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BY DR. LLOYD PFAUTSCH, CONTRIBUTING EDITOR MARIE STULTZ
Dr. Lloyd Pfautsch, Professor of Sacred Music and Director of Choral Music Emeritus served on the faculty of Southern Methodist University from 1958-1992. A brilliant workshop leader for over 40 years, his observations on organizing and conducting a church choir festival are invaluable for the choral professional. In this article he cites five reasons for organizing a festival, and makes observations on the selection of guest conductor and music.

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BY BARBARA KOURAJIAN, CONTRIBUTING EDITOR MARIE STULTZ
Establishing a children's choir is a very difficult task, filled with pitfalls and side-steps unless the process is planned and executed properly. Barbara Kourajian offers some powerful insights into establishing a community ensemble. The content of the following article, organized into five steps, will be helpful in establishing any community arts organization but especially choral groups.

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BY MARIE STULTZ, CONTRIBUTING EDITOR
Exchange concerts can be a tremendously rewarding experience for both performers and conductors. They can be done with any type of artistic organization, but they can be particularly rewarding with another choir similar to your own or with a youth or professional orchestra. The ingredients for a successful exchange concert or group of concerts must be carefully thought out if everyone is to have a satisfying experience.

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BY MARIE STULTZ, CONTRIBUTING EDITOR
As choral professionals, we all know the value of attending workshops, conferences, and symposiums for professional growth. Rarely, however, do we afford our choirs the same opportunity to work with and musically benefit from being conducted by a successful or world class conductor. Just as it is important to hire professional orchestral players to perform with your singers, it is important for them to have the experience of fine conductors as well.

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    Most choral professionals in the field have had the normal set of conducting classes in college or in summer conducting seminars.  With many of these conducting experiences, students have been confronted with the dilemma of when to use or not to use a baton.  In general, most conducting teachers at the university level advocate the use of the baton when the choral performance requires instrumentalists.  The exclusive use of the hands is generally advocated in straight choral performance and in particular, a cappella singing....