colleagues and frequent conversations were held about each of the
500 students who audition in relation to choir placement. He mentioned that there were
many students who prided themselves in being in four different choral ensembles giving
57
them the opportunity to study with four different conductors in their four years at Luther
College.
Choral ensembles collaborated on a large choral-orchestral work, such as an
oratorio with the Luther College symphony, generally during Spring semesters. Dr.
Hightower conducted those projects in rotation with the symphony conductor.
Additionally, all choirs performed on the Christmas at Luther program series. Many of
the choral groups would collaborate on and perform in concert programs and in special
campus worship services.
Repertoire selection for touring ensembles, such as Nordic Choir and Collegiate
Chorale, was chosen from successful works performed during the year. Dr. Hightower's
educational background was from a state university and a conservatory. He thought that
his lack of background in the Lutheran choral tradition resulted in a wider repertoire
selection resulting in an array of musical styles and genres. A byproduct of his selection
process were the choir's adaptation to singing with multiple vocal tone colors which Dr.
Hightower explained was a shock to many at first. Dr. Hightower offered that in
choosing repertoire he was not very concerned if there was "student buy in." Instead, he
chose repertoire that was varied, engaging, and highlighted various strengths of the
ensemble. He believed that these more highly trained singers naturally engaged with
more difficult music just as much as less challenging but more appealing repertoire. He
thought those colleagues who conducted the first and second-year choirs were
appropriately more attuned to repertoire that had a broader student appeal, particularly to
non-music degree-seeking students. Yet, those colleagues had to balance buy-in with
58
repertoire that built "skill sets, tonal concepts, and intonation." Conductors had to
program repertoire that ensured their choirs would experience success as well.
The conductors at Luther College often programmed repertoire based on a
thematic approach. The series Christmas at Luther utilized a thematic title every year
and the ensemble conductors selected repertoire for their individual ensembles that was
suitable for that theme. Ensemble tour programs also typically incorporated a theme.
These themes were conceptual and not based on a style or composer. Dr. Hightower,
personally, designed his concert program by subthemes or programmatic sets within a
theme. He viewed such programming as allowing for the chance to have "something for
everybody."
Repertoire variety was important to Dr. Hightower and took form not only in
different styles, tempo, accompanimental forces, and modality but in the different vocal
colors the selections required. Hightower explained that, being a "college of the church,"
it was generally expected that his program would be all sacred music. That allowed the
less frequent secular pieces to also be a point of variety. Dr. Hightower considered his
audiences as much as his students in selecting repertoire. The first repertoire selection
litmus test was whether or not he enjoyed the piece of music he was considering. Then
he would choose how the concert would begin and end. Of course, a Lutheran "sugar
stick," such as a Christiansen anthem or Hugo Distler's Praise to the Lord was a required
component of every concert program. Dr. Hightower thought being a faith-based
institution made even more repertoire available to him at Luther College than many of his
colleagues working at public state universities. Of the secular music he programmed, he
59
viewed all of it as historically significant and essential to his students' educational
experience.
The concert program repertoire data collected were examined and broken down
into five categories. These categories included the composer of the work, whether the
selection was based on a sacred or secular text, the language of the text of the piece, the
style period/genre of the work, and whether or not the piece was performed more than
once in the period data were being collected. The style period/genre category was broken
down into the following subcategories: Baroque, Classical, Folk, Pop, Romantic,

th st
A total of 281 repertoire selections were catalogued from Luther College's
specific ensemble. A total of 176 different composers were programmed in the data
examined. Frequently programmed composers included Johann Sebastian Bach (8),
Stephen Paulus (7), Eric Whitacre (7), F. Melius Christiansen (5), Alexander
Gretchaninoff (5), and Felix Mendelssohn-Bartholdy (5). Of the 281 total repertoire
selections approximately 84% of their selections fell into the category of sacred music
and 16% into the category of secular music. Selections using texts in the English
language were most frequently programmed. The language most often performed other
60
than English was Latin, comprising approximately 54 (or 21%) of the data studied
followed by German, composing approximately 20 (or 8%) of the data. A total of 12
different languages were represented in the data examined. The most commonly
performed style period/genre at this institution was 20 /21 Century at 203 (or 78%) of
th st
the data, followed by Baroque and World music at 15 (or 6%) of the data, then Romantic
at 16 (or 6%), and finally Renaissance and Spirituals at 11 (or 4%) of the data studied.
Numerous titles were performed more than once within the same academic year.
However, 8 or (3%) of the total selections for Luther College were programmed more
than once in different academic years within the time period data were examined — with
different students enrolled in those courses.
Consideration of Research Questions for Luther College
have selected?
Dr. Hightower prioritized variety as the leading component of his criteria in
selecting repertoire. This included variety of languages, texts and textual messages, key,
mode, tempi, meter, accompanimental forces, and even using secular works as a means of
creating variety. In selecting repertoire, Dr. Hightower and his colleagues considered
whether a work could be used as part of their performance tour towards the end of the
academic year, as a key consideration. Of utmost importance was whether or not Dr.
Hightower liked a piece of music. He did not program works he did not personally enjoy.
61
Dr. Hightower was less concerned with whether or not a piece would engage the students
but noted that his colleagues conducting entry-level ensembles considered student
engagement to be essential. Dr. Hightower, instead, sought repertoire that would
highlight the strengths of the ensemble and that ensured the ensemble was successful.
Repertoire had to honor the choral tradition of the Lutheran church. This was seen in
repeat repertoire selections such as Beautiful Savior and O Day Full of Grace by F.
Melius Christiansen and A Mighty Fortress is Our God, a hymn written by Martin Luther
and arranged for choir by W. B. Olds.
their programs?
Dr. Hightower explained that the structure of the choral ensemble program at
Luther had been in place for a while and that it historically proved successful at fostering
student singing development. He largely attributed this success to the fact that entry-
level choirs were gender-specific. The repertoire programmed for those choirs facilitated
greater growth because it focused on the vocal development and student growth needs of
a single sex, eliminating the social guardedness that comes with mixed ensembles. The
repertoire also allowed a sorority or fraternity mindset in pursuing music-making as a
deliberate group effort more so than mixed ensembles. Dr. Hightower noted that the
repertoire selections by his colleagues were very engaging and led to an 85% retention
rate of singers from year to year. He also believed that the choral program's collaborative
pursuit of choral-orchestral large works and the annual Christmas at Luther performances
62
allowed for the principles of vocal development and musicianship skills that the
curriculum sought to build to be modeled by the more advanced choral ensembles to the
entry-level ensembles.
Dr. Hightower spoke for his colleagues in saying that the development of
individual musicianship skills and vocal abilities of singers through the repertoire was
largely based on how well students connected with the music in entry-level choirs and
how successful students felt they performed in the more advanced ensembles. At the
entry-level, repertoire had to balance engagement with building "skill sets, tonal
concepts, and intonation." Selecting repertoire that allowed the incorporation of solfege
instruction gave students the necessary skills to audition into higher level ensembles.
Selecting repertoire that could highlight different vocal tone techniques was also
important. When ensembles merged and advanced singers were performing with entry-
level singers, Dr. Hightower believed that not only did more advanced students model
essential skills to younger students but that the more advanced students demonstrated the
growth process developed through the program's curriculum.
catalog?
63
Dr. Hightower noted that there was a spiritual component to student learning in
that a college education afforded a time to allow reflection, questioning, and activism.
He tried to encourage those experiences through the repertoire and considered how to
best aid that in his thematic programming. Dr. Hightower and his colleagues always
sought to expose students to a wide array of historical eras, styles, and genres. From
entry-level ensembles up through his flagship ensemble, students were challenged to
develop vocal and musicianship skills in daily rehearsals. By facilitating such growth,
students gained the necessary skills to audition and progress into advanced ensembles.
Dr. Hightower explained the use of solfege in teaching music literacy, and vocal
warm-ups to develop vocal abilities in choirs. Being very intentional and communicative
in the audition and placement process, discussing every student and what ensemble
experience would best facilitate their growth, Dr. Hightower and his colleagues
encouraged the development of music reading, vocal, ensembleship, and musicianship
skills through this process.
64
CHAPTER 7
PACIFIC LUTHERAN UNIVERSITY
Description of Pacific Lutheran University
Located in Tacoma, Washington, Pacific Lutheran University is a private, four-
year, not-for-profit institution dedicated to undergraduate faith-based liberal arts
education and offers over 40 undergraduate and 6 graduate degree areas of study to its
approximately 3,300 students who are supported by a 12:1 student faculty ratio. The
student body is 63% female and 37% male. The institution was founded in the 1890s by
Norwegian pioneers and maintains a close affiliation with the Lutheran church,
specifically the Evangelical Lutheran Church in America. The institution's numerous
accreditations include the National Association of Schools of Music. The department of
music is a subdivision of the School of Arts and Communication and offers a bachelor of
music degree in performance, composition, and music education, and a bachelor of arts
degree in music, and a music minor. One-hundred and eighty students are music degree-
seeking students. Pacific Lutheran University does not offer graduate degrees in music.
Description of Pacific Lutheran University Choral Program
The Pacific Lutheran University choral program is housed within the university's
Department of Music. The program offers seven traditional or classical curricular choral
ensembles and is composed of approximately 150 total student singers, 55% of which are
music majors. The study interviewee estimated that about 53% of choral singers were
music performance majors, 37% were music education majors, and 9% were music
majors with another specialty.
65
The flagship mixed choral ensemble of Pacific Lutheran University is Choir of the
West and is directed by Dr. Richard Nance, Director of Choral Activities. The choir is
composed of approximately 40 music and non-music degree-seeking singers who are
primarily juniors and seniors. The ensemble tours domestically each year and
internationally every four years in addition to its regular performances on campus and in
the Tacoma community. International performances have resulted in several
international choral competition awards. Choir of the West records albums on a regular
basis. The ensemble has been invited to perform for several professional music
organization conferences and represented Pacific Lutheran University at the national
conference of the American Choral Directors Association in 2005 and 2013. The
ensemble rehearses four days per week for an hour and a half each rehearsal during the
school day.
University Chorale is directed by Dr. Brian Galante and is a highly competitive,
mixed ensemble composed of approximately 50 singers. The ensemble is comprised of
advanced freshmen and sophomore students that are either music or non-music majors.
In addition to a yearly domestic tour, the choir performs on and off campus including
university worship services and the Pacific Lutheran's large Christmas performance
series. University Chorale has been invited to perform for regional conferences of
professional musical organizations. The ensemble rehearses four days per week for an
hour and a half each rehearsal during the school day.
Directed by Dr. Brian Galante, University Singers is a non-auditioned women's-
only ensemble composed of approximately 50 singers. The ensemble rehearses three
days per week for an hour and a half each rehearsal during the school day. University
66
Singers combines all of their performances throughout the year with other university
ensembles and performs numerous concerts locally off campus.
University Men's Chorus is directed by Dr. Brian Galante and is a men's-only
ensemble composed of approximately 20 singers. The ensemble rehearses two days per
week for an hour and fifteen minutes each rehearsal during the school day. Performances
are primarily combined with other ensembles on campus. This group also sings in
university worship services with occasional off campus performances in the community.
Dr. Richard Nance is the director of the Chamber Singers. The Chamber Singers
is the most select ensemble in the university's choral program. Composed of just eight
voices, the ensemble performs a wide variety of literature, regularly, both on and off
campus.
Chapel Choir is directed by Prof. Paul Tegels. Chapel Choir is a non-auditioned
mixed ensemble composed of approximately 24 singers. The ensemble rehearses once
per week solely in preparation for weekly university chapel services.
Choral Union is an auditioned mixed ensemble composed of approximately 70
singers both students and community members and is directed by Dr. Richard Nance.
Community members include alumni, local residents, and university staff. The ensemble
focuses on choral-orchestral masterworks but also performs shorter choral works each
year. In addition to its three to four performances on campus each year, Choral Union
tours internationally every three or four years, participating in prestigious international
choral festivals. The ensemble rehearses one day per week for two hours in the evening.
Choral Union represented Pacific Lutheran University at the national conference of the
American Choral Directors Association in 2001.
67
Background of Dr. Richard Nance
Dr. Richard Nance is the Director of Choral Activities at Pacific Lutheran
University where he conducts ensembles, teaches choral conducting, and supervises
student teachers. Prior to taking his post at Pacific Lutheran University, Dr. Nance taught
at Amarillo Community College in Texas and in public schools in Texas and New
Mexico. He has extensive experience as a church musician including thirteen years of
service to St. Mary's Episcopal Church of Lakewood, Washington. Additionally, Dr.
Nance is a gifted, award-winning composer and has numerous published works through
Walton Music and Hinshaw Music, Colla Voce. He is in demand as a clinician and
adjudicator throughout the United States and has taken choirs on international tours
across the globe. Dr. Nance holds the Bachelor of Music Education and Master of Arts
degrees from West Texas State University (now West Texas A&M University) and the
Doctor of Musical Arts degree from Arizona State University where he studied with
Douglas McEwen. Of the 30 years Dr. Nance has been in higher education, he has spent
23 of them at Pacific Lutheran University.
The data examination for Pacific Lutheran University included concert programs
of the following choral ensembles: Chamber Singers, Choir of the West, Choral Union,
Men's Choir, University Chorale, and University Singers. Additional data were gathered
through an interview with Dr. Richard Nance. The survey questions were based on the
survey instrument. Prior to the interview, preliminary information regarding the structure
of the institution's choral program and Dr. Nance's educational and professional
68
background was gathered using the Preliminary Biographical Data Collection Form via
the forms function of Google Drive. Between 400-500 titles were collected from Pacific
Lutheran University's concert program and examined for commonalities in conjunction
with the information provided in the interview with Dr. Nance.
Dr. Nance explained that the primary function of the "lower choirs" – Men's
Chorus and University Singers – was to build confidence and skill in underclassmen
singers. In working with the Men's Chorus, Dr. Nance began his choir rehearsals by
teaching the basics of notation and rhythm. He thought one of the most important parts
of working with such choirs was the selection of repertoire chosen to facilitate the music
reading process. He stated that repertoire selection was something he thought Dr. Brian
Galante performed particularly well when working with the University Singers. In
University Chorale and Choir of the West, the singers were primarily upperclassmen
music students who were taking regular music theory and aural theory classes. Solfege
was an important tool for the facilitation of music reading in all ensembles. Dr. Nance
felt solfege was especially helpful when preparing unaccompanied musical works.
Unaccompanied musical selections were a staple of the choral ensembles at Pacific
Lutheran University. Nance was proud that the majority of his choral singers were taking
private vocal lessons. He explained that Pacific Lutheran University had an excellent
scholarship program for choral singers and part of that scholarship program involved
private lessons. Dr. Nance had a positive working relationship with the voice faculty and
encouraged all students who auditioned for a choir to take voice lessons, even going as
far as to sign them up during the actual choral audition.
69
Dr. Nance explained that the type of repertoire selected either enhances or lessens
a student's choral experience and contributes to the success of the group as a whole.
Music must motivate students by matching their abilities in what was selected. He
continued by say that successfully programmed repertoire engaged the students, which in
turn enthused the audiences. Dr. Nance held the view that the conductor must love the
repertoire in order for students to enjoy the creative process. Choosing repertoire that
was appealing to the students was important to Nance "no matter how hard it [was for
students] to get a hold of at the beginning." Dr. Nance emphasized that he and Dr.
Galante had to develop a long-range plan for their repertoire selection process. Much of
that planning process was based on what the conductor felt was needed to both develop
the ensemble at the beginning of the year and to prepare them for tours at the end of the
year. Choosing repertoire that the underclassmen choirs could aurally comprehend was
also important to him. Men's Choir in particular would struggle to maintain harmonies if
the harmonies were too complex. For more advanced choirs, Dr. Nance advocated that
the choir's appetite for difficult literature played a large role in his repertoire selection.
Dr. Nance believed that program variety was essential. He viewed it to be even
more important from the perspective of providing all styles, genres, and languages for the
students' choral educational experience rather than simply presenting variety for the sake
of audience appreciation. He felt the instrumental forces available to him at Pacific
Lutheran University limited him and that the limited instrumental forces affected the
Baroque literature he programmed. Instead, he programmed unaccompanied literature
and selected an even greater amount of Renaissance literature. "When you get into really
high-level a cappella rep[ertoire], there's just nothing like it," he said. He credited those
70
preferences with his educational training at West Texas State University where he was
taught to not be "chained" to instruments. Dr. Nance posited that Dr. Galante's
background did not center on unaccompanied choral music and was reflected in his
programming.
Thematic programming by Nance was relegated more to concerts performed in
conjunction with other choral ensembles. He stated that Dr. Galante programmed more
thematically than he, particularly on Galante's ensembles' tour concert programs. Dr.
Nance found thematic programming to be "restricting" and preferred mixtures of works
he deemed to work well together from the standpoint of tempi, key center, mode, and
message. Finding such literature involved pursuing newly composed works from his
colleague, Dr. Galante, or one of the several aspiring student composers at Pacific
Lutheran University – a tradition of which Dr. Nance is very proud. When Dr. Nance
first came to Pacific Lutheran University, his colleague at the time, Dr. Richard Sparks,
introduced him to Scandinavian repertoire, a style he has since enthusiastically pursued.
He even took a sabbatical trip to the Baltics to research and spend time with composers.
Collaboration was an important part of the choral program curriculum at Pacific
Lutheran. In addition to the Christmas concert series, the ensembles conducted joint
performances in the fall. Ensembles also collaborated in performances of choral-
orchestral large works typically performed with Choir of the West and Choral Union and
occasionally between Choir of the West and University Chorale. Many of the joint
performances ended with a combined rendition of F. Melius Christiansen's Beautiful
Savior, a staple in the Lutheran choral traditional repertoire. Dr. Nance thought it was
important to include monumental works of the Lutheran choral tradition on his concert
71
programs, not only to honor the traditions of Pacific Lutheran University as a school of
the Lutheran church, but also to continually connect with past alumni.
classified into five categories. These categories included the composer of the work,
whether the selection was based on a sacred or secular text, the language of the text of the
was classified into the following subcategories: Baroque, Classical, Folk, Pop, Romantic,

th st
A total of 433 repertoire selections were catalogued from Pacific Lutheran
University's provided concert programs for the data period studied. This total excluded
repeat performances of the same title both within the same semester and throughout the
entire data examination period. A title was duplicated if the work was performed by a
different ensemble voicing such as the difference between a mixed voice ensemble and a
gender-specific ensemble. A total of 233 different composers were programmed in the
data examined. Frequently programmed composers included John Rutter (13), Josef
Haydn (11), Moses Hogan (11), Felix Mendelssohn-Bartholdy (10), and the arrangers
Alice Parker and Robert Shaw (10). Of the 433 total repertoire selections approximately
69% of their selections fell into the category of sacred music and 31% into the category
of secular music. Selections using texts in the English language were most frequently
programmed. The language most often performed other than English was Latin,
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comprising approximately 97 (or 22%) of the data studied followed by German,
comprising approximately 37 (or 9%) of the data followed by French at 16 (or 4%) and
finally Italian at 11 (or 3%) of the data. A total of 10 different languages were
represented in the Pacific Lutheran University literature examined. The most commonly
performed style period/genre at this institution was 20 /21 Century, at 288 (or 67%) of
th st
the data studied followed by Romantic, at 33 (or 8%) of the data followed by Folk, at (or
6%), and finally Renaissance, at 24 (or 6%) of the data studied. Numerous titles were
performed more than once within the same academic year. However, 7 or (2%) of the
total selections for Pacific Lutheran University were programmed more than once in
different academic years within the time period data were examined — with different
students enrolled in those courses.
Consideration of Research Questions for Pacific Lutheran University
have selected?
Dr. Nance believed that conductors had to program music that engaged the
students. The music had to match their abilities and had to be both "motivating" and
"emotionally fulfilling." Stating that some repertoire must force the choir and audience
alike to truly "think" but other program selections had to be "beautiful in their
simplicity," Nance viewed such a balance as essential to the success of the ensemble.
Repertoire, according to Nance, had to have long-range value over the course of the
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school year as all music preparation culminated with an annual tour. Repertoire
introduced at the beginning of the year had to be useful in building ensembleship and
vocal development whereas repertoire introduced later in the year had to "show off" the
abilities of the ensemble. Repertoire also had to be literature the conductor liked in order
for the students to engage the literature. In selecting repertoire, Dr. Nance considered
variety in tempi, overall mood, and key relationships. He also prioritized programming
repertoire that reflected the choral traditions of the Lutheran.
their programs?
The criteria allowed for repertoire selections to be made with the goal of building
confidence and skill level in entry-level choirs. Repertoire was selected to instruct "the
basics of notation and rhythm" and to facilitate the music reading learning process.
Success at the entry-level promoted growth for more advanced choirs.
Dr. Nance believed students must be exposed to a variety of styles and genres in
their undergraduate degree experience. He also sought to program music using a
plurality of languages as seen in the single semester where he incorporated texts from
seven different languages on the same concert program. He believed repertoire selection
74
was geared toward student learning rather than audience appreciation. He believed he
programmed more Renaissance literature rather than Baroque because of the instrumental
forces available to him at Pacific Lutheran University. That was supported by the concert
program data. Dr. Nance believed he and his colleagues programmed repertoire that
allowed for vocal growth through the warm-up and that the students' working through the
challenges of the vocal demands and reading complexities was what made the ensembles
successful.
catalog?
The structure of the ensemble was comprised of two entry-level choirs, split by
gender, followed by two more advanced ensembles. The difference between the top two
mixed ensembles was the music reading level of singers in the flagship choir. Other
ensembles were dedicated to specific genres such as chamber music or choral-orchestral
large works. With more advanced choirs, he heavily considered the "appetite" students
had for pursuing challenging literature. He concerned himself with underselling these
students. Dr. Nance explained that repertoire always had to be music the singers could
aurally comprehend. He cited his men's choir as an example of programming harmonies
that were too complex for them to maintain even if they could read them in notation.
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The entry-level choirs serve to build the reading skills necessary to audition for
the advanced choirs. In building reading skills, solmization systems such as solfege or
numbered scale degrees were used and vocal skills were developed in the vocal warm-up.
The program utilized joint performances in such venues as the Christmas concert series
and choral-orchestral large works with more advanced singers to serve as a model for
proper techniques for entry-level singers.
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CHAPTER 8
WHEATON COLLEGE
Description of Wheaton College
Founded in 1860, Wheaton College is a private, co-educational, residential,
interdenominational Evangelically Christian four-year, not-for-profit, liberal arts college.
It advertises itself as "distinctly Christian" without official affiliation to a religious
denomination. Wheaton College's enrollment is approximately 2,400 undergraduate
students and 480 graduate students. Wheaton College offers study in over 40
undergraduate and 14 graduate areas of study. There is an 11:1 student faculty ratio. The
student body is 52% female and 48% male. Wheaton College campus is located in
Wheaton, Illinois and sponsors study programs throughout the world. The institution's
accreditations include the National Association of Schools of Music.
Wheaton College's Conservatory of Music is designed to be a professional school
for bachelor of music degree students and a department of the college for liberal arts
studies. The Conservatory of Music offers bachelor of music degrees in performance,
composition, history & literature, pedagogy, music education, and a music emphasis with
elective studies in an outside field. Additionally, it offers a bachelor of arts degree in
music and a music minor. The institution has no music graduate programs and serves
approximately 170 music degree-seeking students.
Description of Wheaton College Choral Program
The Wheaton College choral program is housed within the school's Conservatory
of Music. The program's three ensembles offer a choral experience to approximately 180
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of the institution's 2,200 students. Approximately 50% of the student singers major in a
music discipline. About 15% of choral singers majoring in music are majoring
specifically in music performance, 15% in music education, and 10% in a music degree
other than performance or education.
The premiere ensemble, Concert Choir, is comprised of about 60 singers, who
primarily and first sang in the Men's Glee Club and Women's Chorale, and is presently
led by Dr. John William Trotter. Membership is through audition. The Concert Choir
performs a myriad of genres and styles including frequent choral-orchestral works both
on campus and in collaboration with other groups in the Chicago area. The ensemble
tours regularly throughout the United States. Concert Choir sang at the 2007 American
Choral Directors Association National Conference as well as at numerous regional
conferences.
The Women's Chorale is comprised of approximately 70 singers, regularly tours
nationally, and maintains an active performance schedule on campus and throughout the
Wheaton/Chicago area. Performance venues are primarily churches and mission
organizations. The Women's Chorale has performed at regional conferences and the
2003 and 2015 national conferences of the American Choral Directors Association.
The Men's Glee Club has a long-standing tradition of over 108 years of existence
at Wheaton College and is comprised of approximately 60 singers. The ensemble tours
domestically and internationally and is directed by Dr. Mary Hopper.
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Background of Dr. Mary Hopper
Dr. Mary Hopper, Professor of Music, has been on the faculty of Wheaton
College since 1979. Formerly, she taught choral music at the junior and senior high
school level and taught applied voice at the University of Minnesota-Morris. In addition
to directing the Women's Chorale and Men's Glee Club, she is the Director of
Performance Studies. As Director of Performance Studies she oversees all undergraduate
music performance degree programs within the Conservatory of Music. Her other
teaching faculty commitments include appearances as conductor of the Wheaton Opera
production. Beyond Wheaton, Dr. Hopper serves as the National President of the
American Choral Directors Association. Dr. Hopper is also the Minister of Music at
Immanuel Presbyterian Church in Warrenville, Illinois. Hopper has conducted All-State
honor choirs in eight different states and has been a guest speaker and clinician
throughout the United States and New Zealand.
Dr. Hopper holds the Doctor of Musical Arts and Master of Arts degrees in choral
conducting from the University of Iowa where she studied with Dr. Don V. Moses. She
is a 1973 alumnus of Wheaton College, having graduated with a Bachelor of Music
Education degree. An award winning educator and advocate for women's choral singing,
Dr. Hopper is one of two tenure-track professors in choral conducting/choral music at
Wheaton College.
The data gathered for the Wheaton College choral program analysis included
concert programs of the Concert Choir, Men's Glee Club, and Women's Chorale as well
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as data gathered through an interview, based on the survey instrument, with Dr. Mary
Hopper. Prior to the interview, preliminary information pertaining to the structure of the
institution's choral program and Dr. Hopper's educational and professional background
was gathered using the Preliminary Biographical Data Collection Form via the forms
function of Google Drive. Between 200-300 choral titles were collected, and analyzed
for commonalities in combination with the information provided in the interview with Dr.
Hopper.
Dr. Hopper repeatedly acknowledged a shift in the programming practices that
resulted with the 2012 arrival of her colleague, Dr. John William Trotter. The shift
primarily dealt with the repertoire selection and the audition process.
Dr. Hopper was very conscientious of the role ensembles played with students
studying in various degree areas. All three choral ensembles were made up of large
populations of various students and in the audition process, assignments to ensembles for
music degree-seeking students were made primarily based on proficiency combined with
the voice part needs of the ensemble. The Concert Choir was seen as the flagship
ensemble of the choral program and students with the strongest music-reading, vocal
ability, and overall musicianship were placed in this ensemble. Dr. Hopper noted that the
Women's Chorale was significantly more prepared for performances than the Men's Glee
Club, due to overall student musical proficiency. Wheaton College did not have a non-
auditioned choral ensemble and turned away approximately 30-40 singers (primarily
female) each academic year due to this fact.
Dr. Hopper was of the opinion that students had to have enthusiasm for the
repertoire she selected. She spent a lot of time thinking about the balance between
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repertoire that had strong educational worth and repertoire that students enjoyed. With
the Women's Choir, Dr. Hopper focused on providing depth historically and breadth of
styles. The Men's Glee Club was more show-choir focused since there was, reportedly,
limited historical repertoire available for men's voices. She noted that Dr. Trotter
frequently programmed thematically. He preferred to program musicological thematic
materials, which included concerts with an all-Brahms portion or an entirely Baroque
performance. Dr. Hopper noted that Dr. Trotter's approach contrasted with her
convictions in that she strove to provide students in the Men's Glee Club and Women's
Chorale with a broad overview of the literature. Dr. Hopper also believed that balancing
education with the goals of a faith-based institution was essential to the repertoire
selection process.
Both conductors at Wheaton College programmed thematically. As noted earlier,
Dr. Trotter tended to program more historically within the same composer, genre, or
style. Dr. Hopper's thematic programming was based on concepts or messages from
which she then used a variety of genres and styles that were appropriate within that
theme. Dr. Hopper began her repertoire selection process by considering the text of each
work. Variety was also an important factor in programming. Hopper created a
spreadsheet to ensure that she had variety in tempo, key center, historical era, and
language.
Dr. Hopper explained that she spent a lot of time on vocal development,
specifically in her rehearsals with Men's Glee Club and Women's Chorale. She also
noted how she emphasized in rehearsal that students must sing different pieces of music
with differing types of vocal tone and vocal color. Music literacy was also an important
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component in her rehearsals. She felt the need to prepare students, women especially, for
the music reading rigors of the Concert Choir. Tonal literacy training was taught
primarily through the use of solfege and followed the format used in aural skills classes
where moveable "do" and do-based minor were taught.
Collaboration was an important part of the Wheaton College choral program both
between choral ensembles and choral and instrumental ensembles. Choirs combined with
the conservatory's orchestra and jazz ensembles in performance. Performances with the
orchestra were often choral-orchestral large works and all three choirs were combined
when performing these types of selections. Dr. Hopper believed they could have pursued
more combined choral concert collaborations had the choirs rehearsed at the same time.
Dr. Hopper believed that being a faith-based institution precluded some repertoire
being programmed. She did not believe that such programming philosophy had an
impact on the quality of the educational experience, negatively or positively, on the
students. Her decision on sacred music programming depended mainly on the theology
of the text. There were times when Dr. Hopper believed programming an "Ave Maria"
setting were appropriate for the performance venue and times when it was not. Dr.
Hopper stated that her educational background had not influenced her repertoire selection
practices as much as her current endeavors to learn about new styles of music. When she
first began teaching at the college level, she did "more avant garde types of aleatoric
music." Recently, her passion changed to learning music of different cultures including
Korean, South American, and Indian music.
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organized into five categories. These categories included the composer of the work,
whether the selection was based on a sacred or secular text, the language of the text of the
was organized by the following subcategories: Baroque, Classical, Folk, Pop, Romantic,

th st
A total of 262 repertoire selections were catalogued from Wheaton College's
specific ensemble. A total of 195 different composers were programmed. Frequently
programmed composers included Johann Sebastian Bach (7), Johannes Brahms (6), Lee
Kesselman (4), Alan Menken (4), Stephen Paulus (4), Randall Thompson (4), and Tomás
Luis de Victoria (4). Of the 262 total repertoire selections approximately 79% of their
selections fell into the category of sacred music and 21% into the category of secular
music. Selections using texts in the English language were most frequently programmed.
The language most often performed other than English was Latin, comprising
approximately 60 (or 23%) of the data followed by German, comprising approximately
13 (or 5%) of the data. A total of 7 different languages were represented in the data
examined for Wheaton College. The most regularly performed style period/genre at this
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institution was 20 /21 Century, at 174 (or 65%) of the works followed by Romantic, at 17
th
(or 6%) of the selections followed by Spirituals, at (or 6%) of the compositions, followed
by Renaissance and Folk, at 13 (or 5%) of the data studied. Numerous titles were
performed more than once within the same academic year. However, only 9 or (3%) of
the total selections for Wheaton College were programmed more than once in different
academic years within the time period data were examined — with different students
enrolled in those courses.
Consideration of Research Questions for Wheaton College
have selected?
Dr. Hopper believed selected repertoire had to engage singers by having textual
meaning that students would delight in presenting in performance. She felt compelled to
choose repertoire that would expose students to a breadth of historical eras. Additionally,
she believed concert programs should present literature in a variety of tempi, key centers,
styles, and languages. Hopper seriously considered the tessitura of each work for her
gender-specific ensembles as she thought forcing her singers to rehearse and perform in
inappropriate registers would stifle vocal development and decrease their chances for real
performance success. Dr. Hopper thought the ensemble educational experience also
needed to be a spiritual one and that drove the literature she chose.
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their programs?
Dr. Hopper felt that the hierarchical structure of Wheaton College's choral
program was not typical of many other undergraduate-focused, faith-based institutions.
Dr. Hopper programmed repertoire for her entry-level ensembles to develop the skills
necessary to audition into the Concert Choir but this was not necessarily an educational
goal of all students. While the Concert Choir was viewed technically as the flagship
ensemble of the college, students did not necessarily seek placement into that ensemble
as an educational goal like many other schools studied.
Vocal development came through the repertoire selected, explained Dr. Hopper
and vocal warm-ups, used in rehearsal, targeted specific techniques necessary to
effectively prepare students to sing repertoire that demanded various vocal tone colors.
She employed solfege to enhance music literacy skills even though the amount of
rehearsal time spend to teach such concepts was very limited.
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catalog?
Dr. Hopper thought she and Dr. Trotter chose repertoire that taught vocal
technique and exposed the students to a variety of styles that required differing vocal tone
colors. This was achieved through the repertoire rehearsal process as well as through the
vocal warm-up. Literacy was taught separately through the use of solfege. Regular
collaboration in large choral-orchestral works demonstrated a curricular constant across
all three ensembles. She stated that the repertoire for male choirs was limited historically
and that the expectation that Men's Glee Club be "a bit showy" also affected the
selections available to her for achieving course objectives.
Dr. Hopper was proud of the collaborative effort between her and her colleague
by attending personally to the placement of each choral singer. She believed their
audition process was effective in placing students where they would be most successful.
Even through the entry-level gender-based choirs adopted more of a sorority/fraternity
mindset, the gender based approach allowed for focus on the vocal technique needs of
each gender specific group. Hopper thought the advanced Concert Choir performed more
thematic programs that focused on a specific composer or musical style, allowing them
focus in depth on the topic studied whereas her programming was broad so that she was
exposing students to a variety of styles within each concert program.
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CHAPTER 9
RESULTS
Choral repertoire is essential to the choral curriculum and is used to assist in
singer development, both musically and vocally. Selecting repertoire for performance is
one of the conductor's greatest responsibilities and an incredibly time consuming one.
undergraduate-focused religiously-affiliated collegiate institutions directors used for
choosing choral repertoire for performance. The author also examined what inspired
conductors of such groups to choose the repertoire they did for achieving student learning
objectives in their ensembles.
Five undergraduate-focused, religiously-affiliated institutions were identified as
potential study participants, based on their invitational performances at the national
conference of the American Choral Directors Association. They were invited and agreed
to participate in the study. Each institution's choral director was asked to submit concert
programs for the period covering Fall 2010 to Spring 2015. Nearly 2,000 titles were
cataloged from the concert program data received from each of the five institutions.
Additionally, interviews with each of the Director of Choral Activities faculty members
of the five institutions were conducted and transcribed. Analyses of the data collected
appears below and are structured in addressing the five research questions guiding this
study with a summary examination of each study participant's response to the eleven
prompts on the interview survey instrument.
87
Research Questions Addressed
have selected?
All five participants cited variety as their primary consideration in selecting
repertoire. Variety was broken into several categories and included tempi, key center,
modality, language, and historical era or style. All conductors agreed these were
essential considerations in making repertoire selections. One participant added that text
and textual message, meter, accompanimental forces, and “mood” were also important
considerations when selecting repertoire. The participant criteria cited as important in the
choral repertoire selection process was congruent with that cited as important in the
scholarly research. Dr. Ames of Belmont University specifically discussed his repertoire
selection process in terms of the complexity of each element listed above.
All five noted that they felt obligated to regularly program in all historical eras
and styles because their students should be exposed to them during their baccalaureate
studies. Programming in all historical eras and styles was evident in the concert program
data examined but the balance of repertoire was not equal. Approximately 70% of
programmed repertoire was within the 20 /21 centuries. Renaissance music comprised
th st
5% of the repertoire examined, with Baroque at 4%, Classical at 3%, Romantic at 6%,
Folk at 4%, Spirituals at 4%, and World music at 4%.
Variety of foreign language text and secular versus sacred music were important
criteria in selecting performance repertoire. The importance of language variety was
88
supported by the program data results, although there was an overwhelming preference
for English texts. Each school performed works that utilized text written in 7 to 13
languages with an average of 10.8. The language most often performed other than
English was Latin at 19%, followed by German at 5%, and French at 2%. Two
participants noted that given an expectation that their programs use all sacred texts, they
considered secular texts to be an element of variety. Of the repertoire examined, 28% of
the works included secular music and 72% sacred. All five participants said the selected
repertoire must challenge the skill level of the students. Dr. Ames of Belmont University
explained that he planned for 25% of his selections to challenge the students, 50% to be
at the performers' skill level, and 25% to be easier to quickly prepare for performance.
All five participants stated that the repertoire they programmed had to be
something they liked and literature with which they were capable of forming a personal
connection. Likewise, they explained that they would not, as conductors, be able to
effectively teach repertoire they did not personally enjoy. Two of the five participants
specified that music must have textual meaning with a specific message to proclaim in
performance in order to engage the students. Dr. Hopper of Wheaton College stated that
the ensemble experience at a faith-based institution needed to be a spiritual as well as an
educational one. This philosophy influenced the texts she chose. Three participants
mentioned that they had to program repertoire that honored their institution's church
tradition or theology. Three of the five participants explained that their repertoire
selections for the entire year were based primarily on their annual performance tours.
Thus their repertoire selections were selected based on the appropriateness of their
usability in performance tour concerts. The performance tour(s) typically occurred
89
during the spring semester, which affected what they rehearsed during the fall semester.
All five conductors mentioned that they selected repertoire that highlighted the strengths
of the ensemble and ensured success.
their programs?
Four of the five institutions studied divided their entry-level choral ensembles into
gender-specific choirs that performed all male or female repertoire. These participants all
noted that they believed this approach allowed the conductors of those ensembles to
focus on the vocal development needs of a single gender thereby accelerating vocal
growth. Additionally, gender-based choirs facilitated greater esprit de corps and purpose
when preparing repertoire and pursuing the ensemble learning objectives.
All five participants noted that vocal development, improved reading skills,
musicianship, and ensembleship were learning goals for all ensemble members regardless
of where they fell in the hierarchy of their choral program's ensembles. At the entry-
level, repertoire was selected that was viewed as simpler and more engaging in hopes of
having higher retention of singers in future years. Simpler, more engaging literature
allowed more rehearsal time to be devoted to teaching music literacy, musicianship, and
vocal development. Dr. Ames of Belmont University noted that the entry-level mixed
choir at his institution used repertoire that was a "mash-up" of contemporary popular
music and traditional classical music in order to better engage students.
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Four of the five participants explained that they thought their choral placement or
audition process was an important component in bolstering the success of their program
as it identified the ensemble experience that would best facilitate an individual student's
overall growth. Collaboration on repertoire between faculty in joint rehearsals as well as
between ensembles in pursuit of joint concerts or combined choral-orchestral
masterworks was deemed essential in bolstering the success in their choral programs.
The participants listed the following as musicianship skill objectives of their
ensembles: phrasing, dynamics, articulation, tone color, and ensembleship. These factors
went into their considerations in selecting repertoire. As mentioned before, Dr. Ames
considered programming repertoire that was comprised of 25% simpler music, 50%
music at the students' learning/performing level, and 25% challenging literature to allow
for ensemble growth. Three of the five participants explained that tone and vocal color
were critical vocal abilities to be developed through the repertoire. The level of student
engagement with the selected repertoire was largely responsible for the rate of growth in
an academic semester.
catalog?
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Two of the five participants noted that repertoire selections in entry-level choirs
needed to be balanced between popular or contemporary music and traditional classical
works. Dr. Staheli added that such a balance facilitated greater growth than if repertoire
selections were entirely traditional classical works. All five participants noted that
exposing students to a variety of historical eras, styles, and genres was required for
achieving the learning objectives stated in their syllabus/course catalog as well as for
achieving positive student baccalaureate educational experiences. Repertoire in entry-
level ensembles was consistently intended to build skills. One participant elaborated that
repertoire at this level had to be music that the students could aurally comprehend
harmonically and melodically. Two of the participants explained that the repertoire
intended to fulfill learning objectives had to satisfy the student appetite for challenging
repertoire in the more advanced ensembles. Repertoire had to highlight the vocal
strengths of the singers and their music reading abilities.
The curricular objectives of all ensembles examined in this study were to
continually develop music reading, vocal skills, ensembleship, and musicianship starting
with the entry-level training ensembles and continuing through the flagship touring
ensembles. Dr. Staheli described the acquisition of such skills as an "unending journey."
All five participants mentioned that their institutions incorporated solmization systems in
the teaching of music literacy with tonal solfege being adopted by all five institutions.
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Other less complicated systems such as numbered scale degrees were used with beginner
choirs. Two of the five participants mentioned that they believed students benefited from
working with the conductor of the flagship ensemble before auditioning to participate in
his/her ensemble. This was done either by continually rehearsing other faculty's
ensembles or by creating an ensemble in which all music-degree seeking students were
required to enroll. Collaboration in performance was viewed as one approach to transmit
advanced ensemble expectations to entry-level singers. Collaboration took place with all
five schools though the merging of ensembles in performance of choral-orchestral large
works. Four of the five participants cited joint Christmas performances as another
avenue for group collaboration. All five participants explained the necessity of faculty
collaboration in the choral audition or student placement process. Two participants
indicated that communication about each student was critical in ensuring student success.
Summary of Interview Prompts
Interview Prompt 1. Explain the role of each curricular choral ensemble in
your students' development as musicians? What are the learning objectives of each
ensemble as they correspond to the musicianship skills necessary to successfully audition
into higher-level ensembles?
All five institutions noted that their programs possessed a structural hierarchy of
ensembles. Belmont University and Wheaton College explained that while a flagship
ensemble was recognized, participation in University Chorale and Concert Choir
respectively was not necessarily a driving force for students. Brigham Young University,
Luther College, and Pacific Lutheran's flagship ensembles were recognized as an
93
experiential goal of students in seeking degrees at their institution. All institutions
separated their entry-level ensembles into gender-based ensembles except Belmont
University. Belmont University had an all-women's ensemble for underclassmen
students but not an all-male choir.
Vocal development, music reading skills, musicianship, and ensemble skills were
acknowledged by all participants as the primary learning objectives of their entry-level
and/or non-auditioned ensembles. Repertoire choices by conductors of those ensembles
centered on providing opportunities to develop these skills. Both tonal and rhythm
solmization systems were utilized for building music literacy. Vocal development was
achieved through daily warm-up exercises and in various vocal techniques encountered
through the ensembles' performance literature. All conductors insisted that providing
repertoire that appealed to non-music degree-seeking students in those ensembles was a
priority. The learning objectives of each institution's advanced ensembles, including their
flagship ensemble, were simply to provide students a breadth of repertoire styles and
genres through performance.
The mark for advancement into higher-level choirs via audition was entirely
subjective. All institutions, except Belmont University, cited faculty collaboration in the
audition process as the primary reason for effectively placing students in the best
ensemble for both student and program needs. Wheaton College, in particular,
considered the personnel needs of each ensemble in creating sectional balance when
making placement decisions. Luther College and Pacific Lutheran University cited the
importance of the overwhelming majority of their choral singers taking weekly private
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applied voice lessons as a means for the rapid vocal growth of their underclassmen
singers.
Interview Prompt 2. Do you believe the structural hierarchy of ensembles in
your choral program contributes to the success of your program? If so, how? If not, why
not?
All study participants cited the importance of the entry-level choirs as vehicles in
the development of singers that would eventually sing in their top-level ensemble(s).
Luther College and Wheaton College noted that a current downfall of their hierarchical
structure was that they did not have a place for many upperclassmen singers who were
not placed into the advanced ensembles.
The Brigham Young University participant explained his view that the
collaborative relationship of the choral faculty was the leading factor in the success of
BYU’s feeder program. Conducting faculty were constantly conducting each other's
ensembles and observing each other's rehearsals, which provided opportunities for
students to learn what was expected of them at the next level. Belmont University
thought the dual tract nature of the commercial versus traditional vocal ensemble
offerings muddled the structural hierarchy of its fourteen-ensemble choral program.
Students were permitted to audition for any ensemble of their choice once they reached
their sophomore year.
Interview Prompt 3. In your view, how does the repertoire you choose
contribute to the success of your program?
All participants believed the repertoire they chose was the largest contributor to
the success of their program from the entry-level up to the flagship ensembles. It was
95
believed that repertoire selection had an impact on student engagement and that such
engagement enhanced student motivation, which was necessary for student vocal and
musicianship growth derived through daily rehearsal. Three of the five participants
specified that the bulk of the repertoire, if not all, had to be music with which the student
could personally connect. According to Dr. Nance, "they have to buy into it no matter
how difficult it is, no matter how hard it is to get a hold of at the beginning." Dr. Staheli
added that music specifically needed to be of "good substance."
Luther College and Pacific Lutheran University's curriculum for its advanced
choirs centered largely on their annual performance tours. Repertoire selection was
based largely on when repertoire would be introduced to the choir for ensemble tour
preparation. Dr. Hightower noted, "for me, the repertoire is about challenging us as
musicians in different ways." Belmont University, Luther College, and Pacific Lutheran
all mentioned that the abilities of their singers on a year-to-year basis had a large impact
on the repertoire they selected for performance.
Interview Prompt 4. Explain your philosophy/rationale for choosing repertoire.
Does it differ from ensemble to ensemble? If so, how?
Participants generally agreed that entry-level choirs required repertoire that would
be appealing to them. By engaging students in the repertoire, they could more easily
facilitate musical growth through the repertoire. Dr. Hightower explained that he was
more focused on choosing literature for his flagship choir that featured the ensemble's
strengths rather than choosing repertoire he knew his students would enjoy. He believed
students would gravitate toward repertoire they performed successfully even if they did
not at first enjoy it. At Belmont University their entry-level ensembles did choral
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arrangements that combined well-known traditional classical repertoire with popular
music in order to create greater student appeal. Dr. Ames referred to this practice as
"mashup" music. Three of the five institutions noted they often found the most difficult
music on the program was that which students enjoyed most. Pacific Lutheran University
noted that music had to be something students could aurally comprehend, explaining that
some music was easily read but not easily heard harmonically. Two participants
explained that they sometimes underestimated the level of difficulty their students could
perform. Two of the five institutions also mentioned that repertoire selection hinged on
the personnel of their choirs and specifically the ratio of juniors and seniors to
sophomores. Dr. Ames added that he strove for a ratio of 50 percent of the program
literature being at the choir's level, 25 percent being easy literature, and 25 percent being
difficult or challenging literature.
Specifically, two participants described their repertoire selection procedure as
beginning with an overall program concept in mind and picking literature that adhered to
that concept. All five participants mentioned that the repertoire they chose had to be
literature they loved and to which they had a personal connection. Similarly, they did not
believe they could convey the passion necessary to engage students in the repertoire if
they did not have passion for the work themselves. All participants noted that variety in
historical era, style, language, key center, modality, and tempo were essential criteria in
repertoire selection.
Interview Prompt 5. Do you regularly program thematic concert programs? If
so how does this impact learning objectives for the various ensembles?
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Responses to this prompt were mixed. Two primary types of thematic
programming were cited in participant' responses – conceptual thematic programming
and thematic programming that was based on a composer or genre type. Many of the
participants said they regularly used conceptual themes in their programming. A few of
the participants suggested that there were other conductors at their institution that
frequently programmed by specific composer or genre type. Dr. Ames offered that he did
not regularly program thematically, but on occasion, based an entire semester's worth of
performances on a single theme. Both Luther College and Pacific Lutheran University
used thematic concepts for their combined Christmas concerts where each ensemble
conductor chose repertoire that aligned with the given theme. Sometimes these themes
were based on a significant work or two on the program. Two participants noted that
they found themes to be too constricting and hampered necessary variety and balance on
their programs.
Interview Prompt 6. Do your choral ensembles ever collaborate on a
performance? How does this tie in to your process for preparing students for the more
advanced ensembles of your program?
All five institutions responded that collaborative performances between their
choral ensembles as well as their institution's instrumental ensembles were important to
them and a regular part of their year-long curriculum. Collaborations typically took place
as either joint performances, where each ensemble provided concert selections by
themselves with one or two combined numbers or by merging their ensembles in
performance of a major choral-orchestral work. Dr. Staheli pointed out that he viewed
collaboration in his choral department to be even more about the faculty working together
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than having the students sing together. Choral faculty at Brigham Young University
regularly observed each other's rehearsals and occasionally conducted each other's
groups. Dr. Ames mentioned that in addition to collaborations with other ensembles
within Belmont University's school of music, he sought collaborations with other
collegiate institutions in the area. He also encouraged singers in his entry-level choirs to
listen to his flagship ensemble's rehearsals and performances. Both Luther College and
Pacific Lutheran University combined to perform highly visible, well-attended Christmas
performances each year.
Interview Prompt 7. What are your main criteria in choosing repertoire for
each of your ensembles?
The primary response to this prompt was whether or not the participant enjoyed
the selection as a conductor. Creating variety on a program was the second most
mentioned criteria when selecting repertoire. All five participants mentioned that they
considered what literature music students should be exposed to during their degree
program. Dr. Ames said he intentionally cycled through literature to ensure students
were experiencing the major composers and historically significant works during their
years at Belmont University. Two of the five participants stressed the importance of
regularly programming living composers. Dr. Nance explained that he felt compelled to
program literature that constantly challenged his students whereas Dr. Ames had a
specific ratio for easier and more difficult repertoire when he made his repertoire
selections. Three of the five participants specifically stated that the repertoire had to
guarantee student success. In his response, Dr. Hightower explained that he selected a
focus piece or two for his programs and then chose shorter pieces to complement those
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focus works. He took audience appeal into consideration just as much as student appeal.
He desired repertoire where at least one piece connected with every person in the
performance space – singers and audience members alike.
Interview Prompt 8. How does the consideration of variety present itself on
your concert programs?
Participants considered a number of technical criteria in ensuring their concert
programs had variety. This included:
• a variety of historical eras and style periods
• a variety of tempi (slower and faster)
• a variety of tonal centers/tonic based on different pitch classes
• a variety of modes and harmonies (major-minor, modal, non-tonal)
• utilizing texts in a variety of different languages
• a variety of genres and forms
• a variety of textual messages
• a variety of tonal colors
• a variety of sonorities/sounds
• a variety of accompanimental forces and instrumental timbres
Dr. Hightower suggested that choosing to program secular repertoire added variety in
itself given the general expectation that faith-based institutions would have
overwhelmingly sacred repertoire selections on their concert programs.
Interview Prompt 9. Do you feel that being a Christian school constrains the
repertoire available to program for your ensembles' performances? If so, how?
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Only one of the five participants believed that by being a faith-based institution
they were limited in the repertoire selection choices. Dr. Hopper believed the music had
to coincide with the specific theological tenants of Wheaton College. However, she
thought that freed her to consider even more secular repertoire if it had "no Christian
allusion" that might conflict with the school's beliefs. The remaining four participants
actually believed that being a faith-based institution gave them more freedom to choose
any repertoire they desired than their colleagues employed by public state schools who
were limited in the amount of sacred music they could perform. Dr. Hightower explained
that all secular music his institution performed was of historical significance and the need
for students to be exposed to it during their degree program. All five participants echoed
that exposing their students to secular music was an essential part of their choral
curriculum.
Interview Prompt 10. Explain how your educational and post-educational
experiences have shaped how you select choral repertoire.
All participants suggested that repertoire selection as conductors was an ever-
evolving learning process. Dr. Staheli suggested that a formal degree program only
prepared him to start learning about repertoire selection and his professional experience
taught him "what works and what doesn't." Two of the five professors said that the drive
to program repertoire they loved came from observing teachers during their own degree
programs. Dr. Nance cited his undergraduate experience as his inspiration for
programming so much unaccompanied repertoire with his choirs at Pacific Lutheran
University. He added that his colleagues had a huge impact on pursuing new styles of
music. Dr. Hopper explained that to keep interest in a never-ending quest for great
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repertoire, she moved from aleatoric contemporary preferences early in her career to
music of different cultures in recent years. Dr. Hightower noted his lack of formal
education in a faith-based institution limited his knowledge of repertoire appropriate to a
Lutheran school, which resulted in his being even more thoughtful about how he made
repertoire selections.
Interview Prompt 11. What sources do you rely on in seeking new repertoire?
All five participants cited the internet as the primary means of discovering new
repertoire. Having gone through their formal education experiences in an era prior to the
internet, they marveled at the ease of accessing new repertoire and hearing other
ensembles' performances of this repertoire in today's age of technology. YouTube and
iTunes were the most often mentioned web resources for listening to choral music when
programming concerts. All five participants referenced Walton Music as one of their
favorite publishers with Earthsongs being the second most referenced publisher. With
the ease of global communications, all participants noted they were in direct contact with
many of the living composers they programmed. Additionally, three of the five
participants mentioned that they frequently received unsolicited perusal scores and
recordings. All five participants explained that their exposure to new repertoire was
enhanced by their participation in professional organizations such as American Choral
Directors Association and Chorus America as well as through their personal networks of
colleagues and former students.
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CHAPTER 10
CONCLUSIONS
The purpose of this study was to discover and analyze the criteria and rationale
for selecting choral repertoire performance at the top undergraduate-focused, religiously-
affiliated collegiate choral programs nationally recognized for performance excellence as
seen in the number of invitational performances at the national conferences of the
American Choral Directors Association (see Appendix A). Five institutions were
identified and a member of the faculty at each institution most closely identified as the
Director of Choral Activities was invited to participate in the study. The study involved a
document examination of the concert programs of each of the curricular choral ensembles
of that institution’s choral program for ten academic semesters for the period Fall 2010 to
Spring 2015 (see Appendices C and D). Additionally, participant interviews were
conducted to discuss the concert program data and the criteria and rationale for repertoire
selection as applied to the ensembles at their institution. An interview questionnaire, or
survey instrument, guided this interview (see Appendix B) and the participants’ responses
were recorded (see Appendix C) and analyzed.
The findings of this study represent over 130 years of combined experience in
selecting repertoire at such institutions. Although the schools in this study were all faith-
based institutions, the participants at each school provided details and an approach to
repertoire selection that were each unique. The individuals participating in this study
included:
1. Dr. Jeffery Ames, Belmont University
2. Dr. Ronald Staheli, Brigham Young University
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3. Dr. Allen Hightower, Luther College
4. Dr. Richard Nance, Pacific Lutheran University
5. Dr. Mary Hopper, Wheaton College
Connections with Previous Research
As detailed in Chapter 2, Review of Literature, few individuals have examined the
selection practices of collegiate choral conductors and the application of their selection
criteria to specific repertoire within the context of a comprehensive tiered choral arts
organization, such as a collegiate choral program, and specifically in regard to nationally
recognized, undergraduate-focused, religiously-affiliated institutions. Many
commonalities in the repertoire selection were identified in this study. These
commonalities support the scholarly literature on the topic of repertoire selection
particularly in terms of quality and variety.
The participants of this study agreed unanimously that the repertoire shaped the
entire educational and performing experience of the choral ensemble. Haasemann &
Jordan (1991) and Brinson (1996) explained the need for repertoire to serve as the
curriculum and in so doing provide opportunities for developing vocal and musicianship
skills. All five participants offered that they used their repertoire as the curriculum to
facilitate vocal development, improved reading skills, musicianship, and ensembleship.
All five participants cited variety as their primary consideration in selecting
repertoire and sought to create variety through a list of criteria, which included tempi, key
center, modality, language, and historical era or style. Evanston (1929), Robinson &
Winold (1967), Richmond (1990), Rucker (1992), Kolb (Webb, 1993), Johnson (2003),
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and Spillane (2004) all provided the same considerations in selecting repertoire. All
study participants agreed tempi, key center, modality, language, and historical era or style
were essential considerations in making repertoire selections. One participant added that
text and textual message, meter, accompanimental forces, and mood were also important
considerations when selecting repertoire.
The authors of the scholarly literature and the study participants agreed that such
criteria facilitate selection of the repertoire and that students should be exposed literature
that conductors thought contained appropriate these musical elements during their
baccalaureate studies. Participants believed tempi, key center, modality, language, and
historical era or style criteria were required for achieving the learning objectives stated in
their syllabus/course catalog as well as for achieving positive student baccalaureate
educational experiences. Programming in all historical eras and styles was evident in the
concert program data examined but the balance of repertoire was not equal.
All five participants stated that the repertoire they programmed had to be
something they liked and literature with which they were capable of forming a personal
connection. Likewise, they explained that they would not, as conductors, be able to
effectively teach repertoire they did not personally enjoy. These claims were supported
in the scholarly literature of Decker & Herford (1973), Gordon (1989), and Kolb (Webb,
1993), and Hunsaker (2007). All five conductors mentioned that they selected repertoire
that highlighted the strengths of the ensemble and ensured success. Evanson (1929),
Cain (1932), Lamb (1974), Robinson & Winold (1976), and Hunsaker (2007) also stated
that an important consideration in repertoire selection was that works chosen must
highlight the strengths of the individuals within the ensembles.
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Professional Implications
The collegiate choral experience is perhaps the most influential force in
maintaining the American tradition of choral singing beyond time spent in formal
education. The importance for delivering meaningful instruction is critical and that
meaningful instruction largely hinges on the repertoire, or content, of that educational
experience. Given the essential role repertoire selection plays in an undergraduate
student’s collegiate choral experience, it is this researcher's hope that this study has shed
light on the repertoire selection practices that effectively develop students as vocalists
and musicians as well as facilitate choral performance traditions nationally recognized for
excellence. While there are many paths to creating successful choral programs at the
collegiate level, this study was intended to serve as a guiding framework to model the
growth of new programs and/or reform pre-existing programs through effective repertoire
selection practices. From the study participants' total of over 133 years of experience
teaching at the collegiate level, one point that became abundantly clear in this research
was the need for the conductor to exhibit visionary leadership and creativity. Developing
and maintaining a collegiate choral program, nationally recognized for excellence, relies
heavily on the repertoire programmed. Repertoire selection must center on student needs
to facilitate growth. Determining the repertoire best suited to meet students’ needs while
meeting the aesthetic requirements of continued performances at the highest level is a
constant balancing act. Conductors must incorporate music from a variety or historical
eras, styles, and genres in their concert programs. The repertoire must both consider the
singers’ abilities and challenge them to further develop musically and vocally. These
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recommendations apply to ensembles at all levels of a collegiate choral programs
hierarchical ensemble structure.
Suggestions for Further Research
This study begins, what must become, a critical area of scholarly research —
choral repertoire selection for the purposes of students’ vocal and musicianship growth.
Even more research is needed to detail how institutions choose repertoire to facilitate
growth through the hierarchical ensemble structure of their collegiate choral program.
Examining such a topic would be useful research for the field. Questions of such a study
may include:
1. What were the educational objectives behind programming this piece of
literature?
2. What were the conceptual connections in various repertoire selections on your
concert program as pertaining to the overall concert theme?
3. How do the educational objects behind a specific piece of literature aid in the
musicianship and vocal development growth of the student?
Replication of this study should consider the specific pedagogical implications of
individual repertoire titles as suggested above. The guiding research questions of the
present study could elicit more specific pedagogical techniques utilized in achieving the
learning objectives that facilitate growth and the skills necessary to place students into
more advanced ensembles within the institution’s choral program. One of the
delimitations of this study was not asking the participants about the specific pedagogical
implications of individual pieces of repertoire they had programmed. The interviews
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with participants did not involve detailing the pedagogical purposes behind specific titles
they selected but rather provided an overall thought process of how they went about
selecting repertoire for their ensembles and how that thought process was then associated
with the goals of individual choral programs.
Further research would hopefully delve deeper into pedagogical objective
analyses than the scope of this present study was capable. Additional avenues for
research may include studies that develop resources for choosing repertoire similar to that
of the Mehaffey & Buchanan series that feature such findings on the pedagogical uses of
specific repertoire. Of course, similar studies should be pursued with different types of
institutions and student populations. While this study focused on undergraduate-focused,
religiously-affiliated institutions, examining the repertoire selection practices of other
category distinctions of the Carnegie Classification would be beneficial to the field.
Specifically, the impact of student populations within a collegiate institution on repertoire
selection practices could be studied.
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APPENDIX A
NATIONAL ACDA CONFERENCE HISTORY & INSTITUTIONAL

