March, 2002
Volume 17, No. 2

"That's Where My Money Goes"

Waging Peace: A Tribute To Non-Violence

The View From Here

January In New York With Alice

"Is My Name Written There?"

From The Mailbox

Attention All Shutterbugs!!

Are You Singing Alice Parker Compositions?

Editorial

Home Page
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For our loyal donors and for our might-be donors who want to know more about how donations are used by MELODIOUS ACCORD, here is a brief look at where the money goes. These figures are based on our financial reports for the 2000-2001 fiscal year.

Total Expenditures in 2000-2001

We are very pleased that the bulk of our income goes into the numerous programs sponsored by MELODIOUS ACCORD. Our management costs are kept to a minimum, but include a part-time staff person who maintains a small office space for us in New York City. The low overhead costs are possible, in part, because our Board of Trustees and others donate their time and services to the organization. The Trustees are committed to sustaining the vision set for MELODIOUS ACCORD by Alice Parker through careful stewardship of its resources.

We are always faced with choices about distributing funds among our programs. In 2000-2001 we moved ahead with plans for the Alice Parker Recording Project and this is reflected in the sizable expenditure on recordings for that year. Our sponsorship of The Musicians of MELODIOUS ACCORD in the annual Festival of Spirituals to honor Dr. Martin Luther King is also shown in the allocations. The Newsletter, which is the primary voice of MELODIOUS ACCORD constitutes a small portion of our total program funding but reaches thousands of readers. Our costs are again kept relatively low through the generosity of volunteers who help us get it out to you. As it should be, our major investment is in spreading the joy of singing through sponsorship of workshops and fellowship programs with Alice Parker.

Distribution of Program Funds in 2000-2001

The picture for the 2001-2002 fiscal year should look similar, although we expect expenditures for the Recording Project to be less since the next phase of the project will not be under way until the fall of 2002.

We hope this information gives you some insight into how your donations work for MELODIOUS ACCORD to bring music and people together and enrich their lives spiritually as well as artistically.

Marilyn Pryor, Secretary
MELODIOUS ACCORD

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As a blanket of snow brought a peaceful calm to the surrounding city, the interior of the Cathedral of St. John the Divine was enlivened and warmed by the voices of The Musicians of Melodious Accord, The Young People's Chorus of New York City, The Riverside Inspirational Choir, and an appreciative audience gathered to honor Dr. Martin Luther King, Jr.

Dr. King's charge to "affirm the sacredness of all human life" rang as true that night as when it was proclaimed over thirty years ago. As Alice Parker wrote in her program notes, Dr. King " knew that waging peace is a dynamic concept, not a passive absence of conflict. He urged us to take it seriously, to bend our minds and bodies to its demands, and to work just as passionately for its presence as societies for centuries have waged war. As a musician, I can see the power of song to arch over gaps, to bring together people of difference backgrounds, to provide a life-affirming activity in which all can demonstrate that 'sacredness'. Much more is needed of course. But we hope that tonight, our voices will lend more substance to that dream, and remind us all of its power." As the following impressions from the festival suggest, that hope became a reality.

[The program] "... was a gift-a moving and joyful experience that has buoyed my spirits all week...And as a member of the audience, I especially welcomed the opportunity to sing those wonderful spirituals and songs of hope at the close of the formal performances.

The evening was a worthy tribute to the life and message of Dr. Martin Luther King, not only in terms of the sentiments expressed in the songs but in the spirit of unity and goodwill that I believe everyone in the diverse audience must have felt upon leaving the Cathedral."

Winnie Olsen

"Experiencing the great tradition of African-American spirituals in America's prime expression of the Gothic tradition brought home for me the unity of human aspiration. Suffering together, hoping together, building together a structure of great beauty and wholeness: nothing unites us and rewards our complementary efforts like the music and architecture of faith. Nothing could be truer to Martin Luther King's vision of all God's children living and striving together in harmonious accord.

