Let’s discuss Contemporary A-Cappella as it relates to building a high school choral program.
Check out Choral Clarity’s blog post:
Is Modern “A-Cappella”
Healthy or Harmful
to Building a High School
Choral Program?
A cappella
One from the Folder: Repertoire Thoughts for Women’s/Treble Choirs
#42: Friday, February 1, 2019
“An Oiche” (The Night) by Michael McGlynn
Text: Traditional Irish
SSAA, a cappella
Greetings from Ireland! The Hollins Choirs are just returning from Ireland, and I wanted to share our experience with “An Oiche,” by Michael McGlynn.
On the trip, we were based in Dublin, Galway, and Limerick, with day-trips to other locations and performances. Our tour coordinator (shout out to Lauren at Music Contact International!) had set up a workshop for us in Dublin with the educational coordinator from the vocal group Anúna. Before preparing for the tour, I had heard of Anúna and had listened to them, but wasn’t well-acquainted with their full repertoire. When their educational director, Lucy Champion, reached out to prep for the workshop, I made a point to choose a piece from Anúna’s catalog to add to our tour folder.
“ANÚNA is Ireland’s flagship a cappella vocal ensemble representing the beauty of Irish musical heritage and literature all over the world. In 1987, Irish composer Michael McGlynn founded the choir in an effort to create a physical voice for his compositions, some of which are strongly influenced by the history and mythology of his homeland.
(from ensemble’s website, http://www.anuna.ie/ )
Composer Michael McGlynn, founder of Anúna, has written and arranged an extensive catalog of music, for a variety of voicings and instruments.
“Born in Dublin, Ireland, in 1964, Michael came late to choral music, singing in his first choir at the age of nineteen. Despite the rich and sophisticated musical forms that lie at the centre of Irish traditional music, choral music does not exist as part of that tradition. His love of traditional song and the literary culture of his homeland led him to create the choral ensemble ANÚNA in 1987 as both a vehicle for his compositions and a unique choral form for Ireland.”
(from composer’s website, http://www.michaelmcglynn.com/ )
For more detail about Michael and his compositions, see these excellent resources, taken from the composer’s website:
· Doctoral dissertation at the University of Miami, Florida “The Choral Music of Irish Composer Michael McGlynn” (Dr. Stacie Rossow) available to download from their site in PDF format HERE.
· Dissertation at the University of Louisiana entitled “An Overview of the Choral Music of Michael McGlynn with a Conductor’s Preparatory Guide to His Celtic Mass” (Dr. Karen Marrolli) is available to download from HERE.
For my students, I wanted their first foray into Irish to be successful, which meant choosing a piece from Michael’s repertoire that was slow enough for them to catch the text of a language that was unfamiliar to them. I ended up going with “An Oiche,” a lilting 6/8 piece in SSAA, with S1 melody. It’s a beautiful selection, and one well worth the time. (We did it a step down, which fell better for the S1s).
You can hear Anúna’s performance of the song here: https://www.youtube.com/watch?v=uXS4XVEAtoA
Pitches can be learned primarily on solfege or through rote patterns. Rhythms are standard for compound time, with nothing out of the ordinary. In rehearsal, I was able to send S2/A1/A2 off to sectionals run by student leaders, while I worked with the S1 melody line. With the full group, I focused on the ebb and flow of dynamics, to give the work shape and life.
The sheet music for this and other selections by Michael can be found on his website. Pieces come with IPA transcriptions, translations, and often an mp3 of the pronunciation as well. This was invaluable to me in rehearsal. The text is a traditional Irish story of relationships and love.
What made this piece such a success was how it permeated the ensemble. Wherever we happened to be, during our pre-tour preparation, the melody would inevitably start floating up from the group. Someone was always humming a phrase here or a line there.
When we had our workshop with Lucy, Anúna’s educational coordinator and long-time member, the work she did with us was amazing. Anúna performs conductor-less, so much of her workshop was about my students finding the pulse within themselves and taking responsibility for the beat/forward motion/precise entrances. We have worked on those things on our own, but sometimes hearing it from someone else is what it takes to make them real.
