University of Washington, Seattle, Washington
Doctor of Musical Arts – Choral Conducting, 2016
- Dissertation: The Economic, Aesthetic, and Nonprofit Organization of Professional Vocal Ensembles: Toward a Theory of the Performing Arts
- Major Research Areas: Contemporary Music Aesthetics and Choral Repertoire, Extended Vocal Techniques, Organizational Leadership, Early Music Theory and History
- Primary Mentors: Dr. Geoffrey Boers, Dr. Giselle Wyers, Dr. Stephen Rumph
Master of Music – Choral Conducting, 2011
- Research Interests: Arnold Schoenberg’s vocal music, the music of Steve Reich
- Primary Mentors: Dr. Geoffrey Boers, Dr. Giselle Wyers, Prof. Joyce Guyer
University of Wisconsin, Madison, Wisconsin
Bachelor of Music Education, 2004
- University of Wisconsin teacher certification
- Major Instrument: Trombone
- Primary Mentors: Dr. William Richardson, Dr. Bruce Gladstone, Prof. David Becker
GEORGIA STATE UNIVERSITY
Atlanta, Georgia (2016-present) Visiting Instructor in Choral Music and Music Education
General Description: As visiting instructor, I perform two main roles. First, I provide maternity cover for Dr. Deanna Joseph, Director of Choral Activities. In this role, I work closely with Dr. Joseph to instruct and mentor graduate students in choral conducting, both in their academic progress and in their development as performing and teaching musicians. I oversee the Master Singers, the lab choir which these graduate students conduct in rehearsal and performance. Second, I supervise student teaching experiences throughout Atlanta-area public schools.
Choral Conducting and Performance: The core academic course of the choral conducting degree. I worked with Dr. Joseph to design and implement a syllabus that would complement the work of returning graduate students while offering a sound introduction to the program for new students. Topics covered include advanced conducting and rehearsal techniques, beginning research methods, developing choral tone, working with instruments, and the conductor’s role as musician and scholar.
Master Singers: Georgia State University’s second choir, comprised mostly of music majors and minors. This ensemble acts in part as a lab for the graduate conductors, all of whom share rehearsal responsibilities and conduct the group in performance. Through written and verbal feedback, I act as a guide and mentor for the graduate students, helping them to grow as conductor-teachers, to refine their gesture, improve their musicianship, and develop new and effective rehearsal techniques.
Internship in Music Education: Students enrolled in this course are full-time teacher candidates (student teachers). I work closely with their public school cooperating teachers to guide and mentor these students, who are on the cusp of becoming professional educators. I provide supervision, observation, and evaluation in areas such as lesson and rehearsal planning, conducting, vocal and instrumental techniques, rehearsal comportment and procedures, developing public school music programs, and other general music education. Through this process, I assist teacher candidates to bridge the gap between teacher training and becoming professional educators.
Practicum in Music Education: Students enrolled in this course are part-time teacher candidates (student teachers). I work closely with their public school cooperating teachers to provide foundational experiences in preparation for full-time student teaching. I supervise, observe, and evaluate teacher candidates through their first experiences of teaching portions of class periods, short- and long-term lesson planning, and working with public school students as their music teacher. Through this process, I assist teacher candidates to grow as educators, developing their teaching of music literacy, history, and theory; ensemble skills; and other aspects of the secondary music program.
UNIVERSITY OF WASHINGTON
Seattle, Washington (2008-2012) Assistant Conductor, Teaching Assistant in Choral Music
General Description: As assistant conductor, I worked closely with Director of Choral Activities Dr. Geoffrey Boers to select and conduct repertoire for the University of Washington Chamber Singers, the university’s premier choral ensemble. I also worked closely with Dr. Giselle Wyers as assistant conductor of the Contemporary Vocal Ensemble. I shared responsibility for running rehearsals with and administrating for both groups. As teaching assistant, I was responsible for assisting Drs. Boers and Wyers in teaching Undergraduate and Graduate Conducting, Choral Techniques, and Choral Repertoire, which included teaching in professors’ absence. I assisted in ensemble recruitment, and I helped in hearing and managing choral department auditions. I was additionally responsible for the choral department concert programs and recording student recitals.
