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2024 ACDA Western Region Conference March 6-9, 2024 Pasadena, California

Schmelkes of Mexico, Diana Sáez of Puerto Rico, and Understanding and Engaging with “Toxic”
María Olga Piñeros of Colombia are composers whose Masculinity and Male-Presenting Expression
works our singers need to sing. Conductors will leave in the Post COVID-19 Choral Classroom
with deeper appreciation for and confidence to teach
this important repertoire from an informed and joy-
ful place. Resources and scores are appropriate for all From the fallout of COVID-19, a key behavior
levels/voicings. that school counselors have reported on as a result
of the temporary elimination of in-person activities
Corie Brown (she/her) serves as assistant amongst adolescent cis-men is toxic masculinity. De-
professor of choral music education at fined as,“‘manliness’ [that] perpetuates domination
San José State University. She leads two and aggression,” toxic masculinity has been reported
choirs, teaches music education courses, as an invasive phenomena within the choral craft’s
and is fueled by the integration of justice communal ecosystem. In this session, we address what
and music education. Prior to studies in choral con- toxic masculinity looks like in our craft and how we can
ducting at the University of Colorado Boulder and be change agents in facilitating culturally responsive
University of Oregon, Brown taught in Colombia with models for cis-men, built on the embodiment of social
the Fundación Nacional Batuta and in the midwest consciousness, empathy, and community-oriented ide-
United States. She was a guest conductor at the 2023 als. We offer strategies relating to repertoire, rehearsals,
Festival Coral de Santander in Colombia. She also ar- and performance.
ranges and serves as artistic director of the Mission
Peak Chamber Singers, a joyful community chorus in Corbin Cowan is a student at Arizona
Fremont, California. State University completing a bachelor’s
of music in music learning and teaching
Juan Manuel Hernández-Morales (he/ with a minor in music theatre perfor-
him) is the director of the Youth Choir mance. He is also a part of ASU’s Barrett,
of La Cuerda Foundation, the Univer- the Honors College. Originally from Colorado, he has
sidad Industrial de Santander University been singing his whole life and has a strong background
Choir, and teaches choral and instrumen- in musical theatre and choral ensemble.
tal studies at the Universidad Industrial de Santander
of Colombia. His works for children’s choirs, youth Joshua Palkki will be a clinician for this session. His
choirs, and mixed choirs have been performed inter- photo and bio are on the previous page.
nationally. He is an active clinician and has held work-
shops throughout Colombia, Ecuador, Argentina, and Jace Kaholokula Saplan will be a clinician for this ses-
the United States. Since 2007, Hernández-Morales has sion. Their photo and bio are on page 32.
been the coordinator and organizer of the Santand-
er Choral Festival and the Santander Children’s and
Youth Choir Encounter.
Understanding the Unique Voice
of the Gospel Musician:
Sound, Harmony, and Culture

It can be quite a challenge understanding the per-
spective of a student who walks into your choral class-
room armed with only experience in contemporary gos-

CHORAL JOURNAL January 2024 Volume 64 Number 5 183