Within the workshop, we also spent time with another member of Anúna, polishing our Irish. A few points that IPA doesn’t convey well:
- Ts are dental, not hard
- The vowels are more similar in mouth shape, and generally brighter, than you might think – try not to separate a / e / i / o / u as much as in Western classical music.
There were other subtleties to the text as well, and I would spend some quality time with the mp3 to discern those intricacies.
If the song floated mysteriously from my group before the workshop, now it was ever present. So much so that the next day when we stopped at Corcomroe Abbey in County Claire, my students spontaneously broke into the song while exploring the ruins of the 13th century monastery. It was organic and haunting and magical to hear the harmonies drifting across the stones. I wish your singers the same beauty and joy with the piece as mine have!
| Title: | An Oiche (The Night) |
| Composer: | Michael McGlynn http://www.michaelmcglynn.com/ |
| Date of Composition: | 1999 |
| Text Source: | Traditional Irish |
| Subject(s), Genre: | Love, relationships, belonging |
| Language: | Irish |
| Listed Voicing: | SSAA |
| Voicing Details: | S1 melody plus S2/A1/A2 |
| Ranges: | (as written, in Bb) S1: F4-F5 S2: Eb4-F5 A1: C4-Eb5 A2: Gb3-Gb4 |
| Accompaniment: | A cappella |
| Duration: | ~4:00 |
| Tempo: | 40 “Flexibly and with phrasing” |
| Further descriptions and details, including program notes, audio, perusal score, and purchasing: https://store.michaelmcglynn.com/Sheet-Music/Detail/AnOiche |
Until next week!
-Shelbie Wahl-Fouts
Dr. Shelbie Wahl-Fouts is
associate professor of music, Director of Choral Activities, and music
department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio: https://www.hollins.edu/directory/shelbie-wahl-fouts/
For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.
One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs
Week 24: Friday, August 31, 2018
“Hodie Christus natus est” by Agneta Sköld
Liturgical antiphon
SSAA, a cappella
This Christmas selection by Swedish composer Agneta Sköld alternates between joyful cheer and contemplative chant. It would make an energetic and meaningful addition to your holiday program.
For a group that already has solid solfege and counting skills, this will likely be a “quick read.” The work is entirely in D major, with no accidentals, so it can be taught/learned very quickly on solfege. Rhythmically, there are quarters, eighths, ties, and sixteenth notes, but nothing out of the ordinary. It could be a great last-minute add to a program, or give just the right energy as a concert opener.
At the same time, if your ensemble is currently working strategically to strengthen their solfege and literacy skills, this could be a perfect selection on which to put their skills to active use. Because of the strongly tonal nature, it could be a successful skills-into-practice opportunity.
The work itself opens with a chant section in English, telling the Christmas story from Luke 2. The piece was originally written for a Swedish ensemble, so the recording linked below uses Swedish for these chant portions. This opening could be performed by one soloist, or by the whole ensemble. If using the full ensemble for this chant portion, it becomes an excellent exercise in unison singing. Attention is needed to match tone, vowel, breath, and phrasing, as well as to understand the free-rhythmic nature of chant. If using a soloist for this portion, you could put them in a balcony or loft space to add both visual and aural contrast.
After the opening unmetered chant, the piece jumps to a cheerful MM=114 – full of energy, joy, and solid rhythmic structure. These measures are primarily homophonic, with only minor deviations. One exception is the entrance of the “Gloria” text on the second page. Each line starts their material here in an imitative fashion, spinning out into a lovely forte passage spanning two octaves from A2 to S1. This bright and exuberant choral section ends with a taper from f to mf to p, and closes with a softly-spoken “pax.”
Next, Sköld goes back to a chant-like feel, again with English lyrics. The line begins in unison then expands to five notes per chord. This section could be one individual per part, or it could be the whole ensemble. Either way, attention must be paid to the free-rhythm aspect of chant, so that all harmonic shifts are made together as a unit. Syllabic stress is of singular importance.
After this second chant section, the piece returns to uptempo Latin for the final few measures. The song closes with flourish, crescendoing from mf to a strong ff.
