Page 44 - CJFeb23

Wednesday, February 22 Detailed Schedule

9:05 AM - 9:55 AM ensemble’s sound, former King’s Mitos Andaya, presider
Singers baritone Chris Gabbitas Temple University

World Musics and Cultures will approach several of the group’s
best-loved arrangements and pass on
R&R Forum practical skills for use with your own 3 Seen, Accepted, Empowered:
singers no matter their prior experi-
Duke Energy CC 3rd Floor ence. This is a genre for all singers Fostering Social Emotional
Junior Ballroom B to enjoy! Learning in Choral Classrooms

Intercultural Communication Duke Energy CC 2nd Floor
in the Choral Setting Chris Gabbitas, presenter South Meeting Rooms 230-233
Joseph Modica, presider Students need to feel cared for
This will be a forum where con- Director of the School of Performing
ductors can share the various issues and connected before they can learn
and solutions they’ve encountered in Arts and Conservatory of Music, in choral classrooms. To flourish,
incorporating world music into their Redlands University, California students need to feel seen, accepted,

teaching and performance reper- and empowered. By embedding so-
toire. We hope to set out actionable cial emotional learning into ensemble
plans to expand the culture bearer 2 Everyone’s Song: singing, students can gain key compe-
information bank to aid authentic, Gender-Inclusivity in the Choir Room tencies relating to identity, belonging,
culturally sensitive choral perfor- Duke Energy CC 2nd Floor and agency. In this session, Philip
mances. Silvey builds on the work of Edgar
North Meeting Room 206 (2017) to show how choral music
classrooms are uniquely suited to help
Presenter: Madlen Batchvarova With men’s choirs, women’s choirs, students develop socially and emo-

tuxes, dresses, and standard reper- tionally through music making. These
toire that often reinforces masculine learnings can be strategically planned
Interest Sessions and feminine stereotypes, the gender and measured with outcomes that
Choose from five options lines in choral classrooms are well allow for the growth of the whole
established. However, over the past person through engagement in the
1 Choral Techniques decade the number of students who art of choral singing.
choose to express their non-binary
for Pop Acappella gender identity has seen an increase. Philip Silvey, presenter

Duke Energy CC 2nd Floor This session will unpack the results of
North Meeting Rooms 201-204 a national study exploring gender-in- Doreen Fryling, presider
clusive practices in choral music. We State President, New York
This session highlights and rein- will examine concepts surrounding
forces the basic techniques choral the intersection of gender diversity
educators need to consider when and singing and discuss practical steps 4 Tacoma Refugee Choir:
teaching vocal jazz and close har- choral directors can take to begin to Healing through Love and Belonging
mony repertoire for non-amplified transform their choir room into a
performance while maintaining good place of belonging for transgender Duke Energy CC 3rd Floor
vocal health. From the harmonic and non-binary singers. Junior Ballroom D
theory needed to make a chord
truly ring, to discovering a spectrum Dustin S. Cates and Ben Herstig, This session will include perfor-
of colours to employ within your presenters mances of original songs by the

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