Resumé

I have recently decided to start applying to graduate schools in my major and have just put together this resumé that I will send in with my applications. Let me know what you guys think.

Education:

2009 – Grad: May 2013 Utah State University

Music Major: Cello and Music Education.

2009 Logan High School

General Studies: Graduated June 2009.

Work Experience:

Summer 2011 Rocky Ridge Music Center

Counselor, food service, maintenance.

2006 – 2011 PretzelMaker

Customer Service, Cashier, Food Preparation.

2010 – 2011 Iron Gate Grill

Banquet Server.

Summer 2009 Andy’s Restaurant

Customer Service, Food Preparation, Cashier.

2004 – 2010 Malouf Law Offices

Cleaning and Custodial services

Summer Music Festivals:

2012 Brevard Music Festival, North Carolina

Orchestral and Solo Studies

2009 Madeline Island Music Camp, Wisconsin

Chamber and Solo studies

2005 – 2008, 2011 Rocky Ridge Music Camp, Colorado

Counselor (2011), Chamber, Orchestral, Solo studies

Musical Performance Experience:

2009 – Present USU Student String Quartet:

Recitals and Casuals

2009 Cache Civic Orchestra:

Handel’s Messiah

2008 – Present Cache Valley Civic Ballet:

Nutcracker: Pit player in Orchestra

2009 – Present Utah State University Orchestra

Awards and Recognition:

2012 Brevard Music Scholarship

2012 Utah State University Orchestral Scholarship

2009 Concerto Competition Winner:

Performed Haydn cello concerto in C with Logan High School

Hobbies and Interests:

2002 – 2006 High Point Gymnastics

2006 – 2009 Language Study (High School) – Spanish, German

2008 – 2009 All Northern Jazz Band, Electric Bass

Music Repertoire List

Orchestral Works:

Adams: Slonimsky's Earbox

Bach: Brandenburg Concerto No.2 in F major, BWV 1047

Bach: Brandenburg Concerto No.4 in G major, BWV 1049

Bartok: Concerto for Orchestra, Sz.116

Beethoven: Symphony No.2, Op.36

Beethoven: Symphony No.4, Op.60

Beethoven: Overture to The Creatures of Prometheus, Op. 43

Berlioz: Fantastic Symphony: An Episode in the Life of an Artist, in Five Parts), Op. 14

Berlioz: Roman Carnival Overture, op. 9

Bruckner: Symphony No.7 in E major, WAB 107

Dvorak: Symphony No.9, Op.95

Dvorak: Carnival Overture, Op.92

Handel: Messiah, HWV 56

Haydn: Symphony Hob. I:99, E flat major

Haydn: Symphony Hob. I:97, C major

Mahler: Symphony No.5

Mendelssohn: Symphony No.4 in C minor, MWV N 4

Mendelssohn: A Midsummer Night's Dream, incidental music, Op.61

Mozart: Symphony No.35 in D major, K.385

Mozart: Symphony No.40 in G minor, K.550

Mozart: Die Zauberflöte, K.620

Prokofiev: Symphony No.5, Op.100

Schubert: Symphony No.5, D.485

Sibelius: Symphony No.2, Op.43

Strauss: Der Rosenkavalier, suite, TrV 227d

Stravinsky: The Rite of Spring

Stravinsky: Petrushka

Tchaikovsky: Nutcracker, Op. 71

Tchaikovsky: 1812 Festival Overture Op. 49

Vaughan Williams: 5 Variants of ‘Dives and Lazarus’

Vaughan Williams: Fantasia on a Theme by Thomas Tallis

Chamber Works:

Beethoven: String Quartet No.1, Op.18 No.1

Bloch: Three Nocturnes

Bottesini: Bass Quintet in C major

Dvorak: Piano Trio No.4, Op.90

Haydn: String Quartets, Op.77

Haydn: String Quartets, Op.76

Mendelssohn: String Quartet No.4, Op.44 No.2

Ravel: String Quartet in F major

Schumann: Piano Quintet, Op.44

Shostakovich: String Quartet No.