When I programmed this piece with my ensemble, they were past “just learning solfege” but definitely not yet to “could sight-read something cold.” They knew a system, and they knew how to use the system, but hadn’t had a lot of practice yet applying it directly to real literature (as opposed to sight-reading examples). This piece turned out to be an excellent choice for that term. I could assign small bits as sectional material and know that my students had all the tools to learn the material correctly outside of class, without my assistance. It was an empowering repertoire choice for the students to utilize their new literacy skills.
All in all, this is a lovely Christmas selection by Agneta Sköld, and one with lots of potential. I enjoy the way the piece alternates between chant and rhythmic sections, varying the texture, tone, and the language. I also appreciate that the song is unapologetically in D major, with not an accidental in sight. For groups looking to strengthen their reading skills, the stalwart adherence to an established tonic is a significant aspect of making the work accessible to many different levels of ensemble.
| Title: | Hodie Christus natus est |
| Composer: | Agneta Sköld |
| Date of Composition: | 2007 |
| Text Source: | Liturgical antiphon |
| Subject(s), Genre: | Christmas, holiday |
| Language: | Latin/English |
| Listed Voicing: | SSAA |
| Voicing Details: | SSAA w/ minor divisi, and optional solo |
| Ranges: | S1: D4-A5 S2: B3-D5 A1: A3-A4 A2: F#3-F#4 |
| Accompaniment: | a cappella |
| Duration: | ~2:40 |
| Tempo: | ad lib/chant, and MM=114 |
| Dedication: | For Hjo Church Youth Choir and Mats Bertilsson |
| Publisher: | Walton Music WW1482 |
Further descriptions and details, including program notes, audio, perusal score, and purchasing:
https://www.giamusic.com/store/resource/hodie-christus-natus-est-ssaa-print-ww1482
https://www.youtube.com/watch?v=gNc6jNWGOPs (Naxos recording link)
Until next week!
-Shelbie Wahl-Fouts
Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio: https://www.hollins.edu/directory/shelbie-wahl-fouts/
For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.
One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs
Week 19: Friday, July 27, 2018
“Le Sommeil de l’Enfant Jésus” arr. Ron Jeffers
Traditional French carol
SSA, a cappella
This is a favorite carol of mine to program. Over the last decade, I have used it for three different choirs, at two different schools. Ron Jeffers’ a cappella setting of this 13th century French carol is beautiful and unassuming, without sounding “easy.” It is one of those songs that has great functionality as a teaching tool for numerous concepts but is also a lovely and rewarding piece of music to perform and to hear. Everyone – students and audience alike – has loved it. It’s a win-win for nearly any Christmas or winter holiday event.
| Entre le bœuf et l’âne gris, Dors, dors, dors le petit fils: Mille anges divins, Mille seraphins, Volent à l’entour De ce grand Dieu d’amour Entre les roses et les lys, Entre les pastoreaux jolis, | Between the ox and the grey donkey Sleeps, sleeps, sleeps the little child: A thousand divine angels, A thousand seraphim, Hover around this great God of love Among the roses and the lilies, Among the handsome shepherds, |
Many of the aspects that I love about this piece are from a music literacy and pedagogy perspective. It has much to offer – either to introduce or reinforce concepts, depending on the level of your group.
The arrangement itself is straightforward and strophic, with three brief verses and three repetitions of the chorus. For the first verse/chorus, the S1s have the melody, while the S2s and As have primarily-stepwise homophonic harmony. The second verse/chorus is marked as a solo melody, while the lower voices have the same harmony as the first verse. Text for the harmony this time is “loo” instead of the French. There is some limited divisi here in the S2 line, but if your S1s are tacet behind the soloist, they can move down to cover the divisi. This solo could also be a duet, trio, or small group. For the third verse/chorus, entrances are staggered by a measure, creating the layered feeling of a round. However, after their initial entrance, the voice parts are similar to earlier verses, so there is minimal new material to learn. Jeffers’ arrangement closes with a brief coda, an elongated version of the final four measures of the verse.
Nearly all motion is step-wise, except for a few leaps in the melody line. For a group used to two-part songs, this could be a chance to branch out to three parts. The step-wise motion helps make it easier to stay on a part without getting lost. The only significant leap is from C#5 to F#5 in the melody line. This fourth comes between phrases though, so there is plenty of time for a breath and good placement.
