Topic IDENTITY
HANRAHAN Kevin (Co: Jeffrey JONES, Philip M. POWELL, Diana BLOM, Tyler GOODRICH WHITE
Tenor Kevin HANRAHAN has performed nationally and internationally in opera, oratorio, and recital performances. He has performed as a soloist with the Opera Theatre of Pittsburgh, the Catalina Chamber Orchestra, the Phoenix Chorale, the AIMS Festival Orchestra in Graz, Austria, The Poona Music Society in India, the McKeesport Symphony, the Lincoln Symphony, City of Prague Orchestra, the Chattanooga Symphony, the Plovdiv Philharmonic Orchestra, and the Denver Philharmonic Orchestra.
Baritone Jeffrey JONES is well versed in both stage and concert repertoire. He has performed with Arizona Opera, Atlanta Opera, Atlanta Lyric Opera, Capitol City Opera, Chattanooga Symphony, Durango Choral Society, Long Bay Symphony, Meridian Chorale, the Phoenix Chorale, Piccolo Spoleto Festival, Robert Shaw Chamber Singers, and the State Opera Stara Zagora.
Dr. Philip M. POWELL, has maintained an active performing schedule. As a collaborative pianist, Powell has appeared with artists such as Kennedy Center Honors recipient Martina Arroyo, soprano; Ignat Solzhenitsyn, piano; Sungwon Yang, cello; David Jolley, French horn; and Grammy nominated Tine Thing Helseth, trumpet.
Diana BLOM, composer and keyboard player – piano, harpsichord, and toy piano. She is very interested in Australian and New Zealand writers and have set to music words of David Malouf, Helen Garner, Jocelyn Ortt-Saeed, Chitra Fernando, among others. Dr. Blom is a faculty member at the School of Humanities and Communication Arts, Music, Western Sydney University.She is a co-author of ‘Music Composition Toolbox’, a textbook for upper secondary and tertiary composition students, published by Science Press.
A protégé of the late Maestro Robert Shaw, composer Tyler GOODRICH WHITE has studied with Pulitzer Prize-winners Steven Stucky and Karel Husa, and at the University of Copenhagen (Denmark) and the American Conservatory at Fontainebleau (France). He has received awards from ASCAP, BMI, The Prix Maurice Ravel, Vienna Modern Masters, and Indiana State University, and through commissions from the Atlanta Symphony Orchestra, and other ensembles. Most recently, the National Symphony Orchestra (Washington, DC) awarded him one of its American Residencies Chamber Commissions for a work to be premiered in June 2009.
Tangling with the Epic
Edgar “Yip” Harburg, an American lyricists known as “Broadway’s social conscience,” said, "Words make you think a thought. Music makes you feel a feeling. A song makes you feel a thought." This presentation strives to do just that through the exploration of a new art song cycle for tenor, baritone, and piano, by discussing the creation of that cycle and then performing selections from the cycle.
Tangling with the Epic is a cycle of 16 songs consisting of eight solo songs, four each for tenor and baritone, and four duets. The text for this cycle comes from poetic conversation between US poet Kwame Dawes and Australian poet John Kinsella. The text of Tangling With The Epic “explores commonalities and differences, the results reminding us of how poetry can offer comfort and solace, and how it can ignite a peculiar creative frenzy that enriches.” The music is composed by US composer Tyler Goodrich White and Australian composer Diana Blom. Due to issues related to COVID-19 the recital portion of the presentation will be performed by Kevin Hanrahan, tenor and William Reber, piano, and feature solo selections from the cycle. Within the entire work the poetic conversation between Dawes and Kinsella is continued in the music of White and Blom and the performance by the singers and pianist.
This conversation is the very essence of art song. “This interpretation of poetry is such an intimate art, and to put that to music is going to set people up to have powerful, moving experiences.” Through the exploration of literary and musical styles of two similar but different cultures, we create a powerful and moving experience. In addition to the performance we will discuss the creation of the cycle. Singers Hanrahan and Patrick McNally, along with Dawes and Kinsella provided feedback on the compositions to the composers who then incorporated that feedback into the final product. Not only will the audience experience this amazing poetry and music, they will also gain insight into a cross-cultural and international collaboration that produced new art songs that touch the soul and makes the audience “feel a thought.”
