Purdon even utilized Garrett’s database of non-idiomatic works to help find music to include on the album, focusing on works that were accessible and could be performed by anyone. Garrett’s work is at the forefront of non-idiomatic music by Black composers, which refers to concert music that is not a part of the genres typically associated with Black musicians, like jazz, hip-hop and spiritual music. Garrett-the album’s title track is also the title of a composition by Garrett. While working on the album, Purdon drew inspiration from composer Marques L.A. “It is the duty and responsibility of those with majority identities in positions of power to focus their energy on changing our systems and our society to allow everyone to experience the privilege we possess.” “It is clear that I do not physically represent the stories being told through this recording project,” the statement on his website reads. Purdon, who is a white conductor, acknowledges the role he can play in uplifting the work of Black musicians in a statement he released with the album. But we’ve pigeonholed them into that for a really long time.” “Black musicians don’t just write spirituals. ![]() “The big picture is that the arts need money, and we just didn’t give that money to nonwhite artists for most of the 20th century,” he said, adding that Black composers have historically been marginalized in the music world outside of certain genres. The album acknowledges the barriers and prejudices that have prevented Black music from being enjoyed by a larger audience throughout American history. ![]() But I kept looking around and no one recorded any of his choral music, and it’s really beautiful stuff.” “We’ve all sung ‘Nobody Knows the Trouble I’ve Seen,’ the Harry Burleigh arrangement. “There are two Burleigh pieces at the beginning of the album, and he’s a composer that most singers know for his solo voice spirituals,” Purdon said. Baker Purdon, PhD student and recipient of The Presser Graduate Music Award
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