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Equity

Songs of (re)Imagining: Margaret Bonds

April 27, 2022 by Shannon Marie Gravelle Leave a Comment

Margaret Bonds (1913–1972) was an American composer and arranger, notably setting many texts by Langston Hughes (a close friend) and arranging African-American spirituals. When she was growing up, she lived in a home that had visits from Florence Price and Will Marion Cook. She studied piano and composition with Florence Price and William Dawson during high school and later earned degrees in both of these areas. Her music often addresses issues of race.

 

There are some composers I would love to spend more time studying– Margaret Bonds, Florence Price, Julia Perry, to name a few– and to that end, I’m starting my studies on Bonds here. Below is a list of some of her choral music, and information I could find that might be helpful to conductors who might be considering programming her music. 

 

I first came across Margaret Bonds when I was teaching a class to my undergraduate music majors on silenced voices. I looked at the dates and the regions that they studied in music history, and we went over those exact dates and places… but instead of talking about Claudio Monteverdi or Wolfgang Amadeus Mozart or Olivier Messiaen, we only learned about voices of women. And not Fanny Mendelssohn or Clara Schumann, since they had small boxes about them in the history book my students used. In preparation for the course, I learned about Bonds. Even in the last few years, access to her music has opened up a little.

 

I was thrilled to see some of Bonds’ music on Dr. Marques Garrett’s list of non-idiomatic choral music of Black composers (here! Check it out if you haven’t. It’s also where I learned of Remel Derrick– and I adore his music). 

 

I’ve also followed Dr. Michael Cooper, who researches and edits the works of Bonds. He is a blogger, and I really enjoyed his blog from April 23, 2022. Dr. Cooper works with Hildegard Publishing on Bonds editions, which has a Margaret Bonds Series.

 

Choral Music Titles:

 

The Ballad of the Brown King

  • SATB
  • Soloists
  • Orchestra
  • Cantata
  • Used to be published by the Sam Fox Publishing Company. Currently out of print. Alfred Music controls the rights… I think. Wouldn’t it be lovely if we could all request them to bring it back into print?
  • Mary had a little baby, Mvt IV
    • SSSA

Children’s Sleep

  • SATB
  • Text: Vernon Glasser
  • Written as a chorus section in a children’s opera called Winter Night’s Dream. Published in New York by Carl Fischer in 1942.

Credo

  • Editor: John Michael Cooper with Hildegard Publishing
  • SATB, Soprano and Baritone soloists, piano/vocal score (not a reduction)
  • Based off of W.E.B. Du Bois’ “Credo” from 1904
  • Movement sold separately:
    • Especially Do I Believe
  • Soprano solo
  • Not yet available, but soon

Fields of Wonder

  • TB voices
  • Text by Langston Hughes

Hold On

  • SATB, piano

I Shall pass through this world

  • A capella
  • I can’t find this located on the publishers website (Bourne Music).

I Wish I Knew how it Would Feel to Be Free

  • Editor: John Michael Cooper with Hildegard Publishing
  • SATB
  • Soprano Solo
  • Coming in 2022
  • Orchestra?

Mass in D Minor

  • SATB, Organ
  • Only the Kyrie exists, and it’s only the voice parts with some organ indications
  • There is no complete score of the Mass. 

The Negro speaks of rivers

  • Text: Langston Hughes
  • SATB
  • Published by Handy Brothers Music Co

No Man has seen His Face

  • Editor: John Michael Cooper with Hildegard Publishing
  • Very diatonic, Accessible
  • Text by Janice Lovoos

St. Francis’ Prayer (Hildegard Publishing)

  • SATB, piano
  • Editor: Louise Toppin with Hildegard Publishing

Sinner, please don’t let this harvest pass

  • SATB, soprano
  • Can’t find a place where this is published?

