The Musician’s Résumé Handbook
BOB BORDEN KATHY IVY
Office of Careers and Professional Development Eastman School of Music University of Rochester Rochester, New York
Table of Contents
What is a Résumé? ................................................................................................................................. 3 Introduction ............................................................................................................................................ 4 Where to Begin....................................................................................................................................... 5 Brainstorming......................................................................................................................................... 8 Format .................................................................................................................................................. 12 Types and Lengths of Résumés ............................................................................................................ 13 Selling Yourself.................................................................................................................................... 14 Active Verbs......................................................................................................................................... 16 Reproduction of Résumé ...................................................................................................................... 17 The Finished Product............................................................................................................................ 19 How and When to Use your Résumé ................................................................................................... 20 Example Résumés ................................................................................................................................ 21 Bibliography......................................................................................................................................... 41
WHAT IS A RÉSUMÉ?
A résumé is a formal overview of your past and current professional and educational experience. It should directly and concisely list any experiences relevant to the types of work you are seeking. Some description of your experiences may be appropriate, but you should be as concise as possible. Remember, a résumé is not an autobiography – it is an outline of your experiences. Résumé or Vita? Some people understandably confuse résumés and vitae. The two documents are very similar and many employers use the terms interchangeably. In fact, employers in academia will often ask for a “vita” in an employment advertisement when they wish to receive a one-two page document that others might call a résumé. For practical purposes, the choice to use a résumé or vita depends on the type of position for which you are applying. Performance résumés, to be used for auditions, are almost always onepage documents that include specific performance experience and educational information. Résumés to be used for other purposes will vary in length. If you are applying for several types of positions, you may need to prepare different résumés of varying length. Vitae tend to be longer, more comprehensive documents and are usually requested for academic positions. Some people create vitae 15-20 pages long, but such thoroughness is not always recommended. Most vitae will include all professional and educational information, not just the most important or seemingly relevant information. One solution to the dilemma of whether to use a vita or a résumé is to create a document that can serve either purpose. Such a document would read basically as a lengthy résumé, about 4-5 pages long (see example on page 26). The Office of Career Services highly recommends this solution, especially when applying for faculty positions at institutions of higher education. Purpose and Importance Although a résumé is useful in a number of situations, it has two basic purposes. The first is to create in the reader such an interest in you as an applicant that s/he will want to invite you for an interview or audition. The résumé should serve essentially as an advertisement of and for a product – you! It should make the employer (the “buyer”) want to take a closer look. The other purpose of a résumé is to encourage potential employers to pay close attention to you when they do meet you or hear you perform. Remember, a résumé is your only representative when you are not present. Thus, it must be perfect – well-organized and highly polished. If the musical director and audition/selection committee of a symphony have to listen to many auditions in a brief period of time, you want your résumé to help make you stand out. To paraphrase excellent advice given by the Office of Career Development and Placement at Oberlin College, a good résumé tells a conductor/employer immediately that you are an interesting and talented musician with the experience s/he is seeking. Too many musicians feel that a résumé is unimportant and that their performance will speak for itself. Given the fierce competition for professional performance positions, this assumption is clearly a mistake. A strong résumé will enhance the degree of attention any auditions may pay to your performance---they will listen more carefully. If your résumé is sloppy or poorly organized, they will have no reason to listen any more closely to you than to the other candidates. The same holds true for non-performance jobs as well. A great résumé alone will not get you a job, but a poor résumé can easily keep you from getting even an interview or audition.
Dedication, years of practice, loads of talent, and a love of music are only a part of what it takes to launch a career as a successful professional musician. The manner in which musicians present themselves on paper and in person plays a significant role in getting the gig. The Musician’s Résumé Handbook is designed to help you with one part of presenting yourself as a professional musician: the résumé. Whether you are a teacher, performer, school administrator, arts manager, or are still undecided, there will most likely be times in your professional career when you will need a résumé. Many musicians understand the important role a résumé can play in the job search process but don’t know where to start. From self-assessment to the finished product, this handbook will walk you through every step of preparing, planning, designing, and printing your résumé. With a little time, initiative, and the help of this handbook and the Office of Careers and Professional Development, you should be able to develop a powerful and effective résumé to meet your job search needs.
Self-assessment can be done in several ways.
. even if they lack direct experience in a particular area. The appropriate categories for various kinds of work are discussed later in “Types and Lengths of Résumés” (page 11). do not assume that you are not qualified. Once you have assessed your skills. more in depth methods of self-assessment include intelligence and aptitude tests and personality inventories. So even if you have not had specific experience doing a particular job. What matters is how you market your skills and experience on your résumé. If you are applying for a job (nonperformance) that requires skills and experience you do not have. These methods will help you look more closely at yourself and identify traits and talents to help you plan your career. One easy way is to make a list of your strengths and weaknesses as well as your skills. abilities and talents. please stop by the Office to set up an appointment.WHERE TO BEGIN. If you need any help with self-assessment or feel that you do not have a career direction.. Other. it would be helpful to set up a meeting with the Director of Career Services to discuss job search strategies and start putting together a credential file. Most people have transferable skills that make them highly qualified. consider whether you have any of the following skills and/or experience: Teaching Supervising Performing Planning Advising Creativity Production Designing Outlining Presenting Administrative Writing Managerial Preparing Computer Literacy
These are skills that most employers like to see in a good job candidate. Most importantly. Bolles walks the reader through various self-assessment and career exploration exercises.