Solo Works:

Bach: Cello Suite No.1 in G major, BWV 1007

Bach: Cello Suite No.2 in D minor, BWV 1008

Bach: Cello Suite No.3 in C major, BWV 1009

Cassado: Suite for Solo Cello

Ligeti: Sonate for Solo Cello

Sonatas:

Brahms: Cello Sonata No.1, Op.38

Shostakovich: Cello Sonata in D minor, Op. 40

Concerti:

Haydn: Cello Concerto, Hob.VIIb:1, C Major

Lalo: Cello Concerto in D minor

Saint-Saens: Cello Concerto No.1, Op.33

Tchaikovsky: Variations on a Rococo Theme, Op.33

Etudes:

Popper: Hohe Schule des Violoncellospiels, Op. 73

1, 6, 7, 19, 21, 31, 34, 40,

Scale Systems:

Yampulsky

Galamian

Flesch

A little about me

    I am senior cellist and a music education major at Utah State University. I began my musical studies at the age of eleven in the sixth grade and began my private cello studies with the local high school orchestra conductor, Karen Hendricks, by my thirteenth year. By fifteen years of age, I was able to begin studying under Anne Francis from the Fry Street Quartet. Throughout my high school years, I was able to attend Rocky Ridge Music Center and Madeline Island Music Festival. At these festivals, I was able to collaborate with many other musicians in Chamber and Orchestral settings. During my senior year at Logan High School, I was able to compete and gain the opportunity to play the Haydn C major cello concerto in the concerto competition. This experience in the concerto competition solidified my desires to become a professional cellist.
    Studying at Utah State University was by far the best four years of my life and education. Here, I was able to meet great musicians and professors and work with the Fry Street Quartet exclusively. Every year, I was assigned a chamber group with a piece of music in which to work. In addition to rehearsals, each chamber group was assigned a coach from the quartet to provide extensive instruction. Orchestral studies at Utah State were a great experience that involved collaborative projects like Mozart's, Magic Flute, and Mendelssohn's, A Midsummer Nights Dream with the opera and theater program. The orchestra also had the opportunity to perform Mahler's 5th Symphony in collaboration with the University of Utah.
    It was not until my undergraduate Junior year that I realized the necessity of combining Music Performance with Music Education. I started as performance major for the first two years of university study but then began to cultivate the desire to become a teacher. By this time, a private studio had been formed (one on one private instruction with middle school cello students) and clinical experiences had given me a few chances to teach in a classroom setting.
     Now, as a undergraduate Senior nearing completion of my teaching degree, I am ready to open all doors both through the student teaching experience and graduate school study in cello, to become the best teacher and performer I can be.

Grading Philosophy

Sometimes I question the reliability, validity, and purpose of grading. As a personal agenda, I believe that learning should be accomplished through a desire to acquire knowledge and improve ones skills. If you are good at something, do you not want to become better at it? Sadly, because of academic standards and laws placed upon our society, learning has become a chore. A chore that is associated with walking the dog or cleaning ones room. Since there has been a loss of inner desire and motivation to increase ones intellect or skills, extrinsic motivators must be implemented to create a false sense of this missing desire, i.e. Grades. Without grades, students cannot know how well there are doing or know how to improve their efforts to “master” the required skill. Teachers benefit from grades as well. Teachers can see the improvement of their students or the lack of improvement as a means to adapt and better their instruction. The main reason I struggle with conventional ways of grading is directly correlated to my discipline.

As a music educator who specializes in performance assessment, I question why assessment experts recommend against using achievement, improvement, or effort as a frame of reference for assigning grades. I must use achievement, improvement, and effort methods of assigning grades to students. Fortunately, I can focus on achievement and improvement grading to out weigh the effort method of grading. If there is effort, there will be improvement.

When playing a musical instrument, one must become proficient at specific skills at key years of the students instrumental development. With these instrumental skills, students need vast knowledge of other skills that dramatically improve a students ability to play their instrument like: aural skills, vocal skills, and dictation skills. All of these are acquired through years and years of practice and exposure to the musical world. Already, an assessment expert can see an issue with his bias against achievement and improvement frameworks for grading.

Because music education is not a academic subject, students choose to be in my class. Already, their inner desire has been kindled and as a teacher it will be my job feed and nurture the kindling to allow my students too erupt into a fury of self betterment and desire for improvement.

Within in my classroom, students will have written and performance based tests and homework. Homework will consist of daily practice to prepare for monthly playing tests and individual class recitals. Student expectations of playing tests will include demonstrations of all of the scales, shifts, and excerpts of the pieces being performed in class. Student will be assessed upon their rhythm and pitch accuracy, tone quality, bowing, articulation, tempo, fluency, technique, and preparation.

The most beneficial type of assessment for music education is formative assessment. What simplifies formative assessment for music education is its direct correlation and similarity between the assessment and the instruction. How I assess as a teacher is exactly the same as the instruction. If I wish to teach rhythm dictation, the students must hear specific examples and become proficient at writing them down. To test them, I would play varying examples of different rhythms. The students would then dictate what they hear and I would proceed to correct and grade accordingly.

My discipline is based strictly upon achievement and improvement grading frameworks. Without this frameworks, I would not be able to adequately grade and assess my students or my instruction.