Phrases are compact, symmetrical, and almost always four-bars. This is a good opportunity to emphasize fluidity, phrasing and breathing, without overtaxing less experienced voices.
The meter is 2/4. Rhythms are introductory: quarters, eighth pairs, and half notes, with the occasional dotted quarter+eighth (beat, divided beat, tie, extension dot). All ranges stay within an octave or a ninth and are very comfortable for all voice parts.
Motives and harmonies are very similar between verses, making for quick learning. This can be an easy read for an experienced group. Or, for an ensemble who is actively working on transferring their literacy skills to the sheet music, this piece is a great way to have success early and often.
The key is f# minor. All pitches except one fall within the natural and harmonic minor scales. Great chance to work on so vs. si*. The only outlier is the Picardy third on the final chord, raising do to di*. (*if in la-based minor)
The setting is a cappella, but the harmonies are stable and familiar. Singers can feel confident, even if this is a relatively new foray into unaccompanied singing.
The French is beautiful, but not lengthy or complicated. It is a nice chance to add a new language, without being too overwhelming. There are only 40 short measures of text to learn, because the verses are just 8 measures long. That’s 8 for each verse, plus 16 for the chorus. Technically, one of those verses is a solo, so it’s only 32 measures for the full ensemble.
The strophic nature of the piece allows for flexibility in the length. One possibility is to add a verse all on ooh or ahh, using the harmonies from verse 1. Or, you could add one or more repeats of the first verse with text, before singing the 8-measure coda (V1, 2, 1, 3, coda). There are also other verses to this carol, which could perhaps be added (with appropriate permission from the publisher). With additional length, the song can be used as a processional. In that case, I would suggest moving on verses 1 & 2, and being in place by the time the imitative entrances of verse 3 begin.
Outside of these teaching-focused concepts though, I am very much drawn to the beauty and simplicity of the arrangement. There is something serene about Jeffers’ setting, which connects so well with the images created by the text: a quiet stable, warm animals, a tiny sleeping child, a peaceful moment of love. As conductors, we often have a plethora of holiday repertoire to choose from, including numerous settings of carols. Many are flashy, up-tempo settings, with brass, organ, fanfares, and percussion…or gorgeous, lush settings with strings…or complex, intricate, polyphonic puzzles. Believe me, I love all of those as much as the next conductor! But, sometimes a second of quiet introspection is just what a concert or holiday event needs to really reach the audience. For that intimate moment, I love this setting by Jeffers.
| Title: | Le Sommeil de l’Enfant Jésus (The Sleep of the Infant Jesus) |
| Source: | traditional French carol |
| Arranger: | arr. Ron Jeffers |
| Date of Arrangement: | 1989 |
| Subject(s), Genre: | Christmas, winter holiday |
| Language: | French |
| Listed Voicing: | SSA |
| Voicing Details: | SSA, w/ small divisi and solo or small group |
| Ranges: | S1: F#4-F#5 S2: C#4-C#5A: A3-B4 |
| Accompaniment: | a cappella |
| Duration: | ~2:15 |
| Tempo: | Gently |
| Publisher: | earthsongs C-09 |
| Further descriptions and details, including program notes, audio, perusal score, and purchasing: http://earthsongschoralmusic.com/media/mp3s/jro.sommeilt1.mp3 http://earthsongschoralmusic.com/media/pdf/jro.le.sommeil.pdf | |
Until next week!
-Shelbie Wahl-Fouts
Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio: https://www.hollins.edu/directory/shelbie-wahl-fouts/
For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.
One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs
Week 17: Friday, July 13, 2018
“Da Pacem” by Jeff Enns
traditional liturgical text
SSAA, a cappella
If your ensemble enjoys long lyrical lines and leaning into dissonances, this is a piece for you. My singers love this kind of crunchy-yet-pleasing harmony and couldn’t get enough of this song by contemporary Canadian composer Jeff Enns.
The text is a traditional liturgical antiphon:
Da pacem Domine, in diebus nostris, Amen.
Give us peace Lord, in all our days, Amen.