Self-Assessment Before you start to put together your résumé. and before you decide not to apply for any given job. and weaknesses. you may have enough transferable experience to qualify for it. Look over these categories carefully and decide which ones would best present your professional and educational experience. strengths. do not feel compelled to follow a given formula. Setting up a meeting with Career Services Although you are encouraged to set up a consultation with the Office of Career Services to help you with any aspect of your job search and preparation.. it is extremely important to understand your strengths and weaknesses so that you can present yourself in the best possible manner. design and organize your résumé so that it best highlights your experience. Résumé Categories The following is a list of possible categories (in no particular order) that you may wish to include in your résumé. Before you start on your résumé. At this point you should be ready to draft your résumé. A most valuable resource for self-assessment is the annually updated What Color is your Parachute? by Nelson Bolles. rather. you may wish to wait until after you have done a fair amount of self-assessment to help direct your career goals.
Name Instrument or Voice Type Address Home and Work Current/Permanent/After “x” date *Objective Education/Training Degree(s) earned (include dates and institutions) Grade Point Average High School Study (if at a major music institution) Major/Principal Teachers Master Classes Professional Certification. Accreditation Teaching Experience Professional Teaching Student Teaching Musical Coaching Private Studio Summer Camps Master Classes Given Clinics Given Non-Music Teaching Performance Experience Solo Experience Solo Orchestral Engagements Recitals Chamber Music Orchestras/Wind Ensembles Jazz/Rock Freelance Voice-Opera. Licensure. Major Conducting Positions Recordings and Broadcasts Tours Competitions
. Musical Theater Conducting-Guest Conducting. Roles Studied.
and some employers find them useful. Please take note of some of the objectives used in the sample résumés at the end of this handbook. However.
. Weight. The “objective” category is no longer required on résumés: “Professional Objectives” are much less in vogue than they once were. and Scholastic Awards Prizes and Grants *Personal (encouraged for vocal performance résumés) Height. Consult the Office if you need assistance developing an effective objective. many people still use them.Professional Leadership Guest Lectures Clinics Presented Professional Presentations Adjudication Publications Compositions/Arrangements Related Experience Internships Summer Festivals Music-Related Work Experience Other Experience Non-Music Related Work Language Proficiency Community Service Volunteer Work Special Skills Collegiate Extracurricular Activities Honors/Awards Scholarships. especially in the area of music education. Fellowships. Eye/Hair Color
Remember that this list is by no means all-inclusive!
*Please note that a few of the categories are optional and may not suit your purpose.
To be sure that you weigh your experiences evenly and avoid significant omissions. KY (1992) BM. Principal Trumpet. Rush-Henrietta School District. without passing any judgment as to whether it is good. relevant or useless.rochester. you should first brainstorm ideas and experiences thoroughly. Fairport NY Randy Salmon. Greencastle. For now. Henrietta NY James Hines. Jamie Aebersol Professional Certification: IN and KY elementary and secondary certification Work: Career Services. We encourage you to take the preceding list of categories and brainstorm ALL of your experiences that could possibly fit under any category. Professor ESM Master Classes: Allen Vizzutti. Professor ESM Vincent DiMartino. University of Kentucky. SUNY Geneseo. Lexington. Music Director. IN (1988) Principle Teachers-Trumpet: Barbara Butler. The following is an example of what a list might look like after a brainstorming session: Jonathan Doe Trumpet 111 East Avenue Rochester NY 14604 Phone: 585-555-1212 Email: jd000e@mail. Rochester Philharmonic Howard Rowe. Instructor. “Brainstorming” simply means listing as much information about yourself as possible. often eliminating good. DePauw Raymond Ricker.BRAINSTORMING
Many people make the common mistake of selling themselves short. Rych Byrd. Write them all down under the appropriate category titles and save the paper---you will use this information later! Do not eliminate anything in the process. just keep an open mind. Assistant Professor. Jazz Ensemble Director. Rochester. Eastman school of Music. Doc Severenson. Associate Professor UK Richard Jones. Geneseo NY Robert Grocock. ESM 100 Gibbs St. Principal Trumpet. DePauw University. Save the editing of this information until you have a better sense of how you want to lay out your résumé. Indianapolis Symphony Principle Teachers-Jazz: Thomas Ghiudi. relevant experience before it ever has a chance to get down on paper. Don Ellis (1982). NY (1997) MM. Professor DePauw Chapman Perry. bad. Rochester NY 14605 Phone: 585-
. They prejudge their past experience and its inadequacies. Fairport High.edu 274-1210 Education: DMA.
