BLEND in CHORAL SOUND: Factors Related to its Achievement — Vowels

Author(s): LARRY WYATT

Source: The Choral Journal , SEPTEMBER-OCTOBER 1967, Vol. 8, No. 1 (SEPTEMBER-
OCTOBER 1967), pp. 15-18
Published by: American Choral Directors Association

Stable URL: https://www.jstor.org/stable/23542187

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 Works, Vol. VI)
Lammento d'Arianna (Redlich) (SSATB
and continuo)
1. Lasciate mi moriré Associated Music
Publishers
2. O teseo mio Schott & Co.
3. Dove fe la fede Schott & Co.
4. Ahi che no par risponde Schott & Co.
Lagrime d'amante al sepolcro dell'amata
(SSATB and continuo) (Randolph)
G. Schirmer
1. Incenerite spoglie, avara tomba
2. Ditelo vol
3. Rara la notte
4. Ma te racoglle
5. O chiome d'o'r
6. Dunque amate reliquie
Madrigals, Book VII (1619) (Collected
Works, Vol. VII)
Tu dormi? Ah crudo core (Smithers)
SATB, G. Schirmer
Madrigals, Book VIII (1638) (Collected
Works, Vol. VIII)
Hor ohe'l ciel e la terra (Stevens)
(SSATTB, 2 vins, cont.) Penn State
Music Series
1. Hor che*l ciel e la terra e'l vento tace
2. Cosi sol d'una chiara fonte viva
CHURCH MUSIC
Sacrae Cantiunculae for three voices
(1583) (Collected Works, Vol. XIV)
Lauda Sion, salvatorem Ricordi
Angelus ad pastores Dessoff Choir Se
ries, Mercury Music Corp.
Hodie Christus natus est Dessoff
Choir Series, Mercury Music Corp.
Vespro della Beata Vergine (1610) (Col
lected Works, Vol. XIV) (Stevens)
Novello
Deus in adjutorium
Dixit Dominus
Laúdate pueri
Laetatus sum
Nisi Dominus
Lauda Jerusalem
Ave maris stella
Magnificat
(Ghedini) Suivini-Zerboni, Associated
Music Publishers
Domine ad adiuvandum
Nigra sum
Lauda Jerusalem
Ave Maris Stella
Dixit Dominus
Sonata sopra Sancta Maria
O quam pulchra
Magnificat
From the Motet Collection of G. C. Bian
chi (1620) (Collected Works, Vol.
XVI)
Christe adoramus te (Daniel Pinkham)
SSATB Boston: Row Music Co.
FOOTNOTES
1. Hans Redlich, Claudio Monteverdi
(translated by Kathleen Dale), Oxford,
1952, p. 91.
2. Oliver Strunk, Source Readings In
Music History, New York, Norton & Co.,
1950, pp. 408-409.
3. Op. cit., p. 413.
4. Denis Arnold, Monteverdi, New York,
Ferrar-Strauss, 1963, p. 133.
Dr. Lewis E. Whikehart, professor of
choral and church music at the Cincin
nati College-Conservatory, has had an
article published — one of a series of
six on "Chorale Techniques" — in the
"National Official Journal of the Meth
odist Church." He has composed numer
ous choral works and is the founder and
director of the Whikehart Chorale re
cording group.
SEPTEMBER-OCTOBER
131.161.195.134 on Sun, 13 Jun 2021 15:14:17 UTC
BLEND in CHORAL SOUND
Factors Related to its Achievement — Vowels
The following article is based on ma
terial in the author's thesis, "Blend in LARRY WYATT
Choral Sound" which was completed in Larry Wyatt is the choral director at
August, 1966, at North Texas State UniCentral Florida Junior College, Ocala,
versity, Denton, Texas. Advisor on theFlorida where he has established a Com
munity as well as a College Choir. He
project was Dr. David C. McGuire. received his BME degree from Murray
In undertaking this study, it was felt State University and his MM from North
that there was a need for a systematicTexas State University at Denton, Texas.
collection of ideas concerning blend inHis series of articles will be of special
interest to ACDA members since he con
choral sound. Many authorities discusstacted many of them for opinions and
the subject, but their concepts of thestatistics during his graduate study, with
term are very divergent. These diverthese articles being the result of that
gent concepts lead to emphasis of variwork.
ous factors which are important to blend.
This emphasis in turn leads to many
methods of achieving it. sponding to the questionnaire sixty-seven
Analysis of the problem led to subor per cent preferred definition number one.
dinate questions, or sub-problems, whichTwenty-two per cent preferred definition
may be stated as follows: (1) What isnumber two and eleven per cent stated
desired by the authorities in the way ofthat both definitions were correct.
blend? (2) What factors are considered The essential difference in the two
to be important in achieving blend? (3)definitions is that the first recognizes
What are the acoustical properties of the differences of tone qualities of indi
the factors that affect blend? (4) What vidual voices and without actually at
are the authorities' recommendations tempting to change the basic tone qual
concerning the achievement of blend ity in of the individual, seeks to mix it into
choral sound as it relates to each of the one sound. The second definition implies
