MICHAEL ALAN ANDERSON

[email protected]

ACADEMIC APPOINTMENTS

 Eastman School of Music, University of Rochester o Assistant Professor of Musicology (Fall 2008 - )

EDUCATION

 University of Chicago, Ph.D., History and Theory of Music (2008) o Dissertation: “Symbols of Saints: Theology, Ritual and Kinship in Music for John the Baptist and St. Anne (1175-1563)”

 University of Chicago, M.A., History and Theory of Music (2004)

PEER-REVIEWED PUBLICATIONS

 “Root, Branch, and Flower: Lineage and Fecundity in the Versified Offices for St. Anne,” in Humanity and the Natural World, ed. David Hawkes and Richard Newhauser, Arizona Studies in the Middle Ages and the Renaissance (Brepols, 2012), forthcoming.

 “‘His Name Will Be Called John’: Reception and Symbolism in Obrecht’s Missa de Sancto Johanne Baptista,” Early Music (2011): 547-61.

 “Fire, Foliage, and Fury: Vestiges of Midsummer Ritual in Motets for John the Baptist,” Early Music History 30 (2011): 1-54.

 “Enhancing the Ave Maria in the Ars Antiqua,” Plainsong and Medieval Music 19 (2010): 35-65.

 “The Organization and Complexes of the Q 15 Hymn Cycle.” Studi musicali 35 (2006): 327-62.

OTHER PUBLICATIONS

 Review of Christopher Page, The Christian West and its Singers: The First Thousand Years. New Haven: Yale University Press, 2009, in American Choral Review 53 (2011): 9-11.

 Editor, “Observations on the Music of Obadiah the Proselyte, with Special Attention to the Problem of Clef Identification,” by Royal MacDonald [deceased], in Giovanni-Ovadiah da Oppido: proselito, viaggiatore e musicista dell’età normanna. Acts of the International Convention Oppido Lucano, 28-30 March, 2004, ed. Antonio De Rosa and Mauro Perani (Florence: La Giuntina, 2005), 197-205.

 Contributor to Randi von Ellefson, “An Interview with Ismael Fernandez de la Cuesta.” The Choral Journal 45 (October 2004): 20-26.

AWARDS / HONORS / FELLOWSHIPS / GRANTS  National Endowment for the Humanities, Summer Stipend award (Summer 2011) – for international travel to complete research for the final chapter of a book exploring the politics of devotion to St. Anne in Renaissance music.

 Finalist, Early Music Scholars Competition (2010) – for editorial work in early music. San Francisco, California, April 10, 2010. o Presented by the Chalice Consort, a San Francisco-based ensemble, to foster the discovery of unpublished early music. o The Chalice Consort performed selections from my edition of the Divine Office for St. Anne found in the manuscript Torino, Biblioteca Nazionale MS J.II.9. This performance, under the direction of David Trendell (King’s College, London) took place at the Early Music Mining Conference, a gathering of performers, scholars, students, and enthusiasts of early music to discuss this and other finalists unpublished works. Sponsored by Early Music America. St. Mark’s Lutheran Church, San Francisco.

 Professional Development Grant, Eastman School of Music o October 2011, to defray costs associated with permission to publish images from the Vatican Apostolic Library and the Bridgman Art Library for the article “‘His Name Will Be Called John’: Reception and Symbolism in Obrecht’s Missa de Sancto Johanne Baptista,” which appeared in the journal Early Music in 2011. o March 2011, to present a paper at the annual meeting of the Renaissance Society of America, Montreal, Quebec, Canada, 24-26 March 2011. o July 2010, to present a paper at the Medieval and Renaissance Music Conference, Royal Holloway, University of London, July 5-8, 2010. o March 2010, to present a paper at the Arizona Center for Medieval and Renaissance Studies 16th Annual Interdisciplinary Conference, Arizona State University, February 11- 13, 2010. o May 2009, to present a paper at the Medieval and Renaissance Music Conference, University of Utrecht, The Netherlands, July 1-4, 2009. o March 2009, to present a paper at the Forum on Music and Christian Scholarship, University of Notre Dame, Indiana, February 27-28, 2009.

 Alvin H. Johnson American Musicological Society 50 Dissertation-Year Fellowship – awarded for the academic year 2007-8.

 Mrs. Giles Whiting Foundation Dissertation-Year Fellowship – supplementary to the AMS 50 prize, given by the University of Chicago’s Division of Humanities for the academic year 2007-8.