Ray Ricker. RA-DePauw Proficient in Spanish Habitat for Humanity Volunteer Computer Literacy. Florence KY Student Teaching-Fairport NY and Putnam County IN Private Studio 1988-present Junior and Senior recitals. Brass Choir. Phyllis Wade. ESM Jazz Ensemble. Cobbs Hill Orchestra. Wind Ensembles: Jazz: Ensemble. Adrian Daly. Japan Tour ESM Performer’s Certificate Performance Honors. DePauw Student Assistant to Randy Salmon. Chicago. DePauw Fairport High School Monroe Community College ESM Recitals RPO. DePauw Penfield Symphony. Vincent DiMartino
. ESM Rector Honor Scholarship University Honor Scholarship Rittentour Scholarship ESM Wind Ensemble. Assistant Professor DePauw Head RA-ESM. Lexington Wind Symphony. Trumpet featured soloist with Miami University Jazz Ensemble Various gigs in Rochester. DePauw Alumni recital. Membership:
References: James Undercofler. Freelance: Conducting: Related Experience:
Prof. ESM/Indiana School for the Arts Director of Bands. Fairport NY Trumpet Instructor. Greencastle Symphony DePauw Wind Ensemble DePauw Jazz Bands. and western IN North Putnam Jazz Ensemble Fairport Community Band Performing Artist Series Intern (Summer 1991) Stage Manager. Greece Symphony.Teaching Experience:
Listening to Jazz course taught for BOCES. IBM and Macintosh PCs American College Personnel Association International Association of Jazz Educators Indiana State School of Music Association International Trumpet Guild Graduate Assistantship and Summer Fellowship. DePauw
Rochester NY. Eastman School of Music Vincent DiMartino. University of Kentucky Robert Grocock. DePauw University Chapman Perry. DePauw University. Eastman School of Music. DePauw University. 1996-Present First Trumpet. July 1993 Doc Severinson. Principal Trumpet. Guest Recital. Lexington KY. Professor. 1996-Present First Trumpet. School of Music. University of Kentucky. Canadaigua NY 1995 Fairport High School. Fairport NY 1995 DePauw University.
. Rochester NY 1996 Community College of the Finger Lakes. #C11 Rochester NY 14604 (585) 555-1212 jd000e@mail. Lexington Wind Orchestra.10 -
. Lexington KY (1992) Bachelor of Music in Instrumental Music Education (Psychology Minor). 1992 Freelance Various experience using a wide range of styles including jazz and rock throughout Central Indiana and Upstate New York. Guest Lecture Recital.What a final résumé based on this information might look like:
111 East Avenue. Lexington Wind Symphony. Alumni Recital. Indianapolis Symphony Orchestra. Greencastle IN (1988) Principal Teachers (Trumpet) Barbara Butler. Cobbs Hill Orchestra. Eastman school of Music. Rochester NY (1997) Master of Music in Performance. Indianapolis IN Master Classes Allen Vizzutti.edu
Doctor of Musical Arts in Performance and Literature.rochester. Rochester Philharmonic Orchestra. Associate Professor. Guest Recital. November 1987
Orchestral Fourth Trumpet. Professor Emeritus. Lexington KY 1992-94 Recitals Monroe Community College. 1994 Fourth Trumpet.
Trumpet Instructor. Community Education Division (1993-Present) Instructed students representing a wide range of abilities. designed and implemented overall instrumental music program. Eastman Jazz Ensemble. DePauw University Student Assistant to Randy Salmon. Director of Bands. Taught private lessons. Featured Soloist/Lead Trumpet. Florence Central Schools. Jazz Ensemble. Eastman School of Music. DePauw University
Related Experience Performing Artist Series Intern. Florence KY (1988-90) Conducted Symphonic Band. Marching Band and Brass Ensembles. Summer 1994. DePauw University Professional Certification Elementary and Secondary certification from Indiana and Kentucky (1988) Professional Memberships International Association of Jazz Educators (1984-Present) Indiana State School Music Association (1986) International Trumpet Guild (1982-Present) REFERENCES FURNISHED UPON REQUEST
. Indianapolis school for the Arts. University of Kentucky Stage Manager. 1993-Present Selected to tour Japan. DePauw University Rittentour Scholarship. 1993-Present Eastman Wind Ensemble. Trumpet Instructor.College Ensembles Eastman Philharmonia. DePauw University University Honor Scholarship. Assistant Professor. this tour includes a recording for CBS Masterworks. Indianapolis IN (1984-86) Sole trumpet instructor for studio of over twenty high school students
HONORS AND AWARDS
Graduate Assistantship. Eastman School of Music Eastman School of Music Performer’s Certificate Summer Fellowships. University of Kentucky Rector Honor Scholarship. Principal/Rotating.