INVITATION FREQUENCY TABLE
Chronology of the American Choral Directors Association National Conferences
Washington, D.C. (1995) March 8-11, 1995

San Diego, California (1997) March 5-8, 1997
Chicago, Illinois (1999) February 24-27, 1999
San Antonio, Texas (2001) March 14-17, 2001
New York, New York (2003) February 12-15, 2003
Los Angeles, California (2005) February 2-5, 2005
Miami, Florida (2007) March 7-10, 2007
Oklahoma City, Oklahoma (2009) March 4-7, 2009
Chicago, Illinois (2011) March 9-12, 2011
Dallas, Texas (2013) March 13-16, 2013
Salt Lake City, Utah (2015) February 25-28, 2015
Frequency Table for ACDA National Conference Invited Collegiate Choirs
(Institution, Number of Conference Invites, Years Attended)
Appalachian State University 1 (2005)

Auburn University 1 (2005)
Austin Peay State University 1 (1997)
Bakersfield College 1 (2001)
Baylor University 2 (1997, 2015)
Belmont University 1 (2005)
Bemidji State University 1 (2003)
Brigham Young University 3 (2005, 2011, 2015)
California Polytechnic State University 1 (2015)
California State University at Fullerton 2 (2003, 2013)
California State University at Long Beach 1 (2015)
California State University at Northridge 2 (2001, 2005)
Calvin College 3 (2003, 2007, 2011)
Centenary College 1 (2011)
Central Washington University 1 (1995)
Chapman University 2 (1999, 2007)
College of Charleston 1 (2005)
College of the Sequoias 1 (2005)
Concordia College 2 (2001, 2003)
Cornell University 1 (2009)
Duquesne University 1 (2003)
East Carolina University 1 (2007)
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East Tennessee State University 2 (1999, 2007)
East Texas Baptist University 1 (2001)
Eastern New Mexico State University 1 (2009)
Emory University 2 (2003, 2011)
Florida Community College 1 (2005)
Florida State University 2 (2007, 2013)
Fullerton College 1 (2013)
Furman University 1 (1999)
Gonzaga University 2 (2001, 2005)
Harvard University 2 (1995, 2005)
Idaho State University 1 (2005)
Indiana University 1 (2005)
Iowa State University 4 (2005, 2009, 2013, 2015)
Kennesaw State University 1 (2013)
Lawrence University 2 (2009, 2011)
Louisiana State University 2 (1995, 2005)
Luther College 3 (2005, 2009, 2011)
Michigan State University 4 (1999, 2001, 2007, 2009)
Millikin University 2 (2007, 2011)
Mississippi College 1 (2005)
Morehouse College 1 (1999)
Mount San Antonio College 3 (2001, 2005, 2013)
Nebraska Wesleyan University 1 (1999)
North Dakota State University 1 (2001)
Northwestern University 1 (1999)
Ohio State University 2 (1999, 2001)
Oklahoma City University 1 (2009)
Oklahoma State University 4 (1997, 1999, 2009)
Pacific Lutheran University 3 (2001, 2005, 2013)
Penn State University 4 (1999, 2003, 2005, 2011)
Pierce College 1 (2003)
Portland State University 2 (1997, 2003)
Ricks College 1 (1999)
Riverside City College 1 (2011)
Roosevelt University 1 (2011)
Rutgers University 1 (2001)
Saint Mary's College 1 (2005)
Sam Houston State University 1 (2007)
San Jose State University 2 (1995, 2005)
Seattle Pacific University 1 (2001)
Southern Nazarene University 1 (2013)
Southwest Missouri State University 1 (2005)
St. Olaf College 5 (1999, 2001, 2005, 2011)
Temple University 1 (1995)
Texas Christian University 3 (1997, 1999, 2001)
Texas State University 1 (2011)
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Texas Tech University 2 (1997, 2005)
University of Alabama 1 (1995)
University of California Los Angeles 1 (1997)
University of Central Arkansas 1 (2005)
University of Chicago 1 (2003)
University of Cincinnati Conservatory of Music 1 (2001)
University of Colorado-Boulder 1 (1997)
University of Dayton 1 (1999)
University of Delaware 2 (2005, 2013)
University of Houston Moores School 1 (2007)
University of Illinois-Urbana-Champaign 2 (1997, 1999)
University of Kansas 1 (2001)
University of Kentucky 3 (2003, 2011, 2015)
University of Louisville 6 (2001, 2005, 2009, 2011, 2013)
University of Miami 3 (1997, 2003, 2007)
University of Michigan 4 (1997, 1999, 2003, 2015)
University of Mississippi 3 (1999, 2001, 2007)
University of Missouri-Columbia 2 (1995, 2011)
University of Nebraska 1 (2009)
University of North Dakota 1 (1997)
University of North Texas 3 (1999, 2005, 2013)
University of Northern Iowa 2 (1997, 2007)
University of Notre Dame 1 (2001)
University of Oklahoma 1 (2009)
University of Southern California 4 (1997, 2001, 2005, 2015)
University of Southern Mississippi 2 (1999, 2005)
University of St. Thomas 1 (2011)
University of Texas-Arlington 1 (1997)
University of Texas-Austin 2 (2005, 2009)
University of Wisconsin-Eau Claire 2 (1997, 2003)
University of Wisconsin-Madison 1 (1999)
Utah State University 2 (1997, 2015)
Western Illinois University 2 (1997, 2007)
Western Michigan University 1 (2003)
Western Washington University 1 (2005)
Westminster Choir College 1 (2013)
Wheaton College 2 (2003, 2007)
Yale University 1 (2007)
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APPENDIX B
SURVEY INSTRUMENT
Preliminary Biographical Data Collection Form
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Interview Prompts/Questionnaire
1. Explain the role of each curricular choral ensemble in your students' development
as musicians? What are the learning objectives of each ensemble as they
correspond to the musicianship skills necessary to successfully audition into
higher-level ensembles?
2. Do you believe the structural hierarchy of ensembles in your choral program
contributes to the success of your program? If so, how? If not, why not?
3. In your view, how does the repertoire you choose contribute to the success of
your program?
4. Explain your philosophy/rationale for choosing repertoire. Does it differ from
ensemble to ensemble? If so, how?
5. Do you regularly program thematic concert programs? If so, how does this
impact learning objectives for the various ensembles?
6. Do your choral ensembles ever collaborate on a performance? How does this tie
in to your process for preparing students for the more advanced ensembles of your
program?
7. What are your main criteria in choosing repertoire for each of your ensembles?
8. How does the consideration of variety present itself on your concert programs?
9. Do you feel that being a Christian school constrains the repertoire available to
program for your ensembles' performances? If so, how?
10. Explain how your educational and post-educational experiences have shaped how
you select choral repertoire.
11. What sources do you rely on in seeking new repertoire?
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APPENDIX C
INTERVIEW TRANSCRIPTS
Interview with Dr. Jeffery Ames, Belmont University
LEREW: Explain the role of each curricular choral ensemble in your students'
development as musicians? What are the learning objectives of each ensemble as they
correspond to the musicianship skills necessary to successfully audition into higher-level
ensembles?
AMES: On the entry level we basically have two ensembles. One is the Women's
Choir, and the other is University Singers. Those are primarily freshman and sophomore
music majors and also quite a few non-majors. So, just like at any other university, your
entering undergrads, the talent and skills that they have vary from year to year. We just
take them where they are and push them forward. Some years they can read anything on
the page and their aural skills are strong, and some years it's just the opposite. Some
years they are just wonderful gems. With all of our beginning choral ensembles, music
literacy is an important factor that we focus on in these ensembles. That includes using
solfege in rehearsals, using Curwen hand signs, in addition to the "takadimi" system of
count-singing or rhythm. One of the designers of this count-singing system is Richard
Hoffman, a theory professor here at Belmont. Nashville is "takadimi" city. Even in
Chorale or Oratorio Chorus, if something's not working, we will go right to solfege, or
we'll clean up the rhythm using "takadimi." They've been 'brainwashed' into those
systems, and it really works for us. So music literacy is our top priority. The second is
building musicianship — phrasing, dynamics, articulations, and also developing different
colors for various repertoire. That will encompass both University Singers and the
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Women's Choir. With Oratorio Chorus, I can tell you that this is a huge chorus. The
smallest it's ever been is 175; the largest that I have ever had was last semester when it
was at 283. This Oratorio Chorus is comprised of every single music major in the school
of music regardless of instrument or emphasis. We have opera singers, classical voice
majors, as well as commercial drummers. Again, music literacy is very, very important.
Some of them are trying to find their voice, some of them are just kind of fitting within
the groove. Others are really enjoying the choral experience for the first time. We teach
for transfer so what they do in aural skills or theory class, we also apply in all our
ensembles to reinforce music literacy.
LEREW: Do you believe the structural hierarchy of ensembles in your choral program
AMES: Belmont is very unique in that it is non-traditional, and the comprehensive
school of music encompasses both classical and commercial music. One thing that is
very different from traditional schools and their hierarchy of choral ensembles is that in
their sophomore year, students may audition for any ensemble that we have. Here at
Belmont, we have 14 choral/vocal ensembles that pertain to everything from bluegrass to
opera. So, our students have the ability to audition for any type of ensemble. Even if
they're a classical major, they can audition for certain commercial ensembles, and if
they're commercial, they can audition for classical ensembles. I would say within the
hierarchy of classical ensembles, people recognize that Chorale is kind of the flagship
choral ensemble. Our dean likes to say Chorale is the oldest choral ensemble and the
touring ensemble here at Belmont. We share a lot of students in the school of music. I
have some students in Chorale who are wonderful instrumentalists and are a vital part of
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an instrumental ensemble. There are a lot of commercial majors who also sing in a
cappella groups. Opera singers sing in Chamber Singers — from orchestral
accompaniment to just singing with tuning forks. Women's Choir and University Singers
are our entry level ensembles, and Chorale is at the top. Everything else is in the middle.
I think our structure works well.
LEREW: You had said that Oratorio Chorus has all students in the school of music. So
do you have to be in both Chorale and Oratorio Chorus at the same time?
AMES: Yes. So, if you're a voice major, you sing four semesters in the Oratorio
Chorus, either your freshman and junior year, or your sophomore and senior years.
LEREW: So, really, the function of Oratorio Chorus is to get them exposed to larger
works?
AMES: Exactly.
LEREW: In your view, how does the repertoire you choose contribute to the success of
your program?
AMES: Well, it varies from ensemble to ensemble. I think all of our choral directors on
the classical side really try to have balanced programs. For Chorale, we will consistently
do something heavy like Bach, Brahms, or Beethoven, and balance that with some world
music, spirituals, or concert gospel. It will be the same with our Women's Choir and also
University Singers. With University Singers, their director likes to do a mash-up, if you
will, that encompasses both traditional choral music or octavos, along with something
like "Duel of the Fates" or something from "Star Wars" or "The Hunger Games." One
year the theme was "Apocalypse," so there were some video game choral pieces. There
was also John the Revelator, Revelation by Stroope, and a setting of the Dies Irae. That's
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what I mean when I say a mash-up. I think, for our student body, that approach works
well — we kind of tickle the senses of different styles and genres.
LEREW: It seems that some of those mash up pieces are touching on more of the
commercial side. Would you say you're trying to engage your student
composer/arrangers in doing that?
AMES: Sometimes, yes. Engaging student composers in our ensembles is something
we do deliberately. This gives them the opportunity to explore a little bit with
orchestration such as writing some string parts or an instrumental obbligato or something
like that.
LEREW: Explain your philosophy/rationale for choosing repertoire. Does it differ from
AMES: I'll speak to Chorale. Typically, when choosing repertoire for Chorale, like
most every choir I work with, fifty percent of the rep is going to be on their level, 25
percent will be challenging, and 25 percent will be easy. Depending on the level of
musicianship in the ensemble for that year — I did just graduate half my choir, so now I
have mainly young sophomores and juniors — we can do some Bach double choir stuff.
I do like that formula, but I think that each director has to ask themselves "yeah, this is
hard" or "this is good for them" or "we've got a lot of hard stuff, so let me throw them
something that's really easy or something we really don't have to put a lot of time into."
That balance is important, and I think all of our ensemble directors do a good job of
maintaining that program balance. Obviously, it is going to differ a little bit more with
University Singers doing their mash-up approach, but, all in all, there is still quality
choral octavi in each ensemble's programming.
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LEREW: Do you regularly program thematic concert programs? If so how does this
AMES: At first, I was doing a themed program about once a year. In the past couple
years I have been doing one each semester, and sometimes I theme the entire semester. A
lot of that depends on what kind of choir I expect to have this year. One program that we
did, I actually had the student come up with the title, was "The Woven Word." It was all
sacred music and some pieces' texts were direct quotes from scripture. We had students
give reflections as well. I think thematic programs can really impact the students' minds
and spirits. I'm always thinking about the musical objectives for this concert — what are
they going to learn, what's good for them, but I also think about what the music can
capture in spirit or character or essence. I really try to consider how the music transfers
to their own lives.
LEREW: Do your choral ensembles ever collaborate on a performance? How does this
tie in to your process for preparing students for the more advanced ensembles of your
program?
AMES: Yes, we often collaborate with other ensembles. Chorale and Women's Choir
have done performances together. We've had University Singers and the chamber string
orchestra do a concert together. There's always going to be groups doing some type of
collaboration in the school of music. Also, since Vanderbilt is only three blocks away
from us, we're finally doing a collaboration concert next spring. I am for collaboration
with instrumental ensembles like percussion ensemble, string quartet, brass, and organ
just as much as I am for merging choirs together.
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LEREW: Does the idea of preparing the younger singers for the more advanced
ensembles go into your planning at all?
AMES: My graduate student teaching experience was at a truly top program. With my
first high school teaching job, I really felt like I was going through withdrawal. It was
just so different — more about developing choirs and individual student voices. It was a
small program. A mentor in the county I was working in told me that they would find
great recordings and play them for their choirs and then lead a group discussion of what
they heard — what's good and what they like, what the tone and articulation are like. I've
always kept that idea with me when working with my younger students here at Belmont
to get their ears exposed to an ensemble like Chorale. It really increases their knowledge,
ear, and musicality. Then they will usually go to their directors and say, "Oh, I really
liked how Chorale did this or that or the other," and those directors will share that with
me. It's very affirming.
LEREW: What are your main criteria in choosing repertoire for each of your
ensembles?
AMES: The main thing is "do I like it?" Is it something that will engage the students?
Is it material that they should sing? Should they sing a Bach motet? Should they do it
two times in their college career? Possibly. Should they do it at least once — absolutely!
Do they need to be exposed to Romanticism and sing works of Brahms? Yes. Do they
need something off the wall like some Penderecki? Yes. Is it likable? I think that's the
big thing. Does it speak to me? Yes. Then it definitely will speak to my students.
LEREW: How does the consideration of variety present itself on your concert
programs?
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AMES: We definitely try to have a little bit of everything. I want something early.
That's not to say that I do something from the Renaissance or Baroque or even medieval
every single concert, but if I realize, "Oh last year, I didn't do any baroque" or "I haven't
done any madrigals in awhile," then I know I need to circle back around and include that
this year. Assessing what's been done recently and what's needed yet for their
undergraduate education is important. I feel strongly that students need to be exposed to
the music of our time — living composers. Even something that's off the wall or from a
drastically different culture that challenges them. So, I do feel that variety is very, very
important.
LEREW: Do you feel that being a Christian school constrains the repertoire available to
AMES: Oh no! Not at all! At Belmont, we view the repertoire and literature we do as
being in a box. For the most part everything's going to be cool in that box. But we are
also comfortable stepping out of that box to do something that's a little risky in order to
expose our students to material that they may have to do in the real world. I don't think
we're limited in what we can do by being a Christian school. They need to sing secular
repertoire. They need to sing Christian repertoire. They need to sing things that are more
evangelical, but that's not to say I will never program something that is a secular madrigal
that deals with mythology or anything like that.
LEREW: Explain how your educational and post-educational experiences have shaped
how you select choral repertoire.
AMES: Well, I think from an educational standpoint, each of my undergraduate choral
directors and graduate choral directors all programmed music that was appealing to them
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personally. It was music that really spoke to the heart. Even if you didn't realize it was
speaking to your heart, by the time you finished it, you found out "ah, okay, that's why
we sang that piece." I think I program the same way. That's how I select my repertoire.
LEREW: What sources do you rely on in seeking new repertoire?
AMES: Websites, YouTube, and mailings from publishing companies are all helpful. I
remember when I first got to Belmont. I received a packet of music and a CD from
someone I didn't know. I put it in a pile, and I let it stay there for five years. I just pulled
it out two years ago and thought "oh my gosh, there's so much wonderful music in here!"
Conferences, both divisional and national, are really helpful too. Finally, word of mouth
— social media is a really useful tool for finding literature, especially when you are
looking for something in particular.
LEREW: Do you have any favorite publisher houses that are a go-to for you?
AMES: I would say Walton Music has been one of my very favorites and Earthsongs. I
am very, very pleased with Earthsongs because they have done a wonderful thing for
choral music in terms of world music. I usually only dabble in others like Alliance. I
don't do Hal Leonard too much unless I'm looking for something specific by a composer
like Rollo Dilworth. But I'm also starting to find some quality literature by GIA. Walton
is now under their umbrella. Just like every other choral conductor, you have your folder
of music that you want to do, and then you go through that music and you're like, "nope,
not this year." But you keep the music in there that speaks to you or that really has great
musical qualities.
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Interview with Dr. Ronald Staheli, Brigham Young University
ensembles?
STAHELI: We begin with University Chorale, which is open enrollment choir, two
sections, probably about 200 students in each section. The goals are first and foremost to
give them a rich musical experience because many of them will never move on. They
just want to have a good choral experience and their idea is not rigid. Many others will
move on to other choral ensembles. So, we do a lot of music training, of course — tone
building, music theory, etc. It's not nearly as intense as we do in our auditioned choirs.
Our men's and women's choruses are auditioned, and we call them "select" choirs. We
have both men's and women's who are very happy to stay in those choirs the whole time
they're at BYU. But, nevertheless, we give them a lot of training so that those who do
want to move into the higher and more select mixed ensembles can do so. So, there's a
lot of vocal work and a lot of musicianship skills building in those as well. Then, we
have our Concert Choir and BYU Singers, and they are our highly select ensembles. The
process simply continues in these choirs. We're always working on tone production and
good musical skills. That's just sort of part of the game always. I think in any choir we
should work to improve the sound and skills of our singers, etc.
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STAHELI: Yes, this because so many of them have experience in Concert Choir or
Men's/Women's Chorus, and very few of them are coming from Chorale that would come
into our higher groups. By the time they're ready for auditions for BYU singers, they've
had a pretty good initiation into the BYU sound and the way we do things. So, yes, I
think our structure plays a large role into the success of our groups.
LEREW: Do you have a lot of conversations with your colleagues that are conducting
these other groups that feed into BYU Singers?
STAHELI: Always! We're always conducting each other's ensembles throughout the
year, and that is intentional. We're always talking, and we're always attending each
other's concerts. We have a wonderful relationship where we can talk about tone, etc.
your program?
STAHELI: Well, we always think that if you're going to have a good program, you're
going to have good literature. That doesn't mean you can't do a wide variety of literature,
including the light things we do in Chorale and Men's/Women's Chorus and even to an
extent in Concert Choir and BYU Singers. But, when you do it, it is to be of highest
quality performance. Something that has musical essence and substance no matter how
simple it may be. It still needs to have good substance. Of course, you know as well as I
do, there is so much literature that is available that lacks substance.
STAHELI: I think [Prof. Rosalind Hall] and I are able to choose more difficult things
for BYU Singers and Concert Choir. She and I can choose that because we get the pick
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of the singers that are to be in those choirs. I think, though, in choosing repertoire, we
always begin with a program in mind that has something to say. It's not just to be
a smorgasbord of a little of this and that but instead is composed of a set of pieces that
have something to say and greater meaning. Then, from that point, I like to always begin
with the focal point of the program whether it's one piece or a group of pieces and then
build the program from there so that the program has good variety but also a lot of unity
as well so that it's a program that will flow. I'm always trying to fill out the program.
Finding the core of the program is not hard for me. It's always finding those pieces that
complement what I've already decided is the core that will make a logical unified
program. Of course, you're trying to serve many masters because you want to please
your audience. You're working with students who need to be well trained and be exposed
to the best choral music even though your audience may not be so excited about that kind
of music. It's still a requirement that we address that and that programs be full of the best
sorts of music that our art has to offer. I want everybody in our audience to have easy
access to at least one, if not more, of the pieces on our program. But, I also want to
challenge our audiences as well by the repertoire that we have. So finding that "shape" of
a program takes hours and hours of programming as you yourself well know.
LEREW: You had talked about coming up with the core and then developing those
outer pieces. Do you regularly program thematic concert programs? If so, how does this
STAHELI: Thematic in a general way, yes, but, specifically, no. To do a whole
program of settings of O Magnum Mysterium, no, but the core of the program may have a
theme, and it will have a lot of flexibility. It will still have a real sense of unity about it.
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tie into your process for preparing students for the more advanced ensembles of your
program?
STAHELI: We do. We do one large major work at least once a year in the spring
assuming the orchestra schedule jives with ours. At the very beginning of the year, we do
a showcase concert combining the choirs. We do a combined Christmas concert that
includes combined repertoire. Then, in the spring, we do combined things based on what
we can schedule. Sometimes that's a major work or a combination of minor and major
works. But, we are together all the time. We think that's really important in building the
esprit de corps of the entire choral area. We must sing together. We must perform
together, and we just take turns where we sing many pieces together. We are always on
stage trading back and forth. We think that's good for our students to see and to
experience, and then they get to see that we are a great team as a faculty.
LEREW: Beyond sharing conductors and performing together, are there any specific
activities that you do for BYU Singers to model to the less musically proficient choirs
what the expectations are for moving up?
STAHELI: Well, most of the time those students are in our audience, which I'm really
happy about. Most of those students care enough that they want to hear and support other
choirs just like we go hear their choirs. That's really a wonderful bit of teaching that
occurs there as they hear the very kinds of things that they're working on in their
ensembles as well. We are always working with each other's choirs. For example, I will
invite [Prof. Jean Applonie] or [Prof. Rosaline Hall] into our rehearsal, and they will
watch, listen, and make wonderful comments right in the rehearsal. I will do the same so
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that the students are exposed to the way we work and think – not that it's really that
different, but they're at least exposed to it. We are very open which is a wonderful
luxury, and the students can see that we take things from each other so well. There are no
defenses. We just work really well together, and our choirs benefit from that.
ensembles?
STAHELI: It has something to say musically and textually — something to say. It has
to have the ability to make life richer. I don't care if it's a two-minute piece or a 22-
minute piece. It needs to have real musical integrity and textual integrity and be able to
be something that will feed our audiences in all sorts of ways. I don't choose a piece just
because it's difficult. There are plenty of difficult pieces in our repertoire that I don't
think are worth much. But, I think the piece has to have its own integrity. If it does, then
I'm interested. Musical and textual integrity – if it does, then I'm interested.
programs?
STAHELI: I'm always looking at varied stylistic periods. I'm always looking at variety
in accompaniment. I'm always looking for changes in pace and tempo. We need to have
good hors d'oeuvres, a good salad, good soup, a wonderful main dish, and a great dessert.
STAHELI: No, I don't. We're not Catholic by any means, but we can sing an Ave
Maria easily. We can sing any part of the mass, and there are never any raised eyebrows
over anything like that.
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STAHELI: Oh, boy. That's a big question! I think my three degree programs prepared
me to learn. I was Charles Hirt's last graduate student at USC, and I remember as I
finished my exams, he took me into his office and spoke wonderfully to me, and the last
thing he said to me as I left his office was "now your education begins." That was
really the truth! I had been prepared for education, and then it's happened in the 30 years
since then — all the things that I've learned — Especially with repertoire. That sort of
sense of repertoire is very difficult to teach students. You can sort of give guidelines and
expose them, but that sense of feel for repertoire is something every conductor has to
learn on her or his own. So, I think a lot of what I believe I have learned is because of
my own choosing of a program, rehearsing it, and then performing it. Coming to know
the kinds of things that will work and won't work is all a matter of experience. But, I
couldn't have had that experience without my three degrees to prepare me to do that well.
STAHELI: That's a really good question. Of course, colleagues, recordings, and
keeping track of new music and who's writing what is important. Keeping track of new
composers that I like very much and what they're doing is something I do. That's not
always easily done except thank heaven for the internet where we can keep track of a lot
of really fine composers and what's being published and when. I've got my eyes open
and am hungry for new literature all the time.
LEREW: Any favorite publishers?
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STAHELI: No. I'm honestly disappointed with what's happening with a lot of
publishers. Both British and American publishers are saturating the market with
literature that doesn't have integrity. Therefore, I'm on the trail for composers and work
with colleagues in the field to find the music I want to do. The publishers just aren't
filtering music for us like they should.
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Interview with Dr. Allen Hightower, Luther College
ensembles?
HIGHTOWER: The structure that has been in place at Luther for quite some time is
that we have our first-year students involved in gender-based choirs. Norsemen is where
our first-year men sing, and that group varies from the mid-70s to as big as almost 100
depending on the year. Aurora is the first-year women's choir. Almost all the first-year
women go in there, and that usually sits between 90 and 100 roughly. Those groups meet
three days each week for an hour, and their performance schedule is fairly minimal.
They sing for chapel, and they sing in Sunday morning worship services. The big focus
for them in the fall is Christmas at Luther. There is a lot of skill building that goes on in
those years. My colleagues, [Dr.] Andrew Last and [Dr.] Jennaya Robison conduct those
two groups respectively; both of whom are very fine singers and very fine technicians. I
think solfege tools are used a great deal as the music reading skills are honed in those
choirs. From a vocal technique standpoint, there's a big emphasis on vocal development.
You walk in at the beginning of rehearsal, and there's a pretty extensive warm-up
sequence going on to build the voices. Just the fact that they are gender-based choirs, I
think, allows philosophically for more intentional development of the singing voice than
an SATB ensemble would allow in terms of time and focus. So, they're singing
repertoire that's challenging but age appropriate, etc. You hope that by the time they
move to the sophomore year that they have strengthened their reading skills and that their
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sense of ensemble singing has been strengthened through the experience. Not to mention
that just the sense of morale and community that's established in those ensembles is like a
fraternity or sorority in the most health way — without any hazing! We tend to retain
about 85% out of the first-year choirs into the sophomore year. I should also mention
that the vast majority of those first-year students are studying voice privately. At Luther,
we tend to have 500-540 people singing in choir every year. Of that, roughly about 400
of the students are studying voice with a private instructor. All of those are taught by
faculty members, but many take only a half hour lesson weekly rather than a full hour.
As they move then from the first-year to the sophomore year, the students have more
options for which ensemble they can audition. They can audition for the Nordic Choir,
which is sophomores, juniors, and seniors. They can audition for the Cathedral Choir,
which is all sophomores, and a number of sophomore women will also sing in Cantorei.
Cantorei is technically our all-level women's choir though there aren't very many first-
year women in it mostly sophomores, juniors, and seniors. The 20 or so sophomores of
the 75 singers in Nordic Choir, tend to be the most vocally advanced sophomores. For
me, I think it's important to have a healthy number of sophomores so that they're in the
groove and learning the system to be the future leaders of the choir. The all sophomore
choir is really a unique Luther College thing. Many of our peer schools have an
ensemble in that sort of strata in terms of having a third mixed ensemble. But, I think
ours is special in that the singers have gone from being in their gender choirs to now
singing in an SATB ensemble but with their peers that are now in the sophomore year is
really special. [Dr.] Jennaya Robison does a great job with them. Much like the first-
year choirs, they're singing in chapel and Sunday morning services and as part of
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Christmas at Luther. So, again, in that group they aim for further vocal development and
further sense of ensemble singing. Cantorei, as I mentioned, is the all-women's choir
that's kind of the ensemble that most colleges have that where it's maybe the least-skilled
singers in the program. We all do our very, very best to build that ensemble up. They
sang in chapel Monday, and I was their accompanist, and I was delighted to do so. We
find that all the choirs are stronger because we have Cantorei and there are women
singers all across campus that want to be a part of Christmas at Luther, and that's the
ensemble that's most appropriate for their skill set. So, moving then from the sophomore
year to the junior year, a junior can audition for Nordic Choir and be considered for the
Collegiate Chorale, and again Cantorei. The Collegiate Chorale then enters the picture at
this stage. Collegiate Chorale is a choir of 106 singers this semester. We couldn't put
anymore in there because that's all the robes we own! You'll find in that choir that it's
very competitive. As you go up through the system, it becomes more and more
competitive. They rehearse three days a week as opposed to Nordic's five. What's really
remarkable in my experience here at Luther is that the level of singer in that group is just
pretty impressive. You have some more average singers in there too, but then you have a
number of people who could very easily sing in Nordic Choir, Westminster's choir, St.
Olaf Choir, or whatever. It's simply that their life doesn't have the space for the demands
that Nordic Choir requires. In the old days, not so much now, because I think [Dr.]
Andrew Last and I have a fairly consistent tonal concept, there might have been singers
who were more operatically oriented for whom Nordic Choir was not the most
comfortable place for them.
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LEREW: Is that an emphasis of the voice faculty? Are they trying to prepare future
professional opera singers?
HIGHTOWER: You know, one of the things I feel I can say truthfully when I'm
recruiting high school students for Luther is that I think of all our peer schools, Luther
has the most consistently outstanding vocal performance and opera experience for our
singers. We have a full-scale opera in the spring with orchestra, costuming, and the
whole thing. We have a distinctly first-year opera program, which is unique to Luther so
that during the January term that the first-year students are here they can audition to be a
part of the first-year opera while the other choirs are touring. Since I've been here, we've
sent nine students to North Texas to study vocal performance. We've sent kids to
Cincinnati as well, so I think we tend to attract and prepare quite a few kids who are
vocal performance focused. I think that is somewhat unique among the Lutheran schools,
in my limited exposure. Getting back to the choral structure question, coming into the
junior and senior years, they can sing in Cantorei, Collegiate Chorale, or Nordic Choir. I
don't know that the objectives of Collegiate Chorale are all that different from Nordic
Choir. They do have a brief tour in the spring — a four-day tour. Cathedral Choir has a
three-day tour in the spring that they're working toward most of the whole year. Nordic
Choir, as you know, rehearses in January. We tour toward the end of January term into
February. Most years, we miss the first couple days of classes. There is a cycle of
oratorio that is done every other spring, balancing the opera in terms of the symphony
orchestra's commitment. In my role as Director of Choral Activities, I conduct that in
rotation with the symphony conductor.
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HIGHTOWER: Well, if it ain't broke, don't fix it, and I think it ain't broke. We have
toyed with the idea of whether it would be helpful to have an upperclassmen men's choir.
It's always been our priority past the freshman year to ensure all the mixed choirs have
the men they need to function. There are always upperclassmen men that don't make a
choir. I think having the first-year experience and having about 85% retention in both the
men and women is pretty outstanding. I also think there's a sense of dues paid in singing
in those ensembles, and there's a sense of allowing us as faculty to be able to more
carefully evaluate the students not only from a musical standpoint but also from a work
ethic standpoint. My colleagues may say, "Wow, I really like this bass. Tell me a little
more about him." I may have to say, "Well, he missed rehearsal often, and he had
an attitude problem." I think that's really a good part of the structure. We have a really
wonderful choral faculty, and we work well together as a team. Having taught other
places, one of the things I notice here is that all three of the mixed choirs could by vying
for the same repertoire. I think there could be more definition between the choirs. Our
sister school, St. Olaf, has an ensemble more specifically functioning to sing in chapel
and worship. I think their second ensemble is more about large-scale, choral-orchestral
repertoire. But, ours are all sort of mainstream. I think it manifests itself more
specifically in that each of us has a bent toward certain repertoire that we love. There are
some students who take pride in saying, "in four years, I sang in four different choirs."
That allows them to experience a wide variety of approaches. For the music education
kid, to sing with at least two different conductors is a really healthy thing.
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your program?
HIGHTOWER: First, I'll say over my six years here, I've become extremely intentional
that everything I've planned for the whole year can contribute to the tour. I don't have a
lot of time to spend on repertoire that can't be folded into the tour. It really drives
everything for Nordic Choir. I think I'm probably accurate in saying that because my
background is not rooted in the Lutheran choral tradition, I probably bring other
repertoires. I love the Anglo-Episcopal tradition. On different years you may see
Howells, Byrd, and those kinds of guys, which aren't necessarily at the core of the
Lutheran tradition repertoire. I think my colleague, Dr. Last, has a real heartbeat for the
African repertoire and non-western music. I do some of that with Nordic Choir, but that's
not really the main thrust of my passion. For me, it's important that the students of
Nordic have done some of that other repertoire and have done it well and that we've
given them a wide palette and variety. I think one of the things that was most telling
when I first came here was when one of my really gifted basses, who was a junior at the
time, came to me after a rehearsal and said, "Now, let me get this right, you want me to
sing with this tone on this piece but a different tone on that piece?" I think that was a real
eye-opening experience for some that we would want the sound to grow out of the piece
to some degree. Clearly, every conductor has a basic sound in their ear that they're
working toward. But, part of my desire in coming to Luther has been to loosen up the
somewhat stringent approach that every piece sounds exactly the same. For me, the
repertoire is about challenging us as musicians in different ways. When we sing
Debussy, how does that sound different than when we sing Brahms or Christiansen.
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HIGHTOWER: I'm not all that concerned with Nordic Choir as to whether they're
entertained or not. I try to choose repertoire that is varied and is engaging and shows off
the various strengths of the ensemble. But, I'm not thinking much in terms of, "Oh, I
hope there's buy-in on this piece." I had a friend who was sitting in on a rehearsal, and
we were working on a Bach motet, and the friend said, "Allen, they were dancing and
moving more in the Bach motet than they did in anything else." So, it's not as though the
headier, intellectual music is less engaging to those students. I think building up from the
first-year perspective, I would assume that my colleagues are very interested in ensuring
that the repertoire has broad appeal for the most part. Consequently, for Christmas at
Luther, Norsemen is likely going to sing an African piece, and the crowd is going to love
it. There's that broad profile appeal to the non-music major student. We have lots of
those. The same thing goes with Aurora. There are going to be pieces, which are
more intentional to buy-in. From a pedagogical standpoint, I'm sure they're choosing
pieces that are building the skill sets and tonal concepts, intonation, etc., which revolves
around a fair amount of a cappella singing in those first-year choirs. In the college age,
as you well know, it's kind of a season of activism and questioning everything. I think
sometimes there's repertoire that maybe addresses some of these issues of peace and
justice and that sort of thing — particularly in the ELCA [Evangelical Lutheran Church
of America] world in which Luther lives. I think with Cantorei, again which is a
women's group and the least skilled, I think [Dr. Jill Wilson] is very thoughtful to find
pieces on which they can be very successful and get a great buzz from the experience.
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My philosophy goes back to my high school teaching days which is to program for
success. That means that the kids, at the end of the day, feel really great about what
they've just done. So, how do you find a piece in a certain genre that comes off very
well, and they're able to sing it. I think pedagogically that's at the heart of what our
conductors are doing here. With Nordic Choir, in some ways the sky's the limit. I say
that with great humility. The choir has sectionals every week in addition to rehearsing
five days a week. They definitely want to be challenged, but on the other hand, it's my
goal to present the widest variety, which includes languages and intellectual challenges
for the group. I think, again with the triangle, there's probably less and less intentionality
at the top of the triangle, but at the same time are they experiencing meaty repertoire at
the bottom as well.
LEREW: How would you contrast the two ensembles closest to each other — the
Collegiate Chorale and Nordic Choir?
HIGHTOWER: I still think with Collegiate Chorale there's a necessity because of the
non-majors in there that it needs to be a feel good experience most of the time. [Dr.
Andrew Last] is a brilliant rehearsal technician and a taskmaster, and I don't mean to
diminish anything they do by what I just said because I think they sing impressively well
consistently. There are a lot of voice and music majors in there. We all work
intentionally for a sense of community. I think that manifests itself differently in each of
the choirs. Because Nordic Choir spends more time together, it may evolve in a less
calculated way. I think we all sing relatively similar repertoire as I said before. I work
very closely with [Dr. Last], and I think we work things very similarly and so to draw a
distinction between the two choirs is really causing me to scratch my head. I think that
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what really drives it is the time commitment expectation and the longer tour expectation.
Of course, Nordic Choir records to make a new CD album every year. So, I think in
some ways, we're more similar than what you find at other institutions.
LEREW: Do you regularly program thematic concert programs? If so, how does this
HIGHTOWER: Well, obviously the Christmas at Luther project is very thematic in
that it's based on celebrating Christmas. Otherwise, I've noticed with Cathedral Choir
and Collegiate Chorale and their shorter tours, that particularly [Dr. Jennaya Robison] is
more tightly thematic than what I tend to be. I think last year's [program theme] was
something along the lines of "I Believe," and so she had readings in between pieces,
which contributed to people's faith journeys, etc., sort of pulling together different pieces
that were in some ways a confession of faith. For me, I tend to group small sets together.
To open the second half of our tour program, I just titled it "Alleluia," and we start with
Jake Runestad's new Alleluia, and then we go into the 15th century Tavener Dum
Transsiset which ends with "Alleluia." So, I'm about pairing things which have a
thematic thread yet some kind of contrasting interest. I don't try to make the whole
tour program all about one thing because I want there to be something for everybody. I
want to focus on the diversity of experiences for the singer as well as the diversity of
colors and sounds for the listener. But, I am very intentional about what comes here and
what comes next.
tie in to your process for preparing students for the more advanced ensembles of your
program?
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HIGHTOWER: Besides the annual Christmas at Luther, when we do oratorio, we
typically merge the three mixed choirs for that project. I think there was a time when
Craig Arnold was here that it might have been the first-year choirs and Nordic
Choir because the first-year choirs don't tour in the spring and have the most open
schedule. But, now, typically it's the three mixed choirs that combine.
ensembles?
HIGHTOWER: Because we are historically a college of the church, there's a natural
expectation of a preponderance of sacred repertoire. As a person who loves sacred music
myself, that's not a challenge. I typically start with the general expectation of doing an
all sacred program for tour knowing that no one would question that. When I do throw in
a Brahms quartet or something secular, it just enhances variety. I do most of my planning
in the early summer, and there's this on-going stack of pieces on the piano in the "I-
would-love-to-program-this" and "it's-been-a-long-time-since-I've-done-this-piece-and-I-
would-love-to-do-it-again." I'm always thinking "would this be a good year for Copland,
In the Beginning, or what would be a center piece that would be really exciting for the
choir? Then I also begin to acquire a number of smaller pieces that would be really
functional in a tour program. Here's a wonderful setting of "All Creatures of Our God
and King" that we could sing in chapel or that we could sing in the second or third week
of school for family weekend or what have you. I begin to gather some of those, and then
it becomes a patchwork of performance driven rather than pedagogy driven. Perhaps
that's shallow to say.
LEREW: I wouldn't say that's shallow when we're talking at the Nordic Choir level.
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HIGHTOWER: Yeah, so I'm thinking what's missing in this unfolding program? From
a curricular standpoint, it has as much to do with the audience as the singers. It's kind of
a healthy 50-50. Obviously, if I don't like the piece, we're not going to continue with it. I
don't look at that as being the number one priority, but I do think that if I'm not passionate
about it, there's no point in pursuing it. So, I'm building the program based on three or
four pieces that I really want to do this year. What would make some lovely contrasts,
and how do we begin the first half? How do we end the first half? How do we begin the
second half, and how do we end the program? Is there something for everybody? One
thing I had to deal with this year was that we had too much Latin. Last year, we had up
to six different languages on our program. This year, it's more like four. So, repertoire
selection largely comes out of building the tour program.
programs?
HIGHTOWER: I think about things as simple as fast-slow contrast, major-minor keys,
happy songs versus sad songs, sacred versus secular, and a cappella versus accompanied.
Is there an opportunity for an extra instrument such as a flute, violin, or cello? Are we
using organ? Are we using piano? This is the first year since I've been here that we don't
have a really great organist in the choir. I was anticipating doing a Herbert Howells piece
with organ on tour, but it didn't sort out that I had a strong organist in the choir. So, we're
doing more piano driven things. Those are certainly the criteria for contrast and perhaps
variety of languages. It sounds so cut and dry when you say it, but it is such an
evolutionary process.
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HIGHTOWER: Definitely, no. The students' expectation is one thing. My colleagues'
expectations in the music faculty is another. The general base of alumni and fans of the
choir might be yet another. I have told the choir many times that I have never sung or
conducted one piece of Christiansen before coming to Luther College. But, every year,
we've done of the big Lutheran "sugar sticks" because there's always someone in our
audience for whom that is a special connection to their roots. I think being in a public or
state school arena, one would have to be sensitive to the amount of sacred music they
program. I don't think that it limits us. It's interesting, based on my predecessor's
interests and strengths, it was a little weird to me when I found more Christiansen than
Brahms in the choral library. I come from a tradition where there was lots of that
Romantic repertoire. On our upcoming tour, we're doing the Brahms, An
die heimat, which is like a treat for these singers because they don't get to sing much full
bodied, release your vibrato kind of repertoire. If anything, being a Christian school
seems more like a protective shield for me in that I know it's going to be OK regardless
of what I program. In the choral repertoire, there's not much that we're going to sing
that's going to be offensive to anyone.
LEREW: You made the comment about the public schools needing to be concerned
about doing too much sacred music. You don't feel any need to be concerned about what
secular repertoire you program?
HIGHTOWER: I really don't. It's such a small portion and it's all historically
significant music. I think about the things that go on in the theater department, and
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they're much more often controversial things that maybe some wouldn't attend, and I
certainly wouldn't take my young children to, but the repertoire we sing is all filtered
through "would my grandmother be comfortable hearing and singing this?" At times, I
may do a little more secular repertoire than some of my predecessors, but it's not as
though I'm trying to make a statement that this is secular repertoire. Rather, it's simply a
tremendous piece of music that we should be exposing our students to. We did some
Debussy, Trois Chansons, last year, which is sort of sacred and secular, but not for a
moment did I worry that it would be a problem. The interesting thing about our student
body is that just like a large state university, we have kids that are atheists in the choir.
We have agnostic students and hard-core Lutheran students. Some are Evangelical as
well. We really meet at the gathering place of great music and great singing. The issue
of sacred music or lack thereof is in many ways almost secondary, interestingly.
HIGHTOWER: As for my own education, just look at my vitae. I'm a state university
and conservatory sort of guy. As I've said before, many of these Lutheran tradition
"sugar sticks" are fairly new to me. They're a lot of fun. I'm enjoying finding out why
people want to sing "Praise to the Lord, the Almighty" or whatever. I think I bring a
much more broad repertoire than perhaps someone who had come through this tradition.
Although, as I think about my colleagues, they all did graduate work in state universities
in other parts of the country. I think I may be more passionate about the choral-orchestral
repertoire than some peers or colleagues in that I did a degree in orchestral conducting. I
was a horn player and a pianist before I came to choral music. So, I try to create as much
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of that as I can. I was also a little surprised when I came here that there was not more
Bach being done, being the Lutheran school that it is. I've been very intentional to
program a Bach motet every year since I've been here, and the students now know to
expect it. We assign what we call "Bachtets" which mean you're in a small group, and
you rehearse and prepare the notes and rhythms together in your "Bachtet." Because I'm
an endowed chair here, I have access to money that I wouldn't have otherwise. So, we're
going to do the Haydn Lord Nelson Mass and Lauridsen Lux Aeterna with just Nordic
Choir and hire professional orchestral players from the Twin Cities because there's a big
space between the end of our tour and our final concert in May. Usually in March or
April in these off years when we don't do an oratorio at the school, I try to find something
else do to. We did Bach's St. John Passion about four years ago.
LEREW: What sources do you rely on in seeking new repertoire, and do you have any
favorite publishers?
HIGHTOWER: Over the last few years, I've come to know a lot of the publishers
personally. We have a really modest series with Morning Star Publishers, so Mark
Lawson, who runs that, sends me lots of stuff. Certainly, if something is in our series, we
try to include it with the choirs. I have a good relationship with the editor at Walton
music, and they are a really strong publisher. Like most choral conductors, I keep a
pretty extensive set of individual copies of works. I have a filing cabinet full in my office
and plenty of junk at home as well. That's not necessarily for new repertoire, but if I'm
sent a packet of new music and I play through it, I'll write my thoughts on the cover
including if or how I think it could be used. Much of it goes in the recycling can.
Occasionally, Dale Warland will send me music and say, "Allen, these are pieces you
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should really think about for Nordic Choir." So, probably the least effective way for me
is this ton of music that people send me. It comes with recordings, and they don't help
me much. Honestly, YouTube has a great deal to do with introducing new music to us —
myself and my colleagues. Hearing other conductors' concerts and attending conferences
is very helpful to learn what our peers and sister schools are doing that I really like. So,
it's not particularly scientific. I also have a bevy of students who are choral nerds like
you and I. I will often put out a call to students saying, "OK, send Hightower an email
with four or five pieces that you'd love to hear us sing." We also have a number of recent
grads who are aficionados, many of whom are singing in esteemed groups in the Twin
Cities such as The Singers, and they will send me notes like, "Oh, we're singing such and
such which was just published, and we think Nordic Choir would sing it well." It's like I
have my minions, my feelers, out in the world, and they love to send suggestions to me. I
have a former student doing a master's degree over with Paul Mealor, so I'm among the
first to know about anything new he's doing. Since my early days at Sam Houston State,
I've been working with a company based in Houston called AMC Music. They also
publish Alliance. There's a woman there whom I've been working with for 15 years, and
she now knows my tastes. Every now and then she'll send me a package of pieces to say,
I think you would enjoy these pieces. I see her at conventions, and she says, "Allen you
have to take this and look at it." I have several people in my life pushing things my way.
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Interview with Dr. Richard Nance, Pacific Lutheran University
ensembles?
NANCE: Well, I know you're most familiar with our top choirs, so let me start with the
training choirs — University Singers and Men's Chorus. University Singers is a women's
ensemble comprised of mostly freshmen and sophomores. There are juniors and seniors
in that group as well, and a lot of those students are not music majors. Many of the
freshmen and sophomores are vocal performance or music education majors. Then we
have a Men's Chorus that is made up of primarily raw beginners, combined with a few
men from other choirs. We have two mixed choirs, [Dr. Brian Galante's] choir
[University Chorale] and my choir [Choir of the West]. Chorale is an accomplished
ensemble, made up of students from many different majors – many of them are not music
majors. Their sight-reading and listening skills are not developed enough yet to be to be
in the top choir. My group, Choir of the West, is made up of primarily music majors, and
those students are getting ear training on a daily basis. Plus, they are already more
advanced musicians. We have a pretty exacting audition process that determines which
choir the students are placed in. The role of the training choirs is to build the students'
confidence, develop their vocal ability and musicality, and expose them to great
repertoire that is appropriate for their development. [Dr. Galante's] job is challenging
because he has students in University Singers that are advanced singers but who do not
have developed musical skill, while he also has some women that don't really know a lot
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about singing at all, and he has to bring them all together at the same time. It's
challenging, but he's really great at choosing repertoire that helps them develop both
vocally and musically. He regularly uses solfege in his teaching, and many of the
students learn to sight sing for the first time. He doesn't use piano much in rehearsal –
neither of us do. We prefer doing unaccompanied works and we accordingly expect the
kids to read. I conduct the Men's Chorus this year, and there are 13 guys in that group.
We're doing pieces like Shaw/Parker, Aura Lee, and the Richardson spiritual, The
Morning Trumpet. I have enough leadership in each section that they make that music
work, and the other guys quickly follow along. We started out the year learning to read
using scale degrees— not solfege, but simply, 1, 2, 3, 4, 5, 6, 7, 8. It has really helped the
singers be more confident, and the music has fallen together rather quickly. So, the
whole function of those lower training choirs is to give them great repertoire to work on
and make them thrive by learning how to bring the rep to life. There is some
performance pressure, although not too much for University Singers and Men's Chorus.
For Chorale, there is quite a lot of performance pressure because of our highly visible
Christmas concert series (5 concerts) and in most years they tour. [Dr. Galante] pushes
this choir with high-level repertoire. I know he is currently doing a John Meuhleisen
piece with them; he's doing some of his own music with them as well, which can be
really advanced. So, he really pushes them to the limit that he believes is healthy for
them. He trains them well for what I expect of them because when they get to me, they
have experienced some advanced dissonance and rhythm, and they have started to listen
well. It takes an immense amount of patience and time on his part to get that done.
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NANCE: Oh, absolutely. I think there are two main reasons — it's the way we've laid
out the program and the fact that most of the students that sing take private lessons. And
we can do that because we recruit well, and we have a good scholarship program. Part of
the scholarship requirement is to take private lessons and sing in an ensemble. So, that
structure helps a lot. Our voice faculty is very supportive of the choral program. Jim
Brown, our chair of vocal studies, sits in on all of the choral auditions. Of course, when a
student comes in who has never thought of taking voice lessons, we say "Hey, you've got
a great voice! Ever thought of taking lessons?" We sign them up on the spot. Even the
students in the training choirs are all taking voice lessons and many of them for two
credits. Once the students start studying voice, they usually stay with it, and their vocal
growth is very exciting.
your program?
NANCE: Well, it's a very important factor. I mean, you know how it is if you choose
the wrong stuff. You have to choose music to teach concepts effectively as you grow the
choir, it has to motivate the students, it has to be within their reach, but also challenging
for them. It has to be appropriate for our audience and fit into a well-rounded concert
program – all that goes into selecting repertoire. I select music that is appealing to me. I
never want to conduct something that I don't truly love and that I don't think the students
would love as well. I think that if they don't really buy it, you can't sell it to them. It's
not going to work. They have to buy into it no matter how difficult it is, no matter how
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hard it is to get a hold of at the beginning. It's important for the singers to see the
direction the piece will eventually take them. You've got to be able to sell it to them that
it's going to be worth the effort in the long run. I think you have to have a hierarchy for
choosing repertoire and have a plan that follows a direction from the development of the
ensemble at the beginning of the year to the end of the year when you're singing at your
highest level on tour. Some repertoire selection depends on what is in your present
library and what budget constraints you have to deal with. I always tend to put aside a
big chunk of my budget for that foreign publication I'm going to buy that may cost six
bucks a score. I try to stay away from using too many pieces from CPDL [Choral Public
Domain Library]. I'd rather have a well-edited piece if from a historical genre.
Sometimes you may have the opportunity to use new pieces by local composers to flesh
out your program. That's what happened with [Dr. Galante's], Exsultate, the piece Choir
of the West opened our ACDA [American Choral Directors Association] program with. I
could not find a good opening piece to fit the program, and I wanted to showcase
something by [Dr. Galante], so I asked him to write a three and a half minute fanfare to
open this concert. It didn't cost me anything, and, of course, it turned out to be a fantastic
piece. The conference performance was great exposure for [Dr. Galante] as well. If
you're doing something in the fall that you are going to take on tour later on, it better be
something that wears well. The students won't be able to pick it up in the spring and do
well with it if they're really not in love with it. I often completely change literature in the
spring for that reason. I just throw away everything I've done in the fall and just start
over.
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LEREW: When you look at the repertoire that's being done with University Chorale
versus the repertoire that's being done with your group, do you view it as more difficult
repertoire or repertoire that's just performed at a much higher level?
NANCE: In general, I do think Choir of the West takes on music of higher complexity.
However, both choirs sing with a very high level of expression. I think, honestly, it
depends on the year. If the members of Choir of the West have really bonded and there's
great group cohesion, there's nothing they can't do. If they fight each other for one reason
or another, ego or personality conflicts, it can really affect their performance. Every
choir experiences this issue.
NANCE: Yes, depending on the ensemble. For the men that I have right now, I chose
rep that I knew they could hear. Reading's not so much the issue, but holding their parts
can be a problem. Baritones and second tenors — if they don't have the melody, they
tend to migrate. So, I had to be very careful about the mix I came up with for them—
finding music that they would love and feel successful with, but that would also help
them develop. Thank goodness they're well motivated. But, it's going to take them a
while to grow and be able to latch onto things. For Choir of the West, Simon Carrington
(who guest-conducted the group at the National Collegiate Choral Organization
Conference in the fall of 2015) and I picked the fall program together. Because of the
conference performance, it's all high-level literature that we normally might not pursue in
a fall semester but might do on tour later in the spring. However, they've done so well
with this harder rep, it's made me think that perhaps I have been selling them short in the
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fall. Maybe they are more capable than I thought they were. This year's choir is a really
special group. They are young, very hungry and motivated to do well. Hugh Sanders
was my collegiate conductor back in my West Texas days. He didn't do thematic
programs. He wanted us to experience as many styles as possible, in particular for his
music ed kids — we were a big music education school. He thought his students needed
to experience all the various eras and genres. Every program was a real mix of all kinds
of repertoire. [Dr. Galante] tends to do more thematic programming than I do, especially
with University Chorale. I tend to do a mixture of literature from various periods that I
think works well together. One year, we sang in eleven languages in the spring semester.
It was phenomenal. The kids thought I was off the wall, but it was really a great
experience for them, and the program flowed well. I like to program in sets, instead of a
series of shorter, unrelated works. I prefer to use pieces that work well together in a
variety of tempo, moods, and key relationships. It really bothers me to listen to a
program where the key is constantly shifting and you have to re-think things
harmonically from piece to piece. It's not that I want to shift dominant to tonic back to
dominant between pieces, but I want them to go well together. I don't want shocking
changes to the ear unless there's a break, and the audience can handle the shift. Using
iTunes, I can compile sample programs a playlist so that I can create different
programming scenarios and move things around so you can experience key relationships,
moods, and such. It's really helpful to me and I use that a lot as a tool.
LEREW: Do you regularly program thematic concert programs? If so how does this
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NANCE: I would say this mostly happens with our Christmas festival program, which is
shared by Chorale and Choir of the West. We always have a central theme for that
program, which usually comes from a larger, featured work, and we try to find music that
fits into that theme.
program?
NANCE: We always do a fall concert that is shared by all the ensembles. This year, it's
a little bit different in that Choir of West isn't going to sing with the Chorale, University
Singers and the Men's Chorus on that program because we're doing this separate program
with Simon Carrington that is taking all our focus. But, those other ensembles will each
do 15-20 minutes of music that's a mixture and not at all intended to go together as a
programmatic group. We normally gather all the groups together on stage at the end of
that program to sing F. Melius Christiansen's, Beautiful Savior. That piece shows the
tradition of our program, which is important to us and important to alumni. We invite the
alumni to come up on stage with us, everyone from recent grads to the tottering 95 year
old. The Lutheran college tradition of choral excellence is alive and well at PLU, and we
regularly program music of that tradition. Each December, Chorale and Choir of West do
the Christmas Festival together. Each choir performs a brief set of music, we do a
number of pieces together with orchestra, and the orchestra plays a brief featured work.
For example, we might have an opening set where the two choirs are combined with
orchestra. Then we'll do a carol with the audience while Choir of the West goes offstage,
and Chorale will stay on stage and do their own set of music. Then there will be another
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carol and Choir of the West will come back, and we'll do something mixed together after
which Chorale will leave, and Choir of the West will do their own thing before Chorale
comes back to do a combined finale. That's all planned to be thematic as well. This year
the concert is called, "A Christmas Invitation" and JAC Redford, a well-known composer
from Los Angeles, has written a piece with that title just for us. It's a stunning 15-minute
work for choir and orchestra. Sometimes we do major choral/orchestral works that
require combined choirs. This year, we're doing Sven-David Sandström's, St. Matthew
Passion in March, which will be with Choir of the West and Choral Union combined.
Choir of the West students have been asked to spend time with that piece over the holiday
to work out their own parts — Choral Union will start working on it first thing in
January. They'll also have scores over break. Sometimes Chorale and Choir of the West
will combine to do a large work with orchestra, but it all has to work around each
ensemble's tour schedule.
ensembles?
NANCE: I have three choirs, and they are very different. Choir of the West is
comprised of the finest choral musicians (mostly music majors) at our university. That
group meets four days each week for 90 minutes of rehearsal, so there is a lot of time for
learning and perfecting complex literature. The University Men's Chorus is primarily a
beginning-level ensemble, made up of men who just love to get together and sing, and
some that need further vocal and musical development in order to progress as music
majors. They only have two hours of rehearsal each week, so the repertoire must be more
limited in difficulty, and they obviously cannot handle larger programs. Choral Union
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has advanced, auditioned singers, many of whom sang in collegiate choral programs and
are now teaching music in the schools. That group loves to sing challenging repertoire,
but they only meet one night each week for two hours. It can be a challenge to find
repertoire that is appropriately challenging for them but that can be prepared in a short
amount of time. In spite of the differences of these groups, the criteria I use for selecting
repertoire is basically the same. My goal is to choose high quality literature that will
develop each ensemble musically and vocally along a year-long continuum. I try to vary
styles and genres, moods, tempos in my selections, and fit music into sets so that the
overall program will have a nice flow. I want to select music that will ultimately make
each choir feel successful, even though there may be challenges to work through along
the way—that process is important. I try to choose music that will be motivating and
emotionally fulfilling for the ensemble, and that will appeal to the heart of the listener. It
should be repertoire that makes both the singer and listener think, but it's also good to add
pieces that are effective and beautiful in their simplicity. Whenever possible, I try to
include newly composed music in my programs. I am in constant search of new works
by composers who are friends or who approach me with samples of their repertoire, and
in recent years I have conducted a number of premieres, ranging from music by well-
known composers to new student works. I find the process of working on and
performing new music to be stimulating and emotionally powerful.
programs? Try to speak for Dr. Galante as you feel comfortable as well.
NANCE: Well, he's probably the better one to answer that. I think he comes from a
different tradition than I do — he tends to do more accompanied works. I would say that
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[Dr. Galante] likes linear, lush, harmonic things more than he does contrapuntal and
active rhythms. That's not to say he doesn't do contrapuntal music; it just depends on the
program he's working on. I know on this trip the Chorale is taking in January, our
trumpet instructor and faculty pianist will travel with them. They're doing the Dello Joio,
Song of the Open Road along with some of John Muehleisen's music with trumpet
accompaniment. But, Brian almost always includes an early piece in his repertoire. He
does a lot of Monteverdi and other madrigals and motets. On the other hand, he does
plenty of folk settings, stuff with some complicated languages and intricate rhythms too.
Somehow, he always manages to keep everything within the theme he's created. I find
that to be difficult, personally, I have to admit. I find it a bit restricting too because if you
lock yourself into being really thematic, you may have to leave things out that you might
really think fit well. They just don't necessarily fit the theme. For me, it's better to make
programs that flow well together, and that way it's easier to provide variety.
NANCE: I actually think we have more freedom than public institutions. I really do.
It's nothing for me to do a sacred work in a sacred context. I can go sing in a church and
do a mass literally within a worship service if I want to — I can show the students how it
actually works within a church service. It's not that I'm trying to influence their religious
beliefs, but I don't have problems performing sacred music like I know some of my
colleagues in public schools really struggle with. I don't believe PLU is as conservative
as some of our sister schools in the Midwest. I think we can do a little more variety in
our repertoire. Maybe I'm speaking out of turn here, but it seems like we can do that, and
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our alums and church audiences seem to be accepting of that. Along with regularly
programming sacred music, we do quite a bit of secular literature, we do a lot of foreign
languages, and we try to experience music of different cultures. So it seems to me like
we have freedom to do basically whatever we want to try.
NANCE: I was greatly influenced by Hugh Sanders when I was an undergraduate
student. In his choirs, I was able to experience a lot of different literature in various
styles, languages, and different major composers. We sang a lot of a cappella rep in
those days, and I was influenced by that. It's great for training the ear and musicality.
Certainly, doing Brahms with piano is amazing, and a piece with brass or percussion can
be very exciting. But, when you get into really high-level a cappella rep, there's just
nothing like it. So for me, Dr. Sanders's influence as a programmer was very important.
I taught in the public schools for a few years, then when I went to Arizona State, I
worked with Doug McEwen and David Stocker. I think McEwen had a broad sense of
repertoire, and I learned a lot from my fellow grad students there. In my work at
Amarillo College, I was new to the college level, and it was a community college. It
seemed like I had a different choir every quarter or semester. One year, I turned over the
entire men's section at the semester, and it was better the second semester. I had to tailor
the rep to what those students could do, but I still tried to push them and expose them to a
lot of different styles. We had a good library. Dale Roller had been choir director there
for many, many years, and he was a good musician and enjoyed literature. Dale had built
a really nice library there, so we had a lot of good music to work with. When I came to
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PLU, I started working with Richard Sparks, and he introduced me to a lot of
contemporary repertoire, in particular Scandinavian music. Richard has the best ears I've
ever seen in a conductor. He can analyze and prepare the most complex repertoire and
find ways to logically present it to a choir. Richard has such great score knowledge and
listening skills that he easily hears precisely which voice needs pitch correction or
balance in large, dissonant chords. He's an expert in Scandinavian repertoire, and I had
never known any of it before coming to PLU. It was not part of the choral tradition
where I was brought up. Richard taught me ways to approach this repertoire and not be
intimidated by it. I've developed my own love of Baltic music. In 2014, I took a
sabbatical trip to the Baltics and had a chance to meet and spend time with some
prominent composers and conductors. I think that area of the world has a lot of exciting
things going on, with many innovative composers, and fantastic choirs.
NANCE: I have my cadre of publishers that I trust, and I'll go to their websites and look
for what's new. If they send out mailers, I usually get copies of music that way. I like
Walton, obviously (the primary publisher of my works), and they do a fantastic job of
consistently putting together a great catalogue. They're picky about what they publish. I
like a lot of the things E. C. Schirmer publishes, especially if I'm looking for sacred
works or multicultural things. Earthsongs does a good job with that too, especially if I'm
looking for multicultural. You know, I think too that there's a lot of good self-publishing
going on now. There's a boatload of great young composers in the upper Midwest that
are working together – people like Abbie Betinis and Jocelyn Hagen. Those folks are
really impressive. Jake Runestad, that's another one. My colleague, [Dr. Galante] – he's
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a fantastic composer. Ēriks Ešenvalds and I are good friends, and I've grown to really
love his music as well as that of other Baltic composers like Dubra, Vasks and Miškinis.
Like Ivo Antognini, Ēriks introduced himself to me and said, "would you like to look at
some of my music?" and that's happening to me more and more. There are so many great
choirs that I admire – I spend a lot of time poking around on the web trying to find their
recordings. I'm always surprised at what people are doing and find I really learn a lot that
way. I attend division and national ACDA [American Choral Directors Association]
conferences, and I am a member of NCCO [National Collegiate Choral Organization].
Hearing great choirs sing wonderful repertoire at those events is a huge influence for me.
I spend an enormous amount of time programming. I used to make big stacks of
repertoire around the house, which would drive my wife crazy. One big issue for me is
agonizing over the perfect collection of music for a program and dealing with the pieces I
have to cut. It's like a good friend of yours that you can't use. You keep pushing it aside,
hoping that the right time for it will come along. As I get older, I recognize I'm only
going to have so many years left to do some of this great rep. I have my pet pieces that I
want to try and get to – some of the repertoire that I haven't done before or maybe a piece
I did years ago that I want to try to do again and maybe do it better this time around.
That's important to me to. But, I spend a lot of time with it, and I dig and dig and dig. I
look around the internet a lot and contact composers asking, "what do you have that's
new?" I have a lot of friends who are composers now, and that is a lot of fun. The
internet is a wonderfully useful tool.
LEREW: In going through your catalogue of pieces you've programmed, do you push
student composers to write for you, or does it just happen naturally?
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NANCE: I wouldn't say I push them, but I encourage them. I want to try to do a student
composition at least once every year because we have some fantastically talented people.
It's amazing what these kids can do. I have one right now – Jesús Gomez. He has
fantastic ideas, and he's writing something for to do in the spring. He wrote a piece that
we did last year, we did it on tour in Europe, and I asked him to conduct it, which gave
him that experience as well. I always try to help get these new works published because
that's a huge step in their lives – getting their foot in the door the very first time. For me,
it's really fun to see if I can help composers get their music out there.
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Interview with Dr. Mary Hopper, Wheaton College
ensembles?
HOPPER: So, I direct the Men's Glee Club and the Women's Chorale, and [Dr. John
Trotter] conducts the Concert Choir. He's only been here a few years, and in that short
period of time, things have changed quite a bit. You maybe can sense that in the
programming when you look at previous to five years ago, the kinds of music that
happened then as opposed to now. Our Concert Choir is a SATB choir, and the way we
describe it is mostly upper class music majors. There are liberal arts students in there,
there are some freshmen in there also, but the majority of the group is upper class music
majors. The makeup of that group has varied over the years; I think he has 55 this year.
It's been as large as 68, depending on what the conductor wants in terms of size and
balance. For that group in particular, balance is important. "Do we have enough tenors
to make it work?" Then, we have the two single-sex choirs, which I conduct — the
Women's Chorale and the Men's Glee Club. All three groups are auditioned. The
Women's Chorale is about 60 percent music majors and 40 percent liberal arts majors. In
the Men's Glee Club, I have between 52-60 usually. That group is about 30 percent
music majors and 70 percent non-majors or liberal arts majors. If I were going to be
really honest, I'd say that the Glee Club does good work, but they're the least musically
prepared. The Women's Chorale is pretty highly prepared — it varies from year to year.
The Concert Choir is the group that reads the best and has the most musicianship to bring
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to the music. So that, of course, says something about the repertoire we can do because
for the Men's Glee Club, repertoire has to be something that is appealing to them,
especially as non-majors. For the Women's Chorale, I have a little more responsibility in
education to give them the kind of repertoire that I think is going to challenge them
musically. The Concert Choir, I think I can speak for my colleague, is really working at
some major themes. If you looked at two years ago, he did an all Brahms portion of the
year, and he tends to do quite a bit of Baroque music with them. They're doing Messiah
this year. He tends to take a topic and work in depth on it, rather than a broad overview.
For my groups, I'm trying to give them a broad overview. I try to balance that we are an
educational institution; at least philosophically that's what I believe. I want to give them
a taste of everything and help them understand the breadth of music. We also want to
balance the idea that we're a Christian college and what it means to be in ministry. It
doesn't mean that we do all sacred music, but we want them to understand that we're
singing about the fullness of life and how we make choices within the context of a
Christian education.
LEREW: Do you have a "y'all come" choir?
HOPPER: We do not at the moment.
LEREW: So every choir is auditioned? Are you turning a lot away for the Men's Glee
Club?
HOPPER: [Dr. Trotter] and I do all of our auditions together. That's a change from the
past prior to five years ago. We didn't share a lot of the same ideas about repertoire and
planning, but he did great work and the choir was fabulous. As I know you know, they
sang at national ACDA, so you can't argue that. We did have a "y'all come" choir about
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fifteen years ago, which I conducted for several years. These days, I would say, we turn
away enough that we could have a non-auditioned choir. This year I don't think I turned
away any guys. For the girls I probably turned 30-40 singers away. We also have a
gospel choir on campus, which is not connected to the conservatory, which I don't think
has an audition process. It's kind of fledgling right now. We talk about this issue of
having a non-auditioned curricular choir a lot. One of the issues for us is scheduling and
the busyness of our students. Our students are so involved in a lot of things, and the
demands of their academic responsibilities makes it difficult to find a time when we
could have a "y'all come" choir. We've talked about it. We still are talking about it.
HOPPER: That's a really tricky issue because we're different. We're odd compared to a
lot of other schools, and this was always a bone of contention with my previous colleague
because of our rehearsal schedules. Up until the last few years, it wasn't possible to be in
two choirs. Now it's possible, although this year we only have one person who is in two
choirs. It's also very demanding vocally to be in two choirs. This goes way back, but
historically, there has been competition between the choirs for who wants to be in a choir,
and how they make their choir choice. [Dr. Trotter] and I have a really good working
relationship and are really trying to honor each other and our students. We give the
students a chance to state their preference at the time of their audition. We say we try to
but can't always honor their preference. That could be because of the students' ability. It
could be because of which choir needs tenors, basses, or altos as well. For non-majors,
we feel strongly that we should honor their preference if we can. For music majors, we
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try to explain to them that they need to have multiple choral experiences during their
degree. We had a tenor this year who loves Men's Glee Club — it's like a fraternity,
which can be a problem at times. He was in the glee club for two years. He's a leader,
he's a music education major, he's a decent tenor, and we said, "you need to be in the
concert choir this year." He was despondent. He came and plead his case, and now he's
in my male a cappella group that's a subset of glee club. He's singing in Concert Choir,
and I said to him "you need this experience." Men's Glee Club has had a kind of "ra-ra-
ness," historically. When you have freshman 18-year-old women, their preference is to
be with 18-year-old men, so they try to get into Concert Choir. Almost all the women put
that down as their first choir preference. 18-year-old men like to be with 18-year-old
guys. It's such a cool concept, particularly given their likely high school choral
experience. The guys make Men's Glee Club look attractive — it's fun, and it's popular.
It quickly becomes a hard line to walk without letting it take over your college choral
experience. So, Tom, all this to say, we don't really have a hierarchy in writing. It's more
implied. Some of the Concert Choir kids think they're better than everybody else. That
mentality is much better than it used to be. It used to be really awful, but now it's better.
your program?
HOPPER: Oh, well, I think it's huge! You have to have kids that want to sing this
music. That doesn't mean you're giving them all popular things necessarily. But it has to
be rep that you know they will love singing. Choosing repertoire is something I spend a
lot of time thinking about and working at. Having done this for over 40 years now,
though, it becomes more and more difficult to find new things. Even though I've only
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been conducting the men 13 to 14 years, there isn't a huge amount of repertoire available.
For the women, it's much easier to find new and fresh things. But for the men, to find
music that's written well for them, it's a real challenge. I think the choice of repertoire
can make or break a choir, and it can make or break an audience. It has to be something
that will be meaningful to them — that speaks to them.
HOPPER: I think with the Men's Glee Club, it has to largely be something that is fun
and gets a little showy occasionally. I love doing Paul Rardin things with them. We did
his Under the Sea a few years ago, and we're going to do The Pirate Song this year. Last
year, we did some "around the world" concept works. Men's Glee Club just has a little
more element of show than other ensembles — that's just kind of what they do. At the
same time, giving them really quality repertoire is also important. We just did a piece
this fall called Sweet, which is an Isaac Watts piece by an Italian composer whose name I
am forgetting. It's gorgeous! That was their favorite piece to sing. I'm convinced that
they will enjoy quality pieces just as much as showy pieces. With the women, I'm really
intentional about giving them a breadth of literature historically. Yes, I think about that
with the men, but there aren't as many historical things to do with the men. Women's
Choir did the duet from Bach Cantata 78 this fall, and again, that's a piece they just end
up loving. Also, it's important to find music that presents them as strong. I never do
anything in 6/8 about butterflies and birds and flowers. It has to be something strong —
that makes a statement and has meaning as opposed to being sappy. For my colleague, as
I said, I think he's interested historically in going in depth into repertoire and really
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working on style. Last year, they did a Baroque piece, and he brought in one of our cello
teachers who does a lot of early music to coach them on style and such. [Dr. Trotter] also
tends to do a lot of using the space in movement with his group. I've done some of that
too, but I think that's become more of a signature of the Concert Choir.
LEREW: Do you regularly program thematic concert programs? If so, how does this
HOPPER: I almost always do thematic programs. It's hard, but I think it's worth it. In
the summer, I have a table full of music. I use a spreadsheet and go out with a goal of
needing to find something from the Renaissance, the Baroque, in a variety of styles and
so on. For the women this year, I'm doing a portion of the spring semester of music by
women authors. So I'll start my considerations with text. One of my graduates, who's
become a well known jazz pianist in New York City, has written a piece for us by
Deanna Witkowski, a contemporary poet. So I knew I wanted to do this and then just had
to decide how to surround it in the program. Then I found these pieces by Jane Austen
and Cassandra Austen. We're going to do some settings of Amy Carmichael poems that
were written for us as well. That gets some sacred, but contemporary stuff in there, so
then you decide how to tie all that together. We did the Bach I mentioned earlier, and
there's a Schütz piece I'm planning too. With the men, for tour, I didn't do as well
thematically, though we're doing a "Life of Christ" section and a section of psalm
settings. But, yes, I find it easier to program when I have a theme or subject, and then I
can look at the repertoire and see how things fit together. It doesn't always work, and
then I have to abandon it and find something else. [Dr. Trotter] did a Lenten concert last
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year, and he did a Baroque setting of Peter's denials and semi-staged it and built some
other Lenten pieces around it.
LEREW: A lot of your singers are music majors, but a lot of them are also non-majors.
Through the rehearsal process, how are you developing students in terms of both vocal
ability and musicianship through the literature?
HOPPER: Vocal development is really important to me, so we spend a good deal of
time on vocal warm-ups and developing vocal tone. Another big thing for me, especially
with the women, is to talk about the fact that we're going to sound different when we sing
Brahms than when we sing Palestrina, than when we sing something contemporary.
We're going to use our full voice. I'm highly influenced by the pre-James Jordan vocal
development resources. I start every rehearsal with some sort of relaxation. I've stolen
from Jeff Johnson and modified his work on vowels. I have my own set of signals that
we use for vowels, and we spend a lot of time, particularly at the beginning of the year,
on vowels. I use solfege a lot in warm-ups as well. We use it a lot for tuning and singing
scales with drones. I believe in using it as a means to an end as opposed to an end in
itself. With my previous colleague, I felt a responsibility to ensure my women knew
solfege because some of those girls were going to be singing for him in another year in
Concert Choir. My men don't read well, so I will use solfege with them occasionally but
not with every piece that we learn — only if I feel it will speed up the learning process.
They use movable "do" and they use do-based minor because that's what they're using in
their theory classes — which I don't like. I like la-based minor. I go "do"-based because,
with the music majors, they get confused if I'm not doing what they're doing in class.
Half my girls know solfege really well, and the other half don't. It's something I really
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wrestle with — whether or not to spend a lot of time teaching it. I know there are people
who would just swear that you've got to get your choir singing on solfege — that you can
take anybody from anywhere and get them going. But, I only have two rehearsals a
week, and time wise, I feel a little strapped. So, I take them where they are and go from
there. The men — a lot less solfege. I use it in warm-ups, so they've at least had some
connection with it.
program?
HOPPER: Yes, we collaborate a fair amount. I always wish we could do a little more.
Time is always a factor. This Saturday, my two choirs are doing the four sacred songs of
Duke Ellington with our jazz ensemble. So, they're singing together in that sense. On the
Christmas Festival, we always do several things together. Last year, and about every
three or four years, John Nelson comes back and does a major work with us. Nelson is a
Wheaton graduate. We've done the Brahms Requiem and Mendelssohn's Elijah with our
orchestra. We did Mozart's Requiem a couple years ago, which [Dr. Trotter] conducted
with our orchestra and all three choirs, so they got a chance to work with him. I did the
Handel Coronation Anthems and Thompson's Testament of Freedom with all three choirs,
so we do try to collaborate. Our biggest dilemma is that we don't rehearse at the same
time. Nobody rehearses at the same time, so it's really hard to get extra rehearsals. I had
a rehearsal last night with my choirs and the jazz ensemble because they rehearse on
Tuesday and Thursday nights. I probably had a dozen kids who had evening classes.
They can't really miss a class that only meets once a week, so it's tough.
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ensembles?
HOPPER: For me, I think it's finding some breadth of style so that not everything is the
same. This can be hard to find with the men sometimes. I create a spreadsheet and I
enter the keys on all my pieces so that you avoid everything being in the same key! I've
learned that with the men, I really don't know what's going to work for them ahead of
time. I'll bring a piece in that I think is going to work with them and quickly find the
tessitura or something just doesn't work. It doesn't click. The voicing is wrong. I had a
student write a piece for Men's Glee Club a few years back, and it turned out to be a
phenomenal piece and the boys loved singing it. But, I told him ahead of time, "here's
the chord" - B flat, F, B flat, D - that's the chord that works for the Men's Glee Club. He
went away and built his piece on that chord. It's all about finding that voicing. You get
some pieces where you can't tell that until we sing it, and then quickly realize, "Oh, this
isn't working." So, in addition to that, I'm really trying to find quality texts, quality
music, and quality in a breadth of styles. That's what I'm looking for.
LEREW: Can you speculate what Dr. Trotter's criteria might be?
HOPPER: I think mostly the same. He comes from a little bit more focused
background. I love what he chooses, but the breadth is not always there. It's certainly
quality. He tends to choose a lot of sacred things. That's important to him.
programs?
HOPPER: Well, I hope it shows up. I remember someone took over for me for a
sabbatical a long time ago. He chose all these pretty, slow pieces for the women. You
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don't want to have a whole program of pretty, slow pieces. Yes, they're pretty but also
very boring. I'm looking for variety in tempos and in the overall feel of pieces. I love
those moments when you find a piece that follows another one really well, and the kids
go "Oh, wow, that makes sense!" You don't do a bunch of slow pieces or a bunch of fast
pieces or a bunch of high pieces in a row. You want to have variety for the audience.
HOPPER: I've been waiting for this question! What do you think I think?! I actually
wrote my faith learning paper 30 years ago, pre-tenure, and it was on programming and
the choices that I make. The answer is yes; there are some choices that I would make,
and they may not be what people would think they would be, but there are choices that I
would make to do on campus, to do with my students. I feel like we have a responsibility
to be true to our faith and to our theology. An example is singing an Ave Maria. In the
real strong evangelical tradition, 30 years ago we wouldn't have sung an Ave Maria, and I
didn't for a long time. Then I did a concert where I programmed a whole series — I think
three settings — of Ave Maria. I've never done the Holst, Hymns from the Rig Veda,
with the women, which is probably the most beautiful piece ever written for women's
choir. I don't agree with the theology of the Ave Maria. It's interesting that the Holst
leaves out the "mother of God" statement and often many Ave Maria settings leave out
the "mother of God" text, which is also an issue. I probably would not choose to do an
Ave Maria on our Christmas festival — a big public community event. My colleagues
may feel differently about that. But I believe there are some choices that I have to make.
In my paper, I also used an example of the Dello Joio setting of the Walt Whitman text,
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Jubilant Song, which is a great piece. I would do that in a public setting any day but
probably not here on campus. It uses a phrase "rulers of our destiny," and I don't think
we should be singing that on campus. There's another text, a Carter piece, that I haven't
done for a long time, but I use that as another example of secular music with no Christian
allusion to it. I think it has the images of moving forward. There was nothing in it that
was so humanistic that I couldn't in good conscious program it, so I did. I make those
choices. As I've said, I've never done the Hymns from the Rig Veda with the women, and
I doubt that I'm ever going to do those at Wheaton. They're Hindu scripture. They're not
what we believe. If I was teaching in a secular school, I probably would for educational
purposes. Yet, I don't think it hurts my students here not to do those if we can do other
things. I will do secular things. I've done a lot of Kodaly pieces, some of which are
about gypsies and murder and such because that's a part of life. When you're singing
work about death or love, that's a part of life that God made.
HOPPER: This year, we're doing a lot with female poets. That's become something I
really want to learn about. I didn't know most of them. I don't read enough poetry.
That's something we should all be trained in early on in our careers — reading poetry.
I'm always interested in what's new, what's out there, and what's going to be interesting.
Back in the 1970s or the 80s, I did more avant garde types of aleatoric music. I haven't
done as much of that recently. The world music influence, such as doing Korean, South
American, and Indian music, has been new for me. I've never done any Bollywood
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music before. I just love figuring these new concepts out. It's good when you don't get
tired of something.
HOPPER: Tom, you are in a whole different world than I was. It's so different with the
internet! I collect things. I don't know if you can see these boxes behind me. I collect
stuff when I go to ACDA [American Choral Directors Association] conferences. They're
one of my biggest sources, and I think in today's world, that's why those conferences are
so important. I used to go to the music store, Carl Fischer, in Chicago to look through
new things, but that doesn't exist anymore. Now, I do a lot of online searching. I go to
the publishers that I like and that I trust, and try to find worthwhile rep that way. Santa
Barbara, Music Press, Oxford, Pavane and Alliance I all use a lot. Treble Clef Music
Press, which is out of business now, is another good one. Someone just bought them and
will hopefully bring them back into business. I've done a lot from Earthsongs. Some of
the sacred rep publishers like Morning Star, I might use for my church but not as much
for school. It's really just listening and hearing stuff. I've ordered from Kurt Knecht's
online site, Music Spoke, for my men this year. Composers are always putting their stuff
out there directly. I'm doing this Michael Engelhardt piece with my men that Jeff
Johnson's group did in Salt Lake City and I downloaded a piece for them for Christmas
from that website also. Boosey [& Hawkes], of course, for women's choir stuff is great.
And, certainly, who doesn't love Walton? I love Walton.
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APPENDIX D
COMPILED REPERTOIRE LISTS BY INSTITUTION
173
DATE
INSTITUTION ENSEMBLE NAME TITLE OF COMPOSITION COMPOSER
PERFORMED
Belmont University Oratorio Chorus Mass in G Franz Schubert November 2010

