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This article aims to help music librarians and other information professionals effectively understand and support communities of choral directors and other groups dependent on networking and serendipitous information encounters. In addition, through discussion and comparison of theories of information behavior, research articles and analysis of events and experiences, the article encourages thoughtful and practical applications of information behavior research.

This conceptual paper uses different theories of information behavior to outline three distinct modes of learning and knowing within communities of choral directors: individual searching, community expertise and serendipitous encounters.

The choral directing community is one that benefits not only from information support systems that emphasize individual information seeking, but also collaborative networking and serendipitous encounters with other community members. Librarians and other information professionals can best help this group discover new repertoire, plan concert programs, improve rehearsals and support other relevant activities through understanding and helping to provide access to professional music networks and being creative in providing opportunities for serendipitous information discovery.

Little information behavior research and discussion have focused specifically on the information practices of choral directors and how the format and schedule of a professional choral conference illuminate such practices and needs.

The aim of this study is to explore the benefits of choral singing for mental wellbeing and health as perceived by a cross‐national sample of amateur choral singers.

Data consisted of written responses to open‐ended questions. These were derived from 169 participants selected from a larger dataset reporting high and low levels of emotional wellbeing on the WHOQOL‐BREF questionnaire. A majority of participants were female and aged over 50. A thematic analysis was followed by a content analysis and Pearson chi square analyses. Comparisons were made between different ages, genders and nationalities and participants with high and low reported emotional wellbeing.

The analysis revealed multiple themes covering perceived benefits in social, emotional, physical, and cognitive domains. There were no significant differences in frequency of themes across any of the participant sociodemographic and wellbeing categories. The results indicate that benefits of singing may be experienced similarly irrespective of age, gender, nationality or wellbeing status.

Implications for further research include future use of validated instruments to measure outcomes and research into the benefits of singing in other cultures. The results of this study suggest that choral singing could be used to promote mental health and treat mental illness.

This study examines a cross‐national sample which is larger than previous studies in this area. These findings contribute to understanding of the complex and interacting factors which might contribute to wellbeing and health, as well as specific benefits of singing.

American choral music of the present day reflects the variety of styles found in vocal and instrumental music throughout the Western world during the twentieth century. However, the majority of choral music is more conservative in form and tonality than is instrumental music, due probably to the heritage of American choral music. Approximately the first two hundred years of choral singing in America were based on religious texts and simple tunes. Choral music in America did not “flower” until the nineteenth century, when composers began to write in a variety of styles, using secular as well as sacred texts.

Describes an example of a successful learning programme focused on customer satisfaction. Reports on a programme for experienced staff in the European Patent Office called ChOral (CHairing ORAL proceedings). The stages of the programme included sponsoring by a top manager to overcome initial resistance, to support cognitive task analysis and to give “pep talks” to the learners to emphasise the customer‐satisfaction goal; using a consultant to learn “active listening” and “empathy” techniques, which were then included as training content; creating representative case studies and “courtroom” role‐playing exercises; self‐study by the learners of the recommended procedures; and a video‐based, role‐playing practice and feedback system using recently trained examiners as “models”, demonstrating the procedures to be learned by new trainees, with subsequent feedback commentary from respected experts.

This paper aims to describe the development and evaluation of an innovative community singing initiative with mental health services users and supporters in East Kent, UK.

A network of seven singing groups was established between September 2009 and June 2010. The choirs met weekly in three terms with breaks for Christmas and Easter, and joined together for two public performances in February and June 2010. In total, 137 participants were involved in the evaluation processes over this period. Of these, 42 provided complete data on the CORE questionnaire, a widely used clinical measure of mental distress, at baseline and eight months later.

Clinically significant improvements were observed in response to the CORE. These changes, together with qualitative feedback from participants, demonstrate that group singing can have substantial benefits in aiding the recovery of people with a history of serious and enduring mental health problems. A limited body of research has also shown that singing can be helpful for people with existing mental and physical health problems.

The research finds marked improvements in mental wellbeing on a clinically validated measure for people with a range of enduring mental health issues participating in a network of small choirs. Qualitative evidence indicates that group singing can offer a wide range of emotional and social benefits for mental health service users.

The purpose of this paper is to understand the classification of musical medium, which is a critical part of music classification. It considers how musical medium is currently classified, provides a theoretical understanding of what is currently problematic, and proposes a model which rethinks the classification of medium and resolves these issues.

The analysis is drawn from existing classification schemes, additionally using musicological and knowledge organization literature where relevant. The paper culminates in the design of a model of musical medium.

The analysis elicits sub-facets, orders and categorizations of medium: there is a strict categorization between vocal and instrumental music, a categorization based on broad size, and important sub-facets for multiples, accompaniment and arrangement. Problematically, there is a mismatch between the definitiveness of library and information science vocal/instrumental categorization and the blurred nature of real musical works; arrangements and accompaniments are limited by other categorizations; multiple voices and groups are not accommodated. So, a model with a radical new structure is proposed which resolves these classification issues.

The results could be used to further understanding of music classification generally, for Western art music and other types of music.

The resulting model could be used to improve and design new classification schemes and to improve understanding of music retrieval.

Deep theoretical analysis of music classification is rare, so this paper’s approach is original. Furthermore, the paper’s value lies in studying a vital area of music classification which is not currently understood, and providing explanations and solutions. The proposed model is novel in structure and concept, and its original structure could be adapted for other knotty subjects.