A delicate matter...
  • G
    Posts: 1,401
    A colleague, ( with a non-reading choir,) ends up often singing any and all of the 4 voice parts depending on which section needs bolstering, and still hasn't recovered from Holy Week.
    Does anyone know, either from firsthand experience, or hearsay, the likelihood of a successful outcome should an organist/choir director seek workman's compensation, if vocal damage, incurred in his job, made it impossible to continue to teach and direct the singers, in other words, to perform half of the job?
    Are church's covered by workman's comp?
    Would it matter whether the musician was full-time?
    Would the church be entitled to just dump him when his contract ran out?
    In fact, could he be let go now because he can't do all of what he's paid to do?

    I gave him the name of a throat specialist, but he says if he's actually diagnosed with something and continues to use his voice against a doctor's advice, (because he needs to work to eat,) he's afraid his insurance could refuse to cover further treatment.

    Anything to say to him?

    And anyone saying a novena for musicians, please add the name Cecil to your prayers.

    (Save the Liturgy, Save the World)
  • noel jones, aagonoel jones, aago
    Posts: 6,611
    Churches may opt out of unemployment and COBRA insurance (which I found out...in the worst way) but some sources say most states require participation in workman's comp by churches....but not all.

    Minnesota, for example, has this legal opinion on the record:

    “The fact that (a religious organization) is a purely charitable enterprise does not of itself release it from the obligations of our Workers’ Compensation Act, which unlike the acts of some states,
    does not exempt charitable or religious institutions, as such, from
    its operation, nor exclude their employees from its benefits.
    Where the relationship of employer and employee actually exists
    between a charitable institution and an injured workman, the latter
    is entitled to the benefits of our act, otherwise not.” (Schneider
    v. Salvation Army, 14 N.W.2d 467,468 (MINN 1944))
  • Charles in CenCA
    Posts: 2,416
    Having had one occurance of nodes, G, all I can offer is the following, decidedly not about the legalities-
    When an adult male chooses to sing outside of his formant, his register and fach, and on a regular basis at that, I believe that singer has an obligation to seriously study vocal physiology (Richard Miller/James McKinney/any number of NATS' authors.) Randomly "covering" any parts from C to c2, especially in the sitting position at the bench just doesn't appear to be a well-planned strategy as a vocalist, not to mention director. I'm not trying to personally criticize your friend, maybe he is quite knowleadgeable already, but like many of us, can't resist the impulse to bolster "in the moment." The wonderful renaissance of countertenors since Alfred Deller, through Joe Jennings and all his Chanticleer sops/altos, and the British masters prove that men can healthily develop virtuostic precision and beauty and maintain their viability for decades. But outside of Bobby McFerrin (whom I'm sure knows the voice as well as Richard Miller), I don't imagine serious countertenors "dabbling" outside of that chosen register.
    Blessings and a return to his vocal health I send to him. I also hope he realizes, as an organist/director, his plate is already quite full, and perhaps he can use his ears in greater proportion than his larynx to help his singers reach their potential.
    PS- when I sought out a singer's ENT and a voice specialist, they were of significant help without resorting to invasive anything. However, there are voice teachers who specialize in helping singers develop techniques to sing their way back (after the prescribed and adhered total vocal rest) from physiological damage. I know this, 'cause I found one up in Fresno. It was amazing how she managed to guide me to recovery.
  • mjballoumjballou
    Posts: 994
    He might want to seek out a vocologist - who is a speech therapist/vocal coach specializing in overworked voices. This would keep it out of the medical realm and might be more useful than doctors who often tell you the way to solve a performance problem is to "stop performing." He can learn more here National Center for Voice and Speech .

    At the same time, I agree with Charles in CenCA. Trying to cover all the parts when their fading in and out is counterproductive in the long run. Not only vocally (you should hear me sing bass!), but because the singers always know in the back of their tiny minds that Mommy or Daddy will fill in the notes in a pinch. And they don't take ownership of their parts.

    In summary, he should see a vocologist after rest for retraining his vocal use. In the meantime, perhaps the choir could sing fewer parts or (gasp!) unison. And he has my prayers and sympathy.
  • Donnaswan
    Posts: 585
    I quit trying to sing parts a long time ago. In the first place, it 'unbalances' the sound, unless you physically join the section you are assisting. In the second place, you cannot hear what is going on in the other sections. If you are the organist/choirmaster, I would suggest simply playing the part if possible. (Luckily for me, I am the only the director, not the organist) I like to have a couple of SAB anthems handy for true emergencies- like if you have sceduled V-W 'O Clap your Hands' for Ascension Sunday, and you remember too late that's Memorial Day weekend. HAHA!
    Donna Swan
  • mjballoumjballou
    Posts: 994
    In "Conducting a Choir" by Imogene Holst, there is the following:

    "Two warnings which will apply on any occasion, whatever the music may be. DON'T TAP WITH YOUR FOOT while you are beating time, and DON'T SING while your choir is singing." (Emphases in the original.)
  • noel jones, aagonoel jones, aago
    Posts: 6,611
    mj many thanks, I am besotted with singers who, when others get out of tempo become whirling dervishes of arms flailing about, toes tapping...loudly...on marble floors....creating the effect of a cuckoo clock shop gone awry at 12 noon...I'll add these to the list.
  • Donnaswan
    Posts: 585
    Going back to original posting: If colleague has a non-reading choir, why not use two/part, three part, or Unison music for Holy Week? There's enough stress there already. There is nothing more beautiful than unsion chant, responses or unison anthems sung well and in tune. Dare I say, even a capella? He sure should not be singing all those parts from the console.
    Donna Swan
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