Oratorio Chorus &
Belmont University Make Our Garden Grow (from Candide) Leonard Bernstein November 2010
University Chorale
Belmont University University Chorale Gloria Greg Knauf November 2010
Belmont University University Chorale He Never Failed Me Yet Robert Ray November 2010
Belmont University University Chorale Wanting Memories Ysaye Barnwell November 2010
Belmont University Chamber Singers Ev'ry Time I Feel the Spirit arr. Moses Hogan April 2011
Belmont University Chamber Singers Exultate Justi Ludovico Da Viadana April 2011
Belmont University Chamber Singers In the Evening Deen Entsminger April 2011
Belmont University Chamber Singers Kyrie (from Missa Secunda) Hans Leo Hassler April 2011
Belmont University Chamber Singers Now is the Cool of the Day Jean Ritchie/arr. James Erb April 2011
Belmont University Chamber Singers O Quam Gloriosum Tomás Luis de Victoria April 2011
Belmont University Chamber Singers Shenandoah arr. James Erb April 2011
Belmont University Oratorio Chorus Requiem, Op. 48 Maurice Duruflé April 2011
Belmont University University Singers Consecrate the Place and Day Lloyd Pfautsch April 2011
Belmont University University Singers Hlonofatsa Arr. April Hohne April 2011
Belmont University University Singers Laudate Pueri (from Vesperae solennes de confessor K. Wolgang Amadeus Mozart April 2011
Belmont University University Singers Nunc Dimittis György Orbán April 2011
Belmont University University Singers Ritmo Dan Davison April 2011
Belmont University University Singers Saints Bound for Heaven (from Four American Folk Mack Wilberg April 2011
Johann Sebastian Bach/arr.
Belmont University University Singers Sanctus No. III April 2011
David Stocker
Belmont University University Singers Song of Triumph Dal Grotenhuis April 2011
Belmont University University Singers Sure on this Shining Night Morten Lauridsen April 2011
Belmont University University Singers Water Night Eric Whitacre April 2011
Belmont University Women's Choir A Jubilant Song Norman Dello Joio April 2011
David Paich & Jeff Porcaro/arr.
Belmont University Women's Choir Africa April 2011
Jessie Boyle & Svea Salchert
Belmont University Women's Choir Ain't No Grave Can Hold My Body Down arr. Paul Caldwell & Sean Ivory April 2011
Belmont University Women's Choir Jerusalem arr. Michael McGlynn April 2011
Belmont University Women's Choir Jerusalem Luminosa Abbie Betinis April 2011
Belmont University Women's Choir Svete Tihy Pavel Tschenokov April 2011
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Belmont University Women's Choir There is Sweet Music Here Daniel Gawthrop April 2011
Belmont University Women's Choir Wie Lieblich Sind Deine Wohnungen Svea Slachart April 2011
Michael Jackson/arr. Sara
Belmont University Women's Choir Will You Be There April 2011
Hissner & Stephen Aber
Belmont University University Chorale Come, Sweet Death May 2011
Rhonda Sanberg
Belmont University University Chorale Doxology arr. James Pethel May 2011
Belmont University University Chorale Helehlooyuh: A Joyful Expression James Furman May 2011
Belmont University University Chorale Kalinda Sydney Guillaume May 2011
Belmont University University Chorale Light of a Clear Blue Morning arr. Craig Hella-Johnson May 2011
Belmont University University Chorale O magnum mysterium Morten Lauridsen May 2011
Belmont University University Chorale Romeo and Juliet at Parting, Op. 75, no. 10 Sergei Prokofiev May 2011
Belmont University University Chorale Schaffe in mir, Gott, Op. 29, no. 2 Johannes Brahms May 2011
Belmont University University Chorale Surely the Lord Is In This Place Herbert Colvin May 2011
Belmont University University Chorale The Last Words of David Randall Thompson May 2011
Belmont University University Chorale There Will Be Rest Frank Ticheli May 2011
Belmont University University Chorale Traveling Mercies Kurt Kaiser/arr. Jeffery Ames May 2011
Belmont University University Chorale War Song arr. Shin-ichiro Ikebe May 2011
Belmont University University Chorale When I Survey the Wondrous Cross arr. Beryl Vick May 2011
Belmont University University Chorale You Must Have That True Religion Roland Carter May 2011
Belmont University Oratorio Chorus Messiah (Part I) George Frideric Handel October 2011
Belmont University University Chorale Adam Lay Ybounden Carson Cooman November 2011
Belmont University University Chorale Fanfare Jacques-Nicolas Lemmens November 2011
Belmont University University Chorale Fix Me, Jesus arr. Robert Morris November 2011
Belmont University University Chorale Signs of the Judgment arr. Mark Butler November 2011
Belmont University University Chorale Sussex Carol arr. Barlow Bradford November 2011
Belmont University University Chorale There Is No Rose Melinda Bargreen November 2011
Belmont University Chamber Singers Death Be Not Proud Christopher Matthews April 2012
Belmont University Chamber Singers Festival Te Deum Benjamin Britten April 2012
Belmont University Chamber Singers Harvester's Song Jean Berger April 2012
Belmont University Chamber Singers If You Remember Me Deen Entsminger April 2012
William Bradbury/arr. Doris
Belmont University Chamber Singers Jesus Loves Me April 2012
Nelson
Belmont University Chamber Singers Little Tree Deen Entsminger April 2012
Belmont University Chamber Singers The Blue Bird Charles Stanford April 2012
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Belmont University Oratorio Chorus The Armed Man: A Mass for Peace Karl Jenkins April 2012
Belmont University University Chorale Balleilakka arr. Ethan Sperry April 2012
Belmont University University Chorale Hold On! arr. Moses Hogan April 2012
Belmont University University Chorale Hvalite ímia Ghospódñe (no. 8 from All Night Vigil) Sergei Rachmaninoff April 2012
Belmont University University Chorale I Can Feel the Spirit Jeffery Ames April 2012
Belmont University University Chorale La Lumiere René Clausen April 2012
Belmont University University Chorale MLK arr. Bob Chilcott April 2012
Belmont University University Singers Achieved is the Glorious Work (from The Creation) Franz Joseph Haydn April 2012
Belmont University University Singers David's Lamentation Joshua Shank April 2012
Belmont University University Singers Dawn Eric William Barnum April 2012
Belmont University University Singers Desh arr. Ethan Sperry April 2012
Belmont University University Singers Five Hebrew Love Songs Eric Whitacre April 2012
Belmont University University Singers Good Night Dear Heart Dan Forrest April 2012
Belmont University University Singers If Music Be the Food of Love David Dickau April 2012
Belmont University University Singers O My Luve's Like a Red, Red Rose René Clausen April 2012
Belmont University University Singers Véniki arr. Feodosiy Rubtsov April 2012
Belmont University Women's Choir Aeternum Cody Fry April 2012
Belmont University Women's Choir Audi Voces György Orbán April 2012
Belmont University Women's Choir Ave Maria Efrem Podgaits April 2012
Belmont University Women's Choir Deeper Well Emmylou Harris/arr. Jane Bryant April 2012
Belmont University Women's Choir Flying Rachel Fogarty April 2012
Belmont University Women's Choir Psalm 23 Srul Irving Glick April 2012
Belmont University Women's Choir Revelation Z. Randall Stroope April 2012
Belmont University Women's Choir Rockin' Jerusalem arr. Tawn Thomas April 2012
Belmont University Women's Choir Spiritual Musick David Brunner April 2012
Belmont University Oratorio Chorus Hodie: A Cantata for Christmas Ralph Vaughan Williams November 2012
Belmont University Chamber Singers Agnus Dei William Byrd April 2013
Belmont University Chamber Singers Beautiful River Robert Lowry/arr. Hawley April 2013
Belmont University Chamber Singers Cantate Domino Hans Leo Hassler April 2013
Belmont University Chamber Singers God Be In My Head John Rutter April 2013
Belmont University Chamber Singers God Be With You Andal Sowithu April 2013
Belmont University Chamber Singers Hold On! Jester Hairston April 2013
Belmont University Chamber Singers Mon Coeur se Recommande a Vous Orlando di Lasso April 2013
Belmont University Chamber Singers Prayer of the Cat Ivor Davies April 2013
Belmont University Chamber Singers Surrexit Pastor Bonus Orlando di Lasso April 2013
176
Belmont University Chamber Singers The Best of All Deen Entsminger April 2013
Belmont University Chamber Singers Weep O Mine Eyes John Bennett April 2013
Belmont University Oratorio Chorus Let Thy Hand Be Strengthened, HWV 259 George Frideric Handel April 2013
Belmont University Oratorio Chorus My Heart is Inditing, HWV 260 George Frideric Handel April 2013
Belmont University Oratorio Chorus The King Shall Rejoice, HWV 261 George Frideric Handel April 2013
Belmont University Oratorio Chorus Zadok the Priest, HWV 258 George Frideric Handel April 2013
Belmont University University Chorale Suite de Lorca Einojuhani Rautavaara April 2013
Belmont University University Chorale Clap Your Hands (Psalm 47) Edwin Fissinger April 2013
Belmont University University Chorale I Shall See Michael John Trotta April 2013
Belmont University University Chorale Les Chansons des Roses Morten Lauridsen April 2013
Belmont University University Chorale Locus iste Paul Mealor April 2013
Belmont University University Chorale Magnificat I Giles Swayne April 2013
Belmont University University Chorale My Flight for Heaven Blake Henson April 2013
Belmont University University Chorale Prelude Ola Gjeilo April 2013
Belmont University University Chorale Ride On, King Jesus Moses Hogan April 2013
Jeremy Soule/arr. Christopher
Belmont University University Singers Awake Dragonborn April 2013
Gentle
Belmont University University Singers Cells Planets Erika Lloyd/arr. Vince Peterson April 2013
Belmont University University Singers Earth Song Frank Ticheli April 2013
Belmont University University Singers Pater Noster Albert de Klerk April 2013
Belmont University University Singers The Heavens are Telling (from The Creation) Franz Joseph Haydn April 2013
University Singers &
Belmont University Baba Yetu Christopher Tin April 2013
Women's Choir
University Singers & arr. Jane Bryant, Leia
Belmont University Cosmology April 2013
Women's Choir Goodpaster, Timothy Rosko
Belmont University Women's Choir Ad Amore Lee Kesselman April 2013
Belmont University Women's Choir Choose Something Like a Star (from Frostiana) Randall Thompson April 2013
Belmont University Women's Choir Moon Goddess Jocelyn Hagen April 2013
Belmont University Oratorio Chorus A Hoffnung Fanfare Malcolm Arnold October 2013
Belmont University Oratorio Chorus Canzon 26 Pietro Lappi October 2013
Belmont University Oratorio Chorus Magnificat Jonathan Willcocks October 2013
Belmont University University Chorale Gjendines bådnlåt arr. Gunnar Eriksson October 2013
Belmont University University Chorale Glory Hallelujah to the New Born King Mark Butler October 2013
Belmont University University Chorale Jauchzet dem Herrn, alle Welt BWV 160 Anhang Johann Sebastian Bach October 2013
Belmont University University Chorale Northern Lights Ēriks Ešenvalds October 2013
177
Belmont University University Chorale Tennessee Waltz arr. John Arnn October 2013
Belmont University University Chorale The Seal Lullaby Eric Whitacre October 2013
Belmont University University Chorale Weeping Mary Brad Holmes October 2013
Belmont University University Chorale Amazing Grace arr. Ēriks Ešenvalds February 2014
Belmont University University Chorale Himne Roelof Temmingh February 2014
Belmont University University Chorale La nuit en mer (from Trois Chansons Bretonnes) Henk Badings February 2014
Belmont University University Chorale Witness arr. Damon Dandridge February 2014
Belmont University Chamber Singers A Lullaby Deen Entsminger April 2014
Belmont University Chamber Singers Au Joly Jeu Clément Jannequin April 2014
Belmont University Chamber Singers Ave Verum Corpus William Byrd April 2014
Belmont University Chamber Singers Choral Dances from Gloriana Benjamin Britten April 2014
Belmont University Chamber Singers Cool of the Day Jean Ritchie April 2014
Belmont University Chamber Singers E'en so, Lord Jesus, Quickly Come Paul Manz April 2014
Belmont University Chamber Singers Kyrie Eleison Hans Leo Hassler April 2014
Belmont University Chamber Singers Rise Up My Love Deen Entsminger April 2014
Belmont University Chamber Singers Walking on the Green Grass Michael Hennagin April 2014
Belmont University Chamber Singers Wanting Memories Ysaye Barnwell April 2014
Belmont University Oratorio Chorus Mass in C major, K. 317 Wolfgang Amadeus Mozart April 2014
Belmont University University Singers Dies Irae (Liber Usualis) April 2014
Belmont University University Singers Incantations Michael McGlynn April 2014
Belmont University University Singers Lamentations of Jeremiah Z. Randall Stroope April 2014
Belmont University Apocalyptica arr. Cole Thannisch & Alex Roby April 2014
Women's Choir
Belmont University Vivos Voco Joan Szymko April 2014
Women's Choir
Belmont University Women's Choir Eatnemen Vuelie Frode Fjellheim April 2014
Belmont University Women's Choir No Time arr. Susan Brumfield April 2014
Belmont University Women's Choir Revelation (part 1) Z. Randall Stroope April 2014
Belmont University Women's Choir Revelation (part 2) Z. Randall Stroope April 2014
Belmont University Women's Choir Storm Comin' Ruth Moody April 2014
24, Oratorio Chorus,
Belmont University University Chorale, The Call of Wisdom Will Todd October 2014
University Singers
Belmont University Oratorio Chorus Mass in Blue Will Todd October 2014
Belmont University University Chorale Gospel Mass Robert Ray October 2014
178
Belmont University University Chorale John the Revelator arr. Paul Caldwell & Sean Ivory October 2014
Belmont University University Chorale Peze Kafé arr. Sten Källman October 2014
Belmont University University Chorale Song to the Moon (La Luna) Z. Randall Stroope October 2014
Belmont University University Chorale Vidi Speciosam Will Todd October 2014
Belmont University University Chorale You Are the Music Dan Forrest October 2014
Belmont University University Singers This Place Will Todd October 2014
Belmont University Women's Choir Letter From a Girl to the World Andrea Ramsey October 2014
Belmont University University Chorale A Better Resurrection Craig Courtney February 2015
Belmont University University Chorale Cantate Domino Claudio Monteverdi February 2015
Belmont University University Chorale Daniel, Servant of the Lord arr. Stacey Gibbs February 2015
Belmont University University Chorale Do Not Let Your Hearts Be Troubled Paul McKay February 2015
Belmont University University Chorale In Slumber, Peaceful Slumber Christian Gregor February 2015
Belmont University University Chorale Incantations Michael McGlynn February 2015
Belmont University University Chorale Os justi meditabitur Anton Bruckner February 2015
Belmont University University Chorale Psalm 150 Andrew Bleckner February 2015
Belmont University University Chorale Salmo 150 Ernani Aguiar February 2015
Belmont University University Chorale Wayfaring Stranger arr. Michael Engelhardt February 2015
Belmont University 24 & University Singers Global Chant None April 2015
Ingrid Michaelson/arr. Allie
Belmont University 24 & University Singers Home April 2015
Senyard, Patrick Dunnevant
arr. Cole Thannisch & Jake
Belmont University 24 & University Singers Panem April 2015
Handy
Belmont University Chamber Singers Ain'a that Good News William Dawson April 2015
Belmont University Chamber Singers Blow the Candles Out arr. Gregg Smith April 2015
Belmont University Chamber Singers Come in and Stay a While Rhonda Polay April 2015
Belmont University Chamber Singers I Got Shoes arr. Alice Parker April 2015
Belmont University Chamber Singers In Your Voice Deen Entsminger April 2015
Belmont University Chamber Singers O Lord, Increase My Faith Orlando Gibbons April 2015
Belmont University Chamber Singers Psalm 134, 23 & 111 Deen Entsminger April 2015
Belmont University Chamber Singers Rejoice in the Lamb Benjamin Britten April 2015
Belmont University Oratorio Chorus Psalm 42 Felix Mendelssohn April 2015
Belmont University University Singers A Boy and a Girl Eric Whitacre April 2015
Belmont University University Singers Antiphon Ralph Vaughan Williams April 2015
Belmont University University Singers Everybody Imagine arr. Sam Robson April 2015
Belmont University Women's Choir American Anthem Gene Scheer/arr. Purifoy April 2015
179
Belmont University Women's Choir El Vito arr. Joni Jensen April 2015
Belmont University Women's Choir How Can I Cry? Moira Smiley April 2015
Belmont University Women's Choir Letter From A Girl to the World Andrea Ramsey April 2015
Belmont University Women's Choir Light of a Clear Blue Morning Dolly Parton April 2015
Belmont University Women's Choir May It Be arr. Mark Brymer April 2015
Belmont University Women's Choir Now I Walk In Beauty Traditional Native American April 2015
Belmont University Women's Choir Songbird Sarah Quartel April 2015
April 2011, April
2012, April 2013,
Belmont University Chamber Singers Sicut Cervus Giovanni Pierluigi da Palestrina
April 2014, April
2015
April 2011, April
James Taylor/arr. Deen 2012, April 2013,
Belmont University Chamber Singers That Lonesome Road
Entsminger April 2014, April
2015
April 2011, April
Belmont University Chamber Singers Alleluia Randall Thompson
2013
April 2011, April
Belmont University Chamber Singers Confirma Hoc Deus Gregor Aichinger
2014
April 2011, April
Belmont University Chamber Singers Praise Ye the Lord Alan Hovahness
2014
April 2011, April
Belmont University Chamber Singers Speak to One Another of Psalms Jean Berger
2015
April 2012, April
Belmont University Chamber Singers A Prayer Deen Entsminger
2013
April 2012, April
Belmont University Chamber Singers Hold Me Rock Me Brian Tate
2014
April 2012, April
Belmont University Chamber Singers Light Deen Entsminger
2014
April 2013, April
Belmont University Chamber Singers Bless the Broken Road arr. Deen Entsminger
2014
May 2011, February
Belmont University University Chorale I've Been in the Storm So Long arr. Jeffery Ames
2015
November 2010,
Belmont University University Chorale Cantus gloriosus Józef Świder
May 2011
180
November 2010,
Belmont University University Chorale O Lord God Paul Tschesnokoff
May 2011
November 2010,
Belmont University University Chorale Prayer for Grace Daniel Gawthrop
May 2011
November 2010,
Belmont University University Chorale Tshotsholoza arr. Jeffery Ames
May 2011
November 2011,
Belmont University University Chorale An die Heimat, Op. 64, no. 1 Johannes Brahms
April 2012
November 2011,
Belmont University University Chorale Ave maris stella Trond Kverno
April 2012
November 2011,
Belmont University University Chorale Lux Aeterna Brian Schmidt
April 2012
November 2011,
Belmont University University Chorale My Spirit Is Uncaged Paul Rardin
April 2012
November 2011,
Belmont University University Chorale Past Life Melodies Sarah Hopkins
April 2012
October 2013,
Belmont University University Chorale Angele Dei Susan LaBarr
February 2014
October 2013,
Belmont University University Chorale Beati quorum via, Op. 38, no. 3 Charles Villiers Stanford
February 2014
William Tomer/arr. Joseph October 2013,
Belmont University University Chorale God Be With You Till We Meet Again
Graham February 2014
October 2013,
Belmont University University Chorale Nyon Nyon Jake Runestad
February 2014
October 2013,
Belmont University University Chorale Ring Out, Wild Bells Jonathan Dove
February 2014
October 2013,
Belmont University University Chorale Sehnsucht, Op. 112, no. 1 Johannes Brahms
February 2014
October 2014, April
Belmont University Women's Choir Nigra Sum Pablo Casals
2015
BYU Singers, Men's
Brigham Young University How Shall I Sing That Majesty? Ken Naylor/arr. Alistair Warwick September 2010
Chorus, Women's Chorus
Brigham Young University Concert Choir Another Spring Howard Helvey September 2010
Brigham Young University Concert Choir O Praise God in His Holiness Malcolm Archer September 2010
Brigham Young University Men's Chorus On Jordan's Stormy Banks Howard Helvey September 2010
181
Brigham Young University Men's Chorus Deep River arr. Howard Helvey November 2010
Rose Bonne & Alan Mills/arr.
Brigham Young University Men's Chorus I Know an Old Woman November 2010
Daryl Runswick
Ralph Vaughan Williams/arr.
Brigham Young University Men's Chorus Silent Noon November 2010
Ronald Kauffman
Brigham Young University Men's Chorus Sometimes I Feel Like a Motherless Child arr. Fenno Heath November 2010
Brigham Young University Women's Chorus How Do I Love Thee? Nathan Christensen November 2010
Lewis Edwards/arr. Laurence
Brigham Young University Women's Chorus I Know That My Redeemer Lives November 2010
Lyon
Brigham Young University Women's Chorus Jeanie with the Light Brown Hair arr. David Dusing November 2010
Brigham Young University Women's Chorus Jehovah Hear Our Prayer Ron Nelson November 2010
Hoagy Carmichael/arr. Kirby
Brigham Young University Women's Chorus Skylark November 2010
Shaw
Brigham Young University BYU Singers Lullay Alleluia arr. Ruth Elaine Schram December 2010
Brigham Young University BYU Singers Pat-a-pan arr. Mark Burrows December 2010
BYU Singers, Men's
Brigham Young University Ding! Dong! Merrily on High arr. Mack Wilberg December 2010
BYU Singers, Men's
Brigham Young University Nativity Carol John Rutter December 2010
BYU Singers, Men's
Brigham Young University Still, Still, Still arr. Mack Wilberg December 2010
Brigham Young University Concert Choir God Rest Ye Merry, Gentlemen arr. Stephen Oliver December 2010
Brigham Young University Concert Choir In the Bleak Mid-Winter Gustav Holst/arr. Harold Darke December 2010
Brigham Young University Men's Chorus Masters in This Hall arr. Mark Hayes December 2010
Brigham Young University University Chorale Ai, nama mamina Andreijs Jansons December 2010
Brigham Young University University Chorale Angels We Have Heard on High arr. Drew Collins December 2010
Brigham Young University University Chorale Emmanuel Dennis Friesen-Carper December 2010
Brigham Young University University Chorale In dulci jubilo Johann Sebastian Bach December 2010
Brigham Young University University Chorale In Judah's Land arr. Michael Eglin December 2010
Brigham Young University University Chorale Jubilate Deo Benjamin Britten December 2010
Brigham Young University University Chorale Mary, What You Gonna Name that Pretty Little Baby? arr. Laurie Betts Hughes December 2010
Brigham Young University University Chorale Nightingale Carol Andrew Carter December 2010
Brigham Young University University Chorale O Come, All Ye Faithful John Wade/arr. Richard Elliot December 2010
Brigham Young University University Chorale Puer natus Samuel Scheidt December 2010
182
Brigham Young University University Chorale Rise Up, Shepherd! arr. Ken Berg December 2010
Brigham Young University University Chorale Shepherd's Pipe Carol John Rutter December 2010
Brigham Young University University Chorale The Lord Is My Shepherd Randall Thompson December 2010
Brigham Young University Women's Chorus Angels We Have Heard on High arr. Philip Kern December 2010
Brigham Young University BYU Singers Surrexit Christus hodie Samuel Scheidt February 2011
Brigham Young University Concert Choir Chantez à Dieu Jan Pieterszoon Sweelink February 2011
Brigham Young University Concert Choir Everyone Sang Dominick Argento February 2011
Brigham Young University Concert Choir I Have Had Singing Steven Sametz February 2011
Brigham Young University Concert Choir In paradisum Matthew Nielsen February 2011
Brigham Young University Concert Choir Rest Timothy Jon Tharaldson February 2011
Brigham Young University Men's Chorus Angelae Dei Lindsay Goodson February 2011
Brigham Young University Men's Chorus Laudate pueri Felix Mendelssohn-Bartholdy February 2011
Brigham Young University Women's Chorus Chichester Psalms Leonard Bernstein February 2011
Brigham Young University Women's Chorus Song to the Moon Antonín Dvorák February 2011
Brigham Young University BYU Singers Chantez à Dieu Jan Pieterszoon Sweelink March 2011
Brigham Young University BYU Singers Each Day Stephen Paulus March 2011
Brigham Young University Men's Chorus Agnus Dei (from Mass for Five Voices) William Byrd March 2011
Brigham Young University Men's Chorus Breathe on Me, Breath of God Aaron David Miller March 2011
Philip Paul Bliss/arr. Lane
Brigham Young University Men's Chorus Brightly Beams Our Father's Mercy March 2011
Johnson
Brigham Young University Men's Chorus Brothers, Sing On! Edvard Grieg March 2011
Brigham Young University Men's Chorus Feng Yang Hua Gu arr. Jing Ling Tam March 2011
Brigham Young University Men's Chorus Kua Rongo Mai Koe arr. Eddie Quald March 2011
William Walter/arr. Mack
Brigham Young University Men's Chorus Rise Up, O Men of God March 2011
Wilberg
Brigham Young University Men's Chorus Sanctus (from Messe Basse) Gabriel Fauré March 2011
Brigham Young University Men's Chorus Sárga csizmát arr. Ronald Staheli March 2011
Rose Bonne & Alan Mills/arr.
Brigham Young University Men's Chorus There Was an Old Woman March 2011
Daryl Runswick
Brigham Young University University Chorale Barter Michael Eglin April 2011
Brigham Young University University Chorale Carpenters of God Vijay Singh April 2011
Brigham Young University University Chorale Christ the Lord Is Risen Today arr. Joseph Hoffman April 2011
Brigham Young University University Chorale False Sir John Daniel Burton April 2011
Brigham Young University University Chorale Gloria (from Missa in Tempore Belli) Franz Josef Haydn April 2011
Brigham Young University University Chorale High Barbary arr. Gregg Smith April 2011
183
Brigham Young University University Chorale Liebeslieder Walzer (Nos. 9, 11, & 15) Johannes Brahms April 2011
Brigham Young University University Chorale Love Never Ends Eleanor Daley April 2011
Brigham Young University University Chorale Magnificat (from The Glory of His Majesty) Jackson Berkey April 2011
Brigham Young University University Chorale My Spirit is Uncaged Paul Rardin April 2011
Brigham Young University University Chorale O nata lux Thomas Tallis April 2011
Brigham Young University University Chorale O Thou that Art the Light Gabriel Jackson April 2011
Brigham Young University University Chorale Somebody's Runnin' from God Henry Hinnant April 2011
Brigham Young University University Chorale This Is My Father's World Mack Wilberg April 2011
Brigham Young University Women's Chorus Angele Dei Lindsay Goodson April 2011
Brigham Young University Women's Chorus Antonio Jay Broeker April 2011
Brigham Young University Women's Chorus Cradle Song Daniel Kallman April 2011
Brigham Young University Women's Chorus Grace arr. Mark Hayes April 2011
Brigham Young University Women's Chorus Softly and Tenderly arr. Jean Applonie April 2011
Brigham Young University Concert Choir Father in Heaven arr. Robert Cundick September 2011
Brigham Young University Concert Choir Laudate Nomen Carlyle Sharpe September 2011
Brigham Young University Concert Choir Pilgrims' Hymn Stephen Paulus September 2011
Brigham Young University Women's Chorus Nearer My God to Thee arr. David Zabriskie September 2011
Brigham Young University Men's Chorus Cantique de Jean Racine Gabriel Fauré/arr. K. Lee Scott October 2011
Brigham Young University Men's Chorus High Word of God, Eternal Light arr. David Willcocks October 2011
Alan Jay Lerner & Frederick
Brigham Young University Men's Chorus Mariah (from Paint Your Wagon) October 2011
Lowe/arr. Lyle Durland
Brigham Young University Men's Chorus On My Way (from Paint Your Wagon) October 2011
Brigham Young University Men's Chorus Tching-Tchinga-Raya David Maddux October 2011
Brigham Young University Men's Chorus There's a Coach Coming In (from Paint Your Wagon) October 2011
Luigi Boccherini/arr. Robert
Brigham Young University Women's Chorus Benedictus (from Concerto for Cello & Orchestra) October 2011
Sieving
Brigham Young University Women's Chorus I Want Jesus to Walk with Me arr. Richard Nance October 2011
Giacomo Meyerbeer/arr.
Brigham Young University Women's Chorus Jesus Once of Humble Birth October 2011
Christopher Downard
Brigham Young University Women's Chorus The Beauty of Your Dreams Joan Szymko October 2011
Brigham Young University BYU Singers Come With Thy Sweet Voice Again Stephen Collins Foster November 2011
Brigham Young University BYU Singers Gloria (from Mass, Op. 84) Vincent Persichetti November 2011
Brigham Young University BYU Singers Jennie Kiss'd Me Eric William Barnum November 2011
184
Brigham Young University BYU Singers Sanctus (from Mass) Leonard Bernstein November 2011
Brigham Young University BYU Singers Simple Gifts Aaron Copland/arr. Bob Chilcott November 2011
Brigham Young University BYU Singers The Ol' Chisholm Trail Libby Larsen November 2011
BYU Singers & Concert
Brigham Young University Laudate Nomen Carlyle Sharpe November 2011
Choir
Brigham Young University BYU Singers Angels We Have Heard on High arr. Craig Courtney December 2011
BYU Singers, Concert
Brigham Young University Choir, Men's Chorus, A Star Shall Rise Up out of Jacob Felix Mendelssohn-Bartholdy December 2011
Women's Chorus
Brigham Young University Choir, Men's Chorus, There Is a Star Joseph Martin December 2011
Women's Chorus
Brigham Young University Concert Choir Away in a Manger arr. Bob Chilcott December 2011
Brigham Young University Concert Choir Rejoice and Be Merry John Rutter December 2011
Brigham Young University Men's Chorus Little Drummer Boy Katherine Davis December 2011
Brigham Young University University Chorale Alexander's Feast: The Many George Frideric Handel December 2011
Brigham Young University University Chorale Angels We Have Heard on High arr. Jackson Berkey December 2011
Brigham Young University University Chorale Angels, from the Realms of Glory Malcolm Archer December 2011
Brigham Young University University Chorale Autumn Jussi Chydenius December 2011
Brigham Young University University Chorale Ave Maria John Rutter December 2011
Brigham Young University University Chorale Bring a Torch, Jeanette, Isabella arr. Howard Helvey December 2011
Brigham Young University University Chorale Down By the Sally Gardens arr. John Rutter December 2011
Brigham Young University University Chorale Go Tell It On the Mountain arr. Thurlow Steffy December 2011
Brigham Young University University Chorale Mairi's Wedding arr. Dave & Jean Perry December 2011
Brigham Young University University Chorale O Come Divine Messiah Howard Helvey December 2011
Brigham Young University University Chorale Shivna Bill Whelan December 2011
Brigham Young University University Chorale Sing We Now of Christmas arr. Howard Helvey December 2011
Brigham Young University University Chorale Snowflakes Seth Houston December 2011
Robert MacGimsey/arr. Earlene
Brigham Young University University Chorale Sweet Little Jesus Boy December 2011
Rentz
Brigham Young University University Chorale Tenebrae factae sunt Michael Haydn December 2011
Brigham Young University University Chorale The Storm Is Passing Over arr. Larry Nickel December 2011
Brigham Young University Women's Chorus Candlelight Carol John Rutter December 2011
Brigham Young University Women's Chorus The Twelve Days of Christmas arr. Peter Harvey December 2011
185
Brigham Young University BYU Singers & Concert Pilgrims' Hymn Stephen Paulus January 2012
Brigham Young University Concert Choir Alleluia (from Lobet den Herrn, BWV 230) Johann Sebastian Bach January 2012
Brigham Young University Concert Choir How Can I Keep from Singing? arr. Ronald Staheli January 2012
Brigham Young University BYU Singers Children Will Listen (from Into the Woods) Stephen Sondheim February 2012
Brigham Young University BYU Singers Glory to God in the Highest Randall Thompson February 2012
Brigham Young University BYU Singers Kittery William Billings February 2012
Brigham Young University BYU Singers O Lord, I Would Hear Thy Word (from The Restoration) Merril Bradshaw February 2012
Brigham Young University BYU Singers Psalm 42 George Chadwick February 2012
Brigham Young University BYU Singers A Poor Wayfaring Man of Grief arr. Ronald Staheli March 2012
Brigham Young University BYU Singers Come, Come, Ye Saints arr. Mack Wilberg March 2012
Brigham Young University BYU Singers Con amores, la mi madre Juan de Anchieta March 2012
Brigham Young University BYU Singers How Can I Keep from Singing? arr. Ronald Staheli March 2012
Brigham Young University BYU Singers Sure on this Shining Night Morten Lauridsen March 2012
Brigham Young University Concert Choir Lobet den Herrn, alle Heiden, BWV 230 Johann Sebastian Bach March 2012
Brigham Young University Concert Choir Requiem in D minor, Op. 48 Gabriel Fauré March 2012
Brigham Young University Men's Chorus Bashana haba'ah Nurit Hirsch/arr. John Leavitt March 2012
Brigham Young University Men's Chorus Bless This House May Brae/arr. Rosalind Hall March 2012
Brigham Young University Men's Chorus Contradiction Franz Schubert March 2012
Brigham Young University Men's Chorus El yivneh hagalil arr. Peter Sozio March 2012
Brigham Young University Men's Chorus Hava nagila arr. Bryan Davies March 2012
Brigham Young University Men's Chorus How Lovely is Thy Dwelling Place John Leavitt March 2012
Brigham Young University Men's Chorus Isaiah 44:3 Jackson Berkey March 2012
Brigham Young University Men's Chorus Kyrie (from Messe cum jubilo) Maurice Duruflé March 2012
Brigham Young University Men's Chorus La cucaracha arr. Robert Sund March 2012
Brigham Young University Men's Chorus Pie Jesu (from Requiem) Gabriel Fauré March 2012
Brigham Young University Men's Chorus Praise Him Michael Cox March 2012
Brigham Young University Men's Chorus The Vagabond Ralph Vaughan Williams March 2012
Brigham Young University Women's Chorus Hark, I Hear the Harps Eternal arr. Alice Parker March 2012
Brigham Young University Women's Chorus It Was a Lover and His Lass John Rutter March 2012
Ralph Vaughan Williams/arr.
Brigham Young University Women's Chorus Orpheus with His Lute March 2012
Archibald McDowell
William Hauser/arr. Marsha
Brigham Young University Women's Chorus Palmetto March 2012
Genensky & Susan Hellauer
Brigham Young University Women's Chorus Prayers for the Gifts Kinley Lange March 2012
Brigham Young University Women's Chorus Sigh No More, Ladies Ralph Vaughan Williams March 2012
186
Brigham Young University Women's Chorus Sing Creation's Music On (from Songs Eternity) Stephen Paulus March 2012
Brigham Young University University Chorale A Celtic Blessing Simon Lole April 2012
Brigham Young University University Chorale At the Name of Jesus René Clausen April 2012
Brigham Young University University Chorale Cantate tuba Giovannia Pierluigi da Palestrina April 2012
Brigham Young University University Chorale Come unto Jesus S. Gordon Jessop April 2012
Antonin Dvorak/arr. William
Brigham Young University University Chorale Goin' Home (from New World Symphony) April 2012
Fisher
Joachim Neander/arr. David
Brigham Young University University Chorale He Is Risen! April 2012
Zabriskie
Brigham Young University University Chorale Jesu, dulcis memoria Tomás Luis de Victoria April 2012
Brigham Young University University Chorale Justorum animae Gabriel Jackson April 2012
Brigham Young University University Chorale Kyrie (from Kleine Orgelmesse) Franz Josef Haydn April 2012
Brigham Young University University Chorale Kyrie (from Mass in C Major, Op. 86) Ludwig van Beethoven April 2012
George Gershwin/arr. Mark
Brigham Young University University Chorale Long Ago and Far Away (from Cover Girl) April 2012
Hayes
Brigham Young University University Chorale My Lord, What a Mornin' arr. Harry Burleigh April 2012
Hans Leo Hassler/arr. Johann
Brigham Young University University Chorale O Savior April 2012
Sebastian Bach
Brigham Young University University Chorale Revecy venir du printans Claude Le Jeune April 2012
Brigham Young University University Chorale Shout for Joy Dan Davison April 2012
Eduard Toppenberg/arr. Rufo
Brigham Young University University Chorale Balia Di Sehu August 2012
Odor
Brigham Young University University Chorale Bonzorno Madonna Antonio Scandello August 2012
Brigham Young University University Chorale Come Pretty Love arr. Joan Szymko August 2012
Brigham Young University University Chorale I Will Not Leave You Comfortless William Byrd August 2012
Brigham Young University BYU Singers Always Singing Dale Warland September 2012
Brigham Young University BYU Singers Lord, My God, I Trust in Thee Johann Heinrich Lützel September 2012
Brigham Young University Choir, Men's Chorus, The Lord's Prayer B. Cecil Gates September 2012
Women's Chorus
Samuel McBurney/arr. Robert
Brigham Young University Concert Choir Come Follow Me September 2012
Manookin
Brigham Young University Concert Choir O Magnum Mysterium Tomás Luis de Victoria September 2012
Brigham Young University Concert Choir Simona MiDimona arr. Josh Jacobson September 2012
Brigham Young University Men's Chorus I Wanna Be Like You (from The Jungle Book) arr. Lyle Durland September 2012
187
Brigham Young University Men's Chorus Buffalo Gals Traditional November 2012
Brigham Young University Men's Chorus Dona nobis pacem Giulio Caccini/arr. James Moore November 2012
Brigham Young University Men's Chorus Dry Bones arr. Livingston Gearhart November 2012
Brigham Young University Men's Chorus Home on the Range Daniel Kelley/arr. Paul Pert November 2012
Brigham Young University Men's Chorus Jesu, Joy of Man's Desiring November 2012
Archibald Davison
Brigham Young University Men's Chorus O Bury Me Not arr. Norman Luboff November 2012
Brigham Young University Men's Chorus Riders in the Sky arr. Norman Luboff November 2012
Brigham Young University Men's Chorus The Morning Trumpet arr. Mack Wilberg November 2012
Brigham Young University Women's Chorus A Jubilant Song Norman Dello Joio November 2012
Brigham Young University Women's Chorus Amazing Grace arr. Cherie Hall November 2012
Brigham Young University Women's Chorus Missa brevis Gabriel Fauré November 2012
Brigham Young University Women's Chorus Missa Brevis Pacem Edward Gregson November 2012
Brigham Young University Women's Chorus Raindrops Keep Fallin' on My Head Burt Bacharach November 2012
Brigham Young University BYU Singers And Can this Newborn Mystery Alan Bullard December 2012
Brigham Young University BYU Singers He Is Born! arr. Dan Forrest December 2012
Brigham Young University Choir, Men's Chorus, Once in Royal David's City arr. David Willcocks December 2012
Women's Chorus
Brigham Young University Concert Choir Coventry Carol arr. Thomas Durham December 2012
Brigham Young University Concert Choir Estampie Natalis Vaclav Nelhybel December 2012
Brigham Young University Men's Chorus Come Lord Jesus (from The Savior of the World) arr. Daniel McDavitt December 2012
Brigham Young University Men's Chorus I Saw Three Ships arr. Mark Riese December 2012
Brigham Young University University Chorale Alleluia Philip Hayes December 2012
Brigham Young University University Chorale Amani Audrey Snyder December 2012
Brigham Young University University Chorale Blow, Blow Thou Winter Wind John Rutter December 2012
Brigham Young University University Chorale El Desembre congelat arr. Robert Sieving December 2012
Brigham Young University University Chorale En une seule fleur Morten Lauridsen December 2012
Brigham Young University University Chorale Eternal Rose David Lantz III December 2012
Brigham Young University University Chorale In the Bleak Mid-Winter Gustav Holst December 2012
Brigham Young University University Chorale Joy to the World arr. Michael Culloton December 2012
Brigham Young University University Chorale Noel Brad Holmes December 2012
Brigham Young University University Chorale O Come, All Ye Faithful arr. Mack Wilberg December 2012
Brigham Young University University Chorale Order My Steps Jack Shrader December 2012
Brigham Young University University Chorale People, Look East Drew Collins December 2012
188
Brigham Young University University Chorale Rejoice! Jeffery Ames December 2012
Brigham Young University University Chorale See, We Assemble (from King Arthur) Henry Purcell December 2012
Brigham Young University Women's Chorus Ding! Dong! Merrily on High arr. Howard Cable December 2012
Brigham Young University Women's Chorus Midwinter Bob Chilcott December 2012
Brigham Young University BYU Singers Three Nocturnes Dan Forrest February 2013
Brigham Young University Choir, Men's Chorus, More Holiness Give Me arr. Ronald Staheli February 2013
Women's Chorus
Wolfgang Amadeus Mozart/arr.
Brigham Young University Concert Choir Cum sanctis tuis in aeternum (from Requiem, K. 626) February 2013
Carl Czerny
Wolfgang Amadeus Mozart/arr.
Brigham Young University Concert Choir Sanctus (from Requiem, K. 626) February 2013
Carl Czerny
Brigham Young University Concert Choir Tell My Ma When I Go Home arr. Jon Washburn February 2013
Alfred Durham/arr. Lane
Brigham Young University Men's Chorus Sweet is the Peace the Gospel Brings February 2013
Johnson
Adam Geibel/arr. David
Brigham Young University Men's Chorus Called to Serve Him March 2013
Zabriskie
Richard Adler & Jerry Ros/Arr.
Brigham Young University Men's Chorus Hernando's Hideaway March 2013
Rosalind Hall & Gary Madsen
Arthur Sullivan/arr. Lane
Brigham Young University Men's Chorus Onward Christian Soldiers March 2013
Johnson
Brigham Young University Men's Chorus Press Forward, Saints Vanja Watkins March 2013
Brigham Young University University Chorale Ain'-a That Good News (from Three Spirituals) K. Scott Warren April 2013
Brigham Young University University Chorale Famine Song Matthew Culloton April 2013
Brigham Young University University Chorale Go, Tell It On the Mountain (from Three Spirituals) K. Scott Warren April 2013
Brigham Young University University Chorale Grant Us Thy Peace (Verleih uns Frieden) Felix Mendelssohn-Bartholdy April 2013
Brigham Young University University Chorale I Am the Rose of Sharon William Billings April 2013
Brigham Young University University Chorale If Ye Then Be Risen Daniel Moe April 2013
Rowland Prichard/arr. Patrick
Brigham Young University University Chorale In Humility, Our Savior April 2013
Tatman
Brigham Young University University Chorale Kala Kalla (from Five Hebrew Love Songs) Eric Whitacre April 2013
Brigham Young University University Chorale Now Our Meeting's Over Jocelyn Hagen April 2013
Brigham Young University University Chorale O nata lux Tom Porter April 2013
Brigham Young University University Chorale O Taste and See Douglas Wagner April 2013
Brigham Young University University Chorale Panis angelicus Richard Wappel April 2013
189
Brigham Young University University Chorale Parce Domine Jeremy Young April 2013
Brigham Young University University Chorale The Master Shepherd S. Gordon Jessop April 2013
Brigham Young University Women's Chorus A Poor Wayfaring Stranger arr. Jonathan Rodgers April 2013
Brigham Young University Women's Chorus Choral Hymns from the Rig Veda Gustav Holst April 2013
Brigham Young University Women's Chorus Columba aspexit Tarik O'Regan April 2013
John Lennon & Paul
Brigham Young University Women's Chorus Hey Jude April 2013
McCartney/arr. Lane Johnson
Brigham Young University Women's Chorus I Carry Your Heart David Zabriskie April 2013
Brigham Young University Women's Chorus Loch Lomond arr. Anne-Marie Hildebrandt April 2013
Brigham Young University University Chorale Acclamation (from Gospel Mass) Robert Ray August 2013
Brigham Young University University Chorale Blow Ye the Trumpet, Blow arr. Paul Cary August 2013
Brigham Young University University Chorale Credo (from Gospel Mass) Robert Ray August 2013
Brigham Young University University Chorale Der Abend Johannes Brahms August 2013
Brigham Young University University Chorale There Was a Time Donna Schultz August 2013
Brigham Young University BYU Singers Gloria (from Missa Brevis) Richard Rodney Bennett September 2013
Brigham Young University Choir, Men's Chorus, Come, We That Love the Lord Isaac Watts/arr. David Zabriskie September 2013
Women's Chorus
Brigham Young University Concert Choir Andlinger sånger August Söderman September 2013
Jean Sibelius/arr. Joseph
Brigham Young University Concert Choir Be Still My Soul September 2013
Hoffman
K. Newell Dayley & Kander &
Brigham Young University BYU Singers First You Have a Dream November 2013
Ebb
Brigham Young University BYU Singers Home in-a dat Rock arr. Moses Hogan November 2013
Stephen Foster/arr. Donald
Brigham Young University BYU Singers My Old Kentucky Home November 2013
Moore
Brigham Young University BYU Singers O sacrum convivium Steven Stucky November 2013
Brigham Young University BYU Singers O sacrum convivium Thomas Tallis November 2013
L. Bricusse & A. Newley/arr.
Brigham Young University BYU Singers Pure Imagination November 2013
Matthew D. Nielsen
Brigham Young University BYU Singers Reap What You Sow Petter Choplin November 2013
Brigham Young University BYU Singers The Music of Home Frank Loesser November 2013
Brigham Young University BYU Singers This Little Light of Mine arr. Nicholas Vangeloff November 2013
Brigham Young University Concert Choir Across the Vast, Eternal Sky Ola Gjeilo November 2013
Brigham Young University Concert Choir All Night, All Day arr. Lela Anderson November 2013
190
Brigham Young University Concert Choir Jubilant Song Mark Hayes November 2013
Brigham Young University Concert Choir Jubilate Deo (from Tres Cantus Laudendi) Mack Wilberg November 2013
Brigham Young University Concert Choir Little Elegy Stephen Paulus November 2013
Brigham Young University Concert Choir Magnificat Franscesco Durante November 2013
Brigham Young University Concert Choir Mitten wir im Leben sind Felix Mendelssohn-Bartholdy November 2013
Brigham Young University Concert Choir Oculi omnium Bob Chilcott November 2013
Brigham Young University Concert Choir Psalm 150 Howard Hanson November 2013
Brigham Young University Concert Choir Sanctus and Benedictus (from Mass for a Sacred Place) Stephen Paulus November 2013
Brigham Young University Men's Chorus O fortuna (from Carmina burana) Carl Orff November 2013
Brigham Young University Men's Chorus O Light of Life Mack Wilberg November 2013
Joseph Holbrook/arr. Jean
Brigham Young University Women's Chorus Jesus Lover of My Soul November 2013
Applonie
Brigham Young University Women's Chorus Lay Me Low arr. Kevin Siegfried November 2013
arr. Marsha Genensky & Susan
Brigham Young University Women's Chorus Merrick November 2013
Hellauer
Brigham Young University Women's Chorus My Shepherd Will Suppy My Need arr. Mack Wilberg November 2013
Brigham Young University BYU Singers December the 25th Leslie Bruicusse December 2013
Brigham Young University BYU Singers Still, Still, Still arr. Joey Hoelscher December 2013
Brigham Young University Choir, Men's Chorus, Far, Far Away on Judea's Plains John Macfarlane December 2013
Women's Chorus
Hallelujah Chorus (from Christ on the Mount of Olives, Op.
Brigham Young University Choir, Men's Chorus, Ludwig van Beethoven December 2013
85)
Women's Chorus
John Jacob Niles/arr. Matthew
Brigham Young University Choir, Men's Chorus, I Wonder As I Wander December 2013
Nielsen
Women's Chorus
Brigham Young University Concert Choir Infant Holy arr. Penny Rodriguez December 2013
Brigham Young University Concert Choir Swedish Dance Carol arr. Katherin Davis December 2013
Brigham Young University University Chorale Adoramus te, Christe Eric William Barnum December 2013
Brigham Young University University Chorale Agnus Dei (from Gospel Mass) Robert Ray December 2013
Brigham Young University University Chorale Away in a Manger Peter Gritton December 2013
Brigham Young University University Chorale Cry No More Dan Forrest December 2013
Brigham Young University University Chorale Gloria (from Gospel Mass) Robert Ray December 2013
191
Brigham Young University University Chorale Heaven André Thomas December 2013
Brigham Young University University Chorale Hodie Christus natus est Paul Basler December 2013
Brigham Young University University Chorale Hold Me, Rock Me Brian Tate December 2013
Brigham Young University University Chorale I Saw Three Ships Michael Harrison December 2013
Brigham Young University University Chorale Make We Joy Now in This Feast Malcolm Archer December 2013
Brigham Young University University Chorale O magnum mysterium Giovanni Gabrieli December 2013
Brigham Young University University Chorale Sanctus (from Gospel Mass) Robert Ray December 2013
Brigham Young University University Chorale Shut de Do' Mark Hayes December 2013
Brigham Young University Women's Chorus For Him All Stars Have Shown Bob Chilcott December 2013
Brigham Young University BYU Singers Home Aaron Jay Kernis February 2014
Brigham Young University BYU Singers Home is a Special Kind of Feeling John Rutter February 2014
Brigham Young University BYU Singers Homeward Bound Marta Keen February 2014
Brigham Young University BYU Singers Journey Home Abbie Betinis February 2014
Brigham Young University BYU Singers Long Road Ēriks Ešenvalds February 2014
Brigham Young University BYU Singers O sacrum convivium Steven Stucky February 2014
Brigham Young University BYU Singers O They Tell Me of a Home arr. Shawn Kirchner February 2014
Brigham Young University BYU Singers The Long Road Ēriks Ešenvalds February 2014
Brigham Young University BYU Singers They Tell Me of a Home (Unclouded Day) arr. Shawn Kirchner February 2014
Brigham Young University Choir, Men's Chorus, Hail to the Brightness of Zion's Glad Morning Edwin Parry/arr. Ronald Staheli February 2014
Women's Chorus
Brigham Young University Concert Choir I Need Thee Every Hour Robert Lowry/arr. Gilbert Martin February 2014
Brigham Young University Concert Choir The One Hundred Fiftieth Psalm Howard Hanson February 2014
Brigham Young University Men's Chorus Far Over the Misty Mountains Cold (from The Hobbit) Howard Shore February 2014
Brigham Young University Women's Chorus The Breath of Kindness Lane Johnson February 2014
Howard Shore/arr. Tom
Brigham Young University Men's Chorus Misty Mountains Cold March 2014
Anderson
Brigham Young University University Chorale All Creatures of Our God and King arr. Mack Wilberg March 2014
Brigham Young University University Chorale Grace Before Sleep Susan LaBarr March 2014
Brigham Young University University Chorale Love is Come Again arr. Jody Lindh March 2014
Wolfgang Amadeus Mozart (ed.
Brigham Young University University Chorale Misericordias Domini March 2014
Decker)
Brigham Young University University Chorale The Reapers All with Their Sharp Sickles arr. Seth Houston March 2014
Brigham Young University Women's Chorus A Cradle Song Daniel Kallman April 2014
Brigham Young University Women's Chorus Ave Maria Johannes Brahms April 2014
192
Brigham Young University Women's Chorus I Thank You God Gwyneth Walker April 2014
Brigham Young University Women's Chorus I'm Wishing/One Song (from Snow White) Larry Morey & Frank Churchill April 2014
Brigham Young University Women's Chorus Lay Me Low (from Five Shaker Songs) Kevin Siegfried April 2014
Robert & Kristen Lopez/arr. Lyle
Brigham Young University Women's Chorus Let It Go (from Frozen) April 2014
Durland
Brigham Young University University Chorale All Night, All Day arr. Lela Anderson August 2014
Johan Michael Haydn (ed.
Brigham Young University University Chorale Ecce sacerdos magnus August 2014
Martin Banner)
Brigham Young University University Chorale Jubilate Deo Peter Anglea August 2014
Brigham Young University University Chorale Long, Long Ago arr. Dan Forrest August 2014
Brigham Young University University Chorale My Heart Is Like a Singing Bird Gary Smart August 2014
Brigham Young University University Chorale Neckereien Johannes Brahms August 2014
Evan Stephens/arr. Ronald
Brigham Young University Choir, Men's Chorus, For the Strength of the Hills September 2014
Staheli
Women's Chorus
Lewis Edward/arr. Crawford
Brigham Young University Concert Choir I Know That My Redeemer Lives September 2014
Gates
Brigham Young University Concert Choir Ave verum corpus Wolfgang Amadeus Mozart November 2014
Brigham Young University Concert Choir Ecce concipies Mark Sirett November 2014
Brigham Young University Concert Choir I've Been in the Storm So Long arr. Mark Hayes November 2014
Brigham Young University Concert Choir Inter natos mulierum Wolfgang Amadeus Mozart November 2014
Brigham Young University Concert Choir Jesus I Adore Thee Stephen Caracciolo November 2014
Brigham Young University Concert Choir Kyrie (from Mass in G Minor) Johann Sebastian Bach November 2014
Brigham Young University Concert Choir Mon coeur se recommande á vous Orlando di Lasso November 2014
Brigham Young University Concert Choir My Heart Is Longing for Your Love Gregg Smith November 2014
Brigham Young University Concert Choir Not One Sparrow Is Forgotten arr. William Hawley November 2014
Brigham Young University Concert Choir O God Our Help in Ages Past arr. Rhonda Woodward November 2014
Brigham Young University Men's Chorus Coronation Anthem No. 1 George Frideric Handel November 2014
Brigham Young University Men's Chorus Freedom Song arr. Rollo Dilworth November 2014
Brigham Young University Men's Chorus Sanctus Randall Johnson November 2014
Brigham Young University BYU Singers Sing We Now of Christmas arr. Fred Prentice December 2014
Brigham Young University BYU Singers The Baby Softly Stills Vanja Watkins December 2014
Brigham Young University Angels We Have Heard on High arr. Howard Helvey December 2014
Choir, Men's Chorus,
193
Brigham Young University Choir, Men's Chorus, Carol of Joy Dan Forrest December 2014
Women's Chorus
Brigham Young University Choir, Men's Chorus, Hallelujah Chorus (from Messiah) George Frideric Handel December 2014
Women's Chorus
Brigham Young University Choir, Men's Chorus, Oh, Come All Ye Faithful arr. Dan Forrest December 2014
Women's Chorus
Brigham Young University Concert Choir Gesú Bambino Pietro A. Yon December 2014
Brigham Young University Men's Chorus Nowell Randall Thompson & Fenno December 2014
Brigham Young University Men's Chorus The Goslings arr. Rosalind Hall December 2014
Brigham Young University University Chorale Angels We Have Heard on High arr. Philip Kern December 2014
Brigham Young University University Chorale Annie Laurie arr. Robert Shaw & Alice Parker December 2014
Brigham Young University University Chorale Down to the River to Pray arr. Philip Lawson December 2014
Brigham Young University University Chorale Eternal Light John Erickson December 2014
Brigham Young University University Chorale Ett Nyfött Barn (A Newborn Child) Robert Sund December 2014
Brigham Young University University Chorale I Wonder As I Wander arr. J. Aaron McDermid December 2014
Brigham Young University University Chorale Lead, Kindly Light arr. David Zabriskie December 2014
Brigham Young University University Chorale Noél Ayisyen (A Haitian Noël) Emile Desamours December 2014
Brigham Young University University Chorale O Be Joyful in the Lord Howard Helvey December 2014
Brigham Young University University Chorale O Radiant Dawn James MacMillan December 2014
Brigham Young University University Chorale Song of Thanks to God Franz Joseph Haydn December 2014
Brigham Young University University Chorale Sweet Hour of Prayer arr. William Bradbury December 2014
Brigham Young University University Chorale The Road to the Isles arr. Stuart Calvert December 2014
Brigham Young University Women's Chorus Sussex Carol arr. Clifton Noble Jr. December 2014
Brigham Young University Choir, Men's Chorus, Blessings arr. Benjamin Harlan February 2015
Women's Chorus
Brigham Young University BYU Singers Ain't That News arr. Stephen Hatfield March 2015
Brigham Young University BYU Singers Ballade to the Moon Daniel Elder March 2015
Brigham Young University BYU Singers Dryads' Bells Stephen Chatman March 2015
Brigham Young University BYU Singers Ghost Riders in the Sky (from American Cowboy Song) arr. Ronald Staheli March 2015
Brigham Young University BYU Singers Maila arr. Ronald Staheli March 2015
194
Brigham Young University BYU Singers Oh Danny Boy arr. Ronald Staheli March 2015
Brigham Young University BYU Singers Placido é il mar Wolfgang Amadeus Mozart March 2015
Brigham Young University BYU Singers The Colorado Trail (from American Cowboy Song) arr. Ronald Staheli March 2015
Brigham Young University Men's Chorus Death Shall Not Destroy My Comfort arr. Mack Wilberg March 2015
Brigham Young University Men's Chorus Deliver Us (from The Prince of Egypt) Stephen Schwartz March 2015
Evan Stephens/arr. Thomas
Brigham Young University Men's Chorus For the Strength of the Hills March 2015
Durham
Brigham Young University Men's Chorus In Flanders Fields Paul Aitken March 2015
Brigham Young University Men's Chorus Johnny Comes Marching Home arr. David Zabriskie March 2015
Brigham Young University Men's Chorus Jordan's Angels arr. Rollo Dilworth March 2015
Brigham Young University Men's Chorus Old MacDonald Had a Farm arr. Derric Johnson March 2015
Brigham Young University Men's Chorus The Plagues (from The Prince of Egypt) Stephen Schwartz March 2015
Brigham Young University Men's Chorus There Is a Balm arr. Larry Fletcher March 2015
Brigham Young University Men's Chorus Through Heaven's Eyes (from The Prince of Egypt) Stephen Schwartz March 2015
C. Marianne Fisher/arr. David
Brigham Young University Women's Chorus As I Search the Holy Scriptures March 2015
Naylor
Brigham Young University Women's Chorus Best Day of My Life arr. McKay Crockett March 2015
Brigham Young University Women's Chorus Everybody's Got Somebody but Me Hunter Hayes/arr. Keith Evans March 2015
Tevin Campbell/arr. McKay
Brigham Young University Women's Chorus Eye to Eye (from The Goofy Movie) March 2015
Crockett & Keith Evans
Pharell Williams/arr. Mark
Brigham Young University Women's Chorus Happy March 2015
Brymer
Brigham Young University Women's Chorus In Caelum Fero (from Songs of Sanctuary) Karl Jenkins March 2015
Brigham Young University Women's Chorus Song of the Plains (from Cantate Mundi) Karl Jenkins March 2015
Brigham Young University University Chorale Be Thou My Vision arr. Mack Wilberg April 2015
Brigham Young University University Chorale Behold the Wounds in Jesus' Hands arr. Joseph Hoffman April 2015
Brigham Young University University Chorale Fear Not Todd Syswerda April 2015
Brigham Young University University Chorale Geistliches Lied, Op. 30 Johannes Brahms April 2015
Brigham Young University University Chorale Great Day arr. Stacey Gibbs April 2015
Brigham Young University University Chorale O Sing Joyfully Adrian Batten April 2015
Brigham Young University University Chorale O vos omnes Blake Henson April 2015
Brigham Young University University Chorale O Whistle and I'll Come to Ye arr. Mack Wilberg April 2015
Brigham Young University University Chorale Precious Lord, Take My Hand arr. Howard Helvey April 2015
Brigham Young University University Chorale Take Time To Be Holy arr. John Longhurst April 2015
Brigham Young University University Chorale The Eastertide with Joy was Bright arr. Howard Helvey April 2015
195
Brigham Young University University Chorale The Water is Wide arr. René Clausen April 2015
August 2013, March
Brigham Young University University Chorale The Morning Trumpet arr. Howard Helvey
2014
December 2010,
Brigham Young University University Chorale Cantate Domino Guiseppe Pitoni
December 2012
Franz Gruber/arr. Christopher December 2010,
Brigham Young University Women's Chorus Silent Night
Downard December 2013
December 2011,
Brigham Young University Men's Chorus Fum, Fum, Fum arr. Mack Wilberg
December 2013
December 2011,
Brigham Young University BYU Singers The Rune of Hospitality Alf Houkom February 2012,
March 2012
December 2012,
Brigham Young University Choir, Men's Chorus, The First Noel arr. Dan Forrest
December 2014
Women's Chorus
December 2012,
Brigham Young University University Chorale Erev Shel Shoshanim Josef Hadar/arr. Jack Klebanow November 2014,
March 2015
December 2013,
Brigham Young University Men's Chorus O Magnum Mysterium Morten Lauridsen
March 2014
December 2014,
Brigham Young University University Chorale Rejoice, the Lord Is King Malcolm Archer
April 2015
February 2011,
Brigham Young University Women's Chorus Psalm 96 Jared Oaks
April 2011
February 2011,
Brigham Young University Men's Chorus How Firm a Foundation arr. Emma Lou Diemer
February 2011
February 2013,
Brigham Young University Women's Chorus He's Gone Away arr. Cathy DeRousse
April 2013
February 2013,
Brigham Young University Women's Chorus O aula nobilis William Mathias
April 2013
Carrie Rounsefall/arr. Matthew February 2013,
Brigham Young University Men's Chorus I'll Go Where You Want Me to God
Nielsen February 2013
February 2013,
Brigham Young University Men's Chorus Gloria in excelsis Deo Paul Halley
March 2013
196
February 2013,
Brigham Young University Men's Chorus Jonah's Song Peter Schickele
March 2013
Edward Partridge/arr. James February 2013,
Brigham Young University Men's Chorus Let Zion in Her Beauty Rise
Kasen March 2013
February 2013,
Brigham Young University Men's Chorus O Magnum Mysterium Tom Council
March 2013
February 2013,
Brigham Young University Men's Chorus Sing unto God (from Judas Maccabaeus) George Frideric Handel
March 2013
Pablo Beltran Ruiz/arr. Rosalind February 2013,
Brigham Young University Men's Chorus Sway
Hall & Gary Madsen March 2013
February 2014,
Brigham Young University Women's Chorus Ave Maria David MacIntyre
April 2014
February 2014,
Brigham Young University Women's Chorus Breath of Kindness Lane Johnson
April 2014
February 2014,
Brigham Young University Women's Chorus I Won't Say (I'm in Love) (from Hercules) Alan Menken
April 2014
Brotherhood of Man (from How to Succeed in Business February 2014,
Brigham Young University Men's Chorus Frank Loesser
Without Really Trying) March 2014
February 2014,
Brigham Young University Men's Chorus Dies Irae (from Requiem) Wolfgang Amadeus Mozart
March 2014
February 2014,
Brigham Young University Men's Chorus The Lord Is My Light John Hatton/arr. James Kasen
March 2014
February 2014,
Brigham Young University Men's Chorus Kia Hora Te Marino Christopher Tin
March 2014,
February 2014,
Brigham Young University Men's Chorus Baba Yetu (from Civilization IV) Christopher Tin
March 2014,
February 2015,
Brigham Young University BYU Singers Steal Away arr. Bob Chilcott
March 2015
February 2015,
Brigham Young University Men's Chorus Master the Tempest Is Raging H.R. Palmer/arr. Ronald Staheli
March 2015
February 2015,
Brigham Young University Men's Chorus Reconciliation Stephen Chatman
March 2015
February 2015,
Brigham Young University Men's Chorus Saints Bound for Heaven arr. Mack Wilberg
March 2015
197
Sarah Bareilles & Jack February 2015,
Brigham Young University Women's Chorus Brave
Antonoff/arr. Audrey Snyder March 2015
January 2012,
Brigham Young University BYU Singers Crucifixion (He Never Said a Mumblin' Word) Adolphus Hailstork
February 2012
January 2012,
Brigham Young University BYU Singers Duo Seraphim Fransciso Guesposo
February 2012
January 2012,
Brigham Young University BYU Singers O vis aeternitatis (from Hildegard Triptych) Frank Ferko
February 2012
January 2012,
George Frideric Handel/arr.
Brigham Young University BYU Singers Let Singing Lift Our Hearts Above February 2012,
Ronald Staheli
March 2012
January 2012,
February 2012,
Brigham Young University BYU Singers Northern Lights Ola Gjeilo
November 2014,
March 2015
BYU Singers, Concert Charles Gabriel/arr. David January 2012,
Brigham Young University I Stand All Amazed
Choir, Men's Chorus, Zabriskie September 2014
March 2012,
Brigham Young University BYU Singers Sing a Song Joe Rapozo
November 2013
March 2012,
Brigham Young University Men's Chorus Come Thou Fount of Every Blessing John Wyeth/arr. Daniel McDavitt November 2013,
February 2013
March 2012,
Brigham Young University Women's Chorus Reflections from Yad Vashem Daniel Hall November 2014,
February 2015
March 2012,
September 2014,
Brigham Young University Women's Chorus Amazing Grace arr. Michael Hanawalt November 2014,
February 2015,
March 2015
November 2010,
William Walker/arr. Jean April 2011,
Brigham Young University Women's Chorus Hallelujah
Applonie February 2014,
April 2014
198
November 2010,
Brigham Young University Men's Chorus Love's Philosophy Roger Quilter/arr. Rosalind Hall
March 2011
Donald Swann & Michael November 2010,
Brigham Young University Men's Chorus The Hippopotamus Song
Flanders/arr. William Stickles March 2011
November 2010,
Brigham Young University Men's Chorus The Preacher and the Bear arr. Daniel McDavitt
March 2011
November 2011,
Brigham Young University BYU Singers Art Thou Troubled William Billings
February 2012
November 2011,
Brigham Young University BYU Singers Hold On (from The Secret Garden) arr. Ronald Staheli
February 2012
November 2011,
Brigham Young University BYU Singers Laudate Dominum omnes gentes Tomás Luis de Victoria
February 2012
Denn alles Fleisch, es ist wie Gras (from Ein Deutsches November 2011,
Brigham Young University Concert Choir Johannes Brahms
Requiem) January 2012
November 2012,
Brigham Young University Men's Chorus Jungle Rhythm arr. Lyle Durland
February 2013
November 2012,
Brigham Young University Men's Chorus Jacob's Ladder arr. Gilbert Martin February 2013,
March 2013
November 2012,
February 2013,
Brigham Young University Men's Chorus Didn't My Lord Deliver Daniel arr. Moses Hogan
March 2013, March
2015
November 2013,
Brigham Young University Women's Chorus My God Is a Rock arr. Daniel Kallman
April 2014
November 2013,
Brigham Young University BYU Singers Glorificamus Te! Daniel Kallman
February 2014
November 2013,
Brigham Young University BYU Singers Glory to God on High (from Missa Brevis) Richard Rodney Bennett
February 2014
November 2013,
Brigham Young University BYU Singers Pilgrim Song Ryan Murphy
February 2014
November 2013,
Brigham Young University Concert Choir Hold On arr. Marques Garrett
February 2014
November 2013,
Brigham Young University Men's Chorus He Ain't Heavy, He's My Brother Bobby Scott/arr. Jay Althouse
March 2014
199
November 2013,
Brigham Young University Men's Chorus Lean on Me Bill Withers
March 2014
November 2013,
Brigham Young University Men's Chorus Miserere mei, Deus Gregorio Allegri
March 2014
William Clayson/arr. Ronald November 2013,
Brigham Young University Men's Chorus The Iron Rod
Staheli March 2014
November 2014,
Brigham Young University Concert Choir Gaudete arr. Karl Jenkins
December 2014
November 2014,
Brigham Young University Concert Choir Let All the World in Every Corner Sing Sven Lekberg
February 2015
November 2014,
Brigham Young University BYU Singers Stars Over Snow Matthew Nielsen February 2015,
March 2015
November 2014,
Brigham Young University Women's Chorus Adon Olam/From All That Dwell Below the Skies arr. David Zabriskie February 2015,
March 2015
November 2014,
Brigham Young University BYU Singers Amor quando fioria Giovannia Pierluigi da Palestrina
March 2015
November 2014,
Brigham Young University BYU Singers Ave verum corpus Colin Mawby
March 2015
November 2014,
Brigham Young University BYU Singers Cantate Domino canticum novum Arvo Pärt
March 2015
November 2014,
Brigham Young University BYU Singers Die Warnung Franz Josef Haydn
March 2015
November 2014,
Brigham Young University BYU Singers Fields of Gold Sting
March 2015
November 2014,
Brigham Young University BYU Singers Leonardo Dreams of His Flying Machine Eric Whitacre
March 2015
November 2014,
Brigham Young University BYU Singers Os justi meditabitur Anton Bruckner
March 2015
November 2014,
Brigham Young University BYU Singers Peace Like a River arr. Ronald Staheli
March 2015
November 2014,
Brigham Young University BYU Singers Seinn O arr. J. David Moore
March 2015
200
November 2014,
Brigham Young University BYU Singers Sfogava con le stelle Claudio Monteverdi
March 2015
November 2014,
Brigham Young University Men's Chorus Let Me Fly arr. Rollo Dilworth
March 2015
Bernard of Clairvaux/arr. Daniel October 2011,
Brigham Young University Men's Chorus Jesus the Very Thought of Thee
McDavitt March 2012
Frode Fjellheim/arr. Archibald October 2011,
Brigham Young University Women's Chorus Eatnemen Vuelie (Fairest Lord Jesus)
McDowell March 2012
BYU Singers, Men's September 2010,
Brigham Young University Now Glad of Heart Keaton Lee Scott
Chorus, Women's Chorus December 2010
September 2010,
Brigham Young University BYU Singers I Have Had Singing Steven Sametz
March 2011
September 2010,
Brigham Young University BYU Singers There Is Sweet Music Here L.J. White
March 2011
September 2010,
Brigham Young University BYU Singers Everyone Sang Dominick Argento March 2011,
September 2012
September 2010,
Brigham Young University Women's Chorus Shoo Fly Pie and Apply Pan Dowdy arr. Kirby Shaw
November 2010
September 2010,
November 2010,
April 2011,
Brigham Young University Women's Chorus Psalm 100 René Clausen September 2014,
November 2014,
February 2015,
March 2015
September 2010,
Brigham Young University Men's Chorus The Pasture (from Frostiana) Randall Thompson November 2010,
March 2011
September 2010,
November 2010,
Brigham Young University Men's Chorus O Be Joyful in the Lord John Rutter
March 2011,
November 2012
201
September 2010,
Brigham Young University Concert Choir Psalm 23 Fredrik Sixten September 2011,
February 2012
September 2011,
Brigham Young University Choir, Men's Chorus, Of the Father's Love Begotten arr. John Ness Beck
December 2011
Women's Chorus
September 2011,
Brigham Young University BYU Singers So I'll Sing with My Voice Dominick Argento November 2011,
February 2012
September 2011,
Brigham Young University BYU Singers Amor con fortuna Juan del Encina
November 2011,
September 2011,
Brigham Young University BYU Singers The Coolin (from Reincarnations, Op. 16) Samuel Barber
November 2011,
September 2011,
Brigham Young University Men's Chorus All Creatures of our God and King arr. James Kasen
October 2011
Hand Me Down That Can of Beans (from Paint Your Frederick Lowe/arr. Lyle September 2011,
Brigham Young University Men's Chorus
Wagon) Durland October 2011
September 2011,
Brigham Young University Men's Chorus The Impossible Dream (from Man of La Mancha) Mitch Leigh/arr. Nathan Hoffeins
October 2011
September 2011,
Brigham Young University Women's Chorus Awake My Heart to Sing Mark Patterson
October 2011
Harold Arlen/arr. Russell September 2011,
Brigham Young University Women's Chorus Over the Rainbow (from The Wizard of Oz)
Robinson October 2011
September 2011,
Brigham Young University Women's Chorus Ave Maria Michael Head October 2011,
March 2012
September 2012,
Brigham Young University Choir, Men's Chorus, Come, Thou Long Expected Jesus Allen Koepke
December 2012
Women's Chorus
George Frideric Handel/arr. September 2012,
Brigham Young University Men's Chorus Hallelujah, Amen (from Judas Maccabaeus)
Archibald Davison November 2012
September 2012,
Brigham Young University Men's Chorus Red River Valley arr. Miles Ramsay
November 2012
September 2012,
Brigham Young University Women's Chorus Poor Wayfaring Stranger arr. Jonathan Rodgers
November 2012
202
September 2012,
Brigham Young University Women's Chorus Sanctus (from Mass for Three Voices) William Byrd
November 2012
September 2012,
George Harrison/arr. Deke November 2012,
Brigham Young University Women's Chorus Here Comes the Sun
Sharon April 2013,
September 2013
September 2013,
Brigham Young University Choir, Men's Chorus, Lost in Wonder W.P. Rowlands/arr. Claude Bass
December 2013
Women's Chorus
September 2013,
Brigham Young University Concert Choir An Old Irish Blessing Ryan Gee
November 2013
September 2013,
Brigham Young University Women's Chorus Ain't No Grave Paul Caldwell & Sean Ivory
November 2013
Come Thou Fount (from Three Early American Hymn September 2013,
Brigham Young University Women's Chorus arr. Bob Burroughs
Tunes) November 2013
September 2013,
Brigham Young University BYU Singers Gloria in excelsis Deo Thomas Weelkes November 2013,
February 2014
September 2013,
Brigham Young University Men's Chorus O Sing to the Lord Dan Davison November 2013,
March 2014
September 2013,
Thomas Koshat/arr. K. Newell
Brigham Young University Men's Chorus The Lord Is My Shepherd November 2013,
Dayley
March 2014
September 2014,
Brigham Young University Concert Choir Ave Maria (from Vespers) Sergei Rachmaninoff
November 2014
September 2014,
Brigham Young University Concert Choir Didn' My Lord Deliver Daniel arr. Stacey Gibbs
November 2014
September 2014,
Brigham Young University Men's Chorus Benedictus (from The Armed Man) Karl Jenkins
November 2014
Louis "Moon" Kauakahi/arr. Carl September 2014,
Brigham Young University Men's Chorus Ke Alaula (Hawaiian)
Hammer November 2014
September 2014,
Brigham Young University Women's Chorus Hamisha Asar Flory Jagoda/arr. Nick Page
November 2014
203
September 2014,
Brigham Young University BYU Singers Marie (from Sept Chansons) Francis Poulenc November 2014,
March 2015
Luther College Cathedral Choir A Boy and a Girl Eric Whitacre April 2010
Irving Berlin arr. Melba
Luther College Cathedral Choir Blue Skies April 2010
Williamson
Luther College Cathedral Choir Coelos ascendit hodie, Op. 38, no. 2 Charles Villiers Stanford April 2010
Luther College Cathedral Choir Hope, Faith, Life, Love Eric Whitacre April 2010
Luther College Cathedral Choir Lay Up Your Treasures Pepper Choplin April 2010
Luther College Cathedral Choir O Lilizela arr. Molly Stone April 2010
Eliza Gilkyson/arr. Craig Hella
Luther College Cathedral Choir Requiem April 2010
Johnson
Luther College Cathedral Choir Sing We Merrily unto God Our Strength Martin Shaw April 2010
Luther College Cathedral Choir Skombia Traditional Caprivi song April 2010
Luther College Cathedral Choir The One Ola Gjeilo April 2010
Luther College Cathedral Choir The Silence Andrew Bleckner April 2010
Luther College Cathedral Choir Very Soon Eric Whitacre April 2010
Luther College Cathedral Choir When David Heard Eric Whitacre April 2010
Luther College Collegiate Chorale Baba wethu Anders Nyberg April 2010
Luther College Collegiate Chorale Bereden väg för Herran arr. Anders Nyberg April 2010
Luther College Collegiate Chorale Der er et Yndigt Land Hans Ernst Krøyer April 2010
Luther College Collegiate Chorale Finlandia Hymn Jean Sibelius April 2010
Luther College Collegiate Chorale He's Got the Whole World in His Hands arr. Keith Hampton April 2010
Luther College Collegiate Chorale I Want Jesus to Walk With Me arr. Byron Smith April 2010
Luther College Collegiate Chorale In Heaven Above arr. Daniel Kallman April 2010
Luther College Collegiate Chorale Jesu, Meine Freude Johann Sebastian Bach April 2010
Luther College Collegiate Chorale Our Father Alexander Gretchaninoff April 2010
Luther College Collegiate Chorale Psalm 95 Maurice Monhardt April 2010
Luther College Collegiate Chorale Quittez, pasteurs arr. John Rutter April 2010
Aurora, Cantorei,
Cathedral Choir,
Luther College Psalm 23 Mark Zobel October 2010
Collegiate Chorale,
Norsemen
Luther College Collegiate Chorale Blagoslovi, Dushé Moya, Ghospoda Mikhail Ippolitov-Ivanov October 2010
Luther College Collegiate Chorale Da Pacem Jeff Enns October 2010
204
Luther College Collegiate Chorale Give peace, O Lord, in our time Jeff Enns October 2010
Luther College Collegiate Chorale Pilgrims' Hymn Stephen Paulus October 2010
Luther College Aurora Ring Out, Wild Bells! Bradley Ellingboe December 2010
Luther College Aurora, Cantorei Angels' Carol John Rutter December 2010
Aurora, Cantorei,
Cathedral Choir,
Luther College Gloria Randol Alan Bass December 2010
Collegiate Chorale,
Nordic Choir, Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College Gloria in Excelsis (from Gloria) Antonio Vivaldi December 2010
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College Hope for Resolution arr. Paul Caldwell & Sean Ivory December 2010
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College The First Nowell arr. Mack Wilberg December 2010
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir, There Shall a Star From Jacob Come Forth (from Christus,
Luther College Felix Mendelssohn-Bartholdy December 2010
Collegiate Chorale, Op 97)
Luther College Collegiate Chorale What Shall We Give? arr. Mack Wilberg December 2010
Luther College Nordic Choir What Sweeter Music John Rutter December 2010
Luther College Norsemen Choral Fanfare for Christmas Ron Nelson December 2010
Luther College Norsemen Wana Baraka arr. Shawn Kirchner December 2010
Luther College Nordic Choir Autumn Lanscapes (nos. 5 & 7) Veljo Tormis February 2011
Luther College Nordic Choir Caritas et Amor Z. Randall Stroope February 2011
Luther College Nordic Choir Danny Boy arr. Roger Wagner February 2011
Luther College Nordic Choir Ezekiel Saw de Wheel arr. Moses Hogan February 2011
Luther College Nordic Choir Festival Te Deum Benjamin Britten February 2011
Luther College Nordic Choir God Thou Art Love Craig Courtney February 2011
Luther College Nordic Choir Here I Am Lord arr. Ovid Young February 2011
205
Luther College Nordic Choir Hosanna to the Son of David Orlando Gibbons February 2011
Luther College Nordic Choir Lass dich nur nichts nicht dauren Johannes Brahms February 2011
Luther College Nordic Choir Like as the hart desireth the waterbrooks Herbert Howells February 2011
Luther College Nordic Choir Love divine, all loves excelling arr. Mack Wilberg February 2011
Luther College Nordic Choir O Sacrum Convivium Thomas Tallis February 2011
Luther College Nordic Choir Os Justi meditabitur sapientiam Anton Bruckner February 2011
Luther College Nordic Choir Richte mich Gott (Op. 78) Felix Mendelssohn-Bartholdy February 2011
Luther College Nordic Choir Sing Unto God Paul Fetler February 2011
Luther College Nordic Choir Sinner Man arr. Howard Roberts February 2011
Luther College Nordic Choir The Lamb Ken Neufeld February 2011
Luther College Cathedral Choir Fürchte dich nich, ich bin bei dir, BWV 228 Johann Sebastian Bach April 2011
Luther College Cathedral Choir Infant Holy, Infant Lowly arr. Paul Christiansen April 2011
Luther College Cathedral Choir Jubilate Deo Agneta Sköld April 2011
Luther College Cathedral Choir Pilgrims' Hymn (from The Three Hermits) Stephen Paulus April 2011
Luther College Cathedral Choir Vinea mea electa Francis Poulenc April 2011
Cathedral Choir,
Luther College Hope for Resolution arr. Paul Caldwell & Sean Ivory April 2011
Collegiate Chorale
Cathedral Choir,
Luther College Collegiate Chorale, Luther Mass Stephen Paulus April 2011
Nordic Choir
Cathedral Choir,
Luther College Collegiate Chorale, Missa In Angustiis (Lord Nelson Mass) Franz Joseph Haydn April 2011
Nordic Choir
Luther College Collegiate Chorale Ave Maria, Op. 37, no. 6 Sergei Rachmaninoff April 2011
Luther College Collegiate Chorale O beatum et sacrosanctum Diem Peter Philips April 2011
Luther College Collegiate Chorale Psalm 23 Mark Zobel April 2011
Luther College Collegiate Chorale Surely He hath borne our griefs Carl Heinrich Graun April 2011
Luther College Collegiate Chorale Twa Tanbou Sydney Guillaume April 2011
Aurora, Cantorei,
Cathedral Choir,
Luther College Eatnemen Vuelie Forde Fjellheim October 2011
Collegiate Chorale,
Norsemen
206
Aurora, Cantorei,
Cathedral Choir,
Luther College Hark, I Hear the Harps Eternal arr. Craig Carnahan October 2011
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College I Sing as I arise, today James Fritschel October 2011
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College Ubi Caritas Maurice Duruflé October 2011
Collegiate Chorale,
Norsemen
Edwin Fissinger/arr. Mary
Luther College Aurora Love Came Down at Christmas December 2011
Geston
Luther College Aurora O lux beatissima Joan Szymko December 2011
Aurora, Cantorei,
Cathedral Choir,
Luther College Arise, Your Light Has Come David Danner December 2011
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College Finale (from King David) Arthur Honegger December 2011
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College O Holy Night Adolphe Adam/arr. John Rutter December 2011
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College O nata lux de lumine (from Canticles of Light) Bob Chilcott December 2011
Collegiate Chorale,
Luther College Cantorei Cantemos a María arr. Juan Tony Guzmán December 2011
Luther College Cantorei Shepherd's Pipe Carol John Rutter December 2011
Luther College Cathedral Choir Jeg er saa glad arr. Sandra Peter December 2011
207
Cathedral Choir,
Luther College Collegiate Chorale, For Unto Us a Child Is Born (from Messiah) George Friedrich Handel December 2011
Nordic Choir
Luther College Collegiate Chorale Noél Ayisyen Emile Desamours December 2011
Luther College Collegiate Chorale Run, Ye Shepherds, To the Light Michael Haydn December 2011
Luther College Norsemen Ave Maria Franz Biebl December 2011
Luther College Norsemen Tomorrow Shall Be My Dancing Day arr. Howard Helvey December 2011
Luther College Nordic Choir Dan-u-el Kirke Mechem February 2012
Luther College Nordic Choir Kyrie (from Luther Mass) Stephen Paulus February 2012
Luther College Nordic Choir Liebeslieder Walzer (Nos. 8 & 9) Johannes Brahms February 2012
Luther College Nordic Choir Lobet den Herrn, alle Heiden, BWV 230 Johann Sebastian Bach February 2012
Luther College Nordic Choir Sigalagala (Let there be ululation!) arr. S. A. Otieno February 2012
Luther College Cathedral Choir Amazing Grace arr. Amy Engelsdorfer April 2012
Luther College Cathedral Choir Excerpts from Requiem (I, II, IV) Herbert Howells April 2012
Luther College Cathedral Choir Exultate Deo Giovanni Pierluigi de Palestrina April 2012
Luther College Cathedral Choir Ezekiel Saw the Wheel arr. William Dawson April 2012
Luther College Cathedral Choir I Sing as I Arise Today James Fritschel April 2012
Luther College Cathedral Choir I'm Gonna Sing 'Til the Spirit Moves in my Heart arr. Moses Hogan April 2012
Luther College Cathedral Choir The Earth Adorned Waldemar Ahlén April 2012
Luther College Cathedral Choir There Will Be Rest Frank Ticheli April 2012
Luther College Cathedral Choir Voice Dance Greg Jasperse April 2012
Luther College Cathedral Choir Weeping Mary arr. Brad Holmes April 2012
Luther College Nordic Choir Beati Quorum Via Charles Villiers Stanford May 2012
Luther College Nordic Choir Christ the Apple Tree Stanford Scriven May 2012
Luther College Nordic Choir Dum Transisset Sabbatum John Taverner May 2012
Luther College Nordic Choir Faithful Over a Few Things Glenn Burleigh May 2012
Luther College Nordic Choir Sanctus Ola Gjeilo May 2012
Luther College Nordic Choir Three Kings Healey Willan May 2012
Luther College Nordic Choir Tonight, Eternity Alone René Clausen May 2012
Aurora, Cantorei,
Cathedral Choir,
Luther College Consecrate the Place and Day Lloyd Pfautsch October 2012
Collegiate Chorale,
Norsemen
208
Aurora, Cantorei,
Cathedral Choir,
Luther College He'll Make a Way Byron Smith October 2012
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College Nada te Turbe Joan Szymko October 2012
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College The King of Love arr. Paul Christiansen October 2012
Collegiate Chorale,
Norsemen
Luther College Aurora Hodie Christus Natus Est arr. Agneta Sköld December 2012
Luther College Aurora Patapan arr. Sandra Peter December 2012
Aurora, Cantorei,
Cathedral Choir,
Luther College Angels We Have Heard On High arr. Mack Wilberg December 2012
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College Christmas Day Gustav Holst December 2012
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College In the Bleak Midwinter arr. Harold Darke December 2012
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College Prologue (from Hodie) Ralph Vaughan Williams December 2012
Collegiate Chorale,
Luther College Cantorei Sussex Carol arr. Bob Chilcott December 2012
Luther College Cantorei Who is the Baby? Rosephanye Powell December 2012
Luther College Cathedral Choir Ding Dong! Merrily on High arr. Carolyn Jennings December 2012
Luther College Cathedral Choir O Magnum Mysterium Morten Lauridsen December 2012
Luther College Nordic Choir Sing We Now of Christmas arr. Fred Prentice December 2012
209
Luther College Nordic Choir Wexford Carol arr. Dale Warland December 2012
Luther College Norsemen A King is Born arr. Tim Sarsany December 2012
Luther College Norsemen O Come, O Come Emmanuel arr. Mark Templeton December 2012
Luther College Nordic Choir All Hail the Power of Jesus' Name arr. James Mulholland February 2013
Luther College Nordic Choir Benedicto Urmas Sisask February 2013
Christ Is Arisen (from Three Pre-Reformation Choral
Luther College Nordic Choir Ledwig Lendel February 2013
Motets)
Luther College Nordic Choir E'en So, Lord Jesus, Quickly Come Paul Manz February 2013
Luther College Nordic Choir Go, Lovely Rose Eric Whitacre February 2013
Luther College Nordic Choir Hosanna to the Son of David Thomas Weelkes February 2013
Luther College Nordic Choir Jauchzet dem Herrn alle Welt, BWV Anhang 160 Johann Sebastian Bach February 2013
Luther College Nordic Choir Joshua Fit the Battle of Jericho arr. Edwin Fissinger February 2013
Rogers and Hart, arr. Roy
Luther College Nordic Choir My Romance February 2013
Ringwald
Luther College Nordic Choir O Vos Omnes Pablo Casals February 2013
Luther College Nordic Choir The Lord is the Everlasting God Kenneth Jennings February 2013
Luther College Nordic Choir Verbum caro factum est Z. Randall Stroope February 2013
Luther College Collegiate Chorale David's Lamentation Joshua Shank April 2013
Luther College Collegiate Chorale Even Such Is Time Bob Chilcott April 2013
Luther College Collegiate Chorale He'll Make a Way Byron Smith April 2013
Let Your Eye Be to the Lord (No. 3 of William Penn
Luther College Collegiate Chorale Daniel Moe April 2013
Reflections)
Luther College Collegiate Chorale Pater Noster Jacob Handl April 2013
Luther College Collegiate Chorale Selig sind die Toten (from Three Motets) Heinrich Schütz April 2013
Luther College Collegiate Chorale Sure on This Shining Night (from Nocturnes) Morten Lauridsen April 2013
Luther College Collegiate Chorale Take Not Thy Holy Spirit from Me Ralph Williams April 2013
Luther College Collegiate Chorale The Creation Willy Richter April 2013
Luther College Collegiate Chorale Water Night Eric Whitacre April 2013
Aurora, Cantorei,
Cathedral Choir,
Luther College Agnus Dei Gabriel Faure October 2013
Collegiate Chorale,
Norsemen
210
Aurora, Cantorei,
Cathedral Choir,
Luther College Baba Yetu Christopher Tin October 2013
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College I Will Lift Mine Eyes Jake Runestad October 2013
Collegiate Chorale,
Norsemen
Luther College Aurora And Suddenly Michael Engelhardt December 2013
Ennio Morricone/arr. Jennaya
Luther College Aurora Gabriel's Oboe (from the motion picture The Mission) December 2013
Robison
Aurora, Cantorei,
Cathedral Choir,
Luther College And the Word Became Flesh Brian Pfoltner December 2013
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir, And Then Shall Your Light Break Forth (Finale from
Luther College Felix Mendelssohn-Bartholdy December 2013
Collegiate Chorale, Elijah, Op. 70)
Aurora, Cantorei,
Cathedral Choir,
Luther College Climb To the Top of the Highest Mountain Carolyn Jennings December 2013
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir, Felix Mendelssohn-
Luther College Hark, the Herald Angels Sing December 2013
Collegiate Chorale, Bartholdy/arr. Mack Wilberg
Aurora, Cantorei,
Cathedral Choir, How Lovely is Thy Dwelling Place (from Ein Deutches
Luther College Johannes Brahms December 2013
Collegiate Chorale, Requiem)
Luther College Cantorei Christmas in the Straw Lloyd Pfautsch December 2013
Luther College Cantorei Il Este Né, Le Divin Enfant arr. Nicholas Burt December 2013
Luther College Norsemen Gaudete! arr. Michael Engelhardt December 2013
Luther College Norsemen How Great Our Joy arr. Craig Courtney December 2013
211
Luther College Nordic Choir Cool of The Day arr. John Ratledge February 2014
Luther College Nordic Choir Der Abend, Op. 64, no. 2 Johannes Brahms February 2014
Luther College Nordic Choir Haec Dies Wiliam Byrd February 2014
Luther College Nordic Choir Magnificat William Walton February 2014
Luther College Nordic Choir Nunc Dimittis Alexander Gretchaninoff February 2014
Luther College Nordic Choir Song for Athene John Tavener February 2014
Luther College Nordic Choir The Majesty and Glory of Your Name Tom Fettke February 2014
Luther College Nordic Choir When I Survey the Wondrous Cross arr. Gilbert Martin February 2014
Luther College Cathedral Choir Abide with Me William Monk/arr. Moses Hogan April 2014
Luther College Cathedral Choir Amor de mi alma Z. Randall Stroope April 2014
Luther College Cathedral Choir Break Forth, O Beauteous, Heavenly Light, BWV 248 Johann Sebastian Bach April 2014
Luther College Cathedral Choir Exsultate Deo Hans Leo Hassler April 2014
Luther College Cathedral Choir I Will Lift Mine Eyes Jake Runestad April 2014
Luther College Cathedral Choir Light Everlasting Olaf Christiansen April 2014
Luther College Cathedral Choir O Clap Your Hands Ralph Vaughan Williams April 2014
Luther College Cathedral Choir O Jesu Christ, meins Lebens Licht, BWV 118 Johann Sebastian Bach April 2014
Luther College Cathedral Choir O Light of Life Mack Wilberg April 2014
Thomas Tallis/arr. Jennaya
Luther College Cathedral Choir O Praise to Thee, My God This Night April 2014
Robison
Luther College Cathedral Choir Stars Ēriks Ešenvalds April 2014
Luther College Cathedral Choir True Light Keith Hampton April 2014
Luther College Cathedral Choir Ubi Caritas Ola Gjeilo April 2014
Doyle Lawson, Charles Waller,
Luther College Collegiate Chorale Calling My Children Home & Robert Yates/arr. Joseph April 2014
Jennings
Luther College Collegiate Chorale Exultation (from Celestial Spring) F. Melius Christiansen April 2014
Luther College Collegiate Chorale Gaudete Omnes (from Cantiones Sacrae) Jan Pieterszoon Sweelinck April 2014
Luther College Collegiate Chorale Kyrie Nick Dahlquist April 2014
Luther College Collegiate Chorale O Vos Omnes Connor Koppin April 2014
Luther College Collegiate Chorale Rain Is Over and Gone Paul Halley April 2014
Eliza Gilkyson arr. Craig Hella
Luther College Collegiate Chorale Requiem April 2014
Johnson
Luther College Collegiate Chorale Richte mich Gott, Op. 78 Felix Mendelssohn-Bartholdy April 2014
Luther College Collegiate Chorale The Ground (from Sunrise Mass) Ola Gjeilo April 2014
212
Luther College Collegiate Chorale The Pasture (No. 2 from Where the Earth Meets the Sky) Z. Randall Stroope April 2014
Luther College Collegiate Chorale To Luther G.B. Wollan April 2014
Luther College Collegiate Chorale Vivida In Tempore Joshua Himes April 2014
Luther College Nordic Choir Sleep Eric Whitacre April 2014
Luther College Nordic Choir Suite in D, HWV 341 George Friedrich Handel April 2014
Luther College Nordic Choir The King Shall Rejoice, HWV 260 George Friedrich Handel April 2014
Luther College Nordic Choir The Road Home Stephen Paulus April 2014
Aurora, Cantorei,
Cathedral Choir,
Luther College All Will be Well Amanda Weber October 2014
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College Even When He is Silent Kim Andre Arnesen October 2014
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College I Will Praise Thee, O Lord Knut Nysted October 2014
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College Os Justi Eleanor Daley October 2014
Collegiate Chorale,
Norsemen
Aurora, Cantorei,
Cathedral Choir,
Luther College Ride the Chariot arr. Stacey Gibbs October 2014
Collegiate Chorale,
Norsemen
Luther College Collegiate Chorale Sicut Cervus Giovanni Pierluigui da Palestrina October 2014
Luther College Aurora Hodie Joan Szymko December 2014
Carl Balle, Mike Hegeman, &
Luther College Aurora Mary's Lullaby December 2014
Mike Mazzatenta
213
Aurora, Cantorei,
Cathedral Choir,
Luther College Agnus Dei (from Dona Nobis Pacem) Ralph Vaughan Williams December 2014
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College And On Earth, Peace Daniel Kallman December 2014
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College Gloria (from Missa in tempore belli, Hob. XXII:9) Franz Joseph Haydn December 2014
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College Glory to God in the Highest (from Messiah) George Friedrich Handel December 2014
Collegiate Chorale,
Aurora, Cantorei,
Cathedral Choir,
Luther College Silent Night Franz Gruber/arr. John Rutter December 2014
Collegiate Chorale,
Luther College Cantorei The Star Carol Alfred Burt/arr. Hawley Ades December 2014
Luther College Cantorei The Virgin Mary Had a Baby Boy arr. Stephen Hatfield December 2014
Luther College Cathedral Choir In the Bleak Midwinter Gustav Holst/arr. Ola Gjeilo December 2014
Luther College Cathedral Choir Machet Die Tore Weit Andreas Hammerschmidt December 2014
Luther College Collegiate Chorale Noel Todd Smith December 2014
Luther College Collegiate Chorale There Is No Rose Connor Koppin December 2014
Luther College Norsemen Child of God arr. Emily Crocker December 2014
Luther College Norsemen Come, Lord Jesus Daniel McDavitt December 2014
Luther College Nordic Choir All the Things You Are Jerome Kern April 2015
Luther College Nordic Choir Psalm 50 F. Melius Christiansen April 2015
Luther College Nordic Choir Ride in the Chariot arr. Brandon Waddles April 2015
Luther College Nordic Choir Sure On This Shining Night (from Nocturnes) Morten Lauridsen April 2015
Luther College Nordic Choir Beautiful River arr. William Hawley May 2015
Luther College Nordic Choir Only in Sleep Ēriks Ešenvalds May 2015
Luther College Nordic Choir Pilgrims' Hymn (from The Three Hermits) Stephen Paulus May 2015
214
Luther College Nordic Choir Soon I Will Be Done arr. Stacey Gibbs May 2015
Luther College Nordic Choir Super Flumina Babylonis Giovanni Pierluigui da Palestrina May 2015
April 2012, April
Luther College Cathedral Choir Beautiful Savior F. Melius Christiansen
2014
April 2015, May
Luther College Nordic Choir Ave Verum Corpus Wiliam Byrd
2015
April 2015, May
Luther College Nordic Choir Come, Thou Fount of Every Blessing arr. Lynne Pickett
2015
April 2015, May
Luther College Nordic Choir Dieu! Qu'il la fait bon regarder (from Trois Chansons) Claude Debussy
2015
April 2015, May
Luther College Nordic Choir Grace Before Sleep Susan LaBarr
2015
April 2015, May
Luther College Nordic Choir I was glad when they said unto me C. Hubert Parry
2015
April 2015, May
Luther College Nordic Choir Otche Nash Alexander Gretchaninoff
2015
April 2015, May
Luther College Nordic Choir Sanctus (from Mass for Double Choir) Frank Martin
2015
April 2015, May
Luther College Nordic Choir Singet dem Herrn ein neues Lied Johann Sebastian Bach
2015
April 2015, May
Luther College Nordic Choir Spirit, Moving Over Chaos David Ashley White
2015
December 2010,
Luther College Collegiate Chorale Veni, Veni Emmanuel arr. Allen Koepke
April 2011
December 2010,
Luther College Cathedral Choir I Believe This Is Jesus arr. Undine Smith Moore April 2011, April
2014
December 2010,
Luther College Nordic Choir Sanctus (from Messe en Sol Majeur) Francis Poulenc
February 2011
December 2011,
Luther College Cathedral Choir Let All Mortal Flesh Keep Silent Edward Bairstow
April 2012
December 2011,
Luther College Nordic Choir The Three Kings Healey Willan
February 2012
215
December 2011,
Luther College Nordic Choir Holy, Radiant Light Alexander Gretchaninov February 2012, May
2012
December 2012,
Luther College Collegiate Chorale Lo, How a Rose E'er Blooming arr. Allen Koepke
April 2013
December 2012,
Luther College Collegiate Chorale Sistah Mary Rollo Dilworth
April 2013
December 2012,
Luther College Nordic Choir A Spotless Rose (from Now Sleeps the Crimson Petal) Paul Mealor
February 2013
December 2013,
Luther College Cathedral Choir And Every Stone Shall Cry Bob Chilcott
April 2014
December 2013,
Luther College Cathedral Choir Gloria Dios (from Misa Criolla) Ariel Ramirez
April 2014
December 2013,
Luther College Collegiate Chorale Midnight Clear arr. Matthew Neilsen
April 2014
December 2013,
Luther College Collegiate Chorale Oba Ti De arr. Jeffery Ames
April 2014
December 2013,
Luther College Nordic Choir In the Bleak Midwinter Gustav Holst/arr. Abbie Betinis
February 2014
December 2014,
Luther College Nordic Choir My Lord Has Come Will Todd April 2015, May
2015
February 2011,
Luther College Nordic Choir Our Father Alexander Gretchaninov
December 2014
February 2011,
February 2012, May
2012, February
Luther College Nordic Choir O Lord God Pavel Chesnokov
2013, February
2014, April 2015,
May 2015
February 2012,
Luther College Nordic Choir Love Is the Key Zebulon Highben
April 2012
February 2012,
Luther College Nordic Choir An Expression of Gratitude David Schwoebel
February 2013
216
February 2012, May
Luther College Nordic Choir Abendlied Josef Rheinberger
2012
February 2012, May
Luther College Nordic Choir Ave Maria Morten Lauridsen
2012
February 2012, May
Luther College Nordic Choir Hold On! arr. Moses Hogan
2012
February 2012, May
Luther College Nordic Choir I Sat Down Under His Shadow Edward Bairstow
2012
February 2012, May
Luther College Nordic Choir In the Still of the Night Cole Porter/arr. Roy Ringwald
2012
February 2012, May
Luther College Nordic Choir Mary, Molly, and June Vaclav Nelhybel
2012
February 2012, May
Luther College Nordic Choir O Clap Your Hands Orlando Gibbons
2012
February 2013,
Luther College Nordic Choir Praise to the Lord arr. F. Melius Christiansen
May 2015
February 2014,
Luther College Nordic Choir Der Geist hilft unsrer Schwachheit auf, BWV 226 Johann Sebastian Bach
April 2014
February 2014,
Luther College Nordic Choir Entreat me not to leave you Dan Forrest
April 2014
February 2014,
Luther College Nordic Choir I Have Called You by Name Stephen Paulus
April 2014
February 2014,
Luther College Nordic Choir Kyrie eleison (from Missa Rigensis) Ugis Praulinš
April 2014
February 2014,
Luther College Nordic Choir Prayer René Clausen
April 2014
February 2014,
Luther College Nordic Choir Psalm 67 Ēriks Ešenvalds
April 2014
February 2014,
Luther College Nordic Choir Way Over in Beulah Lan' arr. Stacey Gibbs
April 2014
May 2012, April
Luther College Nordic Choir Sigalagala arr. S. A. Otieno
2015
217
May 2012,
December 2013,
Luther College Nordic Choir O Day Full of Grace F. Melius Christiansen
February 2014,
April 2014
May 2012, May
Luther College Nordic Choir Shenandoah arr. James Erb
2015
October 2010, April
Luther College Collegiate Chorale My Soul's Been Anchored in the Lord arr. Moses Hogan 2011, October 2013,
April 2014
October 2012, April
Luther College Collegiate Chorale Psalm 108 David von Kampen
2013
Aurora, Cantorei,
Cathedral Choir, October 2013, April
Luther College Benediction Kathleen Skinner
Collegiate Chorale, 2014
Norsemen
Pacific Lutheran University Choir of the West Quis est Deus (from Aililiú, ó Íosa) Abbie Betinis October 2010
Pacific Lutheran University Choir of the West Unicornis Captivatur Ola Gjeilo October 2010
Pacific Lutheran University University Chorale Geistliches Lied, Op. 30 Johannes Brahms October 2010
Pacific Lutheran University University Chorale My Spirit Sang All Day Gerald Finzi October 2010
Pacific Lutheran University University Chorale Sing Joyfully William Byrd October 2010
Pacific Lutheran University University Chorale Veniki arr. Fredesiy Rubtsov October 2010
Pacific Lutheran University University Singers I Will Be Earth Gwyneth Walker October 2010
Pacific Lutheran University University Singers Lay Earth's Burden Down Paul Caldwell & Sean Ivory October 2010
Pacific Lutheran University Choral Union A Heart In Hiding Gwyneth Walker November 2010
Pacific Lutheran University Choral Union Cum Sancto Spiritu (from Petite Messe Solenne) Gioachino Rossini November 2010
218
Pacific Lutheran University Choral Union Die Nacht, Op. 17, no. 4 Franz Schubert November 2010
Pacific Lutheran University Choral Union Six Songs for Treble Voices, Op. 15 Sergei Rachmaninov November 2010
Pacific Lutheran University Choral Union Ständchen, D. 920 Franz Schubert November 2010
Pacific Lutheran University Choral Union The Passing of the Year Jonathan Dove November 2010
Pacific Lutheran University Choir of the West Angels We Have Heard On High arr. Gabriel Dumitrescu December 2010
Pacific Lutheran University Choir of the West Hark! The Herald Angels Sing arr. David Wilcocks December 2010
Pacific Lutheran University Choir of the West Hodie Christus Natus Est Jan Pieterszoon Sweelinck December 2010
Pacific Lutheran University Choir of the West Long, Long Ago Herbert Howells December 2010
Choir of the West, Men's
Pacific Lutheran University Choir, University Chorale, Good Christian Friends Rejoice arr. Hal Hopson December 2010
University Singers
Pacific Lutheran University Choir, University Chorale, Wonderful Peace Gustav Nordquist December 2010
University Singers
Pacific Lutheran University University Chorale In the Bleak Midwinter arr. Brian Edward Galante December 2010
Pacific Lutheran University University Chorale O Nata Lux Morten Lauridsen December 2010
Pacific Lutheran University University Chorale Resonet In Laudibus arr. Chester Alwes December 2010
Pacific Lutheran University University Singers Procession and Carols James Bingham December 2010
Pacific Lutheran University Choir of the West Gloria in Excelsis (from Mass in B-minor, BWV 232) Johann Sebastian Bach March 2011
Choral Union/Choir of the
Pacific Lutheran University Mass in B-minor, BWV 232 Johann Sebastian Bach March 2011
West
219
Pacific Lutheran University Men's Chorus Fuji David Childs April 2011
Pacific Lutheran University Men's Chorus In dat Great Gittin' Up Mornin' Jester Hairston April 2011
Pacific Lutheran University Men's Chorus Last Letter Home Lee Hoiby April 2011
Pacific Lutheran University Men's Chorus Mogami Gawa Funa Uta arr. Osamu Shimizu April 2011
Pacific Lutheran University Men's Chorus Requiem aeternam Bryan Hiroto Stenson April 2011
Pacific Lutheran University Men's Chorus Two New Italian Madrigals Jason Michael Saunders April 2011
Kousaku Dan/arr. Rachel
Pacific Lutheran University Men's Chorus Umi Sono Ai April 2011
Stenson
Pacific Lutheran University University Singers Cor meum Orlando di Lasso April 2011
Pacific Lutheran University University Singers From Behind the Caravan: Songs of Hâfez Abbie Betinis April 2011
Pacific Lutheran University University Singers Heaven-Haven (A Nun takes the Veil) Samuel Barber April 2011
Pacific Lutheran University University Singers In paradisum Michael Mendoza April 2011
Pacific Lutheran University University Singers Incantations Michael McGlynn April 2011
Pacific Lutheran University University Singers Psalm 23 Z. Randall Stroope April 2011
Pacific Lutheran University Choir of the West Artsa alinu arr. Nina Gilbert May 2011
Pacific Lutheran University Choir of the West Ave Maria a 8 Tomás Luis de Victoria May 2011
Pacific Lutheran University Choir of the West Down to the River to Pray arr. Philip Lawson May 2011
Pacific Lutheran University Choir of the West Jubilate Deo Ko Matsushita May 2011
220
Pacific Lutheran University Choir of the West La cucaracha arr. Robert Sund May 2011
Pacific Lutheran University Choir of the West Laudate Dominum Egil Hovland May 2011
Pacific Lutheran University Choir of the West Mata del anima sola (Tree of the lonely soul) Antonio Estévez May 2011
Pacific Lutheran University Choir of the West Missa Brevis James MacMillan May 2011
Pacific Lutheran University Choir of the West Mondnacht, Op. 22, no. 5 Alexis Hollaender May 2011
Pacific Lutheran University Choir of the West Nachtgesang, WoO 21 Felix Mendelssohn-Bartholdy May 2011
Pacific Lutheran University Choir of the West Oh, Shenandoah arr. Alf Houkom May 2011
Pacific Lutheran University Choir of the West Petites Voix Francis Poulenc May 2011
Pacific Lutheran University Choir of the West Sweet By and By J.P. Webster/arr. Aaron Humble May 2011
Pacific Lutheran University Choir of the West The Lightener of the Stars J. Michael Saunders May 2011
Pacific Lutheran University Choir of the West The Log Driver's Waltz Wade Hemsworth/arr. Ron Small May 2011
Pacific Lutheran University Choral Union Alleluia Stephen Paulus May 2011
Pacific Lutheran University Choral Union Aura Lee arr. Robert Shaw & Alice Parker May 2011
Pacific Lutheran University Choral Union Ave Maris Stella Edvard Grieg May 2011
Pacific Lutheran University Choral Union De Animals A'Comin arr. Marshall Bartholomew May 2011
Pacific Lutheran University Choral Union Down Among the Dead Men Ralph Vaughan Williams May 2011
Pacific Lutheran University Choral Union Ecco mormorar l'onde Claudio Monteverdi May 2011
221
Pacific Lutheran University Choral Union Gloria in Excelsis Deo Thomas Weelkes May 2011
Pacific Lutheran University Choral Union I Can Tell The World arr. Moses Hogan May 2011
Pacific Lutheran University Choral Union Osanna Henrik Colding-Jørgensen May 2011
Pacific Lutheran University Choral Union Si ch'io vorrei morire Claudio Monteverdi May 2011
Pacific Lutheran University Choral Union The Road Home arr. Stephen Paulus May 2011
Pacific Lutheran University Choral Union To Those Who See Dede Duson May 2011
Pacific Lutheran University Choral Union Tre körvisor Wilhelm Stenhammar May 2011
Pacific Lutheran University Choral Union Zefiro torna, e'l bel tempo rimena Claudio Monteverdi May 2011
Pacific Lutheran University University Chorale Arma Lucis Jackson Berkey May 2011
Pacific Lutheran University University Chorale Ave Maria J. Michael Saunders May 2011
Pacific Lutheran University University Chorale I Would Live in Your Love Nathan Jones May 2011
Pacific Lutheran University University Chorale Sestina Lagrime d'Amante al Sepolcro dell'Amata Claudio Monteverdi May 2011
Pacific Lutheran University University Chorale Sing ye praises to our King Aaron Copland May 2011
Pacific Lutheran University University Chorale The Old Church Stephen Paulus May 2011
Pacific Lutheran University Choir of the West Machet die Tore weit Gottfried August Homilius October 2011
Pacific Lutheran University Choir of the West O sacrum convivium Vytautas Miškinis October 2011
Pacific Lutheran University Choir of the West Sing We Merrily Unto God our Strength Martin Shaw October 2011
222
George R. Poulton/arr. Alice
Pacific Lutheran University Men's Chorus Aura Lee October 2011
Parker & Robert Shaw
Stephen Foster/arr. Alice Parker
Pacific Lutheran University Men's Chorus Gentle Annie October 2011
& Robert Shaw
Robert Wadsworth Lowry/arr.
Pacific Lutheran University Men's Chorus How Can I Keep from Singing October 2011
Bradley Ellingboe
Pacific Lutheran University University Chorale Give Me Jesus arr. Larry L. Fleming October 2011
Pacific Lutheran University University Chorale I've Been in the Storm So Long arr. Jeffery Ames October 2011
Pacific Lutheran University University Chorale Jauchzet dem Herrn Felix Mendelssohn-Bartholdy October 2011
Pacific Lutheran University University Chorale love is the every only god J.A.C. Redford October 2011
Pacific Lutheran University University Chorale Te Deum Franz Joseph Haydn October 2011
Pacific Lutheran University University Chorale The Word was God Rosephanye Powell October 2011
Huddie W. Ledbetter, arr. Moira
Pacific Lutheran University University Singers Bring Me Little Water, Silvy October 2011
Smiley
Pacific Lutheran University University Singers Hark, I Hear the Harps Eternal arr. Alice Parker October 2011
Pacific Lutheran University University Singers Lauliku lapsepõli arr. Veljo Tormis October 2011
Pacific Lutheran University University Singers Missa Brevis Nancy Telfer October 2011
Pacific Lutheran University Choral Union Amor de mi alma Z. Randall Stroope November 2011
Pacific Lutheran University Choral Union I Hate And I Love Dominick Argento November 2011
Pacific Lutheran University Choral Union Lydia's Romance Kirke Mechem November 2011
Pacific Lutheran University Choral Union Madrigali (Six "Fire Songs" on Italian Renaissance Poems) Morten Lauridsen November 2011
223
Pacific Lutheran University Choral Union Neue Liebeslieder Walzer, Op. 65 Johannes Brahms November 2011
Pacific Lutheran University Choral Union The Lighthearted Lovers Kirke Mechem November 2011
Pacific Lutheran University Men's Chorus Messe cum jubilo Maurice Duruflé November 2011
Pacific Lutheran University University Singers Sirènes (No. 3 from Nocturnes) Claude Debussy November 2011
Pacific Lutheran University Choir of the West Bring A Torch, Jeannette, Isabella arr. Stephen Paulus December 2011
Pacific Lutheran University Choir of the West Carol of the Angels Eric William Barnum December 2011
Pacific Lutheran University Choir of the West Niño de Rosas Steven Sametz December 2011
Pacific Lutheran University Choir of the West O Be Joyful Jeffrey Van December 2011
Pacific Lutheran University Choir, University Chorale, Arise, Your Light Has Come David Danner December 2011
University Singers
Pacific Lutheran University Choir, University Chorale, Magnificat Jonathan Willcocks December 2011
University Singers
Pacific Lutheran University Choir, University Chorale, Veni, Veni Emmanuel Robert H. Young December 2011
University Singers
Pacific Lutheran University University Chorale Cantate Domino Claudio Monteverdi December 2011
Pacific Lutheran University University Chorale Dormi Jesu Abbie Betinis December 2011
Pacific Lutheran University University Chorale Gabriel's Message arr. Joshua Shank December 2011
Pacific Lutheran University University Singers Gloria (from Missa Brevis) Nancy Telfer December 2011
Pacific Lutheran University University Singers Maria Matrem Virginem Michael McGlynn December 2011
224
Pacific Lutheran University University Singers O Magnum Mysterium Cristobal de Morales December 2011
Pacific Lutheran University University Singers Où S'en vont Ces gais bergers Claude-Bénigne Balbastre December 2011
Pacific Lutheran University University Singers Sanctus (from Missa Brevis) Nancy Telfer December 2011
Pacific Lutheran University University Singers The Virgin Mary Had a Baby Boy arr. Stephen Hatfield December 2011
Pacific Lutheran University University Singers Tota Pulchra Es Maurice Duruflé December 2011
Pacific Lutheran University University Singers What Sweeter Music Eleanor Daley December 2011
Pacific Lutheran University Choir of the West Cells Planets Erika Lloyd/arr. Vince Peterson March 2012
Pacific Lutheran University Choir of the West Distance Can't Keep Us Two Apart Chen Yi March 2012
Pacific Lutheran University Choir of the West Hail, Gladdening Light Charles Wood/ed. Denis Mason March 2012
Pacific Lutheran University Choir of the West I Thank You God For Most This Amazing Day Eric Whitacre March 2012
Pacific Lutheran University Choir of the West Lucis Creator Optime Vytautas Miškinis March 2012
Pacific Lutheran University Choir of the West O Praise the Lord Adolphus Hailstork March 2012
Pacific Lutheran University Choir of the West Seid Fröhlich in Hoffnung Gottfried August Homilius March 2012
Claude Debussy/ed. Rafael
Pacific Lutheran University Choir of the West Trois Chansons de Charles D'Orleans March 2012
Ornes
Pacific Lutheran University Choir of the West Weather Report Bob Chilcott March 2012
Pacific Lutheran University Choral Union Passion and Resurrection Ēriks Ešenvalds March 2012
Pacific Lutheran University Choral Union Requiem, Op. 48 Gabriel Fauré/ed. John Rutter March 2012
225
Choir of the
Pacific Lutheran University Drum Taps: Nine Poems on Themes of War Gregory Youtz May 2012
West/University Chorale
Pacific Lutheran University Choral Union Abendlied zu Gott (Hob. xxv, C9) Franz Joseph Haydn May 2012
Pacific Lutheran University Choral Union Alles hat seine Zeit (Hob. xxv, C3) Franz Joseph Haydn May 2012
Pacific Lutheran University Choral Union An den Vetter (Hob. xxv, B1 Franz Joseph Haydn May 2012
Pacific Lutheran University Choral Union Betrachtung des Todes (Hob. xxv, B3) Franz Joseph Haydn May 2012
Pacific Lutheran University Choral Union Der Greis (Hob. xxv, C5) Franz Joseph Haydn May 2012
Pacific Lutheran University Choral Union Die Beredsamkeit (Hob. xxv, C4) Franz Joseph Haydn May 2012
Pacific Lutheran University Choral Union Die Harmonie in der Ehe (Hob. xxv, C2) Franz Joseph Haydn May 2012
Pacific Lutheran University Choral Union From Light to Light J. Aaron McDermid May 2012
Pacific Lutheran University Choral Union I Thank You God Gwyneth Walker May 2012
Pacific Lutheran University Choral Union Songs of the Lights, Set 1 Imant Raminsh May 2012
Pacific Lutheran University Choral Union Three Songs for Male Voices Sheila Bristow May 2012
Pacific Lutheran University Choir, University Chorale, The Ground Ola Gjeilo May 2012
University Singers
Pacific Lutheran University Men's Chorus Amazing Grace arr. Julian Philip Reisenthel May 2012
Gustav Holst/arr. Brian Edward
Pacific Lutheran University Men's Chorus I Vow to Thee, My Country May 2012
Galante
Pacific Lutheran University Men's Chorus The Ballad of Little Musgrave and Lady Barnard (1943) Benjamin Britten May 2012
Pacific Lutheran University Men's Chorus Zwei Geistliche Chöre, Op. 115 Felix Mendelssohn-Bartholdy May 2012
226
Pacific Lutheran University University Chorale Begräbnisgesang, Op. 13 Johannes Brahms May 2012
Pacific Lutheran University University Chorale Sure on this Shining Night Morten Lauridsen May 2012
Pacific Lutheran University University Singers "Suite" de Lorca, Op. 72b Einojuhani Rautavaara May 2012
Pacific Lutheran University University Singers Jesu Andrea Ramsey May 2012
Pacific Lutheran University University Singers Pueri hebraeorum Randall Thompson May 2012
Pacific Lutheran University University Singers Salmo 150 Ernani Aguiar May 2012
Pacific Lutheran University University Singers Six Choruses for Women's Voices, Op. 15 Sergei Rachmaninoff May 2012
Pacific Lutheran University Choir of the West Gloria in excelsis Deo Thomas Weelkes October 2012
Pacific Lutheran University Men's Chorus Persischer Nachtgesang Friedrich Silcher October 2012
Pacific Lutheran University Men's Chorus Pilgrim's Chorus (from Tannhäuser) Richard Wagner October 2012
Pacific Lutheran University Men's Chorus Rise Up O Men of God arr. Kenneth Jennings October 2012
Pacific Lutheran University Men's Chorus The Chorus of the Priests (from The Magic Flute, K. 620) Wolfgang Amadeus Mozart October 2012
Pacific Lutheran University Men's Chorus With cat-like tread (from The Pirates of Penzance) Arthur Sullivan October 2012
Pacific Lutheran University University Chorale Rejoice in the Lamb, Op. 30 Benjamin Britten October 2012
Pacific Lutheran University University Singers Ad amore Lee R. Kesselman October 2012
Pacific Lutheran University University Singers I Am Not Yours David N. Childs October 2012
Pacific Lutheran University University Singers Satamasho Otar Taktakishvili October 2012
227
Pacific Lutheran University University Singers The Earth Sings Stephen Paulus October 2012
Pacific Lutheran University University Singers Ave Maria, Op. 12 Johannes Brahms November 2012
Pacific Lutheran University University Singers Gloria & Agnus Dei (from Missa in Fa) Jirí Laburda November 2012
Pacific Lutheran University University Singers Procession (from Ceremony of Carols) Benjamin Britten November 2012
Pacific Lutheran University University Singers The Snow Edward Elgar November 2012
Pacific Lutheran University University Singers This Little Babe (from Ceremony of Carols) Benjamin Britten November 2012
Pacific Lutheran University University Singers Wolcum Yole! (from Ceremy of Carols) Benjamin Britten November 2012
Pacific Lutheran University Choir of the West He is Born arr. Donna Garman Schultz December 2012
Pacific Lutheran University Choir of the West I Saw Three Ships arr. Edwin Fissinger December 2012
Pacific Lutheran University Choir of the West O beatum et sacrosanctum diem arr. Peter Philips December 2012
Pacific Lutheran University Choir of the West Prepare the Way arr. Margareta Jalkéus December 2012
Pacific Lutheran University Choir of the West Rise Up, Shepherd, and Follow arr. Gordon Thornett December 2012
Pacific Lutheran University Choral Union Angels We Have Heard On High arr. Alice Parker & Robert Shaw December 2012
Pacific Lutheran University Choral Union Arise, Shine John Rutter December 2012
Pacific Lutheran University Choral Union Ave, Dulcissima Maria (from Electa) Jean Belmont December 2012
Pacific Lutheran University Choral Union Christ Was Born on Christmas Day arr. Alice Parker & Robert Shaw December 2012
Pacific Lutheran University Choral Union Go, Tell It on the Mountain arr. John Work III December 2012
228
Pacific Lutheran University Choral Union Here 'Mid The Ass and Oxen Mild arr. Alice Parker & Robert Shaw December 2012
Pacific Lutheran University Choral Union Hodie Christus natus Est Craig Phillips December 2012
Pacific Lutheran University Choral Union How Like An Angel Came I Down Rupert Lang December 2012
Pacific Lutheran University Choral Union Magnificat Charles Theodore Pachelbel December 2012
Pacific Lutheran University Choral Union O Little Town of Bethlehem arr. Dale Warland December 2012
Pacific Lutheran University Choral Union O Magnum Mysterium Morten Lauridsen December 2012
Quem Vidistis, Pastores Dicite (from Quatre Motets pour le
Pacific Lutheran University Choral Union Francis Poulenc December 2012
temps de Noël)
Pacific Lutheran University Choral Union Silent Night arr. Edwin Fissinger December 2012
Pacific Lutheran University Choral Union Spanish Carol arr. Andrew Carter December 2012
Pacific Lutheran University Choral Union The Three Kings Peter Cornelius/arr. Ivor Atkins December 2012
Pacific Lutheran University Choral Union There Is No Rose Joel Martinson December 2012
Philipp Nicolai/arr. F. Melius
Pacific Lutheran University Choral Union Wake, Awake December 2012
Christiansen
Pacific Lutheran University Choir, University Chorale, Angels We Have Heard On High arr. Hal Hopson December 2012
University Singers
Pacific Lutheran University Choir, University Chorale, Rejoice, Rejoice, Believers arr. John Ferguson December 2012
University Singers
arr. Robert Shaw & Robert
Pacific Lutheran University Choir, University Chorale, The Many Moods of Christmas (Suite One) December 2012
Russell Bennett
University Singers
229
Pacific Lutheran University Choir, University Chorale, Unto Us David Deacon Joyner December 2012
University Singers
Pacific Lutheran University University Chorale I Wonder as I Wander arr. Steve Pilkington December 2012
Pacific Lutheran University University Chorale Sing We Now of Christmas arr. Susan Conant December 2012
Pacific Lutheran University University Chorale What Sweeter Music John Rutter December 2012
Pacific Lutheran University Choir of the West An die Heimat, Op. 64, no. 1 Johannes Brahms January 2013
Pacific Lutheran University Choir of the West Bright Mansions arr. K. Lee Scott January 2013
Pacific Lutheran University Choir of the West Gloria in excelsis Deo Thomas Weelkes January 2013
Pacific Lutheran University Choir of the West Stetit Angelus Rihards Dubra January 2013
Pacific Lutheran University Choral Union Mass for a New Millennium Richard Nance March 2013
Pacific Lutheran University Choral Union Missa Quinta György Orbán March 2013
Pacific Lutheran University Choral Union Psalm 98 Fredrik Sixten March 2013
Pacific Lutheran University Choral Union Seek Him That Maketh The Seven Stars Jonathan Dove March 2013
Pacific Lutheran University Men's Chorus Avenging and Bright arr. Alice Parker April 2013
Pacific Lutheran University Men's Chorus Cantate Domino Hans Leo Hassler April 2013
Pacific Lutheran University Men's Chorus God Be In My Head Jackson Berkey April 2013
Pacific Lutheran University Men's Chorus O sacrum convivium Ludovico Viadana April 2013
Pacific Lutheran University Men's Chorus She Moved Through the Fair Timothy C. Takach April 2013
230
Pacific Lutheran University Men's Chorus Stars I Shall Find David C. Dickau April 2013
Pacific Lutheran University Men's Chorus Will there Really Be a Morning? Victor C. Johnson April 2013
Pacific Lutheran University University Chorale A Valediction, Forbidding Mourning Brian Edward Galante April 2013
Pacific Lutheran University University Chorale Ave maris Stella Edvard Grieg April 2013
Pacific Lutheran University University Chorale Benedictus (from Three Motets, Op. 55) Carl Nielsen April 2013
Pacific Lutheran University University Chorale Bitter for Sweet John Chorbajian April 2013
Pacific Lutheran University University Chorale Christus Resurgens arr. Michael McGlynn April 2013
Pacific Lutheran University University Chorale Come Away to the Skies arr. Alice Parker April 2013
Pacific Lutheran University University Chorale Die Deutsche Liturgie Felix Mendelssohn-Bartholdy April 2013
Pacific Lutheran University University Chorale Go, Lovely Rose Eric Whitacre April 2013
Pacific Lutheran University University Chorale How Can I Keep from Singing? arr. Ronald Staheli April 2013
Pacific Lutheran University University Chorale My God is So High arr. Moses Hogan April 2013
Pacific Lutheran University University Chorale Saints Bound for Heaven arr. Alice Parker & Robert Shaw April 2013
Pacific Lutheran University University Singers Alleluia, laus et gloria Tarik O'Regan April 2013
Pacific Lutheran University University Singers Early in the Spring arr. Ralph Vaughan Williams April 2013
Pacific Lutheran University University Singers Lilacs and Rain Neil Pfeifer April 2013
Pacific Lutheran University University Singers Missa in Fa Jirí Laburda April 2013
231
Robert Leroy Joynson/arr. Moira
Pacific Lutheran University University Singers They're Red Hot April 2013
Smiley
Choir of the West, Choral
Pacific Lutheran University Mass in C Major, Op. 86 Ludwig van Beethoven May 2013
Union
Pacific Lutheran University Symphony No. 9 in D Minor, Op. 125 Ludwig van Beethoven May 2013
Union
Pacific Lutheran University Choir of the West Lay a Garland Robert Lucas Pearsall October 2013
Pacific Lutheran University Choir of the West O Clap Your Hands Ralph Vaughan Williams October 2013
Pacific Lutheran University Choir of the West Warum ist das Licht gegeben?, Op. 74, no. 1 Johannes Brahms October 2013
Pacific Lutheran University University Chorale Gallant Weaver James MacMillan October 2013
Pacific Lutheran University University Chorale MLK arr. Bob Chilcott October 2013
Pacific Lutheran University University Chorale Prelude Ola Gjeilo October 2013
Pacific Lutheran University University Chorale Reveille (from A Pushkin Wreath) Georgy Sviridov October 2013
Pacific Lutheran University University Chorale Ride on, King Jesus arr. Moses Hogan October 2013
Pacific Lutheran University University Singers And Miriam Sang Zebulon M. Highben October 2013
Pacific Lutheran University University Singers In Windsor Forest Ralph Vaughan Williams October 2013
Pacific Lutheran University University Singers Lift Thine Eyes (from Elijah) Felix Mendelssohn-Bartholdy October 2013
Pacific Lutheran University Excerpts from Messiah Georg Frideric Handel November 2013
Union
Choir of the
Pacific Lutheran University Harold in Italy, Op. 16 Hector Berlioz November 2013
West/University Chorale
Pacific Lutheran University Choral Union Eternal Light - A Requiem Howard Goodall November 2013
232
Pacific Lutheran University Choral Union The Armed Man: A Mass for Peace Karl Jenkins November 2013
Pacific Lutheran University Choir of the West Aldeburgh Carol Ben Parry December 2013
Pacific Lutheran University Choir of the West Excerpts from Messiah George Frederick Handel December 2013
Pacific Lutheran University Choir of the West Hodie Christus Natus Est Francis Poulenc December 2013
Pacific Lutheran University Choir of the West In the Bleak Midwinter arr. Abbie Betinis December 2013
Pacific Lutheran University Choir of the West The First Nowell arr. David Wilcocks December 2013
Pacific Lutheran University Combined Alleluia, Rejoice J. Edmund Hughes December 2013
Pacific Lutheran University Men's Chorus Be Thou My Vision arr. Robert Hunter December 2013
Pacific Lutheran University Men's Chorus Ceann dubh dílis arr. Michael McGlynn December 2013
Pacific Lutheran University Men's Chorus Fratres in Unum Jim Leininger December 2013
Pacific Lutheran University Men's Chorus Stille Nacht Franz Gruber December 2013
Pacific Lutheran University Men's Chorus The Sally Gardens arr. Benjamin Britten December 2013
Pacific Lutheran University University Chorale Glory to the Newborn King Moses Hogan December 2013
Pacific Lutheran University University Chorale Lux Aurumque Eric Whitacre December 2013
Pacific Lutheran University University Chorale The Wild Wood Carol John Rutter December 2013
Pacific Lutheran University University Singers A minuit fut fait un Reveil Jean-François Dandrieu December 2013
Pacific Lutheran University University Singers Away in a Manger arr. John Rutter December 2013
233
Pacific Lutheran University University Singers Balulalow Ruth Elaine Schram December 2013
Pacific Lutheran University University Singers Chantons, je vous prie, Noël Alexandre Guilmant December 2013
Pacific Lutheran University University Singers Gloria (from Gloria) Antonio Vivaldi December 2013
Pacific Lutheran University University Singers Hodie Scietis (Gregorian) Anonymous December 2013
Pacific Lutheran University University Singers Lute-Book Lullaby arr. John Rutter December 2013
Pacific Lutheran University University Singers Personent Hodie John Rutter December 2013
Pacific Lutheran University Choir of the West Agnus Dei Samuel Barber April 2014
Pacific Lutheran University Choir of the West Entreat Me Not to Leave You Dan Forrest April 2014
Pacific Lutheran University Choir of the West Freedom Song Robert Kyr April 2014
Pacific Lutheran University Choir of the West Intercession in Late October (from Mid-winter Songs) Morten Lauridsen April 2014
Pacific Lutheran University Choir of the West La nuit en mer (from Trois Chansons Bretonnes) Henk Badings April 2014
Pacific Lutheran University Choir of the West Lament for Pasiphaë (from Mid-winter Songs) Morten Lauridsen April 2014
Pacific Lutheran University Choir of the West Like Snow (from Mid-winter Songs) Morten Lauridsen April 2014
Pacific Lutheran University Choir of the West Lyric Pieces, Op. 57 Edvard Grieg April 2014
Pacific Lutheran University Choir of the West Mid-Winter Waking (from Mid-winter Songs) Morten Lauridsen April 2014
Pacific Lutheran University Choir of the West My Flight for Heaven Blake R. Henson April 2014
Pacific Lutheran University Choir of the West Soir d'été (from Trois Chansons Bretonnes) Henk Badings April 2014
234
Pacific Lutheran University Choir of the West Walk Together Children arr. Moses Hogan April 2014
Pacific Lutheran University Choir of the West We Shall Walk Through the Valley in Peace arr. Moses Hogan April 2014
Pacific Lutheran University Men's Chorus Five Slovak Folk Songs Béla Bartók April 2014
Pacific Lutheran University Men's Chorus Gloria (from Missa Saõ Sebastiaõ) Heitor Villa-Lobos April 2014
Hoist the Colours (from Pirates of the Carribean: At Hans Zimmer/arr. Kameron
Pacific Lutheran University Men's Chorus April 2014
World's End) Jacobs
Pacific Lutheran University Men's Chorus Kyrie eleison (from Missa Saõ Sebastiaõ) Heitor Villa-Lobos April 2014
Misty Mountains (from The Hobbit: An Unexpected Howard Shore/arr. Aonso
Pacific Lutheran University Men's Chorus April 2014
Journey) Brizuela
Pacific Lutheran University Men's Chorus Soon Ah Will Be Done William L. Dawson April 2014
Pacific Lutheran University Men's Chorus Two Latvian Carols Andrejs Jansons April 2014
Aaron Copland/arr. Glenn
Pacific Lutheran University Men's Chorus Zion's Walls April 2014
Koponen
Pacific Lutheran University University Chorale Abendlied Josef Rheinberger April 2014
Pacific Lutheran University University Chorale Bogoroditse Djevo Sergey Khvoshchinsky April 2014
Pacific Lutheran University University Chorale Come to Me My Love Norman Dello Joio April 2014
Pacific Lutheran University University Chorale Lux Aeterna Nathan Frank April 2014
Pacific Lutheran University University Chorale Lux Aeterna Morten Lauridsen April 2014
Pacific Lutheran University University Singers Herbstlied (from Six Duets for Soprano and Alto, Op. 63) Felix Mendelssohn-Bartholdy April 2014
Pacific Lutheran University University Singers I'm Going Up a-Yonder arr. Martin Sirvatka April 2014
235
Ich wollt', meine Lieb' ergösse sich (from Six Duets for
Pacific Lutheran University University Singers Felix Mendelssohn-Bartholdy April 2014
Soprano and Alto, Op. 63)
Pacific Lutheran University University Singers Kafal Sviri Petar Liondev April 2014
Pacific Lutheran University University Singers Om Kvelden Frank Jones April 2014
Pacific Lutheran University University Singers One Voice The Wiling Jennys April 2014
Pacific Lutheran University University Singers Wind Song Richard Kidd April 2014
Pacific Lutheran University Choral Union Amazing Grace arr. Ēriks Ešenvalds May 2014
Pacific Lutheran University Choral Union Exultate Deo Giovanni Pierluigi da Palestrina May 2014
Pacific Lutheran University Choral Union Great Day arr. Moses Hogan May 2014
Pacific Lutheran University Choral Union Jubilate Deo Fredrik Sixten May 2014
Pacific Lutheran University Choral Union Leonardo Dreams Of His Flying Machine Eric Whitacre May 2014
Pacific Lutheran University Choral Union Light of a Clear Blue Morning arr. Craig Hella Johnson May 2014
Pacific Lutheran University Choral Union Missa Brevis Ruth Watson Henderson May 2014
Pacific Lutheran University Choral Union Nelly Bly Stephen Foster/arr. Jack Halloran May 2014
Pacific Lutheran University Choral Union O quam gloriosum Tomás Luis da Victoria May 2014
Pacific Lutheran University Choral Union Oculus non vidit Rihards Dubra May 2014
Pacific Lutheran University Choral Union Sechs Lieder in Freien Zu Singen, Op. 59 Felix Mendelssohn-Bartholdy May 2014
Pacific Lutheran University Chamber Singers This Pleasant Month of May William Beale October 2014
236
Pacific Lutheran University Choir of the West Alleluia Eric Whitacre October 2014
Pacific Lutheran University Choir of the West Os Justi meditabitur sapientiam Anton Bruckner October 2014
Pacific Lutheran University Choir of the West Shakespear Songs (Book IV) Matthew Harris October 2014
Pacific Lutheran University University Chorale Alma Redemptoris Giovanni Pierluigi da Palestrina October 2014
Pacific Lutheran University University Chorale Beati Quorum Via, Op. 38, no. 3 Charles Villiers Stanford October 2014
Pacific Lutheran University University Chorale Come Thou Fount of Every Blessing arr. Mack Wilberg October 2014
Pacific Lutheran University University Singers Laudate Pueri Dominum, Op. 39, no. 2 Felix Mendelssohn-Bartholdy October 2014
Pacific Lutheran University University Singers Psalm 100 René Clausen October 2014
Pacific Lutheran University University Singers Wir eilen mit schwachen (from Cantata No. 78) Johann Sebastian Bach October 2014
Pacific Lutheran University Choral Union A Dome of Many-Coloured Glass Dominick Argento November 2014
Pacific Lutheran University Choral Union Cantus Missae (Mass in E-flat), Op. 109 Josef Rheinberger November 2014
Pacific Lutheran University Choral Union Hymn to St. Ceclia, Op. 27 Benjamin Britten November 2014
Pacific Lutheran University Choral Union Zigeunerlieder, Op. 103 Johannes Brahms November 2014
Pacific Lutheran University Chamber Singers Ding, Dong! Merrily on High arr. Charles Wood December 2014
Pacific Lutheran University Chamber Singers Il est né le divin enfant arr. David Wilcocks December 2014
Pacific Lutheran University Chamber Singers Joy Shall Be Yours in the Morning Z. Randall Stroope December 2014
Pacific Lutheran University Chamber Singers Once, As I Remember arr. Charles Wood December 2014
237
Pacific Lutheran University Chamber Singers The Twelve Days of Christmas arr. Geoffrey Keating December 2014
Pacific Lutheran University Chamber Singers There Is Faint Music Dan Forrest December 2014
Pacific Lutheran University Choir of the West Midnight Clear arr. Matthew D. Nielsen December 2014
Pacific Lutheran University Choir of the West Quem Vidistis, Pastores? Richard Dering December 2014
Pacific Lutheran University Choir of the West Rejoice and Sing This Christmas Morn Eleanor Daley December 2014
Pacific Lutheran University Choir of the West Sing Lullaby Herbert Howells December 2014
Pacific Lutheran University Choir, University Chorale, Christmas Oratorio Robert Kyr December 2014
University Singers
Pacific Lutheran University University Chorale Angels We Have Heard On High arr. Alice Parker & Robert Shaw December 2014
Pacific Lutheran University University Chorale Annua Gaudia J. David Moore December 2014
Pacific Lutheran University University Chorale Ave Maria Gustav Holst December 2014
Pacific Lutheran University University Chorale This Night F. Melius Christiansen December 2014
Pacific Lutheran University University Singers All Men Draw Near Peter J. Williams December 2014
Pacific Lutheran University University Singers Candlelight Carol John Rutter December 2014
Pacific Lutheran University University Singers Magnificat Agneta Sköld December 2014
Pacific Lutheran University University Singers Still, Still, Night Jackson Berkey December 2014
Pacific Lutheran University Choir of the West Ehre Sei Gott in der Höhe Felix Mendelssohn-Bartholdy March 2015
Antonín Dvorák/arr. Michael
Pacific Lutheran University Choir of the West Goin' Home March 2015
Murray
238
Pacific Lutheran University Choir of the West L'Enfant Prodigue (The Prodigal Son) Claude Debussy March 2015
Pacific Lutheran University Choir of the West Missa Brevis Zoltán Kodály March 2015
Pacific Lutheran University Choir of the West Supreme Virtue Mark Adamo March 2015
Pacific Lutheran University Choir of the West The Battle of Jericho arr. Moses Hogan March 2015
Pacific Lutheran University Choir of the West The Prodigal Son Arthur Sullivan March 2015
Pacific Lutheran University Choir of the West Tota pulchra es Ola Gjeilo March 2015
Pacific Lutheran University Choral Union Be Thou My Vision arr. John Rutter March 2015
Pacific Lutheran University Choral Union Dorcester Canticles Tarik O'Regan March 2015
Pacific Lutheran University Choral Union Gloria John Rutter March 2015
Pacific Lutheran University Choral Union Magnificat Fredrik Sixten March 2015
Pacific Lutheran University Choral Union Trinity Te Deum Ēriks Ešenvalds March 2015
Pacific Lutheran University Chamber Singers Beatus vir Claudio Monteverdi April 2015
Pacific Lutheran University Chamber Singers Der Greis (Job. Xxv, C5) Franz Josef Haydn April 2015
Pacific Lutheran University Chamber Singers Die Beredsamkeit (Hob. Xxv, C4) Franz Josef Haydn April 2015
Pacific Lutheran University Chamber Singers Early One Morning arr. David Wilcocks April 2015
Pacific Lutheran University Chamber Singers Giá torna a rallergrar l'aria e la terra Luca Marenzio April 2015
Pacific Lutheran University Chamber Singers Glossolalia J.A.C. Redford April 2015
239
Pacific Lutheran University Chamber Singers Greensleeves arr. Ralph Vaughan Williams April 2015
Pacific Lutheran University Chamber Singers Matona mia cara Orlando di Lasso April 2015
Pacific Lutheran University University Chorale Amor de mi Alma Z. Randall Stroope April 2015
Pacific Lutheran University University Chorale An Hour to Dance Gwyneth Walker April 2015
Pacific Lutheran University University Chorale Beat, Beat Drums Ralph Vaughan Williams April 2015
Pacific Lutheran University University Chorale Dances to Life: Wonder Mack Wilberg April 2015
Pacific Lutheran University University Chorale Ecco mormorar l'onde Claudio Monteverdi April 2015
Pacific Lutheran University University Chorale How I came to Be John Frederick Paul April 2015
Pacific Lutheran University University Chorale In Remembrance (from Requiem) Eleanor Daley April 2015
Pacific Lutheran University University Chorale Jabberwocky Sam Pottle April 2015
Pacific Lutheran University University Chorale Johnny I Hardly Knew Ye arr. Alice Parker April 2015
Pacific Lutheran University University Chorale Justorum Animae Orlandus Lassus April 2015
Pacific Lutheran University University Chorale O Whistle and I'll Come to Ye arr. Mack Wilberg April 2015
Pacific Lutheran University University Chorale Praise to the Lord F. Melius Christiansen April 2015
Pacific Lutheran University University Chorale Rytmus Ivan Hrusovsky April 2015
Pacific Lutheran University University Chorale Shakespeare Songs Jaakko Mäntyjärvi April 2015
Pacific Lutheran University University Chorale Verleih' uns Frieden Felix Mendelssohn-Bartholdy April 2015
240
Pacific Lutheran University University Singers A Choral Flourish Linda Spevacek April 2015
Pacific Lutheran University University Singers Hello Girls Lloyd Pfautsch April 2015
Pacific Lutheran University University Singers I Will Lift Up My Eyes Z. Randall Stroope April 2015
Pacific Lutheran University University Singers I Will Sing With the Spirit John Rutter April 2015
Pacific Lutheran University University Singers Sclof main kind Allan E. Naplan April 2015
Pacific Lutheran University University Singers Vier Lieder aus dem Jungbrunnen Johannes Brahms April 2015
Aaron Copland/arr. Glenn
Pacific Lutheran University University Singers Zion's Walls April 2015
Koponen
Pacific Lutheran University Choir of the West Kung Liljekonvalje David Wikander May 2015
Pacific Lutheran University Choir of the West Lux Aeterna Jesús Gómez May 2015
Pacific Lutheran University Choir of the West Se dig ud en sommerdag Carl Nielsen/arr. Bo Holton May 2015
Edvard Grieg/arr. Howard D. April 2011, May
Pacific Lutheran University Men's Chorus Brothers, Sing on!
McKinney 2011
April 2014, April
Pacific Lutheran University University Chorale Sleep Eric Whitacre
2015
April 2014, October
Pacific Lutheran University University Singers El Vito arr. Joni Jensen
2014
December 2010,
Pacific Lutheran University Men's Chorus I Dwell in Possibility Brian Edward Galante
February 2011
December 2010,
Pacific Lutheran University Men's Chorus Songs of a Young Man Richard Nance
February 2011
December 2010,
Pacific Lutheran University Men's Chorus Sovra le lucid' acque J. Michael Saunders February 2011,
March 2011
December 2010,
Pacific Lutheran University Choir of the West Pacific Sanctus Robert Kyr
May 2011
241
Choir of the West, Men's December 2011,
Pacific Lutheran University Chorus, University Joy to the World arr. John Rutter December 2012,
Chorale, University December 2013,
December 2011,
Pacific Lutheran University Choir, University Chorale, O Come, All Ye Faithful arr. John Rutter
December 2013
University Singers
December 2013,
Pacific Lutheran University Chorus, University O Come, All Ye Faithful arr. David Wilcocks
December 2014
Chorale, University
January 2013,
Pacific Lutheran University Choir of the West Exsultate Brian Edward Galante
March 2013
January 2013,
Pacific Lutheran University Choir of the West No. 1, 4, & 6 (from Sept Chansons) Francis Poulenc
March 2013
January 2013,
Pacific Lutheran University Choir of the West Northern Lights Ēriks Ešenvalds
March 2013
January 2013,
Pacific Lutheran University Choir of the West So I'll Sing With My Voice Dominick Argento
March 2013
January 2013,
Pacific Lutheran University Choir of the West When David Heard Thomas Weelkes
March 2013
March 2011, May
Pacific Lutheran University Choir of the West My Soul's Been Anchored In The Lord arr. Moses Hogan
2011
March 2011, May
Pacific Lutheran University University Chorale Ave Maris Stella Trond Kverno
2011
March 2011, May
Pacific Lutheran University University Chorale I Can Tell the World arr. Moses Hogan
2011
March 2011, May
Pacific Lutheran University University Chorale Sleep, My Love Brian Edward Galante
2011
May 2011, May
Pacific Lutheran University Choral Union Canticum Calamitatis Maritimae Jaakko Mäntyjärvi
2012
October 2010,
Pacific Lutheran University University Singers Da Pacem John Muehleisen
December 2010
October 2010,
Pacific Lutheran University Men's Chorus Quatre petites prières de Saint François d'Assise Francis Poulenc December 2010,
February 2011
242
October 2010,
Herbert Hughes/arr. Phillip
Pacific Lutheran University Men's Chorus The Sally Gardens December 2010,
Serino
February 2011
October 2010,
December 2010,
Pacific Lutheran University Men's Chorus Shenandoah arr. Phillip Serino
February 2011,
March 2011
October 2010,
Pacific Lutheran University Choir of the West O Day Full Of Grace arr. F. Melius Christiansen
January 2013
October 2010,
Pacific Lutheran University Choir of the West Amazing Grace arr. John Rutter
March 2011
October 2010, May
Pacific Lutheran University University Chorale Sanctus Ola Gjeilo
2011
October 2010, May
Pacific Lutheran University University Chorale This Little Light of Mine arr. Moses Hogan
2011
October 2010, May
2011, May, 2011,
October 2011,
Pacific Lutheran University Choir of the West A Mighty Fortress Is Our God Martin Luther/arr. W.B. Olds October 2012,
January 2013,
October 2013, April
2014, March 2015
243
October 2010,
December 2010,
October 2011,
December 2011,
March 2012,
October 2012,
Chorus, University
Pacific Lutheran University Beautiful Savior arr. F. Melius Christiansen December 2012,
Chorale, University
January 2013,
Singers
October 2013,
December 2013,
April 2014, October
2014, December
2014
October 2011,
Pacific Lutheran University Choir of the West A Drop In The Ocean Ēriks Ešenvalds
March 2012
October 2011,
Pacific Lutheran University Men's Chorus Absalon, fili mi Josquin des Prez
November 2011
October 2012, April
Pacific Lutheran University University Chorale Pilgrims' Hymn (from The Three Hermits) Stephen Paulus
2013
October 2012,
Pacific Lutheran University Choir of the West Carpenters of God Vijah Singh
January 2013
October 2012,
Pacific Lutheran University Choir of the West Sehnsucht, Op. 112, no. 1 Johannes Brahms
January 2013
October 2012,
Pacific Lutheran University Choir of the West The Gift J.A.C. Redford
January 2013
October 2012,
Pacific Lutheran University Choir of the West Ubit Caritas Hebu Upendo! Julian Reisenthel
January 2013
October 2013, April
Pacific Lutheran University Choir of the West Look Down, Fair Moon Brian Edward Galante
2014
October 2014, April
Pacific Lutheran University Chamber Singers Alles hat seine Zeit (Hob. Xxv, C3) Franz Josef Haydn
2015
October 2014, April
Pacific Lutheran University Chamber Singers Le Chant des Oyseaux Clément Janequin
2015
244
October 2014, April
Pacific Lutheran University Chamber Singers Moro, lasso, al mio duolo Carlo Guesaldo da Venosa
2015
October 2014, April
Pacific Lutheran University University Chorale Blow Ye the Trumpet Kirke Mechem
2015
October 2014, April
Pacific Lutheran University University Chorale Hark, I Hear the Harps Eternal arr. Alice Parker
2015
October 2014, April
Pacific Lutheran University University Singers Weep No More David N. Childs
2015
Wheaton College Concert Choir El Hambo Jaakko Mäntyjärvi November 2010
Wheaton College Concert Choir Hodie Christus natus est Paul Basler November 2010
Wheaton College Concert Choir little tree Eric Whitacre November 2010
Wheaton College Concert Choir O Greening Branch Daniel Kellogg November 2010
Wheaton College Concert Choir Reincarnations Samuel Barber November 2010
Wheaton College Concert Choir Rejoice in the Lamb Benjamin Britten November 2010
Wheaton College Concert Choir There Is No Rose Melinda Bargreen November 2010
Wheaton College Men's Glee Club Festival Gloria Randall Johnson November 2010
Wheaton College Men's Glee Club Magnificat Healey Willan November 2010
Wheaton College Women's Chorale O Holy Night Adolphe Adam November 2010
Wheaton College Women's Chorale Rejoice! Rejoice! William Byrd November 2010
Wheaton College Concert Choir 3 Motets, Op. 110 Johannes Brahms February 2011
Wheaton College Concert Choir Lux Aeterna Morten Lauridsen February 2011
Wheaton College Men's Glee Club Alleluia Ralph Manuel March 2011
Wheaton College Men's Glee Club Amor de mi Alma Z. Randall Stroope March 2011
Wheaton College Men's Glee Club At the Cross R.E. Hudson/arr. Buryl Red March 2011
Wheaton College Men's Glee Club Day By Day Oscar Ahnfelt/arr. Paul Sjolund March 2011
Wheaton College Men's Glee Club Ghospodi, pomiluy Grigory Lvovsky March 2011
Wheaton College Men's Glee Club I Bought Me a Cat arr. Aaron Copland March 2011
Wheaton College Men's Glee Club Isaiah 44:3 Jackson Berkey March 2011
Wheaton College Men's Glee Club Jesus Is the Song David Danner March 2011
Wheaton College Men's Glee Club Kiss the Girl Alan Menken/arr. Kirby Shaw March 2011
Wheaton College Men's Glee Club Les jeux d'eaux à la Villa d'Este Franz Liszt March 2011
Wheaton College Men's Glee Club Sound Off Paul Rardin March 2011
Wheaton College Men's Glee Club The Pasture (from Frostiana) Randall Thompson March 2011
Wheaton College Men's Glee Club We Shall Walk Throuh the Valley in Peace arr. William Appling March 2011
Wheaton College Concert Choir Come, Thou Fount of Every Blessing Nettleton/arr. Mack Wilberg April 2011
245
Wheaton College Concert Choir Identity (from Cantos sagrados) James MacMillan April 2011
Wheaton College Concert Choir Komm, Heil'ger Geist George Schumann April 2011
Wheaton College Concert Choir O, Sacrum convivium Olivier Messiaen April 2011
Wheaton College Concert Choir Three Motets, Op. 110 Johannes Brahms April 2011
Wheaton College Women's Chorale Cantique de Pâques Arthur Honegger April 2011
Wheaton College Women's Chorale Five Hebrew Love Songs Eric Whitacre April 2011
Wheaton College Women's Chorale Heart! We Will Forget Him James Mulholland April 2011
Wheaton College Women's Chorale Love is a Rain of Diamonds Gwyneth Walker April 2011
Wheaton College Women's Chorale Love Songs in the Round John Biggs April 2011
Wheaton College Women's Chorale My God, I Love Thee Shawn E. Okpebholo April 2011
Wheaton College Women's Chorale No Thank You John Ruth Morris Gray April 2011
Wheaton College Women's Chorale O Sacrum Convivium Tomás Luis de Victoria April 2011
Wheaton College Women's Chorale O Sacrum Convivium Kenneth Leighton April 2011
Wheaton College Women's Chorale What a Friend We Have in Jesus! William Bolcom April 2011
Wheaton College Women's Chorale Dixit Dominus Michael Haydn May 2011
Wheaton College Concert Choir Alpha and Omega James MacMillan October 2011
Wheaton College Concert Choir Cantus gloriosus Joseph Swider October 2011
Wheaton College Concert Choir Each Day Stephen Paulus October 2011
Wheaton College Concert Choir Now Our Meeting's Over arr. Jocelyn Hagen October 2011
Wheaton College Concert Choir The Storm is Passing Over arr. Larry Nickel October 2011
Wheaton College Concert Choir There is sweet music here L.J. White October 2011
Wheaton College Concert Choir Way Over in Beulah Lan' arr. Stacey Gibbs October 2011
Wheaton College Men's Glee Club Cantate Domino Vytautas Miškinis October 2011
Wheaton College Men's Glee Club No Night There! Craig Curry October 2011
Wheaton College Concert Choir Magnificat Gloria Alberto Grau December 2011
Wheaton College Concert Choir O Magnum Mysterium Kevin Memley December 2011
Wheaton College Men's Glee Club Divinity in a Manger Bed Royce Eckhardt December 2011
Wheaton College Men's Glee Club Gloria Fanfare Jeffery Ames December 2011
Wheaton College Men's Glee Club When the Song of the Angels is Stilled Elizabeth Alexander December 2011
Wheaton College Women's Chorale Gaudete! arr. Michael Engelhardt December 2011
Women's Chorale, Men's
Wheaton College Gloria (from B Minor Mass) Johann Sebastian Bach December 2011
Glee Club, Concert Choir
Wheaton College Grosser Herr, o starker König (from Christmas Oratorio) Johann Sebastian Bach December 2011
Wheaton College Concert Choir Mass in B Minor, BWV 232 Johann Sebastian Bach March 2012
246
Wheaton College Women's Chorale A Prayer for Choirs Alice Parker March 2012
Wheaton College Women's Chorale Double Shot Stephen Hatfield March 2012
Wheaton College Women's Chorale Isn't That Something? David Brunner March 2012
Wheaton College Women's Chorale O Come, Let Us Sing, Op. 87, no. 4 Egil Hovland March 2012
Wheaton College Women's Chorale Pour Our Love On You Elena Aronson/Deleyse Rowe March 2012
Wheaton College Women's Chorale Psalm 150 Zoltán Kodály March 2012
Wheaton College Women's Chorale Sing Creations Music On Stephen Paulus March 2012
Wheaton College Women's Chorale Ubi Caritas et Amor Ēriks Ešenvalds March 2012
Wheaton College Concert Choir Gratias agimus tibi (for HW) David Gordon April 2012
Wheaton College Concert Choir Long Time Trav'ling Abbie Betinis April 2012
Wheaton College Concert Choir Prayers of Habakkuk Howard Whitaker April 2012
Wheaton College Concert Choir The Leave-taking Randall Thompson April 2012
Wheaton College Men's Glee Club Ave Maria Franz Biebl April 2012
William Steffe/arr. Roy
Wheaton College Men's Glee Club Battle Hymn of the Republic April 2012
Ringwald
Wheaton College Men's Glee Club God Protect Us From War Veljo Tormis April 2012
Wheaton College Men's Glee Club If Ye Love Me Thomas Tallis April 2012
Wheaton College Men's Glee Club Little Innocent Lamb arr. Marshall Bartholomew April 2012
Wheaton College Men's Glee Club Notre Pére Denis Bédard April 2012
Wheaton College Men's Glee Club Otche Nash Nicolai Kedroff, Sr. April 2012
William Doane/arr. Mary
Wheaton College Men's Glee Club Pass Me Not, O Gentle Savior April 2012
McDonald
Wheaton College Men's Glee Club Skye Boat Song arr. Robert Boyd April 2012
Wheaton College Men's Glee Club The Best of Doo-Wop arr. Ed Lojeski April 2012
Keith Green/arr. Howard
Wheaton College Men's Glee Club There is a Redeemer April 2012
Whitaker
Wheaton College Men's Glee Club Y Tangneffeddwyr Eric Jones April 2012
Wheaton College Women's Chorale My Child Howard Whitaker April 2012
Wheaton College Concert Choir Begräbnisgesang Johannes Brahms October 2012
Wheaton College Concert Choir Geistliches Lied, Op. 30 Johannes Brahms October 2012
Wheaton College Concert Choir In the Beginning Aaron Copland October 2012
Wheaton College Concert Choir Leonardo dreams of his flying machine Eric Whitacre October 2012
Wheaton College Concert Choir My Lord, What a Morning arr. Harry Burleigh October 2012
Wheaton College Concert Choir Vier Quartette, Op. 92 Johannes Brahms October 2012
247
Samuel Webbe, Sr./arr. Terre
Wheaton College Men's Glee Club Come, Ye Disconsolate October 2012
Johnson
Wheaton College Women's Chorale Awake! Tony Payne October 2012
Wheaton College Women's Chorale Laudamus te (from Gloria) Antonio Vivaldi October 2012
Women's Chorale, Men's John Henry Hopkins, Jr./arr.
Wheaton College We Three Kings October 2012
Glee Club, Concert Choir Jonathan Veenker
Wheaton College Concert Choir Get Down to Bethlehem John William Trotter December 2012
Wheaton College Concert Choir O Magnum Mysterium Morten Lauridsen December 2012
Via Olatunji/arr. Wendell
Wheaton College Men's Glee Club Betelehemu December 2012
Whalum
Wheaton College Men's Glee Club Sing We Now of Christmas arr. Craig Curry December 2012
Wheaton College Men's Glee Club The Three Kings Healey Willan December 2012
Wheaton College Women's Chorale As I Sat on a Sunny Bank David Hamilton December 2012
Wheaton College Women's Chorale Christmas Lullaby David Hamilton December 2012
Marita Kovaric/arr. David
Wheaton College Concert Choir Empty Me February 2013
Cramer
Wheaton College Concert Choir Missa O Quam Gloriosum Tomás Luis de Victoria February 2013
Wheaton College Concert Choir O how glorious Healey Willan February 2013
Wheaton College Concert Choir O nata lux Seth Garepy February 2013
Wheaton College Concert Choir O Quam Gloriosum Tomás Luis de Victoria February 2013
Wheaton College Concert Choir Os Justi Anton Bruckner February 2013
Wheaton College Requiem, K 626 Wolfgang Amadeus Mozart February 2013
Samuel Webbe, Sr./arr. Terre
Wheaton College Men's Glee Club Come, Ye Disconsolate April 2013
Johnson
Wheaton College Men's Glee Club Der Herr segne euch (from Cantata 196) Johann Sebastian Bach April 2013
Wheaton College Men's Glee Club Down by the Riverside Frederic Rzweski April 2013
Wheaton College Men's Glee Club Home on the Range arr. Greg Gilpin April 2013
Wheaton College Men's Glee Club Manly Men Kurt Knecht April 2013
Wheaton College Men's Glee Club Quatre Petite Pière de Saint François d'Assise Francis Poulenc April 2013
Wheaton College Men's Glee Club Spaseniye sodelal Pavel Chesnokov April 2013
Wheaton College Men's Glee Club Steal Away arr. J. Edmund Hughes April 2013
Wheaton College Men's Glee Club The Morning Trumpet arr. Michael Richardson April 2013
Wheaton College Men's Glee Club Ubi Caritas Ola Gjeilo April 2013
Wheaton College Men's Glee Club What Wondrous Love is This arr. Jacob Fuhrman April 2013
248
Wheaton College Women's Chorale Be Our Guest Alan Menken/arr. Raluca Bojor April 2013
Wheaton College Women's Chorale Beauty and the Beast Alan Menken/arr. Kirby Shaw April 2013
Wheaton College Women's Chorale Benedictus Jacob Handl April 2013
Al Hoffman/Jerry Livingston/arr.
Wheaton College Women's Chorale Bibbidi-Bobbidi-Boo April 2013
Craig Curry
Wheaton College Women's Chorale Hineni Lee Kesselman April 2013
Wheaton College Women's Chorale I Won't Say I'm in Love/I'll Make a Man Out of You Alan Menken/arr. Raluca Bojor April 2013
Wheaton College Women's Chorale Lashana Haba'a BiYerushalayim arr. Shawn Kirchner April 2013
Wheaton College Women's Chorale Ohana I runga gawa David Hamilton April 2013
Wheaton College Women's Chorale Reflections from Yad Vashem Daniel Hall April 2013
Wheaton College Women's Chorale Sanctus (from Messe Basse) Gabriel Fauré April 2013
Wheaton College Concert Choir Bless the Lord, O my Soul Jonathan Dove May 2013
Wheaton College Concert Choir Os Justi Anton Bruckner May 2013
Wheaton College Men's Glee Club Indianas Carlos Guastavino October 2013
Wheaton College Women's Chorale Bumble Bee Anders Edenroth October 2013
Wheaton College Women's Chorale Sisters Gwyneth Walker October 2013
Women's Chorale; Men's
Wheaton College The Testament of Freedom Randall Thompson October 2013
Glee Club
Wheaton College Concert Choir Immortal Bach Knut Nystedt November 2013
Wheaton College Concert Choir Kyrie William Byrd November 2013
Wheaton College Concert Choir Let My Prayer Come Up John Blow November 2013
Wheaton College Concert Choir Sanctus Dominick Argento November 2013
Wheaton College Concert Choir Gloria Patri (from Dixit Dominus) George Frederic Handel December 2013
Wheaton College Concert Choir O Come, All Ye Faithful arr. Tom Trenney December 2013
Wheaton College Men's Glee Club A La Nanita Nana arr. Dan Davison December 2013
Wheaton College Men's Glee Club The Hands That First Held Mary's Child Dan Forrest December 2013
Wheaton College Men's Glee Club Zion Hört die Wächter Singen Dietrich Buxtehude December 2013
Wheaton College Women's Chorale And Suddenly Michael Englehardt December 2013
Bernie Herms/Nichole
Wheaton College Women's Chorale Be Born in Me December 2013
Nordeman/arr. David Hamilton
Wheaton College Before the Marvel of this Night Carl Schalk December 2013
Wheaton College Christmas Day Gustav Holst December 2013
Wheaton College Concert Choir Dixit Dominus George Frederic Handel March 2014
249
Wheaton College Men's Glee Club A Mighty Fortress is Our God arr. Carl Mueller April 2014
Wheaton College Men's Glee Club Cantate Domino Giuseppe Pitoni April 2014
Wheaton College Men's Glee Club Daemon irrepit callidus György Orbán April 2014
Wheaton College Men's Glee Club Do You Hear the People Sing? Claude-Michel Schönberg April 2014
George Gershwin/arr. William
Wheaton College Men's Glee Club I Got Plenty O' Nuttin' April 2014
Stickles
R. Nathaniel Dett/arr. Edward
Wheaton College Men's Glee Club I'll Never Turn Back No More April 2014
Knight
Wheaton College Men's Glee Club Pilgrim's Chorus (from Tannhäuser) Richard Wagner April 2014
Wheaton College Men's Glee Club Soldier's Chorus (from Faust) Charles Gounod April 2014
Wheaton College Men's Glee Club The Last Words of David Randall Thompson April 2014
arr. Alice Parker and Robert
Wheaton College Men's Glee Club What Shall We Do With a Drunken Sailor April 2014
Shaw
Wheaton College Women's Chorale As torrents in Summer arr. E. Gunn Shepherd April 2014
Wheaton College Women's Chorale Ave verum corpus Camille Saint-Saëns April 2014
Wheaton College Women's Chorale Fly, Singing Bird Sir Edward Elgar April 2014
Wheaton College Women's Chorale Gott ist mein Hirt Franz Schubert April 2014
Wheaton College Women's Chorale I Want Jesus to Walk with Me arr. Richard Nance April 2014
Walter Hawkins/arr. Martin
Wheaton College Women's Chorale I'm Goin' Up a Yonder April 2014
Sirvatka
Wheaton College Women's Chorale O ignee Spiritus Hildegard von Bingen April 2014
Wheaton College Women's Chorale Praise to the Lord the Almighty arr. Tess Milby April 2014
Wheaton College Women's Chorale Psalm 150 Sir David Willcocks April 2014
Richard Rodgers/arr. Clay
Wheaton College Women's Chorale Selections from The Sound of Music Warnick, Hale Smith, and John April 2014
Cacavas
Wheaton College Women's Chorale The Dowry Negotiation David Gordon April 2014
Wheaton College Women's Chorale The Snow Sir Edward Elgar April 2014
Wheaton College Concert Choir Ballad of Green Broom Benjamin Britten October 2014
Wheaton College Concert Choir Musicians wrestle everywhere Elliott Carter October 2014
Wheaton College Concert Choir The Evening Primrose Benjamin Britten October 2014
Wheaton College The Creation Franz Joseph Haydn November 2014
Wheaton College Concert Choir A Spotless Rose Herbert Howells December 2014
Wheaton College Concert Choir O Nata Lux Morten Lauridsen December 2014
250
Wheaton College Men's Glee Club In the Bleak Midwinter Gustav Holst/arr. Abbie Betinis December 2014
Wheaton College Women's Chorale Angelus ad virginem arr. David Willcocks December 2014
Wheaton College Women's Chorale Bring Your Torches arr. Franz Wasner December 2014
Wheaton College Women's Chorale Svete tihiy Pavel Chesnokov December 2014
Wheaton College O Light of Life! Mack Wilberg December 2014
Wheaton College Praise to the Light of the World Lee Kesselman December 2014
Wheaton College Concert Choir Hear My Prayer Henry Purcell March 2015
Wheaton College Concert Choir Lamentations of Jeremiah I Thomas Tallis March 2015
Wheaton College Concert Choir Lamentations of Jeremiah II Thomas Tallis March 2015
Wheaton College Concert Choir Le Reniement de St. Pierre Marc-Antoine Charpentier March 2015
Wheaton College Concert Choir O Quam Gloriosum Bethany Randall March 2015
Wheaton College Women's Chorale Day by Day Martin How March 2015
Wheaton College Women's Chorale Deep River arr. Shawn Okpenbholo March 2015
Wheaton College Women's Chorale Gladsome Light Pavel Chesnokov March 2015
Wheaton College Women's Chorale Jesus, the Very Thought of Thee Eric Thiman March 2015
Wheaton College Women's Chorale Keep on Singing Simon Wawer March 2015
Wheaton College Women's Chorale Like As the Hart Maurice Greene March 2015
Wheaton College Women's Chorale O frondens virga Lee Kesselman March 2015
Wheaton College Women's Chorale Pseudo-Yoik Lite Jaakko Mäntyjärvi March 2015
Wheaton College Women's Chorale Tenebrae factae sunt Tomás Luis de Victoria March 2015
Charles Tindley/arr. Barbara
Wheaton College Women's Chorale The Storm is Passing Over March 2015
Baker
Wheaton College Men's Glee Club Der Gondelfahrer Franz Schubert April 2015
Wheaton College Men's Glee Club Gabí, Gabí arr. William Powell April 2015
Wheaton College Men's Glee Club Geographic Fugue Ernst Toch April 2015
Wheaton College Men's Glee Club Lead Me to the Cross Brooke Fraser April 2015
Bebo Norman/arr. Adam
Wheaton College Men's Glee Club My Eyes Have Seen Holy April 2015
Lindgren
Wheaton College Men's Glee Club Song of Peace Vincent Persichetti April 2015
David Hamilton and Phil
Wheaton College Men's Glee Club Were It Not for Grace April 2015
McHugh
Wheaton College Women's Chorale In the Sweet By and By Joseph Webster/arr. Daniel Hall May 2015
Wheaton College Women's Chorale Jesus Christ the Apple Tree Elizabeth Poston May 2015
251
Wheaton College Let This Mind Be In You Jonathan Veenker May 2015
April 2011,
Wheaton College Concert Choir Crucifixus Antonio Lotti
February 2013
April 2011, May
Wheaton College Women's Chorale Three Poems of Amy Carmichael Craig Curry
2011
April 2012,
Wheaton College Men's Glee Club Abraham Lincoln Walks at Midnight Abbie Betinis November 2013,
April 2014
April 2013, May
Wheaton College Men's Glee Club Ain' Got Time to Die arr. Philip Duey
2013
Jean Sibelius/arr. H. E. Singley April 2015, May
Wheaton College Men's Glee Club Be Still, My Soul
III 2015
April 2015, May
Wheaton College Men's Glee Club Jesu, dulcis memoria Connor Koppin
2015
April, 2011,
Wheaton College Concert Choir Pilgrim's Hymn (from The Three Hermits) Stephen Paulus November 2013,
March 2014
December 2011,
Wheaton College Women's Chorale Tomorrow Shall Be My Dancing Day arr. John Rutter
March 2012
December 2011,
Wheaton College Women's Chorale What Sweeter Music Eleanor Daley
March 2012
December 2012,
Wheaton College Women's Chorale Gloria Ola Gjeilo
April 2013
December 2012,
Wheaton College Concert Choir Lobet den Herrn, alle Heiden, BWV 230 Johann Sebastian Bach
February 2013
March 2011, April
Wheaton College Men's Glee Club Hold On! arr. Eugene Thamon Simpson
2015, May 2015
252
March 2011,
October 2011, April
2012, October 2012,
Wheaton College Men's Glee Club Rise Up, O Men of God Aaron Williams/arr. Buryl Red April 2013,
November, 2013,
April 2014, April
2015
March 2015, May
Wheaton College Concert Choir Give Ear to My Prayer, O God, Op. 26 Alexander Gretchaninov
2015
March 2015, May
Wheaton College Concert Choir My Prayer arr. Bob Chilcott
2015
May 2011, April
Wheaton College Men's Glee Club Charged Paul Danielson
2012
May 2013, October
Wheaton College Women's Chorale Ain't No Grave Can Hold My Body Down arr. Paul Caldwell & Sean Ivory
2012
November 2010,
Wheaton College Women's Chorale Wexford Carol arr. Alice Parker
December 2013
November 2010,
Wheaton College Men's Glee Club Riu, Riu, Chiu arr. Jim Leininger
December 2014
November 2013,
Wheaton College Men's Glee Club Ascendit Deus Jacob Handl
April 2014
November 2013,
Wheaton College Concert Choir Agnus Dei Gregorio Allegri
March 2014
November 2013,
Wheaton College Concert Choir En la macarenita arr. Bob Chilcott
March 2014
November 2013,
Wheaton College Concert Choir Indianas Carlos Guastavino
March 2014
October 2010,
Wheaton College Ein Deutsches Requiem Johannes Brahms November 2010,
March 2011
October 2011, April
Wheaton College Men's Glee Club Surgens Jesus Peter Philips
2012
October 2011, April
Wheaton College Men's Glee Club The Lord's Prayer David Childs
2012
253
October 2011,
Wheaton College Women's Chorale Fanfare of Praise Sandra Milliken
March 2012
October 2011,
Wheaton College Women's Chorale Holy Is the Lord Jeffery Ames
March 2012
October 2011,
Wheaton College Women's Chorale i am a little church Daniel Brewbaker
March 2012
October 2011,
Wheaton College Women's Chorale Laetatus sum Niccola Porpora
March 2012
October 2011, May
Wheaton College Men's Glee Club Jubilate Deo Omnis Terra Flor Peeters
2011
October 2012, April
Wheaton College Men's Glee Club Death, I do not fear thee J.S. Bach/arr. Charles Dawe
2013
October 2012, April
Wheaton College Men's Glee Club Hark! I Hear the Harps Eternal arr. Craig Carnahan
2013
October 2012, April
Wheaton College Women's Chorale Agnus Dei (from Missa De Beata Virgine) Josquin des Prez
2013
October 2012, April
Wheaton College Women's Chorale Kyrie (from Missa Brevis in C minor) Imant Raminsh
2013
October 2012, April
Wheaton College Men's Glee Club Rejoice and Sing Out His Praises Mark Hayes
2013, May 2013
October 2012, April
Wheaton College Women's Chorale Dona Nobis Pacem Richard DeLong
2013, May 2013
October 2012, May
2013, November,
Wheaton College Men's Glee Club E'en So Lord Jesus Quickly Come Paul Manz
2013, April 2014,
May 2015
October 2012,
Wheaton College Concert Choir Didn't My Lord Deliver Daniel? arr. Moses Hogan October 2013,
March 2014
October 2012,
Wheaton College Concert Choir Give me Jesus arr. L. L. Fleming October 2013,
March 2014
October 2013, April
Wheaton College Women's Chorale Ad Amore Lee Kesselman
2014
254
October 2013, April
Wheaton College Women's Chorale Laudate pueri Dominum Michael Haydn
2014
October 2013,
Wheaton College Men's Glee Club The Road Home Stephen Paulus
November 2013
October 2013,
Thomas Dorsey/arr. David
Wheaton College Men's Glee Club Precious Lord November 2013,
Hamilton
April 2014
October 2013,
Wheaton College Men's Glee Club Tshotsholoza arr. Jeffery Ames November 2013,
April 2014
October 2013,
Wheaton College Men's Glee Club Walk in Jerusalem arr. Paul Rardin November 2013,
April 2014
October 2013,
Wheaton College Concert Choir Miserere Mei, Deus Gregorio Allegri November 2013,
March 2014
October 2014, April
Wheaton College Men's Glee Club Lauda Anima Mark Andrews
2015
October 2014, April
Wheaton College Men's Glee Club Loch Lomond arr. Jonathan Quick
2015
October 2014,
Wheaton College Men's Glee Club Let There Be Light Craig Courtney
December 2014
October 2014,
Wheaton College Concert Choir Ave verum corpus Wolfgang Amadeus Mozart
March 2015
October 2014,
Wheaton College Women's Chorale Ex Ore Innocentium John Ireland
March 2015
October 2014,
Wheaton College Women's Chorale Prelude Ola Gjeilo
March 2015
October 2014,
Wheaton College Women's Chorale I See the Heaven's Glories Shine Andrea Ramsey March 2015, May
2015
255
APPENDIX E
COMPILED REPERTOIRE LISTS BY COMPOSITION TITLE
256
TITLE OF COMPOSITION COMPOSER INSTITUTION
A minuit fut fait un Reveil Jean-François Dandrieu Pacific Lutheran University
Abendlied Josef Rheinberger Luther College, Pacific Lutheran University
Abendlied zu Gott (Hob. xxv, C9) Franz Joseph Haydn Pacific Lutheran University
Abide with Me William Monk/arr. Moses Hogan Luther College
Abraham Lincoln Walks at Midnight Abbie Betinis Wheaton College
Absalon, fili mi Josquin des Prez Pacific Lutheran University
Acclamation (from Gospel Mass) Robert Ray Brigham Young University
Achieved is the Glorious Work (from The Creation) Franz Joseph Haydn Belmont University
Across the Vast, Eternal Sky Ola Gjeilo Brigham Young University
Ad Amore Lee Kesselman Belmont University, Pacific Lutheran University,
Adam Lay Ybounden Carson Cooman Belmont University
Adon Olam/From All That Dwell Below the Skies arr. David Zabriskie Brigham Young University
Adoramus te, Christe Eric William Barnum Brigham Young University
Aeternum Cody Fry Belmont University
Africa David Paich & Jeff Porcaro/arr. Belmont University
Agnus Dei Gabriel Faure Luther College
Agnus Dei Gregorio Allegri Wheaton College
Agnus Dei Samuel Barber Pacific Lutheran University
Agnus Dei William Byrd Belmont University
Agnus Dei (from Dona Nobis Pacem) Ralph Vaughan Williams Luther College
Agnus Dei (from Gospel Mass) Robert Ray Brigham Young University
Agnus Dei (from Mass for Five Voices) William Byrd Brigham Young University
Agnus Dei (from Missa De Beata Virgine) Josquin des Prez Wheaton College
Ai, nama mamina Andreijs Jansons Brigham Young University
Ain' Got Time to Die arr. Philip Duey Wheaton College
Ain'-a That Good News (from Three Spirituals) K. Scott Warren Brigham Young University
Ain'a that Good News William Dawson Belmont University
Ain't No Grave Paul Caldwell & Sean Ivory Brigham Young University
Ain't No Grave Can Hold My Body Down arr. Paul Caldwell & Sean Ivory Belmont University, Wheaton College
257
Ain't That News arr. Stephen Hatfield Brigham Young University
Aldeburgh Carol Ben Parry Pacific Lutheran University
Alexander's Feast: The Many George Frideric Handel Brigham Young University
All Creatures of our God and King arr. James Kasen Brigham Young University
All Creatures of Our God and King arr. Mack Wilberg Brigham Young University
All Hail the Power of Jesus' Name arr. James Mulholland Luther College
All Men Draw Near Peter J. Williams Pacific Lutheran University
All Night, All Day arr. Lela Anderson Brigham Young University
All the Things You Are Jerome Kern Luther College
All Will be Well Amanda Weber Luther College
Alleluia Eric Whitacre Pacific Lutheran University
Alleluia Philip Hayes Brigham Young University
Alleluia Ralph Manuel Wheaton College
Alleluia Randall Thompson Belmont University
Alleluia Stephen Paulus Pacific Lutheran University
Alleluia (from Lobet den Herrn, BWV 230) Johann Sebastian Bach Brigham Young University
Alleluia, laus et gloria Tarik O'Regan Pacific Lutheran University
Alleluia, Rejoice J. Edmund Hughes Pacific Lutheran University
Alles hat seine Zeit (Hob. xxv, C3) Franz Joseph Haydn Pacific Lutheran University
Alma Redemptoris Giovanni Pierluigi da Palestrina Pacific Lutheran University
Alpha and Omega James MacMillan Wheaton College
Always Singing Dale Warland Brigham Young University
Amani Audrey Snyder Brigham Young University
Amazing Grace arr. Amy Engelsdorfer Luther College
Amazing Grace arr. Cherie Hall Brigham Young University
Amazing Grace arr. Ēriks Ešenvalds Belmont University, Pacific Lutheran University
Amazing Grace arr. John Rutter Pacific Lutheran University
Amazing Grace arr. Julian Philip Reisenthel Pacific Lutheran University
Amazing Grace arr. Michael Hanawalt Brigham Young University
258
American Anthem Gene Scheer/arr. Purifoy Belmont University
Amor con fortuna Juan del Encina Brigham Young University
Amor de mi alma Z. Randall Stroope Luther College, Pacific Lutheran University,
Amor quando fioria Giovannia Pierluigi da Palestrina Brigham Young University
An den Vetter (Hob. xxv, B1 Franz Joseph Haydn Pacific Lutheran University
An die Heimat (Op. 64, no. 1) Johannes Brahms Belmont University, Pacific Lutheran University
An Expression of Gratitude David Schwoebel Luther College
An Hour to Dance Gwyneth Walker Pacific Lutheran University
An Old Irish Blessing Ryan Gee Brigham Young University
And Can this Newborn Mystery Alan Bullard Brigham Young University
And Every Stone Shall Cry Bob Chilcott Luther College
And Miriam Sang Zebulon M. Highben Pacific Lutheran University
And On Earth, Peace Daniel Kallman Luther College
And Suddenly Michael Engelhardt Luther College, Wheaton College
And the Word Became Flesh Brian Pfoltner Luther College
And Then Shall Your Light Break Forth (Finale from Elijah, Felix Mendelssohn-Bartholdy Luther College
Andlinger sånger August Söderman Brigham Young University
Angelae Dei Lindsay Goodson Brigham Young University
Angele Dei Susan LaBarr Belmont University
Angels from the Realms of Glory Malcolm Archer Brigham Young University
Angels We Have Heard On High arr. Alice Parker & Robert Shaw Pacific Lutheran University
Angels We Have Heard On High arr. Craig Courtney Brigham Young University
Angels We Have Heard On High arr. Drew Collins Brigham Young University
Angels We Have Heard On High arr. Gabriel Dumitrescu Pacific Lutheran University
Angels We Have Heard On High arr. Hal Hopson Pacific Lutheran University
Angels We Have Heard On High arr. Howard Helvey Brigham Young University
Angels We Have Heard On High arr. Jackson Berkey Brigham Young University
Angels We Have Heard On High arr. Mack Wilberg Luther College
Angels We Have Heard On High arr. Philip Kern Brigham Young University
Angels' Carol John Rutter Luther College
259
Angelus ad virginem arr. David Willcocks Wheaton College
Annie Laurie arr. Robert Shaw & Alice Parker Brigham Young University
Annua Gaudia J. David Moore Pacific Lutheran University
Another Spring Howard Helvey Brigham Young University
Antiphon Ralph Vaughan Williams Belmont University
Antonio Jay Broeker Brigham Young University
Apocalyptica arr. Cole Thannisch & Alex Roby Belmont University
Arise, Shine John Rutter Pacific Lutheran University
Arise, Your Light Has Come David Danner Luther College, Pacific Lutheran University
Arma Lucis Jackson Berkey Pacific Lutheran University
Armed Man: A Mass for Peace, The Karl Jenkins Belmont University, Pacific Lutheran University
Art Thou Troubled William Billings Brigham Young University
Artsa alinu arr. Nina Gilbert Pacific Lutheran University
As I Sat on a Sunny Bank David Hamilton Wheaton College
As I Search the Holy Scriptures C. Marianne Fisher/arr. David Brigham Young University
As torrents in Summer arr. E. Gunn Shepherd Wheaton College
Ascendit Deus Jacob Handl Wheaton College
At the Cross R.E. Hudson/arr. Buryl Red Wheaton College
At the Name of Jesus René Clausen Brigham Young University
Au Joly Jeu Clément Jannequin Belmont University
Audi Voces György Orbán Belmont University
Aura Lee George R. Poulton/arr. Alice Parker Pacific Lutheran University
Autumn Jussi Chydenius Brigham Young University
Autumn Lanscapes (nos. 5 & 7) Veljo Tormis Luther College
Ave Maria David MacIntyre Brigham Young University
Ave Maria Efrem Podgaits Belmont University
Ave Maria Franz Biebl Luther College
Ave Maria Franz Biebl Wheaton College
Ave Maria Gustav Holst Pacific Lutheran University
Ave Maria J. Michael Saunders Pacific Lutheran University
260
Ave Maria Johannes Brahms Brigham Young University
Ave Maria John Rutter Brigham Young University
Ave Maria Michael Head Brigham Young University
Ave Maria Morten Lauridsen Luther College
Ave Maria (from Vespers) Sergei Rachmaninoff Brigham Young University
Ave Maria a 8 Tomás Luis de Victoria Pacific Lutheran University
Ave Maria, Op. 12 Johannes Brahms Pacific Lutheran University
Ave Maria, Op. 37, no. 6 Sergei Rachmaninoff Luther College
Ave Maris Stella Edvard Grieg Pacific Lutheran University
Ave maris stella Trond Kverno Belmont University, Pacific Lutheran University
Ave verum corpus Camille Saint-Saëns Wheaton College
Ave verum corpus Colin Mawby Brigham Young University
Ave Verum Corpus Wiliam Byrd Luther College
Ave Verum Corpus William Byrd Belmont University
Ave verum corpus Wolfgang Amadeus Mozart Brigham Young University, Wheaton College
Ave, Dulcissima Maria (from Electa) Jean Belmont Pacific Lutheran University
Avenging and Bright arr. Alice Parker Pacific Lutheran University
Awake Dragonborn Jeremy Soule/arr. Christopher Gentle Belmont University
Awake My Heart to Sing Mark Patterson Brigham Young University
Awake! Tony Payne Wheaton College
Away in a Manger arr. Bob Chilcott Brigham Young University
Away in a Manger arr. John Rutter Pacific Lutheran University
Away in a Manger Peter Gritton Brigham Young University
Baba wethu Anders Nyberg Luther College
Baba Yetu (from Civilization IV) Christopher Tin Belmont University, Brigham Young University,
Baby Softly Stills, The Vanja Watkins Brigham Young University
Balia Di Sehu Eduard Toppenberg/arr. Rufo Odor Brigham Young University
Ballad of Green Broom Benjamin Britten Wheaton College
Ballad of Little Musgrave and Lady Barnard, The (1943) Benjamin Britten Pacific Lutheran University
261
Ballade to the Moon Daniel Elder Brigham Young University
Balleilakka arr. Ethan Sperry Belmont University
Balulalow Ruth Elaine Schram Pacific Lutheran University
Barter Michael Eglin Brigham Young University
Bashana haba'ah Nurit Hirsch/arr. John Leavitt Brigham Young University
Battle Hymn of the Republic William Steffe/arr. Roy Ringwald Wheaton College
Battle of Jericho, The arr. Moses Hogan Pacific Lutheran University
Be Born in Me Bernie Herms/Nichole Wheaton College
Be Our Guest Alan Menken/arr. Raluca Bojor Wheaton College
Be Still My Soul Jean Sibelius/arr. H. E. Singley III Wheaton College
Be Still My Soul Jean Sibelius/arr. Joseph Hoffman Brigham Young University
Be Thou My Vision arr. John Rutter Pacific Lutheran University
Be Thou My Vision arr. Mack Wilberg Brigham Young University
Be Thou My Vision arr. Robert Hunter Pacific Lutheran University
Beat, Beat Drums Ralph Vaughan Williams Pacific Lutheran University
Beati quorum via, Op. 38, no. 3 Charles Villiers Stanford Belmont University, Luther College, Pacific
Beatus vir Claudio Monteverdi Pacific Lutheran University
Beautiful River Robert Lowry/arr. William Hawley Belmont University, Luther College
Beautiful Savior F. Melius Christiansen Luther College, Pacific Lutheran University
Beauty and the Beast Alan Menken/arr. Kirby Shaw Wheaton College
Beauty of Your Dreams, The Joan Szymko Brigham Young University
Before the Marvel of this Night Carl Schalk Wheaton College
Begräbnisgesang, Op. 13 Johannes Brahms Pacific Lutheran University, Wheaton College
Behold the Wounds in Jesus' Hands arr. Joseph Hoffman Brigham Young University
Benediction Kathleen Skinner Luther College
Benedicto Urmas Sisask Luther College
Benedictus Jacob Handl Wheaton College
Benedictus (from Concerto for Cello & Orchestra) Luigi Boccherini/arr. Robert Sieving Brigham Young University
262
Benedictus (from The Armed Man) Karl Jenkins Brigham Young University
Benedictus (from Three Motets, Op. 55) Carl Nielsen Pacific Lutheran University
Bereden väg för Herran arr. Anders Nyberg Luther College
Best Day of My Life arr. McKay Crockett Brigham Young University
Best of All, The Deen Entsminger Belmont University
Best of Doo-Wop, The arr. Ed Lojeski Wheaton College
Betelehemu Via Olatunji/arr. Wendell Whalum Wheaton College
Betrachtung des Todes (Hob. xxv, B3) Franz Joseph Haydn Pacific Lutheran University
Better Resurrection, A Craig Courtney Belmont University
Bibbidi-Bobbidi-Boo Al Hoffman/Jerry Livingston/arr. Wheaton College
Bitter for Sweet John Chorbajian Pacific Lutheran University
Blagoslovi, Dushé Moya, Ghospoda Mikhail Ippolitov-Ivanov Luther College
Bless the Broken Road arr. Deen Entsminger Belmont University
Bless the Lord, O my Soul Jonathan Dove Wheaton College
Bless This House May Brae/arr. Rosalind Hall Brigham Young University
Blessings arr. Benjamin Harlan Brigham Young University
Blow the Candles Out arr. Gregg Smith Belmont University
Blow Ye the Trumpet Kirke Mechem Pacific Lutheran University
Blow Ye the Trumpet, Blow arr. Paul Cary Brigham Young University
Blow, Blow Thou Winter Wind John Rutter Brigham Young University
Blue Bird, The Charles Stanford Belmont University
Blue Skies Irving Berlin arr. Melba Williamson Luther College
Bogoroditse Djevo Sergey Khvoshchinsky Pacific Lutheran University
Bonzorno Madonna Antonio Scandello Brigham Young University
Boy and a Girl, A Eric Whitacre Belmont University, Luther College
Brave Sarah Bareilles & Jack Antonoff/arr. Brigham Young University
Break Forth, O Beauteous, Heavenly Light, BWV 248 Johann Sebastian Bach Luther College
Breath of Kindness Lane Johnson Brigham Young University
Breath of Kindness, The Lane Johnson Brigham Young University
263
Breathe on Me, Breath of God Aaron David Miller Brigham Young University
Bright Mansions arr. K. Lee Scott Pacific Lutheran University
Brightly Beams Our Father's Mercy Philip Paul Bliss/arr. Lane Johnson Brigham Young University
Bring a Torch, Jeanette, Isabella arr. Howard Helvey Brigham Young University
Bring A Torch, Jeannette, Isabella arr. Stephen Paulus Pacific Lutheran University
Bring Me Little Water, Silvy Huddie W. Ledbetter, arr. Moira Pacific Lutheran University
Bring Your Torches arr. Franz Wasner Wheaton College
Brotherhood of Man (from How to Succeed in Business Frank Loesser Brigham Young University
Brothers, Sing On! Edvard Grieg Brigham Young University
Edvard Grieg/arr. Howard D.
Brothers, Sing On! Pacific Lutheran University
McKinney
Buffalo Gals Traditional Brigham Young University
Bumble Bee Anders Edenroth Wheaton College
Call of Wisdom, The Will Todd Belmont University
Called to Serve Him Adam Geibel/arr. David Zabriskie Brigham Young University
Calling My Children Home Doyle Lawson, Charles Waller, & Luther College
Candlelight Carol John Rutter Brigham Young University, Pacific Lutheran
Cantate Domino Claudio Monteverdi Belmont University
Cantate Domino Claudio Monteverdi Pacific Lutheran University
Cantate Domino Guiseppe Pitoni Brigham Young University, Wheaton College
Cantate Domino Hans Leo Hassler Belmont University, Pacific Lutheran University
Cantate Domino Vytautas Miškinis Wheaton College
Cantate Domino canticum novum Arvo Pärt Brigham Young University
Cantate tuba Giovannia Pierluigi da Palestrina Brigham Young University
Cantemos a María arr. Juan Tony Guzmán Luther College
Canticum Calamitatis Maritimae Jaakko Mäntyjärvi Pacific Lutheran University
Cantique de Jean Racine Gabriel Fauré/arr. K. Lee Scott Brigham Young University
264
Cantique de Pâques Arthur Honegger Wheaton College
Cantus gloriosus Józef Świder Belmont University, Wheaton College
Cantus Missae (Mass in E-flat), Op. 109 Josef Rheinberger Pacific Lutheran University
Canzon 26 Pietro Lappi Belmont University
Caritas et Amor Z. Randall Stroope Luther College
Carol of Joy Dan Forrest Brigham Young University
Carol of the Angels Eric William Barnum Pacific Lutheran University
Carpenters of God Vijay Singh Brigham Young University, Pacific Lutheran
Ceann dubh dílis arr. Michael McGlynn Pacific Lutheran University
Cells Planets Erika Lloyd/arr. Vince Peterson Belmont University, Pacific Lutheran University
Celtic Blessing, A Simon Lole Brigham Young University
Chantez à Dieu Jan Pieterszoon Sweelink Brigham Young University
Chantons, je vous prie, Noël Alexandre Guilmant Pacific Lutheran University
Charged Paul Danielson Wheaton College
Chichester Psalms Leonard Bernstein Brigham Young University
Child of God arr. Emily Crocker Luther College
Children Will Listen (from Into the Woods) Stephen Sondheim Brigham Young University
Choose Something Like a Star (from Frostiana) Randall Thompson Belmont University
Choral Dances from Gloriana Benjamin Britten Belmont University
Choral Fanfare for Christmas Ron Nelson Luther College
Choral Flourish, A Linda Spevacek Pacific Lutheran University
Choral Hymns from the Rig Veda Gustav Holst Brigham Young University
Chorus of the Priests, The (from The Magic Flute, K. 620) Wolfgang Amadeus Mozart Pacific Lutheran University
Christ Is Arisen (from Three Pre-Reformation Choral Motets) Ledwig Lendel Luther College
Christ the Apple Tree Stanford Scriven Luther College
Christ the Lord Is Risen Today arr. Joseph Hoffman Brigham Young University
Christ Was Born on Christmas Day arr. Alice Parker & Robert Shaw Pacific Lutheran University
Christmas Day Gustav Holst Luther College, Wheaton College
Christmas in the Straw Lloyd Pfautsch Luther College
265
Christmas Lullaby David Hamilton Wheaton College
Christmas Oratorio Robert Kyr Pacific Lutheran University
Christus Resurgens arr. Michael McGlynn Pacific Lutheran University
Clap Your Hands (Psalm 47) Edwin Fissinger Belmont University
Climb To the Top of the Highest Mountain Carolyn Jennings Luther College
Coelos ascendit hodie, Op. 38, no. 2 Charles Villiers Stanford Luther College
Colorado Trail, The (American Cowboy Song) arr. Ronald Staheli Brigham Young University
Columba aspexit Tarik O'Regan Brigham Young University
Come Away to the Skies arr. Alice Parker Pacific Lutheran University
Come Follow Me Samuel McBurney/arr. Robert Brigham Young University
Come in and Stay a While Rhonda Polay Belmont University
Come Lord Jesus (from The Savior of the World) arr. Daniel McDavitt Brigham Young University
Come Pretty Love arr. Joan Szymko Brigham Young University
Come to Me My Love Norman Dello Joio Pacific Lutheran University
Come unto Jesus S. Gordon Jessop Brigham Young University
Come With Thy Sweet Voice Again Stephen Collins Foster Brigham Young University
Come, Come, Ye Saints arr. Mack Wilberg Brigham Young University
Come, Lord Jesus Daniel McDavitt Luther College
Come, Sweet Death Johann Sebastian Bach/arr. Rhonda Belmont University
Come, Thou Fount (from Three Early American Hymn Tunes) arr. Bob Burroughs Brigham Young University
Come, Thou Fount of Every Blessing arr. Lynne Pickett Luther College
Come, Thou Fount of Every Blessing arr. Mack Wilberg Pacific Lutheran University
Come, Thou Fount of Every Blessing John Wyeth/arr. Daniel McDavitt Brigham Young University
Come, Thou Fount of Every Blessing Nettleton/arr. Mack Wilberg Wheaton College
Come, Thou Long Expected Jesus Allen Koepke Brigham Young University
Come, We That Love the Lord Isaac Watts/arr. David Zabriskie Brigham Young University
Come, Ye Disconsolate Samuel Webbe, Sr./arr. Terre Wheaton College
Come, Ye Disconsolate Samuel Webbe, Sr./arr. Terre Wheaton College
266
Con amores, la mi madre Juan de Anchieta Brigham Young University
Confirma Hoc Deus Gregor Aichinger Belmont University
Consecrate the Place and Day Lloyd Pfautsch Belmont University, Luther College
Contradiction Franz Schubert Brigham Young University
Cool of The Day arr. John Ratledge Luther College
Cool of the Day Jean Ritchie Belmont University
Coolin, The (from Reincarnations, Op. 16) Samuel Barber Brigham Young University
Cor meum Orlando di Lasso Pacific Lutheran University
Coronation Anthem No. 1 George Frideric Handel Brigham Young University
Cosmology arr. Jane Bryant, Leia Goodpaster, Belmont University
Coventry Carol arr. Thomas Durham Brigham Young University
Cradle Song Daniel Kallman Brigham Young University
Cradle Song, A Daniel Kallman Brigham Young University
Creation, The Franz Joseph Haydn Wheaton College
Creation, The Willy Richter Luther College
Credo (from Gospel Mass) Robert Ray Brigham Young University
Crucifixion (He Never Said a Mumblin' Word) Adolphus Hailstork Brigham Young University
Crucifixus Antonio Lotti Wheaton College
Cry No More Dan Forrest Brigham Young University
Cum sanctis tuis in aeternum (from Requiem, K. 626) Wolfgang Amadeus Mozart/arr. Carl Brigham Young University
Cum Sancto Spiritu (from Petite Messe Solenne) Gioachino Rossini Pacific Lutheran University
Da Pacem Jeff Enns Luther College
Da Pacem John Muehleisen Pacific Lutheran University
Daemon irrepit callidus György Orbán Wheaton College
Dan-u-el Kirke Mechem Luther College
Dances to Life: Wonder Mack Wilberg Pacific Lutheran University
267
Daniel, Servant of the Lord arr. Stacey Gibbs Belmont University
Danny Boy arr. Roger Wagner Luther College
David's Lamentation Joshua Shank Belmont University, Luther College
Dawn Eric William Barnum Belmont University
Day By Day Martin How Wheaton College
Day By Day Oscar Ahnfelt/arr. Paul Sjolund Wheaton College
De Animals A'Comin arr. Marshall Bartholomew Pacific Lutheran University
Death Be Not Proud Christopher Matthews Belmont University
Death Shall Not Destroy My Comfort arr. Mack Wilberg Brigham Young University
Death, I do not fear thee J.S. Bach/arr. Charles Dawe Wheaton College
December the 25th Leslie Bruicusse Brigham Young University
Deep River arr. Howard Helvey Brigham Young University
Deep River arr. Shawn Okpenbholo Wheaton College
Deeper Well Emmylou Harris/arr. Jane Bryant Belmont University
Deliver Us (from The Prince of Egypt) Stephen Schwartz Brigham Young University
Denn alles Fleisch, es ist wie Gras (from Ein Deutsches Johannes Brahms Brigham Young University
Der Abend, Op. 64, no. 2 Johannes Brahms Brigham Young University, Luther College
Der er et Yndigt Land Hans Ernst Krøyer Luther College
Der Geist hilft unsrer Schwachheit auf, BWV 226 Johann Sebastian Bach Luther College
Der Gondelfahrer Franz Schubert Wheaton College
Der Greis (Hob. xxv, C5) Franz Joseph Haydn Pacific Lutheran University
Der Herr segne euch (from Cantata 196) Johann Sebastian Bach Wheaton College
Desh arr. Ethan Sperry Belmont University
Didn' My Lord Deliver Daniel arr. Stacey Gibbs Brigham Young University
Didn't My Lord Deliver Daniel arr. Moses Hogan Brigham Young University, Wheaton College
Die Beredsamkeit (Hob. xxv, C4) Franz Joseph Haydn Pacific Lutheran University
Die Deutsche Liturgie Felix Mendelssohn Bartholdy Pacific Lutheran University
Die Harmonie in der Ehe (Hob. xxv, C2) Franz Joseph Haydn Pacific Lutheran University
Die Nacht, Op. 17, no. 4 Franz Schubert Pacific Lutheran University
Die Warnung Franz Josef Haydn Brigham Young University
268
Dies Irae (Liber Usualis) Belmont University
Dies Irae (from Requiem) Wolfgang Amadeus Mozart Brigham Young University
Dieu! Qu'il la fait bon regarder (from Trois Chansons) Claude Debussy Luther College
Ding! Dong! Merrily on High arr. Carolyn Jennings Luther College
Ding! Dong! Merrily on High arr. Charles Wood Pacific Lutheran University
Ding! Dong! Merrily on High arr. Howard Cable Brigham Young University
Ding! Dong! Merrily on High arr. Mack Wilberg Brigham Young University
Distance Can't Keep Us Two Apart Chen Yi Pacific Lutheran University
Divinity in a Manger Bed Royce Eckhardt Wheaton College
Dixit Dominus George Frederic Handel Wheaton College
Dixit Dominus Michael Haydn Wheaton College
Do Not Let Your Hearts Be Troubled Paul McKay Belmont University
Do You Hear the People Sing? Claude-Michel Schönberg Wheaton College
Dome of Many-Coloured Glass, A Dominick Argento Pacific Lutheran University
Dona nobis pacem Giulio Caccini/arr. James Moore Brigham Young University
Dona Nobis Pacem Richard DeLong Wheaton College
Dorcester Canticles Tarik O'Regan Pacific Lutheran University
Dormi Jesu Abbie Betinis Pacific Lutheran University
Double Shot Stephen Hatfield Wheaton College
Down Among the Dead Men Ralph Vaughan Williams Pacific Lutheran University
Down by the Riverside Frederic Rzweski Wheaton College
Down By the Sally Gardens arr. John Rutter Brigham Young University
Down to the River to Pray arr. Philip Lawson Brigham Young University, Pacific Lutheran
Dowry Negotiation, The David Gordon Wheaton College
Doxology arr. James Pethel Belmont University
Drop In The Ocean, A Ēriks Ešenvalds Pacific Lutheran University
Drum Taps: Nine Poems on themes of War Gregory Youtz Pacific Lutheran University
Dry Bones arr. Livingston Gearhart Brigham Young University
Dryads' Bells Stephen Chatman Brigham Young University
Dum Transisset Sabbatum John Taverner Luther College
269
Duo Seraphim Fransciso Guesposo Brigham Young University
Belmont University, Luther College, Wheaton
E'en So Lord Jesus Quickly Come Paul Manz
College
Each Day Stephen Paulus Brigham Young University, Wheaton College
Early in the Spring arr. Ralph Vaughan Williams Pacific Lutheran University
Early One Morning arr. David Wilcocks Pacific Lutheran University
Earth Adorned, The Waldemar Ahlén Luther College
Earth Sings, The Stephen Paulus Pacific Lutheran University
Earth Song Frank Ticheli Belmont University
Eastertide with Joy was Bright, The arr. Howard Helvey Brigham Young University
Eatnemen Vuelie (Fairest Lord Jesus) Frode Fjellheim Belmont University, Brigham Young University,
Ecce concipies Mark Sirett Brigham Young University
Ecce sacerdos magnus Johan Michael Haydn (ed. Martin Brigham Young University
Ecco mormorar l'onde Claudio Monteverdi Pacific Lutheran University
Ehre Sei Gott in der Höhe Felix Mendelssohn Bartholdy Pacific Lutheran University
Ein Deutsches Requiem Johannes Brahms Wheaton College
El Desembre congelat arr. Robert Sieving Brigham Young University
El Hambo Jaakko Mäntyjärvi Wheaton College
El Vito arr. Joni Jensen Belmont University, Pacific Lutheran University
El yivneh hagalil arr. Peter Sozio Brigham Young University
Emmanuel Dennis Friesen-Carper Brigham Young University
Empty Me Marita Kovaric, arr. David Cramer Wheaton College
En la macarenita arr. Bob Chilcott Wheaton College
En une seule fleur Morten Lauridsen Brigham Young University
Entreat me not to leave you Dan Forrest Luther College, Pacific Lutheran University
Erev Shel Shoshanim Josef Hadar/arr. Jack Klebanow Brigham Young University
Estampie Natalis Vaclav Nelhybel Brigham Young University
Eternal Light John Erickson Brigham Young University
Eternal Light - A Requiem Howard Goodall Pacific Lutheran University
270
Eternal Rose David Lantz III Brigham Young University
Ett Nyfött Barn (A Newborn Child) Robert Sund Brigham Young University
Ev'ry Time I Feel the Spirit arr. Moses Hogan Belmont University
Even Such Is Time Bob Chilcott Luther College
Even When He is Silent Kim Andre Arnesen Luther College
Evening Primrose, The Benjamin Britten Wheaton College
Everybody Imagine arr. Sam Robson Belmont University
Everybody's Got Somebody but Me Hunter Hayes/arr. Keith Evans Brigham Young University
Everyone Sang Dominick Argento Brigham Young University
Ex Ore Innocentium John Ireland Wheaton College
Exsultate Brian Edward Galante Pacific Lutheran University
Exsultate Deo Hans Leo Hassler Luther College
Exultate Deo Giovanni Pierluigi de Palestrina Luther College, Pacific Lutheran University
Exultate Justi Ludovico Da Viadana Belmont University
Exultation (from Celestial Spring) F. Melius Christiansen Luther College
Eye to Eye (from The Goofy Movie) Tevin Campbell/arr. McKay Crockett Brigham Young University
Ezekiel Saw de Wheel arr. Moses Hogan Luther College
Ezekiel Saw the Wheel arr. William Dawson Luther College
Faithful Over a Few Things Glenn Burleigh Luther College
False Sir John Daniel Burton Brigham Young University
Famine Song Matthew Culloton Brigham Young University
Fanfare Jacques-Nicolas Lemmens Belmont University
Fanfare of Praise Sandra Milliken Wheaton College
Far Over the Misty Mountains Cold (from The Hobbit) Howard Shore Brigham Young University
Far, Far Away on Judea's Plains John Macfarlane Brigham Young University
Father in Heaven arr. Robert Cundick Brigham Young University
Fear Not Todd Syswerda Brigham Young University
Feng Yang Hua Gu arr. Jing Ling Tam Brigham Young University
Festival Gloria Randall Johnson Wheaton College
Festival Te Deum Benjamin Britten Belmont University, Luther College
271
Fields of Gold Sting Brigham Young University
Finale (from King David) Arthur Honegger Luther College
Finlandia Hymn Jean Sibelius Luther College
First Noel, The arr. Dan Forrest Brigham Young University
First Nowell, The arr. David Wilcocks Pacific Lutheran University
First Nowell, The arr. Mack Wilberg Luther College
First You Have a Dream K. Newell Dayley & Kander & Ebb Brigham Young University
Five Hebrew Love Songs Eric Whitacre Belmont University, Wheaton College
Five Slovak Folk Songs Béla Bartók Pacific Lutheran University
Fix Me, Jesus arr. Robert Morris Belmont University
Fly, Singing Bird Sir Edward Elgar Wheaton College
Flying Rachel Fogarty Belmont University
For Him All Stars Have Shown Bob Chilcott Brigham Young University
For the Strength of the Hills Evan Stephens/arr. Ronald Staheli Brigham Young University
For the Strength of the Hills Evan Stephens/arr. Thomas Durham Brigham Young University
For Unto Us a Child Is Born (from Messiah) George Friedrich Handel Luther College
Fratres in Unum Jim Leininger Pacific Lutheran University
Freedom Song arr. Rollo Dilworth Brigham Young University
Freedom Song Robert Kyr Pacific Lutheran University
From Behind the Caravan: Songs of Hâfez Abbie Betinis Pacific Lutheran University
From Light to Light J. Aaron McDermid Pacific Lutheran University
Fuji David Childs Pacific Lutheran University
Fum, Fum, Fum arr. Mack Wilberg Brigham Young University
Fürchte dich nich, ich bin bei dir, BWV 228 Johann Sebastian Bach Luther College
Gabí, Gabí arr. William Powell Wheaton College
Gabriel's Message arr. Joshua Shank Pacific Lutheran University

