A Legacy of Hope for our Generation

One of the most enduring legacies of the choral music by Nathaniel Dett and William Dawson is in their preservation of spirituals for future generations. Both Dett and Dawson are active in elevating the status of the spiritual from its folk songs roots. We can observe their success within the greater number of spirituals in today’s choral repertoire. We owe this benefit to those who contributed to preserving this music for future generations.

Following the American Civil War, the Reconstruction Era (1865-1877) provided an increase in performance opportunities for African American musicians. This increase inspired musical developments and impacted societies’ perspectives of African Americans on a national and international level. African American composers were trained at a small number of educational institutions and conservatories in the United States. By the end of the nineteenth century, these professionally-trained composers influenced musical nationalism in the United States. They were swept into a distinct movement that desired an American brand of nationalism through the merging of spirituals (American folk songs) and several European music forms (e.g., cantata, opera, motet, oratorio, and symphony). The subsequent generation of composers, active during the early twentieth century, shouldered this responsibility and transported it to the historical black colleges and universities where they taught. This new generation, the generation of Nathaniel Dett and William Dawson, were sensitive to the past but intently focused on the future of music in America. Their generation—their legacy—contributes significantly to the continuity of music by African Americans and to music from the United States.

The concert spirituals of Dett and Dawson are built on musical traditions of the past but bear a vision for the future of American music. Each composer commanded their perspective of performance practices that were explored by ensembles following the American Civil War. Through their efforts, Dett and Dawson ensured the preservation of spirituals in Western art music. Their contributions towards the future of American music was never intended only for their race; but, rather to enter characteristics of African American music in discussions of the United States’ musical identity. Due to the nature of racial and ethnic relations in American society, the careers of Dett and Dawson reflect a struggle in achieving this objective. Too often these composers encountered the racial sentiments of American society mirrored within their musical careers.

Much has certainly changed since the lifetimes of Dett and Dawson. However, we cannot risk thinking that progress made indicates that our job is complete. The racial tensions encountered by Dett and Dawson in the United States still casts a shadow over our society. We view this currently in social movements that campaign against perceived systemic racism (e.g., racial profiling, police brutality) such as Black Lives Matter. A solution to fully eradicate issues of race eluded the generation of Dett and Dawson and continues to elude ours today.

The public’s view of our progress often differs because race relations is a complicated issue. Fully understanding this issue as an influence of Dett and Dawson as composers has been equally complex. Rather than tackle the impossible task of unravelling this complexity, the preceding chapters explored specific components of social change in the musical development of spirituals.

Exploration of social change in the United States provides a specific setting to interpret the concert spirituals by Dett and Dawson. By recreating specific aspects of this setting, we extend our understanding of Dett and Dawson according to their time and place in history. By understanding this setting, we may begin to interpret how their works symbolize a legacy of hope—a belief that the future can be better than the past.

The Legacy of Hope

I have coined the phrase “legacy of hope” to interpret the aspirations of Dett and Dawson. This phrase refers to their hopes for the future of American folk-songs (spirituals) with respect to their ideas of social change. I interpret Dett’s legacy of hope as a new respect for spirituals through performances by all ensembles—regardless of race. I interpret Dawson’s legacy of hope as a belief that spirituals offer all races an opportunity to connect emotionally. Dett and Dawson were born during the period of racial segregation but still held great interest in bringing people together. Racial equality necessitates efforts by all; Dett and Dawson recognized the power of the spiritual in reaching this goal. Their legacies are remarkable for their lifetimes and continue to hold significance today. The music we make can also serve in bringing people together.

We contribute to the same legacies of hope as Dett and Dawson when we display respect for the meaning and value of spirituals. The choral conductor plays a pivotal role in facilitating this respect. The efforts of the choral conductor govern the success or failure of their contributions. The more ways the conductor can foster and integrate a respect for spirituals into rehearsals and performances, then the greater their contribution.

The choral conductor should focus their efforts on areas that strengthen their likelihood of success. I will address the following three areas I feel are most critical for these efforts: 1) avoiding a sole focus on race-specific traits, 2) confronting research needs, and 3) providing meaningful objectives for the choral ensemble. The first area believes that a sole focus on the race-specific traits of spirituals works against bringing people together. The second area shows how increased research (e.g., score study) will enhance the performance of spirituals today. The final area suggests strategies to implement meaningful musical and social objectives for choral ensembles.

For this first area, I believe that we must all first acknowledge the value of spirituals to American music. These songs do not belong only to black America, they belong to all of America. Examples from the choral music of Dett and Dawson illustrates how music can incorporate multiple musical traditions. Both composers were professionally-trained musicians influenced by a variety of different musical traditions—specifically, European musical traditions. When we focus solely on the race-specific traits of spirituals, then the pervading attitude of hope within this genre collapses.

It is possible to honor the race-specific roots of spirituals and advocate for characteristics that are universal to every race. The legacy of hope of Dett and Dawson accomplishes this goal. Their choral music addresses both the African American experience in America and advocates for commonalities shared by every race. It is important that we remember that at the heart of the spiritual is community—voices of people believing together. Society benefits when spirituals are interpreted to reflect all communities. This focus creates not only a stronger society, but also a closer connection to the music.

My second point urges increased research of spirituals. If we are to fully explore how to honor the past and advocate for the future we must increase our understandings of spirituals. Choral conductors, as contributors to the legacy of hope, should understand the breadth of African American heritage. This is not to contradict my early statement against race-specific focus, but rather to recognize that this is a historically neglected area of study in education. Conductors profit when they expand their knowledge of the African American experience in America. Focusing on their humanity is important when measuring this experience. More focus on the group’s humanity respects the value of spirituals to society. When greater knowledge is combined with respect, a conductor will more likely create meaningful performances. The same could be said for the study of any other specific genre of music (e.g., motets, chorales, madrigals, etc.).

Conductors should devise methods within their study of spirituals to connect singers and audiences to the music. Increased knowledge of spirituals allows conductors to synthesize their methods to relate specifically towards their ensembles. Less diversity in an ensemble may result in more creativity and research required by the conductor. More diversity may present opportunities to combine multiple perspectives. Navigating either extreme requires tact by the conductor. However, increased score study offers more ways a conductor can speak about and connect others to the value of spirituals.

The third area supports that as knowledge is expanded, choral conductors can provide more informed musical and social objectives for their ensembles. The conductor should critically select spirituals that will best develop objectives within their ensembles. Because of its high educational value, critically-selected spirituals cultivate objectives. Dett’s and Dawson’s choral music serve as examples of this potential.

Success is further increased when objectives are meaningful. This is absent, for instance, when spirituals are selected only to serve as a concert opener or closer, as the “multicultural piece,” or to fill any other niche. This focus on entertainment lacks any meaningful objective other than to entertain. This function risks undermining the respect for spirituals. In some cases, this may even resemble the same disrespect that was prevalent in early minstrel shows. Dett and Dawson worked tirelessly to avoid this scenario. However, when spirituals function in this capacity, clearer objectives should also exist. These objectives should engage the ensemble’s mind to connect emotionally beyond the spiritual’s capacity to entertain.

As choral conductors, we must consider deeply the power of our profession to the world in which we live. Choral music has the power to assert social and political change. Spirituals have the power to champion for closer bonds among people of different races. Only time will tell whether the world, as proposed in the legacies of Dett and Dawson, will thoroughly experience amiable race relations. What is important is that we continue to press toward finding this answer—that we continue to hope and advocate for hope with the same audacity as Dett and Dawson.