Harrison L. Gregg

"The thematic focus of the program, the mixture of youth with the 'granddame' of choral music, the mixture of class and race, the variety of music offered by the three choirs, and the involvement of the audience in the program, all combined to give a real sense of community and make it one of the best concerts ever."

Sandra Lotz Fisher

"One of the delights of Alice's special brand of 'sing' is sharing the sound with others. Our row was filled with family members and friends who live in the New York area, some professional singers, some amateur singers. My nephew said that he hadn't harmonized since he was in high school and hated to leave. My son, who is an aspiring tenor, was experimenting with his own kind of harmony, and we all created our own improvisation together. This was just an additional gift at the end of a gorgeous evening of singing."

Ann Chase

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For a week the countryside has looked like an ice-skater's paradise. Layers of snow, sleet and freezing rain combined to coat every road, field and hillock with a gleaming coat of ice - seven-minute frosting in its ultimate state. I can just see Hans Brinker setting forth with delight down the gentle pasture slope, curving around the apple trees, bouncing over the ditches - but oops! Can one skate uphill? How to get back?

At any rate, walking out of my house is a death-defying act. The driveway and front walk are lethal, but the car moves readily enough down the slight decline. . .the road has been well sanded by the town truck, so if I want to exercise I drive 30 yards, park and then walk along the sandy surface.

The sunlight is blinding - opposite of the dull days before - long weeks with almost no snow - dead opposite of last winter - dark greys and browns, cloudy days with temperature in the 30's and 40's - green grass in January, yet! - even the "thaw" without the "freeze." And a real lack of precipitation - drought looms.

So the cold weather feels and is good. It's fascinating to watch the slow build-up of ice on the stream - first around individual boulders, or forming in thin sheets on the edges. A passing storm will add new layers, and begin an iceberg like formation in some deeper spots, where some of the moving water is halted. The color changes with the temperature - from white to an eerie sea-green as it approaches zero. Sometimes the stream runs over solid ice; more frequently cutting a narrow, twisting path.

And then the wind came. Just the edge of that wild storm that paralyzed Oklahoma and Kansas, but bad enough. . .the hill towns lost hundreds of trees, as corkscrew winds whirled through the valleys, snapping venerable maples and birches right through the trunk. We were lucky not to sustain loss or damage, but we did lose electricity for eight hours overnight. And the wind deposited enough excellent kindling on my yard to keep me supplied for the rest of the winter. . .Mother Nature's comb slashing through dry branches, eliminating the dead wood, clearing the path for new growth. Spring will come.

Alice Parker

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MELODIOUS ACCORD Fellows joined Alice Parker in New York City as The Musicians of MELODIOUS ACCORD prepared for the annual Festival of Spirituals. In the morning they attended rehearsals, and afternoons and evenings were spent in conversations with Alice and among themselves. Later they observed Alice at work in the dress rehearsal for the concert and attended the Spirituals Workshop that accompanies the rehearsal. Here's what some of them had to say about the experience.

"Time with Alice Parker is always inspiring. It is packed with wisdom whether sitting at the table in formal instruction, or in conversation over fantastic Chinese food. She spins out stories that instruct, enrich and are of such immense help in our music making. As has been my experience before, prior to the reunion I was doubting my abilities, wondering if I should accept a challenging professional invitation, but after being with Alice I not only feel I can do it, I feel EMPOWERED to do it. Observing MELODIOUS ACCORD in rehearsal was a treat - outstanding musicians picking up every nuance called for by Alice. It was also wonderful to get an inside glimpse of the compositions with the composer herself. I look forward to hearing and performing as many of those arrangements as I can."

David Cherwien

"It's unusual to find composer and teacher all in one. What Alice offers is not only the opportunity to watch the rehearsal process at the professional level, as well as to analyze that process together, but the opportunity to be met and mentored where we are in our varied musical lives and careers. Alice's "agenda" is always interesting and stimulating. However, each one of us comes with our own needs and problems. No matter what the issue, she is right there with us, helping us break through to the next "aha" moment. Such generosity of spirit and genuine concern is quite rare. To have found an artist who cares so much about her role as teacher has been one of the great blessings of my life. And, as with all great teachers, Alice- hundreds of people who have never met you, owe you a great debt."