Gabriel's Oboe (from the motion picture The Mission) Ennio Morricone/arr. Jennaya Luther College
Gallant Weaver James MacMillan Pacific Lutheran University
272
Gaudete arr. Karl Jenkins Brigham Young University
Gaudete Omnes (from Cantiones Sacrae) Jan Pieterszoon Sweelinck Luther College
Gaudete! arr. Michael Engelhardt Luther College, Wheaton College
Geistliches Lied, Op. 30 Johannes Brahms Brigham Young University, Pacific Lutheran
Gentle Annie Stephen Foster/arr. Alice Parker & Pacific Lutheran University
Geographic Fugue Ernst Toch Wheaton College
Gesú Bambino Pietro A. Yon Brigham Young University
Get Down to Bethlehem John William Trotter Wheaton College
Ghospodi, pomiluy Grigory Lvovsky Wheaton College
Ghost Riders in the Sky (American Cowboy Song) arr. Ronald Staheli Brigham Young University
Giá torna a rallergrar l'aria e la terra Luca Marenzio Pacific Lutheran University
Gift, The J.A.C. Redford Pacific Lutheran University
Give Ear to My Prayer, O God, Op. 26 Alexander Gretchaninov Wheaton College
Give Me Jesus arr. Larry L. Fleming Pacific Lutheran University, Wheaton College
Give peace, O Lord, in our time Jeff Enns Luther College
Gjendines bådnlåt arr. Gunnar Eriksson Belmont University
Gladsome Light Pavel Chesnokov Wheaton College
Global Chant None Belmont University
Gloria Greg Knauf Belmont University
Gloria John Rutter Pacific Lutheran University
Gloria Ola Gjeilo Wheaton College
Gloria Randol Alan Bass Luther College
Gloria (from B Minor Mass) Johann Sebastian Bach Wheaton College
Gloria (from Gospel Mass) Robert Ray Brigham Young University
Gloria (from Mass, Op. 84) Vincent Persichetti Brigham Young University
Gloria (from Missa Brevis) Nancy Telfer Pacific Lutheran University
Gloria (from Missa Brevis) Richard Rodney Bennett Brigham Young University
Gloria (from Missa in tempore belli, Hob. XXII:9) Franz Joseph Haydn Brigham Young University, Luther College
Gloria (from Missa Saõ Sebastiaõ) Heitor Villa-Lobos Pacific Lutheran University
Gloria & Agnus Dei (from Missa in Fa) Jirí Laburda Pacific Lutheran University
273
Gloria Dios (from Misa Criolla) Ariel Ramirez Luther College
Gloria Fanfare Jeffery Ames Wheaton College
Gloria in Excelsis (from Gloria) Antonio Vivaldi Luther College, Pacific Lutheran University
Gloria in Excelsis (from Mass in B-minor, BWV 232) Johann Sebastian Bach Pacific Lutheran University
Gloria in excelsis Deo Paul Halley Brigham Young University
Gloria in excelsis Deo Thomas Weelkes Brigham Young University, Pacific Lutheran
Gloria Patri (from Dixit Dominus) George Frederic Handel Wheaton College
Glorificamus Te! Daniel Kallman Brigham Young University
Glory Hallelujah to the New Born King Mark Butler Belmont University
Glory to God in the Highest Randall Thompson Brigham Young University
Glory to God in the Highest (from Messiah) George Friedrich Handel Luther College
Glory to God on High (from Missa Brevis) Richard Rodney Bennett Brigham Young University
Glory to the Newborn King Moses Hogan Pacific Lutheran University
Glossolalia J.A.C. Redford Pacific Lutheran University
Go, Lovely Rose Eric Whitacre Luther College, Pacific Lutheran University
Go, Tell It on the Mountain arr. John Work III Pacific Lutheran University
Go, Tell It On the Mountain arr. Thurlow Steffy Brigham Young University
Go, Tell It On the Mountain (from Three Spirituals) K. Scott Warren Brigham Young University
God Be In My Head Jackson Berkey Pacific Lutheran University
God Be In My Head John Rutter Belmont University
God Be With You Andal Sowithu Belmont University
God Be With You Till We Meet Again William Tomer/arr. Joseph Graham Belmont University
God Protect Us From War Veljo Tormis Wheaton College
God Rest Ye Merry, Gentlemen arr. Stephen Oliver Brigham Young University
God Thou Art Love Craig Courtney Luther College
Goin' Home Antonín Dvorák/arr. Michael Murray Pacific Lutheran University
Goin' Home (from New World Symphony) Antonin Dvorak/arr. William Fisher Brigham Young University
Good Christian Friends Rejoice arr. Hal Hopson Pacific Lutheran University
Good Night Dear Heart Dan Forrest Belmont University
Goslings, The arr. Rosalind Hall Brigham Young University
274
Gospel Mass Robert Ray Belmont University
Gott ist mein Hirt Franz Schubert Wheaton College
Grace arr. Mark Hayes Brigham Young University
Grace Before Sleep Susan LaBarr Brigham Young University, Luther College
Grant Us Thy Peace (Verleih uns Frieden) Felix Mendelssohn-Bartholdy Brigham Young University
Gratias agimus tibi (for HW) David Gordon Wheaton College
Great Day arr. Moses Hogan Pacific Lutheran University
Great Day arr. Stacey Gibbs Brigham Young University
Greensleeves arr. Ralph Vaughan Williams Pacific Lutheran University
Grosser Herr, o starker König (from Christmas Oratorio) Johann Sebastian Bach Wheaton College
Ground, The (from Sunrise Mass) Ola Gjeilo Luther College, Pacific Lutheran University
Haec Dies Wiliam Byrd Luther College
Hail to the Brightness of Zion's Glad Morning Edwin Parry/arr. Ronald Staheli Brigham Young University
Hail, Gladdening Light Charles Wood/ed. Denis Mason Pacific Lutheran University
Hallelujah William Walker/arr. Jean Applonie Brigham Young University
Hallelujah Chorus (from Christ on the Mount of Olives, Op. Ludwig van Beethoven Brigham Young University
Hallelujah Chorus (from Messiah) George Frideric Handel Brigham Young University
Hallelujah, Amen (from Judas Maccabaeus) George Frideric Handel/arr. Brigham Young University
Hamisha Asar Flory Jagoda/arr. Nick Page Brigham Young University
Hand Me Down That Can of Beans (from Paint Your Wagon) Frederick Lowe/arr. Lyle Durland Brigham Young University
Hands That First Held Mary's Child, The Dan Forrest Wheaton College
Happy Pharell Williams/arr. Mark Brymer Brigham Young University
Hark, I Hear the Harps Eternal arr. Alice Parker Brigham Young University, Pacific Lutheran
Hark, I Hear the Harps Eternal arr. Craig Carnahan Luther College, Wheaton College
Hark, the Herald Angels Sing Felix Mendelssohn-Bartholdy/arr. Luther College
Hark! The Herald Angels Sing arr. David Wilcocks Pacific Lutheran University
275
Harold in Italy, Op. 16 Hector Berlioz Pacific Lutheran University
Harvester's Song Jean Berger Belmont University
Hava nagila arr. Bryan Davies Brigham Young University
He Ain't Heavy, He's My Brother Bobby Scott/arr. Jay Althouse Brigham Young University
He is Born arr. Donna Garman Schultz Pacific Lutheran University
He Is Born! arr. Dan Forrest Brigham Young University
He Is Risen! Joachim Neander/arr. David Brigham Young University
He Never Failed Me Yet Robert Ray Belmont University
He'll Make a Way Byron Smith Luther College
He's Gone Away arr. Cathy DeRousse Brigham Young University
He's Got the Whole World in His Hands arr. Keith Hampton Luther College
Hear My Prayer Henry Purcell Wheaton College

