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In Memoriam H. W. Reese is written for chamber orchestra and small mixed chorus, in honor of the composer's father, Hardy W. Reese (March 22, 1926-Nov. 23, 1982). The piece is written in one continuous movement with a total duration of approximately fifteen minutes. Within the work there are three distinct sections, each on texts dealing with a different stage in the process of reconciliation with death.

The libretto of Three Lyrics was written by Terry Blake, a minster for the North Amarillo Church of Christ in Amarillo, Texas. The first and last cantos are paeans to the harp and guitar, respectively. The second canto is a gentle elegy to Time and Death. The use of nature and its manifestations serve to unite the three poems.

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Aim of the research: This essay describes what can happen between the singers in a choral voice and how the individuals differ in taking initiative and acting in leading roles. Method: I have done qualitative interview studies with conductors and singers, and also recording studies. The recording sessions have been done in following choir rehearsals in a Swedish upper secondary school, and with a simultaneous video recording to be able to also take notice on eventual visual signs between the singers. With close up headworn microphones and by multi track recordings it have been possible through an analyzing program to watch graphically exactly how each individual sings and to compare the singers with each other. The recordings and analyses have been done using Cubase5 and Variaudio with printouts of the same sequence of the music the single voices in the same choral voice. Results: My informants all speak of formal and informal leaders in the choral voice. Many of them also talk about these leaders as leading the choral voice and also with their personal voice and timbre, give color to others. It is possible to graphically view differences in attacks and intonation, and also to notice when someone is ahead and “pulling” others to follow. This leading role can be both positive and negative, a confident but not so good singer can unfortunately bring along other singers to take wrong steps in the music.

The purposes of this study were (1) to categorize examples of vowel sounds by means of subjective evaluation, (2) to ascertain by spectrographic analysis the distinguishing characteristics of the acoustical properties of the examples in the categories, (3) to determine the similarities and dissimilarities which exist within and between the categories, and (4) to analyze the implications of the findings for the teaching of choral singing.