Eleanor Epstein

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Take a moment to look over our page of acknowledgment to the many generous donors who make the work of MELODIOUS ACCORD possible. No matter where you come from you may find a friend or neighbor on the listour donors in 2001 came from 35 states, the District of Columbia, Canada and Germany. From Washington to Maine, from California to Florida, from Wisconsin to Alabama, a MELODIOUS ACCORD workshop, a MELODIOUS ACCORD Fellowship program, an Alice Parker SING, an article in the Newsletter inspired them to support our mission of promoting melody as a means of communication. Homemakers, ministers, lawyers, educators, doctors, professional and amateur musicians, young folks, older folks, working folks, retired folks, people from all walks of life have given individual gifts from $5 to $5000. Needless to say we're ecstatic when we receive a major gift but we know our "bread and butter" comes from the continuing support of our friends who give at the level of $25-$100. During this past year over 90% of our contributions fell into this category. Whatever the amount, we're grateful to you all!

But, is someone missing from this picture? Over 4000 people in 50 states, 18 countries, D. C., Puerto Rico and the Virgin Islands receive our Newsletter. Is your name on our mailing roster but not on our list of donors? A small check would remedy that.

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"There is no better time, no better need, no greater calling than for music to take on its healing, therapeutic, and redeeming qualities in our lives now.

Walter Dixon

"A holy melody has the power to pull a person out of the deepest spiritual mire.Rabbi Shneur Zalman of Liadi"

from Elizabeth Ehrman

". . . While we were doing the research, in Philadelphia Revels this year, we wrote our own show, based on the songs and solstice traditions of colonial America. At the beginning of Act II, we did a slave shout dance (lit amazingly so it looked as if the dance was around a bonfire. At first, the director cast me in the dance, but I talked her into letting me be one of the singers instead. We did a shout dance spiritual called "Bell Done Ring." There were 7 singers in all - 5 of them prudently stayed on the melody, but 2 of us improvised (and, given the mood of the scene, rather wildly, I might add). For all the improvising I've done with you, this was the first "performance" experience I had with it - 7 different audiences, all with different energy levels, and us not knowing each time what would happen. How exhilarating!"

Elena Santangelo

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Have you captured Alice Parker in action in photos at "SINGS", workshops, or conducting your chorus or choir? We're looking for pictures to use on the Alice Parker web site, in the Newsletter, and other materials. Send a copy of your best photo, by mail to: Alice Parker, 96 Middle Rd, Hawley, MA 01339 or send digitized pictures to: kay@aliceparker.com.

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If you're singing compositions by Alice Parker in your chorus or church choir, let us know by sending a copy of the program or bulletin to: Alice Parker, 96 Middle Rd, Hawley, MA 01339. We use this information for ASCAP registrations, grant applications, and for our archives.

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I'm confused. Quite often, in my work, I use the phrase 'folk song' with what seems to me a very specific sense: the song of the people, that which has arisen from the collective life of a community in a certain place and time. But today, we are surrounded by 'folk' musics of many genres and places: country, western (I'm reminded of a friend who moved to the mid-west and told me "We have both kinds of music here: country AND western!"), acoustic. . .well, you know the list from recordings as well as I. And we're living in the midst of a culture that defines 'folk' as differentiated from 'classical' or 'jazz'. The new definition seems to be 1) unsophisticated in poetry and music; 2) simple and repetitive in harmonies and form; 3) performed by singers with untrained voices and self-taught instrumentalists playing on 'folk' instruments; 4) composed by performers largely unaware of their heritage.

