RESEARCH & ISSUES IN MUSIC EDUCATION
Several Sundays ago, during my alter ego career as a church choir director, I was reminded of the power of multi-generational music making when the seventy voices of the children’s, youth and chancel choirs of Diamond Lake Lutheran Church performed Caldwell and Ivory’s magnificent Hope for Resolution. Because of the strong choral tradition in the area, I’m blessed with singers who have sung with some of the top choirs in the country, and combining these trained voices with the pure sounds of children’s singing is a sound I never tire of. Perhaps it’s the social idea of people of several age groups making music together—thus binding goodness across generations, or maybe it’s a theoretical acoustical premise of pure treble voices lightly floating above trained adult sounds. Or maybe it’s the lonely chant melody from an ancient European tradition coupled with the rhythmic, homophonic African chorale that moves me. I expect that it is a combination of all of these. Teaching people of all ages to make music together is still one of the most satisfying parts of my career, and as I share music making, teaching, and research with my University of St. Thomas graduate students as well as scholar-musicians around the world through RIME, I remember why I do this. Music is simply good for our souls.