the kind of job for which you are applying. This format enables the reader to track your work history easily. The format you choose as the framework for your résumé depends on your background. and is used most often to produce a highly focused résumé for a very specific job. Past work experience should be listed separately. Most people who use this format will have sub-categories.FORMAT
Once you have thoroughly brainstormed your past and current experiences. Order of Importance With this format. Chronological A chronological résumé. and the way you woul dlike to present yourself. Targeted A targeted résumé is not as much of a format as it is a style. The four most common résumé formats used by musicians are Chronological. The entire résumé need not be in reverse chronological order. Most performance résumés are targeted résumés. and will arrange information in reverse chronological order only within each category. experience is listed in the order of importance to the reader. abilities and accomplishments rather than the places where you obtained them. This form is almost always used for performance résumés. The résumé on the previous two pages provides a good example. much like those listed in the résumé category section on pages 6-7.12 -
. that is. Functional A functional résumé highlights your skills. but the focus is on skill. lists your work experience in chronological (or more typically.
. A targeted résumé does not have to be limited to performance jobs. This format is not commonly used for music positions. as the name suggests. reverse chronological) order. it is time to decide on a format for your résumé. Functional and Targeted. using characteristics of each of the first three formats. Order of Importance. Any résumé that you are writing solely for a specific job would be a targeted résumé. they eliminate all peripheral information and discuss the only two things that auditioners are interested in: training and performance experience. It is often eclectic. enabling him/her to see your most relevant and impressive information first. check for gaps of unemployment and visualize your professional growth.
simply listing that you had a private studio in 1997 doesn’t say very much and could be overlooked. without any description or list of duties. well-organized résumé. Without any descriptive information. In some instances. All material should be listed in order of importance. For example.
. the college résumé should contain some descriptive information.TYPES AND LENGTHS OF RÉSUMÉS
K-12 A K-12. however. Although school administrators often prefer one-page résumés. however. College Teaching College search committees often disagree about the appropriate length and types of categories to include. is a good place to start. added or omitted to change the tone and focus of your résumé. A thorough. we recommend developing two résumés: one that highlights your teaching strengths and one that frames your performance background. Both kinds can be achieved by rearranging the order in which the categories appear. two-page résumés are acceptable in the field of music education since prospective music teachers have extensive performing and studio teaching experience to include in addition to their education background. As in K-12 résumés. or primary/secondary school teaching résumé usually requires a standard chronological format. Performance Performance résumés must be limited to one page and should include only educational training and performance experience. Such information will enable the reader to know the depth of your experience. including monthly masterclasses and an annual studio recital. Because different colleges and conservatories are looking for different qualities in a teacher. a person who taught two brothers at home for one month would appear to have the equivalent experience of one who had a University-based home studio of over 20 students. information must actually be rewritten. especially in the teaching experience category. It is important to describe any teaching experience that you may have. such information is not necessary. The Office of Career Services recommends that you limit a college teaching résumé to five or fewer pages because search committees rarely want wade through a 15 page curriculum vita. Although it is acceptable to include the dates you performed in an opera or orchestra.13 -
. Simply listing your teaching jobs or student teaching experiences does not give a potential employer a clear idea of what you have done in those positions.
not only by its form and content but also by its style. rehearsals. The language you use to represent yourself can make a reader want to know more about you. be sure to make it clear that you are still performing the activity you describe.” The use of past tense conveys a sense of accomplishment: all of these achievements have been successfully completed and are now a part of the applicant’s experience.14 -
.” In other words. and library management -Created the first combined choirs ecumenical spring concert Make a Tense Decision Notice in the above example that the verbs chosen all work with the understood pronoun “I.SELLING YOURSELF
Confidence and Experience Some people develop résumés that come off as either too arrogant or too shy. sell yourself – show potential employers how good you are. Example: Church Music Minister. which increased by 50% the second year -Founded and directed children’s choir -Managed all aspects of choir. If you decide to use present tense. Say “no” to pronouns and “yes” to verbs It is understood on a résumé that you are speaking about yourself. Some people use present tense to describe positions that they currently hold. Conversely. Pittsford NY (1994-Present) -Teach elementary students. dynamic and professional applicant. therefore it is redundant (and wordy) to use “I” or other personal pronouns when describing your experience. planning. Mary’s Church. “Résumé” Language A good résumé communicates professionalism and energy to a potential employer. Start with a verb to convey action and accomplishment. you need not worry about appearing too arrogant. The following tips will help.” Example: Private Piano Teacher. Do not arbitrarily shift from past to present tense. which indicates a lack of professional foresight and revision. However. there is no need to let the potential employer suspect such feelings. so choose your words carefully. professional manner. Just state the facts and let the reader be the judge. The general rule for writing résumés is “don’t hold back. including budgeting. If you are humble and consider yourself a relatively average teacher or performer. You should strive to find an honest medium. If what you set down on paper is the truth and is presented in a factual. talented musicians and teachers too often spend a good deal of time comparing themselves to the great musicians in their field. Rochester NY (1995-97) -Directed adult choir. St. establish repertoire and program recitals
. don’t embellish. make sure it works with the understood “I. Whatever tense you use. Try out several ways of characterizing your experience and decide which best conveys an attractive. plan lessons.
