Construction Focus Section 2

Total Page:16

File Type:pdf, Size:1020Kb

Construction Focus Section 2 The Enterprise F25 April 29, 2019 CONSTRUCTION Overcoming Old Habits Contractors are getting past decades-old process models and bringing construction tech in-house Beyond a set of project drawings fewer change orders. And because of revealing the signifi cant upward trend creasingly, pressure was placed on the created by the design team, there is a this, opportunities abound for those of in-house construction design, the construction team for cost and sched- second set of construction designs that who hold an evolved vision of design market will soon demand widespread ule overrun. As a result, construction are rapidly changing the way commer- coordination, including contractors and adoption. Contractors with solid VDC teams began to use models to coordi- cial building projects are being man- architects already poised to provide in- experience under their belts are well- nate and lay out projects so that build- aged — and it may surprise tegrated VDC services to their positioned to deliver higher-quality ing systems were constructible before some to learn that these com- clients. projects with record speeds. fabricating any systems. Eventually, plementary plans are coming Addressing a Problem How We Got Here top contractors began providing coor- from contractors’ in-house Because contractor tech- In the early 2000s, early versions dination services to effi ciently man- tech experts. nology has rapidly advanced of design software were introduced age the process and act as a liaison Virtual design construc- over the past several years, it which — for the fi rst time — allowed between the construction team and the design team of record (architects and tion (VDC) departments are MARK has outpaced a decades-old buildings to be designed in a true 1:1 the modern builder’s not-so- DECKER process model. At issue are scale in three dimensions. As design engineers), creating some responsibil- secret weapon in the war on veteran decision-makers that workfl ows evolved, better visibility of ity tensions. construction ineffi ciencies, tend to hold on to long-stand- design intent and spatial layout be- By 2012, model usage was nor- and partner roles are beginning to react ing practices and an employment mar- came available and coordination issues malized and effi ciencies were made to the addition of this modern tech. ket that is beginning to fi ll with tech- began to become obvious. Because the that allowed contractors to use the Historically speaking, roles were savvy VDC practitioners. software was fi rst used to replicate the design team’s model to fabricate the kept in completely separate lanes — it Complicating matters even fur- same workfl ows and management prac- building system. But even with a more were architects and engineers who de- ther, contracts and fee structures are tices of the past, it created system-spe- streamlined process, inherent prob- signed and contractors who built. How- not yet routinely adapted to fully real- cifi c, scaled drawings from the model lems arise when contracts, developed ever, with development op- from decades-old practices, portunities and construction still separate design from con- pressures at an all-time high, struction. a 2019 survey from the Asso- Going 3D in a 2D World ciated General Contractors of Currently, contractors are still America (AGC) and the FMI seeing mechanical engineer- Corp. shows an accelerating ing plans and subcontractor trend toward contractors han- shop drawings submitted in dling and overseeing certain 2D. To solve this issue with design elements in response minimal budget increase, tech- to the speed and complexity savvy contractors are lean- needed to meet developers’ ing on software that provides expectations. In fact, survey layered markups and custom- numbers reveal that more column features to integrate than 43 percent of contractors the varying levels of informa- are ramping up to perform tion modeling used across a design work in-house — a 5 construction project. In addi- percent increase from 2018 tion to harnessing the power — with another 25 percent of software to handle complex stating they are considering integration and communica- making this change “soon.” tion between multiple stake- Adding Value holders in real time, contrac- The risk-mitigation value tors are using tech to leverage of VDC technology is prov- their own 3D VDC data with ing to be a golden opportunity — aid- ize VDC’s advantages while manag- but referenced other building systems the 2D data provided by their subcon- ing contractors in expediting devel- ing its costs. Currently, design teams as simple 2D overlays. No effort was tractors. opment and fabrication, just as our who don’t account for modern reali- placed on using the tool to better col- This coordination effort allows industry struggles to adapt to tighter ties can hide behind contracts that have laborate and lay out building systems subcontractors to confi dently prefabri- schedules, smaller