Holden Maiorana aims to create a holistic choral experience for students to learn about Negro spirituals at Spackenkill High School. He plans to provide context on the origins and history of spirituals, discuss their meanings and use of dialect, and have students listen to expert performances. Maiorana will draw on outside resources like the Hudson Valley Gospel Festival and scholars to enhance learning. His goal is for students to understand the "big picture" of spirituals and strengthen their connection to the originators of this art form.
Holden Maiorana aims to create a holistic choral experience for students to learn about Negro spirituals at Spackenkill High School. He plans to provide context on the origins and history of spirituals, discuss their meanings and use of dialect, and have students listen to expert performances. Maiorana will draw on outside resources like the Hudson Valley Gospel Festival and scholars to enhance learning. His goal is for students to understand the "big picture" of spirituals and strengthen their connection to the originators of this art form.
Holden Maiorana aims to create a holistic choral experience for students to learn about Negro spirituals at Spackenkill High School. He plans to provide context on the origins and history of spirituals, discuss their meanings and use of dialect, and have students listen to expert performances. Maiorana will draw on outside resources like the Hudson Valley Gospel Festival and scholars to enhance learning. His goal is for students to understand the "big picture" of spirituals and strengthen their connection to the originators of this art form.
Holden Maiorana Culturally Affirming Music Education, Summer 2020 Virtual Expectations ● Please feel free to chime in ● Share your experiences and be respectful of others’ experiences ● Learn from each other Context - Spackenkill High School ● Hudson Valley, NY ● Suburb of Poughkeepsie ● High achieving in science/STEM/research ● 9-12 Mixed Chorus and Treble Choir Context - Spackenkill High School (cont.)
Source: US Census (2019 estimates)
Source: NYSED (2017)
What are spirituals? ● “A type of sacred song created by and for African Americans that originated in oral tradition.” (Grove Music Online) ● Impart Christian values while describing the hardships of slavery and oppression. ● Often referred to African American spirituals, Afro-American spirituals, or Negro spirituals. ● Three basic categories: call-and-response, slow and melodic (emotion), fast and rhythmic (story) ● Grounded in biblical references, but often has hidden meanings. ● Field holler music vs. negro spirituals vs. jubilees ● Slaves Songs of the United States, 1867 My Experience With Negro Spirituals ● Elementary School - “Swing Low, Sweet Chariot”, “Follow the Drinking Gourd” ● Middle School - “Soon Ah Will Be Done” ● High School - “Live A Humble” ● College - “Battle of Jericho”, “Jeremiah’s Fire”, “My Soul’s Been Anchored in the Lord”, “Cert’nly Lawd”, and many more “Soon Ah Will Be Done”
● arr. William L. Dawson
● Emory Concert Choir Soon ah will be don'
A Holistic Approach A-wid de troubles ob de worl',
Troubles ob de worl', De troubles ob de worl'. Soon ah will be don' A-wid de troubles ob de worl', Goin' home t'live wid God. ● Imparting on my students a “big picture” understanding of I wan' t'meet my mother, what Negro spirituals are and their history I wan' t'meet my mother, I wan' t'meet my mother, I'm goin' t'live wid God. ● Origins of Negro spiritual, Fisk Jubilee Singers REFRAIN ● William Dawson - composer, founded Tuskegee Institute Choir No more weepin' an' a-wailin', ● Meaning of “Soon Ah Will Be Done” No more weepin' an' a-wailin', No more weepin' an' a-wailin', I'm goin' t'live wid God. ● Discussion about dialect REFRAIN ● Impact on American music I wan' t'meet my Jesus, I wan' t'meet my Jesus, I wan' t'meet my Jesus, I'm goin' t'live wid God. In de mornin' Lord! God, I'm goin' t'live wid God. I'm goin' t'live wid God Use of Dialect ● “Dialect has its own beauty and power. It strengthens the listener’s connection to the originators of spirituals by conveying the thoughts of the originators in their original language.” (Roland Hayes) ● Decision of how much dialect should be based on: ○ 1. The text of the score ○ 2. An understanding of the composer’s intent ○ 3. The singers’ ability to enunciate dialect correctly without impeding the technical aspects of the performance
(So You Want to Sing Spirituals, Jones)
Use of Dialect (cont.) Use of Dialect (cont.)
Source: GAINING PERSPECTIVE: A Linguistic Approach to
Dialect Found in African American Spirituals, Barber 2018 Listening Examples ● Fisk Jubilee Singers ○ 1909 - “Swing Low, Sweet Chariot” (Library of Congress) ○ 2019 - “Wade in the Water” Outside Expertise and Experiences ● Hudson Valley Gospel Festival (February) ● American Spiritual Ensemble (performances in NYC) ● Dr. Baruch Whitehead, Ithaca College ● Dr. Justin Patch, Vassar College ● Listening to recordings of groups that specialize in Negro spirituals Further Reading ● BOOK - So You Want to Sing Spirituals: A Guide for Performers by Randye Jones (2019) ● ARTICLE - The Use of Dialect in African-American Spirituals, Popular Songs and Folk Songs in Black Music Research Journal by John Graziano (2004) ● ARTICLE - Gaining Perspective: A Linguistic Approach to Dialect Found in African American Spirituals in The Choral Journal by Felicia Barber (2018) ● ARTICLE - The African American Spiritual: Preparation and Performance Considerations in NATS Journal of Singing by Rosephanye Powell Final Thoughts
● Holistic approach is key
● Dialect enhances the performance of Negro spirituals ● Use of outside expertise and experiences can greatly enhance learning Questions, comments, points for discussion?