DOCSLIB.ORG

UFS NATS Trip Jan 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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 • Sunglasses • Cell phone • Mp3 player w/headphones • Makeup (minimal!) • Ear plugs 9:00 am Preliminary Rounds of the Student Auditions begin Meet and watch students from Arizona, New Mexico, California, Nevada, Oregon, and Hawaii!!! 12:00 pm Lunch 2:00 pm Head to Head: Cross-Training for the Professional Singer with Korianne Johnson & Diane Reich Korianne Orton Johnson has been seen all over the United States in theaters such as: National Theatre in Washington, D.C., Hale Center Theatre Sandy, Provo Theater Company, San Diego Convention Center, and has been a featured performer with Starkey Productions in Denver, Colorado. Some of her favorite roles include: "Audrey" in Little Shop of Horrors; "Amneris" in Aida; "Mother" in Ragtime; "Lily" in The Secret Garden; "Frankie" in 110 in the Shade (starring Audra McDonald); "Adelaide" in Guys and Dolls; "Adele" in Die Fledermaus; Yum Yum" in the Mikado; "Millie" in Seven Brides for Seven Brothers; and "Babette" in Beauty and the Beast. Korianne is vocal faculty over contemporary voice at BYU where she teaches group lessons, private lessons and music directs mainstage productions. She received her Bachelors of Fine Arts in Musical Theatre and Masters of Music in Vocal Performance from Brigham Young University. Diane Thueson Reich, soprano, is a Professor of Voice at Brigham Young University where she serves as Division Coordinator for Classical Voice. She has earned doctoral and master’s degrees from Indiana University. Operatic roles include Marguerite in Faust, Anne Trulove in The Rake’s Progress, the title role in Strauss’ Arabella, Nanetta in Falstaff, Mimì in La Bohème, and Pamina in Die Zauberflöte. Diane has appeared with professional symphonies throughout the country; as a featured soloist with Vietnam National Opera, and the St. Petersburg Chamber Philharmonic in Russia; and has sung several concerts throughout Vietnam and China. She has been an Artist-in-Residence at the Conservatorio Statale di Musica in Pescara, Italy; and the National University of Arts Education in Hanoi, Vietnam. Diane has been a multiple Metropolitan Opera Audition winner in both the Utah and Indiana Districts. 3:00 pm Master Class for Musical Theatre and Commercial/ Contemporary Music Singers with Sheila Townsend Yes indeed, your teacher is doing a Musical Theatre masterclass! I (Neil) am including Sheila’s bio despite her vociferous objection! Sheila Townsend earned her Bachelor's of Music in Musical Theatre (MCL) at the esteemed Bass School of Music at Oklahoma City University. After a few years of classroom teaching and music direction, she founded Upper Floor Studio and is grateful every day to teach incredible singers who are also amazing people. From Madison Square Garden to middle school choir, her beloved “Upper Floorians” are taking the world by storm. Ms Townsend was awarded the Joan Frey Boytim and the Leigh Weimers Emerging Artist Awards. In addition to teaching, she performs all over California as a member of Actor’s Equity Association. One critic said that she has “fabulous pipes” (John Orr) and another said the she is “the best singer in the whole wide world.” (Sheila’s Mom) This Spring, Ms. Townsend is excited to be touring North America with the cast of “Llama Llama Live” as Mama Llama. Her favorite roles are “Wife" to Neil Townsend and “Dog- Mom" to Stella the Westie puppy. 4:30 pm 24 Italian Songs & Arias for 21st Century Singer with Judith Cloud, Stephanie Fox, & Magic Voice Studio Judith Cloud is well known for her vocal writing that originates from her own experiences as a performer/teacher. Built on romantic principals, her songs are lyrical and harmonically intriguing. Most notable of her compositions is "Feet of Jesus" (Langston Hughes), recorded by BIS-Northern Lights label. Her songs are “eminently singable, displaying a rich harmonic palate with an audience-entrancing sense of vocal line that is both dramatic and beautiful.” Stephanie Fox is founder and teacher at the Magic Voice Studio in Oro Valley, Arizona. With a solid background in theater, degrees in Voice Performance from California State Fullerton and University of Arizona, she has performed and recorded extensively and has won many accolades including a Grammy award and an award for best supporting actress in a play at the New England Theater conference. 5:30 pm Dinner! 