University Singers | NCCO11

Roland M. Carter // Photo credit: Angela Foster/University of Tennessee at Chattanooga

Lift Every Voice and Sing—often called the “Negro National Anthem”—is a landmark of American literary and musical expression. Written in 1900 by James Weldon Johnson and set to music by his brother, J. Rosamond Johnson, the song emerged as a hymn of hope and perseverance during the era of racial segregation. First performed by schoolchildren in Jacksonville, Florida, it quickly became a unifying anthem for Black communities across the United States. This year marks the quasquicentennial of the text’s creation, celebrating 125 years of its enduring legacy of faith, resilience, and collective liberation.

Roland M. Carter is a distinguished composer, conductor, and scholar whose work has profoundly shaped the performance and preservation of African American choral music. A native of Chattanooga, Tennessee, Carter served as Professor of Music and Director of Choral Activities at Hampton University and later at the University of Tennessee at Chattanooga. Renowned for his arrangements of spirituals and anthems, including Lift Every Voice and Sing, Carter’s work bridges concert artistry with the rich traditions of Black sacred music. Carter’s choral arrangement situates the anthem within the concert tradition while preserving its devotional core. His harmonic language—anchored in dense tertian sonorities and expansive tonal motion—transforms the familiar hymn into a symphonic statement for chorus. Of note is Carter’s subtle borrowing of musical gestures from Peter Wilhousky’s Battle Hymn of the Republic arrangement. Through this intertextual reference, Carter reframes Lift Every Voice and Sing within a broader American patriotic idiom, reclaiming its expressive power to articulate a more inclusive vision of national belonging.

Text by James Weldon Johnson

Lift every voice and sing,
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the list’ning skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us;
Facing the rising sun of our new day begun,
Let us march on till victory is won.

Stony the road we trod,
Bitter the chast’ning rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way that with tears has been watered.
We have come, treading our path through the blood of the slaughtered,
Out from the gloomy past,
Till now we stand at last
Where the white gleam of our bright star is cast.

God of our weary years,
God of our silent tears,
Thou who hast brought us thus far on the way;
Thou who hast by Thy might,
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places, our God, where we met Thee,
Lest our hearts, drunk with the wine of the world, we forget Thee;
Shadowed beneath Thy hand,
May we forever stand,
True to our God, True to our native land.

Undine Smith Moore

Known as the “Dean of Black Women Composers,” Undine Smith Moore was a prolific educator and composer whose work combined rigorous classical technique with the expressive power of African American spirituals and folk traditions. Born in Jarratt, Virginia, and educated at Fisk University and Columbia University, Moore devoted much of her career to teaching at Virginia State University, where she mentored generations of musicians and cultivated a deep engagement with the spiritual as both a musical and theological art form.

We Shall Walk Through the Valley exemplifies Moore’s distinctive approach to arranging the spiritual: it maintains the integrity of the original melody and text while employing sophisticated harmonic and contrapuntal writing. Her choral textures move seamlessly between homophony and imitation, underscoring the communal strength and individual perseverance embedded in the spiritual tradition. The work’s restrained dynamic arc and transparent voicing reflect Moore’s belief that the power of the spiritual lies not in grandeur but in sincerity and conviction. In this setting, Moore transforms a familiar song of endurance into a contemplative meditation on faith and collective journey. The work encapsulates her synthesis of sacred tradition and modern compositional craft, illustrating how spirituals function as both cultural memory and evolving artistic form within the American choral canon.

Anonymous text from a Negro spiritual

We shall walk through the valley in peace,
If Jesus Himself will be our leader,
We shall walk through the valley in peace.

There will be no trials there,
If Jesus Himself will be our leader,
We shall walk through the valley in peace.

Samuel Coleridge-Taylor

Samuel Coleridge-Taylor, a British composer of African descent, was celebrated for blending European classical traditions with African-inspired musical idioms. Born in 1875, this year marks the sesquicentennial of his birth, honoring his contributions to choral and orchestral music. Coleridge-Taylor studied at the Royal College of Music under Charles Villiers Stanford and became widely known for works that engaged with English choral traditions, indigenous themes and Black folk music, earning him international recognition during the early twentieth century.