budgets, higher-tol- not included design-confl ict resolu- which needed to be routed to fi t within cate building systems off-site, result- erance building systems and a shrink- tion. This can give a temporary, false the building’s 3D space. Instead, tradi- ing in quicker installation and safer, ing labor force. More is being done by sense of comfort to owners and pushes tional and uncoordinated 2D drawings less-congested construction sites and fewer people, and at a faster pace than the responsibility of unintended design were produced and the coordination more on-time deliveries. Additionally, ever before — which without VDC, confl icts downstream to contractors to responsibility was passed on to the con- by uploading documents to 2D-3D can result in reduced quality of work. resolve later. struction team as “means and meth- coordination software, construction There are enormous benefi ts as- With owners and builders catch- ods.” teams are able to speed up concrete sociated with VDC’s high-tech tools. ing on to the disadvantages of build- What followed were change orders, work and start rough-ins earlier. VDC’sHale predictive Center infrastructureTheatre in Sandy clash- ing without VDC coordination, such needed to resolve many of the prob- detection consistently produces a issues are likely to be less well-hidden lems inherent to the design — changes see HIGH TECH page F26 higher-quality result with impressively in the future. And with survey numbers that cost the owner time and money. In- F26 · April 29, 2019 · FOCUS: Construction · The Enterprise - Utah's Business Journal HIGH TECH from page F25 The Future: Design-Build More and more, knowledgeable developers and owners are turning to a modern construction solution for effi ciencies and quality known as “design-build.” It’s a process that starts with an updated contract struc- ture which favors the idea that de- sign coordination responsibilities are best managed, for the benefi t of all, by the construction team. This bet- ter allows for the construction budget and schedule to manage the com- plete building process, while experts from both the design and construc- tion worlds are better utilized at the correct time, and coordination issues are addressed when most effi cient for owners. While some contractors may feel like design-build is a forced marriage between the designer and contrac- tor, corporate risk directors believe today’s contractors have little choice but to embrace it. Design-build is here to stay, they say, because own- ers like it. While acknowledging that fact, experts advise owners to look for contractors with high-tech, integrated design experience. “A contractor needs to be a strong leader, and learning that role takes time,” said Kristin Hill, director of educational programs for the Lean Construction Institute. She notes that leading an integrated construction design process demands a culture of commitment and trust that isn’t devel- oped overnight. Additionally, other experts agree that builders should expect their in- house design capabilities to evolve to keep pace with the changing construction environment, and that design-build is an iterative process that will spin unless contractors have the right information that best comes from VDC knowledge and planning. Outlook Because collaboration is fun- damental to the design-build deliv- PRODUCTION-CLASS BULLIES. ery model, it’s not a surprise that the 2019 AGC/FMI survey found com- munication and oversight to be the Our heavy equipment is backed by more than just dealers stocked with tools, parts, and technicians. prime motivators for contractors add- It’s also backed by 24/7 factory tech support, regional parts depots, prioritized case handling, JDLink™ ing in-house design. machine-monitoring technology, and a ReLife Plus program to add extended life to your Deere As construction continues to heat machines. Get your hands on big iron that will handle the biggest of jobs, call us today. up this year, it will become increas- ing obvious that builders who are prepared to lead with integrated tech tools will consistently outperform those still trying to catch the con- struction tech wave sweeping our in- dustry. COLORADO - WYOMING - UTAH - IDAHO Mark Decker is a 12-year design and con- struction veteran who leads Jacobsen Con- 1-800-646-6636 www.Honnen.com struction Co.’s VDC department. His latest area of focus is holistic software that docu- ments best workfl ow coordination. The Enterprise - Utah's Business Journal · FOCUS: Construction · April 29, 2019 · F27 F28 · April 29, 2019 · FOCUS: Construction · The Enterprise - Utah's Business Journal ENGINEERING FIRMS Ranked by Number of Licensed Engineers List Development Laneace Gregersen | [email protected] Company Name Phone Owner/Top Address Web Services Offered Notable Utah Projects 2018 Executive No. UT Licensed No. UT Licensed Engineers No. Graduate Engineers No. of Utah Employees Civil, structural, Ensign Engineering & Land Surveying UVU Performing Arts, Pluralsight Offi ce, Rome LDS Temple, 801-255-0529 surveying, water, 10000 S.