Chamber Singers: The premier auditioned ensemble at the University of Washington. I ran sectionals and conducted portions of the choir’s programs on multiple concerts. I led rehearsal in Dr. Boers’s absence. My additional responsibilities included organizing events, preparing promotional materials, and other administrative tasks such as ensemble communication, ordering music, and preparing music packets.
Contemporary Vocal Ensemble: A small, select group of singers that performs twentieth- and twenty-first-century repertoire. I assisted in sectionals and rehearsals, sang with the group, and conducted rehearsals in Dr. Wyers’s absence.
Choral Techniques: A graduate-level class covering rehearsal and educational techniques useful with all ages and types of ensembles. I assisted the professor in preparing the course reader and gathering course materials. I delivered lessons in the professor’s absence, served as a liaison between students and professor, and managed timing and scheduling of student presentations.
Undergraduate Choral Conducting: A beginning conducting class for undergraduates that focuses on developing gestural fluency, interpretive skill, and rehearsal techniques. I assisted in class, frequently offering feedback on students’ progress, and I coached students outside of class. I delivered lectures of my own in addition to being responsible for class in the professor’s absence. Primary Text: Music for Conducting Study by James Jordan et al.
Graduate Choral Conducting: A graduate-level class for experienced conductors in which to hone their gesture, interpretive and score-study skills, and rehearsal techniques. The course also addresses organization, ensemble psyche, and the conductor-ensemble relationship. I was responsible for the weekly scheduling of student conductors. I often provided feedback in class, and taught class in the professor’s absence.
Choral Repertoire: A graduate-level class designed to develop students’ knowledge of repertoire, historical styles, and performance practice. I assisted in gathering course materials, including scores, recordings, and the course reader. I assisted primarily in courses on pre-classical repertoire and twentieth- and twenty-first-century repertoire.
Recital Choir: An auditioned ensemble comprised of mostly undergraduates for which graduate conducting students share responsibility for leading rehearsals and performances. I was responsible for the course syllabus and all grading, for general scheduling and organization, for recording all performances, and for rehearsing the ensemble in the absence of the assigned graduate conductor.
WEST ALLIS CENTRAL HIGH SCHOOL
West Allis, Wisconsin (2005-2007), Director of Bands
General Description: I developed and implemented curriculum for high school-aged musicians that fostered musicianship and musical development based on individual and group ability. I chose repertoire appropriate for the high school musician, taught and rehearsed that repertoire, and conducted it in concerts as well as other public performances. I further prepared students on all wind and percussion instruments for solo and ensemble competition including helping students to choose ability-appropriate repertoire, giving private lessons, and some accompanying. I oversaw the bands’ budget; purchasing of instruments, music, equipment, and supplies; and I repaired and maintained the school’s instruments.
Symphonic Band: West Allis Central’s top, auditioned band comprised primarily of upperclassmen and gifted sophomores. The symphonic band played Grade 3-5 repertoire, and performed as an ensemble approximately four times per year. All students were required to pass performance examinations of major and minor scales and their respective instruments’ state-suggested etude.
Concert Band: West Allis Central’s less-experienced group comprised primarily of underclassmen. The band played Grade 2-3 repertoire, and performed approximately three times per year. All students were required to pass performance examinations of major scales and portions of their respective instruments’ state-suggested etude.
Marching and Athletic Bands: Unauditioned, co-curricular ensembles that performed for athletic and civic events. The bands played arrangements of pop and national repertoire and gave between ten and fifteen performances each school year.
Jazz Ensemble: An unauditioned, extracurricular jazz combo (small ensemble) comprised of students from both of West Allis’s high schools. Students played arrangements of moderate difficulty, studied improvisation, and were offered the opportunity to play a secondary instrument such as bass, piano, or guitar.
Music in Special Education: A class designed to engage students mentally and physically in musical activities, which ranged from games to keep a beat, match pitch, and identify tunes to performance-based activities such as singing, dancing, and playing instruments. Students were accompanied by aides, who assisted as necessary in activities.
WILSON ELEMENTARY SCHOOL
West Allis, Wisconsin (2005-2007), Band Instructor
General Description: I recruited students to play wind and percussion instruments in the Wilson Elementary School Band, and aided them, along with their parents, in selecting an instrument. I taught the beginning basics, including embouchure, fingering, slide technique, stick and mallet technique, and note reading to beginning and returning members of the Wilson Elementary School Band, and directed them as an ensemble in concert.