The Lee Shore, composed in 1902, is a poem with text by Thomas Hood. The title "The Lee Shore" refers to a nautical term for the side of a ship that is in the shelter of the land. In this poem, it represents a dangerous position for a sailing ship, which is in danger of being dashed against the coast if the wind blows from the sea. Coleridge-Taylor sets the text as a part song for mixed voices. The work unfolds in distinct sections that alternate between reflective, lyrical passages and more dramatic, rhythmically intense episodes, mirroring the journey of refuge suggested by the text. Coleridge-Taylor employs soaring melodies, shifting tonalities, and expressive harmonic suspensions to convey both struggle and solace. The choral writing ranges from intimate, meditative lines to full, sonorous climaxes, while orchestral colors underscore the narrative’s changing moods. Through this dynamic interplay of character and texture, the piece captures the emotional arc of seeking safety and the relief of reaching the lee shore.

Text by Thomas Hood

Sleet! and hail! and thunder!
And ye winds that rave,
Till the sands there under
Tinge the sullen wave --

Winds, that like a demon
Howl with horrid note
Round the toiling seaman,
In his tossing boat --

From his humble dwelling
On the shingly shore,
Where the billows swelling
Keep such hollow roar --

From that weeping woman,
Seeking with her cries
Succor superhuman
From the frowning skies --

From the urchin pining
For his father's knee --
From the lattice shining,
Drive him out to sea!

Let broad leagues dissever
Him from yonder foam; --
O, God! to think man ever
Comes too near his home!

Zanaida Stewart Robles

His Eye Is on the Sparrow, originally composed by Charles H. Gabriel with lyrics by Civilla D. Martin in 1905, has long been a cornerstone of the American sacred music tradition, celebrated for its message of divine care and steadfast faith. The hymn’s enduring appeal lies in its simple, lyrical melody paired with text that affirms trust in God’s providence, offering comfort across generations.

Zanaida Stewart Robles is a composer, arranger, and educator known for her innovative contributions to choral music. She integrates contemporary harmonies with gospel and sacred traditions, and her music reflects a deep social consciousness, rooted in justice and the empowerment of historically underrepresented individuals and communities. Robles’ arrangement brings a contemporary choral sensibility to this classic hymn. Her arrangement opens with modern, nuanced harmonies that create an introspective and reflective atmosphere. As the piece progresses, Robles gradually expands the harmonic language, incorporating gospel-inspired chord progressions that heighten the emotional and spiritual intensity. This careful development—from intimate contemporary textures to the rich, resonant gospel harmonies—enhances the work’s narrative arc, underscoring the text’s message of trust, divine presence, and communal affirmation.

Text by Civilla D. Martin

“Let not your heart be troubled.”
His tender word I hear,
And resting on His goodness,
I lose my doubt and fear.
Though by the path He leads me,
Though one thing I may see,
His eye is on the sparrow,
And I know He watches me.

Why should I feel discouraged?
Why should the shadows come?
Why should my heart feel lonely
And long for heav’n and home,
When Jesus is my portion?
A constant Friend is He:
His eye is on the sparrow,
And I know He watches me.

I sing because I’m happy—
I sing because I’m free—
For His eye is on the sparrow,
And I know He watches me.

Marques L. A. Garrett

Marques L. A. Garrett is a composer, arranger, and conductor whose work bridges contemporary choral techniques with the idiomatic musics of the Black experience. He is recognized for compositions that engage spiritual, emotional, and social themes, blending rich harmonic language with expressive text setting to create works that resonate in both sacred and secular contexts.

Perfect Love sets a text by Dessie Bey, whose words encourage reflection, perseverance, and faith in the presence of divine love. The poem’s imagery—ranging from whispered worldly distractions to the radiant “Sun…reigning, rising, shining”—provides a narrative arc of contemplation, endurance, and spiritual affirmation. Garrett’s music closely mirrors this trajectory: he begins with transparent, lyrical textures that reflect the intimacy of the text, gradually expanding into layered harmonies and rhythmic motion that emphasize the breadth and constancy of perfect love.

Throughout the piece, Garrett employs chromatic and extended harmonies, dynamic contrasts, and unique motifs to underscore the text’s spiritual and communal dimensions. Moments of stillness, highlighted by sustained chords and careful pacing, alternate with climactic passages that convey perseverance and the triumph of faith, culminating in the repeated affirmation of “perfect love.” This new work blends introspective meditative qualities with expressive gestures, illustrating both the personal and collective experience of spiritual devotion.

