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The article discusses the Delaware Cambridge Choral Exchange, a program that brought together a group of 16 visiting singers from the University of Delaware with the choir of Selwyn College in Cambridge, UK. The exchange included joint performances, attending concerts, observing rehearsals and services in various chapels and cathedrals, and sightseeing. The musical exchange was enriching for both choirs, and the friendships formed during the week were a particular joy. The article concludes by inviting other choirs of university-aged students to consider participating in similar exchanges. [Extracted from the article]

The book's title is Cathedrals, Chapels, Organs, Choirs: A Personal View by Sarah MacDonald. He explains: The clearest view of a society and its institutions is often provided by an outsider, and so it is with this lively and multi-faceted collection of essays on the theme of cathedral and collegiate choirs in England…. Sarah MacDonald, ARSCM, is a Canadian-born organist and conductor, living in the UK, and currently holds the positions of fellow and director of music at Selwyn College, Cambridge, and director of Ely Cathedral Girls' Choir. [Extracted from the article]

It was wonderful to meet so many musicians who were so keen to learn about choral music in the UK. The equivalent of a VIP backstage pass to the English choral tradition - legendary directors, composers, and choirs." During the course, the participants observed various choirs in rehearsals and services, including Clare Choir (Graham Ross), St. John's Choir (Andrew Nethsingha), King's Choir (Daniel Hyde), and Selwyn Choir (Yours Truly). [Extracted from the article]

The article focuses on the role of publishers in publishing music compositions and hymns for online accessibility by choral directors. It highlights the impact of COVID-19 pandemic on small independent publishers. It offers suggestions on several independent British publishers who specialize in choral and organ music of contemporary composers and church musicians, as of July 2021.

The author outlines her own Covid-19 pandemic recovery plan. She cites the importance of being enthusiastic about encouraging singers to join ensembles. She also mentions the need to choose repertoire carefully to help choirs' revivals, as well as the benefits of the use of livestreaming aimed at rebuilding, restoring and renewing choral traditions.

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 talks about the topics that focuses on liturgical choral music by women, and writing instead about the potential psychological and musical effects of a global COVID-19 pandemic. Topics include illusion of normality that is provided by discussing the historical neglect of female composers on liturgical music lists; and Western classical music originates in the sacred monophonic music of the Roman church, now known as Gregorian chant, which developed female and nonbinary composers.

The article offers information on efforts to improve female composers' role in liturgical music programming in Great Britain. Topics discussed include octavo publications of liturgical choral music by female composers; music release by music composers Cecilia McDowall, Eleanor Daley, and Stephanie Martin; and parity of postsecondary music education enrollment.

The author focuses on the five-day-long residential course hosted by the the Royal College of Organists for the organ scholars in Cambridge, England. The course is called as 'The Organ Student Experience,' or TOSE. The staff and the teachers manages the courses and training on hymn playing, solo repertoire, and keyboard skills. The organ players performs on biblical readings, public recitals and chorus singing.

The author discusses her experience in travelling to Minnesota to visit Concordia College in Moorhead where she found Lutheran choral tradition. Topics discussed include time spent in learning and rehearsing a single program for choirs, musical confidence acquired by a soprano in a section, and experience in elementary and high school choirs.

The article focuses on the choral tradition at Cambridge University in England. Christmas has been defined by the sound of a solo treble singing "Once in royal." An intercollegiate competition allowed undergraduates to be elected to Cambridge Choral Scholarships. Changes in the University of Cambridge Inter-Collegiate Choral Award Scheme are described.

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 article focuses on the significance of gestures in teaching choral conducting and organ music in Great Britain. Topics discussed include an outline on the historical background of choral music in the country, the rarity of the study of choral conducting as a technical practice, and the expression of music.

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 article offers information on miscellaneous topics including a review of the music album "The Voices of Our Ancestors" by composer Thea Musgrave and director Nicholas Cleobury and adds that the album will be premiered at the City of London Festival to be held on July 9, 2015.

The article discusses the plans for the tour of the Selwyn College choir to Victoria and Vancouver in British Columbia from July 13-24, 2015. Topics covered include the choir's plan to launch the compact disc (CD) recording "The Eternal Ecstasy," featuring repertoire by composers such as Paul Mealor, James MacMillan and Cecilia McDowall, and the expectations of audiences on choral music and choral singing.

A personal narrative is presented which explores the author's experience of demonstrating the English choral tradition to an undergraduate choral music program in a rural American liberal arts college.

The offers travel tips for tourists visiting Great Britain to observe the English Coral Tradition, which offers advice on transportation and lodgings.

The author shares her creation of a composer file for the Selwyn Choir at Selwyn College in England. She outlines the choir's initiatives such as the premiere of works by various composers, recording of music by various composers, and performance of liturgical choral music in services. She discusses the factors she considered in dividing musical scores into subpiles, including length, vocally idiomatic writing and the challenge for the singers and the audience/congregation, contrapunal proficiency in music, and a coherent and convincing structure.

The author talks about several topics related to organ music in Great Britain. She mentioned the introduction of a new master's degree, the one-year Master of Music (MMus) in Choral Studies, by the University of Cambridge. According to her, an awareness of current literature as well as the ability to verbalize are just as important as the hands-on training that the English system provided. She recommended one technique that prevents retraction of the tongue root during choir practices.