By Caroline Bithell
A diverse Voice, a distinct Song strains the heritage of a grassroots scene that has beforehand operated mostly underneath the radar, yet that has been lightly amassing strength because the Seventies. on the center of this scene this present day are the typical voice circulate, based at the premise that "everyone can sing", and a starting to be transnational group of novice singers partaking in multicultural song job. writer Caroline Bithell finds the exciting internet of situations and motivations that hyperlink those traits, highlighting their capability with recognize to present social, political and academic agendas. She investigates how and why songs from the world's oral traditions have supplied the linchpin for the average voice move, revealing how the musical traditions of alternative cultures not just offer a colorful repertory but additionally tell the ideological, methodological and moral rules on which the move itself is based. A diverse Voice, a special Song attracts on long term ethnographic learn, together with participant-observation at choir rehearsals, performances, workshops and camps, in addition to interviews with voice lecturers, choir and workshop leaders, camp and competition organisers, and common contributors.
Bithell indicates how novice singers who're now not musically literate can turn into useful individuals in a colourful musical neighborhood and, within the technique, locate their voice metaphorically in addition to actually. She then follows a few of these singers as they trip to far away destinations to profit new songs of their typical habitat. She theorises those traits by way of the politics of participation, the transformative capability of functionality, development social capital, the worldwide village, and reclaiming the humanities of occasion and conviviality. The tales that emerge show a nuanced internet of intersections among the neighborhood and international, one that calls for a revision of the dominant discourses of authenticity, cultural appropriation and service provider within the post-colonial international, and finally issues in the direction of a extra revolutionary politics of difference.
A assorted Voice, a distinct Song might be a necessary textual content for practitioners excited by the usual voice circulation and different vocal methodologies and choral worlds. As an important learn within the fields of ethnomusicology, track schooling and neighborhood track, the booklet can be of curiosity to students learning the democratisation of the voice, the dynamics of participation, global musics in functionality, the transformative energy of concord making a song, and the potential for music-making for maintaining neighborhood and helping intercultural knowing.
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Extra resources for A Different Voice, A Different Song: Reclaiming Community through the Natural Voice and World Song
Where have these 850 singers come from? How is it possible that—as Roxane mentioned when she introduced the singers—this is the first time these particular individuals have all performed together as a choir? How did they learn these songs in a range of foreign languages that they sing without words or scores? They all look so joyful, so colourful, so energised, so much in their element. Is this something that I, too, can be a part of? The first question is answered at the end of the performance when Simon Hughes, local Member of Parliament and Chair of the Thames Festival Trust, takes the microphone to run through a list of fifty choirs from across Britain and beyond which are represented here today by at least some of their members.
2 For the curious bystander, today’s performance raises a number of questions. Where have these 850 singers come from? How is it possible that—as Roxane mentioned when she introduced the singers—this is the first time these particular individuals have all performed together as a choir? How did they learn these songs in a range of foreign languages that they sing without words or scores? They all look so joyful, so colourful, so energised, so much in their element. Is this something that I, too, can be a part of?
A surprising number of the chapters take the form of historical studies of such subjects as the connections between music and morality in nineteenth-century England, choral singing in German-speaking Europe in the nineteenth century, the Fisk Jubilee Singers’ tour to Holland in 1877, choral music among Russian Mennonites in the early 1900s, choral circles in early Soviet workers’ clubs in the 1920s, and a history of a chorus associated with the International Ladies’ Garment Workers’ Union in Pennsylvania.