A song for every voice — then and now

Historical musicology is not my strong suit.

I have a tough time remembering dates and details, and as a non-linear thinker, I often feel like an awkward storyteller. For this reason, I should probably always carry with me some notes on my arrangement of Lift Ev’ry Voice and Sing, a work that will be featured in LA Master Chorale’s upcoming “Wade in the Water” concert on April 30.

Controversial issues tend to surface with every performance, raising questions that include

“Who should (or shouldn’t) sing this piece?”
“To whom does it speak?”
“For whom was it written?”
“Shouldn’t we stand when we hear it?”
“Does it even belong on the concert stage?”

The questions outline the impact of this song. Over the years, Lift Ev’ry Voice and Sing has gained such importance in the repertoire that it is commonly referred to as the “Black National Anthem”, making it doubly important to understand that the original hymn has a life that’s larger than any one setting, and a history that can only be understood in its own context. (For anyone who is interested, this simple Google search can get you started.)

But while historical musicology is not my strong suit, socio-theomusicology is where my mind and soul thrive. I could testify for days about how Lift Ev’ry Voice wasn’t written just to empower and/or encourage a group of people who are constantly oppressed and dehumanized. It is also a bold statement of present-day victory. The fact that this poetry even exists is a testament to the wisdom and resilience of Black Americans whose faith (rooted, for better or for worse, in Christianity) said that the time for rejoicing is now; the time of our triumph is now; that the price has been paid, death has been conquered, and while there will always be work to do, by God’s grace we are here NOW, and we should sing.

This work fills me with deep gratitude and humility, and I am extraordinarily honored that this incredibly prophetic and timely poetry was composed and embraced by my people, people who identified themselves as Negro. Lift Ev’ry Voice connects me to my roots, honors the present, and points toward the future. Yet it simultaneously connects my people to every other people on this planet, by speaking to our common struggle with brutality and injustice. Mostly, it speaks to the value of EVERY collective human voice that has ever been imprisoned, demoralized, persecuted, and/or murdered.

The Johnson brothers

What an extraordinary gift was given to this country through this work from James Weldon Johnson and John Rosamund Johnson, two brilliant brothers whose heritage was Negro. THIS is why we proudly refer to this work as the Negro National Anthem – a stirring and timeless anthem for a nation comprised of all nations, written by Negroes – like me.

April 25, 2017 Zanaida 0

Intersections Between Choir and Opera

In educational settings, choral programs can complement opera programs beyond just augmenting the opera chorus. Collaborative master classes, social gatherings, vocal-health round table discussions, and strong attendance at performances among students and faculty aid in building and sustaining bonds of mutual scholarship and support between opera and choral music programs.

Choral programs intersect with opera programs in terms of the students they share. Healthy singing and stellar musicianship are a priority in both areas. As someone who has had professional success singing a variety of styles both as a soloists and an ensemble musician, I know that singers can and should be encouraged to learn how to be ambidextrous, striking a balance between healthy vocalism and stylistic versatility. In my choirs, singers are encouraged to sing healthfully with their naturally vibrant voices. Blend and balance issues are most often addressed with the physical placement of the singers before addressing a singer’s individual technique.

But when I do talk technique in choir, it usually boils down to posture, breath flow, and resonance. By encouraging the development and application of these three technical skills, I can hold singers accountable for being flexible with regard to dynamic contrast and vowel color. I can insist on attention to musical details, and I can work on building the singers’ aural skills so they can make intuitive, healthy vocal adjustments informed by their own ears.

For opera students participating in choir, this means employing healthy vocalism in the choral setting that doesn’t compromise their individual technique. I’m less likely to ask for a change in vibrato and more likely to ask for a change in dynamic or vowel. In this way, operatic voices actually enhance the richness and depth of the choir; the choir sounds vibrant and healthy with the ability to be stylistically versatile and musically precise.