various factors? The thesis is essentiallythat a uniform quality of tone within and
a compilation of virtually all materialbetween voice sections is essential to
written on the subject and a correlationblend in choral sound. Those who ascribe
of the opinions of many of the outstandto this definition of blend in choral
ing choral directors in the United States.sound, would probably attempt to change
The information concerning each of thethe tone qualities of individual voices in
factors is presented from three vieworder to achieve blend.
points where feasible: (1) published VOWELS There is almost unani
material written by choral musicians,mous agreement that one of the most
(2) Published material from scientificimportant factors, if not the most im
sources, (3) Opinions of outstanding portant factor in the achievement of
choral directors compiled from question choral blend is unity of vowel. The de
naire results. It is from chapter threesirability of homgeneity of vowel sound
"Factors Related to the Achievement of is stressed in virtually every discussion
Blend" that the material for the follow of the achievement of blend. Coleman
ing articles is drawn. states, ". . . blend of tone is largely de
The concept of blend in choral sound pendent upon the exact uniformity in the
is difficult to describe and define. Most shape of vowels. Not that one particu
choral directors have a mental concep lar vowel-shape is right and another
tion of blend ; the problem is finding adewrong, but there must be a standard."
quate words to express this concept. (1, pp. 57-58)
Most agree that blending refers to mix Further evidence of the importance of
ing of the voices. The difference the of uniformity of vowels in the achieve
opinion is primarily in the degree ment
to of choral blend is shown by the
questionnaire answer: "Good blend is
which the director mixes the voices in
achieving blend. achieved when . . . the same vowel
Basically, there are two definitions of sound is used within and between sec
blend in choral sound to which most autions." Of the directors responding. 78
thorities subscribe. (1) "The perfect per cent indicated that good blend is
fusion of the tone of a number of dif achieved when the same vowel sound is
ferent voices, whose various characterused within and between sections.
istics mix so as to result in one beau In another question the directors were
tiful sound." (1, p. 223). (2) "Blend asked to grade various factors according
refers to the uniformity of the quality ofto importance in the achievement of blend
tone within and between sections" ( 14,in choral sound. Of the directors respond
p. 56). Of the fifty-nine directors reing to the question, 83 per cent rated
1967 16
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uniformity of vowels as "very impor- pitch that defines the vowel-sound ah? The frequency given is in every case
tant"; 17 per cent rated uniformity of The analysis of this vowel-sound sung the center of a range of pitch within
vowels as "important". No directors by the bass voice at once solves this which all partial tones are strengthened:
rated uniformity of vowels any lower problem for us. It gives : this range is sometimes considerable,
than these values. Uniformity of vowels order of The vowel sounds oo and ee involved
was rated as the most important factor Partial Frequency Energy, % formants of very low pitch, accounting
in the achievement of blend in choral 1 154 1 for the great difficulty in producing
sound. 2 308 3 these vowels with good enunciation on
A dictionary definition of a vowel is: ®
"A speech sound uttered with voice or 5 772 12 that of the formant can have no partial
whisper and characterized by the reson- 6 924 66 tones in the range of the formant, thus
ance from the vocal cavities" (12, p. 7 1,078 7 the appropriate frequency cannot be
2860>. ® I evoked (15, p. 76).
According to Miller: "Vowels are ' Miller explains the process of singing
speech sounds which can be continuous- We see at once that the prominent a vowel,
ly intoned, separated from the combina- partial is fixed in pitch. This view is .
tions and noises by which they are made verified by extending the observations f"'ie ja
into words" (8, p. 217). to other singers and other notes. Al- b7 !ifelon^
There has been much research into the ways there is a strong partial in the fnSmS, are
acoustical properties of vowels. This neighborhood of the frequency. ... vowe
knowledge is extremely desirable if one These results have been generally con- tuned unc
is ever going to attempt a beginning in fined by other observers using differ- acterist