Now, that definition could apply exactly to medieval minnesingers and troubadours; to the anonymous singers of ballads in the British Isles and their descendants in the Appalachian highlands, and to the slaves in the cotton fields of the deep south. What is the difference between then and now? The passage of time is the greatest - time, which winnows out the chaff. Only a few songs survive: why? Can we pin-point the qualities which lead to survival? (This is one of the great questions of my musical life.)

The unique time-difference in our age is the possibility of instant dissemination of every effort, no matter how paltry. Two hundred years ago a folk singer's audience was his own community, and he had to travel to build a wider influence for his songs. Everyone accepted the fact that music was transient, that it disappeared as it was played, and that even the writing down of the tune did not insure its permanence. Incompetence simply disappeared. Now, with home recording and internet publishing, the rankest beginners can inflict their offerings (sufferings?) on an unwary public, and gain instant fame and notoriety through canny marketing. Inundated is truly the word for us: we're drowning in undifferentiated sound, pumped up to a volume that actually damages our ears.

How can we tell the difference between weak and strong, between ephemeral and lasting? In church, there are thousands of anthems published each year that are as disposable as Kleenex, and last about as long (one use). In schools there are new publications each year, supposedly attracting the students with that which is 'familiar' from daily hearing. With spirituals, we have a couple generations who have grown up with the present variety of 'gospel', and think that the two terms are synonymous: that 'black' music means to add gospel piano to any melody. And there seems to be a general belief that if the intent is good - if the song is 'about' God or love or peace or human struggle - then we shouldn't question its artistic qualities.

But that's just what I want to do, by exploring the question: what makes the good ones last? My favorite answer comes from Ralph Vaughan-Williams, himself an authority in the field. He quotes Gilbert Murray who in turn was referring to the Bible and works of Homer: "They have behind them not the imagination of one great poet, but the accumulated emotions, one may almost say, of the many successive generations who have read and learned and themselves fresh re-created the old majesty and loveliness. . . There is in them, as it were, the spiritual life-blood of a people." So it's not just one person, here and now: it's a 'carrier' who is steeped in the heritage, and feels it flowing through to the next generation.

My second line of defense comes from a wonderful book I've just been studying: Orality and Literacy, The Technologizing of the Word, by Walter J. Ong (Methuen & Co. Ltd. 1982; Routledge, London, 1988). He outlines in detail the changes in the way we think that have been occasioned by the invention of writing, then of printing, and now of electronic dissemination. Orality, the original state, is of the moment, here and now, communicating face to face with the listener. That first shift to writing was enormous: words could be stopped in their flow by writing them down, and then the result could be pored over, reworked, shorn of repetition, and directed reflexively back on itself. The one written copy itself was precious - think of those illuminated medieval manuscripts - and the 'word' itself became an object. Printing means that the individual copy is now devalued: hundreds of thousands can come from the same 'master'. The listener is far removed; face-to-face communication is gone; and the words themselves are devalued. (Mistakes are preserved as well as truths). Now our society has taken another step which is at least as far-reaching: this instantaneous transmission of words, pictures and sounds allowed by television and the internet has me, at least, gasping for breath and searching for some kind of stability in the midst of the flood.

Are there just a few of us who perceive the difference? Our society seems to have no idea what is happening. These new media are seen as a great good, which can unify the world. They have this possibility - but we have already seen the enormous evil they can do, by disseminating and perpetuating half-baked, immature and harmful ideas. It's as if we've lost our collective conscience in being open to everyone, so that hatred, inanity and pornography go unchallenged in the name of equal access. It's as if each 'advance' noted above is accompanied by an equal descent into the lowest common denominator of human communication.

All the musings above apply even more to song, which should be primary orality: face to face, mouth to ear, heart and mind to mind and heart. The more genuine the songs, the more they nourish us in our common humanity. Can we take the time to ponder the difference? to teach and perform the best? to encourage each other to look for that-which-lasts, for the genuine rather than the spurious? Let us be the ones who resist the 'hype', and who offer an alternative to 'fake folk' (like 'fast food'). We can be the 'carriers' who stand against the flood, cherishing both our heritage and our descendants.

Alice Parker

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