The Green Room / April 2015

C o l o r a d o S ta t e Un i v e r s i t y / T H E U N I V E R S I T Y C E N T E R F O R T H E A R T S / V O LU M E 1 / I S S U E 1 / A P R I L 2 0 1 5

h c i v r u G a n n a h Z with

Alumni SPOTLIGHT:

DENNA THOMSEN

Annual Concerto Competition #KCACTF RECAP

WARHOL Wednesday

WELCOME TO

THE GREEN ROOM “Celebrate what you want to see more of.”

— Tom Peters, author of In Search of Excellence, Lessons from America’s Best-Run Companies

Jennifer Clary Jacobs Carrie Care Director of Marketing

Manager of Donors and Alumni Relations

Mike Solo

Publicity and Marketing Manager

Welcome to the first issue of The Green Room, our celebration of the University Center for the Arts at Colorado State University.

Our desire is to produce a comprehensive showcase for behindthe-scenes event details, student and faculty activities, department news, unique workshop and camp listings, alumni successes, donor relationships, and other items of individual interest, which is creatively and responsibly crafted and delivered.

As the first university to achieve a STARS platinum sustainability rating from the Association for the Advancement of Sustainability in Higher Education, we thoroughly researched a cost-effective, green content distribution model, and settled on Issuu, the fastest growing digital publishing platform in the world. We’re joining many other CSU units in hosting online publications through the free consumer app, including Around the Oval, the Parent Guide, Collegian Coupon Book, Athletic Media Guide, and CSU Graduation Guide; many other excellent Colo. organizations also use Issuu including the Colorado Ballet, City of Denver, Colorado Symphony, and the Governor’s Office.

We are also dedicated to creating a visually appealing resource for our students and faculty to share with their family, friends, and colleagues; our hope is that this beautiful magazine will become a treasured souvenir, archiving our time together at Colorado State University. What differentiates The Green Room from our popular, bi-annual UCA Performance and Exhibition Guide is its depth and focus on recent news and upcoming events, rather than the semester-at-a-glance approach. However, look for a digital version of the guide, and other UCA publications, online as well.

We are never short on news coming out of the UCA, and are thrilled to announce that after an extensive search, Dr. Daniel Goble will join us in July as the director of the School of Music, Theatre and Dance. Dr. Goble, who grew up in Casper, Wyo., has spent most of his career to date at Western Connecticut State University where he served for the past four years as the dean of the School of Visual and Performing Arts. Look for a feature story about Dr. Goble – including details about his Nov. saxophone recital – in our “full launch” Aug. issue, which will have increased interactivity and integrated media.

We hope as you virtually turn the pages of The Green Room you’ll enjoy, subscribe (for free), and follow along! Thank you to our department leaders who have supported the launch of this new story-telling solution.

Sincerely, Your UCA Marketing Team

THIS IS YOUR UCA

TABLE OF TICKETS Online Sales: CSUArtsTickets.com Ticket Office: Griffin Lobby, University Center for the Arts (UCA) Spring 2015 Ticket Office Hours: M–F, 3:30–5:30 p.m., and 60 minutes prior to performances Information: (970) 491-ARTS (2787) / Email: CSUArts@colostate.edu Group rate: 15% off on ten or more tickets, applied at the time of purchase Tickets may be purchased, both online and at the UCA Ticket Office until 30 minutes after curtain. Print-at-home tickets are available online. All tickets are subject to a $1 ticket fee for both online and at-the-door purchases. At-the-door and phone purchases will incur a $3 processing fee per order. Advance ticket purchase is highly recommended to avoid lines and the at-the-door fee.

Purchase Policy: All sales are final. No refunds or exchanges. Seating after the start of any performance is at the discretion of the house manager.

Photography and recording of performances are strictly prohibited. Food and beverages prohibited in all theatres. Parents with disruptive children may be asked to excuse themselves if the performance is disturbed without refund.

CONTENTS Singer of the Year............................................... 04 Annual Concerto Competition......................... 06 Champion an Artist Scholarship Program...... 08 Making Music for Life......................................... 10 Faculty Notes....................................................... 12 The Road to Hobbiton....................................... 14 Alumni Spotlight: Deena Thomsen................. 20 2015 CSU Graduate Student Showcase........ 24 #KCACTF.............................................................. 26 Warhol Wednesday: MFA Thesis Show.......... 30 Class Notes.......................................................... 34 2015 Summer Music Camps............................. 36

Off Stage.............................................................. 42 Carl A. Bimson Humanities Seminar............... 46 Summer Courses................................................ 47

EXECUTIVE EDITOR: JENNIFER CLARY JACOBS ASSISTANT EDITOR, ALUMNI AND DONOR RELATIONS: CARRIE CARE CREATIVE DIRECTOR: MIKE SOLO

SOCIAL MEDIA This is your UCA! Stay connected with the University Center for the Arts by connecting with us on social media.

Facebook: facebook.com/CSU.UCA Instagram: ColoradoStateUniversity_UCA Twitter: @CSUUCA Tumblr: ColoradoStateUCA Youtube: YouTube.com/ColoradoStateUniv Flickr: flickr.com/photos/csulibarts

CONTRIBUTING WRITERS: CARRIE CARE SPENCER GILLARD (UCA INTERN) JENNIFER CLARY JACOBS CHRIS OLSON (UCA INTERN) EMMA SCHENKENBERGER (UCA INTERN) LAUREN SCOTT (UCA INTERN) MIKHAlL TALLEY (UCA INTERN) FOR ADVERTISING PLEASE CONTACT: JENNIFER CLARY JACOBS, director of marketing jennifer.clary@colostate.edu / 970.491.3603

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

Visiting Artists: Hsin-Yu Kao.............................. 38

03

MUSIC

Meet 2015 Singer of the Year, Justin Little

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

You could say Justin Little is not one to plan things out. He did not plan on winning Singer of the Year. In fact, he did not plan on being in the music program at all.

04

Hailing from Colorado Springs, Colo., Little came to Colorado State University as an undeclared major with an interest in computer science, hoping to write books and design video games based on them.

With a few high school musicals and choir experience under his belt, singing was a passion but not necessarily Little’s main focus. Before long, however, his desire for singing became difficult to ignore, and when the choice between taking a choir class and a computer science course presented itself, Little had to decide to give his passion a second look.

“I remember talking to my roommate at the time, asking him what I should do,” Little recalls.

“And I remember him asking me if I loved singing so much, why was it even a question?”

And just like that, Little decided to change his focus to music and within a year was accepted into the competitive Vocal Performance program as a baritone vocalist,where he has since performed as an opera student and a part of the CSU Chamber Choir.

“When he was a freshman, I assigned him a very dramatic piece written by Schumann entitled, der Soldat,” noted his voice professor Dr. John Seesholtz. “Justin and I worked together on the German text and I explained to Justin how intensely emotional this character would have to be.

This is when I first saw Justin truly thrive as an artist. In his first performance of the piece for the class, Justin moved many to tears with his character and singing.”

Entering into the Singer of the Year competition this year, he went into it the same as he had before: with plenty of practice, with the help of his professor, and prayer.

“I hoped to win,” Little laughs. “But I went into it with no expectations; I try to go into everything very humble.”

So what was Little’s first thought upon winning?

“Oh cool I won!” Little laughs. “To me, winning the competition just means more confidence, and building a reputation for applying for things post-grad. I don’t think of myself as some great artist, I just want to make music.”

True to form, Little is not planning any specific goals for the future, but instead, simply planning on seeing where his talent takes him. He is hoping for a role in the next two operas before his

“I hoped to win,” Little laughs. “But I went into it with no expectations; I try to go into everything very humble.”

S E R I E S

C O N C E R T

SHILO STROMAN CSU FACULTY / percussion

CSU FACULTY / saxophone

GRIFFIN CONCERT HALL

7:30 P.M. / APR. 6

graduation in May 2016, and is also auditioning for two New York City Metropolitan Opera competitions, as well as a program with Emerald City Opera this upcoming summer. He also hopes to continue pursuing missionary work, another passion of his, in Norway.

In Little’s words, “I will move wherever I am called to go.”

About CSU’s Singer of the Year Competition This popular annual competition features CSU’s finest undergraduate vocal students competing for awards and scholarships. The awards include the $5,000 top Singer of the Year Award, Charles and Reta Ralph Undergraduate Scholarship, Most Improved Award, and the James McDonald Memorial Scholarship. The awards are based on the students’ vocal

performance and on progress toward their degree. The jury of judges consists of CSU voice area faculty Tiffany Blake, John Seesholtz, Susan Hochmiller, Steven Aguiló-Arbues, and guest adjudicators.