7:30 pm Guest Artist Recital, Dr. Julia Nielsen with collaborative pianist Daniel Lockert As a performer. Ms. Nielsen made her stage debut at age five with the San Francisco Opera in a production of Mozart’s Die Zauberflöte, starring Dame Kiri Te Kanawa, and continues to perform opera, concert, contemporary music, Baroque, and classical cabaret to this day. As the winner of the Center for Contemporary Opera’s international competition, Ms. Nielsen gave her New York debut recital in 2001 at Carnegie Hall in Weill Recital Hall. She debuted the leading role of Rose in the West Coast premiere of Elliott Carter’s opera What’s Next? with the Berkeley Symphony under the baton of Kent Nagano. Throughout California and Oregon, she has appeared in roles such as the Countess in The Marriage of Figaro, Fiordiligi in Così Fan Tutte, Mimì and Musetta in La Bohème, Rosalinde in Die Fledermaus, Romilda in Handel’s Xerxes, Maria in West Side Story, and Yum-Yum in The Mikado with companies such as Festival Opera, Opera San Luis Obispo, Eugene Opera, Oakland Lyric Opera, Pocket Opera, Stockton Opera, Sonoma City Opera, Open Opera, and the San Francisco Opera Guild. Internationally, she has performed with the Rome Festival Opera and the AIMS/Graz Orchestra in Austria. Most recently, she was heard as Musetta in Island City Opera’s production of La Bohème, and she created the title role in the world premiere of the chamber opera The Voyage of Mary Magdalene by Bay Area composer Nancy Bachmann. 9:00 pm Head to the hotel and dream wonderful dreams about students who all practice. (What else do people dream about?!?) Sunday, January 19, 2020 9:00 am Breakfast 10:00 am Leave for NATS 11:00 am Meditation for Singers with Shauna Fallihee / Focus of Attention with Melissa Treinkman 12:00 pm Guest Artist Master Class with Julia Nielsen See bio on Day 1 1:30 pm I'm Scared! Performance Anxiety Strategies with Connie Jensen Constance Jensen holds master's degrees from the University of Utah and California State San Bernardino in Vocal Performance and Choral Conducting. She teaches Voice and Group Voice at Utah Valley University and has also conducted the UVU Concert Choir. As co-founder of VoiceLine, a nine-man a cappella group at UVU, Constance was both Musical Director and Faculty Advisor. Performing and teaching in the Utah County/Salt Lake City area, she regularly sings jazz at The Shops at Riverwoods and has also sung for the City of Orem Arts in the Park Series. Recent classical performances include solo recitals on the Tabernacle Series in Logan, Utah, the role of Magda Sorel in The Consul with UNIPAC, and an Alumni Solo Artist Recital at Cal State. Honors include Vocalist of the Year at Cal State and a nomination for Faculty in Excellence teaching award for UVU’s School of the Arts. 6:00 pm Dinner! 7:30 pm Awards Presentation / Audition Finals 9:00 pm Head back to Santa Clara ~10:00 Arrive back in Santa Clara at Safeway Celebrate Martin Luther King Jr. Day the next day! By sleeping in and doing homework!!! Total Cost for a Participant: $350 (Limited to 15 students) Priority is given to students who are Juniors and Seniors in High School and those who are able to submit in multiple categories. There are no refunds for any reason. Sickness, act of God, missing the bus… We have to put down deposits and with the limited number of students who can attend, there is no way to refund any amount or any reason. If you’re uncertain about the dates or always get swine flu in January, please carefully consider your decision to attend this trip.
Load more

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]
  • 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]
  • Whither Mormon Drama? Look First to a Theatre
    BYU Studies Quarterly Volume 35 Issue 1 Article 4 1-1-1995 Whither Mormon Drama? Look First to a Theatre Eric Samuelsen Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Part of the Mormon Studies Commons, and the Religious Education Commons Recommended Citation Samuelsen, Eric (1995) "Whither Mormon Drama? Look First to a Theatre," BYU Studies Quarterly: Vol. 35 : Iss. 1 , Article 4. Available at: https://scholarsarchive.byu.edu/byusq/vol35/iss1/4 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected]. Samuelsen: Whither Mormon Drama? Look First to a Theatre joseph riddle as hugo huebener and blamebiamesundrud as the interroga- tor the BYU theatre production of thomas F Rogrogerssrogergserss huebener directed by ivan croslindcroslendCroslend 1992 Published by BYU ScholarsArchive, 1995 1 BYU Studies Quarterly, Vol. 35, Iss. 1 [1995], Art. 4 whither mormon drama look first to a theatre we need drama that looks with clear eyes at the mormon world while occasionally seeing beyond to celestial glory but such a drama would require a subsidized theatre to nurture it eric samuelsen the history of latter day saint involvement in the fine and performing arts is long and distinguished while american puritanism was almost unanimous in its rejection of the stage particularly in new england bothjoseph smith and brigham
    [Show full text]