When Jason Hardink discovered Shawn Okpebholo’s music on Facebook, he knew he had to perform something by this incredible composer. But as he began learning ψαλμοὶ καὶ ὕμνοι καὶ ᾠδαὶ πνευματικαί ("psalms, hymns, and spiritual songs"), he struggled with whether it was appropriate for him, as a white pianist, to be performing a piece rooted deeply in the musical and religious traditions of Nigeria, African American culture, and Papua New Guinea.Jeff Counts speaks with Jason about the responsibility performers have to examine their own repertoire choices and present works from diverse voices in a way which respects their origins while bringing them to new audiences.This episode is also available in a video version at https://youtu.be/X0FScqdCYBA.Jason mentions the following articles, pieces, and performances in this conversation:Anthony R. Green: “What the Optics of Music Say to Black Composers”, in NewMusic USAhttps://nmbx.newmusicusa.org/what-the-optics-of-new-music-say-to-black-composers/“O Freedom” (arr. Okpebholo) — Wayne Arthur Paul, baritone | Javier Arrebola, pianohttps://www.youtube.com/watch?v=J7zGZTeXikkTwo Black Churches — Will Liverman, baritone | Paul Sanchez, pianohttps://www.youtube.com/watch?v=PHehlg94NQcJeff Counts | hostJason Hardink | pianistrecording mastered by Michael Carnesproduced by Chris Myers (https://www.argylearts.com)Transcript available at https://www.novaslc.org/novapodcast/novapodcast013Copyright © 2021 NOVA Chamber Music Series. All rights reserved.

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