Other awards from this year’s competition included: Charles and Reta Ralph Undergraduate Scholarship: Ingrid Johnson, mezzo-soprano, sophomore, B.A. Vocal Performance Most Improved Award: Annie Schoephoerster, soprano, freshman, B.M. Music Therapy James McDonald Memorial Scholarship: Schyler Vargas, baritone, junior, B.A. Vocal Performance

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

PETER SOMMER

05

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

written by SPENCER GILLARD

06

Ben Justis Emerges as the Winner of the

If you had to sum up Ben Justis in one word, it would have to be variety. The CSU graduate student, earning his Master’s in percussion performance at Colorado State, was recently named the winner of the Annual Concerto Competition after placing in a semi, and then final, round of the competition. As one of the final three, Justis performed a piece in accompaniment with the CSU Sinfonia Orchestra, under the direction of Wes Kenney, in a public performance in Griffin Concert Hall last week.

And it did. Justis beat out fierce competition from the other two finalists, Ji Hye Chung and Julie Park, both also graduates in CSU’s music program.

“The other soloists played so well,” he said. “They definitely gave it their best.”

Justis performed Emmanuel Sejourne’s Concerto for Vibraphone and String Orchestra as his final piece of the competition.

“I was first exposed to [the piece] while playing an accompaniment part for another student’s recital on a version for percussion ensemble.” Justis said. “The beauty, emotions, and technical challenges of the work appealed very strongly to me. The lyricism and jazz vocabulary exhibited in the first movement make it a suave and captivating opening to the concerto.”

The competition meant a lot to Justis who saw the chance to perform and the win as the highlight of his performance career.

As a student of Dr. Eric Hollenbeck, Justis started his collegiate journey as an undergraduate at CSU, earning his Bachelor’s in Music Education in 2013. Though towards the end of his undergraduate years, Justis found what he believes is his true calling.

Justis has composed pieces for a wide range of styles and ensemble sizes including solo instrument, duets and chamber groups, as well as pieces for jazz, orchestra, concert and marching band, and choir. Justis sees his varied style worked relating to why he took up percussion in the first place.

“There are just so many instruments and styles, rhythms, and techniques that it’s impossible to learn them all but I want to learn as many as I can,” he said.

Once finishing his Master’s, Justis looks to continue composing and is contemplating pursuing a Ph.D. in music composition.

The University Center for the Arts at Colorado State University provides an enriched venue in which the study and practice of Art, Dance, Music, and Theatre are nurtured and sustained by building the skills and knowledge needed by future generations of arts professionals to become contributors to the essential vitality of our culture and society.

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

“I was a little nervous,” said Justis, “I worked with a phenomenal accompanist here at the UCA who helped me with the piece, but when it came time to perform it with the actual string orchestra, I was really hoping it would work out well.”

“I started in education, thinking I would teach, but I found that I really enjoyed composition,” he reflected.

07

“Student artists have such passion for their talent and contribute so much to the culture of Colorado State University and our community” Donor commitment is $10,000 per year, for four years, or the donor may choose to endow the scholarship with a one-time gift of $225,000 or a pledge of $45,000 over five years. However a donor chooses to give to the Champion an Artist Program, the impact is immediate and powerful.

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

Alexandra Trosper with Charles and Reta Ralph

08

CHAMPION AN ARTIST SCHOLARSHIP PROGRAM STRENGTHENS THE ARTS AT COLORADO STATE UNIVERSITY The College of Liberal Arts recently launched the new Champion an Artist Scholarship Program, geared toward recruiting and retaining excellent student artists at CSU. The program is unique in the opportunities it provides donors to connect with Champion an Artist Scholarship recipients. With the option to choose student recipients that are involved in the School of Music, Theatre, and Dance or the Department of Art and Art History, donors are granted a peek into the life of a student artist that is pursuing a medium that the donor is passionate about. The connection between the donor and student will be cemented by opportunities to interact with students one-on-one at dress rehearsals, show openings, or at times designated by the donor.

“Student artists have such passion for their talent and contribute so much to the culture of Colorado State University and our community,” said Trumper. “I want students to know how grateful I am for their dedication to their academic work as well as all the time spent in practice, preparation, and performing. This scholarship program will be what takes Colorado State University to another level of excellence in the arts.”

For more information about the Champion an Artist Program, please contact Assistant Director of Development Tonya Malik-Carson at tonya.malik-carson@colostate.edu or (970) 491-3558.

in the Northern Hotel, Old Town Fort Collins

Champion an Artist Scholarship donor Marla Trumper sees her investment in performing and visual arts students as an investment in the community.

“I am honored to have been given the opportunity to help champion an artist at Colorado State University. I’m looking forward to seeing this program grow.

Without a doubt it will impact the lives of students, and I am confident that enriching young talent will make a difference in the overall quality of the arts in our community, which we all have an opportunity to enjoy,” said Trumper.

By pairing meaningful financial aid and support from donors in the community, top arts students who are already at CSU will not only create connections in our community, but will have the ability to share their talents in surrounding arts communities, a spill over affect that strengthens the arts in Northern Colorado. Another impact of the Champion an Artist Scholarship Program will be illustrated in the quality of future arts students who will be attracted to CSU because of a robust financial aid package and the opportunity to connect with arts patrons in a community that values the arts.

Visit our new store

in the Northern Hotel, Old Town Fort Collins

A FINANCIAL MASTERPIECE FOR YOUR WALLET.

FREE UPGRADE TO RAMCARD PLUS!

APPLY TO DAY www.RamCardPlus.com

First National Bank is located in room 272 next to the RamCard Office in the newly remodeled Lory Student Center, (970) 495-9450

PLUS,

an artful combination of your university ID and First National Bank Debit Card, is also your library card, rec center card, Visa Debit Card

­— everything in one card.

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

RamCard

09

ENSEMBLES GET ALL MAJORS MAKING MUSIC – FOR LIFE JENNIFER CLARY JACOBS

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

The concert orchestra, conducted by Leslie Stewart, rehearses at the UCA

10

Last spring, a Colorado State University Concert Band rehearsal, under the direction of Dr. Erik Johnson, was filmed for inclusion in the recently released documentary, Carry the Tune. Initiated by two high school students from Silver Creek High School in Longmont, Colo. and aided by their orchestra teacher Paul Trapkus, this inspirational film explores why so many people stop making music after high school. The Concert Band – a non-auditioned group at CSU – alongside several other universities including MIT, Harvard, Boston University, Rutgers, and CU, provided commentary and footage for this remarkable project.

school music that they can get involved in our music making community at CSU,” said Erik Johnson, assistant professor of music education, and conductor of the Concert Band. “This is a very important mission that we all share.”

According to the film’s website, students entering college “are pulled into paths toward economic growth and are unaware of the many musical opportunities in college and beyond.” The 70-minute professional piece shows “avocational musicians [using their talents] as vehicles for lifelong learning and fulfillment without neglecting their many college and career commitments.” The piece advocates that it is possible to “balance our work with our passions.”

The highly collaborative Concert Orchestra (MU 206) is a passionate ensemble of 30 string players who perform with CSU choral, wind, and percussion students and faculty on exciting and rewarding programs. The ensemble, which is also open to CSU faculty and staff, meets M/F, 1 p.m.–2:30 p.m. Conducted by Leslie Stewart.

At CSU the School of Music, Theatre and Dance is making it possible for more college students to choose to make music for life!

As a land grant university, CSU’s mission has always been to engage students through quality education, and that is exactly the benefit being provided by four non-auditioned instrumental and choral music ensembles on campus.

Did you know that the Concert Band, Concert Orchestra, University Chorus, and Men’s Chorus at CSU are open to all majors on campus and do not require an audition to be a member? Undergraduate and graduate students in these ensembles range from freshman to seniors from biological sciences, business, engineering, computer sciences, English, political science, zoology, and music. Simply register and show up!

“The music professors want to get the message out to the massive number of students at our university who participated in high

The Concert Band (MU 205) is an exciting and dynamic group of over 80 musicians. With high standards achievable by non-music majors, the group performs a variety of quality traditional and contemporary wind and percussion literature. The ensemble meets W/Friday, 4:15–5:45 p.m. Conducted by Erik Johnson.

While both the band and orchestra are non-auditioned groups, students need prior experience to participate (i.e. high school band or previous private study), and once students are registered, chair placement playing tests help create the best possible educational experience. If you don’t have an instrument with you on campus, don’t worry! Many instruments are available for rental.

Choral groups at CSU are also a great choice for staying involved in music. With over 100 singers, the University Chorus is the largest choir on campus. The University Chorus (MU 202) performs a wide variety of music spanning history, culture, and language, including renaissance madrigals, classical works, jazz tunes, world music, spirituals, and contemporary pieces. Rehearsals are T/Th, 5:30–7 p.m. Conducted by Stuart Dameron.

Finally, the Men’s Chorus (MU 201) at CSU performs a wide variety of music including traditional, barbershop, a cappella, vocal jazz, and other popular styles of music. The group rehearses T/Th, 2–3:15 p.m. Conducted by Ryan Olsen.

The positive environment of the Concert Band has provided sophomore Stephanie Lane with many performance opportunities, fantastic memories, and chances to meet new people. “It is incredible that even though we are all studying different majors, we are still united through music and through the hard work we put into it,” she said.