Tenor Kevin Hanrahan has performed nationally and internationally in opera, oratorio, and recital performances. He has performed as a soloist with the Opera Theatre of Pittsburgh, the Catalina Chamber Orchestra, the Phoenix Chorale, the AIMS Festival Orchestra in Graz, Austria, The Poona Music Society in India, the McKeesport Symphony, the Lincoln Symphony, City of Prague Orchestra, the Chattanooga Symphony, the Plovdiv Philharmonic Orchestra, and the Denver Philharmonic Orchestra.
Dr. William Reber has served as Music Director/Conductor for over 150 productions of operas, musicals and ballets. He is Principal Conductor of the Corpus Christi Ballet (Texas) and Professor Emeritus of Opera and Music Theatre at Arizona State University where he was Artistic Director and Principal Conductor of Lyric Opera Theatre. He has been vocal coach, accompanist, and conductor for the Mittelsächsiches Theater, head of the vocal coaching program for the American Institute of Musical Studies in Graz, Austria and on faculty of German Opera Experience (Freiberg). He is currently Director of Choirs at Mississippi University for Women and on faculty with Spotlight on Opera as conductor/vocal coach.
Former Music Director of Minnesota Opera Studio and conductor for Minnesota Opera, he has been conductor and vocal coach for Altenburger Musiktheater Akademie, Music Advisor to the StaatsOperette Dresden, and Assistant Conductor for Arizona Opera's two productions of Wagner's Ring Cycle.
As collaborative pianist, he has performed in Germany, Austria, Macedonia and throughout the United States. He is pianist/ music director for the annual AIDS Quilt Songbook performances in Phoenix, AZ.
Dr. Reber earned his Doctor of Musical Arts degree in Opera and Conducting at University of Texas Austin under Walter Ducloux.
Diana Blom, composer and keyboard player – piano, harpsichord, and toy piano. She is very interested in Australian and New Zealand writers and have set to music words of David Malouf, Helen Garner, Jocelyn Ortt-Saeed, Chitra Fernando, among others. Dr. Blom is a faculty member at the School of Humanities and Communication Arts, Music, Western Sydney University.She is a co-author of ‘Music Composition Toolbox’, a textbook for upper secondary and tertiary composition students, published by Science Press.
A protégé of the late Maestro Robert Shaw, composer Tyler Goodrich White has studied with Pulitzer Prize-winners Steven Stucky and Karel Husa, and at the University of Copenhagen (Denmark) and the American Conservatory at Fontainebleau (France). He has received awards from ASCAP, BMI, The Prix Maurice Ravel, Vienna Modern Masters, and Indiana State University, and through commissions from the Atlanta Symphony Orchestra, and other ensembles. Most recently, the National Symphony Orchestra (Washington, DC) awarded him one of its American Residencies Chamber Commissions for a work to be premiered in June 2009.
HOCH Matthew
Matthew Hoch is professor of voice at Auburn University. He has appeared as a soloist with the Oregon Bach Festival, the Santa Fe Desert Chorale, the Vox Consort, Harmonie Universelle, the Hartford, Rome, and Nashua Symphony Orchestras, the Atlanta Baroque Orchestra, the Chattanooga Bach Choir, Griffin Choral Arts, and the United States Coast Guard Chamber Players. Hoch is the author, coauthor, or principal editor of eight books and peer-reviewed articles in over a dozen different professional and academic journals. Hoch is the 2016 winner of the Van L. Lawrence Award, presented jointly by the Voice Foundation and NATS. He holds a BM from Ithaca College, an MM from the Hartt School, a DMA from the New England Conservatory, and the Certificate in Vocology from the National Center for Voice and Speech. In 2018, he presented performances and master classes in the United Arab Emirates as was awarded the Auburn University College of Liberal Arts Teaching Excellence Award. In addition to his academic life, Hoch also serves as choirmaster and minister of music at Holy Trinity Episcopal Church in Auburn, Alabama.
Ellen Taaffe Zwilich's Einsame Nacht: Sonic Depictions of Existential Loneliness
Einsame Nacht was written by Ellen Taaffe Zwilich (b. 1939) in 1971 while she was enrolled as the first-ever woman DMA student at the Juilliard School. The short cycle sets six lyrics by the German poet Hermann Hesse (1877-1962). The result is a series of dark monologues composed an atonal style that perfectly complements the unifying poetic theme of existential loneliness. This lecture-recital will give an overview and analysis of Einsame Nacht, focusing on its genesis, Zwilich's compositional process, unifying motives, and formal concerns. Excerpts from an interview with Zwilich will also be shared and discussed. The presentation will end with a complete performance of Einsame Nacht, a cycle that has never been recorded in its entirety.