 Grace Frank Dissertation Grant – awarded by the Medieval Academy of America to advanced graduate students who are writing Ph.D. dissertations on medieval topics, to help defray research expenses.

 American Musicological Society Travel Grant – to defray travel expenses to the national meeting of the AMS in Quebec City, 2007.

 Lowell C. Wadmond Grant – given by the University of Chicago Department of Music in support of projects pertaining to music research (awarded twice, 2006 and 2007)

 François Furet Travel Grant – given by the France Chicago Center of the University of Chicago in support of short-term research travel in France (2007)  Doolittle-Harrison Fellowship Award – given by the University of Chicago Office of Graduate Affairs for a presentation by a doctoral student at an academic conference within or outside the United States (2005)

 Daniel H. Pedtke Memorial Award – for outstanding musical leadership in the University of Notre Dame Men’s Glee Club (1997)

CONFERENCE PAPERS / INVITED PRESENTATIONS / CHAIRED SESSIONS

 “The Role of St. Anne in the Immaculist Identity of Frederick the Wise: Ritual, Image, Music” – paper to be presented at the 19th International Musicological Society 2012 Congress, Rome, July 1-7, 2012.

 “The Politics of Devotion in Music for Marguerite of Navarre” – invited presentation to be given at the Musicology Colloquium of Case Western University, February 3, 2012.

 “Josquin and Musical Patronage” – one time, three-hour Ph.D. seminar taught at Cornell University, October 27, 2011.

 “Anne of Cyprus and an Office for St. Anne: The Politics of Heritage in Music for a Duchess” – paper presented at the Fifty-Seventh Annual Meeting of the Renaissance Society of America, Montreal, Quebec, Canada, 24-26 March 2011.

 “Saints in the Pre-Tridentine Liturgy: Words, Music, and Images” – chaired session at the Fifty- Seventh Annual Meeting of the Renaissance Society of America, Montreal, Quebec, Canada, 24-26 March 2011.

 “Of Widowhood and Maternity: La Rue’s Missa de Sancta Anna” – paper presented at the annual meeting of the American Musicological Society, held jointly with the Society for Music Theory; Indianapolis, Indiana, November 4-7, 2010.

 “Another John: Reception and Meaning in Obrecht’s Missa de Sancto Johanne Baptista,” – paper presented at the Medieval and Renaissance Music Conference, Royal Holloway, University of London, July 5-8, 2010.

 “The Sound of Midsummer” – invited, one-hour talk presented at the Medieval Society of the University of Rochester (April 2010); included a performance from select students at the Eastman School of Music who have previously enrolled in my courses on medieval music. Co-sponsored by the Students' Association, Robbins Library, Community Learning Center, Undergraduate History Council, and the Departments of English, History, Religion and Classics, and Modern Languages and Cultures.

 “Root, Branch and Flower: Lineage and Fecundity in the Versified Offices for St. Anne” – paper presented at the Arizona Center for Medieval and Renaissance Studies 16th Annual Interdisciplinary Conference, Arizona State University, February 11-13, 2010.

 “The Modern Sound of Medieval Robin” – paper presented at the Seventh Biennial Conference of the International Association for Robin Hood Studies, University of Rochester, October 22-25, 2009. Included performance from select graduate students at the Eastman School of Music, who were enrolled in the course on Music in the Middle Ages (MHS 421) in spring 2009.  “The Heritage and Symbolism of the St. Anne Office in Torino, MS J.II.9” – paper presented at the Medieval and Renaissance Music Conference, University of Utrecht, The Netherlands, July 1-4, 2009.

 “Fifteenth-century Source Studies” – chaired session at the Medieval and Renaissance Music Conference, University of Utrecht, The Netherlands, July 1-4, 2009.

 “Musing on Mulierum: Anonymous Chant & Polyphony from a Medieval Spanish Convent” programmed, edited, and directed a short concert with select graduate students to open the Women in Music Festival, Eastman School of Music, March 23, 2009.

 “From Armed Man to Forerunner: Johannine Symbolism in Obrecht’s Missa de Sancto Johanne Baptista” – paper presented at the annual meeting of the Forum on Music and Christian Scholarship, University of Notre Dame, Indiana, February 27-28, 2009 and at the Musicology Colloquium Series at the Eastman School of Music, February 19, 2009.