Recommended publications
  • The Development and Management of the Utah Shakespearean Festival: the Bard's Light Shone on Deseret
    UNLV Retrospective Theses & Dissertations 1-1-2002 The development and management of the Utah Shakespearean Festival: The Bard's light shone on Deseret Lawrence Douglas Henley University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Henley, Lawrence Douglas, "The development and management of the Utah Shakespearean Festival: The Bard's light shone on Deseret" (2002). UNLV Retrospective Theses & Dissertations. 1452. http://dx.doi.org/10.25669/r8v4-n6gv This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.
    [Show full text]
  • JENNY LATIMER (AEA) [email protected] Phone Number: (801) 830-1079
    JENNY LATIMER (AEA) [email protected] Phone Number: (801) 830-1079 NATIONAL TOURS/NEW YORK REGION Les Miserables Cosette 25th Anniversary Tour/Laurence Connor Into the Woods Cinderella Baltimore Centre Stage, Mark Lamos Into the Woods Cinderella Westport Playhouse, Mark Lamos Les Miserables Cosette Papermill Playhouse. Laurence Connor She Loves Me Ensemble Westport Country Playhouse/Mark Lamos Thrillionaire’s Long Form Improv Player Various New York City locales REGIONAL THEATRE A Streetcar Named Desire Blanche Granbury Opera House Seven Brides for Seven Brothers Millie Sundance Summer TheatreChris Clark My Fair Lady Eliza Tuacahn Ampitheater/Tim Threlfall Cinderella Cinderella Tuacahn Ampitheatre/David Tinney, The Scarlet Pimpernel* Marguerite Hale Centre West Valley, Bruce Bredeson Lucky Stiff Annabelle Glick Granbury Theatre Comp. Andrew Barrus Phantom Christine Hale Center West Valley, John Sweeny Spitfire Grill Percy Hale Center Theatre, David Morgan Rabbit Hole Izzy Black Box Theater, Chris Clark Much Ado About Nothing Margaret Provo Theatre Company,Chris Clark, The Taming of the Shrew Bianca Hale Center Theatre, Syd Riggs. Slipper and the Rose (National Premiere) Cinderella Hale Center Theatre, Bruce Bredeson, The Fantasticks Luisa Provo Theatre Company, Scott Wells Beauty and the Beast Belle Hale Center Theatre,David Neiman * Deseret News Best Actress 2009 READINGS Venice Willow Public Theater/Eric Rosen Mormon in Chief Girl Matthew Greene Educational Theatre Hamlet** Ophelia BYU/David Morgan Dial M for Murder** Margot
    [Show full text]
  • MEGAN SANBORN JONES Associate Professor Theatre Arts Studies BA Program Coordinator Women’S Studies Affiliate Faculty
    MEGAN SANBORN JONES Associate Professor Theatre Arts Studies BA Program Coordinator Women’s Studies Affiliate Faculty Department of Theatre and Media Arts Brigham Young University D-581 HFAC Provo, UT 84604 801.422.1321 [email protected] EDUCATION University of Minnesota—Twin Cities, Minneapolis, Minnesota Doctorate of Philosophy in Theatre Historiography awarded May 2004 Brigham Young University, Provo, Utah Master’s Degree in Theatre and Media Arts, Directing emphasis awarded August 1997 Bachelor Degree in Theatre Arts awarded December 1995 TEACHING EXPERIENCE COURSES DEVELOPED Great Questions Seminar Brigham Young University 2014-2015 Contemp. Performance Practices Brigham Young University 2008-present Intro to Graduate Studies Brigham Young University 2005-present Great Works Arts Engagement Brigham Young University 2004 Performing Blackness Brigham Young University 2004 Dramatic Perf: Ancient to Today Brigham Young University 2003-present Adv. Theatre Hist/Theory III Brigham Young University 2002-present Adv. Theatre Hist/Theory II Brigham Young University 2002-present Adv. Theatre Hist/Theory I Brigham Young University 2001-present Intro. to Theatre Brigham Young University 2000-2005 Dramatic Literature Brigham Young University 2000-present Beginning Tap Dance Northwest Gyms 1999-2000 Beginning Ballet Dance Northwest Gyms 1999-2000 Beginning Movement for Actors University of Minnesota 1998- 1999 COURSES Introduction to Performance Studies Brigham Young University 2011-present Theatre History (TMA 201-202) Brigham Young University
