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The author challenges contemporary composers to write liturgical choral music amid the global pandemic. She discusses the renaissance of choral composition with the emergence of ecstatic style including its use of consonance. She also talks about composers' deployment of harmonies with added-chord notes influenced by jazz. A list is presented of contemporary female composers who write sacred liturgical choral and/or organ music and have performed in music or have personal knowledge of it.

The article discusses the differences between the Great Britain and American services of Choral Evensong. Topics discussed include that the service of Evensong was first introduced during the Reformation, in the 1549 Book of Common Prayer, and mentions that Evensong consists of lessons from the Old and New Testaments, psalms, prayers, responses, and canticles.

The article discusses the choir school system in Great Britain which is internationally known and respected. It states that there are choir schools at most of the 42 Anglican (Episcopal) cathedrals, other churches and various colleges in England. It also states that historically choir schools educated only boys and the Salisbury Cathedral School was the first to admit girls to the cathedral choir in 1991.

The article offers information related to the Royal School of Church Music (RSCM), a Christian music education organization dedicated to the promotion of music in Christian worship, in particular the repertoire and traditions of Anglican church music, largely through publications, training courses and an award scheme. It mentions that organization was founded in England in 1927 by Sir Sydney Nicholson that operates internationally, with 8,500 members in over 40 countries worldwide.

In this article, the author shares her experiences regarding her stay at the Royal School of Church Music (RSCM) in London, England. Topics discussed include establishment of the school by Sir Sydney Nicholson as the School of English Church Music in 1927, objectives of the school to maintain standard of liturgical music and the 20th century Colonial-style design of the school buildings.

The article focuses on cathedral choristers or children involved in liturgical singing. Traditionally, the choristers in a conventional cathedral choir sing the soprano or treble parts, while professional adult singers provide the alto, tenor and bass parts. The children range in age from seven to 18. As director of the Ely Cathedral Girls' Choir in Cambridgeshire, England, the author relates a day in the life of a chorister.

The article deals with the continued release of classical music recordings in Cambridge, England in April 2010. It mentions that one of the reasons why choral groups continue to launch music recordings is that most of the choirs in the place do not have sufficient time to polish their performances to attain the full concert standard. Another benefit that choir members get from the recordings is that they learn some important skills like accurate tuning, faultless diction as well as precise ensemble.

The author discusses teaching new members of the Selwyn College Chapel Choir. Topics discussed include the learning curve for students, a choir with members that can sight-read well, her dissatisfaction with the decline in standard between the end of one academic year and the start of the next and her belief that there is a professional way of preparing for chapel services.

The article offers the author's insights on the annual Girl Chorister Course at Saint Thomas Choir School in New York City. Topics discussed include the death of organist and school's director of music John Scott, the collaboration of Great Britain and the U.S. in producing church music of the highest order, and the anniversary of the founding of the course.

The article offers the author's insights about her observation on the trends in social media Facebook groups on choral conduction. The author talks about the increase in the number of Facebook posts from choral conductors asking for advice on repertoire for their choirs. She also shares her preference for choral conductors to be independent in choosing music, rather than simply relying on the generosity of their friends from the Internet.

The author discusses developments in the organ music sector, particularly in Great Britain, as of May 2014. She cites the recordings that she made along with her two choirs including the Chapel Choir of Selwyn College and the Ely Cathedral Girls' Choir. Their recordings involved the composition of Welsh composer John Hosking.