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14 Louis H. Diercks and E. Milton Boone, “The individual in (1966): 10.
the choral situation” Choral Journal 7, no. 4 (1967): 25-29. 32 Richard Miller, “(1) Imaginative singing and (2) tenor choral
15 Chicago Singing Teachers Guild, “Concerning the straight falsettoing” Journal of Singing 58, no. 5 (2002): 415-418.
tone” The NATS Bulletin 1, no. 4 (1945): 4. 33 Charlie Dean Archives, “The Story of Westminster
16 Weston H. Noble, “Audtions and Voice Placement,” in Cre- Choir College,” YouTube, January 9, 2016, histori-
ating the Special World: A Collection of Lectures by Weston H. cal video, 11:45 to end, https://www.youtube.com/
Noble, ed. Stephen M. Demorest (Illinois: Chicago, 2005), watch?v=tGrQZKf_eY0.
46. 34 Greg Joseph, “Beautiful Savior—St. Olaf Choir, F. Melius
17 Andrew Schmidt, “Singing scientifically.” Christiansen conducting,” YouTube, January 6, 2014,
18 Jack M. Jarrett, “Expressive Resources of the Chorus,” Cho- historical video, beginning to end, https://www.youtube.
ral Journal 1, no. 5 (1961): 4. com/watch?v=0xxNW67UReQ.
19 Larry Wyatt, “Factors Related to Choral Blend: Tone Qual- 35 Perry Smith, “Balance or blend?”
ity Vibrato Intonation,” Choral Journal 8, no. 2 (1967): 36 Gayle Walker, “Good vibrations.”
7-9. 37 John Nix, “Shaken, not stirred”; Danya Katok, “Healthy
20 Louis H. Diercks and E. Milton Boone, “The individual in minimization of vibrato: An exploration of ‘straight
the choral situation.” tone,’” Choral Journal 62, no. 4 (2021): 8-19.
21 “ACDA unites with NATS for vocal discussion,” Choral Jour- 38 Joshua J. Whitener, “The German school of singing: A
nal 3, no. 5 (1963): 22-25. compendium of German treatises 1848-1965” (Ph.D.
22 George A. Gates and Nancy Lamb, “Practical Vocal Physi- diss., Indiana University, 2016); Sean M. Parr, “Wagne-
ology: An Interview with George A. Gates, M.D.,” Choral rian singing and the limits of vocal pedagogy” Current
Journal 19, no. 8 (1979): 8-15. Musicology 105 (2019): 56-74. https://doi.org/10.7916/
23 Paul E. Ingham and Alan L. Keaton, “Vocal Nodules and cm.v0i105.5403
the Choral Conductor,” Choral Journal 24, no. 3 (1983): 39 Joshua J. Whitener, “The German school of singing.”
5-6. 40 Sean M. Parr, “Wagnerian singing.”
24 Lynne Gackle, “The Adolescent Female Voice: Characteris- 41 John Weiss, “Operatically Trained Singers in the Collegiate
tics of Change and Stages of Development,” Choral Jour- Choral Rehearsal,” Choral Journal 43, no. 1 (2002): 27-33;
nal 31, no. 8 (1991): 17-25. Kevin D. Skelton, “Vibrato and Voice Timbre in Choral
25 Paul W. Peterson, “Problems of Choral Blend,” The NATS Singing,” Choral Journal 44, no. 7 (2004): 47-54; Noël Ar-
Bulletin 8, no. 5 (1952): 2; Harvey L. Woodruff, “The chambeault, “‘Come on-a my house’: An Invitation to
Choral Conductor,” The NATS Bulletin 10, no. 1 (1953): Vocal Jazz for Classical Singers,” Choral Journal 46, no.
14, 16, 22. 11 (2006): 71-76; Rebecca Sherburn-Bly, “Straight Tone
26 Olaf C. Christiansen, “Solo and Ensemble Singing,” The in the Choral Arts: A Simple Solution,” Choral Journal 47,
NATS Bulletin 21, no. 3 (1965): 16-17, 40. no. 8 (2007): 61-69; Virginia Sublett, “Vibrato or nonvi-
27 Bruce G. Lunkley, et. al., “Point Counterpoint” Journal of brato in solo and choral singing: Is there room for both?”
Singing 39, no. 3 (1983): 6-9, 42; Peter E. Tiboris, et. al., Journal of Singing 65, no. 5 (2009): 539-544; Scott McCoy,
“Point Counterpoint” Journal of Singing 39, no. 4 (1983): “The Choir Issue, Part 1”; Danya Katok, “Healthy mini-
5-8, 37. mization of vibrato.”
28 Harvey L. Woodruff, “The Choral Conductor.” 42 Perry Smith, “Balance or blend?”; Kevin D. Skelton, “Cho-
29 Richard Miller, “The Solo Singer in the Choral Ensemble” ral Intonation,” Choral Journal 46, no. 3 (2005): 28-43,
Choral Journal 35, no. 8 (1995): 31-36. 46-49; Gayle Walker, “Good vibrations”; Andrew Schul-
30 This echoed Wise’s argument in 1962. Bernard Regier, tze, letters to the editor, Journal of Singing 66, no. 1 (2009):
Vernon H. Opheim, and B. Fred Wise, “The individual 5-6; John Nix, “New Voices in Research”; John Nix,
voice in the choral ensemble.” “Shaken, not Stirred”; Sharon Hansen, et. al., “Choral
31 Richard Miller, “Legato in singing—Part 1: Vibrato in re- directors are from Mars”; Steve Austin, “Vibrato by the
lation to the vocal legato” The NATS Bulletin 22, no. 4 Seashore”; Scott McCoy, “Reinventing the Wheel,” Jour-

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