    [Show full text]
  • Amanda Crabb CURRICULUM VITAE 801-318-6066 | [email protected]
    Amanda Crabb CURRICULUM VITAE 801-318-6066 | [email protected] PROFESSIONAL PROFILE Assistant Professor, Musical Theater Utah Valley University 2015 – Present Adjunct Faculty, Music Dance Theater BFA Program Brigham Young University 2005 – 2015 PROGRAM ADMINISTRATION BFA Musical Theater Head Theater Department, UVU BFA 2015 – Present Performance Coordinator Theater Department, UVU 2015 – 2020 Steering Committee Music Dance Theater Program, BYU 2010 – 2015 Outside-performance Coordination Music Dance Theater Program, BYU 2010 – 2015 Program Admissions Team Music Dance Theater Program, BYU 2010 – 2015 Program Director/Lead Teacher Hale Center Theater Orem 2005 – 2019 Acting I & II, Stage Tech, English Teacher Spanish Fork Junior High School 2000 – 2001 INTERNATIONAL CONSULTING & COACHING Beijing University – 2010 • Designed and implemented 3-week student workshop culminating in performance for the newly formed national musical theater organization Beijing Contemporary Music Academy – 2008 • Trained academy faculty in contemporary and musical theater vocal styles and technique UNIVERSITY TEACHING – CLASSROOM INSTRUCTION 2020 THEA 2156 Group Voice for BFA Majors Utah Valley University An introductory course to healthy contemporary vocal technique and styles including musical theater classical, mix and belt. THEA 3152 Acting for Musical Theater II Utah Valley University A junior level musical scene study course. This course focus on partner connection and storytelling in musicals. THEA 315R Musical Theater Practicum Utah Valley University An in-depth advanced level performance practicum that allows students to play leading roles from the musical theater cannon. 2019 THEA 2156 Group Voice for BFA Majors Utah Valley University An introductory course to healthy contemporary vocal technique and styles including musical theater classical, mix and belt.
    [Show full text]
  • Utah House – District 21 Tooele County 52% Commission – Seat B Clegg Gets Four More 41% 4,479 63% 3,472 6,967 Years on Commission by Tim Gillie Reported $8,835
    FRONT PAGE A1 www.tooeletranscript.com TUESDAY Photos from Downtown Trick-or-Treat See B1 TOOELETRANSCRIPT SPECIAL ELECTION BULLETIN ISSUE November 2, 2010 SERVING TOOELE COUNTY SINCE 1894 VOL. 117 NO. 45 50¢ TOOELE COUNTY COMMISSION HOUSE DISTRICT 21 Gowans era ends Sagers wrests House seat from 18-year legislative veteran by Tim Gillie STAFF WRITER Voters put an end to Jim Gowans’ 18-year run as a member of the state House of Representatives Tuesday night, electing Doug Sagers to fill the seat by a comfort- able margin. Sagers won 52 percent of the vote to Gowans’ 41 per- cent. Constitution Party candidate Jonathan Garrard held 7 percent of the vote. An undetermined number of absentee and provisional ballots remain to be counted. “I feel very grateful for the people of Tooele County that voted for me,” said Sagers. “Jim ran a good campaign and I thank him for his years of service to the county.” Toby Dillon, Tooele County Democratic party chair- man, said that Gowans fell victim to an anti-incumbent and anti-Democrat sentiment among voters. “I think we saw in the election results that many SEE GOWANS PAGE A12 ➤ Maegan Burr Tooele County Commissioner Bruce Clegg looks at results with his wife Janice Tuesday around midnight at their Erda home. Clegg retained his seat on the commission. Utah House – District 21 Tooele County 52% Commission – Seat B Clegg gets four more 41% 4,479 63% 3,472 6,967 years on commission by Tim Gillie reported $8,835. But that wasn’t enough to STAFF WRITER overcome a widespread sentiment among 37% county voters that incumbents nationally Bruce Clegg will get a second term as should be thrown out while local incum- 7% 4,106 county commissioner by winning 63 percent bents should be retained.
