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True to My Own Voice: Ethical Challenges in Talent Development

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True to My Own Voice: Ethical Challenges in Talent Development AN OCCASIONAL PAPER VOLUME 32 True to My Own Voice: Ethical Challenges in Talent Development Barbara Hill Moore THE CARY M. MAGUIRE CENTER FOR ETHICS & PUBLIC RESPONSIBILITY SOUTHERN METHODIST UNIVERSITY DALLAS, TEXAS Part of the Maguire Ethics Center’s mission is to “provide moral reflection on TRUE TO MY OWN VOICE: contemporary issues.” Certainly, one of the more visible ways we do that is by providing a venue for customary scholarly discourse for select SMU professors, and Ethical Challenges in Talent occasionally, visiting scholars. Development In ancient Athens, elders would provide an oral narration intended to pass along the values, customs and beliefs from one generation to the next one. By Henry Purcell exclaims in his song, “If music be the the Renaissance, the practice transformed into written form through public essays food of love, sing on ‘til I am fill’d with joy; for then, my list’ning designed to be widely shared among community members. The Maguire Ethics soul you move to pleasures that can never cloy. Your eyes, your Center combines these two rich traditions asking these notable scholars to present mien, your tongue declare that you are music ev’rywhere!”1 their research on ethics in a public forum and then transforming those ideas for When the Biblical prophetess, Miriam, and the other women publication in our Occasional Paper Series. We are delighted to publish this paper 2 by Barbara Hill Moore titled “True to My Own Voice: Ethical Challenges in Talent went out with timbrels, she said, “Sing to the Lord!” Similarly, Development” and hope that you will pass it along. the German-born English composer Georg Friedrich Händel celebrates the power of music in his oratorio Joshua (HWV 64): “Oh, had I Jubal’s lyre or Miriam’s tuneful voice, to songs like hers, I would aspire and rejoice. My humble strains but faintly show how much to heaven and Thee, I owe.”3 Since the beginning of civilization, we have been singing. We have been making joyful Rita G. Kirk sounds. Director How glorious it is at the ballpark to hear the first words of our national anthem, “O, say can you see…” before the empire calls out “batter up” and “play ball!” How wonderful Barbara Hill Moore to hear a young Catholic girl sing Schubert’s beautiful “Ave Maria”: “Hail Mary, full of grace, the Lord is with Thee….” How Soprano, Barbara Hill Moore is the Meadows Foundation Distinguished Pro- empowering to hear a Protestant boy sing “A Mighty Fortress fessor of Voice at Southern Methodist University and also serves as Director of is our God” or “Deep River, my home is over Jordan….” How the SMU Study Abroad Program in South Africa. A National Endowment of moving to hear Maria Callas or Leontyne Price sing that the Arts Grant recipient, she has sung with orchestras and opera companies pleading and haunting aria “Vissi D’arte” from Tosca! throughout the United States and Europe, especially Germany, where she sang It is the unique timbre and quality of the human voice — its over fifty performances of the role of Jenny in Weill’s Die Dreigroschenoper in Berlin and Cologne. She served as Master Teacher for the National Association capacity for expressing every image, sound, thought, and of Teachers of Singing Internship Program, served on the distinguished artist feeling — that makes us love the voice and its seemingly panel of the UNISA Foundation International Competition in Singing held in effortless and spontaneous painting of the human spirit. In fact, Pretoria, South Africa, presented Master Classes for teachers and singers at uni- these beautiful sounds often lure us to join in and sing along. versities in England, Germany, Korea, South Africa, and North America, and she Because we do frequently join in, many of us believe that it is has also been a member of the Distinguished Artist Faculty of the Amalfi Coast easy to sing. I am often asked if I believe singing is something Music Festival since 2004. Professor Hill Moore is National Vice President for anyone can do. My response is simple: “If you can speak you can the NATS Foundation Circle of Friends, and is TEXOMA (Texas Oklahoma and New Mexico) Regional Governor and National Competition Chair of the Na- 1 The celebrated song z.379 (1692) by Henry Purcell (1659-1695) sets a text by Colonel tional Opera Association. Henry Heveningham (1651-1700). The first line is drawn from Shakespeare’s Twelfth Night. 