For programming, this work could easily be used in a secular setting, especially where the subject of peace fits thematically. It would also be perfect for a sacred presentation. I used this piece with my small advanced ensemble (~12 students) for a university holiday event. Plus, the harmonies sounded wonderful in that particularly resonant performance space.
Enns’ musical setting begins in a haunting unison, then expands into four parts with multiple suspensions and resolutions. Parts mostly move together, primarily in quarter and half notes. The entirety of the text is presented here, with meter changes influenced by the syllable placement and phrasing (4/4, 5/4, 6/4, and 7/4). This tranquil pseudo-chant section moves from p to f and back to mp, allowing ample room for dynamics to aid in the creation of lush sonorities and chords.
For the subsequent 5/4 section, marked 120 and Jubilant, Enns uses only the first phrase of text: “da pacem Domine.” Alto 2s have a rhythmic ostinato with an asymmetrical compound feel, which they repeat each measure. All other voices have long sustained chords, in which they change pitch only every one or two measures. The contrasting nature of rhythmic vs. sustained and motion vs. stillness creates a beautiful, energetic tension that builds to ff and continues with more asymmetrical patterns.
No sooner has the rhythmic intensity been established then the song transitions back into long smooth phrases. S1s take the melodic lead and then hand off to S2s, with other voices providing sustained chordal support. Every measure has at least one actively-dissonant interval between voice parts, usually a second or a seventh. This section culminates in a lovely “Amen,” with a melismatic feel. The work closes as it began, with one unison phrase from all voices.
There are no hidden divisis or additional splits – this piece could be done with as few as 2 strong singers per part, if all the voices blend well. However, it would be equally beautiful with a large ensemble that can really energize the seconds and sevenths.
Ascending fourths and fifths are found frequently in this song, which offer an excellent opportunity to work on lift, vowel continuity, and intonation as an ensemble. The other primary challenges are sculpting the harmonic tension/release within each phrase and shifting from lyrical to rhythmic passages. The rhythms themselves will likely not be difficult, but the frequent meter signature changes may take some adjustment. Singers need to think of the song as chant and rely on the syllable stress and rhythms for primary metrical structure. Except for an occasional fi or te, the song can be learned on solfege in C major.
| Title: | Da Pacem |
| Composer: | Jeff Enns www.jeffenns.com/ |
| Date of Composition: | 2009 |
| Text Source/Author: | traditional liturgical antiphon |
| Subject(s), Genre: | peace |
| Language: | Latin |
| Listed Voicing: | SSAA |
| Ranges: | S1: C4-G5 S2: C4-F5 A1: G3-C4 A2: G3-C4 |
| Accompaniment: | a cappella |
| Duration: | ~3:30 |
| Tempo: | ~76, 120, 100, 86 |
| Dedication: | Julia Davids and the women of the Canadian Chamber Choir |
| Series: | Elektra Women’s Choir Series |
| Publisher: | Cypress Choral Music CP 1151 |
| Further descriptions and details, including program notes, audio, perusal score, and purchasing: | |
Until next week!
-Shelbie Wahl-Fouts
Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio: https://www.hollins.edu/directory/shelbie-wahl-fouts/
For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.
One from the Folder: Weekly Repertoire Thoughts for Women’s/Treble Choirs
Week 16: Friday, July 6, 2018
“Simple Gifts” – traditional Shaker / Joseph Brackett, arr. Amy Dalton
SSAA, a cappella
A quintessential part of America’s musical heritage, “Simple Gifts” is a timeless hymn from the Shaker tradition, written by church elder Joseph Brackett. It was made known to a wider audience by Aaron Copland, who famously used the hymn as inspiration for a section of his ballet, Appalachian Spring. Since then, the song has become a part of the American folk tradition. This SSAA arrangement by Amy Dalton is a joyful adaptation for your women’s or treble ensemble.
