As February unfolded, the hallways of the PHS choir wing filled with the sounds of students singing in preparation for the PHS Spirituals and Gospel Festival in honor of Black History Month. The event highlighted the musical, cultural, and historical significance of gospel music as an American art form.
The PHS Gospel Festival aimed to honor the tradition while bringing students into direct contact with the music’s cultural roots. The performance took place on Thursday, February 12, in the Performing Arts Center, featuring all PHS choir students, five Studio Band members, and guest conductor Bishop Chantel Wright from New York University. Their combined effort resulted in a program that honored both the music and its tradition.
“I just love being able to sing a song that has meant so much to other people, [that] has an impact on so many things, and has such a big story to tell … I’m able to sing [it] with [so] much emotion, and with so many other people, and share the story,” said PHS choir member Aimy Solares-Zacarias ’26.
Gospel music originated from the spirituals sung by enslaved Africans, who blended their traditions with Christian hymns as a way to express hope and preserve their identity. The music reached its prime in the early 20th century and was shaped by composers such as Thomas A. Dorsey, who combined sacred lyrics with blues-influenced harmonies, creating the foundation for the choirs and modern styles heard today. Over the years, gospel music influenced other major American musical genres like jazz and served as a source of unity during the Civil Rights Movement.
“PHS Choir and Cantus both [did] their own sets [at] the concert and then all of the choirs, including Chorale, [sang] all four pieces … all together. So we call it the mass choir and we often have some community members from the Black churches in our Princeton community [and] they [came] and [sang] with us as well,” said choir director Sarah Pelletier.
The style of gospel challenged students to adapt to a different vocal approach, emphasizing tone, attitude, and blend.
“I think a big factor with gospel music is the attitude and the tone that you’re bringing to the songs, especially when there are large harmonies you want to be heard, but you also don’t want to stand out from the rest of your voice part,” said Alexis Brown ’27.
The event features a guest conductor who rehearses with the students and leads the final performance every year. This year, for the second in a row, PHS welcomed Bishop Wright.
“They’ve been rehearsing since we got back to school in January and so the music [was] in multiple parts. Sometimes certain choirs [did] certain parts and then it all [came] together. Then we [had] all the voice parts covered and so it [was] fun to finally get to put it together with Bishop Chantel Wright. That [was] the night before the concert,” said Pelletier.
A small group from the Studio Band, including drum set and rhythm-section players, accompanied the choirs. They practiced individually and with the choir teachers before joining in several combined rehearsals.
“I think it’s neat that the school has a thing like [the Gospel Festival] ... It’s a good way to get involved with your community and the music is really soulful,” said Studio Band member Zack Ware-Huff ’26.
For many students, the event was meaningful not only because of its distinct musical style, but because each song carries with it a unique story and history.
“Bishop Chantel Wright, she is all about community and bringing people together ... This music is very religious … but even if you are not a religious person … this music can bring communities together, and that’s what she is all about,” said Pelletier.
Through this event, choir students had the chance to expand and diversify their musical skills while also honoring the traditions and long history of Black gospel music in America.