Repertory Guides (ML 128, 1100)
ChoralNet: The Internet
Center for Choral Music.
See Annotated Bibliographies—Choral Music
Christy, Van Ambrose. Glee Club and Chorus: a Handbook of Organizing, Conducting, and Maintaining Glee Club and Choral Organizations, with Selected, Graded, and Classified Lists of Octavo Music and Texts.
Bausano, William, comp. Sacred Latin texts and English translations for the choral conductor and church musician : Propers of the Mass. Westport, Conn.: Greenwood Press,1998. ML 54.8 .B38 S22 1998 (Stacks NOT Music Reference)
Use: A resource for choral musicians who need easy access to practical English translations of Latin texts of the proper of the mass, especially those that are set to music.
Coverage: Latin texts that are used in the proper of the mass.
Organization: It is alphabetical by the first word of the text.
Pros: Includes an appendix which includes a list of texts used at various occasions in the church year, sorted alphabetically by those occasions.
Cons: Word for word translations are not included, however. The author suggests that you find the translations of specific words in a Latin-English dictionary.
Use: Reference guide for those gathering information on Women’s choral music, its history and literature suggestions.
Coverage: Contains historical background on women’s participation in choral music as well as literature lists of choral music for women’s voices.
Organization: Book is divided into six main chapters. The first is introductory, defining terms and methods of research. Second is brief overview of the history of women in musical performance from antiquity to the Twentieth century. Chapter three discusses several philosophies as well as author’s bias in selecting music. Chapter four lists actual repertoire and is annotated. Grades of difficulty are assigned after some explanation. The last two chapters provide several resources and reference guides in the form of indices that list works by title, voicing, grade, etc. Concluding the book is information for further study.
Pros: History of women in music is helpful, annotations are easily understood.
Cons: Done in 1968, it may be outdated given the recent increase of treble music composition in the last two decades.
Use: To provide new hymns for church services and re-introduce historical hymns.
Coverage: New hymns were prepared especially for this book, some with new text and tune, some with old text set to a new tune. Historical hymns cover the last four centuries, including both traditional and popular hymns. Hymns included are restricted to tunes written by American composers set to American texts. Volume II is a companion book to Volume I, providing notes on the hymns.
Volume I: Brief introduction. After the introduction, each chapter
is devoted to the music of a particular century. At the beginning of the chapter
there is a brief history of the music of that century. Each chapter is sub-divided
differently, according to the styles of music written in that time period.
Each hymn includes the title, composer and author, the text meter and is written
out in 4-part harmony. Psalter hymns also have the scripture reference included.
Volume II: contains “Notes on the Hymns,” “Biographies of Authors and Composers,” and a bibliography. Biographies are not limited to those mentioned in Volume I, but include other prominent American composers and authors.
Cons: Indexes co-ordinating secondary information are totally lacking.
Christy, Van Ambrose. Glee Club and Chorus: a Handbook of Organizing, Conducting, and Maintaining Glee Club and Choral Organizations, with Selected, Graded, and Classified Lists of Octavo Music and Texts. New York: G. Schirmer, 1940. MT 88 .C54 (Stacks NOT Music Reference)
Use: For those who are organizing or maintaining a choir of any type, not just a glee club.
Coverage: practical choral matters such as rehearsal, choir organization, recruiting, and performance. Also covers lists of music for choirs of various types.
Organization: In chapters by subject.
Cons: This reference is a little dated, but still a worthwhile resource. The lists of music are a little hard to understand; the charts are poorly organized and take some getting used to. While aimed primarily at the male chorus, many of the ideas are also applicable to mixed and treble choirs.
Daugherty, F. Mark, and Susan Simon. Secular Choral Music in Print, 2d ed. Music-In-Print Series, Vol. 2. Philadelphia: Musicdata, Inc. 1987. (Subsequent supplements available) Mus Ref ML 128 .V7 D3 1987 vol.2 pt.a
Use: Guide for locating choral music currently published. Intended for the conductor and or choral musician.
Coverage: This book references over 900 publishers to locate information on currently published materials. Included here is what they consider to be secular music, although some material may be suitable for sacred use.
Organization: Book is divided into two volumes (A-L) and (M-Z). Music is listed alphabetically by composer, and then by title. Each listing provides both general and specific information; regarding the work itself and the particular edition respectively. Edition information will include title, language of text, instrumentation, duration, difficulty, publishing information, and prices. Consult book’s guide to use concerning abbreviations used in the citations. Cross-references are found throughout. Includes a title/author index. The main volumes of this work are supplemented by additional volumes intending to add new works as they become available. Supplements are equally as helpful.
