Luiz Pedro Silva Paulo: 

“There is no such a thing as trendy or untrendy music style” 

The musician and songwriter from Rio de Janeiro talks about the participation of choirs and music in general in Spiritist activities
 

	Luiz Pedro Silva Paulo (photo) is a musician from the Brazilian city of Rio de Janeiro. He is a Spiritist from birth and a volunteer worker at the Spiritist Centre Leon Denis. He is also an enthusiast of choir singing and, in this interview, talks mainly about his efforts to boost the links between music and Spiritism:
Luiz, begin by telling us a bit about your links with Spiritism and your activities in the Movement these days.

As I was born into a Spiritist family, I’ve known the Teachings since I was a child. I attend the meetings and activities at the Leon Denis Spirits Centre and work as a volunteer in the Movement in the west part of Rio de Janeiro. I am also the director of the Spiritist Choir of Realengo (a working class neighbourhood of Rio) since its foundation. 

How did you first begin involved in choir singing? 

I have always been fascinated by choir singing, but my first contact with that type of music in the Spiritist Movement took place in 1980, during a gathering of Spiritists from the state of Minas Gerais. They had some performances of musical pieces with different voices, and I was tremendously impressed by that. 

What is the importance of choir singing for the development of Spiritist art and the dissemination of the Teachings? Can you say that that particular style of music is “untrendy” or out of fashion? 

We know that music in general can play a very important role in the moral development of the souls. Choir singing has the power of touching the feelings and harmonising the Spirits, both incarnate and discarnate. It touches them through their emotions. At the same time, they learn through the traditional channels of rationality, learning with the lyrics. It is indeed, an important tool in the task of educating and developing the Spiritual side of human beings. As for being “untrendy”, I personally do not believe in any music style being “trendy” or “untrendy”, “cool” or “uncool”. In my view, music of any gender of style is timeless when it aims to express beauty and the good feelings. 

Tell us a bit more about the Choir of Realengo. 

The idea of setting up a choir in the Realengo came up in 1980, after a gathering of Spiritist Centres of Rio de Janeiro state. The choir began singing in one voice, and then we began adding other voices, counterpoints, two, three, eventually four voices. Despite all the changes introduced along the years, the group is still faithful to its original idea of delivering messages of enlightenment, reflection, optimism and hope through music, helping also to promote the cooperation among the different Spiritist Centres working in the area. 

Choir singing is an essential part of many religious ceremonies, from Gregorian chant to traditional African religions. Do you believe choir singing works better in the preparation of the Spiritual environment than other forms of singing? 

All types of music work well to prepare the Spitual ambience. However, I believe that in many instances choir singing can be the best tool, as it carries a bigger amount of energy as the result of the union of the many voices singing together in the group. 

Can any music be adapted to choir singing? 

Musical theory does not have any restrictions on the harmonisation of any type of music. As long as there is melody in a song, it can be harmonised. However, it is important, from a Spiritist perspective, to select very carefully the repertoire to be used for each particular activity or event. We must take into account the goals of that particular event, the audience etc. 

Is choir singing more democratic, as it embraces even those who do not have a particularly high skill or talent? 

People tend indeed to fell more comfortable singing in a choir, as they realised that the overall performance does not rely solely on their individual performance. But that should not become an excuse for people not to practice and improve. The improvement of each one will have an impact on the final outcome of the group. 

Tell us about your experience writing songs and making arrangements for choirs in the Spiritist Movement. 

Before the creation of the Choir of Realengo, I knew very little about music. I had learned to play the guitar with friends and could play in Spiritist events. After the group was created, I made attempts to write my own experimental chords, but I was not pleased with the results. That is when I felt the need to study Musical Theory, for three years. After that, I felt I had the skills and capacity to begin studying the science of Harmony. I have been every since attempting to put that into practice in songs written by me and other Spiritist friends. We cannot forget, however, the immense help we get from so many Spiritual friends who certainly provide inspiration and guidance in this most important task. We are often unaware of all the help we get. 

What suggestions or advice would you give to those who are involved in choir singing in Spiritist groups across the world? 

To persevere in the hard work, attempting at every instance to get better results through their dedication, humility and patience. Encourage the feelings of fraternity and tolerance among the choir members, guided by an overall spirit of solidarity and cooperation. And have always in your minds and hearts the will to make all your personal skill available for the general good. Use your voice, your emotions, your intelligence and bear in mind that we are simply tools, working towards our own Spiritual development.