Lane hopes more students will discover reasons to continue in music. “I love band, specially concert band where it’s low-stress and super fun,” she enthused.

Continuing music in college is something I encourage everyone to do!”

Jace Spraker, a senior Food Science Human Nutrition major, found his artistic home in the Men’s Chorus, where the group’s support, friendship, and vocal exercises were integral to his recovery from major

surgery last year. “Everyone in class knows each other’s name, the directors genuinely care about all of the members, and we all teach each other how to be better at what we are trying to achieve. I have yet to come across anything like it in any of my other classes/programs at CSU.”

For Dr. Johnson and the Concert Band, participating in the film was encouraging and solidified the School’s choice to continue offering and building the non-auditioned ensembles. “The film’s message is timely, powerful, and nothing short of profound,” said Johnson after the premier screening which was attended by over 1,000 people. “As an artist and music educator, it has me all fired up about inviting students to join us!”

SCREENING

For more information about the School of Music, Theatre and Dance at Colorado State University visit music.colostate.edu.

April 19, 4 p.m. Griffin Concert Hall

FREE and open to the public

all donations will go to support carrythetune.com

Watch the Carry the Tune trailer and find out more about the nation-wide release at carrythetune.com.

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

11

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

FACULTY NOTES

12

The 2015 College of Liberal Arts Awards

On March 27–28, Dawn Grapes, assistant

development to partner with local schools

recipients from MTD:

professor of music history coordinated

and nonprofit organizations, while gaining

the regional meetings of the American

international teaching and bilingual experi-

Dance Director Jane Slusarski-Harris’s

Musicological Society, the Society for Eth-

ence. The popular camp is in its fifth summer

proposal for one of the two Carl H. Bimson

nomusicology, and the Society for Music

at the University Center for the Arts. KDIA,

Humanities Seminars (Dance Movement

Theory, held concurrently at the Universi-

one of the most innovative theatre programs

Education:

Comprehensive

ty Center for the Arts. This is the first time

in the country, was founded by Jones in 1991

Skills into the K–12 Curriculum) was ap-

in organizational history that any of these

at The Children’s School in La Jolla, Calif.

proved. The week long seminar with uni-

professional music societies have partic-

versity faculty and guest speakers takes

ipated in a conference hosted by CSU.

place June 8–12. Registration required.

Scholars from across the United States

Integrating

presented papers reflecting current re-

In Jan., Music Therapy Professor Michael

Music Education Professor Erik Johnson,

search in music history, music theory, and

Thaut, director of the CSU Center for Bio-

and Music Therapy Professor Blythe La-

cultural music topics.

medical Research in Music (CBRM), re-

Gasse received a Faculty Development

ceived a research grant from the Colorado

Fund Award for Outstanding Research and

Clinical and Translational Science Institute

Creative Activity for their proposal on The

at CU; the grant was received in partnership

Impact of Peer-Assisted Learning on Imita-

Director of Bands Rebecca Phillips was in-

with the Dept. of Neurology at the CU Medi-

tion in Persons with Autism.

ducted into the American Bandmasters As-

cal School in Denver, Colo. CSU will pilot the

sociation (ABA) during the organization’s

study, which begins in April following ap-

81st annual convention held March 3–8

proval for human subject use by the Internal

in Reno, Nev. Phillips was nominated for

Review Board. In persons with Parkinson’s

Associate Director of Bands Richard Frey

membership during the 2014 ABA conven-

disease, magnetic brain wave technology

made a critical edition of Rossini/Sedlak’s

tion through a vote by current ABA mem-

will be used to examine first, how the pulse

Overture to Semiramide that was pre-

bers. Founded in 1929, America’s foremost

rate of metronomic auditory rhythm drives

miered by the Gateway Chamber Ensem-

bandmaster, John Philip Sousa, was instru-

the firing rate of auditory neurons, and sec-

ble at the College Band Directors National

mental in the formation of the association

ond, where and how auditory neurons sub-

Association (CBDNA) annual convention,

and given Honorary Life President honors.

sequently transmit the auditory rhythmic

held March 25–28, in Nashville, Tenn. The

pulses into a rhythmic response of the mo-

classically modeled chamber orchestra of

tor neurons and muscles. Twenty years ago

over 30 musicians includes Austin Peay

a breakthrough discovery at CBRM showed

State University performance faculty, mem-

This spring, Theatre Director Walt Jones re-

that rhythmic cues synchronize movement

bers of the Nashville Symphony, and other

ceived special funding for the CSU music-the-

– especially in walking – helping patients

top professional musicians from around

atre camp Kids Do It All (KDIA) to return to

with more coordinated and faster walking.

the region. Dr. Frey’s research focus is Har-

the Todos Santos Center July 22 through 25,

“This technique is used world-wide in neu-

moniemusik (18th century chamber music

2015. The international research and teach-

rologic rehabilitation, however, the exact

for winds).

ing center in Mexico provides opportunities

brain mechanism for how rhythmic signals

for CSU students majoring in early childhood

are transmitted into the brain, driving the

motor system, is not known yet,” said Thaut.

“We have a chance to find out now.” The grant submission, which ranked 1/116, was said to be: “An exceptionally clever and novel blend of interests and talents of the two lead investigators provides great strength to this proposal.”

Last fall, the Percussion Ensemble, directed by Eric Hollenbeck, won two Global Music Awards: a silver medal in the Instrumental Music Category for their recording of the commissioned piece Rub-a-dub-dubin the Student Category for their recording of Splendid Wood by Jennifer Higdon. The Global Music Awards are “a showcase for original music, unique voices and emerging

FREE SCREENING April 19, 4 p.m. Griffin Concert Hall

artists, from among the world’s most talented artists. Musicians who win Global Music Awards are in select group of the world’s most talented artists.”

U NI V E RS IT Y S YMP HON Y ORCHE S T RA & COMBIN E D CHOIRS Featuring: Tiffany Blake Soprano

John Seesholtz

Baritone

& Wes Kenney

Conductor

Friday, May 1 & Saturday, May 2, 7:30 p.m.

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

DUB by Charlie Griffin; and a bronze medal

GRIFFIN CONCERT HALL, UCA

13

THE

ROAD TO

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

HOBBITON

14

by

Chris Olson Zhanna Gurvich takes us there

and “backstage” again with an in-

depth look at the scenic design for the upcoming performance of the hobbit...

We sat down with set designer, Zhanna Gurvich, and got her story of what The Hobbit is to her, and how the set will bring this classic journey to life on stage.

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

A

theater is a place with a stage, yes, but is also so much more than that. A stage can be anything, even Middle Earth, where a little hobbit goes on a grand journey. How is a single stage able to take on so many different forms? It begins and ends with the set. At Colorado State University, The Hobbit is about to open, and, as with every show at CSU, a new set is born. Long before the actors begin rehearsals, a set designer has been reading the play, drafting and designing an entire world in which the story unfolds

15

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

16

How long have you been designing?

I’m going to say something the neighborhood of 25 years.

What got you into designing?

I’ve always enjoyed theatre, and I’ve always been a part of theatre. In my undergraduate I majored in art– in painting and photography. Then when I started looking for something to do with this degree that I had, I happened to stumble upon an ad for a scenic artist. I applied for that job thinking, ‘well I can paint, I should be able to do this.’ I did that and I enjoyed it, but I realized that what I really wanted to do more was actually create the whole environment and it really kind of brought together two things that I loved to do, which were visual art and theatre, so it was sort of a natural progression.

So right now you are working on CSU’S production of The Hobbit. Would you call yourself a Hobbit or Tolkien fan before this all started?

Absolutely – hugely yes! I saw all the movies and I read The Silmarillion, though I guess I haven’t read all the extra fan fiction that my son has been getting into. But I do have the alternative books by Tolkien’s grandson with the alternative story lines to the The Lord of the Rings trilogy and The Hobbit.

When you heard CSU was doing The Hobbit what were your thoughts? Were you excited?

Roger [also a theatre faculty member] came home and said that they’d selected the season. “We’re doing The Hobbit,” he said. “And you’re designing it, thank you.” [laughter] I said, “Yes – that’s great!”

So tell us a little bit about your set.

It’s on the thrust stage in the University Theatre, and we are going to include a lot of projections. The thrust is a tricky space for projections, actually, because if you set the projection screen anywhere beyond the proscenium (in front of the curtain), then half of the house won’t be able to see it. So it really has to be right there, in the arch. So everything is happening pretty close to the audience, which I think is actually pretty cool. It’s a journey, though – a journey through varied, rugged countryside so we have trees and stone slabs on the floor so the actors have to navigate and crawl up on things.

It’s not fully realistic; it’s going to have some ‘found object’ kind of stuff in it.

Can you expound on what the ‘found object’ concept means and how it will take place?