Pros: A large body of literature information. Very thorough. Supplemental volumes are available.
Cons: Information concerning prices may be outdated; you must consult directly with the publisher.
Use: Guide for conductors, musicians seeking information about American Choral Music in the Twentieth Century.
Coverage: Information contained includes lists of composers, lists of works and bibliographies. All dating from World War II on, they are examined by chronology or stylistic subgroups.
Organization: Basically divided into six sections, beginning with a list of composers and an introduction that examines the style subgroups found in the book. A guide to use is helpful in outlining the structure. The main body of the book is a catalog of works that lists pieces alphabetically by composer and then alphabetically by title under that heading. Criteria for inclusion are pieces written by composers who were active in America from 1920 to the present. These composers are considered to be the classically trained musicians. Book focuses more on original compositions versus arrangements of other tunes. Titles are given in the composer’s original language. Citations of pieces give composition date, source of text, duration, publisher, location of composer’s manuscript, and performance timings. Every piece is later indexed by genre, performing forces, title, author and source of text. Also included is a bibliography that references works relating to the pieces listed in the catalog, a good starting place for further research.
Pros: In depth coverage of this area of music.
Cons: No real description of the piece beyond performance given – no analysis or instructions on style or content.
Use: Guide for conductors and musicians seeking information on Early American Choral Music, and related composers.
Coverage: Lists music of composers active from 1670-1825. Included are those who were serious composers of art music. Excluded are hymns, liturgical chants, psalm tunes, fuging tunes and arrangements. Also, works for stage, choruses published separately and didactic choruses are excluded.
Organization: Book’s main focus is a catalog of works by composers who fit in this time period. The catalog is listed alphabetically by composer and then by title of work. Each piece is cited and annotated with the following information: opus number, composition date, performing forces, source of text, duration of work, publishing information, collection from which it may have been taken, and possible manuscript location. The last half of the book includes indexes by genre, voicing, sacred/secular works, titles, authors of texts and a bibliography. Following this is an appendix that lists collections searched as well as printers and publishers.
Pros: An in-depth, well-researched listing of music from this genre. Annotations provide needed and useful information.
Use: Guide for conductors and musicians seeking information on Nineteenth century American choral music, and related composers.
Coverage: Includes original music by composers of serious “art” music. Popular composers are excluded. Music must be written by composers who were active during the nineteenth century. Hymns, tunes and borrowed melodies are excluded as well as works for stage and didactic choruses.
Organization: The main body is a catalog of works that lists pieces alphabetically by composer and then alphabetically by titles of works. Each citation has a reference number, assigned sequentially for reference in the index. Each listing has an annotation that includes date of composition, performing forces, author of text, duration of work, publishing information and manuscript location. Each citation includes a cross reference to articles in the bibliography if they reference that specific work. A bibliography contains articles pertinent to this musical era. Indexes in the back are arranged by genre, voicings, sacred/secular styles, titles and authors.
Pros: An in-depth look at this musical era. Annotations are informative and thorough.
Use: For musicians who want valuable insight into the people who were involved in American choral music.
Coverage: A collection of original sources dealing with American choral music.
Organization: Arranged chronologically, with examples from almost every period of American choral music. Ends at about the middle of the twentieth century.
Pros: Includes a bibliography and a good index.
Cons: Focuses mainly on the late nineteenth and early twentieth century.
Use: Students of choral music will find this valuable in their study.
Coverage: Chronicles the history of American choral music from the mid-seventeenth century to the latter half of the twentieth.
Organization: Divided into chronological periods and discusses the major American choral composers from each.
Pros: A very valuable reference. It is a good resource for learning more about the life and works of composers who do not get mentioned in other places because of their largely choral focus. Includes a large bibliography and a very good index.
Use: Guide for choral conductors seeking new literature as well as a help for researching the choral resources of opera.
Coverage: Includes choruses that have been excerpted from opera repertory. This includes music from the Baroque era to the the present day. To be included in this listing, choruses were required to have a definite beginning and end as wellas an understandable text when taken out of context. There is some use of solo voice in these listings.
