Event Title
Expanding the Classical Vocal Canon: Observations from an HBCU Voice Studio
Performer / Ensemble
Liana Valente (Soprano), Ann Messerschmidt Lee (Piano)
Date of Publication
3-26-2021
Document Type
Event
Abstract / Program Notes
The music scholar Alfred Einstein described the art song as, “the complete unity of text and music, the perfect equilibrium between vocal line and accompaniment.” That statement is as true today as when he wrote it. However, there is a vast collection of art song that is not performed or recognized for its profound beauty simply because of the composer’s race; the art songs of great African-American composers. This presentation will highlight five African-American composers whose art songs have been mostly ignored because of their race or gender, or both. Harry Burleigh, Florence B. Price, William Grant Still, Undine Smith Moore and H. Leslie Adams have written song literature comparable to the songs of other American composers such as Copland, Duke and Argento and should be part of the art song canon. Information about the accomplishments and struggles of these composers will be included, placing their music within an historical context. Attendees will learn about the best anthologies for the study of art songs by Black composers, and suggestions will be offered on how to include art songs of African-American composers into studio teaching. Information about Howard University, a Historically Black University, will be shared, emphasizing the inclusion of underrepresented modern composers into our curriculum. Einstein’s ideal of art song is well represented by the music of these five composers. By sharing their music with audiences, we reinforce the truth that great composers should be evaluated on the merits of their scores, not the color of their skin.
Biography
Dr. Liana Valente is Coordinator of Classical Voice at Howard University where she teaches undergraduate and graduate courses in vocal pedagogy, song literature, applied voice and diction and directs the Opera Theater Workshop. Admired for her performances of traditional vocal literature, Valente is recognized as an exciting performer of contemporary music. Some of the composers with whom she has worked include Violet Archer, Derek Healey, Timothy Brown, Marty Regan, Jason Lovelace, Christine Arens, and Joel Weiss. Valente has presented at international conferences including the 2017 CMS International Conference in Sydney and Festival 500 Phenomenon of Singing International Symposium in Canada. She has presented at national and regional CMS, NFMC, NATS, MTNA and SAI conferences focusing on the collaborative process, music of contemporary women composers, advanced vocal techniques, sight-singing in the piano studio, and lecture recitals highlighting music she commissioned. Appointed in 2016 as the National Federation of Music Clubs Representative to the United Nations Department of Global Communications, Valente actively supports UN Agenda 2030 and the 17 Sustainable Development Goals. Current research is focused on SDG #3, ensuring healthy lives and promoting wellbeing for all at all ages. She presented at the Aging and Social Change Research Network 7th Interdisciplinary Conference and spoke at Sound Diplomacy’s 7th Music Cities Convention. In April 2021, she and Lisa Lehmberg will present a workshop at the American Society on Aging Virtual Conference. Valente holds degrees from the University of South Carolina, Columbia (DMA), University of Tennessee, Knoxville (MM) and SUNY at Fredonia (BM).
Pianist Ann Lee is a classical soloist, accompanist, pedagogue, presenter, writer, and director. She received her M.M. from George Mason University, following a BA in Philosophy from The American University. Ann performs frequently as a soloist and accompanist on the east coast and D.C. area. Recent performances include solo performances at The Phillips Collection; The Lyceum; multiple featured solo recitals for Steinway & Sons; 100 Years of Women and the Saxophone with Amy Green and Charlotte Harding; Navy Band Symposium; recordings for Blue House Productions; and a lecture recital featuring the Liszt Dante Sonata at Georgetown University, where Ann is a doctoral candidate studying artistic expression. Ann’s award-winning piano students have gone onto conservatory studies and international performances. She is a regular contributor to Music Reference Services Quarterly and American Music Teacher magazine. Ann serves as Director of Music and founder/co-producer of the Concert Series at Christ the King Church. Music at CtK features classical repertory for choir, organ, and instrumental ensemble for special occasions, and frequently includes her own original arrangements and compositions. Recently, the ministry has become virtual with special outreach performances for social justice, and a benefit concert for COVID relief. Concert productions include Serving Through Music with the U. S. Army Brass Quintet and An Evening of Poetry and Music with the former NEA president, Dana Gioia, and the U. S. Army Chorus, singing the works of Morten Lauridsen.
Keywords
Art songs, African American composers
Expanding the Classical Vocal Canon: Observations from an HBCU Voice Studio
The music scholar Alfred Einstein described the art song as, “the complete unity of text and music, the perfect equilibrium between vocal line and accompaniment.” That statement is as true today as when he wrote it. However, there is a vast collection of art song that is not performed or recognized for its profound beauty simply because of the composer’s race; the art songs of great African-American composers. This presentation will highlight five African-American composers whose art songs have been mostly ignored because of their race or gender, or both. Harry Burleigh, Florence B. Price, William Grant Still, Undine Smith Moore and H. Leslie Adams have written song literature comparable to the songs of other American composers such as Copland, Duke and Argento and should be part of the art song canon. Information about the accomplishments and struggles of these composers will be included, placing their music within an historical context. Attendees will learn about the best anthologies for the study of art songs by Black composers, and suggestions will be offered on how to include art songs of African-American composers into studio teaching. Information about Howard University, a Historically Black University, will be shared, emphasizing the inclusion of underrepresented modern composers into our curriculum. Einstein’s ideal of art song is well represented by the music of these five composers. By sharing their music with audiences, we reinforce the truth that great composers should be evaluated on the merits of their scores, not the color of their skin.