Heart In Hiding, A Gwyneth Walker Pacific Lutheran University
Heart! We Will Forget Him James Mulholland Wheaton College
Heaven André Thomas Brigham Young University
Heaven-Haven (A Nun takes the Veil) Samuel Barber Pacific Lutheran University
Heavens are Telling, The (from The Creation) Franz Joseph Haydn Belmont University
Helehlooyuh: A Joyful Expression James Furman Belmont University
Hello Girls Lloyd Pfautsch Pacific Lutheran University
Herbstlied (from Six Duets for Soprano and Alto, Op. 63) Felix Mendelssohn Bartholdy Pacific Lutheran University
Here 'Mid The Ass and Oxen Mild arr. Alice Parker & Robert Shaw Pacific Lutheran University
Here Comes the Sun George Harrison/arr. Deke Sharon Brigham Young University
Here I Am Lord arr. Ovid Young Luther College
Hernando's Hideaway Richard Adler & Jerry Ros/Arr. Brigham Young University
Hey Jude John Lennon & Paul McCartney/arr. Brigham Young University
High Barbary arr. Gregg Smith Brigham Young University
High Word of God, Eternal Light arr. David Willcocks Brigham Young University
Himne Roelof Temmingh Belmont University
276
Hineni Lee Kesselman Wheaton College
Hippopotamus Song, The Donald Swann & Michael Brigham Young University
Hlonofatsa Arr. April Hohne Belmont University
Hodie Joan Szymko Luther College
Hodie Christus Natus Est arr. Agneta Sköld Luther College
Hodie Christus Natus Est Craig Phillips Pacific Lutheran University
Hodie Christus Natus Est Francis Poulenc Pacific Lutheran University
Hodie Christus Natus Est Jan Pieterszoon Sweelinck Pacific Lutheran University
Hodie Christus Natus est Paul Basler Brigham Young University, Wheaton College
Hodie Scietis (Gregorian) Anonymous Pacific Lutheran University
Hodie: A Cantata for Christmas Ralph Vaughan Williams Belmont University
Hoffnung Fanfare, A Malcolm Arnold Belmont University
Hoist the Colours (from Pirates of the Carribean: At World's Hans Zimmer/arr. Kameron Jacobs Pacific Lutheran University
Hold Me Rock Me Brian Tate Belmont University, Brigham Young University
Hold On arr. Marques Garrett Brigham Young University
Hold On (from The Secret Garden) arr. Ronald Staheli Brigham Young University
Hold On! arr. Eugene Thamon Simpson Wheaton College
Hold On! arr. Moses Hogan Belmont University, Luther College
Hold On! Jester Hairston Belmont University
Holy Is the Lord Jeffery Ames Wheaton College
Holy, Radiant Light Alexander Gretchaninov Luther College
Home Aaron Jay Kernis Brigham Young University
Home Ingrid Michaelson/arr. Allie Senyard, Belmont University
Home in-a dat Rock arr. Moses Hogan Brigham Young University
Home is a Special Kind of Feeling John Rutter Brigham Young University
Home on the Range arr. Greg Gilpin Wheaton College
Home on the Range Daniel Kelley/arr. Paul Pert Brigham Young University
Homeward Bound Marta Keen Brigham Young University
277
Hope for Resolution arr. Paul Caldwell & Sean Ivory Luther College
Hope, Faith, Life, Love Eric Whitacre Luther College
Hosanna to the Son of David Orlando Gibbons Luther College
Hosanna to the Son of David Thomas Weelkes Luther College
How Can I Cry? Moira Smiley Belmont University
How Can I Keep from Singing Robert Wadsworth Lowry/arr. Pacific Lutheran University
How Can I Keep from Singing? arr. Ronald Staheli Brigham Young University
How Can I Keep from Singing? arr. Ronald Staheli Pacific Lutheran University
How Do I Love Thee? Nathan Christensen Brigham Young University
How Firm a Foundation arr. Emma Lou Diemer Brigham Young University
How Great Our Joy arr. Craig Courtney Luther College
How I came to Be John Frederick Paul Pacific Lutheran University
How Like An Angel Came I Down Rupert Lang Pacific Lutheran University
How Lovely is Thy Dwelling Place John Leavitt Brigham Young University
How Lovely is Thy Dwelling Place (from Ein Deutches Johannes Brahms Luther College
How Shall I Sing That Majesty? Ken Naylor/arr. Alistair Warwick Brigham Young University
Hvalite ímia Ghospódñe (no. 8 from All Night Vigil) Sergei Rachmaninoff Belmont University
Hymn to St. Ceclia, Op. 27 Benjamin Britten Pacific Lutheran University
i am a little church Daniel Brewbaker Wheaton College
I Am Not Yours David N. Childs Pacific Lutheran University
I Am the Rose of Sharon William Billings Brigham Young University
I Believe This Is Jesus arr. Undine Smith Moore Luther College
I Bought Me a Cat arr. Aaron Copland Wheaton College
I Can Feel the Spirit Jeffery Ames Belmont University
I Can Tell The World arr. Moses Hogan Pacific Lutheran University
I Carry Your Heart David Zabriskie Brigham Young University
I Dwell in Possibility Brian Edward Galante Pacific Lutheran University
I Got Plenty O' Nuttin' George Gershwin/arr. William Wheaton College
278
I Got Shoes arr. Alice Parker Belmont University
I Hate And I Love Dominick Argento Pacific Lutheran University
I Have Called You by Name Stephen Paulus Luther College
I Have Had Singing Steven Sametz Brigham Young University
I Know an Old Woman Rose Bonne & Alan Mills/arr. Daryl Brigham Young University
I Know That My Redeemer Lives Lewis Edwards/arr. Laurence Lyon Brigham Young University
I Need Thee Every Hour Robert Lowry/arr. Gilbert Martin Brigham Young University
I Sat Down Under His Shadow Edward Bairstow Luther College
I Saw Three Ships arr. Edwin Fissinger Pacific Lutheran University
I Saw Three Ships arr. Mark Riese Brigham Young University
I Saw Three Ships Michael Harrison Brigham Young University
I See the Heaven's Glories Shine Andrea Ramsey Wheaton College
I Shall See Michael John Trotta Belmont University
I Sing as I Arise Today James Fritschel Luther College
I Stand All Amazed Charles Gabriel/arr. David Zabriskie Brigham Young University
I Thank You God Gwyneth Walker Brigham Young University, Pacific Lutheran
I Thank You God For Most This Amazing Day Eric Whitacre Pacific Lutheran University
Gustav Holst/arr. Brian Edward
I Vow to Thee, My Country Pacific Lutheran University
Galante
I Wanna Be Like You (from The Jungle Book) arr. Lyle Durland Brigham Young University
I Want Jesus to Walk With Me arr. Byron Smith Luther College
I Want Jesus to Walk with Me arr. Richard Nance Brigham Young University, Wheaton College
I was glad when they said unto me C. Hubert Parry Luther College
I Will Be Earth Gwyneth Walker Pacific Lutheran University
I Will Lift Mine Eyes Jake Runestad Luther College
I Will Lift Up My Eyes Z. Randall Stroope Pacific Lutheran University
I Will Not Leave You Comfortless William Byrd Brigham Young University
279
I Will Praise Thee, O Lord Knut Nysted Luther College
I Will Sing With the Spirit John Rutter Pacific Lutheran University
I Won't Say (I'm in Love) (from Hercules) Alan Menken Brigham Young University
I Won't Say I'm in Love/I'll Make a Man Out of You Alan Menken/arr. Raluca Bojor Wheaton College
I Wonder As I Wander arr. J. Aaron McDermid Brigham Young University
I Wonder as I Wander arr. Steve Pilkington Pacific Lutheran University
I Wonder As I Wander John Jacob Niles/arr. Matthew Brigham Young University
I Would Live in Your Love Nathan Jones Pacific Lutheran University
I'll Go Where You Want Me to God Carrie Rounsefall/arr. Matthew Brigham Young University
I'll Never Turn Back No More R. Nathaniel Dett/arr. Edward Wheaton College
I'm Goin' Up a Yonder Walter Hawkins/arr. Martin Sirvatka Pacific Lutheran University, Wheaton College
I'm Gonna Sing 'Til the Spirit Moves in my Heart arr. Moses Hogan Luther College
I'm Wishing/One Song (from Snow White) Larry Morey & Frank Churchill Brigham Young University
I've Been in the Storm So Long arr. Jeffery Ames Belmont University, Pacific Lutheran University
I've Been in the Storm So Long arr. Mark Hayes Brigham Young University
Ich wollt', meine Lieb' ergösse sich (from Six Duets for
Felix Mendelssohn Bartholdy Pacific Lutheran University
Soprano and Alto, Op. 63)
Identity (from Cantos sagrados) James MacMillan Wheaton College
If Music Be the Food of Love David Dickau Belmont University
If Ye Love Me Thomas Tallis Wheaton College
If Ye Then Be Risen Daniel Moe Brigham Young University
If You Remember Me Deen Entsminger Belmont University
Il est né le divin enfant arr. David Wilcocks Pacific Lutheran University
Il est né le divin enfant arr. Nicholas Burt Luther College
Immortal Bach Knut Nystedt Wheaton College
Impossible Dream, The (from Man of La Mancha) Mitch Leigh/arr. Nathan Hoffeins Brigham Young University
In Caelum Fero (from Songs of Sanctuary) Karl Jenkins Brigham Young University
In dat Great Gittin' Up Mornin' Jester Hairston Pacific Lutheran University
In dulci jubilo Johann Sebastian Bach Brigham Young University
280
In Flanders Fields Paul Aitken Brigham Young University
In Heaven Above arr. Daniel Kallman Luther College
In Humility, Our Savior Rowland Prichard/arr. Patrick Brigham Young University
In Judah's Land arr. Michael Eglin Brigham Young University
In paradisum Matthew Nielsen Brigham Young University
In paradisum Michael Mendoza Pacific Lutheran University
In Remembrance (from Requiem) Eleanor Daley Pacific Lutheran University
In Slumber, Peaceful Slumber Christian Gregor Belmont University
In the Beginning Aaron Copland Wheaton College
In the Bleak Midwinter arr. Brian Edward Galante Pacific Lutheran University
In the Bleak Midwinter Gustav Holst Brigham Young University
In the Bleak Midwinter Gustav Holst/arr. Abbie Betinis Luther College, Pacific Lutheran University,
In the Bleak Midwinter Gustav Holst/arr. Harold Darke Brigham Young University, Luther College
In the Bleak Midwinter Gustav Holst/arr. Ola Gjeilo Luther College
In the Evening Deen Entsminger Belmont University
In the Still of the Night Cole Porter/arr. Roy Ringwald Luther College
In the Sweet By and By Joseph Webster/arr. Daniel Hall Wheaton College
In Windsor Forest Ralph Vaughan Williams Pacific Lutheran University
In Your Voice Deen Entsminger Belmont University
Incantations Michael McGlynn Belmont University, Pacific Lutheran University
Indianas Carlos Guastavino Wheaton College
Infant Holy arr. Penny Rodriguez Brigham Young University
Infant Holy, Infant Lowly arr. Paul Christiansen Luther College
Inter natos mulierum Wolfgang Amadeus Mozart Brigham Young University
Intercession in Late October (from Mid-winter Songs) Morten Lauridsen Pacific Lutheran University
Iron Rod, The William Clayson/arr. Ronald Staheli Brigham Young University
Isaiah 44:3 Jackson Berkey Brigham Young University, Wheaton College
Isn't That Something? David Brunner Wheaton College
It Was a Lover and His Lass John Rutter Brigham Young University
Jabberwocky Sam Pottle Pacific Lutheran University
281
Jacob's Ladder arr. Gilbert Martin Brigham Young University
Jauchzet dem Herrn Felix Mendelssohn Bartholdy Pacific Lutheran University
Jauchzet dem Herrn alle Welt, BWV Anhang 160 Johann Sebastian Bach Belmont University, Luther College
Jeanie with the Light Brown Hair arr. David Dusing Brigham Young University
Jeg er saa glad arr. Sandra Peter Luther College