Organization: The main body is a catalog of works that is listed alphabetically by composer and then alphabetically by opera title. Two or more works from the same opera will be listed in order of appearance in the actual opera. Each citaiton has a reference number and is annotated by composer, librettist, publisher, act/scene number, performing forces, duration, level of difficulty, description of chorus, and miscellaneous commentary. Titles are given in original language with a few exceptions. Many citations will include a brief summary of the scene from which it was excerpted.
Pros: A helpful repertoire resource for conductors seeking variety in programming. Citations are well organized and informative.
Use: Guide for conductor, singer and musicians who seek information on vocal chamber music.
Coverage: Includes works for at least one voice and instrument, up to twelve voices and twelve instruments. Spans 1650 to 1980 in time coverage. Majority of works are in English, French, German, Italian, Spanish or Latin. Attempts to cover all major composers. Works listed are currently in print. Arrangements are excluded as well as excerpts from larger works.
Organization: Entries are listed in alphabetical order by composer. Works under each composer are also listed in alphabetical order. Title is given in original language in most cases. Information included in the listing will include: comments, timings, seasonal nature of work, author’s name, author of text, publication information and scoring. A guide to use explains the book’s layout and is followed by a helpful list of abbreviations. The latter part of the book is a bibliography and list of music sources intended to encourage further study.
Pros: Helpful for the choral conductor wishing to try something new in a program as well as solo vocalists. Index by score order is another helpful reference.
Eslinger, Gary S., and F. Mark Daughtery. Sacred Choral Music in Print, 2d ed. Music-In-Print Series, Vol. 1. Philadelphia: Musicdata, 1985. (Subsequent supplements available) Mus Ref ML 128 .V7 E784x 1992 – Mus Ref ML 128 .V7 D28 1996 Supplement
Use: Resource for finding literature; intended for the choral musician/conductor.
Coverage: Editors consulted with over 900 publishers to determine the literature that is currently in print for choral singing. Included is choral music thought to be sacred in nature. The additional supplements help to keep information up to date and round out the list as new pieces are available.
Organization: Book is divided into two volumes (A-L) and (M-Z). Music is listed alphabetically by composer, and then by work title. Each listing provides both general and specific information; regarding the work itself and the particular edition respectively. Edition information will include title, language of text, instrumentation, duration, difficulty, publishing information, and prices. Consult book’s guide to use concerning abbreviations used in the citations. Cross-references are found throughout. Book contains a title/author index. Also included is a publisher directory. Supplements to the main volumes are helpful additions to keep this source up to date.
Pros: Vast body of literature information. Publisher directory is helpful for locating music.
Cons: Information concerning prices may be outdated; you must consult the publisher directly.
Use: Provide a uniform and objective way of evaluating cantatas for performance.
Coverage: Restricted to sacred cantatas from the 20th century in the Protestant tradition, published between 1960 and 1979, 7-30 minutes in length and SATB.
Divided into three categories:
BRIEF HISTORY OF THE SACRED CANTATA: subdivisions of 1900-60, 1960-79, and a bibliography.
BIBLIOGRAPHY: begins with an introduction giving further detail on the format. Also gives abbreviations used. The bibliography is arranged alphabetically by composer’s family name. For each composer works are further arranged alphabetically by title. Information includes duration of piece, forces required, text source, vocal ranges, key and an annotation, commenting on technical aspects of the piece.
INDICES: includes a title index; a main index including composer, difficulty level, liturgical season and soloists needed; and a special occasion index, co-ordinating the cantatas with holy days and special Sundays.
Pros: Easy to use. Annotations give a good idea of possible performance problems. Compact.
Use: Descriptive catalogue of large-scale orchestra-choral works in the twentieth century. Performance guide for orchestral/choral directors. Entries include extensive biographical info about composer as well as helpful descriptions of their works.
Coverage: Large-scale choral-orchestral scores from 1900-1972 (no reason given for cut off). Criteria includes: 1) scores must have English as one of the texts, 2) must be longer than 15 minutes, and 3) are commercially available. Comprehensive in coverage according to stated criteria.
Organization: Arranged alphabetically by conductor’s name. Entries include: biographical sketches of the composer, selected bibliography, performance times, discography, publishers, editions, and explanatory notes about performance issues, instrumentation, and degree of difficulty of piece. Two appendices included at end. Appendix A details Sources, Authors, and Translators. Appendix B is a list of music publishers and distributors.
Pros: Detailed descriptions for each work, including degree of difficulty.
