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Choral Vibrato: The Hundred Years’ War

2006, Noël Archambeault, “On the Voice: “Come on-a My 2016, Steve Austin, “Vibrato by the Seashore”
House”: An Invitation to Vocal Jazz for Classical Singers”

2007, Rebecca Sherburn-Bly, “On the Voice: Straight Tone in 2019, Scott McCoy, “Reinventing the Wheel”
the Choral Arts: A Simple Solution”

2008, Ingo R. Titze, “Getting the Most from the Vocal
Instrument in a Choral Setting”

2013, John Nix, “New Voices in Research: Vibrato and
Non-vibrato Singing: Who Teaches it? How Do They Teach it?
Does it Make a Difference?”

2013, Donald C. Freed, review of The Solo Singer in the
Choral Setting, by Margaret Olson

2014, Sharon Hansen, et. al., “Choral Directors are from
Mars and Voice Teachers are from Venus: ‘Sing from the
Diaphragm’ and other Vocal Mistructions: Part 2”

2021, Danya Katok, “Healthy Minimization of Vibrato: An
Exploration of ‘Straight Tone’”

Options for Late Renaissance Vocal Music,” Choral Jour- 41.
nal 48, no. 1 (2007): 24-35. 10 Scott McCoy, “The Choir Issue, Part 1,” Journal of Singing
4
Andrew Schmidt, “Singing scientifically: A content analy- 67, no. 3 (2011): 297-301.
sis of Choral Journal and science-based discussion of the 11 John Nix, “New Voices in Research: Vibrato and Non-vi-
voice,” International Journal of Research in Choral Singing 10 brato Singing: Who Teaches It? How Do They Teach
(2022): 163-180. it? Does it Make a Difference?” Choral Journal 53, no. 9
5
Sarah Brailey, “One of the most striking takeaways from yes- (2013): 57-66; Sharon Hansen, Allen Henderson, Scott
terday’s ACDA sessions,” Facebook, February 25, 2023. McCoy, Donald Simonson, and Brenda Smith, “Choral
https://tinyurl.com/mwhnmy65 Directors are from Mars and Voice Teachers are from
6
John Nix, “Shaken, not stirred: Practical ideas for addressing Venus: ‘Sing from the diaphragm’ and other vocal mis-
vibrato and nonvibrato singing in the studio and the cho- tructions: Part 2,” Choral Journal 54, no. 11 (2014): 47-53.
ral rehearsal,” Journal of Singing 70, no. 4 (2014): 411-418. 12 Bernard Regier, Vernon H. Opheim, and B. Fred Wise,
7
Carl E. Seashore, The Vibrato (Iowa City: University of “The individual voice in the choral ensemble: Sympo-
Iowa Press, 1932), as cited in Steve Austin, “Vibrato by sium at 1:30 general session, Wednesday, March 14,
the Seashore,” Journal of Singing 72, no. 4 (2016): 491- 1962, Chicago national conference” Choral Journal 2, no.
496. https://www.thefreelibrary.com/Vibrato by the 5 (1962): 12-15, 30; Gayle Walker, “Good vibrations: Vi-
Seashore.-a0446470933. brato, Science, and the Choral Singer” Choral Journal 47,
8
Perry Smith, “Balance or Blend? Two Approaches to Choral no. 6 (2006): 36-46; Ingo R. Titze, “Getting the Most”;
Singing,” Choral Journal 43, no. 5 (2002): 31-43. Gerardo Acosta Martínez and Helena Daffern, “The
9
Ingo R. Titze, “Getting the Most from the Vocal Instrument role of vibrato in group singing.”
in a Choral Setting,” Choral Journal 49, no. 5 (2008): 34- 13 Andrew Schmidt, 163-180.

28 CHORAL JOURNAL February 2024 Volume 64 Number 6