HURLEY Susan
Dr. Susan Hurley is the founding artistic director of Phoenix Arizona’s annual AIDS Quilt Songbook concert series, now in its 8th year. The Phoenix concert launches a week of World AIDS Day events and raises funds for an HIV/AIDS food pantry. Dr. Hurley has commissioned several new songs, with texts by long-term HIV survivors, which premiered on the Phoenix concerts. She has presented lecture recitals, masterclasses, and talks on the literature comprising the AIDS Quilt Songbook for Southern Regional NATS, the Mississippi Music Teachers Association, and at universities.
Dr. Hurley is currently Assistant Professor of Voice at Mississippi University for Women where she teaches voice, Opera Workshop, Voice Pedagogy, and Music Literature. Several of her current and former voice students have won top prizes in competitions.
A light soprano, Dr. Hurley has sung recitals, soloed with numerous orchestras, and performed more than 25 principal operatic roles in the United States and abroad. She has given presentations at ICVT (2017), various NATS chapters, and the Mississippi Music Teachers Association, and authored a chapter in the book So You Want to Sing with Awareness, published in 2020 by Rowman and Littlefield.
Deborah Popham currently serves as the Associate Director of the School of Music at Sam Houston State University, where she is also a member of the vocal area faculty. She has presented her research on both vocal repertoire and voice pedagogy nationally and internationally, including ICVT, NOA, and CMS. Having made her Carnegie Hall debut in a solo recital in 2015, she is a champion of art song and a frequent performer of new works and living composers. She earned a Bachelor of Music degree in voice performance, and two Bachelor of Arts degrees in English and Philosophy from University of Akron. She concluded her studies at Arizona State University, where she earned a Master of Music in Music Theater Performance (Opera) and her Doctor of Musical Arts degree in Voice Performance. Dr. Popham is an NCVS-trained Vocologist.
Marcy McKee received her Doctorate of Musical Arts in 2016 from Arizona State University. She earned her Master of Music and Bachelor of Music from West Texas A&M University. She is the Director of Opera and an Assistant Professor of Voice at Northwestern State University of Louisiana. Dr. McKee has also taught at Bemidji State University, Arizona State University, West Texas A&M University, and Central Arizona College. She has sung throughout the United States, mainly in Texas, Minnesota, California, and New York. Ms. McKee has also sung abroad in Germany and Italy. Most recently, she sang the role of Mercedes in Bizet’s Carmen in Rome.
Dr. McKee is a two-time winner of the North Dakota division of the Metropolitan Opera National Council Auditions. Marcy is a member of National Association of Teachers of Singing, Pi Kappa Lambda music honor society, and Mu Phi Epsilon.
Ms. McKee enjoys helping students create and perform roles for operas and recitals. Marcy’s research interest is in learning styles and how they facilitate a student’s ability to learn.
Dr. William Reber has served as Music Director/Conductor for over 150 productions of operas, musicals and ballets. He is Principal Conductor of the Corpus Christi Ballet (Texas) and Professor Emeritus of Opera and Music Theatre at Arizona State University where he was Artistic Director and Principal Conductor of Lyric Opera Theatre. He has been vocal coach, accompanist, and conductor for the Mittelsächsiches Theater, head of the vocal coaching program for the American Institute of Musical Studies in Graz, Austria and on faculty of German Opera Experience (Freiberg). He is currently Director of Choirs at Mississippi University for Women and on faculty with Spotlight on Opera as conductor/vocal coach.
Former Music Director of Minnesota Opera Studio and conductor for Minnesota Opera, he has been conductor and vocal coach for Altenburger Musiktheater Akademie, Music Advisor to the StaatsOperette Dresden, and Assistant Conductor for Arizona Opera's two productions of Wagner's Ring Cycle.
As collaborative pianist, he has performed in Germany, Austria, Macedonia and throughout the United States. He is pianist/ music director for the annual AIDS Quilt Songbook performances in Phoenix, AZ.
Dr. Reber earned his Doctor of Musical Arts degree in Opera and Conducting at University of Texas Austin under Walter Ducloux.