Cons: Limited to twentieth century compositions longer than 15 minutes; no Romantic period music.
Use: For Choral musicians who are searching for more information on the origin and use of Latin texts.
Coverage: This is a list of the most popular Latin texts that are found in the choral repertoire.
Organization: Each text is given with a word for word and poetic translation, as well as the chant traditionally associated with the text, an explanation of its origin, and its use in the liturgy.
Pros: The descriptions are very detailed. This is an outstanding guide for choral musicians who need to find more information on a particular Latin piece. Also included is a bibliography and a list of composers who have set certain Latin texts to music.
Cons: Notably missing are publisher names and numbers for those pieces; all that is given is the title and voicing.
Use: An aid to help find quotations, completing partially remembered phrases, enlarging concept, suggesting thematic outlines and stimulating idea associations for hymns in the Methodist hymnal.
Coverage: “The Book of Hymns,” published in 1966.
Organization: Has basic “concordance” format. Given a keyword, user can find the hymns which contain that word. Keywords are arranged alphabetically. Under each keyword the phrases are arranged numerically by hymn number. Information also includes whether the phrase is a title or a refrain and the verse in which the phrase appears. Each page has guideword headings. After the concordance are pages to write in to compare the Methodist hymnal to other hymnals and a numerical list of hymns.
Pros: Convenient way to jog the memory when it fails. Tries to be a comprehensive concordance.
Use: For the choral conductor or church musician seeking information on choral music and related biblical texts.
Coverage: Lists in biblical order, many compositions that utilize a certain passage of scripture.
Organization: Following a preface and abbreviation list, the book proceeds in Biblical order: from the Old to New Testament (includes Apocrypha) and concludes with and addenda and composer index. Entries under each scripture include composer name, title, voicing and publishing information.
Pros: Very helpful for quick listings of pieces under a specific biblical text. An excellent way Publishers and octavo numbers are given, which adds to the works value. An index to composers and titles is also included.
Cons: The author acknowledges that not every work can be listed, and asks for submissions so that more can be included in later volumes.
Use: An aid in selecting music for worship services where Psalms are sung.
Coverage: Includes songs based on psalms from collections common to Baptist, Episcopal, Lutheran, Methodist and Roman Catholic services.
Organization: Songs are listed by the number of the psalm used. Songs for each psalm number are arranged alphabetically by title. Information given for each song included the author, composer, publisher, a source code and, if the song is in a collection, the title of the collection. Space is provided to write in additional songs. Author includes a list of responsorial psalms associated with particular Sundays and Holy days of the year for the Catholic liturgy, a list of publishers, suggestions for singing the psalms and an essay on “Why do We Sing the Psalms?” Bibliography ends the book.
Pros: Book is a convenient size and arrangement to use. Author is open to suggestions on songs to add by including a form to send to him.
Cons: Book published in 1986 and may be slightly out-of-date.
Use: The Choral conductor who seeks information concerning avant-garde choral music in terms of general information as well as performing requirements.
Coverage: Book covers avant-garde choral literature in many voicings as well as suggestions for successful interpretation and understanding of avant-garde techniques.
Organization: Three sections comprise the book: introductory material, avant-garde warm-ups and the annotated bibliography. The annotated bibliography is the bulk of the material and contains listings for various pieces. Entries include composer names, title, voicings, and publishing information. Also contains instructions for the avant-garde music (i.e. materials needed, what kind of techniques are employed) The bibliography is organized by voicings (SATB, SSA, Unison, Two-Part, etc.)
Pros: Helpful information regarding interpretation of avant-garde techniques and related materials.
Cons: Only a small amount of literature can be covered in this type of book. Written in the late seventies, it lacks many current compositions.
Use: A resource for finding A Capella arrangements of American folk songs.
Coverage: After giving a brief history of the A Capella folk song, and the stylistic traits of arrangements for A Capella choir, the author presents a list of about a hundred such arrangements with notes as to tessitura, style, tempo, range, etc.
Organization: Alphabetical by song title; these are then cross-referenced in the appendix by composer and title.
Pros: The comments for each piece are the most valuable part of the work and are very valuable to the conductor searching for good, worthwhile arrangements of American folk music.
Cons: Not all of the pieces have comments given (likely due to space limitations).
Musica: International Database of Choral Repertoire. http://www.musicanet.org/en/. Accessed July 27, 2001.