It’s a journey of discovery, so I feel like hiding little things that might have some pertinence to the play, and journey in general, will be fun. The script is tricky because it’s not quite the epic story that the movies and the books are. It’s got a little more comedy through it, so we are discovering that there might be changes to it. Small ones, but, for example, we don’t want to settle on all the props and everything that’s going to happen just yet. There are going to be tricks that may affect the audience that we’re going to discover in rehearsal and we’ll see what is funny and what makes it interesting.

STATE OF INSPIRATION

Is this set very different from ones you have designed in the past or in line with your previous work?

Can you talk about what materials are used to build the set? Is there a lot of waste?

The slabs utilize recycled MDF, which is like plywood but is more like hard pressed paper, really. We’ve used a lot of it in past shows here. We’ve also used card board to create layers on the slabs to make them look more like slate. All of that came out what would have ended up in the dumpster, [CONTINUED ON PAGE 18]

HELP SUPPORT CSU THEATRE

! e c n e i r e p x E r u o Share Y #CSUTheatre | Twitter @CSUUCA | Instagram @ColoradoStateUniversity_UCA

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

I don’t think, ‘oh this is what I’ve done before, so I want to do something different,’ or at least I try not to do that. Interestingly enough, though, I designed our Cendrillon [Cinderella] last year for the opera, and that set was centered around a big revolving tree, so I did sort of feel that I didn’t want to do the exact same tree idea again. Essentially, it really couldn’t have been the same thing because it’s a different story and the tree has different meanings. They’re both on the dark side, but it’s interesting for me to have two shows in a row that include giant paper mache trees since I don’t think I’ve ever done a paper mache tree before in my life. And who knows, we could use it again in a future show, especially if we continue this high fantasy trend – I’m all about the weird abstract things so it’s actually kind of fun. [laughter]

17

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

18

Conceptual sketches of Smaug the Terrible

so we’re ‘being green.’ The paper mache is mostly newspaper which, again, has all been rescued from ending up in the dumpster. For the glue we are using flour, which is still more of a green material and is non-toxic.

Is the use of these kinds of materials standard in set construction?

No, although there is a movement in the theatre world to try and go toward more green building materials. I have a friend that heads a group of designers on Broadway that are trying to do more recycling. Often times people in theatre tend to be interested in world issues and the environment, so we all feel really guilty when we see $5 million worth of stuff going into a dumpster at the end of a three week show run. It’s tricky because it’s not going to work for everything, but we do our part where we can.

Speaking of workers, how many people are working on this set?

I’m not sure I have an exact answer for that if you count all of our work study students in the department, but we have two full-time professional staff members in the scene shop, two in the paint shop, and there are also electrics and costume shop staff members all working on this show. I have two assistants who, while they don’t assist with actual construction, are the ones who go out and get piles of newspapers for all of the paper mache and things like that. If I had to state a figure, I would say at least 20 to 25 people working on the set and costumes alone.

So what challenges have you faced with this set?

Well, one major challenge is this very uneven floor I’ve mentioned. And we have an actor on stilts, we have a barefoot actor, and we have actors in high heels. So trying to create the set so that it is not overly treacherous for them but at the same

time is interesting and allows for stunt possibilities, like climbing, has been a bit of a challenge.

Do you work alongside the director when it comes to that kind of worry?

In this production, what scene are you most excited for?

I’m actually really excited about the elves attack in Mirkwood. I hope that works out the way I envisioned it when designing the set. That’s the one that has a lot of fight choreography and physical tricks and things, so I’m excited to see how we pull it off. I’m sure it will be fun, and something really cool to see.

Thank you Zhana – it’s great to get a glimpse into your world of designing this production. If our readers have more questions about The Hobbit, how can they learn more?

There’s going to be an open artist talk back with the director, designers, and actors both following the opening night performance and after the first Sunday matinee – two opportunities to chat with all of us!

Zhanna shows her set designs to the students of Polaris as part of CSU Theatre outreach to local schools

THE HOBBIT

by Patricia Gray

Based on the book by J.R.R. Tolkien Nightly: April 23, 24, 25, 26, 30, May 1, 2, 3, 7:30 p.m.

Matinees: April 25, 26, May 2, 3, 2 p.m.

Talk back with the director immediately following the April 23 evening performance and the April 26 matinee performance TICKETS AT WWW.CSUARTSTICKETS.COM

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

Yes, the director, the stage manager, the costume designer, and the set designer (me) always have to collaborate on these issues. The director and I spoke about having an actor on stilts because there’s the whole height situation with humans, wizards, dwarves, and hobbits, and, as we know, they are all different heights. We knew we wanted an actor on stilts, but we also like this stone landscape, so I said I would have an area of the set that is a path around the outside that is more or less even for him to navigate on his stilts. The director then knows that this actor has to walk around on this part of the set, and if he needs to go to any other part of it he’s just going to have to be very careful, maybe using his staff or something to make it work better.

There’s a lot to discuss, and it’s possible that once tried out in rehearsal, we may have to change it even further if it’s something that just doesn’t work for the actor.

19

“I realized

that all the tools that I learned at CSU – the history, the background, the storytelling – while that’s what people often forget about, that’s what has made the difference

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

in my career.

20

”

Carrie Care sits down with CSU DANCE ALUMNA Denna Thomson, ‘07

Twirling around her living room and dancing on the dining room table as a little girl, Denna’s parents soon realized Denna was destined for dance classes at a young age. Continuing her training, along with drill team in high school, Denna had little trouble deciding that she wanted to keep dancing for the rest of her life. Hailing from Omaha, Neb., Denna chose the dance program at CSU for its high credentials and reputation in the area, but going to college wasn’t her first choice.

“I didn’t think I needed it, at first,” she said. “I just wanted to move to L.A. and start dancing – I didn’t think I needed all the academics behind what I did.”

At the insistence of her parents, however, Denna arrived at CSU and soon discovered what a different world she had entered. Taking a myriad of difference dance classes, including modern, interpretive, ballet, and more, Denna recalls that this was a very foreign environment.

“I didn’t necessarily see the need for the academic view of dance at the start,” she remembered. “But my time at CSU taught me the immense value of discipline in technique and the history of this amazing art form. These were the things that ended up making me a successful dancer.”

It wasn’t long into her time at CSU that Denna began to thrive in the dance program.

CSU’s Director of Dance, Jane Slusarski-Harris, remembers, “[d]uring her time at CSU, Denna was always focused, curious, and driven to learn as she developed her unique artistic vision.

I have many fond memories of Denna and her fellow students from that time – they worked hard and laughed a lot.”

Denna graduated in the spring of 2007, after which she did make the move to L.A., where she ended up dancing for Hysterica Dance Co. for five years. During that time she was also dancing more commercially, with such artists as Adam Lambert, Kanye West, and Madonna. Performing with Madonna at the Super Bowl halftime show in 2012, Denna had a clarifying moment in her career.

“I remember learning that as a dancer, I was the artist,” she recalled. “Standing out there on the stage behind someone else, I realized that I wasn’t, and I needed to change that.”

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

A

day in the life of dancer Denna Thomsen? Recently these have included starting her own dance company in Los Angeles, music videos with today’s top performing artists, and a recent stunning performance on Saturday Night Live. While Denna credits much of the foundation for her success to her time at CSU, she wasn’t sure she wanted to even attend college after high school.

21

“DURING HER TIME AT CSU, DENNA WAS ALWAYS FOCUSED, CURIOUS, AND DRIVEN TO LEARN AS SHE DEVELOPED HER UNIQUE ARTISTIC VISION. I HAVE MANY FOND MEMORIES OF DENNA AND HER FELLOW STUDENTS FROM THAT TIME — THEY WORKED HARD AND LAUGHED A LOT.” — Jane Slusarski-Harris

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

Immediately after the performance, backstage at the Super Bowl, Denna phoned friend and future business partner Zak Ryan Schlegel, telling him that their ideas of starting their own company needed to start happening… now.

22

Facing the challenges of starting a new company, Denna knew it would take a lot of hard work, meetings, photos, publicity, team creation, and fundraising to make this dream a reality.

Following up on every detail, they had nearly everything in place for Axiom Dance Theatre to launch its first show, ‘Axiom,’ with nine dancers in a venue close to downtown. Denna and Zak even held a Kickstarter campaign to fund the production. Obtaining a portion of the funds needed leading up to the show, Denna recalls the unique situation that gave them the final push: “I had just finished shooting a video with Shia LaBeof,” she said. “I had told him about our company and that we were fundraising for our first show. He thought that was cool, but didn’t really say much more. The next day Zak called me all excited saying that the campaign had been fully funded last night. I checked the records and Shia had given us the balance to launch our production!”

‘Axiom’ oversold both of its performances, which led to a second production in November 2014. Now, with new concepts and a new cast, the company is in the process of creating its third production.

“There is a fierce joy and determination in Denna,” said Harris. “She continues to break new ground with her visceral and evocative commitment to art, and we hope to bring her to CSU

in the near future to perform, choreograph, and teach. Our students, past and present, would find inspiration in her journey.”