Text by Dessie Bey

When ways of the world
whisper in your ear
guard with wisdom
careful what you hear
remember you left
     your burdens there
don’t let go
for the Sun is reigning, rising, shining
     from above
be still and know
stand still and know
     perfect love

Bask in glory for a time
in time you will find
     mercy and grace
     will suit your case
it’s just the beginning
keep the faith, finish the race
Endure, Endure
     And lift your hands

Wholly holy
offer your heart, your soul, your mind
leave this world behind
you’ve got a light to shine
reflecting… the Son
     the Sun is reigning, rising, shining
     from above
be still and know
stand still and know
perfect love

Dear colleagues,

It is my distinct pleasure to extend heartfelt congratulations to the University Singers on their appearance at the 2025 National Collegiate Choral Organization Conference in Fullerton. This prestigious invitation is a testament to the ensemble’s artistic excellence and the vibrant choral tradition we are proud to foster at the University of North Texas. 

Under the outstanding leadership of Dr. Marques L. A. Garrett, Associate Professor of Choral Studies and Director of the University Singers, this ensemble continues to thrive as a model of musical artistry, pedagogical integrity, and scholarly engagement. The range of repertoire they study and perform is truly impressive. Dr. Garrett’s work as an artist, teacher, and scholar inspires not only his students but also our broader choral community. We are deeply honored to celebrate the contributions of Dr. Garrett and the University Singers on this national stage.

To all conference attendees, I wish you a conference filled with inspiring performances, enriching clinics and thought-provoking presentations. May this gathering of passionate, accomplished musicians and educators deepen your connections, spark fresh ideas, and reaffirm the transformative power of choral music.

The Mission of the UNT College of Music is to serve our diverse musical culture with excellence, integrity and imagination. The performance of our University Singers this week is sure to make vivid to all the meaning of our mission. Best wishes to all!

Sincerely,

It is my great pleasure to congratulate the UNT University Singers and their esteemed conductor, Dr. Marques L. A. Garrett, on their invitation to perform for the 2025 conference of the National Collegiate Choral Organization. The University of North Texas is honored to have our students perform at this prestigious event.

The Choral Studies Program at UNT annually serves approximately 350 student musicians, and includes three mixed choirs including the A Cappella Choir, University Singers, and the Concert Choir, the treble choir Camerata, and the tenor-bass choir Chorale. As part of the collaborative relationship with the UNT Early Music Program, the 24-voice chamber choir Vox Aquilae focuses on the performance of concerted works with the UNT Baroque Orchestra, an ensemble of period instruments. Each spring the three mixed choirs combine to form the 150-voice Grand Chorus and perform major choral-orchestral repertoire with the UNT Symphony Orchestra.

The UNT Choral Studies Program is passionately committed to preparing both undergraduate and graduate choral conductors. The highly respected graduate choral conducting program offers generous teaching fellowships and opportunities to serve as associate conductor to each of our mixed choirs, conductor of Camerata and Chorale, and as assistant conductor of the Dallas Symphony Chorus. Weekly masterclasses with the UNT Conductor’s Chorus, a paid ensemble of advanced singers, provides an ideal setting for graduate choral conductors to develop their skills as young professionals. The annual summer Choral Conducting Symposium further extends the opportunity for choral conductors from around the country to refine their skills under the dedicated coaching of the UNT choral conducting faculty.

I know that you will be deeply enriched by the transformative performance of the UNT University Singers led by Dr. Garrett. May the joy and energy of this program inspire you to further heights of excellence in choral music.

Sincerely,

Allen Hightower, D.M.A.
Director of Choral Studies and Professor of Music
College of Music
University of North Texas

A Virginia native, Marques L. A. Garrett (he/him) is Associate Professor of Choral Studies at the University of North Texas. His responsibilities include conducting the University Singers and teaching graduate and undergraduate choral conducting. His previous appointments were at the University of Nebraska–Lincoln and Cheyney University. Additionally, he holds a PhD in Music Education (Choral Conducting) from Florida State University, an MM from the University of North Carolina at Greensboro, and a BA from Hampton University. 

An active conductor, Dr. Garrett is the founding conductor of the Nebraska Festival Singers and previously served as artistic director of the Omaha Symphonic Chorus. He serves as a guest conductor or clinician with school, church, and community choirs throughout the country in addition to festival, honor, and all-state choirs in Connecticut, Delaware, Georgia, Florida, Kansas, Maryland, Massachusetts, Michigan, Montana, Nebraska, New Hampshire, New Jersey, North Carolina, Ohio, Pennsylvania, Tennessee, Texas, and Virginia. Among his most recent engagements were with the New Jersey, Maryland, and Tennessee All-State Mixed Choirs. In 2022, he and the UNL Chamber Singers won second place in the American Prize’s Choral Performance—College/University Division—Larger Program’s category. His formal conducting studies were with Dr. André J. Thomas, Dr. Carole J. Ott, Dr. Carl G. Harris, Jr., and Mr. Royzell Dillard. 