Use: From the website: "A choral documentary search tool as well as a pedagogic tool for conductors, musicologists, schools of music, musical federations, music stores, etc... but it is also for amateurs and people eager to know about the choral music repertoire." Also used to "promote the diffusion of the choral repertoire."
Coverage: To date this database covers currently 80,434 records of choral works, by 19,646 composers. The entries in the database are submitted by choral conductors, and music librarians from over 14 countries, as well as users of the database. It began in 1983 in "La Partithèque", the library of the Centre d'Art Polyphonique d'Alsace (CAPA), France. In 1990 the International Center for Choral Music (ICCM) lent its support. Since 1998, the database has been supported by the International Federation for Choral Music (IFCM). In addition to English, it is also completely available in French, German and Spanish.
The homepage includes the links: "Who is Musica?" "Search in
Musica database" "Favorite Piece of the month" "The Musica
Workshops" and "The Musica CD-Rom." In addition, there are
links to submissions, contacting Musica, New features, as well as links to
other web pages such as ICCM, CAPA, and ChoralNet. The Search link is the
quickest method to reaching the database. You can search the entire database
for works or you can search for information about composers, publishers, and
authors of the texts. There are two types of searches, basic and advanced.
A basic search allows you to search the database by composer or arranger,
author of the text, title of the text, keywords in the title, language, century,
type of choir, number of voices, and voicing.
A search of the database lists the title, composer and year of the work, along with information about the author of the text, the publisher and score number, the genre, the type of choir needed to perform the work, the duration, and the language of the text. Some of the scores also provide a description of the mood, the difficulty for the choir and the conductor, and the tonality of the work. To the right of the entry on some of the entries are links to a sample image of the work, the text, soundfiles (including information on what ensemble performs in the recording), pronunciation of the text, and links to the composers web page or to a publishers web page. Every entry also contains an edit link for the viewer to submit corrections, thus assuring that the most up-to-date and correct information is provided.
Pros: An extensive listing of choral works, with information about where to get the score or recording of the work. The web-format allows for corrections and from users as well as unlimited additions to the database. A search for information about the composers brings up links to web pages about the composer. Sometimes a composers official homepage is listed. Each of the four languages has not only translations of the home page, but also complete translations of the entries.Includes helps for searching the database. The database is also available on CD-ROM, for offline viewing.
Cons: Only contains information that has been submitted by contributors. Not completely extensive, not all listings contain the same amount of information. Not all works by a composer are listed. Sometimes by going to the composers web site you can see a greater listing. No information is provided about who submitted the information. Cannot be searched with Netscape 6.
Note: See also ChoralNet (Annotated Bibliographies—Choral Music) for other repertory searches.
Use: Reference guide for choral conductors and musicians interested in American choral music during the nineteenth century.
Coverage: Contains information concerning origins, history, genres, composers and singers of nineteenth century American choral music. Excludes hymns, but contains resources for the study of hymnology.
Organization: Divided into 26 brief chapters, each focusing on a different topic of study. General subjects take up the first half of the chapters, while the last half is devoted mainly to composers of choral music. Includes a chapter for reference works and periodical bibliographies and indexes.
Pros: Provides bibliographic survey of choral music research.
Parker, J. Carlyle, comp. Music Directors’ and Accompanists’ Index to “Hymns,” (1985) and “Simplified Accompaniments,” (1986). Turlock, California: Marietta Publishing Co., 1988. Mus Ref ML 128 .H8 p37x 1985
Use: To help the beginner musician choose hymns for LDS services.
Coverage: Includes all hymns from the LDS Hymnal (1985) and the Simplified Accompaniments (1986).
Begins with a preface, introduction and list of abbreviations. Balance of
book divided into 10 categories. Within each category each entry has information
on the hymn number in both books, vocal range, key, time signature, and whether
there is an upbeat or fermatas in the hymn. The categories are:
“HYMNS FOR EASY PLAYING AND EASY SINGING (Hymns with high notes under E)” Arranged by key signature.
“HYMNS FOR EASY LEADING” Arranged by time signature.
“HYMNS IN ORDER BY HIGH NOTES”
“HYMNS IN ORDER BY LOW NOTES”
“HYMNS IN ORDER BY KEY”
“HYMNS IN ORDER BY TIME”
“HYMNS STARTING ON AN UPBEAT”
“HYMNS STARTING ON A DOWNBEAT”
“HYMNS WITH HOLDS”
“HYMN TITLES IN ALPHABETICAL ORDER”
Pros: Very useful for the beginning lay chorister in the LDS church.