work better than the lifeless and worn-out “responsibilities included. organizing and teaching. However. bring out what an employer wants to see. describe even the most ordinary experiences in ways that create confidence in your ability Look at some of the sample résumés and think about the kind of person reflected by each. “Introduced innovative and successful changes into audition process. try (as much as possible without sounding forced) to relate them to teaching. highlight experiences related to planning. Try to picture the kind of person who would be perfect for the position you want. Make the Position you want the Focus of your Résumé If the position demands a lot of pizzazz. capable applicant – someone who will perform well. Notice the difference between the following descriptions of the same job: Worked on audition process Revised and streamlined audition process Both descriptions express action. How does the arrangement and description of entries enhance the attractiveness of the applicant?
. Summary – Selling Yourself Be confident. don’t make the reader wade through dozens of good but ordinary experiences to find the “hot” ones. though important. Don’t allow extensive performance experience. You want to impress readers with your skills and abilities. You want to choose a verb that says precisely what you have done and emphasizes your accomplishments and skills. because they start with verbs. comprehensive background. specific and positive. some verbs work better than others. When you do describe other experiences.15 -
.Avoid Listlessness – and Lists You have probably gathered by now that verbs are an important part of descriptions. then emphasize the skills and experiences you possess that make you resemble that picture. The exact opposite is true when applying for positions at schools and conservatories that you know are looking for someone with a strong performance profile. and you should put some thought into selecting them. not push them away by screaming at them. On the other hand. but the latter grabs the reader by being more concrete. professional punch. avoid wordiness Be consistent with verb tense and forms of entries Catering Your Résumé to the Position Just as important as conveying energy and aptitude is convincing a potential employer that your qualifications meet the job description. Beginning with a verb conveys immediately an energetic. An even better entry might read. In other words. if you believe the search committee is looking for someone with a solid. not conceited Don’t sell yourself or your experience short Eliminate personal pronouns Use correct verb tense and active verbs Be specific and concrete.” But all three descriptions.” Show what you can do – don’t just create a list. The list of active verbs on the following page will help you pack your résumé with a powerful. One word of caution: Don’t go overboard. If you are applying for teaching positions at schools that are looking more for teachers and less for performers. to obscure your qualifications as a teacher.
pinpointed. projected. generated. demonstrated. reported. proposed. consulted. conceived. notified. summarized supervised administered. assessed. guided. reduced. directed. reinforced
. planned. organized. built. briefed. negotiated. analyzed. directed. persuaded. compiled. researched. coordinated. oversaw. solved. coached. conceived. enlisted. rehearsed. developed. expedited. informed. recommended. interpreted. lectured efficiency accelerated. organized. revised put together assembled. adjusted. led. surveyed. interviewed. tutored. instructed. effected. investigated. monitored. managed. applied. inspected. selected. effected chose brought. advised. observed. selected. adapted. structured achieved attained. scheduled. observed. supported. defined extimated. engaged. judged. promoted. maintained. strategy. innovated. programmed. implemented. encouraged. set up taught trained. modeled. opened. guided. prepared. improved. introduced. expanded. compared. stimulated. forecasted. eliminated. mastered. ordered. trained evaluated adjudicated. cut. developed. counseled. expanded. updated assisted advised. ordered communicated consulted. produced. produced. participated. increased. launched. altered. performed. delegated. conducted. controlled. instructed. revamped. contacted. reconciled. directed. recorded. discussed. edited. founded. maintained. completed. arranged. invented. established. drilled did conducted. gathered. lead. initiated. designed. familiarized. conceptualized. motivated. dealt. supported changed influenced.16 -
. prepared. implemented. researched. carried out. originiated. provided wrote composed. acquainted. coordinated. reviewed.ACTIVE VERBS
choose a font style that looks professional. now would be an excellent time to learn. Don’t switch from one to the other throughout your résumé. Most macintosh programs have an excellent selection of fonts with which to experiment.