Simon Bore the Cross

  • SATB cantata, solos
  • Text: Langston Hughes
  • Based on the spiritual He Never Said a Mumblin’ Word
  • GIA Publications
  • Two selections sometimes extracted from the cantata:
    • Don’t You Know, Mary?
    • The Crucifixion
  • Overall, an accessible cantata for singers

Sleep Song

  • Editor: John Michael Cooper with Hildegard Publishing
  • SSAA Chorus
  • Coming soon
  • Text by Joyce Kilmer (1886–1918)

Standin’ in the Need of Prayer

  • SATB
  • Soprano solo
  • Looking yet for where this is published.

This Little Light of Mine

  • SATB, piano
  • Soprano solo

Touch the Hem of His Garment

  • Editor: John Michael Cooper with Hildegard Publishing
  • SATB, piano
  • Soprano/Tenor solo
  • Short sacred chorus
  • Text by her friend Janice Lovoos
  • Accessible to amateur singers (including church musicians)

We Shall Overcome

  • Editor: John Michael Cooper with Hildegard Publishing
  • SATB, hand drum
  • Soprano solo
  • Coming soon

You can tell the world

  • SSA or TTBB

Filed Under: Others Tagged With: Choral Music, Equity, Repertoire

Songs of (re)Imagining: Amy Gordon

April 13, 2022 by Shannon Marie Gravelle Leave a Comment

Amy Gordon, an LA-based composer, has a catalog of almost 40 choral works, including pieces for treble choirs and online performance. In addition to her compositional activity, she teaches theory and has created a theory-themed Escape Room game (called Escape Tone), available in both Easy and Intermediate for purchase on her website.

 

This blog is going to highlight two of her pieces. I reached out to the composer and asked her to share two pieces that might be accessible for a variety of ages or organizations. She suggested these two pieces, and I am thrilled she shared these two! She has works that span a variety of difficulties and explore a wide array of text uses, so if you enjoy these two pieces, I recommend checking out her website.

 

In Times of Hibernation for SATB Choir and cello is part of a larger five-movement, Songs of Hope in Strange Times. Each cycle chronicles a stage of the pandemic, but can also be applied more broadly. The second movement focuses on the idea of waiting as we wait for events to unfold and time to move forward. The piece was commissioned by the LA-based SACRA/PROFANA, and premiered in October 2020 on YouTube: In Times of Hibernation. 

 

The movement is loosely supported by the cello part, but also allows the choirs to sing independently. Options for a solo, story-telling dynamics, and relative extended techniques in combination with the incredible, composer-written text provide an opportunity for singers to explore a very personal story.

 

Half the world in slumber

Half know neither night nor day

The ticking of the clock stopped

The rustle of pages silent.

Is it here, in this state of waiting,

We hold our breath with time?

 

I Celebrate Life for SATB Choir and piano or Treble Choir and piano (link for SSA here) is the second piece in the short cycle Light Up. 75% of the proceeds from this piece go to the Equal Sounds Corona Relief fund, which is an organization that supports artists who lost gigs when COVID hit. The text is by Rhoda Gordon, Amy’s late grandmother. Set in changing compound meter, the piece energizes and engages the singers and listeners through “the additive processes popular in Minimalism.” Both the Treble and SATB arrangement allow for quick success of pitches, enabling the singers to spend time working balance, dynamics, articulation, and text expression. There are also rehearsal tracks available free of cost to any choir interested in a virtual performance of this piece.

 

Listen to the Treble arrangement here.

 

I celebrate life

With beauty,

With color,

With singing;

I realize

The joy of being

Through seeing

The glorious

Creation I am part of.

The most powerful

Life to celebrate by

Is love.

 

Filed Under: Others Tagged With: composer, Equity

Choral Music is a Celebration of What We Have in Common

April 1, 2022 by Chris Munce Leave a Comment

While using our differences to our advantage.

I have become very interested over the last three years in learning from people that see the world through lenses that rarely get amplified on social media or by large institutions. They seem to me, rightly or wrongly, as interesting BECAUSE they are different. The defier of stereotypes has always fascinated me, but since I began podcasting, that fascination has become a lifeblood. It is easy to like, share and retweet something that you see as popular. It takes the courage of one’s convictions to articulate the problems you see with popular opinion.