Use: This very short list of music for male chorus is intended to be a guide to conductors and music librarians who are seeking to include the very best in men’s music in their collections.
Coverage: Selected works for male chorus.
Organization: The pieces are listed alphabetically by composer, and give information as to number of voices, publisher, and some commentary on the music itself.
Cons: It is not a very exhaustive study, and makes value judgements based on very questionable logic (if it’s performed frequently, it must be good!). No index or bibliography given.
Use: For musicians or educators seeking information on Latin American choral music.
Coverage: Historical, practical and reference information concerning Latin American Choral music. Emphasis on art music by composers with classical training. Not much attention given to traditional folk tunes unless arrangements by significant composers.
Organization: Provides a brief history of art music in Latin America as well as a practical guide to research in this area. Following this is a catalogue of composers and works. The last part of the book provides information on anthologies, publishers, discographies, recording companies, archives, biographical bibliographies and periodicals. Two appendices conclude the book covering selected general bibliographies and institutions promoting Latin American studies.
Pros: Covers an important and unusual area of interest, provides broad base of reference material.
Use: Guide for conductors and choral musicians seeking information regarding the male choral ensemble and its literature.
Coverage: Included is a brief background on the history of men’s choral singing, literature, publishing information, collections of music for men, and articles relating to topics in male choral singing.
Organization: Book is divided into two parts. Part I explains abbreviations used, gives a brief history on male choral music, provides a listing of publishers addresses, professional organizations, the catalog of music for men’s voices and collections of music for men’s voices. Selection of music reflects author’s bias based mainly on quality, composer reputation and contribution to the field. Catalog lists alphabetical by composer and then by title of work. The second half of this book contains several articles that discuss topics in male choral singing. Concluding the book is a bibliography and indices of authors, titles, text sources and first lines.
Pros: Broad coverage of literature and information for its time.
Cons: Much music as well as many new pieces has been written since 1981. This is a good place to start, but up-to-date information must be found elsewhere.
Use: An annotated listing of choral works by African American composers.
Coverage: Composers that were recommended to the author by respected African American composers/musicians are included. Contains detailed descriptions of each composer’s works including level of difficulty.
Organization: Listed alphabetically by last name of composer. Each entry is in chart form with eight columns titles: Composers, Title, Copyright Date & Number of Pages, Voicing, Vocal Range, Level of Difficulty, Instrumentation, Publisher, and Catalog Number. Contains an index by Title, Index of Brief Biographical Sketches, and a Selected Discography arranged alphabetically by title.
Pros: Chart form is easy to read and well organized. Useful for a choral conductor who wants to program a concert with a certain composer in mind.
Cons: Does not contain all African-American composers, only those recommended to the author.
Use: Choral conductors/educators seeking information on Twentieth Century choral literature and its appropriateness for high school level ensembles.
Coverage: Provides entries for over 235 choral works attempting to include all of the major figures of the century, or who initiated important trends during this time. Includes SATB, SATB divisi, SAB and SSA voicings as well as speech chorus entries.
Organization: Chapters divided by voicings, a listing of music publishers and a composer index conclude the book. Each entry includes information concerning the composer, title, voicing, accompaniment, text, range, difficulty, style and misc. comments pertinent to each piece. Also noted is information concerning the publisher, duration, usage, date of composition and appropriate level of performers to use the piece.
Pros: Each entry is full of vital, practical information for conductors/teachers.
Cons: Can only provide a small sliver of literature from this time considering the huge amount available.
Use: Choral educators and conductors seeking information on traditionally successful choral literature in school situations.
Coverage: Includes literature lists of outstanding choral works for school use. Includes various voicings from SA- SATB divisi with various instrumentation.
Organization: Divided into subject areas, this book contains a master list of choral works grouped by voicing, and then by genre. Selection seems to reflect author’s bias based on personal conducting experience, composer quality, and performing trends in music education. Latter part of the book contains subject headings with additional music selections. These subjects include some additional music and information not mentioned in the original listing under categories such as: musical theater, chorus and band, collections, reference books, publishers and retail music scores. Each listing contains title, composer/arranger, publisher, level of difficulty, accompaniment and comments as well as range markings put on a staff.
Pros: This is a broad yet thorough resource guide for the choral educator. Listings contain pertinent information, but no value judgments.