Other Selected Teaching Experience
Ruislip High School, London, UK (2013), Cover Supervisor and Music Technician
Wenatchee School District Solo and Ensemble, Wenatchee, WA (2010), Adjudicator
Kent School District Solo and Ensemble, Kent, WA (2010), Adjudicator
Bellarmine High School Solo and Ensemble, Tacoma, WA (2010), Adjudicator
Midsummer Musical Retreat, Walla Walla, WA (2009) Vocal Faculty
Madison West High School, Madison, WI (2004) Student Teacher
Spring Harbor Middle School, Madison, WI (2004) Student Teacher
Wheaton Warrenville South High School, Wheaton, IL (2000-2003) Marching Band Staff Member, Staff Arranger, and Drum Major Coach
CONDUCTING AND LEADERSHIP
Atlanta, Georgia (2015-2016), Associate Conductor
CORO is comprised of two choirs: a semi-professional chamber choir and a chorus of talented high school-aged vocalists. As associate conductor, I shared in repertoire planning and preparation for both ensembles, and I facilitated and conducted joint performances. I rehearsed both the high school chorale and semi-professional chorus, offered vocal coaching and general choral instruction, and provided performing editions of early music.
The Riot Ensemble
London, United Kingdom (2014), Guest Conductor
The Riot Ensemble is a chamber ensemble that specializes in contemporary music and is comprised of professional musicians from across London, UK. I worked with the group as guest conductor at various venues in London and at St. John’s College, Cambridge. I coached unconducted works, and I lead recording sessions for the group’s first record, which was released on the Coviello Classics label in 2015. With the exception of Henri Dutilleux’s Les Citations, all of the works I coached and conducted were world premieres by composers from the United Kingdom, Canada, and the United States.
Vespertine Opera Theater
Seattle, Washington (2012-2014), Music Director and Conductor
The Vespertine opera is an independent, professional chamber opera company with whom I worked in a variety of capacities: first as a vocalist in Dido and Aeneas (Purcell), then as music director for a piano-based production of the monodrama La Voix Humaine (Poulenc), and finally as music director and conductor of the chamber opera The Rape of Lucretia (Britten). In the latter two productions I coached all singers and prepared all instrumentalists. I conducted performances of the Britten. In all performances I worked closely with the company’s artistic director to develop musical interpretations in keeping with each production’s artistic vision.
Lacock Early Music Courses
London, United Kingdom (2013), Guest Workshop Leader
The Lacock Early Music Courses have for many years offered participants the opportunity to sing with world-class early music specialists such as Andrew Parrot, Robert Hollingworth, and others. I led a one-day workshop covering repertoire by Thomas Tallis, Christopher Tye, and Jean Mouton for a group of ten participants, all of whom were professional and semi-professional UK-based singers invited by the founding director of the Lacock Courses. During the first part of the workshop, we discussed vocal technique, established a common language and an ensemble sound, and sight-read the music. The second part of the workshop was dedicated to honing and shaping each piece while discussing their respective meanings and histories. The workshop culminated in a final performance.
THE BOX IS EMPTY
Seattle, Washington (2011-2014) Founder, Artistic Director, Conductor
The Box Is Empty was a nonprofit chamber ensemble dedicated to performing new and contemporary music. As artistic director and conductor, I was responsible for establishing a vision for the ensemble. I implemented this vision through programming, choice of repertoire and personnel, and educational outreach. I conducted The Box Is Empty in American and Pacific Northwest premieres of works by composers such as Louis Andriessen, Michel Van Der Aa, David Lang, and Steve Reich, and commissioned works as well. As The Box Is Empty’s founder, I was responsible for the ensemble’s administration, marketing, and public relations.
THE FISHER ENSEMBLE
Seattle, Washington (2008-2011) Music Director, Vocalist, Trombonist
The Fisher Ensemble is an experimental opera company dedicated to performing the works of composer Garrett Fisher. As music director, I planned and conducted all rehearsals and worked with the Stage Director to ensure appropriate musical and dramatic interaction. I collaborated with the Artistic Director and Dramaturge in developing productions and consulted on orchestration. I conducted, sang, and played trombone with the group, depending on what each production required. This work culminated in a tour of the Northeast, with performances in New York, Boston, and Maine.