Jehovah Hear Our Prayer Ron Nelson Brigham Young University
Jennie Kiss'd Me Eric William Barnum Brigham Young University
Jerusalem arr. Michael McGlynn Belmont University
Jerusalem Luminosa Abbie Betinis Belmont University
Jesu Andrea Ramsey Pacific Lutheran University
Jesu, dulcis memoria Connor Koppin Wheaton College
Jesu, dulcis memoria Tomás Luis de Victoria Brigham Young University
Jesu, Joy of Man's Desiring Johann Sebastian Bach/arr. Brigham Young University
Jesu, Meine Freude Johann Sebastian Bach Luther College
Jesus Christ the Apple Tree Elizabeth Poston Wheaton College
Jesus I Adore Thee Stephen Caracciolo Brigham Young University
Jesus Is the Song David Danner Wheaton College
Jesus Lover of My Soul Joseph Holbrook/arr. Jean Applonie Brigham Young University
Jesus Loves Me William Bradbury/arr. Doris Nelson Belmont University
Jesus Once of Humble Birth Giacomo Meyerbeer/arr. Christopher Brigham Young University
Jesus, the Very Thought of Thee Bernard of Clairvaux/arr. Daniel Brigham Young University
Jesus, the Very Thought of Thee Eric Thiman Wheaton College
John the Revelator arr. Paul Caldwell & Sean Ivory Belmont University
Johnny Comes Marching Home arr. David Zabriskie Brigham Young University
Johnny I Hardly Knew Ye arr. Alice Parker Pacific Lutheran University
Jonah's Song Peter Schickele Brigham Young University
Jordan's Angels arr. Rollo Dilworth Brigham Young University
Joshua Fit the Battle of Jericho arr. Edwin Fissinger Luther College
Journey Home Abbie Betinis Brigham Young University
282
Joy Shall Be Yours in the Morning Z. Randall Stroope Pacific Lutheran University
Joy to the World arr. John Rutter Pacific Lutheran University
Joy to the World arr. Michael Culloton Brigham Young University
Jubilant Song Mark Hayes Brigham Young University
Jubilant Song, A Norman Dello Joio Belmont University, Brigham Young University
Jubilate Deo Agneta Sköld Luther College
Jubilate Deo Benjamin Britten Brigham Young University
Jubilate Deo Fredrik Sixten Pacific Lutheran University
Jubilate Deo Ko Matsushita Pacific Lutheran University
Jubilate Deo Peter Anglea Brigham Young University
Jubilate Deo (from Tres Cantus Laudendi) Mack Wilberg Brigham Young University
Jubilate Deo Omnis Terra Flor Peeters Wheaton College
Jungle Rhythm arr. Lyle Durland Brigham Young University
Justorum animae Gabriel Jackson Brigham Young University
Justorum animae Orlandus Lassus Pacific Lutheran University
Kafal Sviri Petar Liondev Pacific Lutheran University
Kala Kalla (from Five Hebrew Love Songs) Eric Whitacre Brigham Young University
Kalinda Sydney Guillaume Belmont University
Ke Alaula (Hawaiian) Louis "Moon" Kauakahi/arr. Carl Brigham Young University
Keep on Singing Simon Wawer Wheaton College
Kia Hora Te Marino Christopher Tin Brigham Young University
King is Born, A arr. Tim Sarsany Luther College
King of Love, The arr. Paul Christiansen Luther College
King Shall Rejoice, The, HWV 261 George Frideric Handel Belmont University, Luther College
Kiss the Girl Alan Menken/arr. Kirby Shaw Wheaton College
Kittery William Billings Brigham Young University
Komm, Heil'ger Geist George Schumann Wheaton College
Kua Rongo Mai Koe arr. Eddie Quald Brigham Young University
Kung Liljekonvalje David Wikander Pacific Lutheran University
283
Kyrie Nick Dahlquist Luther College
Kyrie William Byrd Wheaton College
Kyrie (from Kleine Orgelmesse) Franz Josef Haydn Brigham Young University
Kyrie (from Mass in C Major, Op. 86) Ludwig van Beethoven Brigham Young University
Kyrie (from Mass in G Minor) Johann Sebastian Bach Brigham Young University
Kyrie (from Messe cum jubilo) Maurice Duruflé Brigham Young University
Kyrie (from Missa Brevis in C minor) Imant Raminsh Wheaton College
Kyrie (from Missa Secunda) Hans Leo Hassler Belmont University
Kyrie Eleison Hans Leo Hassler Belmont University
Kyrie eleison (from Missa Rigensis) Ugis Praulinš Luther College
Kyrie eleison (from Missa Saõ Sebastiaõ) Heitor Villa-Lobos Pacific Lutheran University
L'Enfant Prodigue (The Prodigal Son) Claude Debussy Pacific Lutheran University
La cucaracha arr. Robert Sund Brigham Young University, Pacific Lutheran
La Lumiere René Clausen Belmont University
La Nanita Nana, A arr. Dan Davison Wheaton College
La nuit en mer (from Trois Chansons Bretonnes) Henk Badings Belmont University, Pacific Lutheran University
Laetatus sum Niccola Porpora Wheaton College
Lamb, The Ken Neufeld Luther College
Lament for Pasiphaë (from Mid-winter Songs) Morten Lauridsen Pacific Lutheran University
Lamentations of Jeremiah Z. Randall Stroope Belmont University
Lamentations of Jeremiah I Thomas Tallis Wheaton College
Lamentations of Jeremiah II Thomas Tallis Wheaton College
Lashana Haba'a BiYerushalayim arr. Shawn Kirchner Wheaton College
Lass dich nur nichts nicht dauren Johannes Brahms Luther College
Last Letter Home Lee Hoiby Pacific Lutheran University
Last Words of David, The Randall Thompson Belmont University, Wheaton College
Lauda Anima Mark Andrews Wheaton College
Laudamus te (from Gloria) Antonio Vivaldi Wheaton College
284
Laudate Dominum Egil Hovland Pacific Lutheran University
Laudate Dominum omnes gentes Tomás Luis de Victoria Brigham Young University
Laudate Nomen Carlyle Sharpe Brigham Young University
Laudate Pueri (from Vesperae solennes de confessor K. 339) Wolgang Amadeus Mozart Belmont University
Laudate pueri Dominum Michael Haydn Wheaton College
Laudate Pueri Dominum, Op. 39, no. 2 Felix Mendelssohn-Bartholdy Brigham Young University, Pacific Lutheran
Lauliku lapsepõli arr. Veljo Tormis Pacific Lutheran University
Lay a Garland Robert Lucas Pearsall Pacific Lutheran University
Lay Earth's Burden Down Paul Caldwell & Sean Ivory Pacific Lutheran University
Lay Me Low (from Five Shaker Songs) arr. Kevin Siegfried Brigham Young University
Lay Me Low (from Five Shaker Songs) arr. Kevin Siegfried Brigham Young University
Lay Up Your Treasures Pepper Choplin Luther College
Le Chant des Oyseaux Clément Janequin Pacific Lutheran University
Le Reniement de St. Pierre Marc-Antoine Charpentier Wheaton College
Lead Me to the Cross Brooke Fraser Wheaton College
Lead, Kindly Light arr. David Zabriskie Brigham Young University
Lean on Me Bill Withers Brigham Young University
Leave-taking, The Randall Thompson Wheaton College
Leonardo Dreams of His Flying Machine Eric Whitacre Brigham Young University, Pacific Lutheran
Les Chansons des Roses Morten Lauridsen Belmont University
Les jeux d'eaux à la Villa d'Este Franz Liszt Wheaton College
Let All Mortal Flesh Keep Silent Edward Bairstow Luther College
Let All the World in Every Corner Sing Sven Lekberg Brigham Young University
Let It Go (from Frozen) Robert & Kristen Lopez/arr. Lyle Brigham Young University
Let Me Fly arr. Rollo Dilworth Brigham Young University
Let My Prayer Come Up John Blow Wheaton College
George Frideric Handel/arr. Ronald
Let Singing Lift Our Hearts Above Brigham Young University
Staheli
Let There Be Light Craig Courtney Wheaton College
285
Let This Mind Be In You Jonathan Veenker Wheaton College
Let Thy Hand Be Strengthened, HWV 259 George Frideric Handel Belmont University
Let Your Eye Be to the Lord (No. 3 of William Penn Daniel Moe Luther College
Let Zion in Her Beauty Rise Edward Partridge/arr. James Kasen Brigham Young University
Letter From a Girl to the World Andrea Ramsey Belmont University
Liebeslieder Walzer (Nos. 8 & 9) Johannes Brahms Luther College
Liebeslieder Walzer (Nos. 9, 11, & 15) Johannes Brahms Brigham Young University
Lift Thine Eyes (from Elijah) Felix Mendelssohn Bartholdy Pacific Lutheran University
Light Deen Entsminger Belmont University
Light Everlasting Olaf Christiansen Luther College
Light of a Clear Blue Morning arr. Craig Hella-Johnson Belmont University, Pacific Lutheran University
Light of a Clear Blue Morning Dolly Parton Belmont University
Lightener of the Stars, The J. Michael Saunders Pacific Lutheran University
Lighthearted Lovers, The Kirke Mechem Pacific Lutheran University
Like As the Hart Maurice Greene Wheaton College
Like as the hart desireth the waterbrooks Herbert Howells Luther College
Like Snow (from Mid-winter Songs) Morten Lauridsen Pacific Lutheran University
Lilacs and Rain Neil Pfeifer Pacific Lutheran University
Little Drummer Boy Katherine Davis Brigham Young University
Little Elegy Stephen Paulus Brigham Young University
Little Innocent Lamb arr. Marshall Bartholomew Wheaton College
Little Tree Deen Entsminger Belmont University
little tree Eric Whitacre Wheaton College
Lo, How a Rose E'er Blooming arr. Allen Koepke Luther College
Lobet den Herrn, alle Heiden, BWV 230 Johann Sebastian Bach Brigham Young University, Luther College,
Loch Lomond arr. Anne-Marie Hildebrandt Brigham Young University
Loch Lomond arr. Jonathan Quick Wheaton College
Locus iste Paul Mealor Belmont University
Log Driver's Waltz, The Wade Hemsworth/arr. Ron Small Pacific Lutheran University
Long Ago and Far Away (from Cover Girl) George Gershwin/arr. Mark Hayes Brigham Young University
Long Road Ēriks Ešenvalds Brigham Young University
286
Long Road, The Ēriks Ešenvalds Brigham Young University
Long Time Trav'ling Abbie Betinis Wheaton College
Long, Long Ago arr. Dan Forrest Brigham Young University
Long, Long Ago Herbert Howells Pacific Lutheran University
Look Down, Fair Moon Brian Edward Galante Pacific Lutheran University
Lord Is My Light, The John Hatton/arr. James Kasen Brigham Young University
Lord Is My Shepherd, The Randall Thompson Brigham Young University
Lord Is My Shepherd, The Thomas Koshat/arr. K. Newell Brigham Young University
Lord is the Everlasting God, The Kenneth Jennings Luther College
Lord, My God, I Trust in Thee Johann Heinrich Lützel Brigham Young University
Lord's Prayer, The B. Cecil Gates Brigham Young University
Lord's Prayer, The David Childs Wheaton College
Lost in Wonder W.P. Rowlands/arr. Claude Bass Brigham Young University
Love Came Down at Christmas Edwin Fissinger/arr. Mary Geston Luther College
Love divine, all loves excelling arr. Mack Wilberg Luther College
Love is a Rain of Diamonds Gwyneth Walker Wheaton College
Love is Come Again arr. Jody Lindh Brigham Young University
love is the every only god J.A.C. Redford Pacific Lutheran University
Love Is the Key Zebulon Highben Luther College
Love Never Ends Eleanor Daley Brigham Young University
Love Songs in the Round John Biggs Wheaton College
Love's Philosophy Roger Quilter/arr. Rosalind Hall Brigham Young University
Lucis Creator Optime Vytautas Miškinis Pacific Lutheran University
Lullaby, A Deen Entsminger Belmont University
Lullay Alleluia arr. Ruth Elaine Schram Brigham Young University
Lute-Book Lullaby arr. John Rutter Pacific Lutheran University
Luther Mass Stephen Paulus Luther College
Lux Aeterna Brian Schmidt Belmont University
Lux Aeterna Jesús Gómez Pacific Lutheran University
287
Lux Aeterna Morten Lauridsen Pacific Lutheran University, Wheaton College
Lux Aeterna Nathan Frank Pacific Lutheran University
Lux Aurumque Eric Whitacre Pacific Lutheran University
Lydia's Romance Kirke Mechem Pacific Lutheran University
Lyric Pieces, Op. 57 Edvard Grieg Pacific Lutheran University
Machet Die Tore Weit Andreas Hammerschmidt Luther College
Machet die Tore weit Gottfried August Homilius Pacific Lutheran University
Madrigali (Six "Fire Songs" on Italian Renaissance Poems) Morten Lauridsen Pacific Lutheran University
Magnificat Agneta Sköld Pacific Lutheran University
Magnificat Charles Theodore Pachelbel Pacific Lutheran University
Magnificat Franscesco Durante Brigham Young University
Magnificat Fredrik Sixten Pacific Lutheran University
Magnificat Healey Willan Wheaton College
Magnificat Jonathan Willcocks Belmont University
Magnificat Jonathan Willcocks Pacific Lutheran University
Magnificat William Walton Luther College
Magnificat (from The Glory of His Majesty) Jackson Berkey Brigham Young University
Magnificat Gloria Alberto Grau Wheaton College
Magnificat I Giles Swayne Belmont University
Maila arr. Ronald Staheli Brigham Young University
Mairi's Wedding arr. Dave & Jean Perry Brigham Young University
Majesty and Glory of Your Name, The Tom Fettke Luther College
Make Our Garden Grow (from Candide) Leonard Bernstein Belmont University
Make We Joy Now in This Feast Malcolm Archer Brigham Young University
Manly Men Kurt Knecht Wheaton College
Many Moods of Christmas, The (Suite One) arr. Robert Shaw & Robert Russell Pacific Lutheran University
Maria Matrem Virginem Michael McGlynn Pacific Lutheran University
Mariah (from Paint Your Wagon) Alan Jay Lerner & Frederick Brigham Young University
Marie (from Sept Chansons) Francis Poulenc Brigham Young University
288
Mary, Molly, and June Vaclav Nelhybel Luther College
Mary, What You Gonna Name that Pretty Little Baby? arr. Laurie Betts Hughes Brigham Young University
Mary's Lullaby Carl Balle, Mike Hegeman, & Mike Luther College
Mass for a New Millennium Richard Nance Pacific Lutheran University
Mass in B Minor, BWV 232 Johann Sebastian Bach Pacific Lutheran University, Wheaton College
Mass in Blue Will Todd Belmont University
Mass in C major, K. 317 Wolfgang Amadeus Mozart Belmont University
Mass in C Major, Op. 86 Ludwig van Beethoven Pacific Lutheran University
Mass in G Franz Schubert Belmont University
Master Shepherd, The S. Gordon Jessop Brigham Young University
Master the Tempest Is Raging H.R. Palmer/arr. Ronald Staheli Brigham Young University
Masters in This Hall arr. Mark Hayes Brigham Young University
Mata del anima sola (Tree of the lonely soul) Antonio Estévez Pacific Lutheran University
Matona mia cara Orlando di Lasso Pacific Lutheran University
May It Be arr. Mark Brymer Belmont University
Merrick arr. Marsha Genensky & Susan Brigham Young University
Messe cum jubilo Maurice Duruflé Pacific Lutheran University
Messiah (excerpts) George Frederick Handel Pacific Lutheran University
Messiah (Part I) George Frideric Handel Belmont University
Mid-Winter Waking (from Mid-winter Songs) Morten Lauridsen Pacific Lutheran University
Midnight Clear arr. Matthew Neilsen Luther College, Pacific Lutheran University
Midwinter Bob Chilcott Brigham Young University
Mighty Fortress is Our God, A arr. Carl Mueller Wheaton College
Mighty Fortress Is Our God, A Martin Luther/arr. W.B. Olds Pacific Lutheran University
Miserere mei, Deus Gregorio Allegri Brigham Young University, Wheaton College
Misericordias Domini Wolfgang Amadeus Mozart (ed. Brigham Young University
Missa Brevis Gabriel Fauré Brigham Young University
Missa Brevis James MacMillan Pacific Lutheran University
Missa Brevis Nancy Telfer Pacific Lutheran University
Missa Brevis Ruth Watson Henderson Pacific Lutheran University
Missa Brevis Zoltán Kodály Pacific Lutheran University
289
Missa Brevis Pacem Edward Gregson Brigham Young University
Missa In Angustiis (Lord Nelson Mass) Franz Joseph Haydn Luther College
Missa in Fa Jirí Laburda Pacific Lutheran University
Missa O Quam Gloriosum Tomás Luis de Victoria Wheaton College
Missa Quinta György Orbán Pacific Lutheran University
Misty Mountains (from The Hobbit: An Unexpected Journey) Howard Shore/arr. Aonso Brizuela Pacific Lutheran University
Misty Mountains Cold Howard Shore/arr. Tom Anderson Brigham Young University
Mitten wir im Leben sind Felix Mendelssohn-Bartholdy Brigham Young University
MLK arr. Bob Chilcott Belmont University, Pacific Lutheran University
Mogami Gawa Funa Uta arr. Osamu Shimizu Pacific Lutheran University
Mon coeur se recommande á vous Orlando di Lasso Belmont University, Brigham Young University
Mondnacht (Op. 22, no. 5) Alexis Hollaender Pacific Lutheran University
Moon Goddess Jocelyn Hagen Belmont University
More Holiness Give Me arr. Ronald Staheli Brigham Young University
Morning Trumpet, The arr. Howard Helvey Brigham Young University
Morning Trumpet, The arr. Mack Wilberg Brigham Young University
Morning Trumpet, The arr. Michael Richardson Wheaton College
Moro, lasso, al mio duolo Carlo Guesaldo da Venosa Pacific Lutheran University
Music of Home, The Frank Loesser Brigham Young University
Musicians wrestle everywhere Elliott Carter Wheaton College
My Child Howard Whitaker Wheaton College
My Eyes Have Seen Holy Bebo Norman/arr. Adam Lindgren Wheaton College
My Flight for Heaven Blake Henson Belmont University, Pacific Lutheran University
My God Is a Rock arr. Daniel Kallman Brigham Young University
My God is So High arr. Moses Hogan Pacific Lutheran University
My God, I Love Thee Shawn E. Okpebholo Wheaton College
My Heart is Inditing, HWV 260 George Frideric Handel Belmont University
My Heart Is Like a Singing Bird Gary Smart Brigham Young University
My Heart Is Longing for Your Love Gregg Smith Brigham Young University
My Lord Has Come Will Todd Luther College
290
My Lord, What a Mornin' arr. Harry Burleigh Brigham Young University, Wheaton College
My Old Kentucky Home Stephen Foster/arr. Donald Moore Brigham Young University
My Prayer arr. Bob Chilcott Wheaton College
My Romance Rogers and Hart, arr. Roy Ringwald Luther College
My Shepherd Will Suppy My Need arr. Mack Wilberg Brigham Young University
My Soul's Been Anchored in the Lord arr. Moses Hogan Luther College, Pacific Lutheran University
My Spirit Is Uncaged Paul Rardin Belmont University, Brigham Young University
My Spirit Sang All Day Gerald Finzi Pacific Lutheran University
Nachtgesang (WoO 21) Felix Mendelssohn Bartholdy Pacific Lutheran University
Nada te Turbe Joan Szymko Luther College
Nativity Carol John Rutter Brigham Young University
Nearer My God to Thee arr. David Zabriskie Brigham Young University
Neckereien Johannes Brahms Brigham Young University
Nelly Bly Stephen Foster/arr. Jack Halloran Pacific Lutheran University
Neue Liebeslieder Walzer, Op. 65 Johannes Brahms Pacific Lutheran University
Nightingale Carol Andrew Carter Brigham Young University
Nigra Sum Pablo Casals Belmont University
Niño de Rosas Steven Sametz Pacific Lutheran University
No Night There! Craig Curry Wheaton College
No Thank You John Ruth Morris Gray Wheaton College
No Time arr. Susan Brumfield Belmont University
No. 1, 4, & 6 (from Sept Chansons) Francis Poulenc Pacific Lutheran University
Noel Brad Holmes Brigham Young University
Noel Todd Smith Luther College
Noél Ayisyen (A Haitian Noël) Emile Desamours Brigham Young University, Luther College
Northern Lights Ēriks Ešenvalds Belmont University, Pacific Lutheran University
Northern Lights Ola Gjeilo Brigham Young University
Not One Sparrow Is Forgotten arr. William Hawley Brigham Young University
Notre Pére Denis Bédard Wheaton College
291
Now Glad of Heart Keaton Lee Scott Brigham Young University
Now I Walk In Beauty Traditional Native American Round Belmont University