Identify with, cherish, and adore any and every one of the myriad traits, qualities, and group identities that make you *you*, but also recognize that these are transcended by our common humanity, our kinship as conscious beings, and our shared goal of maximizing flourishing.

— Angel Eduardo (@StrangelEdweird) January 1, 2021
Angel has been on the show twice. See below for his most recent appearance.

On the Choralosophy Podcast I have spent a good deal of time and energy discussing the topic of “identity” in the arts, through a special category called “Choral Music: A Human Art Form” and how differing philosophies impact how the topic is discussed. In my view, there are major problems in the world stemming from philosophical illiteracy. Namely, what seems to be a lack of awareness that there are different ways to discuss societal problems, and how to move competently between them. As leaders of diverse groups, I see this is a non-optional skill for choral directors. We need to recognize that the centering of one’s immutable characteristics as the primary feature of one’s identity, is but one of many philosophies of finding or describing the “self.” Some find identity most strongly with their culture, nationality, religion, profession, school of thought, or even with the rejection of group identity itself. And that’s ok.

One of the things I have observed is that large institutions, like ACDA, most of higher ed, as well as K-12 education have chosen to discuss the concept of identity by promoting the primacy of immutable characteristics (race, sex, sexuality etc) via the Critical frameworks. Do you remember “Pedagogy of the Oppressed” by Friere? His ideas are quite fashionable right now, and for many it is the only acceptable approach. Some, go so far as to brand anyone who has disagreements as “the enemy.” However, when discussing identity with individuals, as I do often on the show, it is the more “Universal Humanism” framework that people tend to choose. This makes sense. Critical frameworks tend to focus on systems. A large institution is likely to be in the business of “systems thinking.” Whereas, an individual is likely to think about issues from their own experience.

We, as humans, share every trait that is important. This means we are more alike than different. As a result, we all ultimately want the same things lending us to a Universal Humanist perspective when thinking about our own lives. An overemphasis on group differences leads to resentment and further division. Ignoring them leads to societal complacency.

Erec Smith

Enter the “osophy” part of the podcast’s name. I am a firm believer in philosophical literacy and intellectual flexibility. Without it, we often fall back on assumptions of bad faith and nefarious motives, rather than simply saying, “ah. I see you are looking at this from a Critical perspective. I wasn’t looking at it that way, but I am happy to have the conversation” and then changing gears. We are all familiar with how toxic these conversations can become, especially online. But they don’t have to! (Dr. Erec Smith and I discussed this here.) Anytime you assign blanket guilt, innocence, virtue, wickedness etc. to any group of people, you reveal a weak spot in your own thinking. One of your blind spots. We all have them, but looking for them in one’s self is rare.

We should be able to switch at will between frameworks. Most DEI work promoted and presented by institutions is informed by the various Critical Theories, which are important. But there are times when that way of discussing disparity, and injustice have to be set aside for a humanist approach which sees the uniqueness of the individuals in the conversation and how these singular experiences may not fit the stereotypes. I discuss that here in an episode about the “Choral Cancelling” of composer, Daniel Elder. Choral music, like all group activities, lives at the intersection of system critique and individualism. There are problems and limitations with Diversity Trainings and activism. But it is also a necessary tool. There are problems and limitations with Universal Humanism or individual uniqueness approach as well. Ultimately, we can’t ignore things like racism, sexism and homophobia just because we meet someone who has been lucky enough to not be impacted significantly by those things. However, we should be able to hold competing ideas in our heads. We need both. The challenge is knowing which tool is needed for the situation at hand. One thing I know, is that you can’t have a conversation about an individual using systems thinking, and you can’t have a conversation about systems using individualism.