2 Exodus 15:21 3 Georg Friedrich Händel, Joshua, Act III, scene 1. True to My Own Voice: Ethical Challenges in Talent Development True to My Own Voice: Ethical Challenges in Talent Development sing.” Most of us can sing, or dance, or swim, or bike, or run, privileged to share. It is an inevitable task for me. I have had or play basketball, a little bit and with relative ease. Of course, a desire to teach since I was very young and during that time, being able to do a thing a little bit doesn’t mean one has the talent teaching was believed to be among the noblest professions. My that could be developed to a professional level. The conviction earliest childhood memories involve playing school with my that we have talent, combined with our knack for singing, siblings, especially on the many rainy and snowy days in St. is what motivates some of us to make singing our life’s work. Louis, Missouri. I played the role of teacher so frequently that In my experience, most young artists know whether my younger siblings probably felt that they had already been to or not their talent, discipline, and interest, will sustain a kindergarten and the first grade by the time they started school. career by the end of their undergraduate studies. At that stage, I recognize now, after years of getting the job done, that teaching my colleagues and I agree that there must be clearly visible also taps into the complexities of women’s roles as wives, passion—a “fire in the belly”—and a complete conviction that mothers, nurturers, providers, and professionals. the aspiring singer will not be fulfilled or happy doing anything My first solo experience was in a church as a six-year-old else. As a teacher, I respect my student’s choice. The singer may child. I will never forget overhearing my mother volunteer me want to begin a professional career or simply join those who are to sing at a Youth Day Program in a neighborhood church. Our seriously considering professional careers in vocal performance. neighbor asked mother if she knew a child in the neighborhood It is my responsibility and high honor to be a nurturer of the who could bring greetings from a neighboring church and sing human voice, as well as a motivator of the human spirit. a song. I recall my mother saying, “Oh, Pat can do it” and me I might well have added a subtitle to this paper about being shocked and filled with fear. I recall thinking: “Pat (my talent development: “My Story: Shepherding the Talented nickname) who? Surely, she doesn’t mean me!” I had never from Studio to Stage,” because my life, training, professional sung in public and had a great fear of public speaking. My close experience, and personal background, are the foundation friends might tell you that I still have that fear today. Obviously, for this discussion. The details of talent development vary my mother had observed me playing the role of teacher, as I with the voice, sensitivity, personality, attitudes, instincts, taught songs to my siblings and childhood friends. Perhaps she skills, and experiences of each singer. I would, however, thought it was time I put some of that experience to practical like to share a bit of my personal background so that you use. I do recall surviving the Youth Day ordeal, and although I understand my passion for music, for singing, and for teaching. didn’t like public speaking, I loved the experience of performing To begin with, I must say, I am a teacher who and I looked forward to more. After my first performance, my sings, rather than a singer who teaches. Unlike many of my joy in singing continued through learning and then teaching the colleagues in university teaching, and those here in the voice youth choir spirituals and hymns at church. In fact, directing department at Southern Methodist University, my training sacred choral music was one of the many jobs I held as an was in music education, English, speech, and drama. My goal undergraduate. was to become a teacher, and not a performer. I, therefore, My childhood experiences, my education, and my approach my career as a lover of pedagogy and learning. professional performance experiences are all woven into my Teaching has always been not just a passion, but also a approach and philosophies about how talent is developed. In priority in my personal development as a teacher/artist. I was my view, the preparation of serious, professional artists begins raised to respect the ideal of offering service to others. My with identifying potential talents and building trust followed by parents and grandparents taught me that service is a gift we are meticulous pedagogical training. It is then necessary to develop 2 3 True to My Own Voice: Ethical Challenges in Talent Development True to My Own Voice: Ethical Challenges in Talent Development and nurture courage, character, and performance instincts. Once presented in Kiel Auditorium in St. Louis. She and I had many these basics are in place, the next stage is to develop the voice subsequent conversations about singing, teaching, and serving and the psyche for auditions and competitions.
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