. you have no doubt expended a great deal of effort. and . or underlining. Don’t allow all that good work to go to waste by taking shortcuts at the final stage. Do not use a public photocopier such as those in libraries and institutional duplicating centers. Locations for Laser-printing Rush Rhees Library – Computer and Reserve Library (CARL) located next to Reserve Reading Room in back of library Humanities Writing Center – Morey 100. Times New Roman. You don’t want to make your reader squint to read too-small print 9readers with less than 20-20 vision may not appreciate the reminder that their vision isn’t what it used to be). Word processing makes revision much faster than typing and allows you to use quality laser printing for your final copy. Fonts Whether you type your document yourself or have someone else do it. You als want to avoid too-large print. So. If you are not. for example) – they distract and often annoy readers. Instead. Similarly. Check advertisements in newspapers and on bulletin boards. CAPS. Whatever font style and size you choose. as they often leave distracting smudges and provide uneven quality. most people are familiar with word processing. remember to be consistent. even to distinguish between category headings and entries. use professional materials and printing techniques. River Campus Eastman – Eastman Living Center Computer Lab Kinko’s Copies – 335 East Avenue 1667 Mount Hope Avenue Phone: 262-2679 Phone: 271-2130 Kinko’s Copies also offers typing and copying services. which looks elementary and seems to be striving to fill space. make sure the difference is subtle and doesn’t call attention to itself rather than the content. Your résumé should look as professional as it reads. Some good examples of font styles are Ariel.REPRODUCTION OF RÉSUMÉS
By the time you’re ready to reproduce your résumé.17 -
. use bold. make sure that the printing fonts are easy to read. Other Typing/Copying Services You might want to hire an experienced typist to type your résumé. Printing Today. They should be around 12pt in size. Don’t play around with create vonts (shadow fonts. If you do decide to change font size as a means of distinguishing. Using a laser printer will greatly enhance the look of your résumé. The Careers and Professional Development Office often receives notice of such services.
ivory. but not too “slick” (the underlying idea here is that scholars don’t have time to be fussy over such matters).) If you are applying for academic positions that require a curriculum vita. Take the time to consider all of these details and double-check the quality of your résumé.” Using such colors will attract notice but will also scream “look at me!” as if the content might not be enough to grab a reader’s attention. hot pink. etc. (Note: going with white bont paper may actually be one way of standing out since most résumés today are light. One final note about paper selecting: some of the more expensive kinds of paper do not work well with the laser printing available at the campus facilities. you might consider downplaying the look of your document. one that is easy on the eye (e. Think carefully before making such a choice.Paper You should invest in high-quality bond paper – it need not be too expensive.
. no-white shades. but should be better than regular photocopy paper.) as a way to “stand out.18 -
. We strongly caution you against choosing a “wild” color (chartreuse. pale grey). It should still be neat and attractive. Choose an attractive color.g. offwhite. the print on the crease often flakes off. When the paper is folded.
Have I used strong. ask yourself the following questions. Different opinions on the finished product can help you shape it further. Have I thoroughly proofread for grammatical.19 -
. take some time away from it to achieve distance. active verbs to describe my experience? 5. Have I avoided wordiness and redundancy? 8. Once you have completed your résumé. Ask your teachers and colleagues to read your résumé and give you their impressions. Have I achieved consistency of point of view. typographical and mechanical errors? 10. verb tense. Is the format appropriate and easy to follow? 4. 1. categorical form and chronology? 7.THE FINISHED PRODUCT Creating an effective résumé requires time and careful revision. A “yes” answer to each question will ensure that you have created a professional looking document. font. Have I used high quality paper and printing for a polished final product?
. Résumé Checklist As you consider the effectiveness of your résumé. Does the order of my résumé emphasize my suitability for the position? 3. Have I avoided mere listing (“responsibilities included”)? 6. Have I adequately covered all of the work experiences and skills (including transferable skills) relevant to the position? 2. and format? 9. Is the résumé attractive in terms of style. Then come back to it with a critical eye to see if it conveys a good candidate for the kind of position you want.
but wait for a request before offering it. They may also ask for reference letters. Have a few copies available. Applications. politely offer one. Perhaps your résumé will be so intriguing that s/he will invite you in for an interview even if there are no current openings. The Office of Career Services offers a credential file service to assist in this process. you should enclose a résumé so that a potential employer can see who is interested. When writing to see if a position is available. Auditioning. You shouldn’t push your résumé on someone who hasn’t asked for it. but you should have extra copies available in case someone doesn’t have it. When you begin your job search. which you should have sent under separate cover.HOW AND WHEN TO USE YOUR RÉSUMÉ
Listed below are obvious and not-so-obvious points in your job search that require your résumé. If you know your interviewer doesn’t have a copy.