Enjoying this successful career as a dancer and company founder today, Denna’s vision for Axiom Dance Theatre is to keep producing and to develop it as a performing arts school. Axiom’s productions and artistic messages merge acting, dance, and theatrical elements by collaborating and actively involving the imagination of each performer, including intense focus on characters and human interaction.

“We do it because people forgot that the dancer is the artist,” she said. “We once danced as the center of attention for kings and queens, and now we dance in the background for Justin Bieber – I want the world to remember how special we are.”

When asked about her inspiration, Denna recalls an important moment from her time at CSU. While she admits it didn’t necessarily “click” at the time in her dance class, she thinks back to a time in class when CSU professor of dance, ChungFu Chang, stated the importance of creating and telling a story with everything the dancer does.

BEST CSU MEMORY:

Working on the student concerts where we had to do everything – creating the show, choreography, dancing, marketing, lighting – all of it. It gave me the confidence that gives me an edge in my career today.

FAVORITE SPOT ON CAMPUS:

The Oval – such a beautiful place with all the trees!

ENSEMBLES AT CSU:

Fall/Spring Dance Concerts, Student Dance Concerts, Capstone Concerts, Tour Dance Company.

MAJOR INFLUENCES:

Right now I’m really into the Nederlands Dans Theater, Pina Bausch, Ultima Vez, and the Sleep No More show in New York – they’re all very close to what I’m doing right now.

Lamentation Variation 2: The Veil choreographed by Chung-Fu Chang A newly commissioned piece by CSU Dance Professor Chung-Fu Chang premiered by Verb Ballets, which partnered with Martha Graham Dance Company’s Lamenation Variation Project, in Cleveland on Feb. 21, 2015. The project will culminate in 2016 with Verb Ballets’ performance in New York City on a shared program with the Graham Company.

“Lamentation Variation 2: The Veil” was an impassioned duet choreographed

by Chung-Fu Chang and set to music

by Bach. Also somber in tone, the duet, performed by Stephaen Hood and a veiled Kara Madden, captured the emotional struggle of Graham’s solo in outstretched arms and searching body movements.”

— Steve Sucato, Cleveland Plain Dealer

Photo by Bill Naiman

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

“I had no idea what he was talking about at the time,” Denna remembered. “But looking back, I realized that all the tools that I learned at CSU – the history, the background, the storytelling – while that’s what people forget about, that’s what has made the difference in my career.”

ALL ABOUT DENNA

23

by Carrie Care Middle School Outreach Ensemble: Dana Kettlewell, Music Education

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

Recitative: Ben Justis, Music Performance

24

This piece was composed as a commission for a friend’s senior recital at CSU. The principle theme reminded me not just of operatic interludes but the “recitatives” Paul Lansky uses in his piece Threads, as well. This piece was submitted to the 2013 Atlanta Symphony Modern Snare Drum Competition and is dedicated to my friends.

The Middle School Outreach Ensemble (MSOE) is a program designed to further the development of quality music education in Northern Colorado by providing a musical experience for middle school band students and hand-on teaching experience for CSU music education students. Both students and teachers leave the experience with heightened skills, a sense of community, and a perspective on social justice. In the future, the program will expand to include choir and orchestral students. Also, the feedback structure of the program will help to create an evaluation system for current teachers to use in the field.

Singing Intervention for Vocal Skills in Persons with Parkinson’s Disease: Blythe LaGasse, Samantha Hantzepetros, Caleb Crain, and Nicole Wilshusen, Music Therapy

The Importance of Incorporating Jazz into the Elementary Music Education: Eli Cagen, Music Education Songs from the New World: Pablo Romero Ordenana, Music Performance A vocal performance showcasing the musical heritage of the new world, including works from Latin American and influential Spanish composers such as Gerardo Guevara, Carlos Gomes, Victor Carbajo, Astor Piazzolla, Emilio Arrieta, and Federico Moreno Torroba.

fostering a deeper appreciation for a greater spectrum of music, stimulating creativity through improvisation, and exposure to a broader historical and cultural perspective, the discussion can then move more easily into how educators may bring jazz into their classrooms.

The far-reaching positive influences which jazz can have on young people is worthy of attention. Young children are uninhibited emotionally and at an age where improvisation comes very naturally to them – whether it be with the voice, the body, or a simple instrument. If people are able to recognize the deep value of incorporating jazz into general music, which includes

The purpose of this pilot study was to determine feasibility and initial efficacy of an eight-week music therapy group protocol on the vocal quality of individuals with Parkinson’s disease. Nine participants with PD and self-reported vocal difficulties were included in this convenience sample.

Individual participated in a singing group that was focused on vocal volume, articulations, and breath control. Music therapy techniques included Vocal Intonation Therapy, Oral Motor and Respiratory Exercises, and Therapeutic Singing. Results indicated that participants showed no decline in vocal abilities.

On February 25, several Music and LEAP graduate students presented research at CSU’s Graduate Student Showcase. Over 300 CSU graduate students presented research and creative works, including six exhibits from music students in areas of performance, education, and therapy, along with four exhibits from students in the LEAP Master of Arts Leadership & Administration program.

Collection, Transcription, and Categorization of Mexican Singing Games: Gaby Ocadiz Velazquez, Music Education

The Ideological State Apparatus and the Construction of National Memory: Natalie Dollison, LEAP My research explores the publicly funded, ideological narrative told through national monuments and state historical markers. I contend that these sites of national memory create racialized spaces which normalize aggressive military action and white supremacy. My presentation will include an overview of my findings and make con-

An Investigation of the Purpose and Relevance of One-off Events: Garrett Mynatt, LEAP Creating festivals that re-occur increases logistical problems because there is a need to plan for the future and establish a presence that will evolve. Festivals are “an organized series of acts and performances usually in a relatively small area” (Juha IsoAho, 2008). There is no need to have a festival re-occur; there is more opportunity to explore the community that surrounds them in their true nature when they are singular. Focusing on identity, community, ritual festivals, and future festivals will support my thesis.

Passport to Arts Policy, Teaching Civic Engagement in the Arts: Carrie Care, Alexis Harrison, Connor Kealey, Natalie Dollison, and Alina Osika, LEAP This project focuses on fourth and fifth grade public policy and advocacy curriculum in American public schools. Our research revealed that students were learning basic civics, but not a way to apply this knowledge to a particular topic, such as the arts. It also revealed that the important role of the individual citizenship requires an understanding of how the public policy process works and ways citizens can affect government action. Our curriculum directly addresses art and cultural policy and the role of the individual citizen.

Number 5: Nicole Neiderman, LEAP This painting, entitled Number 5, is inspired by interests in social awareness, advocacy, community engagement, and spirituality, a painting by LEAP Graduate Student Nicole Niederman. According to Niederman, the painting takes a Middle Eastern perspective on the Iraqi War.

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

Naranja Dulce, Limón Partido is a cacionero, a lyric book without music which was published during the end of the twentieth century. It included a recording with singing games, lullabies, finger-plays, and rhymes in addition to some historical facts. It is one of the main resources of Mexican folk music. Without these recordings many of the songs would be lost. This research project will collect, transcribe to music notation, and categorize the songs to help in the development of programs of music education based on folksong literature and to enhance the access of Mexican folk literature for music teachers.

nections based on the philosophy of Louis Althusser, in which I will explore how publicly funded national monuments act as an Ideological State Apparatus, and how such rampant, yet insidious ideology affects how the Repressive State Apparatus disciplines people of color in the United States.

25

Theatre Students represent CSU at Regional Kennedy Center Festival in Ellensburg, Wash.

#KCACTF

BY EMMA SCHENKENBERGER

Each year, CSU students participate in the Region 7 Kennedy Center American College Theatre Festival (KCACTF), which brings together student actors and techni-

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 515 1 ,021 0

cians who do exceptional work in their field. This year, the group of 13 CSU students who attended with faculty member Price Johnston traveled to Central Washington University in Ellensburg, Wash.

XX 26

The Kennedy Center American College Theatre Festival is a national theatre program, with over 18,000 participants annually, and, according to the organization’s website, “[KCACTF] has served as a catalyst in improving the quality of college theatre in the United States.”

The KCACTF Region 7 is comprised of nine western states including Alaska, northern Calif., Colo., Idaho, Mont., northern Nev., Ore., Wash., and Wyo. Over 1,000 theatre students from Region 7 convene annually to participate in workshops; attend symposia, colloquies, and professional presentations; work with resident artists; and compete for honors, awards, and scholarships for their creative accomplishments in theatre productions at staged at their schools.