the improvement of the voice. The fol- ent methods of analysis, except that all tlme th
lowing facts concerning vowels have been the vowels seem to be characterized by are brou
definitely established: (1) any vowel is two prominent regions of pitch, the desired Pltc
characterized by the presence of a defin- higher one being less important in the tbe lun?
ite group, or groups, of partíais; (2) series of vowels to which Miller as- 7nx'. a com
the partials that make up a certain char- signed only one. A region of pitch in consisting
acteristic group are much the same re- which all partials are strengthened is en Pitcb a
gardlèss of the fundamental frequency; called a formant, and we may say that perhaps tw
(3) vowel sounds are produced by means for every vowel there are two for- usuall-v a l
of a "modulating" process consisting of mants of fixed pitch (15, pp. 73-75). partíais in
shaping the mouth and pharyngeal cavi- . nearly in unison with the vibrations
ties so that the proper order and inten- Richardson ascribes three formants proper to the air in the m
sity of partials are developed by reson- ^or vowel sounds and states that the fre- are greatly strengthened
ant action (2, p. 157). quency ranges of these three formants and the resultant effect is
Two theories have been proposed in overlap for the various sound. The first which the ear identifies
connection with the explanation of vowel or lowest formant (depending on the fied vowel sung at the de
sounds. They are called the fixed-pitch vowel) lies between 200-1200 cycles per (8, pp. 242-243).
theorv anrl thp rplativp-rvit-eVi tVipr,rir second: the second lies between 600- _
These two theories are discussed by 3500 c/si and the third between 150°" evldence ,indlcates that ther
Wood. y 4500 c/s. Generally, the lowest frequen- are at least flve alr cavltles associate
cy formant has the greatest amplitude, w'tb voice production. These cavities
When a given vowel sound is sung, the second formant next; and the third are forced into vibration; and if the n
does the singer always emphasize the jlas tjle weakest tural frequency of any one cavity lies
partial of a certain order — i.e., the Formant frequencies vary considerably near the natural frequency of one o
third, fourth, etc. — whatever its ag do tlie reiative amplitudes, for any partials, the cavity vibrates and the
pitch, or does he always emphasize a given sound from speaker to speaker, da' 's strengthened. From the point
fixed pitch whatever the order of the and t0 a ]esser degree with successive view of vowel enunciation, two of
corresponding partial may be? For in- utterances of the same' speaker (10 p cavities are important, the mouth
stance, a soprano singing the vowel 214) ' pharynx; the remainder are effectiv
sound a as in 'father' emits a note of f0nowing chart by Wood shows other modifications of quality whi
which the following is an analysis ob- rhararterkrir frennenries of thp first be made not changing the vowel. T
tained by D. C. Miller using his twQ formants o{ the vowel sounds. natural frequencies of the mouth
phonodeik : pharynx are altered by changing their
,. , _ _ „ TABLE IV volume TABLE
andIVthe width of the aperture by
Partía reto|nCy Energgy' Characteristic Frequencies of th
Characteristic Frequencies of the
Vowel-Sounds
2 616 6 (Reproduced fT^Tto'Physics
(Reproduced from The Physics of Music) of Music) ™a
á
4 y¿4 69 m
1232 949-9W
8 U5» pitch
PP* of
(15,
242-253)pp.a note, the mouth and pharynx
242-253)
5 1,540 5 Speech
Speech Low Low
High
determine
—.
the vowel, and th
6 1,848 1 Sound Frequency Frequency
Sound cavities
Frequency determine the musical quality
Frequency
7 2,156 — u (pool) 400 800
u (pool) 400 (15, pp.
800 76-77).
8 2,464 — u (put)
u (put) 475
475 1,000
1,000
9 2,772 — o (tone) 500 850 Recommendations
o (tone) 500 850 Concerning Vowels
a (talk) 600 950
If. now, a basso (ton)
voice sings
700 the
1,150 same a ^ ^ In atte
vowel-sound, of course at a different a (father)
a (father) 825825 1200 vowels,
1,200 the first step is to decide on
pitch, will the prominent partiala be the a (tap) 750
(tap) 750 1,800 what vowel sound is desired. Since each
1,800
550 1,900
partial of the same order as that of e (ten) 550
e (ten) 1,900 vowel has many shadings of pronuncia
or (port) 500 1,500
the soprano, or the partial
a (tape) nearest
550 to °r 55q
2,100 2'^ lion and quality, there ca
the same pitch? Is it the relative
i (tip) pitch
450 ¡ (tip) 450
2,200 2*200 correct interpretation and
of the strong partial or its absolute 3 (team) 375
3 (team) 375 2,400 for 2,400
any given vowel. The criteria must

