Ok, many of you choral folk reading this probably think making beautiful music in a choir is one of the best feelings in the world - that those instances where artistry is achieved simultaneously on the individual and collective levels have been the peak experiences of your lives. Perhaps they have been moments of self-actualization where you felt a strong sense of purpose. Some would even go as far as to say that there is no better feeling on earth than making beautiful music in an ensemble. And I would have to agree.
So, why this hot take?
We are in a new century and can no longer feign ignorance to the state of the world. Yes, the world has always been fraught with conflict, but for me it feels like the volume has been steadily dialed up with each new year. Just listening to the news is enough to invoke eco-anxiety, anger over social injustice, and sorrow for humanity’s lack of empathy.
Yet, classical choral music seems to remain on its own untouchable plane. Sure, beautiful music can raise sprites and make people feel good, but then what? Sea levels are rising. Is that really going to be enough? And can we even guarantee that the healing powers of choral music are even reaching those who need it the most? Judging by the demographics of choral audiences, it's most likely not.
When I have spoken with choral directors about this, I have been told that if I care so much about change, “perhaps this isn’t the field for me,” or that making high art needs to be separate from any kind of social purpose.
This caused me to really question if choral conducting was the right path for me.
I had a bit of a falling out with the field. When I listened, the music was no longer beautiful to me but self-indulgent, hateful, and ridiculous. I felt contempt and disgust.
That was until I saw the idea that art is separate from issues facing our communities disproven by organizations like Choral Chameleon, run by Vince Peterson in New York City, Alysia Lee and her work with the Sister Cities Girl Choir and visionary work with the Maryland State Department of Education, and others who are doing the work.
I had to do some soul searching when it came to my personal practice as well. I noticed that I had adopted a somewhat perfectionistic, masculine, authoritative approach on the podium that is standard practice for conductors (men and women alike) but wasn’t completely me.
Upon seeing me rehearse, a mentor of mine asked “where is the joy?”
This was a large pill to swallow, because like so many of us, I had literally gone into this field because I wanted to spread the joy of music to everyone. Yet, I had fallen into the habit of not settling for less than perfection, leaving everyone including the singers and myself dissatisfied at best and frustrated at worst. Further, it put the composer's original work on an even higher and unattainable pedestal rather than making it more accessible to the singers and audience. This was the opposite of what a conductor should be, someone who is not only visionary but inspiring, a kind of cheerleader and at the very least, helpful!
Thank goodness I was working with young children at the time.
They feel the joy of discovery, experience music with their whole bodies, and are fearlessly and organically creative. I wondered:
Could I also be creative in my relationship to classical choral music?
Can we classical musicians adapt to the times?
In all honesty, making beauty the end goal in this century is not only not enough for humanity and our shared planet, it’s boring! At this point in my life I have a good understanding of what beautiful music is and how to achieve it. What’s next is an application of choral art to meaningful action.
I have adopted brainstorming, writing, and reflection into my routine when preparing a piece. I now ask myself:
How does this work connect to the needs of our community?
Where are those points of intersection?
Who can we invite into our collaborative process to enrich our artistry and understanding? Experts or other artists perhaps.
How can we magnify the impact of the relevant work we are doing? Do we need to up our social media game? Can we invite local organizations to be a part of what we are doing? If we present this piece in an unconventional way, might it reach more or different people?
Whose voices should be prioritized when getting this piece's message across? Whose voices do we need to lift up or politely ask to hold off?
What are we missing in regard to authenticity and purpose? Certainly invite the singers to be a part of the planning, creating, and collaborative processes. The more people share the vision, the easier it will be to carry it out.
Tip: It helps to start with diverse and meaningful pieces of repertoire in the first place. These diverse perspectives often serve as medicine, wisdom, lessons, inspiration, and empowerment for our communities.
Does this sound too far-fetched - inefficient perhaps?
Here are some examples of conductors doing it.
Alysia Lee is the founder and director of the Sister Cities Girl Choir, a choral program based in Baltimore, Philadelphia, and Camden that is based off of El Sistema and uplifts girls. She proves that choral music can be used as a means of education, inclusion, and empowerment.
The following video is a virtual performance by the Sister Cities Girl Choir of Lee's piece, "Say Her Name," a powerful call to action to end police brutality against Black women.
Choral Chameleon, a NYC-based ensemble led by Vince Peterson, hosts a summer institute for conductors, composers, and singers to come together and create for a little over a week. Some of the themes that came out of the 2021 summer institute were about stopping Asian hate, antisemitism, and comforting those experiencing grief. It is a wonderfully musical, creative, and empowering few days.
Here is an example of a Choral Chameleon performance with purposeful programing around the idea of people's spirits transcending the physical limits of their bodies. It involved collaboration with children, a visual artist, and living composers.
Eugene Rogers of the University of Michigan consistently programs relevant works by underrepresented composers. Rogers also leads Exigence, a group committed to promoting "excellence and diversity through choral music within Black and Latinx communities by creating a platform for soloists and composers of color while inspiring and challenging audiences around the country and world." Exigence even has its own series of published scores.
Under Rogers direction, Sphinx Symphony Orchestra, in collaboration with the University of Michigan Men’s Glee Club, performed “The Seven Last Words of the Unarmed.” The piece was written by, Joel Thompson, a Black man, and sets the last words of seven Black Americans murdered by police.
CW: violence, murder, racism
Renowned composer and conductor Ysaye M. Barnwell leads community sings in which no music is passed out just as in the choral traditions of the African diaspora. Barnwell advocates for choral music as a means of inclusivity and community building.
Singer and composer Melanie D’More, also leads workshops that incorporate culture, build community, and inspire creativity.
This music video by the group Cimorelli addressing body positivity and bullying could even serve as a good jumping-off point for a project to try with your singers. I experimented with music videos last year and my students loved it!
There is nothing boring about these performances.
In fact, I come away feeling inspired to get deep into choral music-making with others. Thank goodness for mentors, role models, children, and rediscovering the power of choral art.
I would also like to invite you, readers, to reach out with questions, project ideas that you’d like feedback on, or even opportunities for collaboration. I would be very happy to be a part of your brainstorming process. No more boring, isolated art music for us!
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