 “The Tree Does Not Fall far from the Apple: Marianisms in the Versified Offices for St. Anne” – paper presented at the 43rd International Congress on Medieval Studies; Kalamazoo, Michigan, May 8-11, 2008.

 “‘Qui post me venit, ante me factus est’: John the Baptist and the Theological Symbolism of Imitative Counterpoint in Fifteenth and Sixteenth-Century Music” – paper presented at the annual meeting of the American Musicological Society; Quebec City, Canada, November 1-4, 2007.

 “Sun, Fire, and Vitriol: Images of Midsummer Rituals in Thirteenth-Century Motets for John the Baptist” – paper presented at the Medieval and Renaissance Music Conference; Institut für Musikwissenschaft, University of Vienna; August 8-11, 2007.

 “The Canonic Dux as Precursor in a Motet for John the Baptist” – paper presentation at the conference on Canons and Canonic Techniques (14th – 16th century); Katholieke Universiteit; Leuven, Belgium, October 4-6, 2005.

 “The Hymn Complexes of Bologna Q15” – paper presentation at the AMS Midwest Chapter semiannual meeting; National Louis University, Chicago, October 1, 2005.

 “Theology in Monophonic Compositional Design: The Case of Basis Prebens” – paper presentation at the Midwest Graduate Music Consortium; University of Chicago, February 23, 2006.

 “Presenting the Precursor: Music for John the Baptist in the Late Middle Ages” – presentation at the University of Chicago Medieval Workshop; May 19, 2006.

 Radio interview: “Critical Thinking” with WFMT Chicago critic-at-large Andrew Patner; discussion the music of Obadiah the Proselyte, also with guest Norman Golb; aired September 19, 2004 on WFMT 98.7 FM Chicago.

 Pre-concert lecture for the ensemble Sequentia in a program “Songs of a Rhineland Harper”; University of Chicago, February 18, 2005.

 “Senesino in Handel’s Julius Caesar: The Singer as Myth,” presented at the mini-conference “Opera: Myth and History, 1724-1780”; University of Chicago, December 6, 2004.

EDITING AND REVIEWS  Editorial Board member for A History of Western Music, Ninth ed. (W.W. Norton & Co.)

 Editorial Board member for the American Choral Review, a semiannual journal of the organization Chorus America, exploring choral repertoire and issues of performance practice pertaining to music of all periods. (2010- )

 Anonymous reader reports for the Journal of the American Musicological Society and the American Choral Review.

TEACHING EXPERIENCE  “Music and Society: 800-1750”, Eastman School of Music (Springs of 2009-12), ~ 60 undergraduate B.Mus. majors in two sections, stand-alone lecturer with two graduate teaching assistants  “Middle Ages”, Eastman School of Music (Springs of 2009-12), M.Mus. course in Music History, ~15 students  “The Motet before 1360”, Eastman School of Music (Fall 2008), Ph.D. seminar, 7 students  “Nineteenth-Century American Soundscape”, Eastman School of Music (Fall 2010), D.M.A. seminar, 12 students  “Eighteenth-century Musical Borrowing”, Eastman School of Music (Fall 2009), D.M.A. seminar, 13 students  “Musical Borrowing”, Eastman School of Music (Fall 2010), 5 undergraduate majors  “Art Song after Schubert”, Eastman School of Music (Fall 2008), D.M.A. seminar, 11 students  “The Symphony after Beethoven”, Eastman School of Music (Fall 2009), 12 undergraduate majors  “Introduction to Western Art Music”, University of Chicago, (Spring 2006), 21 students; stand- alone lecturer, full responsibilities for course design and grading  Introduction to Western Art Music”, University of Chicago, (Winter 2006), 22 students; stand- alone lecturer, full responsibilities for course design and grading  “Music in Western Civilization”, Teaching Assistant, University of Chicago, (Winter and Spring, 2005) – 50 students with regular 12-student discussion section and occasional full lecture responsibilities

