Throughout
my time as a student, choir has always been my rock to cling to. Amidst my days
filled with mind-numbing mandatory curriculars was always found a sanctuary in
music. Though at first it was a place to relax throughout elementary and middle
school, it would soon become a place of responsibility in high school when my
interest would be recognized, as my teachers would encourage me to participate
in extracurriculars. After participating in choir on both state and national
levels, I assumed I had reached a peak in my career as a chorister. However,
upon coming to Hofstra, I realized this assumption could not have been further
from the truth. Hofstra’s choir programs have not only greatly improved my
musical skill and given me a greater understanding of cooperation, but is a
valuable activity for any student to take part in, regardless of major.
Though
choir was always something I enjoyed, I had never fully conceptualized its
significance until my participation in the New York All-State Music Festival 2017.
The level of dedication to the music that I witnessed from the students I met
was not something I had experienced before in high school choir class. Despite
all of us being strangers to one another, we all worked with our bodies and our
minds, toward the same goal -- to share something we all loved with an audience
and with one another. We all disregarded any differences we may have had with
the people surrounding us; we didn’t question how “talented” the people sitting
next to us may be; we simply understood our duty to make music. While I was a
“big shot” in the high school choir, I was humbled and inspired in All-State
when I was faced with hundreds of other students who shared the passion I had,
if only for one weekend. This unification and cooperation was facilitated by
our choral director, Dr. David Fryling, whom I had previously met as a guest of
his professional choir, eVoco, some months prior. I soon found out that he was
also the choral director for the chorale and chamber choir at Hofstra University;
however, being a junior in high school unsure of where my college search would
lead me, I kept this information in my back pocket. Thankfully, it would not go
to waste, but rather grow into something much larger than I had anticipated.
When
I eventually did end up coming to Hofstra, my already positive expectations
were exceeded. The level of focus I experienced in both chorale and chamber
choir was greater than that of All-State and All-National, helped by the fact
that we are all part of the same school, rather than strangers getting together
for only one weekend. We all applied ourselves in ways that not only helped
ourselves, but our classmates and conductor the same. This experience made me
understand that in the world there is not a scarcity of compassion as many
people would believe. As it turns out, scientific evidence suggests that I am
not alone in my conclusion, as ArtistWorks’ “The Surprising Health Benefits of
Singing in a Choir" states:
Another notion is that the experience of
making music together provides a sense of awe not just for the observers, but
for the participants, as well… What does that awe lead to? Research shows that
this emotion engenders an enhanced sense of altruism. It seems to shift our
focus from our own narrow view to that of our common humanity. Those who report
more awe in their lives have been shown to be more generous, more ethical, and
more helpful towards others. Perhaps as we join with others to create an
experience of great beauty, we diminish any sense of scarcity, while augmenting
our connection to all in a way which is paradoxically self-affirming. We feel
more comfortable and happier in our own skin.
It
is because of this feeling of human connection found in a choir that I have
found a greater desire to be social, seek friendships, and help others in my
life, in spite of shyness I have dealt with throughout my life.
Aside
from the social aspects, choral singing has many other health benefits.
According to research done at the University of Gothenburg, “Researchers
discovered that members of a choir saw their heart rates beat in unison in
relation to the speed of their breathing. Heart rates were directly affected by
the melody of the music, and the pulses of those tested rose and fell at the
same time when they sung in a group” (Smith). This regulation of the heartbeat
is good for the body, as it keeps the singer relaxed and reduces the effects of
anxiety and depression. It is also suggested that the “deeper breathing
associated with singing… is also used in meditation,” strengthening the
association between singing and reduced anxiety (“The Surprising”).
Although
these benefits are wonderful, the most valuable thing I have learned from my
participation in the Hofstra choir is how it functions as a microcosm for a
functional group. In a choir, everyone must work for the same goal while not
sacrificing individuality, while also listening to others, making up for their
weaknesses, and taking suggestions from the conductor. While a conductor
standing on a podium may at first seem like an exercise of power, Dr. Fryling
is insistent on allowing us to know that we are the ones who make the
decisions; he is merely trying to help us stay together and be aware of the
things on the page, and that we should think of him as a “colleague” when we
are performing together. As a matter of fact, anyone who believes they hold
more power than anyone else in a group poses a threat to its oneness. Not only
are we sharing the enjoyment of the music, but we share trust in our colleagues
to make up for our mistakes.
In
this trusting environment, learning and teaching are allowed to happen
simultaneously. This anomaly was made totally clear to me when I had taken
notice of the student teachers in chorale and chamber choir, Charlie and Brianna
respectively. Charlie, a senior, conducts in chamber choir as a part of her
independent study to research a choral group, as a conductor and a student, and
understand its functions and its philosophy. For me, seeing her stand in front
of the choir as a conductor one minute only to be sitting with the rest of us
the next minute helped to solidify the notion that teaching and learning are
happening simultaneously. This notion deepened when I had asked Dr. Fryling
about her study, when he said “doing an independent study allows her, and both
of us, to talk about what happens in rehearsal and dissect it and talk about
what the philosophy is behind it” (Fryling). Despite Dr. Fryling’s obvious
seniority over one of his students, both parties are discussing and learning,
proving to me there is always learning just as there is always teaching.
Brianna conducts for the chamber choir as a way to work toward her Master of
Arts, and the same teaching and learning applies to this, as when she is not
conducting she is participating in the choir as a singer. Of course, not only
does this pose as a great lesson for those participating in the choir, but also
offers a great opportunity for those who may be interested in taking a similar
role in the future as a student conductor. When I asked about how Charlie came
to conduct her independent study in chorale, I was told, “you basically ask”
(Fryling).
Fortunately,
though the chorale and chamber choir are of the university’s more select
ensembles, Hofstra’s University Choir (U Choir) provides an equally legitimate
choral experience to more students. All of these ensembles require an audition,
but it is certainly not one to stress over. Seeing as choir does not require
any external instrument, I am personally surprised there are not more people
who wish to participate.
As
a result of the lack of an instrument, choir helps musicians to develop
audiation skills. “Audiation is the process of both mentally hearing and
understanding music, even when no music is present. In essence, audiation is
thinking in music or thinking about music in a way that the brain is able to
give meaning to the sounds” (Dwicks). The Gordon Institute for Music Learning
calls it “the foundation of musicianship,” as it helps when reading music and
improvising (“Audiation”). The skill of hearing music in one’s head is harder
to develop on an instrument as there is less of a bodily connection. A musician
may see a note on the page and play it on the instrument without thinking of
what that note sounds like beforehand, whereas a singer must hear the note in
his or her head before being able to sing it.
I
am deeply grateful for the opportunity provided to me to participate in
Hofstra’s choir programs, and I feel it is my duty to let others know the joy
of performing in a choir. Regardless of background or major, we all can join
together to create something beautiful as long as we agree to trust and listen
to one another. This experience has been one of the best for me, and I hope it
can be that way for many others as well.
Works Cited
“Audiation.” GIML, 19 June
2017, giml.org/mlt/audiation/.
Dwicks. “Audiation – Thinking in Sound.” Total Music Education, 13 Jan. 2019,
totalmusic.com.au/audiation-thinking-in-sound/.
Fryling,
David. Personal Interview. 30 Oct. 2019
Smith, Jordan. “6 Psychological and Physical Benefits of Choral
Singing.” CMUSE, 1 July 2018,
www.cmuse.org/psychological-and-physical-benefits-of-choral-singing/.
“The Surprising Health Benefits of Singing in a Choir.” ArtistWorks,
artistworks.com/blog/surprising-health-benefits-singing-choir.
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