EN TS TO G ET TO D U ST R U O R FO E M TI A “ TH IS IS M EE T ST U D EN TS D AN R TE ET B ER H OT CH KN O W EA W H O AR E FR O M OT H ER U N IV ER SI TI ES M E TH IN G S. ” SA E TH UT O AB E AT N IO SS PA

­— Pr ic e Jo hn st on

CSU had three actors nominated for the Irene Ryan Competition, named for the famous American Actress from the 1950’s. One of these students was senior Ryan Miller, for his leading role in The Night of the Iguana (Spring 2014). Ryan will also play the role of Gandalf in CSU’s upcoming production of The Hobbit (Spring 2015). CSU students also competed in several technical theatre areas, including sound design, stage [CONTINUED ON PAGE 28]

Take an unexpected journey this spring...

N O W P L A Y I N G W W W. C S U A R T S T I C K E T S . C O M

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

by j.r.r. tolkien

27

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

CALLING ALL ACTORS

28

Auditions for Shakespeare’s The Winter’s Tale Colorado State University’s Fall production (December 3-13, 2015) to be directed by Dr. Eric Prince will be held between 6 p.m. and 10 p.m. on Monday and Tuesday evenings April 27 and 28 in the University Center for the Arts on Remington. This notice is to remind all CSU students that, regardless of any subject major or college affiliation, you are eligible to participate and to perform in this wonderful play. Non-traditional students are particularly welcome. If you have acting experience and wish to audition simply visit the UCA and sign up on the audition sheets, posted beside the theatre faculty offices on the second floor, early in April. Or email the director eric.prince@colostate.edu with any questions and your request to be auditioned.

OPEN AUDITIONS: THE WINTER’S TALE

management, properties design, and scenic design. CSU enjoys a history of particularly excelling in the technical competitions at KCACTF, and this year was no exception. Mackenzie Cunningham, a junior theatre major, received a Meritorious Achievement Award for her properties design in A Year with Frog and Toad (Fall 2014). Senior theatre major Alex Billman won Best Sound Design for his work on The Night of the Iguana and will take his design to compete in Washington, D.C. at the national competition in April.

While these competitions are the reason most students from universities across our nine-state region take a week during the school year to travel to another state and attend KCACTF, the festival also offers considerable professional development and networking opportunities for students. Not only are there auditions that give soon-to-graduate actors job opportunities around the country, but also ten-minute play auditions to perform in original student-written plays during the festival. This year, approximately 180 student festival-goers auditioned, and only 20 students were finally chosen to be part of these staged readings – six of which were from Colorado State University.

Full productions that universities mount throughout the year can also apply to be in the running to come and perform for one night at the festival. Three years ago when CSU hosted the KCACTF Region 7 festival, CSU’s original The Kafka Project was chosen to perform. This year, these shows came from Linfield College, University of Wyoming, and Diablo Valley College.

6 –10 p.m. / April 27 & 28 University Center for the Arts

The festival is a time for students from CSU to not only get to know each other better, but also meet students from other universities who are passionate about the same things.

The Winter’s Tale remains one of Shakespeare’s most haunting, disturbing, beautiful, and fantastical of his plays — ­ all of these things. A wonderful production with which to mark a time of festivity, family and community, as well as a time to forge new friendships and experience.

“I got to spend the week with other people who have the same kind of aspirations and dreams that I do, [which] gives me motivation to keep working that much harder on what I do,” senior Chris Olsen wrote of his experience this year. Chris competed in the Irene Ryan Competition and was cast in a 10-minute play.

“I think it made me a better performer and able to advocate for the arts as a whole,” he said. “CSU students really made a big impact at this festival, and next year when it is held in Denver, we will be there and will be all the more ready to have these

#KCACTF

same experiences and even better results in their competitions.” Chris was nominated for his role as the King of Hearts in Alice and Wonderland (Spring 2014) and will be playing Bilbo Baggins in CSU’s upcoming production of The Hobbit.

Year after year, KCACTF allows students opportunities to network, perform, compete, and grow amongst their peers from around the country. Junior theatre major Lauren Scott, who attended the festival for the first time this year, said she “left feeling so proud of all of my hard work, even more passionate for this crazy business and a little less overwhelmed about where I will be going once I graduate.”

The 2016 KCACTF Region 7 conference will be back in Colorado after three years away; this time hosted by the University of Colorado-Denver.

ETTE R B A E M E D A M IT K “ I T H IN O C AT E V D A O T E L B A D N A PERFORMER H O L E” W A S A S T R A E H T R FO Ch ri s Ol so n

Alex Billman (’15) won the Theatrical Design Excellence Award in the Sound Design

REGIONAL AWARDS Alex Billman (’15) won the Theatrical Design Excellence Award in the Sound Design category for his work on the CSU production of The Night of the Iguana. He will attend the national conference in April.

Mackenzie Cunningham (’16) received an Allied Design and Technologies Meritorious Achievement Award for her work on the CSU production of A Year with Frog and Toad.

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

Mackenzie Cunningham (’16) received an Allied Design and Technologies Meritorious Achievement Award

­—

29

30

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

Adriane Byrd, Affect. Acrylic on canvas, 2014

THIS MONTH: MFA THESIS SHOW

l o h r a W y a d s e n d e W

Written by Spencer Gillard

With the size of many of the pieces and the largest number of artist ever featured, this year’s MFA is not something to missed!

Beginning on April 17, ten graduate students in the Visual Arts program will display their pieces in an exhibition through the University Art Museum (UAM). The culmination of three years of work, the artists’ displays come from a diverse background.

This year’s exhibition features the work of Adriane Byrd, Allison Conley, Matthew French, Aaron Frondorf, Kirsten Gunderson, Anthony Guntren, Benjamin Isaiah, Sarah LaBarre, Cei Lambert, and Silvia Minguzzi. The exhibition opens on April 17 and will run through May 18.

“Printers, painters, sculptors, fiber artists, metal smiths, and graphic designers, what we’re seeing is the real breadth of the department,” said Linny Frickman, UAM director.

But it’s not just the wide range of mediums that’s impressive in this year’s show. “We’re really seeing these artists push themselves to a whole new scale,” said Frickman. “Their work is larger than I’ve ever seen for the MFA.” The student’s work is quite stunning, each with its own exceptional flair in design and medium. There is a natural progression of time in each piece too, the exhibition is the final note in a long piece of effort and execution.

Each work carries a narrative of the natural progression of design in many hours, days, weeks, months, and years leading up to this event.

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

When viewing the wide-ranging gallery of the University Art Museum’s annual Master of Fine Arts Exhibition a single word comes to mind: wow.

31

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 1 , 2 0 1 5

32

Allison Conley, Incendent.

Copper etching with drypoint, 2015 (Top Left)

Anthony Gunther, Strands of Memories.

Forged steel, found objects, 2015 (Bottom Left) Matthew French, Untitled.

Mixed media, 2014/15 (Right)

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

33

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

34

Lindsey Goris ’13 B.M. Music, Flute, is currently in her second year of her Masters at the Longy School of Music in Boston, where she is pursuing flute performance and a certificate in teaching artistry , and studies with Marco Granados. Lindsey also performs as a member of In Radiance, a flute quintet that she formed with four other flutists from Longy.

Brandon Arvay ’12 M.M. Performance, Percussion, will graduate in May with a DMA in percussion performance from the University of Kentucky, where he studied with James Campbell.

Chelsea Case ’13 B.A. Theatre, recently accepted a full-time position as a Production Specialist for Walt Disney Imagineering in Glendale, Cali. after completing both College and Professional Internships with them since her graduation.

Amy Coup ’12 B.M. Music, Flute, recently received her certification in Therapeutic Music from the Music for Healing and Transition Program and is currently enrolled in the Masters of Music program at Cincinnati Conservatory of Music.

Brianne Little ’12 M.M. Music, Flute, is a Doctoral Teaching Assistant for the flute studio at James Madison University, studying with Dr. Beth Chandler. She is currently assisting with Dr. Chandler’s sabbatical coverage for spring semester and will have ABD status as of May 2015. At JMU, Brianne also teaches Music in General Cultural and play in the JMU Symphony Orchestra, Wind Ensemble, and the Madison Modern Ensemble.

Heather Stenner ’96 B.M. Music Education, Mezzo-Soprano, recently released a new songbook and CD called Campfire Songs for Modern Kids (Singer’s Edition). The book includes melody lines, lyrics, and guitar chords for 26 fun-tosing songs designed to appeal to a whole new generation of singers.

Mallorie Stringfellow ’14 B.M. Music Education, Clarinet, is currently pursuing a Masters of Music in clarinet performance from Indiana University’s Jacobs School of Music.

Kimberli Render ’13 M.M. Music, Soprano, was a featured artist with the Larimer Chorale this past March in their performance of Rossini’s Stabat Mater.

To submit your Class Note, email Carrie Care at carrie.care@colostate.edu

FRIENDS OF THE UCA Supporting music, theatre, and dance at COLORADO STATE UNIVERSITY Flexible giving levels, benefits, and schedules are designed to fit your gift TODAY! Your support provides opportunities to connect with students and faculty who inspire, teach, and heal at Colorado State University.

Make your gift online today at advancing.colostate.edu/FriendsOfTheUCA or call (970) 491-5891 for more information on how to customize your gift.