PEDGAGOGY TRAINING (UNIVERSITY LEVEL)  Designed and led workshops on Teaching Portfolios for graduate students and junior faculty o Lecture series Conversations on Classroom Excellence at the University of Rochester (February 2011) o Year One lecture series for New Faculty at the University of Rochester (February 2010) o Eastman Musicology Colloquium (Oct 2009)  Attended teaching workshops through the University of Rochester o Safety in the Learning Community: Blending Care and Caution with Troubled Students (March 2009) o Voices of Distinction: Best Practices in Teaching at the Univ. of Rochester (February 2009) o Conversations on Classroom Excellence (January 2009)  Completed coursework at the University of Chicago’s Center for Teaching and Learning o Workshop: “Lecturing for Learning” (Winter 2008) o Workshop: “How Students Learn” (Autumn 2007) o Individual teaching consultation (Winter 2006) o Seminar on Course Design (Spring 2003) o Seminar and Workshop on Teaching Portfolios (Spring/Summer 2007) o Seminar on Teaching Philosophy Statements (Winter 2007) o Workshop on Teaching at the University of Chicago (Autumn 2003)

GRADUATE STUDENT ADVISING  Advised research for student publications  Alden Snell, “Arthur Farwell’s New York City “Song and Light Festival,” American Choral Review 53, no. 2 (2011): 2-13.  John Allegar, “The Jubilee Songs of 1872 and 1884: Reconciling Reconstruction(s),” American Choral Review 53, no. 1 (2011): 1-8.  Advised research for conference presentations by Ph.D. Musicology students  Alex Stefaniak, “Liszt’s Cantata Paraphrase: Reinterpreting Genre and Narrative in the ‘Weinen, Klagen’ Variations” – presented at the annual meeting of the American Musicological Society; Indianpolis, Indiana, November 4-7, 2010. o Awarded best student paper of the AMS New York State- St. Lawrence Chapter meeting, Ithaca College, April 2010.  Kimberly Hannon, “A Woman’s Songs: Marie de Brabant and the Montpellier Codex” – presented at the 45th International Congress on Medieval Studies; Kalamazoo, Michigan, May 13-16, 2010.  Advised research for lecture-recitals required of Doctor of Musical Arts majors  Laura Jensen, “Composer and Collaborator” (November 2008) – on Samuel Barber’s cello concerto  Meredith Blecha, “Debussy and Nationalism in the Sonata for Cello and Piano (1915)” (April 2009)  Gregory Millar, “Animal Attractions or Music Uncaged” (September 2009) – music by Poulenc and Ravel

TEACHING EXPERIENCE (NON-UNIVERSITY)  Private Voice Instructor: Maine West High School, Des Plaines, IL; (2000-2001) – 12 students (taught individually)  Children’s Choir Teacher: St. Clement School, Chicago, (1999-2000) – 25 students, grades 3-6.  Children’s Choir Teacher: St. Anthony School, South Bend, Indiana; (1997) – 100 students, grades 1-5.

RESEARCH INTERESTS  The saints and Marian devotion in late medieval music  Incl. John the Baptist, Anne, Three Marys, Mary Magdalene, Andrew  The late medieval versified office: music and transmission  Immaculate Conception and Nativity of Mary  Books of Hours  Theology, symbolism, popular ritual, and exegesis in the early motet  Torino, Biblioteca Nazionale MS J.II.9  The Palatini partbooks  The Jena Choirbooks  Bologna, MS Q15  Intermingling of ‘sacred’ and ‘secular’ in pre-modern music  The Early Music revival in the United States  Editing early music

PROFESSIONAL MEMBERSHIPS

 American Musicological Society (since 2001)  American Musicological Society, New York State- St. Lawrence Chapter (since 2009)  American Musicological Society, Midwest Chapter (2002-2008)  Renaissance Society of America (since 2009)  Medieval Academy of America (since 2003)  Hagiography Society (since 2005)  Chorus America (since 2010)  Early Music America (since 2004)  Early Music Chicago (since 2005) o Educational Outreach Committee (2005)  College Music Society (2003-8)  American Choral Directors Association (2003-8)

UNIVERSITY SERVICE  Undergraduate Curriculum Committee: Committee member, Eastman School of Music (school wide, since September 2010)  Co-Coordinator, Eastman Musicology Colloquium Series (Musicology dept., since September 2010)  Teaching Assistant Prize: Committee member, Eastman School of Music (school wide, April 2009)  D.M.A. Admissions Folders Review: Committee member, Eastman School of Music (school wide, 2009-10)  Glenn Watkins Traveling Fellowship: Committee member, Eastman School of Music (Musicology dept., March 2011)  Elsa T. Johnson Fellowship Prize: Committee member, Eastman School of Music (Musicology dept., April 2010)  Alfred Mann Dissertation Prize: Committee member, Eastman School of Music (Musicology dept., September 2009)  Charles Warren Fox Prize: Committee member, Eastman School of Music (Musicology dept., April 2009)  Musicology General Qualifying Exam: Committee member, Eastman School of Music (Musicology dept., September 2009)  Foreign Language Exam: Committee member, Eastman School of Music (Musicology dept., Sept 2008—)  DMA oral exam: Committee member (2-3 per semester), Eastman School of Music (school wide, November 2008— )