Now is the Cool of the Day Jean Ritchie/arr. James Erb Belmont University
Now Our Meeting's Over Jocelyn Hagen Brigham Young University, Wheaton College
Nowell Randall Thompson & Fenno Brigham Young University
Nunc Dimittis Alexander Gretchaninoff Luther College
Nunc Dimittis György Orbán Belmont University
Nyon Nyon Jake Runestad Belmont University
O aula nobilis William Mathias Brigham Young University
O Be Joyful Jeffrey Van Pacific Lutheran University
O Be Joyful in the Lord Howard Helvey Brigham Young University
O Be Joyful in the Lord John Rutter Brigham Young University
O beatum et sacrosanctum Diem Peter Philips Luther College, Pacific Lutheran University
O Bury Me Not arr. Norman Luboff Brigham Young University
O Clap Your Hands Orlando Gibbons Luther College
O Clap Your Hands Ralph Vaughan Williams Luther College, Pacific Lutheran University
O Come All Ye Faithful arr. John Rutter Pacific Lutheran University
O Come All Ye Faithful arr. Tom Trenney Wheaton College
O Come Divine Messiah Howard Helvey Brigham Young University
O Come, All Ye Faithful arr. David Wilcocks Pacific Lutheran University
O Come, All Ye Faithful arr. Mack Wilberg Brigham Young University
O Come, All Ye Faithful John Wade/arr. Richard Elliot Brigham Young University
O Come, Let Us Sing, Op. 87, no. 4 Egil Hovland Wheaton College
O Come, O Come Emmanuel arr. Mark Templeton Luther College
O Day Full of Grace arr. F. Melius Christiansen Luther College, Pacific Lutheran University
O fortuna (from Carmina burana) Carl Orff Brigham Young University
O frondens virga Lee Kesselman Wheaton College
292
O God Our Help in Ages Past arr. Rhonda Woodward Brigham Young University
O Greening Branch Daniel Kellogg Wheaton College
O Holy Night Adolphe Adam Wheaton College
O Holy Night Adolphe Adam/arr. John Rutter Luther College
O how glorious Healey Willan Wheaton College
O ignee Spiritus Hildegard von Bingen Wheaton College
O Jesu Christ, meins Lebens Licht, BWV 118 Johann Sebastian Bach Luther College
O Light of Life Mack Wilberg Brigham Young University, Luther College,
O Lilizela arr. Molly Stone Luther College
O Little Town of Bethlehem arr. Dale Warland Pacific Lutheran University
O Lord God Paul Tschesnokoff Belmont University, Luther College
O Lord, I Would Hear Thy Word (from The Restoration) Merril Bradshaw Brigham Young University
O Lord, Increase My Faith Orlando Gibbons Belmont University
O lux beatissima Joan Szymko Luther College
O Magnum Mysterium Cristobal de Morales Pacific Lutheran University
O Magnum Mysterium Giovanni Gabrieli Brigham Young University
O Magnum Mysterium Kevin Memley Wheaton College
O Magnum Mysterium Morten Lauridsen Belmont University, Brigham Young University,
O Magnum Mysterium Tom Council Brigham Young University
O Magnum Mysterium Tomás Luis de Victoria Brigham Young University
O My Luve's Like a Red, Red Rose René Clausen Belmont University
O Nata Lux Morten Lauridsen Pacific Lutheran University
O Nata Lux Morten Lauridsen Wheaton College
O nata lux Seth Garepy Wheaton College
O nata lux Thomas Tallis Brigham Young University
O nata lux Tom Porter Brigham Young University
O nata lux de lumine (from Canticles of Light) Bob Chilcott Luther College
293
O Praise God in His Holiness Malcolm Archer Brigham Young University
O Praise the Lord Adolphus Hailstork Pacific Lutheran University