A versatile voice that performs both as a baritone and countertenor, Dr. Garrett has sung with several community, church, and university groups as both a chorister and soloist. He was the baritone soloist for the Germantown Concert Chorus’s performance of Haydn’s Missa in Angustiis. His premiere as a countertenor in Dan Forrest’s Jubilate Deo served as the work’s European premiere in Limerick, Ireland. Additionally, he performed the role of Lil Lud in Bernstein’s White House Cantata with the Tallahassee Community Chorus. Currently, he sings with the Festival Singers of Florida and Jason Max Ferdinand Singers. 

Dr. Garrett is an avid composer of choral and solo-vocal music whose compositions have been performed to acclaim by high school all-state, collegiate, and professional choirs including the Los Angeles Master Chorale, Oakwood University Aeolians, and National Lutheran Choir. His music is available through more than ten publishers. He has been commissioned by the Cincinnati Youth Choir, Concordia Choir, Harvard University, Mendelssohn Chorus of Philadelphia, and Westminster Choir College. Among his latest commissions is his largest work to date, Dreamland: Tulsa 1921. This collaborative work with librettist Sandra Seaton for tenor-bass chorus, soloists, and chamber orchestra was commissioned by the Turtle Creek Chorale to tell the story of the Greenwood district of Tulsa, Oklahoma. 

As a researcher, his most advantageous topic is the non-idiomatic choral music of Black composers. His lectures at state and regional conferences of the American Choral Directors Association and at other local and national venues afford him the opportunity to showcase this underrepresented area of music resulting in the anthology The Oxford Book of Choral Music by Black Composers released in February 2023. His peer-reviewed presentations and headlining events for conferences and organizations have been in Alabama, Arkansas, Delaware, Florida, Kansas, Illinois, Iowa, Maine, Michigan, North Dakota, South Dakota, Pennsylvania, Virginia, and Canada. He serves as co-editor of the “Out from the Shadows” Series with Gentry Publications. 

Chorus America recognized Dr. Garrett’s contributions to the choral community with the 2023 Brazeal Wayne Dennard Award. He holds membership in the American Choral Directors Association; American Society of Composers, Authors, and Publishers; National Association of Negro Musicians; National Collegiate Choral Organization; and Pi Kappa Lambda. For more information, visit www.mlagmusic.com.

The University of North Texas College of Music is the largest public university music program in the United States and one of the most globally respected. Faculty and staff include internationally acclaimed artists and scholars in composition, conducting, ethnomusicology, jazz studies, music education, music business, music history, music theory, commercial music and performance. The college presents more than 700 music events annually. Students perform in more than 70 ensembles in eight campus venues and can be viewed worldwide via free superior quality live streaming. UNT music alumni can be found around the world in impressive, award-winning careers across a wide range of music professions. Our current faculty members include Guggenheim Fellows, Fulbright Fellows, an Avery Fisher Career Grant recipient, a Charles Ives Fellow of the American Academy of Arts and Letters, a Van Cliburn International Piano Competition Gold Medalist, Emmy, Grammy, Latin Grammy, Oscar and Tony nominees and Grammy and Latin Grammy Award winners. Our students come from all 50 states, the District of Columbia, Puerto Rico and more than 40 countries.

The mission of the UNT College of Music is to serve our diverse musical culture with excellence, integrity and imagination. The vision of the UNT College of Music is to provide leadership, artistry and expertise to every facet of the music profession.

Ranked a Tier One research institution by the Carnegie Classification, UNT is one of the largest public research universities in the United States with more than 46,000 students who push creative boundaries and graduate with credentials of value so they can become tomorrow’s leaders. UNT is recognized as a Minority-Serving and Hispanic-Serving Institution, reflecting the population of Texas. UNT students earned nearly 13,000 degrees last year in 240 degree programs, many nationally and internationally recognized. With a focus on academic excellence and graduating career-ready students, UNT has served as a catalyst for creativity since its founding in 1890, continually fueling progress, entrepreneurship and innovation for the North Texas region, the state — and beyond.

The UNT community is guided by five shared values — Courageous Integrity, Be Curious, We Care, Better Together and Show Your Fire.