16 THE CHORAL JOURNAL

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be the dramatic requirements inherent The singer must be alert and he must terial in attempting to obtain blend,
in the music. think the vowel at all times. The di- Table V shows the rehearsal techniques
One must have a clear mental concept rector can help by demonstrating how used for obta
and a mechanical technique for the pro- a vowel can gradually change while one The question
duction of vowels and consonants ; how- is singing it. "Ah," for example, can blend do you use . . .
ever, the emphasis should always be on drift into "uh." TABLE
TABLEV
V
expression. Freedom of tone production It is important for choirs to use
Rehearsal their of
Materials Rehearsal Materials of
59 Directors
should be sought, but good work on lips and tongue properly since facial ex- for for
Obtaining
ObtainingBlend
Blend
vowels is not an end in itself. It is a pression plays a large part in producing Material
Material % %ofof Directors Using
Directors Using
Concert Performance Material 9
technique for expressing the emotional the proper vowel. Obviously, the mouth Concert
Vocalises
Performance1
Material 9
content of the music (6, p. 155). must be open comfortably
Both when singing
- 89 B°thliS6S
Most authorities agree that the choral "ah", but to sing "ee" in the same(Diction
Other posi- other (Diction Exercises)
Exercises) 1 1
ensemble should be able to sing differ- tion would distort the tone because it is
ent types of literature and that different unnatural for the "ee" vowel. This should Fred Waring has developed a met
types of vowel sounds are required for be demonstrated to the singers. At the ^or achieving uniformity of vowels,
the different moods of the music. Morris same time they should be shown the ... To achieve absolute clarity,
expresses the need for the choral con- correct lip position for producing all the we have developed a method of enun
ductor to understand this: vowel sounds (4, p. 48). ciation, the essence of which is a rough
A repertoire of poetic imagery for Further information concerning the and practical system of phoneti
the provocation of vowel coloring Physiology of the production of vowels break down each word into
should be standard equipment for the comes fror" Delattre: "The vocal tract lest units of sound. Each of the
choral conductor. As an aid to achiev- vanes 'n shaPe from that ofa un'forl" 'S called a t0"e ^llable
ing a higher degree of homogeneity P'Pe , (same sect,°" arfa .throughout) tone syllable should be pr
of vowel sounds this technique should closed at ?ne e,nd ^he flo"!S) and °Pen ™th iexa^erated distinctness.
not be overlooked. Such descriptions at tbe other (the hps). The more the discipline is achieved, this
of vowel quality as light or heavy, vocal tract. approximates the shape of a tion should be tempered and r
happy or sad, dark or bright, colorful umform P'f' th* "10re the hl&h f°r- by good taste and the mechan
or plain, and soft or hard, are some- mants ,are, ,favored b>' a resonance, and the method will not then be a
times nuite effective (9 on 23-24) inversely (3, p. 6). in the actual performance. The
q ' Soft singing is suggested as a means feeling for the true sounds of each
Many writers stress the importance of for achieving uniformity of vowels. Fuhr word will, however, have been estab
imitation in achieving uniformity of suggests this approach : lished and unison pronunciation will
vowels. The conductor is suggested as have become a subconscious habit (11,
the model in many cases. Morris writes: ... let it be the aim to preserve p
m . , . a uniform, soft quality which prevents . , ., . . , .
The most efficient method of ap- the emergence of harsh
proaching homogeneity of vowel pro- tones> which t a premium
nunciation is that of imitation. The im- ity and ease This do
portance of vowel sounds and their ever> that if homogene
homogeneous conceptions m determin- preserved as a fundament
ing tone quality demands that the the singers wffl bg ab)
choral conductor have a thorough mdlow tone color and eage
knowledge of word pronunciations and mQre brilliant vowel form
be able to demonstrate correct vowel SQ yital tQ the tona, co,or
sounds to the chorus (9, p. 23). Most of the objectionable v
Helvey stresses the responsibility of ity encountered in choral
the conductor for establishing the cor- the result of oversingin
rect vowel and adds that the singers lar tension. Insistence u
should be taught to listen and think of namic level will help eno
vowel production. ward guiding both singers and
. .. , ., . . „ ors toward the desired ends (5, p. 74).
The production of the vowel by a (combinations of two vowel sounds)
choir is dependent upon the mental Eisenkrammer also stresses singing the and tripthongs (comb
conception of the vowel on the part of same vowel softly or lightly. Early vowel sounds), t
the director. He must determine the church music is excellent for this be- spelled phonetically as
color and shade of the vowel that fits cause the harmony is simple. The singers below. Not all the sh
the particular mood or expressive con- are less inclined to strive for effect and ¡n tbe s;ngie VOwel
tent of the music. It is the uniformity more inclined to seek clearer vowels to dicated accurately in
of the vowel on the part of all mem- blend this kind of music (4, p. 48). spelling without im
bers of the choir that determines the Helvey found that : "Most writers jty. tbe "Spe]ijng" 0
tone color or quality. Again, this is seem to agree, however, that the study dlat 0£ cornmon usag
the responsibility of the conductor. In of the vowel should evolve from the mu
working with untrained singers, it is sic under study and not from meaning- Dipthongs :
important not only to develop a uni- less exercises of vocal technique. It is a is ay-ee or eh
form color of the vowel if the choral important . . . that all exercises stem on tempo
group is to become an expressive unit. from, or lead to, the interpretation of i is ah-ee or ah-i
The teaching of intent listening and the actual music under study" (7, p. 21). 0 is oh-00
thinking of vowel production to the Questionnaire results from this study, u is ee-oo
choir members is very important in the while not specifically dealing with the 0u or ow is ah-00
accomplishment of proper vowel pro- vowel, indicated most directors use both 0y or 0i js aw-ee or aw-i*
duction and tone quality (7, pp. 20-21). vocalises and concert performance ma- *The sound designated by aw is

