Gospel and classical choral music, despite having various and significant differences that have sometimes contributed to a history of mutual distrust, could work together to create culturally expansive, inviting music and worship. By openly discussing what makes them different and working towards collaboration, both genres of music have much to gain from each other, as does the Calvin community at large.
What makes classical music classical? A host of things. Certain attitudes prevail, especially in a choral context. Choir directors almost always cultivate a certain refined, pure tone with precise diction and pure vowels. Belting is typically disallowed. The result sounds elegant, often British, and thus very distinct from the day-to-day speech you usually hear in West Michigan.
Classical melodies are written one against another in harmony; if one part ascends higher, optimally, another part should be descending lower (look and listen for this the next time you’re singing from a hymnal!). To help learn these different melodies, literacy is assumed — parts are almost always written out and read to be learned. Finally, academics have studied classical choral music in immense depth. It makes up the most widespread paradigm for teaching music theory and music composition, and it’s considered both basic and normative.
What makes Gospel music Gospel? Again, a host of things, although it has been less studied, so my conclusions are far from authoritative. Different attitudes prevail. The tone can be similarly pure and strong and include precise diction. However, belting is encouraged in various contexts. Directors may complain if something sounds “cute” and ask singers to make it “ugly,” meaning soulful and gritty, evoking the image of someone messing up their elaborate makeup due to impromptu dancing. The result, if done well, approximates a certain, more or less refined form of day-to-day speech heard in Black communities in the US.
Gospel melodies are usually sung together in harmony, so if one part ascends higher, optimally, the other two parts should ascend with it (listen for this the next time you’re at Chapel or a Gospel Choir concert!). Written literacy is not essential; parts are almost always learned by ear. This develops a powerful aural literacy: an experienced singer who hears one part can intuit a harmony by ear, even without it being sung or taught, since the parts follow one another. This paradigm for writing harmony is much less studied. However, it has widespread national and global salience since it is intuitive, flexible and lends itself well to jazzier and poppier sounds.
Why should the Calvin community care about these real differences? Beyond understanding and appreciating different kinds of music, these differences can lead to mutual skepticism, which impacts our campus climate. Because classical choirs (like Capella) and Calvin Gospel Choir both seek excellence in their own ways, they have often been rivals, if not outright adversarial. In some circles, Capella has a reputation for being Calvin’s highest or most advanced choir, to Gospel Choir’s chagrin. Yet Gospel Choir is not immune from a similar streak of superiority, considering classical choirs are out-of-touch. Moreover, there is a perception that choirs compete with each other for students. Gospel Choir’s membership is currently capped at around 80 students, but it could easily be allowed to expand past 100, as it used to be. Classical choirs’ proponents have resisted this, arguing that this may make their ensembles considerably smaller.
May our music glorify God in a multitude of ways, and may musical-cultural diversity be Calvin University’s unique strength!
Even so, as Calvin looks towards welcoming our new director of choral activities, I am deeply hopeful. I hope for ongoing collaboration which leads to singing together, as well as finding and even commissioning pieces that combine the best of both genres. We can create a larger, more glorious sound than either a classical choir or a gospel choir could bring on their own. Both choirs can also work in concert to bring more students to participate and sing — it need not be a zero-sum game.
May our music glorify God in a multitude of ways, and may musical-cultural diversity be Calvin University’s unique strength!
For more of my ideas on the harmony that powers Black Gospel music, consider attending my upcoming thesis presentation: Thursday, April 25, at 3:15pm in the CFAC Recital Hall.