O Praise to Thee, My God This Night Thomas Tallis/arr. Jennaya Robison Luther College
O Quam Gloriosum Bethany Randall Wheaton College
O Quam Gloriosum Tomás Luis de Victoria Belmont University, Pacific Lutheran University,
O Radiant Dawn James MacMillan Brigham Young University
O sacrum convivium Kenneth Leighton Wheaton College
O sacrum convivium Ludovico Viadana Pacific Lutheran University
O sacrum convivium Olivier Messiaen Wheaton College
O sacrum convivium Steven Stucky Brigham Young University
O sacrum convivium Thomas Tallis Brigham Young University, Luther College
O sacrum convivium Tomás Luis de Victoria Wheaton College
O sacrum convivium Vytautas Miškinis Pacific Lutheran University
O Savior Hans Leo Hassler/arr. Johann Brigham Young University
O Sing Joyfully Adrian Batten Brigham Young University
O Sing to the Lord Dan Davison Brigham Young University
O Taste and See Douglas Wagner Brigham Young University
O They Tell Me of a Home arr. Shawn Kirchner Brigham Young University
O Thou that Art the Light Gabriel Jackson Brigham Young University
O vis aeternitatis (from Hildegard Triptych) Frank Ferko Brigham Young University
O Vos Omnes Blake Henson Brigham Young University
O Vos Omnes Connor Koppin Luther College
O Vos Omnes Pablo Casals Luther College
O Whistle and I'll Come to Ye arr. Mack Wilberg Brigham Young University, Pacific Lutheran
Oba Ti De arr. Jeffery Ames Luther College
Oculi omnium Bob Chilcott Brigham Young University
Oculus non vidit Rihards Dubra Pacific Lutheran University
Of the Father's Love Begotten arr. John Ness Beck Brigham Young University
294
Oh Danny Boy arr. Ronald Staheli Brigham Young University
Oh, Come All Ye Faithful arr. Dan Forrest Brigham Young University
Oh, Shenandoah arr. Alf Houkom Pacific Lutheran University
Ohana I runga gawa David Hamilton Wheaton College
Ol' Chisholm Trail, The Libby Larsen Brigham Young University
Old Church, The Stephen Paulus Pacific Lutheran University
Old MacDonald Had a Farm arr. Derric Johnson Brigham Young University
Om Kvelden Frank Jones Pacific Lutheran University
On Jordan's Stormy Banks Howard Helvey Brigham Young University
On My Way (from Paint Your Wagon) Alan Jay Lerner & Frederick Brigham Young University
Once in Royal David's City arr. David Willcocks Brigham Young University
Once, As I Remember arr. Charles Wood Pacific Lutheran University
One Hundred Fiftieth Psalm, The Howard Hanson Brigham Young University
One Voice The Wiling Jennys Pacific Lutheran University
One, The Ola Gjeilo Luther College
Only in Sleep Ēriks Ešenvalds Luther College
Onward Christian Soldiers Arthur Sullivan/arr. Lane Johnson Brigham Young University
Order My Steps Jack Shrader Brigham Young University
Orpheus with His Lute Ralph Vaughan Williams/arr. Brigham Young University
Os Justi Eleanor Daley Luther College
Os Justi meditabitur sapientiam Anton Bruckner Belmont University, Brigham Young University,
Osanna Henrik Colding-Jørgensen Pacific Lutheran University
Otche Nash Alexander Gretchaninoff Luther College
Otche Nash Nicolai Kedroff, Sr. Wheaton College
Où S'en vont Ces gais bergers Claude-Bénigne Balbastre Pacific Lutheran University
Our Father Alexander Gretchaninoff Luther College
Over the Rainbow (from The Wizard of Oz) Harold Arlen/arr. Russell Robinson Brigham Young University
Pacific Sanctus Robert Kyr Pacific Lutheran University
295
Palmetto William Hauser/arr. Marsha Brigham Young University
Panem arr. Cole Thannisch & Jake Handy Belmont University
Panis angelicus Richard Wappel Brigham Young University
Parce Domine Jeremy Young Brigham Young University
Pass Me Not, O Gentle Savior William Doane/arr. Mary McDonald Wheaton College
Passing of the Year, The Jonathan Dove Pacific Lutheran University
Passion and Resurrection Ēriks Ešenvalds Pacific Lutheran University
Past Life Melodies Sarah Hopkins Belmont University
Pasture, The (from Frostiana) Randall Thompson Brigham Young University, Wheaton College
Pasture, The (No. 2 from Where the Earth Meets the Sky) Z. Randall Stroope Luther College
Pat-a-pan arr. Mark Burrows Brigham Young University
Patapan arr. Sandra Peter Luther College
Pater Noster Albert de Klerk Belmont University
Pater Noster Jacob Handl Luther College
Peace Like a River arr. Ronald Staheli Brigham Young University
People, Look East Drew Collins Brigham Young University
Persischer Nachtgesang Friedrich Silcher Pacific Lutheran University
Personent Hodie John Rutter Pacific Lutheran University
Petites Voix Francis Poulenc Pacific Lutheran University
Peze Kafé arr. Sten Källman Belmont University
Pie Jesu (from Requiem) Gabriel Fauré Brigham Young University
Pilgrim Song Ryan Murphy Brigham Young University
Pilgrim's Chorus (from Tannhäuser) Richard Wagner Pacific Lutheran University, Wheaton College
Pilgrims' Hymn (from The Three Hermits) Stephen Paulus Brigham Young University, Luther College,
Placido é il mar Wolfgang Amadeus Mozart Brigham Young University
Plagues, The (from The Prince of Egypt) Stephen Schwartz Brigham Young University
Poor Wayfaring Man of Grief, A arr. Ronald Staheli Brigham Young University
Poor Wayfaring Stranger arr. Jonathan Rodgers Brigham Young University
Poor Wayfaring Stranger, A arr. Jonathan Rodgers Brigham Young University
296
Pour Our Love On You Elena Aronson/Deleyse Rowe Wheaton College
Praise Him Michael Cox Brigham Young University
Praise to the Light of the World Lee Kesselman Wheaton College
Praise to the Lord arr. F. Melius Christiansen Luther College, Pacific Lutheran University
Praise to the Lord the Almighty arr. Tess Milby Wheaton College
Praise Ye the Lord Alan Hovahness Belmont University
Prayer René Clausen Luther College
Prayer for Choirs, A Alice Parker Wheaton College
Prayer for Grace Daniel Gawthrop Belmont University
Prayer of the Cat Ivor Davies Belmont University
Prayer, A Deen Entsminger Belmont University
Prayers for the Gifts Kinley Lange Brigham Young University
Prayers of Habakkuk Howard Whitaker Wheaton College
Preacher and the Bear, The arr. Daniel McDavitt Brigham Young University
Precious Lord Thomas Dorsey/arr. David Hamilton Wheaton College
Precious Lord, Take My Hand arr. Howard Helvey Brigham Young University
Prelude Ola Gjeilo Belmont University, Pacific Lutheran University,
Prepare the Way arr. Margareta Jalkéus Pacific Lutheran University
Press Forward, Saints Vanja Watkins Brigham Young University
Procession (from Ceremony of Carols) Benjamin Britten Pacific Lutheran University
Procession and Carols James Bingham Pacific Lutheran University
Prodigal Son, The Arthur Sullivan Pacific Lutheran University
Prologue (from Hodie) Ralph Vaughan Williams Luther College
Psalm 100 René Clausen Brigham Young University, Pacific Lutheran
Psalm 108 David von Kampen Luther College
Psalm 134, 23 & 111 Deen Entsminger Belmont University
Psalm 150 Andrew Bleckner Belmont University
Psalm 150 Howard Hanson Brigham Young University
Psalm 150 Sir David Willcocks Wheaton College
297
Psalm 150 Zoltán Kodály Wheaton College
Psalm 23 Fredrik Sixten Brigham Young University
Psalm 23 Mark Zobel Luther College
Psalm 23 Srul Irving Glick Belmont University
Psalm 23 Z. Randall Stroope Pacific Lutheran University
Psalm 42 Felix Mendelssohn Belmont University
Psalm 42 George Chadwick Brigham Young University
Psalm 50 F. Melius Christiansen Luther College
Psalm 67 Ēriks Ešenvalds Luther College
Psalm 95 Maurice Monhardt Luther College
Psalm 96 Jared Oaks Brigham Young University
Psalm 98 Fredrik Sixten Pacific Lutheran University
Pseudo-Yoik Lite Jaakko Mäntyjärvi Wheaton College
Puer natus Samuel Scheidt Brigham Young University
Pueri hebraeorum Randall Thompson Pacific Lutheran University
Pure Imagination L. Bricusse & A. Newley/arr. Brigham Young University
Quatre petites prières de Saint François d'Assise Francis Poulenc Pacific Lutheran University, Wheaton College
Quem Vidistis, Pastores Dicite (from Quatre Motets pour le Francis Poulenc Pacific Lutheran University
Quem Vidistis, Pastores? Richard Dering Pacific Lutheran University
Quis est Deus (from Aililiú, ó Íosa) Abbie Betinis Pacific Lutheran University
Quittez, pasteurs arr. John Rutter Luther College
Rain Is Over and Gone Paul Halley Luther College
Raindrops Keep Fallin' on My Head Burt Bacharach Brigham Young University
Reap What You Sow Petter Choplin Brigham Young University
Reapers All with Their Sharp Sickles, The arr. Seth Houston Brigham Young University
Reconciliation Stephen Chatman Brigham Young University
Red River Valley arr. Miles Ramsay Brigham Young University
Reflections from Yad Vashem Daniel Hall Brigham Young University, Wheaton College
Reincarnations Samuel Barber Wheaton College
298
Rejoice and Be Merry John Rutter Brigham Young University
Rejoice and Sing Out His Praises Mark Hayes Wheaton College
Rejoice and Sing This Christmas Morn Eleanor Daley Pacific Lutheran University
Rejoice in the Lamb, Op. 30 Benjamin Britten Belmont University, Pacific Lutheran University,
Rejoice, Rejoice, Believers arr. John Ferguson Pacific Lutheran University
Rejoice, the Lord Is King Malcolm Archer Brigham Young University
Rejoice! Jeffery Ames Brigham Young University
Rejoice! Rejoice! William Byrd Wheaton College
Requiem Eliza Gilkyson/arr. Craig Hella Luther College
Requiem (excerpts I, II, IV) Herbert Howells Luther College
Requiem aeternam Bryan Hiroto Stenson Pacific Lutheran University
Requiem in D minor, Op. 48 Gabriel Fauré Brigham Young University
Requiem, K 626 Wolfgang Amadeus Mozart Wheaton College
Requiem, Op. 48 Gabriel Fauré/ed. John Rutter Pacific Lutheran University
Requiem, Op. 48 Maurice Duruflé Belmont University
Resonet In Laudibus arr. Chester Alwes Pacific Lutheran University
Rest Timothy Jon Tharaldson Brigham Young University
Revecy venir du printans Claude Le Jeune Brigham Young University
Reveille (from A Pushkin Wreath) Georgy Sviridov Pacific Lutheran University
Revelation Z. Randall Stroope Belmont University
Revelation (part 1) Z. Randall Stroope Belmont University
Revelation (part 2) Z. Randall Stroope Belmont University
Richte mich Gott (Op. 78) Felix Mendelssohn-Bartholdy Luther College
Ride in the Chariot arr. Brandon Waddles Luther College
Ride On, King Jesus Moses Hogan Belmont University, Pacific Lutheran University
Ride the Chariot arr. Stacey Gibbs Luther College
Riders in the Sky arr. Norman Luboff Brigham Young University
Ring Out, Wild Bells Jonathan Dove Belmont University
Ring Out, Wild Bells! Bradley Ellingboe Luther College
Rise Up, My Love Deen Entsminger Belmont University
299
Rise Up, O Men of God Aaron Williams/arr. Buryl Red Wheaton College
Rise Up, O Men of God arr. Kenneth Jennings Pacific Lutheran University
Rise Up, O Men of God William Walter/arr. Mack Wilberg Brigham Young University
Rise Up, Shepherd, and Follow arr. Gordon Thornett Pacific Lutheran University
Rise Up, Shepherd! arr. Ken Berg Brigham Young University
Ritmo Dan Davison Belmont University
Riu, Riu, Chiu arr. Jim Leininger Wheaton College
Road Home, The Stephen Paulus Luther College, Pacific Lutheran University,
Road to the Isles, The arr. Stuart Calvert Brigham Young University
Rockin' Jerusalem arr. Tawn Thomas Belmont University
Romeo and Juliet at Parting (Op. 75, no. 10) Sergei Prokofiev Belmont University
Run, Ye Shepherds, To the Light Michael Haydn Luther College
Rune of Hospitality, The Alf Houkom Brigham Young University
Rytmus Ivan Hrusovsky Pacific Lutheran University
Saints Bound for Heaven arr. Alice Parker & Robert Shaw Pacific Lutheran University
Saints Bound for Heaven arr. Mack Wilberg Brigham Young University
Saints Bound for Heaven (from Four American Folk Hymns) Mack Wilberg Belmont University
Sally Gardens, The arr. Benjamin Britten Pacific Lutheran University
Sally Gardens, The Herbert Hughes/arr. Phillip Serino Pacific Lutheran University
Salmo 150 Ernani Aguiar Belmont University, Pacific Lutheran University
Sanctus Dominick Argento Wheaton College
Sanctus Ola Gjeilo Luther College, Pacific Lutheran University
Sanctus Randall Johnson Brigham Young University
Sanctus (from Gospel Mass) Robert Ray Brigham Young University
Sanctus (from Mass for Double Choir) Frank Martin Luther College
Sanctus (from Mass for Three Voices) William Byrd Brigham Young University
Sanctus (from Mass) Leonard Bernstein Brigham Young University
Sanctus (from Messe Basse) Gabriel Fauré Brigham Young University, Wheaton College
Sanctus (from Messe en Sol Majeur) Francis Poulenc Luther College
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Sanctus (from Missa Brevis) Nancy Telfer Pacific Lutheran University
Sanctus (from Requiem, K. 626) Wolfgang Amadeus Mozart/arr. Carl Brigham Young University
Sanctus and Benedictus (from Mass for a Sacred Place) Stephen Paulus Brigham Young University
Johann Sebastian Bach/arr. David
Sanctus No. III Belmont University
Stocker
Sárga csizmát arr. Ronald Staheli Brigham Young University
Satamasho Otar Taktakishvili Pacific Lutheran University
Schaffe in mir, Gott (Op. 29, no. 2) Johannes Brahms Belmont University
Sclof main kind Allan E. Naplan Pacific Lutheran University
Se dig ud en sommerdag Carl Nielsen/arr. Bo Holton Pacific Lutheran University
Seal Lullaby, The Eric Whitacre Belmont University
Sechs Lieder in Freien Zu Singen, Op. 59 Felix Mendelssohn Bartholdy Pacific Lutheran University
See, We Assemble (from King Arthur) Henry Purcell Brigham Young University
Seek Him That Maketh The Seven Stars Jonathan Dove Pacific Lutheran University
Sehnsucht (Op. 112, no. 1) Johannes Brahms Belmont University, Pacific Lutheran University
Seid Fröhlich in Hoffnung Gottfried August Homilius Pacific Lutheran University
Seinn O arr. J. David Moore Brigham Young University
Selections from The Sound of Music Richard Rodgers/arr. Clay Warnick, Wheaton College
Selig sind die Toten (from Three Motets) Heinrich Schütz Luther College
Sestina Lagrime d'Amante al Sepolcro dell'Amata Claudio Monteverdi Pacific Lutheran University
Sfogava con le stelle Claudio Monteverdi Brigham Young University
Shakespear Songs (Book IV) Matthew Harris Pacific Lutheran University
Shakespeare Songs Jaakko Mäntyjärvi Pacific Lutheran University
She Moved Through the Fair Timothy C. Takach Pacific Lutheran University
Shenandoah arr. James Erb Belmont University, Luther College
Shenandoah arr. Phillip Serino Pacific Lutheran University
Shepherd's Pipe Carol John Rutter Brigham Young University, Luther College
Shivna Bill Whelan Brigham Young University
Shoo Fly Pie and Apply Pan Dowdy arr. Kirby Shaw Brigham Young University
Shout for Joy Dan Davison Brigham Young University
Shut de Do' Mark Hayes Brigham Young University
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Si ch'io vorrei morire Claudio Monteverdi Pacific Lutheran University
Sicut Cervus Giovanni Perluigi da Palestrina Belmont University, Luther College
Sigalagala arr. S. A. Otieno Luther College
Sigalagala (Let there be ululation!) arr. S. A. Otieno Luther College
Sigh No More, Ladies Ralph Vaughan Williams Brigham Young University
Signs of the Judgment arr. Mark Butler Belmont University
Silence, The Andrew Bleckner Luther College
Silent Night arr. Edwin Fissinger Pacific Lutheran University
Silent Night Franz Gruber/arr. Christopher Brigham Young University
Silent Night Franz Gruber/arr. John Rutter Luther College
Silent Noon Ralph Vaughan Williams/arr. Ronald Brigham Young University
Simona MiDimona arr. Josh Jacobson Brigham Young University
Simple Gifts Aaron Copland/arr. Bob Chilcott Brigham Young University
Sing a Song Joe Rapozo Brigham Young University
Sing Creation's Music On (from Songs Eternity) Stephen Paulus Brigham Young University
Sing Creations Music On Stephen Paulus Wheaton College
Sing Joyfully William Byrd Pacific Lutheran University
Sing Lullaby Herbert Howells Pacific Lutheran University
Sing Unto God Paul Fetler Luther College
Sing unto God (from Judas Maccabaeus) George Frideric Handel Brigham Young University
Sing We Merrily unto God Our Strength Martin Shaw Luther College, Pacific Lutheran University
Sing We Now of Christmas arr. Craig Curry Wheaton College
Sing We Now of Christmas arr. Fred Prentice Brigham Young University
Sing We Now of Christmas arr. Fred Prentice Luther College
Sing We Now of Christmas arr. Howard Helvey Brigham Young University
Sing We Now of Christmas arr. Susan Conant Pacific Lutheran University
Sing ye praises to our King Aaron Copland Pacific Lutheran University
Singet dem Herrn ein neues Lied Johann Sebastian Bach Luther College
Sinner Man arr. Howard Roberts Luther College
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Sirènes (from Nocturnes) Claude Debussy Pacific Lutheran University
Sistah Mary Rollo Dilworth Luther College
Sisters Gwyneth Walker Wheaton College
Six Choruses for Women's Voices, Op. 15 Sergei Rachmaninoff Pacific Lutheran University
Six Songs for Treble Voices (Op. 15) Sergei Rachmaninov Pacific Lutheran University
Skombia Traditional Caprivi song Luther College
Skye Boat Song arr. Robert Boyd Wheaton College
Skylark Hoagy Carmichael/arr. Kirby Shaw Brigham Young University
Sleep Eric Whitacre Luther College, Pacific Lutheran University
Sleep, My Love Brian Edward Galante Pacific Lutheran University
Snow, The Edward Elgar Pacific Lutheran University, Wheaton College
Snowflakes Seth Houston Brigham Young University
So I'll Sing with My Voice Dominick Argento Brigham Young University, Pacific Lutheran
Softly and Tenderly arr. Jean Applonie Brigham Young University
Soir d'été (from Trois Chansons Bretonnes) Henk Badings Pacific Lutheran University
Soldier's Chorus (from Faust) Charles Gounod Wheaton College
Somebody's Runnin' from God Henry Hinnant Brigham Young University
Sometimes I Feel Like a Motherless Child arr. Fenno Heath Brigham Young University
Song for Athene John Tavener Luther College
Song of Peace Vincent Persichetti Wheaton College
Song of Thanks to God Franz Joseph Haydn Brigham Young University
Song of the Plains (from Cantate Mundi) Karl Jenkins Brigham Young University
Song of Triumph Dal Grotenhuis Belmont University
Song to the Moon Antonín Dvorák Brigham Young University
Song to the Moon (La Luna) Z. Randall Stroope Belmont University
Songbird Sarah Quartel Belmont University
Songs of a Young Man Richard Nance Pacific Lutheran University
Songs of the Lights, Set 1 Imant Raminsh Pacific Lutheran University
Soon Ah Will Be Done William L. Dawson Pacific Lutheran University
Soon I Will Be Done arr. Stacey Gibbs Luther College
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Sound Off Paul Rardin Wheaton College
Sovra le lucid' acque J. Michael Saunders Pacific Lutheran University
Spanish Carol arr. Andrew Carter Pacific Lutheran University
Spaseniye sodelal Pavel Chesnokov Wheaton College
Speak to One Another of Psalms Jean Berger Belmont University
Spirit, Moving Over Chaos David Ashley White Luther College
Spiritual Musick David Brunner Belmont University
Spotless Rose, A Herbert Howells Wheaton College
Spotless Rose, A (from Now Sleeps the Crimson Petal) Paul Mealor Luther College
Ständchen, D. 920 Franz Schubert Pacific Lutheran University
Star Carol, The Alfred Burt/arr. Hawley Ades Luther College
Star Shall Rise Up out of Jacob, A Felix Mendelssohn-Bartholdy Brigham Young University
Stars Ēriks Ešenvalds Luther College
Stars I Shall Find David C. Dickau Pacific Lutheran University
Stars Over Snow Matthew Nielsen Brigham Young University
Steal Away arr. Bob Chilcott Brigham Young University
Steal Away arr. J. Edmund Hughes Wheaton College
Stetit Angelus Rihards Dubra Pacific Lutheran University
Still, Still, Night Jackson Berkey Pacific Lutheran University
Still, Still, Still arr. Joey Hoelscher Brigham Young University
Still, Still, Still arr. Mack Wilberg Brigham Young University
Stille Nacht Franz Gruber Pacific Lutheran University
Storm Comin' Ruth Moody Belmont University
Storm Is Passing Over, The arr. Larry Nickel Brigham Young University, Wheaton College
Storm is Passing Over, The Charles Tindley/arr. Barbara Baker Wheaton College
Suite de Lorca Einojuhani Rautavaara Belmont University, Pacific Lutheran University
Suite in D, HWV 341 George Friedrich Handel Luther College
Super Flumina Babylonis Giovanni Pierluigui da Palestrina Luther College
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Supreme Virtue Mark Adamo Pacific Lutheran University
Sure on this Shining Night Morten Lauridsen Belmont University, Brigham Young University,
Surely He hath borne our griefs Carl Heinrich Graun Luther College
Surely the Lord Is In This Place Herbert Colvin Belmont University
Surgens Jesus Peter Philips Wheaton College
Surrexit Christus hodie Samuel Scheidt Brigham Young University
Surrexit Pastor Bonus Orlando di Lasso Belmont University
Sussex Carol arr. Barlow Bradford Belmont University
Sussex Carol arr. Bob Chilcott Luther College
Sussex Carol arr. Clifton Noble Jr. Brigham Young University
Svete Tihy Pavel Tschenokov Belmont University, Wheaton College
Sway Pablo Beltran Ruiz/arr. Rosalind Hall Brigham Young University
Swedish Dance Carol arr. Katherin Davis Brigham Young University
Sweet By and By J.P. Webster/arr. Aaron Humble Pacific Lutheran University
Sweet Hour of Prayer arr. William Bradbury Brigham Young University
Sweet is the Peace the Gospel Brings Alfred Durham/arr. Lane Johnson Brigham Young University
Sweet Little Jesus Boy Robert MacGimsey/arr. Earlene Brigham Young University
Symphony No. 9 in D Minor, Op. 125 Ludwig van Beethoven Pacific Lutheran University
Take Not Thy Holy Spirit from Me Ralph Williams Luther College
Take Time To Be Holy arr. John Longhurst Brigham Young University
Tching-Tchinga-Raya David Maddux Brigham Young University
Te Deum Franz Joseph Haydn Pacific Lutheran University
Tell My Ma When I Go Home arr. Jon Washburn Brigham Young University
Tenebrae factae sunt Michael Haydn Brigham Young University
Tenebrae factae sunt Tomás Luis de Victoria Wheaton College
Tennessee Waltz arr. John Arnn Belmont University
Testament of Freedom, The Randall Thompson Wheaton College
That Lonesome Road James Taylor/arr. Deen Entsminger Belmont University
There Is a Balm arr. Larry Fletcher Brigham Young University
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There is a Redeemer Keith Green/arr. Howard Whitaker Wheaton College
There Is a Star Joseph Martin Brigham Young University
There Is Faint Music Dan Forrest Pacific Lutheran University
There Is No Rose Connor Koppin Luther College
There Is No Rose Joel Martinson Pacific Lutheran University
There Is No Rose Melinda Bargreen Belmont University, Wheaton College
There is Sweet Music Here Daniel Gawthrop Belmont University
There is Sweet Music Here L.J. White Brigham Young University, Wheaton College
There Shall a Star From Jacob Come Forth (from Christus, Felix Mendelssohn-Bartholdy Luther College
There Was a Time Donna Schultz Brigham Young University
There Was an Old Woman Rose Bonne & Alan Mills/arr. Daryl Brigham Young University
There Will Be Rest Frank Ticheli Belmont University, Luther College
There's a Coach Coming In (from Paint Your Wagon) Alan Jay Lerner & Frederick Brigham Young University
They Tell Me of a Home (Unclouded Day) arr. Shawn Kirchner Brigham Young University
They're Red Hot Robert Leroy Joynson/arr. Moira Pacific Lutheran University
This Is My Father's World Mack Wilberg Brigham Young University
This Little Babe (from Ceremony of Carols) Benjamin Britten Pacific Lutheran University
This Little Light of Mine arr. Moses Hogan Pacific Lutheran University
This Little Light of Mine arr. Nicholas Vangeloff Brigham Young University
This Night F. Melius Christiansen Pacific Lutheran University
This Place Will Todd Belmont University
This Pleasant Month of May William Beale Pacific Lutheran University
Three Kings Healey Willan Luther College
Three Kings, The Healey Willan Luther College, Wheaton College
Three Kings, The Peter Cornelius/arr. Ivor Atkins Pacific Lutheran University
Three Motets, Op. 110 Johannes Brahms Wheaton College
Three Nocturnes Dan Forrest Brigham Young University
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Three Poems of Amy Carmichael Craig Curry Wheaton College
Three Songs for Male Voices Sheila Bristow Pacific Lutheran University
Through Heaven's Eyes (from The Prince of Egypt) Stephen Schwartz Brigham Young University
To Luther G.B. Wollan Luther College
To Those Who See Dede Duson Pacific Lutheran University
Tomorrow Shall Be My Dancing Day arr. Howard Helvey Luther College
Tomorrow Shall Be My Dancing Day arr. John Rutter Wheaton College
Tonight, Eternity Alone René Clausen Luther College
Tota pulchra es Maurice Duruflé Pacific Lutheran University
Tota pulchra es Ola Gjeilo Pacific Lutheran University
Traveling Mercies Kurt Kaiser/arr. Jeffery Ames Belmont University
Tre körvisor Wilhelm Stenhammar Pacific Lutheran University
Trinity Te Deum Ēriks Ešenvalds Pacific Lutheran University
Trois chansons de Charles D'Orleans Claude Debussy/ed. Rafael Ornes Pacific Lutheran University
True Light Keith Hampton Luther College
Tshotsholoza arr. Jeffery Ames Belmont University, Wheaton College
Twa Tanbou Sydney Guillaume Luther College
Twelve Days of Christmas, The arr. Geoffrey Keating Pacific Lutheran University
Twelve Days of Christmas, The arr. Peter Harvey Brigham Young University
Two Latvian Carols Andrejs Jansons Pacific Lutheran University
Two New Italian Madrigals Jason Michael Saunders Pacific Lutheran University
Ubi Caritas Maurice Duruflé Luther College
Ubi Caritas Ola Gjeilo Luther College, Wheaton College
Ubi Caritas et Amor Ēriks Ešenvalds Wheaton College
Ubit Caritas Hebu Upendo! Julian Reisenthel Pacific Lutheran University
Umi Sono Ai Kousaku Dan/arr. Rachel Stenson Pacific Lutheran University
Unicornis Captivatur Ola Gjeilo Pacific Lutheran University
Unto Us David Deacon Joyner Pacific Lutheran University
Vagabond, The Ralph Vaughan Williams Brigham Young University
Valediction, Forbidding Mourning, A Brian Edward Galante Pacific Lutheran University
Veni, Veni Emmanuel arr. Allen Koepke Luther College
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Veni, Veni Emmanuel Robert H. Young Pacific Lutheran University
Véniki arr. Feodosiy Rubtsov Belmont University, Pacific Lutheran University
Verbum caro factum est Z. Randall Stroope Luther College
Verleih' uns Frieden Felix Mendelssohn Bartholdy Pacific Lutheran University
Very Soon Eric Whitacre Luther College
Vidi Speciosam Will Todd Belmont University
Vier Lieder aus dem Jungbrunnen Johannes Brahms Pacific Lutheran University
Vier Quartette, Op. 92 Johannes Brahms Wheaton College
Vinea mea electa Francis Poulenc Luther College
Virgin Mary Had a Baby Boy, The arr. Stephen Hatfield Luther College, Pacific Lutheran University
Vivida In Tempore Joshua Himes Luther College
Vivos Voco Joan Szymko Belmont University
Voice Dance Greg Jasperse Luther College
Wake, Awake Philipp Nicolai/arr. F. Melius Pacific Lutheran University
Walk in Jerusalem arr. Paul Rardin Wheaton College
Walk Together Children arr. Moses Hogan Pacific Lutheran University
Walking on the Green Grass Michael Hennagin Belmont University
Wana Baraka arr. Shawn Kirchner Luther College
Wanting Memories Ysaye Barnwell Belmont University
War Song arr. Shin-ichiro Ikebe Belmont University
Warum ist das Licht gegeben?, Op. 74, no. 1 Johannes Brahms Pacific Lutheran University
Water is Wide, The arr. René Clausen Brigham Young University
Water Night Eric Whitacre Belmont University, Luther College, Wheaton
Way Over in Beulah Lan' arr. Stacey Gibbs Wheaton College
Wayfaring Stranger arr. Michael Engelhardt Belmont University
We Shall Walk Through the Valley in Peace arr. Moses Hogan Pacific Lutheran University
We Shall Walk Through the Valley in Peace arr. William Appling Wheaton College
We Three Kings John Henry Hopkins, Jr./arr. Wheaton College
Weather Report Bob Chilcott Pacific Lutheran University
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Weep No More David N. Childs Pacific Lutheran University
Weep O Mine Eyes John Bennett Belmont University
Weeping Mary arr. Brad Holmes Belmont University, Luther College
Were It Not for Grace David Hamilton and Phil McHugh Wheaton College
Wexford Carol arr. Alice Parker Wheaton College
Wexford Carol arr. Dale Warland Luther College
What a Friend We Have in Jesus! William Bolcom Wheaton College
What Shall We Do With a Drunken Sailor arr. Alice Parker and Robert Shaw Wheaton College
What Shall We Give? arr. Mack Wilberg Luther College
What Sweeter Music Eleanor Daley Pacific Lutheran University, Wheaton College
What Sweeter Music John Rutter Luther College, Pacific Lutheran University
What Wondrous Love is This arr. Jacob Fuhrman Wheaton College
When David Heard Eric Whitacre Luther College
When David Heard Thomas Weelkes Pacific Lutheran University
When I Survey the Wondrous Cross arr. Beryl Vick Belmont University
When I Survey the Wondrous Cross arr. Gilbert Martin Luther College
When the Song of the Angels is Stilled Elizabeth Alexander Wheaton College
Who is the Baby? Rosephanye Powell Luther College
Wie Lieblich Sind Deine Wohnungen Svea Slachart Belmont University
Wild Wood Carol, The John Rutter Pacific Lutheran University
Will there Really Be a Morning? Victor C. Johnson Pacific Lutheran University
Will You Be There Michael Jackson/arr. Sara Hissner & Belmont University
Wind Song Richard Kidd Pacific Lutheran University
Wir eilen mit schwachen (from Cantata No. 78) Johann Sebastian Bach Pacific Lutheran University
With cat-like tread (from The Pirates of Penzance) Arthur Sullivan Pacific Lutheran University
Witness arr. Damon Dandridge Belmont University
Wolcum Yole! (from Ceremy of Carols) Benjamin Britten Pacific Lutheran University
Wonderful Peace Gustav Nordquist Pacific Lutheran University
Word was God, The Rosephanye Powell Pacific Lutheran University
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Y Tangneffeddwyr Eric Jones Wheaton College
You Are the Music Dan Forrest Belmont University
You Must Have That True Religion Roland Carter Belmont University
Zadok the Priest, HWV 258 George Frideric Handel Belmont University
Zefiro torna, e'l bel tempo rimena Claudio Monteverdi Pacific Lutheran University
Zigeunerlieder, Op. 103 Johannes Brahms Pacific Lutheran University
Zion Hört die Wächter Singen Dietrich Buxtehude Wheaton College
Zion's Walls Aaron Copland/arr. Glenn Koponen Pacific Lutheran University
Zwei Geistliche Chöre, Op. 115 Felix Mendelssohn Bartholdy Pacific Lutheran University
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APPENDIX F
SKETCHES OF SAMPLE COMMONLY PROGRAMMED REPERTOIRE
Inspired by Scandinavian folk music, Ola Gjeilo's utilizes an excitingly rhythmic,
mixed meter scheme oscillating in A-B-A form between the exuberant exultate jubilate
and the tranquil Tu virginum corona texts in his work Prelude, composed in 2006. The A
section features soprano/tenor dance-like lyrical rhythms accompanied by an alto/bass
diad drone while the B section is composed with sustained, serene harmonized chant
material. Gjeilo notes that the piece is a synthesis of two earlier compositions for SSAA
chorus — Nya Vägar and Exsultate, Jubilate. An award winning composer, Ola Gjeilo
was born in Norway in 1978 but now maintains residency in New York City. His studies
have included the Norwegian Academy of Music, the Royal College of Music in London,
and The Julliard School. It was discovered through examination of concert programs that
Prelude was performed during the timeframe data were being collected by Belmont
University, Pacific Lutheran University, and Wheaton College.
In the Bleak Midwinter is based on the 1872 poem of the same title by Christina
Rosetti, a London-based Italian poet. The poem was originally set to music and
harmonized by Gustav Holst for The English Hymnal of 1906. Written for SATB chorus
with soprano and alto soloists, the composition is written for either piano or harp
accompaniment. In addition to Betinis's unique harmonization of the traditional carol
tune, the arrangement is unified by the "snow on snow" ostinato heard in the altos at the
initial choral entrance. The arrangement was commissioned in 2007 by Unity Church-
Unitarian of St. Paul. In the Bleak Midwinter was performed during the timeframe data
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were being collected by Luther College, Pacific Lutheran University, and Wheaton
College.
Eatnemen Vuelie is inspired by the indigenous Sámi and Norwegian culture and
juxtaposes the Sámi Yoik vocal practice with the Danish advent hymn Deilig er jorden or
Fairest Lord Jesus. The text was originally crafted by German Jesuits as Schönster Herr
Jesus and published in the Münster Gesangbuch in 1677. In 1873, Joseph August Seiss
translated the text into the English hymn Fairest Lord Jesus. Fjellheim provides both
English and the Ingemann Norwegian translations in performance. The composition
utilizes an ostinato Yoik pattern of nonsense syllables while the hymn tune is presented in
the upper voices. The Yoik ostinato accompanimental component of Eatnemen Vuelie is
likely most popularly known as the soundtrack for the opening credits of the Disney film
Frozen. Born and currently living in Norway, Frode Fjellheim works as a freelance
keyboard and vocal musician performing primarily in the traditional Sámi Yoik style.
Fjellheim's 2002 composition Eatnemen Vuelie was performed during the timeframe data
were being collected by Belmont University, Luther College, and Wheaton College.
Pilgrims' Hymn by Stephen Paulus comes from the final chorus of his opera The
Three Hermits based on the 1885 short story of the same title by Russian author Leo
Tolstoy. The title refers to the story's three unnamed main characters living as monks on
an island. The librettist of the Paulus opera is Michael Dennis Brown, Professor of
English at the University of Minnesota. Pilgrims' Hymn utilizes simplistic harmonic
language, straightforward homophonic texture, and text-driven rhythms. Also based in
Minnesota, Stephen Paulus was an award-winning composer and is one of the most
frequently recorded composers of today. The opera, The Three Hermits, was
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commissioned by and premiered at the House of Hope Presbyterian Church in St. Paul,
Minnesota in 1997 and by popular demand shortly thereafter Paulus published the final
chorus Pilgrims' Hymn separately. In addition to performances at the funerals of
presidents Gerald Ford and Ronald Reagan, Pilgrims' Hymn was performed during the
timeframe data were being collected by Brigham Young University, Luther College,
Pacific Lutheran University, and Wheaton College.
Published in 1572 as part of his first collection of motets, Tomás Luis de
Victoria's O quam gloriosum sets a Magnificat antiphon text as a close to the office of
Vespers on The Feast of All Saints. The text is adapted from Revelation, chapter 7,
verses 13-17 of Holy Scripture. Added to the church calendar in the fifth century by
Pope Boniface, the feast day has evolved from its initial dedication to the Blessed Virgin
Mary and Holy Martyrs to now include all saints. The Feast of All Saints presently
occurs on November 1. The motet is through-composed with imitative counterpoint with
small leaps and blocked harmonies. Compared to his contemporaries, Victoria's
contrapuntal lines are much more syllabic with brief moments of homophony. Victoria
was born in the province of Avila in the kingdom of Spain. He spent the majority of his
professional life in church music in Rome, Italy. His output includes over 140 Latin
motets in similar compositional style to tonight's selection. O quam gloriosum was
performed during the data period this study examined by Belmont University, Pacific
Lutheran University, and Wheaton College.
Sure on this Shining Night was premiered in 2005, and is the third work of
Morten Lauridsen's three-piece set, Nocturnes, composed for SATB choir. This
particular work is also available for TTBB choir, female vocal solo, and female vocal
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duet. The work, in ABA form, sets American poet James Agee's 1968 poem of the same
title and utilizes piano accompaniment. Lauridsen was influenced by American
Broadway songwriters and in Sure on this Shining Night he admits that melodies were
intended to replicate various Broadway melodies. An American composer, Morten
Lauridsen received such honors as being named "American Choral Master" by the
National Endowment for the Arts. He presently teaches composition at the University of
Southern California. Sure on this Shining Night was performed during the timeframe
data were being collected by Belmont University, Brigham Young University, Luther
College, and Pacific Lutheran University.
Baba Yetu by Christopher Tin was originally written as a supporting soundtrack
for the video game Civilization IV designed by Soren Johnson, Tin's college roommate.
The work was later recorded and marketed as part of a 2009 album of Christopher Tin
works titled Calling All Dawns and was adapted in 2011 for SATB choir and optional
percussion. In the same year, it won a Grammy in the category of Best Instrumental
Arrangement Accompanying Vocalists. Baba Yetu, which translates to Our Father, is the
Swahili language translation for the traditional Lord's Prayer as found in the sixth chapter
of the Gospel of St. Matthew. The choir sings Our father, who art in heaven, hallowed
by Thy name throughout the piece as tenor and alto soloists perform the remaining text in
rapid, syncopated, chant-like rhythms. The work is composed of short passages of
harmonic progressions with syncopations. Baba Yetu was performed during the
timeframe data were being collected by Belmont University, Brigham Young University,
and Luther College.
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APPENDIX G
INDEPENDENT REVIEW BOARD MATERIALS
Independent Review Board Study Approval
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316
Study Participant Invitation Letter
<date>
<recipient name>
<recipient title>
<recipient institution>
<recipient address 1>
<recipient address 2>
Dear <recipient name>,
I am a doctoral student at the University of Arizona and am completing a research study as part of
my degree document. The topic of my study is Programming for Success: A Study of Repertoire
Selection Practices of Undergraduate-Focused, Religiously-Affiliated Collegiate Choral
Programs Nationally Recognized for Performance Excellence. I have examined the national
conference programs of the American Choral Directors Association for the period 1995-2015 and
determined that, based on the number of occasions <institution name> has been invited to
perform, your school maintains a reputation for the highest levels of performance excellence as
an institution possessing a faith-based mission statement and clear religious affiliation. I would
be grateful for the opportunity to study your program and your practices in selecting choral
repertoire for <institution name>'s various curricular choral ensembles.
My research procedure has two primary components. First, I would like to collect concert
programs for each of your school's curricular choral ensembles from the last five academic years
(10 semesters) as well as preliminary information about your professional background and the
institution you serve via the enclosed electronic Preliminary Biographical Information Collection
Form. The concert programs may be submitted as hard copies or electronic files (whichever
means is most convenient) and should include all performances between and including the Fall
2010 and Spring 2015 semesters. Should you choose to mail hard copies of the programs, you
will be reimbursed your postage expenses. Electronic copies can be sent as email attachments in
multiple email messages or as one mass file transfer through an upload to wetransfer.com.
Second, once those programs have been collected and the data of your programmed repertoire
compiled, I would like to interview you based on the data (repertoire selections) you provide in
the concert programs. Please note, you need to have been employed at your present institution
for each of the last five years in order to participate. While it is certainly not expected that you
serve as the primary instructor for each of the ensembles in your school's choral program, you
should feel comfortable speaking to the overall learning objectives of the ensemble that the
selected repertoire is intended to serve. My hope is that the upcoming summer months prove to
317
be more convenient for you to participate in this research than the academic semester. The
interview should last approximately 45 minutes and no longer than 60. I would prefer to conduct
the interview via Skype or some other video chat medium but a phone conversation is also
acceptable. Additional specifics of the study are explained in the University of Arizona's required
Informed Consent Form.
I believe this study is both practical and a useful culmination of insights for other leaders in our
field. I would be most grateful for your participation as I deeply respect all that you and Belmont
have contributed to the choral music art form. If you are willing to participate, please respond in
the affirmative and complete the Preliminary Biographical Data Collection Form located here:
https://docs.google.com/forms/d/1mFvTuTpKPSJg351LwUC_CHfzf_CdWsSQBErgAorLaiE/vie
wform. Once I receive your preferred mailing address in your form submission, I will promptly
mail you a hard copy of the enclosed Informed Consent Form for your signature as well as a
postage-paid return envelope.
Thank you for your consideration and I hope to hear from you soon.
Respectfully,
Thomas Lerew
DMA Student, Choral Conducting
The University of Arizona
Enclosures
Preliminary Biographical Information Collection Form (hyperlinked)
Study Informed Consent Form
Note: An Institutional Review Board responsible for human subjects research at The University
of Arizona reviewed this research project and found it to be acceptable, according to applicable
state and federal regulations and University policies designed to protect the rights and welfare of
participants in research.
318
Informed Consent Form
Programming for Excellence: A Study of Repertoire Selection Practices of

Undergraduate-Focused Collegiate Choral Programs Nationally Recognized for
Performance Excellence
Principal Researcher:
Thomas E. Lerew
DMA Student, Choral Conducting
The University of Arizona
[email protected]
(717) 357-0916
The purpose of this study is to investigate the process, criteria, and rationale that guides
the repertoire selection choices of undergraduate-focused collegiate choral music
programs nationally recognized for performance excellence. In addition to an interview,
the study requires concert programs for each curricular choral ensemble at your
institution be provided for the five-year period of Fall 2010 to Spring 2015. These data
will serve as the basis for the interview. The interview will be scheduled once the
concert programs have been received and the concert program data compiled. The
telephone/video chat interviews will be recorded to ensure transcription accuracy. The
interview should last approximately 30-60 minutes.
Participation in this study is completely voluntary and there is no penalty for withdrawing
at any point. Unfortunately, there is no financial compensation for participation in the
study. Your responses will be reviewed and transcribed solely by the researcher. The
information you provide in the Preliminary Biographical Data Collection Form as well
as the concert programming data will be published in full in my doctoral terminal degree
document (with the exception of your contact information). Nothing will be masked or
coded in an effort to conceal your identity. However, any and all personal information
received outside the components listed above will remain strictly confidential. You will
have the opportunity to review the interview transcript publication to ensure that nothing
you provide will impact your employment standing at your institution. Upon completion
of the study, the audio recordings of the interview will be destroyed. You will receive a
full report of the study's findings.
If you have any questions regarding this study and/or your participation, feel free to
contact me at the contact information provided. Additionally, you may contact my
faculty supervisor at the University of Arizona:
Dr. Bruce Chamberlain
Director of Choral Activities
Fred Fox School of Music
P.O. Box 210004
Music Bldg, Rm 111
1017 N. Olive Road
Tucson, AZ 85721
319
(520) 621-9929
[email protected]
________________________________________________________________________
I have read the information above, including the explanation of the researcher's use of the
data/interview responses I provide. I formally give my consent to participate in the study.
__________________________________________ ______________________
Signature of Participant Date
__________________________________________ ______________________
Signature of Principal Researcher Date
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REFERENCES
Brinson, B. A. (1996). Choral music: Methods and materials. Belmont: Schirmer.
Buchanan, H. J., and Mehaffey, M., eds. (2005). Teaching music through performance in
choir. Chicago: GIA Publications.
Cain, N. (1932). Choral music and its practice. New York: Witmark & Sons.
Collins, D. L. (1993). Teaching choral music. Englewood Cliffs: Prentice-Hall.
Decker, H.A., & Herford, J., eds. (1973). Choral conducting: A symposium. New York:
Meredith.
Evanson, J. A. (1929). High school choral material. Music Supervisors' Journal, 15(5),
51. Retrieved from
http://ezproxy.library.arizona.edu/login?url=http://search.proquest.com.ezproxy2.
library.arizona.edu/docview/740854059?accountid=8360
Forbes, G. W. (2001). The repertoire selection practices of high school choral directors.
Journal of Research in Music Education, 49(2), 102-121. Retrieved from
http://ezproxy.library.arizona.edu/login?url=http://search.proquest.com/docview/1
093229?accountid=8360
Garretson, R. L. (1998). Conducting choral music, 8th ed. Upper Saddle River, New
Jersey: Prentice Hall.
Gordon, L. (1989). Choral director's rehearsal and performance guide. West Nyack,
New York: Parker Publishing.
Haasemann, F. & Jordan, J. (1991). Group vocal technique. Chapel Hill: Hinshaw.
Heffernan, C. W. (1982). Choral music: Technique and artistry. Englewood Cliffs, New
Jersey: Prentice-Hall.
Hunsaker, T. C. (2007). Processes and criteria of nationally recognized high school

choral directors for the selection of performance literature. (Doctoral
dissertation). Available from ProQuest Dissertations and Theses database. (UMI
No. 3300746)
Johnson, B. P. (2003). Elements of excellence: A study of musical and non-musical

factors common within non-conservatory college and university choral programs
recognized for excellence. (Doctoral dissertation). Available from ProQuest
Dissertations and Theses database. (UMI No. 3089960)
Lamb, G. H. (1974). Choral techniques, 2nd ed. Sacramento: Wm. C. Brown Publishers.
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Miller, K. E. (1988). Vocal music education: Teaching in the secondary school.
Englewood Cliffs, New Jersey: Prentice-Hall.
Neidig, K. K. & Jennings, J. W. (1967). Choral director's guide. West Nyack, New York:
Parker Publishing.
Phillips, K. H. (2004). Directing the choral music program. New York: Oxford.
Richmond, J. W. (1990). Selecting choral repertoire as pre-curriculum "planned

serendipity". Choral Journal, 30(10), 23-30. Retrieved from
http://ezproxy.library.arizona.edu/login?url=http://search.proquest.com/docview/7
40739548?accountid=8360
Robinson, R. & Winold, A. (1976). The choral experience: Literature, materials, and
methods. Prospect Heights, Illinois: Waveland Press.
Roe, P. F. (1970). Choral music education. Englewood Cliffs, New Jersey: Prentice-Hall.
Rucker, A. T. (1992). An index of choral music performed during southern division

conventions of the American Choral Directors Association (1970-1990).
(Doctoral dissertation). Available from ProQuest Dissertations and Theses
database. (UMI No. 9222417)
Spillane, J. D. (2004). All-State choral music: A comprehensive study of the music

selected for the high school all-state choirs of the fifty states from 1995-2000.
(Doctoral dissertation). Available from ProQuest Dissertations and Theses
database. (UMI No. 3158159)
Webb, G., ed. (1993). Up front: Becoming the complete choral conductor. Boston: ECS
Publishing.
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Institution Websites Consulted
Belmont University: http://www.belmont.edu

Belmont University School of Music: http://www.belmont.edu/music/
Belmont University Choral Program:
http://www.belmont.edu/music/ensembles/all_vocal_ensembles.html
Brigham Young University: https://home.byu.edu/home/

Brigham Young University School of Music: https://cfac.byu.edu/music/
Brigham Young University Choral Program:
https://cfac.byu.edu/music/ensembles/choirs/
Luther College: http://www.luther.edu

Luther College Department of Music: http://www.luther.edu/music/
Luther College Choral Program: http://www.luther.edu/music/perform/ensembles/
Pacific Lutheran University: http://www.plu.edu

Pacific Lutheran University Department of Music: http://www.plu.edu/music/
Pacific Lutheran University Choral Program: http://www.plu.edu/music/ensembles/
Wheaton College: http://www.wheaton.edu

Wheaton College Conservatory of Music:
http://www.wheaton.edu/academics/departments/conservatory
Wheaton College Choral Program:
http://www.wheaton.edu/Academics/Departments/Conservatory/Ensembles
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PROGRAMMING FOR SUCCESS: A STUDY OF REPERTOIRE SELECTION

PRACTICES BY UNDERGRADUATE-FOCUSED, RELIGIOUSLY-AFFILIATED,

Thomas Edward Lerew

Copyright © Thomas Edward Lerew 2016

A Document Submitted to the Faculty of the

FRED FOX SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

_______________________________________________________________________ Date: May 5, 2016

_______________________________________________________________________ Date: May 5, 2016

_______________________________________________________________________ Date: May 5, 2016

________________________________________________ Date: May 5, 2016

SIGNED: Thomas Edward Lerew

To the memory of my Dad —

CHAPTER 1: INTRODUCTION ...................................................................................11

Background of the Problem ................................................................................11

Need for the Study ..............................................................................................12

Statement of Purpose ..........................................................................................14

Research Questions .............................................................................................14

CHAPTER 2: REVIEW OF LITERATURE .................................................................16

Literature Related to Criteria for Repertoire Selection .......................................16

Definition of Terms ............................................................................................23

CHAPTER 3: METHODOLOGY .................................................................................26

Data Analysis ......................................................................................................29

CHAPTER 4: BELMONT UNIVERSITY .....................................................................30

Description of Belmont University ....................................................................30

Description of Belmont University Choral Program ..........................................31

Background of Dr. Jeffrey Ames ........................................................................33

Summary of Participant Interview Findings .......................................................33

Summary of Concert Program Repertoire Findings ...........................................36

Consideration of Research Questions for Belmont University ...........................38

CHAPTER 5: BRIGHAM YOUNG UNIVERSITY .....................................................42

Description of Brigham Young University Choral Program ..............................43

Background of Dr. Ronald Staheli ......................................................................45

Summary of Participant Interview Findings .......................................................45

Summary of Concert Program Repertoire Findings ...........................................48

Consideration of Research Questions for Brigham Young University...............49

CHAPTER 6: LUTHER COLLEGE .............................................................................52

Description of Luther College ...........................................................................52

Description of Luther College Choral Program ..................................................52

Background of Dr. Allen Hightower ..................................................................55

Summary of Participant Interview Findings .......................................................56

Summary of Concert Program Repertoire Findings ...........................................60

Consideration of Research Questions for Luther College ..................................61

CHAPTER 7: PACIFIC LUTHERAN UNIVERSITY .................................................65

Description of Pacific Lutheran University .......................................................65

Description of Pacific Lutheran University Choral Program .............................65

Background of Dr. Richard Nance .....................................................................68

Summary of Participant Interview Findings .......................................................68

Summary of Concert Program Repertoire Findings ...........................................72

Consideration of Research Questions for Pacific Lutheran University ..............73

CHAPTER 8: WHEATON COLLEGE .........................................................................77

Description of Wheaton College ........................................................................77