Page 126 - CJFeb23

Saturday, February 25 Detailed Schedule

2 Gender Bias in the Choral Field: past atrocities throughout the Baltic Heather MacLaughlin Garbes,
Past, Present, and Future region, the focus on sustaining culture presenter
when all other things are being taken
Duke Energy CC 2nd Floor away and strengthening the com- Mägi Ensemble, Insight Choir
North Meeting Room 206 munity through song is vital. When
everything is stripped away and all Barbara Tappa, presider
This session will feature five active possessions are destroyed and homes State President, Washington
women conductors and a first-year are gone, there can still be songs. Folk
doctoral student in a candid discus- songs and national poetry were used
sion about past, present, and future during these times to assist people in 4 Well, Imagine That!
challenges for women in choral mu- maintaining their cultural identity
sic. The presenters will offer strategies while conforming to the restrictions Duke Energy CC 2nd Floor
on how young and experienced con- of the occupying government. South Meeting Rooms 263-264
ductors can fight new and longstand- This lecture concert will pres-
ing matters involving gender bias in ent history, stories, and repertoire Choral song arises from the inter-
the choral field. Members will learn that introduce the audience to the action of the intent of the poetry as
to: a) identify instances of gender dis- importance of choral music in the seen through the imagination of the
parity in the choral profession; b) fight Baltic region, the use of nature as a composer. How we approach this in-
challenges related to gender bias; c) metaphor during times of censorship, teraction defines the expressive power
support students and colleagues who and the vital role that women played of our choral singing. Gerald Finzi,
experience gender discrimination; d) in the resistance movements. We will a well-known twentieth-century
advocate for themselves and others; outline a short history of the Baltic English composer, believed that a
and e) promote change to help cre- States and the singing tradition with composer must be chosen by a text.
ate more equitable spaces for women an introductory Lithuanian sutartinė If we as conductors are to follow
conductors. folk song call-and-response. The Finzi’s lead, there are a number of
concert will continue with composi- poetic/musical elements that must be
Mariana Farah, Edith A. Copley, tions from Latvian composer Laura considered. Such expressive elements
Lynne Gackle, Jessica Nápoles, Coty Jēkabsone, a newly commissioned are defined by our own interpre-
Raven Morris and Elizabeth Olson, work by Latvian-American composer tive imaginations. This session will
presenters Katherine Pukinskis, Estonian com- explore how to build and enhance
poser Evelin Seppar’s “Maarduran” our, and our students’, interpretive
Peggy Dettwiler, presider with poetry by Estonian national poet imaginations.
Past President, Eastern Region Marie Under. To finish this concert,
we will sing two of the traditional Jerry McCoy, presenter
“unofficial” anthems from Lithuania
and Estonia and close with the lively Jonathan Owen, presider
3 Nature's Song: Resistance piece “Es par bēdu nebēdāju” by President-Elect, Southwestern Region
Through Singing in the Baltic Region Latvian composer Laura Leontjeva.

Duke Energy CC 3rd Floor The audience will learn about the
Junior Ballroom D importance of singing in resistance
and cultural identity in the Baltic
and how women were and still are an
Culture holds the key to humanity integral part of those elements.
and shares who we truly are. With
the current conflict in Ukraine and

124 CHORAL JOURNAL Volume 63 Number 6 February 2023 / 2023 ACDA National Conference Program Book