VOLUNTEER SERVICE  Member, Humanities Advisory Board for the international documentary project Sounds of Faith (Dec 2009 - )  Invited panelist for a think-tank of church musicians for improving the Master of Sacred Music program at the University of Notre Dame (January 2011)  Invited lecture and workshop on plainchant, Eastman Catholic Newman Community (April 2011)  Invited lecture on plainchant, Blessed Kateri Tekakwitha Parish (May 2012)  Volunteer, Girl Scouts of America (Troop 60570) (December 2010 - )  Member, Liturgy and Music Committee of the Irondequoit Catholic Churches (May 2010- February 2011)  Coach, Irondequoit Soccer Club, kindergarten and first grade level (September 2011)  Participant, George Eastman Day of Service (August 2010 and August 2011)

CONDUCTING EXPERIENCE Schola Antiqua of Chicago, Artistic Director, (April 2008 – ) Founding Member (August 2000 – ) o Co-founded the ten-voice professional ensemble dedicated to the study and performance of Gregorian chant and early polyphonic music o Recipient of grants from the Illinois Arts Council and the Elizabeth F. Cheney Foundation to support October 2011 performances of music by Josquin des Prez. o Received special invitations for concerts at the Indianapolis Early Music Festival, Chicago’s Newberry Library, Chicago Cultural Center, the University of Chicago, the University of Notre Dame, and the American Guild of Organists 2006 convention o Artist Residencies  Negotiated artistic residency at the Lumen Christi Institute (2009- ). Sponsorship includes an annual slate of performances, workshops, and lecture-demonstrations. Grants to support the residency were awarded in 2011 by the Sage Foundation.  Named Artists-in-Residence at the University of Chicago for academic year 2006-7. Sponsored by the Department of Music and Rockefeller Memorial Chapel, the ensemble—occasionally under my direction—presented concerts, workshops, and demonstrations in classes and seminars o Recordings  Produced and wrote liner notes for the independent release of the CD The Kings of Tharsis: Medieval and Renaissance Music for Epiphany (Discantus Recordings, October 2011); includes first recordings of works by Leonin, Du Fay, Sheppard, Victoria, and Guerrero.  Produced and wrote liner notes for the independent release of the CD West Meets East: Sacred Music of the Torino Codex (Discantus Recordings, October 2010); includes first recordings of music from the first half of this important fifteenth-century manuscript.  Produced and wrote liner notes for the independent release of the CD Long Joy Brief Languor (Discantus Recordings, May 2009); features the only known recording of one of the earliest English cyclic masses Missa Quem malignus spiritus.  Recorded the accompanying CD for Theodore Karp, Introduction to the Post-Tridentine Mass Proper, 1590-1890. Middleton, Wisconsin: American Institute of Musicology, 2005.  Recorded the accompanying CD for Calvin M. Bower’s forthcoming book on the history of the medieval sequence from the University of Notre Dame Press. o Performances  Programmed, edited, and conducted the concert series “Music of the Hours,” a program of surveying the visual art of the late-medieval Books of Hours, with music inspired by these devotional manuals. Presented with special guest Roger S. Wieck (Morgan Library); sponsored by the Lumen Christi Institute at the University of Chicago (April 2012).  Programmed, edited, and conducted the concert series “Josquin: Master of the Notes,” a program of music focused on the sacred music of Josquin des Prez; sponsored by the Lumen Christi Institute at the University of Chicago and grants from the Elizabeth F. Cheney Foundation, the Sage Foundation, and the Illinois Arts Council. (October 2011)  Prepared the choir for “Tomorrow’s Music Today,” a collaboration between Schola Antiqua and two Grammy award-winning ensembles (eighth blackbird and Pacifica Quartet) in the premiere of Litany of the Sacred Heart by Chicago-based composer Jacob Bancks. Sponsored by University of Chicago Presents Contempo series (May 22, 2011) and Lumen Christi Institute; program directed by Cliff Colnot.  Programmed, edited, and conducted a concert of medieval and Renaissance music (presented twice) of music for Epiphany entitled “Follow the Star: Medieval and Renaissance Music for Epiphany”; sponsored by the Lumen Christi Institute at the University of Chicago (January 2011)  Programmed, edited, and conducted a concert (presented twice) of early fifteenth-century music from the French Lusignan court on the island of Cyprus entitled “West Meets East: Fifteenth-century French Sacred Music from Cyprus”; sponsored by the Lumen Christi Institute at the University of Chicago (May 2010)  Programmed, edited, and conducted a concert of fifteenth-century sacred music in a concert entitled “Praying by Number: Measurement and Proportion in Fifteenth-Century Music”; sponsored by the Lumen Christi Institute at the University of Chicago (May 2009) o Invited as guest speaker to deliver a pre-concert lecture to a class of music appreciation students at the University of Chicago.  Programmed, edited, and conducted music of the Roman de Fauvel in a concert entitled “The World Turned Upside Down” performed in conjunction with the Oriana Singers; sponsored by Early Music Chicago (April 2008) o Conducted workshops on plainchant, sponsored by the Lumen Christi Institute in Chicago (February/March 2008) o Featured on special radio program (WFMT 98.7) devoted to early music in Chicago (September 2005) o Anticipated feature in the international documentary project Sounds of Faith.