In Episode 93 with Micah Hendler I discuss this problem of “needing both.” We need to acknowledge the need for activist choral spaces for example. We also need to validate and acknowledge the need for choral spaces that “just focus on the music.” In Episode 73 with Professor Teodros Kiros of the Berklee School, we went deep into the philosophies of ancient Greece, their roots in Ethiopia. This should be important to musicians, because these artistic traditions as well as philosophical ones are older than the concept of “race” itself. Dr. Kiros espouses a profound advocacy in the “search for the human gaze.” This might be the most important philosophical conversation I have published to date BECAUSE of Dr. Kiros’ expertise in connecting art to philosophy. He will be back…

Dr. Teodros Kiros- Berklee School of Music

Executive producer and host of the television program African Ascent, W.E.B Du Bois fellow at Harvard, Professor of Philosophy at Berklee College of Music, Author

“I try to argue that they can become better musicians if they become philosophically trained. They will become sensitive to aesthetics in their lives, to the role that art plays in their lives.”

Dr. Teodros Kiros

This problem was perfectly crystalized recently with an internet controversy about changing the standards for All-State choirs. The suggestion was made that in order to see increased representation of marginalized groups, the audition process should change. Namely, the reduction or elimination of sight reading, or even from having to sing alone. Many colleagues cheered this publicly. But others are concerned that this type of policy change would send the wrong message to the students we are saying we want to help. That message? “You are not capable of meeting the standard, so we are changing it.” No one TRIES to send this message, but it is sent nonetheless. This occurs when we fail to see individual consequences when searching for group “solutions.” A person looking at the All-State choir diversity problem through a Critical lens will focus on a percentages. It is true that white students are over represented in elite ensembles all across the country. However, it is not obvious that lowering the standards for those ensembles will improve the lives or outcomes for anyone, let alone students who have been cheated out of opportunities in their formative years to develop their music literacy. (This is expanded upon in all three of the episodes below.)

Episode 88
Episode 86
Episode 82

While I recognize the importance of different approaches, and the validity of systems thinking, I see the need to bring balance to the force. We are starved for common humanity, connection and trust. My goal is to offer that balance on the Choralosophy Podcast. Thanks for reading, and thanks for listening.

You can listen from the widgets below which will take you to Apple or Castbox to finish listening, or you can find the show on Google Play, Spotify, Youtube or Stitcher!

Filed Under: Choralosophy Tagged With: belonging, Diversity, Equity, humanism, inclusion, Individualism

Song of (re)Imagining: Modesta Bor

March 23, 2022 by Shannon Marie Gravelle Leave a Comment

I was first introduced to Modesta Bor (1926–1998) by my friend, Dr. Nicholas Miguel. I was looking for public domain works that were written by women for treble or equal voices and that would fit the educational goals and skill level of the ensemble I was programming for. 

 

Modesta Bor was born in Venezuela, and studied in both Caracas and the Moscow Tchaikovsky Museum (a place I did some research when I was working on my dissertation). She returned to Venezuela and worked as the head of the music department at the Central University of Venezuela, composing, teaching, and conducting choirs. Her oeuvre includes music for orchestra, chamber groups, solo piano, piano and voice, incidental music, and choral music for mixed and equal voicings. Her music incorporates a Venezuelan folk style as well as traits she learned in her formal studies of Western European classical music. Her music, moreover, “elevates the llanero, the common rural laborer, and comments on the social issues of her people,” writes Dr. Miguel in his dissertation (v). In fact, her music was strongly influenced by her political beliefs, and she often chose topics and poetry that coincided with her beliefs in equality and social justice.

 

You can find her most completed catalog here: https://fundacionmodestabor.wordpress.com/catalogo/. This includes a catalog of her choral works. The music is published through Ediciones ARE, and you can find her published music here. If you would like to perform something you find, I recommend contacting Ediciones ARE (and the editor, Armando Nones). When it came to cost, the company shared it at no cost (although, it does have a link to a donations page that you should consider if you use music from them, which is a new and needed addition to the website). I began by exploring the music in the Obra coral Original de Modesta Bor. There are a variety of pieces for both mixed and equal voices, but all were possible for my college choir. Many of these pieces would be suitable for high school, and even middle school depending on your access to rehearsal time.