BLAINE MEMORIAL UNITED METHODIST CHURCH
Seattle, Washington (2008-2012), Music Director
Blaine Memorial UMC has an active music program with adult and children’s choirs and a contemporary praise band. As music director, I was responsible for the spiritual and musical growth of participants in the Blaine Memorial music ministry. I trained the choir in good vocal technique and ensemble singing, selected appropriate repertoire for Sunday morning and special services, and I led various spiritual studies throughout the church year. I also worked with various other instrumental and vocal church ensembles of all ages to ensure a high level of musicianship and participation in services and rehearsals. I oversaw the church organist, and I worked closely with pastors and other worship leaders to plan services and maintain a vision for the music ministry.
Other Selected Performing Experience
Cathedral of St. Philip, Atlanta, GA (2015-present), Staff Singer
Omaha Under the Radar Festival, Omaha NE (2015), Featured Performer
Cantus Ensemble, London, UK (2013-2014), Vocalist and Deputy (Sub) Conductor
Angel Orchestra, London UK (2013), Deputy (Sub) conductor
South London Chamber Concerts, London, UK (2013), Guest Conductor
Linden Baroque Opera, London, UK (2013), Chorus Member
Fulham Camerata, London, UK (2012-2014), Vocalist
Fulham and Hammersmith Choral Society, London, UK (2012-2014), Vocalist and Deputy (Sub) Conductor
Various Freelance Work, London, UK (2012-2014), Conductor and Vocalist
Solaris New Vocal Ensemble, Seattle, WA (October 2011-present) Vocalist
Ruvidolce Brass Quintet, Madison, WI (2002-2005), Trombonist
RECORDINGS, PRESENTATIONS, AND PUBLICATIONS
The Cathedral of St. Philip, American Canticle, Gothic Records, 2017, compact disc. (Author of liner notes)
“Conductors as Gatekeepers: Audiences, Repertoire, and Cultural Economics.” Paper to be presented at the Oxford Conducting Institute Conducting Studies Conference, Oxford, United Kingdom, June 24-26, 2016.
“English Choral Masterworks: A Talk on Music in Milton, Shakespeare, and Auden.” Pre-performance lecture given at the Cathedral of St. Philip, Atlanta, Georgia, May 14, 2016.
The Riot Ensemble, Approaching Dutilleux, Coviello Classics COV 91503, 2015, compact disc. (Conductor)
Chamber Cartel, A Million Acres of Sky, independent release, 2015, compact disc. (Conductor)
Solaris Vocal Ensemble, Floodsongs, Albany Records TROY1468, 2014, compact disc. (Vocalist)
Steve Peters, Lingua Franca, Present Sound Recordings PS1302, 2013, compact disc. (Vocalist)
Review of John Tavener: Choral Ikons by The Choir, James Whitbourn, Conductor, The Choral Journal (June and July 2012), 72-73.
Review of Sechs Motetten nach Worten von Franz Kafka by RIAS Kammerchor, The Choral Journal (September 2010), 77-79.
Review of David Lang: The Little Match Girl Passion by Theatre of Voices and Ars Nova Copenhagen, Paul Hillier Conductor, The Choral Journal (April 2010), 90. (Co-author with Jean-Marie Kent)
SCHOLARSHIPS AND AWARDS
Omaha Under the Radar Festival, Omaha, NE (2015), Selected Performance
Lacock Early Music Courses, London, UK (2013-2014), Choral Scholar
New Dots Contemporary Music Group, London, UK (2013), Call for Scores Selection Panelist
Royal Northern College of Music Conducting Masterclasses, Manchester, UK (2013-2014), Selected Participant
American Choral Directors Association Northwest Masterclass, Seattle, WA (2010), Selected Participant
University of Washington, Seattle, WA (2007-2009), Joan Conlon Scholarship Recipient
University of Wisconsin, Madison, WI (1999-2003), Tuition Scholarship Recipient
American Musicological Society
American Choral Directors Association
National Collegiate Choral Organization
REFERENCES AVAILABLE UPON REQUEST