Daugherty (2008) International Journal of Research in Choral Singing 3 (1) Editorial 1

EDITORIAL

Does Choral Art Sit on its Rear End?

Philosopher Arthur C. Danto (2003) frames conceptual frameworks, including his own, which
a recurring question in a vivid way. He ponders approach music from some formalist,
whether art “does something more than sit on its autonomous perspective. “Music with words,” he
ass” (p. 133). says, “is quite another matter” (p. 99).

Danto, of course, refers to art defined as Secondly, choral singers directly employ
autonomous objects or works. According to their neurobiological bodyminds as musical
formalist, aesthetic philosophies, such works, be instruments. Succinctly put, human voices are
they paintings, sculptures, symphonies, or living, not dead, media. Singers, unlike orchestra
motets, purportedly exist for their own sake. players, cannot pack their instruments into
They serve no function other than evocation of a storage cases and walk away from them.
disinterested aesthetic pleasure occasioned by
contemplation of their inherent form and Human beings, moreover, have but one
expressive properties. larynx. This organ functions in both singing and
speaking. Even when used for musical
This idea that meaning resides purposes, the larynx remains embodied, that is,
autonomously within a musical work continues it does not function in isolation from the rest of
to inform some instrumental music or “music the human bodymind.
alone” contexts. However, two, interrelated
considerations suggest this concept may be When we sing, for instance, the larynx
problematic as a primary hermeneutic principle continues, simultaneously, to protect the
for thinking about choral music. respiratory tract, admit air to and from the
trachea, help regulate temperature and humidity
First, choral music making typically involves in the lungs, and otherwise carry out its primary
lyrics. The extent to which words shed ordinary, task of human survival. It also maintains
referential meanings when sung in compositions constant interface with other human organs and
designated as works of art remains a thorny with all manner of bodymind schemata, including
question. integrated routines and behaviors learned from
previous experiences that inform both self- and
Indeed, conceptual difficulties posed by the social-identities.
presence of lyrics prompt some formalist
philosophers to wonder if vocal music should It may require some suspension of belief in
count as “music” at all. Eduard Hanslick what we know about human physiology,
(1891/1986), for example, suggests “one will neurobiology, and communication to suggest (a)
always have to grant the concept of ‘music’ does the ongoing, integrated tasks performed by
not apply strictly to a piece of music composed human larynges and (b) everyday, referential
to a verbal text” (pp. 9-10). Peter Kivy (2002) meanings of words somehow become
acknowledges, “most of the music in the world is extraneous, even irrelevant, when we sing a
now, and always has been, music sung to composition deemed to be an autonomous work
words” (p. 25). Yet he confesses this texted of art. Yet some aesthetic philosophies of music
music appears fundamentally incompatible with advance just such claims when they either gloss
Daugherty (2008) International Journal of Research in Choral Singing 3 (1) Editorial 2

over the embodied nature of human voices or In recent years, computer software
view lyrics as non-artistic, extra-musical programs providing real-time displays of sound
phenomena “always transformed and spectra have captured the interest of a growing
transcended by the internal artistic form” of a number of studio voice teachers. Such software
musical work (Reimer, 1989, p. 27). supplements teacher verbalizations with visual
feedback to students as they sing in one-on-one
Data from two studies in this issue of IJRCS instructional contexts. Might such a tool have
address the conceptual possibility that choral art applications in choral singing rehearsals as
need not necessarily sit on its rear end as an well?
autonomous, works-centered enterprise. In an
historical investigation, Mary L. Cohen examines In a feasibility study, John Nix, Gary Mabry,
a collaborative effort on behalf of prison-based and Amy Mathews-Mutwill take a first step
choirs by maestros Robert Shaw (1916-1999) toward investigating this possibility by asking a
and Elvera Voth (1923 - ). Both Voth and Shaw, very basic question: How would choral singers
she finds, embodied a passionate conviction that perceive the presence in their rehearsals of an
choral singing, including the singing of ongoing visual display large enough for
masterworks, could transform lives as an everyone to see? The authors properly caution
instrument of social justice, healing, and much work remains to be done to determine
empowerment. whether, to what degree, and under which
circumstances such spectral displays can
Marvin E. Latimer, Jr., offers a mixed accurately depict the various complexities and
methods investigation of identity acquisition in a confounding variables attendant to choral sound,
gay men’s chorus. He finds participants in his as opposed to solo sound. Nonetheless,
study largely view choral singing, not primarily in primary findings that choral singers in this
terms of disinterested aesthetic experience, but particular study perceive these displays as both
rather as an agent for vocally and socially non-intrusive upon the rehearsal process and
constructed identities. potentially beneficial to their learning addresses
a necessary step in ascertaining the
Perusal of the Proquest Dissertations and pedagogical viability of displaying spectra in
Theses (PQDT) database suggests graduate choral rehearsals. Succinctly put, the study
students in music degree programs may have suggests, “If we can build it, they will come.”
spilt more dissertation and thesis ink to date on
investigation of vocal music scores than on any Recent conversations among members of
other variable associated with singing. Such our editorial board focused on potential ways to
compositions play an obvious role in many encourage data-based research in choral
choral singing contexts. Choirs sing them, singing among those persons who occupy the
conductors analyze and interpret them, “front lines” of our profession: choir conductor-
publishers market them, and listeners attend to teachers and choral singers. Accordingly, this
them. Certainly, rigorous analyses of vocal issue of IJRCS inaugurates an anticipated series
music scores per se are both appropriate and of tutorial articles addressing various aspects of
helpful. researching choral singing phenomena. Richard
J. Morris begins the series with some reflections
Rehearsal and performance of these scores, and advice on “Planning and Recording of
however, entail human factors that also merit Acoustic Research of Choral Singing.”
investigation. In this issue of IJRCS, a study of
self-reported voice use by high school singers at Commencing with the 2009 volume, already
a summer choral music camp raises matters in preparation, IJRCS will publish individual
relative to young choral singers engaged in studies seriatim as soon as they pass the peer
several hours of rehearsing choral music scores review process and undergo final editing. This
each day. Students report a significant decline in procedure will enhance our mission by
self-assessed aspects of vocal health as disseminating research in a more timely fashion
measured by beginning and end of week than the practice of publishing only full issues of
responses to voice health indicator statements. the journal. Some slight changes in the
Yet, at the same time, these adolescent singers appearance and formatting of the journal will
believe they are taking good care of their voices. accompany this new policy.
Daugherty (2008) International Journal of Research in Choral Singing 3 (1) Editorial 3

We thank readers for their patience and conglomerates, we continue to believe this
support during this journal’s hiatus. IJRCS journal should remain a free, easily accessible
continues to be a labor of love. Its staff and resource for peer-reviewed research of high
editorial board receive neither compensation nor quality. Balancing these factors can sometimes
release time from their many other professional be difficult. Yet, you have convinced us it is well
duties. Moreover, in an age of increasingly worth the effort. We’re back. And we’re here to
expensive journals and for-profit electronic stay.
access to knowledge managed by publishing JAMES F. DAUGHERTY

REFERENCES

Danto, A.C. (2003). The abuse of beauty:

Aesthetics and the concept of art. Peru, IL:
Carus Publishing Co.

Hanslick, E. (1854/1986). On the musically

beautiful. Trans. G. Payzant. Indianapolis,
IN: Hackett Publishing Co.

Kivy, P. (2002). Introduction to a philosophy of

music. Oxford, UK: Oxford University Press.

Reimer, B. R. (1989). A philosophy of music

nd
education. 2 ed. Englewood Cliffs, NJ:
Prentice-Hall, Inc.