Rockefeller Memorial Chapel Choir, Assistant Conductor (September 2001 – June 2005) Randi von Ellefson (2001-04) and Constance DeFotis (2004-05), conductors Chicago, Illinois  Prepared the 35-member Rockefeller Memorial Chapel Choir for weekly services as well as, on occasion, the 120-member University Chorus for major performance venues.  Prepared the ensemble for performances at the 2003 national convention of the American Choral Directors Association (Avery Fisher Hall, New York City; February, 2003).

Brent House: Episcopal Campus Ministry, Music Director (September 2005 – June 2006) Chicago, Illinois  Planned music for weekly liturgies during the academic year  Accompany the weekly services and led a small student choir

St. Clement Church, Children’s Choir Director (1998-1999) Chicago, Illinois  Performed annually at six family masses—works by Bach, Beethoven, Fauré  Two hours per week in classroom, with emphasis on sight-reading and vocal technique

Notre Dame Men’s Glee Club, Assistant Conductor (August 1994 – June 1997) Daniel Stowe, Conductor South Bend, Indiana  Conducted the 75-voice all-male chorus in over 100 concerts in 26 states, across Europe, and the Middle East including performances at El Teatro Rojo, Toledo; University of Galway, Ireland; La Iglesia de los Gerónimos, Madrid; and with the Jerusalem Symphony (David Shallon, conductor)  Prepared the Glee Club for two commercial recordings: Music from the Basilica and From the Heart

St. Anthony de Padua Church, Children’s Choir Director (1996—1997) South Bend, Indiana  Prepared select children’s choir for four masses per week  Taught first and second grade once per week in preparation for weekday masses  Accompanist for weekday morning masses

PROFESSIONAL CHORAL EXPERIENCE

Chicago Symphony Chorus, baritone (Spring 1998 – May 2001) Duain Wolfe, conductor o Prepared and performed major works with the Chicago Symphony Orchestra . Janáček: Glagolithic Mass; Pierre Boulez, conductor . Berlioz: Les Troyens Part I; Zubin Mehta, conductor . Verdi: Requiem and Four Sacred Pieces; Daniel Barenboim, conductor . Stravinsky: Symphony of Psalms; Pierre Boulez, conductor . Beethoven: Symphony No. 9 ‘Choral’; Daniel Barenboim (Carnegie Hall, New York) . Schoenberg: Moses und Aron; Pierre Boulez, conductor (Chicago and Berlin) . Brahms: Ein Deutsches Requiem; Daniel Barenboim, conductor (Chicago and Berlin) . Harbison: Four Psalms (premiere); Christoph Eschenbach, conductor . Shostakovich: Symphony No. 13 ‘Babi Yar’; Msistlav Rostropovich, conductor . Bruckner: Mass No. 3, F minor; Daniel Barenboim, conductor . Penderecki: Seven Gates of Jerusalem; with the composer conducting . Schoenberg: Gurrelieder; Christoph Eschenbach, conductor (Ravinia Festival) . Annual Chicago Symphony Holiday Pops concerts; Duain Wolfe, conductor o Master classes with Peter Schreier, Rene Papé, and Bobby McFerrin