AIDS Quilt Songbook: A lecture recital
This lecture recital highlights song literature from the AIDS Quilt Songbook, with an emphasis on songs written in the past 25 years. The AIDS Quilt Songbook is an ongoing classical music response to HIV/AIDS. It acts as a musical parallel to the NAMES Project AIDS Memorial Quilt: an international project in which composers, writers, and performers explore through vocal music the complex experiences of living and dying in the age of HIV/AIDS. Now an international project involving many artists and organizers working both separately and together, the AIDS Quilt Songbook was first conceived by American baritone William Parker (1943-1993) in 1992. Parker commissioned the first 18 pieces, written by 18 different composers from the classical, musical theatre, and jazz traditions, that comprise the original Songbook. After the first 18 songs - all written for baritone voice - premiered in New York City in 1992, numerous new songs were added. They include songs for solo voice with piano plus works for various combinations of chamber ensembles, and were written for a wider variety of voice types. Unfortunately, relatively few of the newer songs have been published and no second collection has gathered them all together. Singers wishing to perform Songbook compositions written after 1992 must seek each song individually, and some songs still remain unpublished. As part of this presentation, we will include information about where to purchase the published, yet uncollected songs, or whom to contact to request a score for an unpublished work. Our lecture recital features live performances of several selections from the Songbook, plus a short verbal summary of the AIDS Quilt Songbook in its historical and present-day contexts. Composers who have written for the Songbook include both prominent artists and lesser-known/emerging composers. This recital includes works written within the past ten years by several different composers, including Robert Aldridge, Fred Hersch, Gregg Kallor, and others.
SEMETKO BROOKS Lara
Dr. Lara Semetko-Brooks is a versatile soprano known for her silvery voice and energetic presence on the stage. She has performed with Opera Kansas, Michigan Opera Theatre, Lyric Theatre @ Illinois, The Forum Theatre, Greensboro Light Opera, in such roles as Mabel in Pirates of Penzance, Tytania in A Midsummer Night’s Dream, Eurydice in Orphée Aux Enfers, Clara Johnson in Light in the Piazza, and Lilli Vanessi in Kiss Me, Kate.
Dr. Brooks is highly involved in community outreach, seeking opportunities to introduce, educate, and perform the works of various composers, specifically new American music. Dr. Brooks creates concerts to promote the works and educate the audience on works that are not typical from the standard classical repertoire. She enjoys introducing new audiences into the works of Gwyneth Walker, Lori Laitman, & Libby Larsen and bringing new contemporary operas to life. She is passionate about teaching functional voice and allowing vocalists to explore all styles of music. Her research interests lie in updating educational curriculum to meet the demands of the industry for Vocal Athletes.
As a contemporary voice specialist, Dr. Brooks frequently presents workshops regarding flexible voice technique and cross-training of vocalists. Sessions ranging from “Crossing Genres: A Classical Singer’s Guide to Jazz”, “I’m Not Singing Opera Today”, to “Healthy Belting Techniques for Classical Singers” have been presented at The International Congress of Voice Teachers in Stockholm, Sweden, The National Association of Teachers of Singing, Kansas Music Education Association, Jazz Education Network, SHSU Art Song Festival, and to universities and high schools throughout the Mid and Interior West.
Dr. Brooks is a Lecturer of Voice at The Ohio State University where she teaches Classical, Musical Theatre, and CCM voice as well as the Opera Tech and coaches the vocalists in The OSU Show Band. As an Estill Figure Proficiency teacher, she currently working towards being an Estill Master Trainer. Dr. Brooks hold her Doctor of Musical Arts in Jazz Studies and her Masters in Classical Vocal Performance and Literature from the University of Illinois Urbana-Champaign.
Sweets by Kate – A Supernatural Lesbian Rom-Com Opera at YOUR University!
Musi programs at universities across the globe have the difficult task of finding staged works that meet the needs of their students and their program, including (but not limited to) finding shows that suit their current class of vocalists, the option of smaller casts, availability of instrumentalists and ensembles, entertaining subject matter, appropriately-challenging music, diverse characters that represent the student body and community, and more. You may be running a program that cannot support a full orchestra, or a program with more treble voices than basses. What can you do that is not tired and over-performed and still balance all of these factors into a fruitful educational experience?