SEPTEMBER-OCTOBER 1967 17

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 tually a sound between aw and short

Dot's Da Kine From da Haht

o. In our publication it is consistent
ly written aw for convenience.
Tripthongs :
woe is oo-oh-oo
SHIGERU HOTOKE

(Heart)
yea is ee-ay-ee
wide is oo-al>eed Choral Director,
Kailua High School
yoke is ee-oh-ook Kailua, Hawaii
Example of the application of Rule I :

It is with a great deal of pride and set up an exciting itinerary which even
satisfaction that I write this report, for included golf for the director,
Wrrr
W*rc you there
thrrr .. when
whin thry the purpose of this cultural exchange was We performed at the large Baptist
oo-ukrce-oo
oo-uhr ce-oo ththr
thekr *#hoo tn fhay-ec
Moo en thay-te fulfilled beyond expectations. Church, at the Dunes for the Rotary
It began when the Kailua High School and Kiwanis, the Victoria Country Club,

f, j i J.
cru - cl
ci - flrd
fled my Lord?
Madrigal Singers hosted the Ramona and the Riverside City College for the
High School Madrigals of Riverside, Cal- community. We also performed at Dis
ifornia. There were twenty-three singers, neyland, Knotts Berry Farm and the
kroo -- ft
Aroo si •■fah ted mah-ee
fah-ecd mah ee Lord?
Lord? director Mr. Ben Bollinger, his wife Lois, Universal Studios in Hollywood where
principal Mr. Gerould Esgate, his wife we were televised on Channel 2, Los An
and six chaperones. We tried to share geles. The concert was so well received
•Wh in tone-syllable spelling always the greatest asset we have in Hawaii — we rated a red carpet tour of the studios
take the sound of hoo, as hoo-ah-ee the spirit of Aloha — that feeling of wel- and an invitation to return. We also gave
(why), hoo-aht (what), hoo-ehr
come, of love, of understanding and good concerts at Idyllwild School of Music and
(where). The initial syllable hoo will. Arts (University of Southern California),
should be enunciated distinctly and
The arrival at the airport was very and at the world famous Tramway Res
festive as our students outdid the tradi- taurant in Palm Springs. The aerial
as quickly as possible.
tional Hawaiian welcome with posters, tramway ascends almost 10,000 feet to
Careful attention to vowel sounds handshakes and kisses. The Ramona the top of Mt. Jacinto. The temperature
High School students were placed in our varies from 115 degrees at the base of
not only develop clarity of enunciation,homes and were conducted through their the mountain to a cool 60 degrees at the
but also blends and unifies the choral busy itinerary by their hosts. Their con- top. The scenery from the top is unbe
tone. Since the vowels and a few of certs were very well received by all who lievably beautiful. We gave two concerts
heard them. They were heard by our there and were treated royally. We even
the consonants are the only sounds Governor, the Honorable John A. Burns, made the front cover of LIFE Magazine
that can be sustained, legato singing and the entire legislature, as well as the (The Palm Springs Life). All of the con
will obviously benefit from a conscious City Council; they were heard in schools, certs thus far were received with stand
ness of all the vowel sounds in each churches, hospitals, on the island of ing ovations. This fact gave our students
Maui, and in our own community. and hosts satisfaction and helped to
syllable and from practice in singing There is magic in music and young maintain a high level of morale. We felt
each of these sounds (11, p. 3-4). people. In no time at all, the entire so grateful and full of warm feelings for
group from Riverside and the people of all of the people of California,