Featured image by B Cleary / FreeImages.com

August 12, 2016 Zanaida 0

Lift Every Voice

I think too many folks learn lessons about artistic expression either online, from television, or in other media. Maybe they aren’t even aware of their learned biases toward perfectionism and materialism. I am a singer. As a concert soprano soloist, studio vocalist for film and television, and professional ensemble singer, I have sung throughout the United States, and in parts of Europe, Australia, and New Zealand. I’ve sung background vocals for various artists including the Rolling Stones, Andrea Bocelli, Barry Manilow, and have also worked as a singer and pianist on the hit Fox Television series Glee.

But my most important singing is the singing I do at home when I have a jam session with my kids – I’m teaching them how to be expressive without being judged. Or perhaps my most important singing happens in church – I use my voice as channel for healing and wholeness with the spiritual power within and around us.

Either way, my voice has worth not because I get paid to use it, not because it is beautiful or skillful, but because it is unique and has the power to touch hearts and minds. The truth is that everyone has this power, even folks who claim they can’t sing. What if we broadened our definition of “singing?” Can all of our words and sounds be melodic, rhythmic, dynamic? Can our words harmonize and create counterpoint with the words of our neighbors?

What if we learned to acknowledge and use the power of our own ordinary every-day voices, our statements and questions imbued with the energy of singing? How amazing it would be if we used this power in other disciplines and environments so our unique song may be sung boldly for the good of the community. Can we do a better job of recognizing and cultivating the relevance and power of everyday singers? What if our communities acknowledged and harnessed the transformative power of collective artistic expression; what if everyday folks starting “singing” their song?

I recall that the Civil Rights Movement of the 50’s and 60’s was strengthened by some of the most gravitational and inspirational songs ever sung, becoming a galvanizing force behind change. In my work as a musical artist, I am dedicated to uplifting individuals, organizations, and programs that inspire and facilitate the spiritual, cultural, intellectual, and artistic enrichment of our community. With this enrichment, can we figure out how to lift every voice and find ways to change things for the better? I think we can.

Featured image by Alexander Wallnöfer / FreeImages.com

August 3, 2016 Zanaida 0

Identity Stream of Consciousness

I identify myself as American, African-American, Black;

a musician, minister, singer, conductor, composer, teacher, coach;

a wife, mother, sister, auntie, cousin, friend, colleague;

a choir nerd, a Gemini, social activist, feminist, liberal who loves tradition.

I am both vulnerable and strong.

I’m a woman, human, heterosexual with many well-beloved homosexual friends and colleagues;

an Episcopalian, Unitarian, Baptist. I identify myself as a Christian.

I am a resonant witness to the healing, unifying power of music.

I am a high-energy instructor with a methodical approach to music teaching that incorporates improvisation and critical thinking.

I am a professional – both leader and servant.

I have become what I have wanted to be since I was seven years old: a Doctor of Musical Arts.

I am courageous.

But in saying I am courageous, I am admitting I am also fearful. I am OK with that because my courage keeps me from being hateful, sarcastic, and
apathetic.

July 26, 2016 Zanaida 0

Samuel Coleridge-Taylor

African British composer, conductor, and teacher Samuel Coleridge-Taylor (1875-1912) was affectionately referred to in his time as the African “Mahler.” His most popular work, Hiawatha’s Wedding Feast for soli, chorus and orchestra (listen below), is a shining example of his command of musical form, texture, harmony, and orchestration, which resulted in overnight fame and respect among colleagues that few men of color could have hoped to enjoy in the early twentieth century.

After his “Hiawatha,” Coleridge-Taylor’s most well known works are his 24 Negro Melodies; his Ballade in A minor; his Symphony in A major; African Dances for violin and orchestra; and a host of chamber music — his compositional output is substantial and varied. A review of the comprehensive works list compiled by famed scholar Dominique-René de Lerma reveals that Coleridge-Taylor also wrote at least 95 songs for solo voice and piano.

Because of his incredible success in a field dominated by white males at a time when racism in America was peaking, Coleridge-Taylor’s influence on African-American artists and intellectuals was powerful and far-reaching. For this reason, many consider Coleridge-Taylor to be the father of African-American art song. His legacy still leads and inspires the American musical community, just as he did a century ago.

May 31, 2016 Zanaida 0