This lecture presents one option, the contemporary opera Sweets by Kate by Griffin Candey, to give voice teachers and opera directors globally the tools and knowledge to bring this work to your university. Through discussion of roles, voicing, double casting for smaller programs, the opportunity for genderfluid roles, orchestration options, budgeting for the work, and the option for limited scenery and props, our aim is to show how Sweets by Kate (and works like it) can tick the boxes of your program’s educational needs that many classic works may not.
More than that, we’ll dive into the story itself—an energetic, comedic romp which shows a lesbian couple running an inherited bakery, coming to terms with old family trauma (including a very literal deal with the devil,) and how the peppy 1950’s-era town reacts to the pair and gets swept into the antics that surround their shop. Programming works that show diverse characters with growth, like Sweets by Kate, promotes forward movement in opera and helps reinforce to audiences and casts alike the need for stories that reflect the world that we live in. Works like Sweets not only gives us the opportunity to more authentically represent our students and our audiences, but also helps them recognize that creating and supporting a work like this can make positive strides in a field that desperately needs a more inclusive, more inventive repertoire.
SIMS Loraine
LORAINE SIMS is Edith Killgore Kirkpatrick Professor of Voice, Vocal Studies Division Chair and Vocal Area Coordinator at Louisiana State University. Recent performances include “Comedy in Song: Humorous Art Songs in English” at the 2017 International Congress of Voice Teachers which she also presented at the 2016 National NATS Conference. Professional activities include Voice Masculinization and Voice Feminization: Vocalises for Trans and Gender Expansive Singers for the 2020 NATS Virtual National Conference as well as co-chairing the Plenary Session, The Ethics of a Profession: Diversity and Inclusivity. Previous activities include a pre-conference workshop, “Teaching Outside the Gender Binary: Working with Transgender and Non-Binary Singers” for the 2018 National NATS Conference in Las Vegas as well as two other sessions on this topic. Dr. Sims was invited to present a workshop, “What the Fach? Voice Dysphoria in the Transgender and Genderqueer Singer” for the Voice Foundation’s 2018 Annual Symposium: Care of the Professional Voice in Philadelphia. Other presentations include a session at the national ACDA Conference in Kansas City in 2019, “Honoring and Validating Transgender Singers in a Choral Context II: Healthy Vocal Pedagogy for Transgender Singers”, “Training Transgender Singers for Opera Performance: Gender Bending Beyond the Pants Role” for the 2017 NOA Conference, “Teaching Lucas: A Transgender Student’s Vocal Journey from Soprano to Tenor” at the 2017 ICVT in Stockholm, Sweden, the 2016 National NOA/NATS conference, the 2016 National MTNA Conference and the 2016 National NATS Convention, and “Training the Terrible Tongue!” for the 2014 Chicago NATS Chapter, and the 2012 National NATS Conference. Other presentations include “Using Technology in the Voice Studio” at the 2015 Louisiana NATS Workshop, "Practical Applications for the Spectrogram in the Voice Studio: A Demonstration," at the 2007 CMS/ATMI Conference and the 2007 Southern Regional Conference of NATS. Dr. Sims is a past Southern Regional Governor of NATS and is also a member of NOA and MTNA. She enjoys giving master classes and her students have been winners in national and regional competitions, are singing in regional opera and concert venues, and are teaching in schools and universities in the US and abroad.
Gender Neutral Voice Pedagogy: It’s Not Just for Transgender Singers Anymore
Language, like gender is fluid. Our ideas about voice as it relates to gender may have also changed. For example, in 2019, “Q”, the gender-neutral AI voice assistant was introduced. Yet most of the current vocal pedagogy texts that are used in college classes today still refer to male voices and female voices. Are we simply perpetuating this idea for the next generations of voice teachers? I think we can agree that vocal folds do not have genitalia. I think we can also agree that hormones have a profound effect on vocal folds. However, are we limiting all our students by having gender labels and gender expectations in our pedagogy?
My presentation will offer some ideas to consider about how we need to move toward a more inclusive, gender neutral voice pedagogy for all singers. Though most of my writings and presentations have been aimed toward teaching transgender and non binary singers, I have come to believe that all singers should have teachers who understand the need for creating safe spaces and gender neutral learning environments. As a child, I had a robust chest voice. At some point, I bought into the “fact” that it would be more appropriate for me to use my head voice. So, throughout my high-school years, I sounded like a so called “boy-soprano”. I needed a voice teacher who could listen to my whole voice and not allow me to abandon part of it to fit into a light soprano voice ‘role’ just because of my gender. How can we move beyond this to consider all voices as individuals, whether they belong to cisgender or transgender folx of any age. What vocabulary do we need to adjust to make our teaching truly gender neutral?