    [Show full text]
  • 2016-2017 EDITION Dear Salt Lake Chamber Members
    ANNUAL REPORT 2016-2017 EDITION Dear Salt Lake Chamber Members, This year the Salt Lake Chamber is celebrating its 130 year anniversary! As an organization older than the state of Utah, the Salt Lake Chamber has stood as the voice of business since 1887. Since our inception, the Chamber has been a key driver in efforts to grow the economy and enhance the quality of life in all of Utah. We have shown what’s possible when the business community engages, collaborates, and invests in making Utah the best state to live, work, learn, and play. The spirit of collaboration between the business community, the Governor and our Legislature is as strong as ever. By working hand-in-hand, we saw the successful passage of many of our 2017 key priorities, including regulation reform, education funding and efforts to improve Utah’s air quality. The Chamber also partnered with initiatives like Talent Ready Utah and the 25k Jobs Tour in an effort to develop Utah’s future workforce. The Salt Lake Chamber continues to be a gathering place for business leaders and the community at large. Through our programs, and those of our partners, the Chamber has directly engaged more than 400,000 members and business professionals. The Chamber’s 130th Gala Celebration was a huge success with more than 1,500 people in attendance. During the event, past chairs of the Chamber Board of Governors honored Chamber President and CEO Lane Beattie with the 38th Giant in Our City Award. As a member of the Chamber you have an incredible opportunity to get involved, be part of the conversation, and help create the direction of Utah’s future.
    [Show full text]
  • Introduction
    introduction The purpose of this brochure is to provide infor- “Art is my very, mation to increase access to arts experiences for very, very, very children in the state of Utah. This brochure lists favorite sport.” community resources as well as ideas for increasing – 4th Grader, Daggett arts opportunities in schools. Utah is home to many School District quality arts organizations that enrich our lives by providing experiences that refine our sensitivities, inform our cultural literacy, and define who we are as a community. It is important to join together to increase access to these great resources for all children. page 1 10 lessons the arts teach Compiled from 1. The arts teach children to make good 10 Lessons the Arts judgments about qualitative relationships. Teach by Elliot Eisner, Emeritus Professor of Art and Education at 2. The arts teach children that problems the Stanford University can have more than one solution and School of Education. that questions can have more than one answer. page 2 3. The arts celebrate multiple perspectives. 4. The arts teach how problems can be solved with changing circumstances and opportunities. 5. The arts teach that neither words in their literal form nor numbers exhaust what we can know. 6. The arts teach students that small differences can have large effects. 7. The arts teach students to think through and within a material. “Every child is an 8. The arts help children learn to express what artist. The problem sometimes cannot be said. is how to remain an artist once we 9. The arts enable us to experience the world grow up.” in ways we cannot through any other source.
