The Cultural Politics of Authenticity

Social media is often a colossal waste of time, but you get an interesting and nuanced discussion on a subject that is both practical and principled just often enough to make it worth keeping looking at it. I’d like to reflect on one such discussion I saw amongst a group of choral directors recently, as the various contributions teased out a range of perspectives on a thorny question.

The question was whether a British choir should assume Puerto Rican accents to sing songs from West Side Story. A director had asked their choir to do so, but some of the choir’s younger members were ‘appalled’ at what they considered a racist request.

Some of the participants in the discussion supported the conductor on the grounds of musical authenticity. It would sound silly in choral British accents, they contended, and recommended reference to the original film as a guide. (Though I’d think reference to the recent remake would be a better guide from this point of view, since it uses actual Latinx actors for those roles, not white actors in brown-face as many are in the 1961 version.)

LABBS Quartet Prelims 2022

Seeded first on the day, In House talk to LABBS social mediaSeeded first on the day, In House talk to LABBS social media

On Saturday, The Ladies Association of British Barbershop Singers held the preliminary contest for quartets to qualify to compete at Convention in the autumn. With 31 quartets competing for 16 places, it felt like the quartet scene is in good shape, and there were a good many new ones who have formed since we last convened in person in 2019. Many of the quartets stayed on for the Sunday to receive extended evaluations-cum-coaching sessions, a model that encapsulates the philosophy at the heart of LABBS contest system: that competing is a means for growth, and that education is an inherent part of the cycle.

A friend I ran into during the first break remarked that he always wonders, seeing me at the events, what I’m going to write about in my blog after it. This made me laugh, because at that point I was wondering the exact same thing! As it happens, two observations rose to the top as the day went on.

Soapbox: A Cappella Arranging and Narrative Shape

soapbox My brain persists in thinking that many years ago I wrote about today’s primary point, but repeated searching fails to find any evidence of it. So maybe I only thought about blogging about it. It is certainly an opinion I have held since before I started this blog – there are arrangements I did back in 2006-7 where I can remember thinking about it. And my recent listening experience has me wanting my fellow arrangers to think about it too.

So the point is this: a cappella arrangements usually need to be shorter than versions of a song that include instrumental (and/or electronica) accompaniment. This is partly because when working with a limited timbral palette you haven’t got the resources to build such a large structure (in much the same way that orchestral pieces are often longer than chamber or solo pieces). With less opportunity to generate variety, longer structures can feel as if they are sagging under their own weight. This is particularly evident if you are also constrained texturally (as in contest-grade barbershop) but is true even if you have a free hand with your textural options.

Getting Connected with Main Street Sound

MainStSoundJun22

I spent Saturday up in York coaching Main Street Sound. We set the date almost 6 months ago, in the early stages of the UK's first Omicron wave, and looking back at the email thread, it was full of finger-crossing and hope. The capacity to make plans and feel confident you’ll be able to carry them out is something I never fully appreciated prior to Covid!

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