 

Some links to sample music for you to listen to:

 

Coral Nacional Juvenil Simón Bolívar de Venezuela

 

VI Seminario Internacional Intensivo de Dirección Coral, Costa Rica 2022

 

A Una Niña Meredith College 2021

 

Enjoy the exploration of this composer! I found the most difficult part of looking through her music is that I didn’t know the content of the text, since there are no available translations. Since I always consider the text in addition to the music performance concepts, not having translations made the music selection process significantly longer. Still, this music is worth the time and effort it takes.

 

Filed Under: Others Tagged With: Choral, Equity, Repertoire

Songs of (re)Imagining: Paul John Rudoi

March 9, 2022 by Shannon Marie Gravelle Leave a Comment

I’ve been writing since June 2021. This is the first blog post in which I’ve interviewed or highlighted a cishet white male. “But Shannon, if this is a blog centering equity, why are you sharing the voice of a cishet white male?” Good question. Equity work needs to involve everyone. In particular, cishet white men need to be having conversations about equity with other cishet white men. An emerging trend I’ve observed is that many white folks don’t see themselves in equity work; or maybe they are overwhelmed by it (“I’ll say something wrong and people will get mad” or “I’m not sure what to do so I’m just kind of doing nothing” are common refrains). Let’s demystify the work a bit by having open, and at times hard, conversations.

 

I first met singer/composer/conductor Paul John Rudoi when he was singing with Cantus. He left Cantus to pursue his masters with Dr. Sharon Paul. After completing his degree, he moved to the Twin Cities, where he is currently working a handful of gigs (National Lutheran Choir and at a church job), as well as developing a few new ideas (compositions and composition-based). 

 

When COVID first hit, Paul received some criticism on a piece he wrote that set a Langston Hughes poem (composed pre-COVID). As Paul shared how the piece and subsequent conversations unfolded, it was clear that he was still reflecting. He held space for all of the conversations that followed the criticism, and took learnings from each of them. It’s been confusing– people who share similar identities give him very different feedback. Yet, Paul shared to me: Isn’t it deserved that white men should be silenced for 100 years or more? Why do we have so few living Black composers that are popular? It’s not because there are not enough creative Black people. We haven’t been bringing up everybody with the idea that they can create music. White people generally have a lot more resources available to them, and this leads to a lot of white composers of classical music.

 

In addition to listening and understanding, Paul is trying to figure out his role in the composition field. He has gotten more comfortable in sending out educational material with his music, understanding that context for the conductors (to share with students and for their own knowledge) is important. He knows he can give conductors a place to start with their research. 

 

Beyond that, Paul emphasized that we need to be talking about generational change. “We are having the same conversations as we did 70 years ago with Civil Rights or 150 years ago in Transcendentalism,” he points out, following it up with “we’re just hoping kids will wake up on their own with better perspectives on how to treat each other.” He doesn’t have an answer, he said, but he can support others who have a better way of offering generational change. “We are going to watch the world burn and pretend it’s not a big deal.”

 

“Do you want to keep writing?”

 

“I think so.”

 

And then Paul continues… 

 

… maybe he can be an advocate for young kids who want to compose? With that, he started talking to me about the Creative Literacy Clinics he’s led. He works with kids to create sounds and put them together. When they thought a sound was funny, it sounded cool. They made weird sounds into a microphone, and then when he looped that sound for them, it sounded cool. 

 

This is maybe the first point in our conversation where Paul sounded excited and hopeful about next steps in the field. He has led some workshops with students about creating music in ways that don’t involve sitting at a piano and writing down a composition. 

 

We didn’t leave that conversation feeling as if we solved anything. That wasn’t the point. I appreciated hearing Paul grapple with how his voice fits in the composition field. It especially struck me that Paul was in continuous assessment of when to use that voice and when to leave space for other voices, in combination with learning and yes, sometimes making mistakes. Paul doesn’t feel a need to expand the choral repertoire. If he’s going to write, it has to be associated with figuring out what the systemic issues are and trying to translate that into music. And this will bring up potentially uncomfortable conversations, some about equity. And he will lean into that discomfort, not shy away from it.