    [Show full text]
  • UFS NATS Trip Jan 2019
    Upper Floor Studio Natonal Associaton of Teachers of Singing Regional Student Auditons Saturday and Sunday January 18th-19th CSU East Bay Saturday, January 4th, 2020 4-8pm NATS Mock Audition for Participants Opportunity to perform our pieces for each other for feedback and pizza! (I’m also going to hire our accompanist to come and play for us so we get a chance to work with them in advance!) Saturday, January 18, 2020 Meet Neil Townsend in the parking lot of the Safeway on The Alameda. The address is 2605 The Alameda Ave Santa Clara, CA 95050. You MUST be on time. 7:00 am Meet in the Safeway Parking Lot 7:30 am Van is pulling onto the road. We wait for no one! 8:30 am Meet Sheila at CSU East Bay Music Building What to Bring: • One backpack or carry-on sized bag for the weekend • Upper Floor Studio music bag • Black binder with sheet music and lined paper. Please write your full name on the inside cover. • Pen or pencil • Sheet music books or hard copies (We’ll discuss this as the date gets closer but the festival requires that the student shows the book where the photocopy is from or shows proof of purchase with the student’s name on it.) • Reusable bottle of water • Clothes for two days: Something nice to wear for your audition and dinner on Saturday night. You’ll be receiving a UFS sweatshirt for the first day. Bring layers! • Copy of birth certificate • Personal Items (Toothpaste/brush, comb, sunscreen, chapstick, etc) • Any medicine you might need (inhaler, epi pen, aspirin etc.) Optional/At Guardian’s Discretion • Spare lenses or glasses
    [Show full text]
  • Volume 38 (2019)
    SUMMER 2018-SPRING 2019 LOCATION, LOCATION, LOCATION YOUR PRESENCE MAKES A DIFFERENCE NEW BUILDING | MIDTERM ELECTIONS | IN MEMORIUM | CONGRESSIONAL HINCKLEY ALUMNI CONTENTS THE HINCKLEY INSTITUE OF POLITICS 2018-2019 NEWSLETTER 4 DIRECTOR’S MESSAGE 6 NEW BUILDING 8 INTERN PROGRAMS 10 FORUM PROGRAMMING 18 COMMUNITY PARTNERSHIPS 20 ACCOMPLISHMENTS 22 FACTS & FIGURES 24 ALUMNI SPOTLIGHT 26 HIP TALKS 28 IN MEMORIAM 30 HINCKLEY REPORT 32 INTERN PHOTOS 34 INTERN YEARBOOK 42 SCHOLARSHIP RECIPIENTS 49 HOST OFFICE SPOTLIGHT 50 HINCKLEY TEAM 52 OUR FOUNDER 2 3 “The Hinckley Institute of Politics remains wholly committed to serving students – enhancing their educational experiences and preparing them for their careers.” class, students develop critical thinking skills and hone to continue to champion the students of the University their ability to write persuasively as they review and of Utah for decades to come. analyze forums and current events. In the Price Think Tank, students discuss the history and politics of Africa and the Middle Eas t with for mer A mbas sador John Price. Director’s In Capital Encounter, students learn about the levers of power and how to effectively advocate for policies and issues they are passionate about in Washington, DC. Message Regardless of the subject, the level of education our Jason P. Perry students receive has been greatly elevated by our new Director, Hinckley Institute of Politics home in the Gardner Commons building. While we reminisce fondly at the many historic events we held in our space in Orson Spencer Hall, our The Hinckley Institute of Politics moved into our new Hinckley Caucus Room has greatly expanded our new space in the Carolyn and Kem Gardner Commons role as the premier location on campus to host major in the summer of 2018.