In summary, there is almost unani our state had attuned to a beautiful har- Our parting from the Ramona High
mous agreement that one of the most im mony. We shared laughter and joys and School campus was a truly sad one. It
portant factors, if not the most impor tears; we shared our way of life through reminded me of the parting in Honolulu,
tant factor in the achievement of choral music and fellowship. The day of de- We boarded the Continental Trailways
parture was a very emotional setting. bus for the second half of our tour. So
blend is unity of vowel sounds. Vowels Still there was that satisfying feeling far everything progressed beautifully,
are speech sounds which can be contin that life-long friendship among people Our hearts were full of thankfulness and
uously intoned, separted from the com has been established. love. One wonders how is it possible that
binations and noises by which they are In the meantime, we finally raised the there could be wars, hate, and strife in
necessary funds of some seven thousand this world when so much love and un
made into words. Two theories proposed dollars through singing and recordings. derstanding could be tapped from people
in connection with the acoustical explan On June 18, our turn to return the visit to people sharing. Perhaps we would not
ation of vowel sounds are the fixed pitcharrived. Our itinerary was firmly estab- have heard of Adolph, Benito, Tojo, Ni
theory and the relative pitch theory.lished.
Au This included a week in Southern kita if they could have had the kind of
thorities recommend that the conductor California, two days in San Francisco, experience that we just encountered,
and four days in Vancouver, B.C. We continued on our eight-hour jour
should have a concept of the correct Our arrival in Los Angeles was a great ney to San Francisco. The bus was air
vowel according to the style and mood reunion with big banners of welcome, conditioned and equipped with all of the
of the music being performed. Imitation, handshakes, leis, and the excitement of comforts of home — toilet, lounge, and
meeting our friends again. It was evi- reclining seats. The bus driver was a
soft or light singing, and a conscious dent that Mr. Ben Bollinger, director of courteous and wonderful person. He
awareness of the vowel sounds, are sug the Ramona High School Madrigals even stopped to buy the whole group a
gested as means to achieving a unified worked very hard as everything was case of Coca-Cola. We drove to San Fran
vowel sound. planned to the minutest detail. He had cisco in air-conditioned comfort through

lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllimilllllMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
BIBLIOGRAPHY

1. Coleman, Henry, Choral Technique
and Interpretation, London, University
Press, 1932.
2. Culver, Charles A., Musical Acoustics,
New York, The Blakiston Co., 3rd edi
tion, 1951.
3. Delattre, Pierre, "Vowel Color and
Voice Quality," National Association of
Teachers of Singing Bulletin, Vol. XX
(October, 1958), 4.
4. Eisenkramer, Henry, "Techniques in
Voice Blending," Music Educators Jour
nal, 35-4 (February, 1949), 48.
5. Fuhr, Hayes M., Fundamentals of
Choral Expression, Lincoln, Nebraska,
University of Nebraska Press, 1944.
6. Hanley, Lawrence, "The College Di pects of Sound, New York, Elsevier Pub
vision," Southwestern Musician — Texas lishing Company, 1953.
Music Educator, (April, 1957), 19-11. 11. Waring, Fred, Tone Syllables, New
7. Helvey, Kenneth W., A Study of the York, Shawnee Press, Inc., 1948
Methods of Choral Tone Production of 12. Webster's New International Dic
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18 the choral journal

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