Valery Kuleshov, July 19, 7:30 p.m.

Joint Solo Recital: Takako Tokuda and Hsing-ay Hsu, July 20, 7:30 p.m.

Johnandrew Slominski, July 21, 7:30 p.m.

Odyssiad Winners’ Concert, July 22, 7:30 p.m.

Olga Kern and Vladik Kern, July 23, 7:30 p.m. $35 ADULT AND $15 YOUTH | TICKETS AVAILABLE AT: IKOF-SKI.COM

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

INTERNATIONAL KEYBOARD Odyssiad and Festival, U.S.A. Presents

35

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

2015 CSU SU

36

ORGAN WEEK

PRE-COLLEGE PERCUSSION CAMP

LIFT CLARIN ACADEM

Expand (or begin) your organ study with a faculty of prominent organists.

One-to-one instruction, masterclasses, and recitals on the finest pipe organs in Northern Colorado.

Prepare for your college audition through instruction on mallets, timpani, snare drum, and drum set, as well as insight on applications, scholarships, equipment, and student skills.

Unique focus o technical, and a of each particip planning prior to individualized pr ensure a music each student.

Cost: $300–$400; housing/dining options.

Cost: $125; includes lunches; housing not included; private lessons optional.

Cost: $275–$485; housing/dining opti

June 7–12

#CSUMUSIC

June 11–12

June 15–19

Details and Registration » ArtsOutreach.colostate.edu | (9 Location » University Center for the Arts | 1400 Remingto

UMMER MUSIC PROGRAMS

on the musical, artistic goals pant. Through o the academy, rograms cal boost for

ions.

DRUM MAJOR & LEADERSHIP ACADEMY

The high intensity course includes instruction in music composition, arranging and orchestration, notation, music theory, and aural skills.

Participants will compose works for a professional trio.

Emphasizing conducting, peer teaching, and team building skills, the Academy prepares drum majors and section leaders for enhanced roles in their school band program.

Cost: $275–$500; housing/dining options.

Cost: $295–$395; housing/dining options.

June 15–19

970) 491-5529 on St. | Fort Collins, Colo., 80524

June 24–27

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

NET MY

NEW! ARIES COMPOSERS WORKSHOP

37

38

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

SPRING DANCE CONCERT:

Featuring Artist-in-Residence Taipei (AIR Taipei) in Taiwan APRIL 10, 8 P.M. & APRIL 11, 2 P.M. & 8 P.M. As the culminating dance performance of the school year, the Spring Dance Concert features the creativity of dance faculty, students, and special guests in a variety of styles. This semester, in partnership with Colorado College, the dance program at CSU hosts a special international residency with renowned dancer Hsin-Yu Kao through the Taipei Artist Village.

Mr. Hsin-Yu Kao began his residency at CSU on March 23 working with dance classes and choreographing for the Spring Dance Concert on April 10 and 11. The purpose of this international residency that is to promote a better understanding of other cultures, people and art forms; as well as to build global and cross-cultural communities through dance.

The goal of Kao’s residency is to let students experience his techniques and artistry and have students explore and discover various ways to initiate movement that help them access tools for experiential/concept-driven performance.

SEE HSIN-YU DANCE THIS APRIL IN THE SPRING DANCE CONCERT!

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

“This major and innovative cultural event marks this year’s culmination of dance, performance, and passion for our students and faculty,” said Jane Slusarski-Harris, director of dance at CSU. “Our artists are given a venue for creative expression and the opportunity to showcase the accumulation of their skills and demonstrate their expertise while working with a world class artist.”

[CONTINUED ON PAGE 40]

39

ABOUT HSIN-YU KAO Born in Taiwan, Hsin-Yu Kao currently dances with Compagnie Käfig, a French dance company that grafts not only different dance genres but multiple disciplines together with dance, including live music, circus arts, and martial arts. Hsin-Yu Kao’s recent work on Compagnie Käfig’s show, Yogeeti, has toured around the world.

ABOUT TAIPEI ARTISTS VILLAGE ARTISTS-IN-RESIDENCY EXCHANGE PROGRAM

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

Artist-in-Residence Taipei (AIR Taipei) provides a platform for diverse cultural collaboration across artistic disciplines throughout the globe.

The capital of Taiwan, Taipei is AIR’S base encouraging professional artists exchanges between Taiwanese and international artists. These interactions help create intercultural and interdisciplinary dialogues that resonate between communities and individuals long after the artist’s residence is completed.

40

This is the second Artist-in-Residence Taipei (AIR Taipei) that CSU has hosted. This residency at CSU is funded by the Artist-in-Residence Taipei (AIR Taipei) in Taiwan and is made possible through the generosity of Colorado College Asian Studies Program, Professor John Williams; Professor Joan Ericson; Professor Yunyu Wang, who is professor at Colorado College, dean of General Education College at Taipei National University of the Arts, and also president of the World Dance Alliance; and Ms. Amy Huang.

–

C S U

W I N D

S Y M P H O N Y

elements:

P R E S E N T S

–

7:30 p.m.

April 24, 2015

GRIFFIN CONCERT HALL

Dr. Wesley Ferriera, clarinet Michael Bowles, graduate conductor

condu c te d by

D R .

R E B E C C A

P H I L L I P S director of bands

JOIN THE CSU LIGHTING DESIGN STUDENTS FOR A LIGHTING FINAL UNLIKE ANYTHING YOU’VE SEEN BEFORE!

Project

As Seen In

THE CSU ROCK BAND PROJECT PLACES STUDENTS CENTER-STAGE IN A SIMULATED ROCK CONCERT THAT IS PART PERFORMANACE AND PART LIGHTING DESIGN

FREE AND OPEN TO THE PUBLIC

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

6 : 3 0 P. M . U N I V E R S I T Y T H E A T R E

41

OFF STAGE

42

Voice major and LEAP minor student Talia Fischer (2015) spent nine weeks this past summer on a musical journey that took her around the world.

Part I: Urbania, Italy Departing Colorado in June, Talia set out for Urbania, Italy to participate in “Si parla, si canta,” a four-week Italian language program for young singers. According to “Si parla’s” website, the program includes “intensive study of the Italian language and culture, musical and dramatic coaching in Italian operatic and song repertoire with an illustrious, internationally-known faculty, exciting performing opportunities, and the chance to experience the glories of the Marche region of Italy, nestled between the Apennine Mountains and the Adriatic Sea.” The only CSU student out of 30 singers from around the U.S., Talia was selected for this program through a competitive audition process.

During the four-week period, Talia was immersed in learning the Italian language, benefiting from lessons and coachings, performing in opera scenes concerts, and more.

SAON LE

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

CSU MUSIC STUDENT ON THE MOVE AROUND THE GLOBE

Classical Jam www.lctix.com

At the heart of the program is the prestigious Centro Studi Italiani language school in Urbania, Italy. One of the most respected institutions of its type in the world, Centro Studi offers levels of Italian courses for every student, from grammar and conversation classes for the absolute beginner to literature courses for the extremely advanced.

“Staying in a small town and really getting to know the people there – they became my friends,” Talia said. “And while the language training in the program was great, using the language with these warm and welcoming people every day took my learning to a whole new level.”

As a singer, Talia encapsulates her learning at “Si parla, si canta” as the “ability to gain a deeper understanding of the language – it was like a light bulb went off and I had a new understanding of the way in which language informs how a piece was composed and how it is meant to be performed.”

“I’ll never forget this experience,” said Talia. “The friends I made, the amazing food we had, the beautiful Italian countryside, and the whole atmosphere leave me wanting to go back already!”

Part II: Waimea, Hawaii After a quick 36-hour turnaround in returning from Italy, Talia found herself half way across the globe in Waimea, Hawaii, on the Big Island, for an internship with the Hawaii Performing Arts Festival during their 10th anniversary season. Each July, this three-week vocal and string festival

As a LEAP Institute (Leadership, Entrepreneurship, Arts Advocacy, and the Public) student at CSU, Talia noted that the resources and training she received before her time abroad proved invaluable to her experience.

“We are constantly being encouraged to be creative and innovative in problem solving,” she said. “My LEAP training has made me much more comfortable with having professional responsibility and taking an active role in making these things happen.”

Reflecting on her whole summer experience, Talia concludes that these travel and internship opportunities have allowed her to “form a new sense of independence – both personally and professionally.” Her advice to other students: “when these opportunities come along, TAKE THEM!”

presents a series of exciting live performances including recitals, concerts, and staged productions, as well as master classes, where audience members can observe the teaching/ coaching process.

“One of my favorite events was the concert we did at the local farmers’ market in Waimea,” said Talia. “There was great community support for the festival and these events that just made it even more fun.”

With a total of 25 performances in 20 days, Talia helped produce concerts and events for the festival’s two age groups with approximately 35 performers of late high school/early college and 11-16 years old. Performances included concert works from Britten’s Turn of the Screw, Viardot’s Cendrillon, Handel’s Julius Cesar, Jason Robert Brown’s The Last Five Years, and more.