 

Filed Under: Others Tagged With: composer, Equity

Songs of (Re)imagining: Mari Esabel Valverde and the Swedish Song

February 9, 2022 by Shannon Marie Gravelle Leave a Comment

You may know composer Mari Isabel Valverde from her work “When Thunder Comes,” or “Patterns on the Snow,” which was an ACDA consortium from 2016. Many know Ms. Valverde from her music that connects to equity… or, perhaps because of one of her identities as Mexican-American or transgender. And yes, she is a leader in equity for our National ACDA organization and a leader in facilitating professional development opportunities.

 

Schooled in the Western European Classical musical tradition, her undergrad was at St. Olaf, where she sang in the Midwestern Lutheran tradition. I’ve programmed her “Cantares” (SSA)– which I recommend – the piece was loved by my treble choir. Now, my singers are preparing a Swedish piece she wrote, Månskenskväll. It’s my joy to share reflections on this piece, as well as another Swedish piece of hers, Hjärtat.

 

“Hjärtat” (Heart) is an arrangement of William Stenhammar’s (1871–1927) art song, with text by Bo Bergman (1869–1967). When Ms. Valverde was younger, she spent time studying the music of Stenhammar, outside of any requirement for lessons, theory, or choir. This particular piece, composed in 2011, has a distinctly familiar sound to me (as a Luther College graduate, from the same family as Ms. Valverde’s St. Olaf). Unaccompanied, SATB with minimal divisi, duple meter, lucious. The ranges are accessible. The trickiest part is the tuning of the chromatics and some of the leaps. The score itself comes with IPA, phonetic pronunciation, and both poetic and word-for-word translations (something I really appreciate). “Hjärtat” would be a great selection for many choirs, with it’s fairly traditional harmony that stretches just enough to subvert expectations. It’s hymn-like, but not strophic. You can find a video of Hjärtat here, although sung on a neutral vowel and not Swedish.

 

Månskenskväll (Moonlit Evening), also written in 2011, is in compound meter and has a bit of an afternoon-on-a-porch feeling. The text is by Swedish-speaking Finnish poet Edith Södergran, who died at 31 after contracting tuberculosis. IPA and poem translation are provided in the score. With reasonable ranges (although you’ll need solid low basses for the final E), “Månskenskväll” has more divisi than “Hjärtat” and more leaps for experienced voices to navigate. There is a brief 4-part section for tenor/bass voices, and two optional solos at the end, one for soprano and one for bass. This beautiful piece has incredible dynamic moments and waves of movement. Ms. Valverde writes that this was her attempt to “imitate a Scandinavian Romantic style…” 

 

Let me share why I chose to program “Månskenskväll.” First, the theme of my concert is movement. It could be dance, it could be music that makes us want to move, or about any sort of loosely connected idea of motion. This piece, first of all, has a feeling of rocking a sleeping child or a rocking boat, which is what drew me to the piece initially. That rocking feeling is related to the text, which is about the gliding of the moonlight over water, and waves “swirl (ing) around one another.” In addition, the listener feels the movement because the harmonies don’t really rest. There might be a moment of rest, but it never feels as if it’s settling to a stillness. Her composition reflects movement in it’s harmonies. I was also drawn to the “molto” crescendo/diminuendo over short durations, which give it the feeling of rising and falling both within the musical line and the emotional output. I really lean into those expressive give-and-takes, especially since the piece is somewhat dynamically contained. All of this is connected to the text of the piece. Ms. Valverde is incredibly intentional about her text setting.

 

One other reason I programmed “Månskenskväll” is because I love figuring out Ms. Valverde’s music. I need to spend time with her music to fully fall in love with it, but I do… every single piece I’ve become familiar with.

 

Filed Under: Others Tagged With: Equity, Mari Esabel Valverde, Repertoire, Swedish

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