Voices, baritone, Rochester, New York William Weinert, conductor o A performance of sixteenth-century polyphony (Josquin, Byrd) with Rochester’s only professional chamber choir (January 2010) o A performance of seasonal holiday music aired on WXXI Radio (December 2010)

Seraphic Fire, baritone (May 2006), Miami, Florida Patrick Dupré Quigley, artistic director o Four performances of the J.S. Bach’s six motets for double chorus (BWV 225-230) in concert with this small professional vocal ensemble, whose members are selected by audition from across the United States.

St. Cecilia Consort, baritone (2003 –), Chicago Andrew Paul Fredel, conductor o Participated in several concerts which included a vocal or choral component to the core repertory arranged for an ensemble of recorders.

Mormon Tabernacle Choir, baritone (August 1996), Salt Lake City, Utah Craig Jessop, conductor o Invited by the conductor to rehearse with the choir as a special one-time guest

Professional church choir experience o St. Peter’s in the Loop, Chicago (Andrew Fredel, choirmaster) o Rockefeller Memorial Chapel, University of Chicago (Randi von Ellefson, director) o St. John Cantius Church, Chicago (Dan Robinson, choirmaster) o St. James Episcopal Church, Chicago (Bruce Barber, choirmaster) o Mount Carmel Church, Chicago (Paul French, choirmaster)

Volunteer choir experience o Schola Cantorum of Christ Church, Rochester (Stephen Kennedy, director) o St. Anne Church, Rochester (Michael Ruhling, director)

PROFESSIONAL SOLO EXPERIENCE o F. Mendelssohn, Te Deum (University Chorus; February, 2005) o Noontime Recital Series, works by Charles Ives and William Coble (Fulton Recital Hall, University of Chicago, November, 2005) o H. Schütz, Magnificat (Rockefeller Memorial Chapel Choir; December, 2003) o J.S. Bach, Magnificat (Rockefeller Memorial Chapel Choir; December, 2002)

GRADUATE COURSEWORK  Seminar: The Manuscript Bologna Q15 (Margaret Bent)  Seminar: Propering the Mass Ordinary (Anne Walters Robertson)  Seminar: Rousseau and Music (Thomas Christensen)  Seminar: Opera, Myth and History: 1724-1780 (Martha Feldman)  Seminar: Verdi’s La Forza del Destino (Philip Gossett)  Seminar: L’Incoronazione di Poppea (Robert Kendrick)  Pro-seminar: The History and Notation of Monophonic Music before 1300 (Calvin M. Bower)  Pro-seminar: The History and Notation of Polyphonic Music before 1300 (Catherine Saucier)  Pro-seminar: The History and Notation of Polyphonic Music from 1300-1450 (Lawrence Earp)  Pro-seminar: Music from 1450-1600 (Robert Kendrick)  Pro-seminar: Topics in Nineteenth-century Music (Berthold Hoeckner)  Pro-seminar: Topics in Twentieth-century Music (Berthold Hoeckner)  Pro-seminar: The History of Music Theory sequence (T. Christensen; L. Zbikowski)  Analysis of Nineteenth-Century Music (Richard Cohn)  Analysis of Twentieth-Century Music (Ian Quinn)  Schenkerian Analysis (Peter Smith)  Seminar: The Concept Album (Travis Jackson)  Europe in the Early Middle Ages (Rachel Fulton)  Introduction to World Music (Philip Bohlman)  Six academic quarters of Graduate Colloquium, a regular lecture series sponsored by the Department of Music

ARTS ADMINISTRATION EXPERIENCE Utah Music Festival, Arts Management Administrator, 1996 Eric Samuels, Artistic Director Salt Lake City, Utah  Managed the preparation and execution of an eight-week, thirty concert season for over 50 renowned professional musicians and students of the Festival  Developed relationships with over 100 local businesses to support the arts festival as participating sponsors.

University of Notre Dame Department of Music Public Relations Director, 1995-1996 South Bend, Indiana  Organized over 40 on-campus performances by faculty, graduate students, and guest artists  Coordinated publicity efforts for each event using radio, print, direct mail, which more than doubled previous concert attendance