Page 64 - CJOct23

r
y Vo
ve
i
ce
Lift Every Voice
Lift E
Obviously I’m in favor of raising ethnic musical sic: A Conversation That Can Make Both Our Music
banners but not to the point of excluding the wonder- and Community Better,” Choral Journal, Vol. 55, No. 10
ful music of others. Many communities are insular with (May 2015), 59-63.
little exposure to people of other cultures, religions,
sexual orientation, politics. J. Donald Dumpson: Diverse Arts Solutions Produc-
Most of Zamir’s audiences are Jews. Bringing Jew- tions LLC builds bridges to diversity through the Arts
ish choral music to Jews… is that like bringing coals by crafting stellar performances with a special focus on
to Newcastle? Preaching to the choir? When Zamir expanding the artistic landscape.
presents concerts in synagogues, of course I include an https://diverseartssolutions.com.
educational component, presenting Jewish musics from
many eras, many lands, many styles. Most Jews are un- Matthew L. Garrett and Joshua Palkki: Informative Re-
aware of the richness and breadth of their own cultural sources of the Transgender Experience in Music and Singing:
heritage. In fact, there is African Jewish Music and His- Honoring Trans and Gender-Expansive Students in Music Edu-
panic Jewish music and Baroque Jewish Music. cation (New York: Oxford University Press, 2021).

Dilworth: So I hope that through all of our com- Joshua R. Jacobson and Ethan Nash: Translations and An-
mentary here, there is opportunity for expansion and notations of Choral Repertoire, Vol. 4: Hebrew Texts (Corval-
change. As choral directors, we must consider expand- lis: earthsongs, 2009).
ing our understanding of music connected to cultures
outside of our own lived experiences. We can use those Joshua R. Jacobson: A Choral Rainbow. An online three-
musical experiences to develop that mutual under- part series featuring choruses from diverse and under-
standing as Wendy talked about, and perhaps expand represented communities.
our understanding of musical excellence. Musical ex- https://www.joshuajacobson.org/video-podcasts.
cellence and beauty mean different things in different
communities. Joshua R. Jacobson: Choral Music from Jewish Traditions:
Finally, I think the exploration of musical experienc- The searchable website with information and recom-
es across all cultures and all boundaries can help us to mendations and answering questions for conductors of
expand our understanding of what it means to be musi- all choruses. https://www.jewishchoralmusic.com.
cal, what it means to be a musician, and what it means
to be musically literate. So often we determine how lit- Jin-Ah Kim: “Cross-cultural Music Making: Concepts,
erate someone is musically by their ability to navigate Conditions and Perspectives.” International Review of
five lines and four spaces. Note reading is not neces- the Aesthetics and Sociology of Music, Vol. 48, No. 1 (June
sarily the only way in which we should measure one’s 2017), 19-32.
musicianship or measure one’s musical worth when it
comes to choral music we are creating or recreating. Thomas Lloyd with Susanne Kappe and Abdolrac-
hman Omaren: “Singen, nicht hassen - الغناء، لا أكره -
Let’s sing, not hate—Berlin’s Begegnungschor brings
Resources refugees and locals together to overcome fear,” Interna-
tional Choral Bulletin of the International Federation of Choral
Karen Ahlquist, editor: Chorus and Community (Cham- Musicians (IFCM), Volume 36, No. 2 (2017): 30-34.
paign: University of Illinois Press, 2006). An anthology
of detailed stories of choirs with a variety of musical, Thomas Lloyd: “Bringing Transformative Collabora-
social, and political identities and the impact those tions to Life,” ChorTeach (Summer 2011).
identities had on their local communities.
Brian Manternac, Michael Chipman, Ruth Rainero,
Ryan Cho: “Cultural Appropriation and Choral Mu- and Caitlin Stave: “Teaching Transgender Singers. Part

62 CHORAL JOURNAL October 2023 Volume 64 Number 3