. you should fill out the necessary forms to set up your file and have it ready for the application process. Interviewing. Most job applications will require you to send a letter of application and résumé. or to see if a new position can be created.20 -
Germany Rochester.22 -
. Eastman School of Music Bachelor of Music and Performer’s Certificate. concertmaster Heidelberg Schloss Spiele Orchestra Eastman Opera Theater Orchestra Juilliard Pre-College Orchestra. Performances for Charles Wuorinen. NY New York. Performance in Paul Hall. Eastman School of Music Musica Nova: contemporary ensemble. Istvan Jaray conducting Sewanee Festival Orchestra. NY Master Classes Joseph Gingold Cho-Liang Lin Joseph Buswell Janet Bookspan Gilbert Kalish
May 1992 May 1990 May 1986
. NY 14607 (585) 555-7069 ORCHESTRAL EXPERIENCE Rochester Philharmonic Orchestra.90 1987 .91 1987 1987 . NY
1989 1990 1986 – present
Rochester. Michael Daugherty. OH Rochester. Sandra Dackow conducting Juilliard Pre-College Orchestra. NJ New York. Ronald Braunstein conducting Livingston Symphony Orchestra. NY Livingston. NY Rochester. NY Rochester. substitute Lancaster Festival Orchestra and Chamber Orchestra Eastman Philharmonia. Juilliard School of Music. NY
1988 .EUGENIA HOROWITZ Violin 154 Park Avenue Rochester. assistant concertmaster SOLO PERFORMANCES WITH ORCHESTRA Ridgewood Symphony Orchestra. Pre-College Division MAJOR TEACHERS Violin William Preucil Donald Weilerstein Sylvia Rosenberg Sally Thomas Chamber Music Kronos Quartet William Preucil Abram Loft Robert Sylvester Thomas Paul Rochester. others. John Graham and Catherine Tait. others. CO Rochester. NY Owatonna. NY Ridgewood. Eastman School of Music (valedictorian) Diploma. NY New York. TN 1987 1991 1987 . Lincoln Center. Juilliard Quartet Seminar Coaching with the Juilliard String Quartet. Americo Marino and Patrick Strub conducting CHAMBER MUSIC EXPERIENCE Cleveland Quartet Seminar Coaching with the Cleveland Quartet. Performances in Kilbourn Hall and the Rochester Public Library.91
New York. Gainey Music Center Member of the Santiago Piano Trio. concertmaster Eastman Graduate Chamber Orchestra.90 1991 1990 . Performances with Julius Baker. NJ Sewanee. MN Rochester. NY Aspen. EDUCATION Master of Music. NY Heidelberg. Performance and Literature. Intermusica: chamber ensemble. NY Lancaster.86 1990 1986 1986 1983. concertmaster Aspen Chamber Orchestra Eastman Dryden Orchestra.90 1980 .
tenor Korby Myrick. tenor Master classes. Pangloss Benoit/Alcindoro Æneas Junius The Mikado The Usher Don Giovanni. Carol Webber. Yale Summer Chorus & Orch. Berkeley Chamber Players. cond. cond. NY. Vocal Performance Eastman School of Music. Yale Glee Club. Judy Congdon. Don Alfonso * Il Conte Almaviva * Harlekin. New York 14607 Roles Bartolo (in-house co. Masetto* Guglielmo. Eastman Chamber Ensemble. Seth McCoy. Theater/English Yale University. Barbara Hill Moore. mezzo Barbara Kilduff. William Sharp. Eastman Philharmonia. soprano Training Voice coaches: Kenneth Merrill Yehudi Wyner Christina Curren Drama teachers: Lynn Singer James Simpson David DeRose (directing)
Education B.) Bartolo Inspector Budd Monty Wooley Henry Davis Dr. baritone Master class. Janet Bookspan (Dramatic interpretation) Master classes. Melvin Butler. CT M. Hot & Cole! Street Scene Candide (scenes) La Bohème Dido and Æneas The Rape of Lucretia The Mikado Trial by Jury Don Giovanni Così fan tutte Le Nozze di Figaro Ariadne auf Naxos • Rochester. soprano Voice teachers: Seth McCoy. cond. Yale Chamber Players. in progress
.James Browning Baritone 240 South Goodman Le Nozze de Figaro Il Barbiere di Siviglia Albert Herring Red. Marian Dolan. Fenno Heath. cond. Dante Anzolini. cond.
Awards & Master Classes Winner.23 -
. Musiklehrer* • 585/555-2710
Eastman Opera Theater Eastman Opera Theater Eastman Opera Theater Eastman Opera Theater Eastman Opera Theater Eastman Opera Theater Opera Theater of Rochester Yale University Yale University Yale University Yale University
Bach Cantata 182 Bach Matthaus-Passion Handel Messiah Mozart Requiem Mozart Coronation Mass Fauré Requiem
Solo Concert Work Rochester Bach Festival. Trumbull College Fine Arts Competition Eastman School Voice Fellowship Master classes.) Figaro (touring co. Donald Neuen. soprano Master class.M. Alexander Platt. cond. Rochester.A. cond. New Haven.