Dalton’s arrangement sets the text and melodic material twice – first in A Major, then in D Major modulating to B Major. If you are looking for a chance to connect solfege and music literacy to your ensemble’s repertoire, this is a great opportunity. Since the same familiar melodic motives appear in three different keys throughout the piece, it’s the perfect time to work on movable-do and changing tonics. The first time my students worked on the piece, we learned only the initial four measures – just on solfege. Then they tonicized a new key and sang the same material again, which allowed them to practice adjusting their ears and getting quickly settled in a new tonic. This turned out to be an excellent learning opportunity for my students, putting their literacy skills to use in a hands-on way and working on intonation at the same time.
Once you get past the first four measures, the rest of song is “solfege-able” as well, with only a brief fi happening out of context. If your ensemble is ready to work on modulating through solfege, Dalton affords two perfect examples. The tune begins with so so do, which sets up any transitions very easily. In this case, do of A Major becomes so of D Major, and then mi of D Major becomes so of B Major. My students were skeptical at first that they could solidify the key changes and transitions without help from the piano, but they were over the moon to realize they could do it all by themselves.
For the first presentation of the text, in A Major, the voices primarily move homophonically, with a few brief exceptions. Harmony varies from 1- to 4-part, with only one measure of divisi in the S2. The second presentation of the text begins in D Major, where all altos have the sweeping melody line in unison, with S1/S2 sustaining the harmony above in lovely 3-part suspensions. These chords were a little tricky for my students to really settle into, but they became second nature with repetition. If you have a small ensemble, this may require some re-assigning of altos to the soprano lines. This ensures all the soprano divisi are covered and balanced, especially in the final measure as it modulates to B Major. The final section begins in four independent parts, breaking the melody down into short bits, overlapping and dovetailing from one voice part to another. You can really work here on balance, deciding what material is principal and what is background. Dalton’s setting then closes with a light airy touch, back in homophony as it started.
Rhythmically, the song presents minimal challenges, as the rhythms are limited to whole, quarter, half, and eighth notes. There are a few syncopations, but not many. The primary rhythmic concern is to keep the cut-time feel throughout the piece, with the half-note having the main pulse. Avoid treating this setting as if it is in 4/4. Numerous other arrangements exist of this song in 4/4 time, but Dalton’s choice of 2/2 lends a natural lilt and buoyant charm, which connects directly to the dance-like nature of the original hymn.
A primary obstacle to perfecting this song is the tone and style needed. Ranges for S1/S2 are almost entirely within the staff, but the line sits often between C#5 and E/F#5. For many singers, both beginning and experienced, this falls in the awkward passaggio between the upper mixed voice and the head voice. As the phrases often span the octave within just two measures, navigating the transition is key. Keeping the weight out of the lower parts of the phrases, and focusing on a lighter, floating sound, will help smooth the transition through the higher parts of the phrase.
Whether you gravitate towards this piece because of its numerous opportunities for direct application of music literacy skills or because it is a unique arrangement of an American classic (or both!), I am certain your singers and audience alike will find beauty in Dalton’s joyful setting.
| Title: | Simple Gifts |
| Source: | traditional Shaker hymn, by Joseph Brackett |
| Arranger: | arr. Amy Dalton (https://sbmp.com/ComposerPage.php?ComposerNum=10) |
| Date of Arrangement: | 2000 |
| Subject(s), Genre: | Folk song, Americana |
| Language: | English |
| Listed Voicing: | SSAA |
| Voicing Details: | SSAA, with some divisi |
| Ranges: | S1: E4-F#5 S2: C#4-E5 A1: A3-C#5 A2: F#3-C#5 |
| Accompaniment: | a cappella |
| Duration: | ~1:40 |
| Tempo: | Half note=60, “Cheerfully, with buoyance” |
| Dedication: | For the Brigham Young University Women’s Chorus |
| Publisher: | Santa Barbara Music Publishing SBMP 302 |
| Further descriptions and details, including program notes, audio, perusal score, and purchasing: | |
Until next week!
-Shelbie Wahl-Fouts
Dr. Shelbie Wahl-Fouts is associate professor of music, Director of Choral Activities, and music department chair at Hollins University, a women’s college in Roanoke, Virginia.
Email:
Bio: https://www.hollins.edu/directory/shelbie-wahl-fouts/
For a listing of all current and past blog entries by this author, click here.
For a spreadsheet of all blog posts and their repertoire, click here.