To include more voices than my own, I plan to interview several transgender and gender expansive singers and singing professionals for their thoughts on this topic as part of my presentation. Short audio or video clips of these interviews will be included along with examples of ways that voice pedagogy texts could be changed or amplified to adapt to these ideas.
SWITZER Erika, DUNCAN Tyler, GUTH Martha
Baritone Tyler DUNCAN has performed for the Metropolitan Opera, Seiji Ozawa Academy, Spoleto Festival, Tafelmusik, Munich Bach Choir, New York Philharmonic, and the San Francisco Symphony. Tyler’s love of art song has been showcased with Brahms’ Die Schöne Magelone with Erika Switzer for Collaborative Arts Chicago, Schubert at the Wigmore Hall with Graham Johnson, Mahler’s Des Knaben Wunderhorn with Lviv Philharmonic, and he has premiered many new works. Tyler’s recordings include English Songs à la française, Earthquakes and Islands by Andrew Staniland, John Blow’s Venus and Adonis with BEMF, Bach’s Johannes Passion with the PBO, and Handel’s Messiah with the Montreal Symphony. Tyler is currently on faculty at the Longy School of Music.
Juno and Latin Grammy nominated soprano Martha GUTH‘S performance highlights include Wigmore Hall, Lincoln Center, The National Cathedral, St. John Smith Square, The Toronto Symphony Orchestra, The Chicago Philharmonic, Voices of Ascension, and more. Recital partners include Graham Johnson and Erika Switzer. With Erika Switzer, she is co-founder/co-director of Sparks & Wiry Cries, a non-profit dedicated publication, performance, and commission of art song. ‘Sparks’ is the force behind the popular songSLAM’s presented in partnership with organizations and universities and presents its own songSLAM Festival in NYC. Martha is Assistant Professor of Voice at Ithaca College, on faculty and the administrative team at SongFest, in Los Angeles.
Erika SWITZER is an accomplished collaborative pianist who performs regularly in major concert settings around the world, such as New York’s Weill Hall (Carnegie), Frick Collection, and the Kennedy Center. Her performances have been called “precise and lucid” (New York Times), and “intelligent, refined, and captivating” (Le Monde). She has won numerous awards, including best pianist prizes at the Robert Schumann, Hugo Wolf, and Wigmore Hall International Song Competitions. Switzer is a co-founder of the organization Sparks & Wiry Cries, which promotes the advancement and preservation of art song. She serves on the music faculty at Bard College and the Vocal Arts Program of the Bard Conservatory of Music, and holds a doctorate from The Juilliard School.
Authentic Identity in Art Song: Who Are We, Then?
As North American musicians reevaluate identity through a lens of diversity and representation, a perceptible distance between established musical training practices and lived cultural experience is emerging. Typical of performers trained in the late 20th and early 21st centuries, the members of our ensemble (soprano Martha Guth, baritone Tyler Duncan, pianist Erika Switzer) have previously and passionately prioritized European historical styles and repertoires over the expression of our own cultures, but it has gradually become apparent that identity and authenticity in classical music, as in all musics, is central to the sustainability of its future paths.
This recital performance features the works of living Canadian and American composers whose poetic selections mirror our lived experiences as dual citizens of these countries. The 2021 NATS Competition winning song cycle by British Columbian composer Jeffrey Ryan and poet Jan Zwicky, Everything Already Lost, is complemented by songs of Tom Cipullo (New York), Jocelyn Morlock (Manitoba), Roberto Sierra (Puerto Rico), Andrew Staniland (Newfoundland), and Leslie Uyeda (Québec), composer of the nearly titular, “Who is she, then?.”
With the future of art song weighing in the balance, it is our belief that new composition and relevant storytelling is a large part of what will invigorate established audiences and welcome newcomers to the genre while facilitating a deeper understanding of the ways in which celebrated composers of the past have embedded historic lived experiences within their compositional output. Without inclusive programming and hiring, audiences and performers will continue to wrestle with the ever-increasing distance to colonial ideals of expression. We seek for our audiences to understand as much about our cares as Schubert’s friends understood when gathered around his piano.