    [Show full text]
  • Study Guide Will Help Prepare Your Students to Engage with Live Theatre and Make Connections in Their Own Lives with the Ideas Presented in the Book and Play
    salt lake acting company Study & Play Resource Guide For Students DDeecceemmbbeerr 11--2299 WELCOME TEACHERS! We are excited to welcome you and your students to Piggsylvania for the trial of the century! We are happy that you will be joining us for THE TRUE STORY OF THE 3 LITTLE PIGS and hope this study guide will help prepare your students to engage with live theatre and make connections in their own lives with the ideas presented in the book and play. The book by Jon Scieszka and illustrated by Lane Smith tells the story of the three little pigs from the perspective of Alexander T. Wolf, who is trying to set the story straight on how he came to be known as “big and bad.” In the musical adaptation by Robert Kauzlaric, Paul Gilvary, and William Rush, we see his trial come to life and the audience serves as the jury, deciding at the end of the play if the wolf is innocent or guilty. In this study guide, you will find classroom activities related to the book and play, fun facts about live theatre, and information on the author, playwright, and creative team that is bringing THE TRUE STORY OF THE 3 LITTLE PIGS to life at Salt Lake Acting Company. We’ve also included information on state and national Common Core Standards that can be satisfied by seeing and engaging with this production. We can’t wait to see you and your students! Content created & compiled by Shannon Musgrave, SLAC Associate Artistic Director Designed by Erika Ahlin TABLE OF CONTENTS: Contents ABOUT THE PLAY.....................................................................................3
    [Show full text]
  • Curriculum Vitae
    Brian Manternach, D.Mus. 508 Steep Mountain Drive (574) 386-2973 (c) Draper, UT 84020 [email protected] ------------------------------------------------------------------------------------------------------------ Education: ​ ● Doctor of Music, Indiana University Jacobs School of Music, Bloomington (5/09) Voice Performance and Literature Minor in Music History and Literature GPA: 3.86 (4.0) Vocal study with Dr. Robert Harrison ● Master of Music, University of Wisconsin-Milwaukee (5/99) Vocal Performance Graduate Assistantship in Vocal/Choral Departments Music Scholarship recipient GPA: 3.9 (4.0) Vocal study with Dr. William Lavonis ● B.A. in Music, St. John’s University/College of St. Benedict, MN (5/97) Major in Music with a concentration in Vocal Performance Minor in Theology GPA: 3.6 (4.0) Vocal study with Prof. Scott Dewese and Dr. Carolyn Finley ● NCVS-Trained Vocologist, Summer Vocology Institute, National Center for Voice and Speech, UT (8/19) Completed Blocks I, II, & III ● Certificate of Completion, CCM Vocal Pedagogy Institute, Shenandoah Conservatory, VA (7/16) Completed Sessions I, II, & III Employment: ​ ● Assistant Professor (Clinical), University of Utah, Department of Theatre (1/11-present) Teach Studio Voice (Classical and Music Theatre techniques) to students in the Music Theatre Program and Actor Training Program; Teach Class Voice/Pedagogy/Music Theory to students in the Actor Training Program ● Research Associate, National Center for Voice and Speech, University of Utah (5/19-present) ● Adjunct Professor of Music, Westminster College, UT (8/16-5/17) Taught Studio Voice; Performed in faculty recitals and as featured soloist with college ensembles ● Director of Choral/Vocal Activities, Juan Diego Catholic High School, Draper, UT (8/07-5/13) Fine Arts Department Chair; Director of Concert Choir and Chamber Choir; Music Director/Conductor of musical theatre productions; Taught Intro to Music Theory and AP Music Theory; Music Coordinator for Campus Ministry ● Associate Director of Music/Adult Choir Director, St.
    [Show full text]
  • 508 Steep Mountain Drive Draper, UT 84020 November 30, 2018
    508 Steep Mountain Drive Draper, UT 84020 November 30, 2018 Dear Van L. Lawrence Fellowship Board of Directors: It is with great pleasure that I submit my application for the Van L. Lawrence Fellowship, sponsored by The Voice Foundation and the National Association of Teachers of Singing Foundation. I am a member of the Northern Utah Chapter of NATS in the Cal-Western Region. Current application of scientific knowledge in the studio As an assistant professor in the University of Utah Department of Theatre, I teach both classical and music theater vocal techniques to my students. This necessitates ongoing reading, research, and conference attendance in order to keep up with the latest pedagogical tools for these styles so I can prepare my students for the ever-changing demands of the commercial market. I have been engaging in an ongoing collaboration with the National Center for Voice and Speech, having completed Block 1 and served as faculty for Block 3 of its Summer Vocology Institute. This has led to research projects related to music theater singing that I have presented at conferences, including those held by The Voice Foundation, the Pan American Vocology Association, the Voice and Speech Trainers Association, and NATS. These studies have directly influenced my studio teaching in many ways, specifically by demonstrating applicable uses and benefits of spectrographic analysis and semi-occluded vocal tract exercises. I have previously benefited from the support of the NATS Foundation, having received its Voice Pedagogy Award. With that support, I attended the CCM Vocal Pedagogy Institute, which further enhanced my understanding and application of functional, evidence-based voice training for “non-classical” singing.
    [Show full text]