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This article discusses the state of music education in the UK, particularly in state schools, and its impact on choral programs at Cambridge University. The author emphasizes that admission to Cambridge is based solely on academic merit and potential, and extracurricular activities are not considered in the assessment criteria. Due to cuts in music education in state schools, Cambridge is facing challenges in recruiting experienced singers for its choirs and is increasingly training less-experienced singers from scratch. The author provides case studies of individuals who have successfully joined the choir despite having little to no previous musical experience. The article concludes by highlighting the challenges faced by the UK musical community and the importance of responding to these challenges by creating new ways to teach the next generation to love music. [Extracted from the article]

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 article focuses on UK singer songwriter named James Blunt, who is well known for his self-deprecating Twitter responses to trolling followers. Topics include considered that the service went very well, and the choir sang music by Eleanor Daley, Herbert Brewer, Rani Arbo, and one of author compositions that was beautiful.

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.

In this article, the author presents her views on creating virtual choir videos of the Choir of Selwyn College, Cambridge in England. Topics discussed include impact on children's choir practice from COVID-19 pandemic and Zoom arrival process; music rehearsal on Zoom for the conductors; and importance of leadership in virtual education.

The article presents the discussion on Cathedral music. Topics include managing online rehearsals, virtual Evensongs, and choir socials; choral scholars learning for sharpening the skills benefitting from the experience and insight of the lay clerks; and Cathedrals being primarily about sacramental worship and the arts.

The article reflects on the concerns of choir members regarding final consonant. Topics discussed include confusion with British of choral, the tied eighth note; leaving the tied eighth note by several contemporary composers such as James MacMillan, Jonathan Dove, Cecilia McDowall; and importance of tempo for deciding placement of the consonant.

A personal narrative is presented which explores the author's experience of conducting a workshop and choral vespers with young choristers from across the U.S. during her trip to Cleveland, Ohio

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 looks at the experience of the different Choirs in church. According to the author choirs include semiprofessional musician, solo singing instruction, and collaboration of different musicians performing together. The author suggests that the performance include musicals, jazz standards, and opera choruses.

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 discusses what conductors should consider when choosing repertoire for children's choirs. Topics include how to improve the children's confidence and vocal sound, concerns over mitigating factors, such as the need to accommodate music from different traditions, and the importance of teaching children how to read music.

The author reflects on the divergence of musical standards based on a reaction to a performance by volunteer college student choir from Cambridge, England. She notes that volunteer singers in chapel choir have no serious musical or vocal training. She adds that these choirs are devoid of a tenor section and the senior organ scholar has little or no professional advice. Particular focus is given to the employment of professional conductors for mixed undergraduate choirs.

A personal narrative is presented which explores the author's experiences of bringing the Chapel Choir of Selwyn College in Cambridge, England to the U.S.

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 author compliments the ability of the choir she conducted to learn the composition titled "Haec Dies," by English composer William Byrd. According to her, the composition was a real test of the developments in the sight-reading skill of the singers since they started in October 2009. She mentions that even the weakest readers in the group managed to sing the double bar line part in the composition at the same time as everyone else.

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.

This article reviews the music recording "Music for the Coronation of James II, 1685: The Choir of the Chapel Royal," by The Choir of the Chapel Royal.

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 mentions anniversary of John Armitage Memorial Trust (JAM), a charity located in Great Britain that promotes composition and performance of new music, which has been in business for 15 years and mentions relationship of Selwyn Choir with JAM.

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.

The article offers author's insights on aspects of an Oxbridge choral audition in Oxford, England. It mentioned the four parts of the audition which include the solo song which is three to four minutes long, vocal exercises, aural perception assessment and sight reading skills, and informal interview. It also mentioned some tips and tests that can help to prepare in advance for a future audition.

A personal narrative is presented in which the author related how she convinced a bursar to convert an old music practice room into a Choir Vestry for the Selwyn College Choir as well as the difficulties faced by the group prior to construction of the vestry.

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.

The author explains how cathedral choristers are selected at the Ely Cathedral Girls' Choir (EGCC) in England. Details of the voice trials, solo song rehearsals, interviews with the house mistress, meetings with the principal and headmaster, and parental consultation sessions are given. The various aspects considered in the selection of choristers are discussed such as vocal potential, musical teachability and leadership skills.

The article offers the author's insights on the relationship of product and publicity. The author explores the importance of the quality of graphic design of a website, relating the meeting to discuss the design of the website of her choir. She states that publicity is a sufficient factor o convince that a product is a necessarily magnificent.

The article offers information on an Organ Scholarship at Cambridge University. The college chapels in the university have some of the finest organs found in Great Britain. Some college choirs sing seven services per week that requires a weekly commitment. Many Cambridge Organ Scholars study for obtaining a degree in music.