Coaches and special guests at the festival with whom Talia got to rub shoulders every day included opera stage director Chuck Hudson, baritone Robin Buck, composer Ricky Ian Gordon, and more.

“The people there became my arts family,” said Talia. “It’s a tight-knit community, and the networking opportunities I was afforded will be so beneficial as I move forward.”

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

During the 2014 season, Talia worked for five weeks on a variety of projects for the festival, including housing for artists, working with donors, outreach, and more.

43

Upcoming

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

M U S I C

44

P E R F O R M A N C E S

Classical Convergence Series: Borromeo String Quartet Saturday, April 18, 7:30 p.m.

Griffin Concert Hall, UCA

Graduate String Quartet Concert Pluto Quartet Thursday, April 23, 7:30 p.m.

Organ Recital Hall, UCA

Colorado State University’s ensemble-inresidence closes out the Classical Convergence inaugural season. The internationally acclaimed Borromeo String Quartet has been quartetin-residence at Colorado State University for ten seasons, leading master classes and performing as guest artists.

Enjoy master works of the genre by one of CSU’s graduate string quartets. Now in its second year, the Pluto String Quartet brings dedication and strong musical vision to its programs. Members include: Adrian Barrera Ramos, violin; Julia Castellanos, violin; and Tom Holdener, cello.

Wind Symphony Concert Elements: Fire With CSU Faculty Wesley Ferreira, Clarinet & Michael Bowles, Graduate Conducting Assistant Friday, April 24, 7:30 p.m.

Griffin Concert Hall, UCA The Wind Symphony concludes their season of concerts that represent the basic elements of wind, earth, water, and fire. Come and experience the brilliance of faculty artist Wesley Ferreira as he performs Daugherty’s Brooklyn Bridge. The program also includes works by American composers Steven Mackey, Adolphus Hailstork, and Roger Nixon.

Jazz Ensembles Concert With Special Guest Gary Smulyan, Baritone Saxophone Wednesday, April 22, 7:30 p.m.

Griffin Concert Hall, UCA Jazz Ensembles I and II, under the direction of Peter Sommer and Wil Swindler, are joined by the great baritone saxophonist Gary Smulyan for a night of burning bebop and deep swing.

Gary Smulyan has topped the baritone saxophone category in the Downbeat Critics Poll, the JazzTimes Readers and Critics Polls, and was the winner of the 2009 and 2010 Jazz Journalist Award for Baritone Saxophonist of the Year. In addition to leading his own outstanding groups, he is also the baritone saxophonist for the Vanguard Jazz Orchestra, the Dave Holland Big Band, and the Joe Lovano Nonet.

University Symphony Orchestra & Combined Choirs Behold the Sea With CSU Faculty, Tiffany Blake, Soprano; John Seesholtz, Baritone & Wes Kenney, Conductor Friday, May 1 & Saturday, May 2, 7:30 p.m.

Griffin Concert Hall, UCA The largest representation of CSU students in concert, with over 250 performers on stage, the symphony and choirs combine to perform Vaughan Williams’ monumental A Sea Symphony (often referred to as the Symphony No. 1); the composer’s first and longest symphony. The composition helped set the stage for a new era of symphonic and choral music in England during the first half of the 20th century.

Virtuoso Series Concert Faculty Chamber Ensemble Monday, May 4, 7:30 p.m.

Organ Recital Hall, UCA

On the program are two compositions by resident faculty composer James David, including a piece for violin and piano played by Ron Francois and Silvana Santinelli. The second piece is his chamber music composition Kafka under the baton of Rebecca Phillips. The program also features Schoenberg’s Transfigured Night in a version for chamber orchestra, conducted by Wes Kenney.

American Opera One-Acts / FREE The Medium by G.C. Menotti & Signor Deluso by T. Pasatier Presented by the Charles & Reta Ralph Opera Center Friday, May 8 & Saturday, May 9, 7:30 p.m.

Runyan Hall, UCA Comedy and tragedy are presented in these two American one act operas. Minimal sets and costumes require a great sense of imagination, creating a profound acting experience for the singers and the audience.

FOR A COMPLETE LISTING VISIT

music.colostate.edu

SUMMER KODÁLY WORKSHOP Topic: “Strategies for Teaching Special Needs Students in Music Class!”

Clinician: Kodály-Certified Special Education Teacher, Ms. Kari Michael from Reno, Nev. With her special education training, Ms. Michael brings a wealth of experience in using the Kodály Methodology. Ms. Michael will share with teachers ways in which to provide their special needs music students with an inclusive and welcoming environment.

Registration: For more information, and to register for the workshop, contact Jacob Gantz.

Sponsored by: Colorado Kodály Institute and Regional Organization of Colorado Kodály Educators (R.O.C.K.E.).

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

Ms. Michael’s workshop is part of CSU’s Summer Kodály Institute programming; however, teachers not enrolled in the institute are encouraged to attend.

45

DANCE MOVEMENT EDUCATION:

INTEGRATING COMPREHENSIVE SKILLS INTO THE K-12 CURRICULUM A Carl A. Bimson Humanities Seminar

JUNE 8-12, 2015 9 A.M. – 4 P.M. Join leading Dance Movement Educators & Education Specialists from Colorado State University and the region to explore how we can bring more movement into our K–12 classrooms!

Presented by the School of Music, Theatre & Dance and the College of Liberal Arts at the University Center for the Arts, Fort Collins, Colorado

T HE UN IVE RSI TY C ENT E R F OR T HE ARTS THE GRE E N R OOM / I S S UE O N E, A PR I L 2 0 1 5

SEMINAR TOPICS:

46

• Let’s Move! Dance Skills, Concepts and Comprehensive Learning • Colorado Dance Standards, Assessment, and Curriculum Planning • Dance Collaboration across K-12 Higher Education and the Broader Community • Integrated Arts Initiatives in Education • Dance Movement Science and the Human Brain

Key Note Speaker, Karen Kaufmann is a professor and Director of the Dance Program at The University of Montana.

She recently released her second text book, Teaching Dance Integration: Mathematics and Science following her first book, Inclusive Creative Movement and Dance.

Karen was awarded the 2009 Distinguished Faculty Award for her work developing community partnerships for dance education. She was the keynote speaker at the 2014 Center for Integrated Arts Conference at University of Northern Colorado. The National Dance Association awarded Professor Kaufmann with the Artist/Scholar Award in 2011.

Additional Presenters include arts educators from CSU and across Colorado, as well as education and integrated arts specialists.

REGISTRATION INFORMATION: Seminar enrollment is limited to 20 Colorado K–12 Educators. Each participant will receive an honorarium for attending the entire seminar. Registration opens March 23, 2015.

FOR MORE INFORMATION AND TO REGISTER, CONTACT US: Jane Slusarski-Harris, Director of Dance, CSU / J.Slusarski-Harris@colostate.edu Lisa Morgan, Dance Faculty, CSU / Lisa.Morgan@colostate.edu TEACHERS MAY SIGN UP FOR CSU CONTINUING EDUCATION CREDIT (FEE REQUIRED) FOR TEACHER ENHANCEMENT PURPOSES.

SUMMER COURSES 2015 ON-CAMPUS COURSES: D

110

3

Understanding Dance (GT-AH1)

MTWRF

9:30-11:30 a.m.

Amber Mazurana

05/18-06/14

MU

111

3

Music Theory Fundamentals (GT-AH1)

MTWRF

10 a.m.-12 p.m.

Murray Oliver

06/15-07/12

TH

141

3

Introduction to Theatre (GT-AH1)

MTWRF

12-2 p.m.

Sarah Zwick-Tapley

06/15-07/12

TH

150

3

Introduction to Performance

MTWRF

10 -10:40 a.m.

Candice Ingold

07/13-08/09

TH

150

0

Introduction to Performance - Recitation

MTWRF

10:40 a.m.-12 p.m.

Candice Ingold

07/13-08/09

MU

100

3

Music Appreciation (GT-AH1)

TBA

Adam Torres

05/18-06/14

MU

332

3

History of Jazz

TBA

Chris Van Hof

06/15-07/12

MU

100

3

Music Appreciation (GT-AH1)

TBA

Adam Torres

07/13-08/09

MU

333

3

History of Rock and Roll

TBA

John McGuire

07/13-08/09

LEAP ONLINE COURSES: LEAP

500

3

Leadership in the Arts

Constance DeVereaux

06/15-08/7

LEAP

650

3

Arts Events Management

Troy Lescher

05/18-07/10

LEAP

670

3

Law and the Arts

Constance DeVereaux

05/18-06/12

I S S UE O N E, A PR I L 2 0 1 5 / T H E GR E E N RO OM T HE UN IVERS ITY C ENT E R F OR T HE ARTS

ONLINE COURSES:

47

7:30 PM 04.18.15

lc

ti

x. co

m

SA ON LE !