“Easily the member of the cast with the greatest comic flair was Henry Clay Ford as Pooh-Bah. a vastly talented singer. . Ford. . Union Affiliations: A.F. A.F. pompous. Reid Apprentice Artist Opera Pacific Apprentice Auditor San Diego Opera Center Performer San Diego Opera Center Auditor Wigmore Hall.” – Daily Aztec Fiddler on the Roof Evita Student Prince Babes in Toyland Annie Brigadoon West Coast: 134044 Avenida Grande San Diego.)/Nachum General. “H. Aristocrat Dr. San Diego Opera’s Production of Lehar’s “The Merry Widow” with Beverly Sills
Home: 3244 Winton Road South #H22 Rochester. sets a new standard in recorded vocal sounds.s.A La Bohème Benoit/Assistant Director Eastman School/Opera Theatre of Rochester Boris Godunov Featured Dancer.24 -
.S.R. .” Roger Wagner.Times P. Director Regina Resnick Master Class Elizabeth Schwarzkopf Master Class San Diego Region
Performer Onandaga College “.s. . “Christmas with the Roger Wagner Chorale. Janet Bookspan. as Don Alhambra. Nico Castel. Organ – 1 year
Apprentice Programs. 1991 B. Eastman School of Music. New York 14623 (585) 555-2338 home/msg. was slimy. Television.Henry Clay Ford
Bass .) San Diego Opera Die Fledermaus Frank Santa Barbara Civic Light Opera I Quattro Rusteghi Cancian Pacific Chamber Opera The Mikado Pooh-Bah San Diego Gilbert & Sullivan Co. . Zoltan Rosenyai. London 4th Place Metropolitan Opera Auditions Master of Music: Performance and Literature. to the crusty Customs House Guard” – San Diego Magazine Barbiere di Siviglia Fiorello (u. “Polish Act” San Diego Opera/Russian Arts Festival Ballad of Baby Doe Horace Tabor (u. .Centro Cultural de Baja California Palomar Chorale International Orchestra.. Jonathan Mack Vocal Coaching: George Trovillo.A. Director Tito Capobianco.)/Arnheim Father Drake Andrew McLaren
San Diego Civic Light Opera (Starlight) Starlight Starlight Starlight Starlight – Best Supporting Actor Starlight
Pro Arte Records CDD 480. Jane Randolph. Gilbert & Sullivan” Rochester Philharmonic Orchestra.s.” – San Diego Union Gondoliers Don Alhambra Don Powell Theatre “Mr. Mark Elder.s. with members of the Eastman Chorale “ . Engel (u. Conductor “ .B. . 1988 Vocal Training: Thomas Paul. Del Mar Imperial Valley Symphony Assn. and absolutely wonderful. Classes. . Television
Fauré Mozart Handel Mozart David Ward-Steinman
Messiah Requiem “And in These Times”
..A. California 92129 (619) 555-1223 (parents)
Opera Theatre Experience
Musical Theatre Experience
Tevye (u. David di Chiera.G. conductor Herod. on a scale of 10 for Elder’s G&S. .M. Conductor. Alexander Rom Piano – 3 years.” – LA. Classical Guitar – 1 year.” – Mr. Viola – 5 years.” Delos Records 3072. Servant’s Chorus Opera Pacific La Bohème Customs House Guard San Diego Opera “Uniformly good singing from the Mimi. Angel (world premiere) Cornelius Reid Master Class Dr. Peter’s Episcopal. Music: United States International University.)/Jacob Dorian Opera Theatre My Fair Lady Cockney Quartet/Butler. the first 11 ever.S. .
1987-90) Live-in counselor for grades 7-12. 100 Gibbs Street. Brighton. (Nov. New York (Sept. 91) LEADERSHIP ACTIVITIES President. Member of the University Council (1990-91) University of Rochester – Attended to University-wide issues. vocabulary building. finances. Eastman School Student Association (1990-91) Presided over weekly meetings. and Anything Goes. New York. Inc.. coordinated $41. Student teacher – Chester F. Verona.25 -
. 1989) Shared weekly kindergarten music class. Box 180 Rochester.-Dec. Sugar.000 budget. New York (Nov. Rochester. Rochester. 1990) Full time. (Summers 1987-90) In. Resident Assistant and Counselor – Summer Institute for the Gifted – College Gifted Programs. (1986-91) Baritone – Eastman-Rochester Chorus. (Springs. – Oct. Senior Honor Society of the University of Rochester (1990-91) University Student Life Award Recipient (1991) Lois Smith Rogers Merit Scholarship Recipient (1987-91) Student Marshal. Rochester. PERFORMANCE EXPERIENCE Accompanist –Eastman School of Music. taught grades 3-5 Orff-oriented General Music. and student attrition. including Joseph and the Amazing Technicolor Dreamcoat. and high school math. directed three choirs and taught Music Theory and Music in Our Lives. New Jersey. creative writing. supervised student organizations and activities (including Yearbook). 1991) Taught music to twelve-member cast. 1990) Full time. (Summers. New York 14605
DANIEL JEREMIAH SMITH
. Student teacher – Fairport Central School District. Presenter – Rochester Philharmonic Orchestra Children’s Concerts. grades 9-12. including PSAT/SAT preparation. and maintained open communication between students and administration. Eastman School Student Association (1989-90) Member of the Eastman School Committee on Academic Policy (1989-90) Revised and restructured Eastman curricula. (1988-89. New York. New York 14605 (585) 555-1956 EDUCATION Bachelor of Music in Music Education Eastman School of Music of the University of Rochester.Home: 8 Williams Lane Chester. 1989-90) Made pre-concert presentations to grades 4 and 5 in the Rochester City School District. University of Rochester Commencement Ceremony (1991) References available upon request from the Eastman School of Music Career Planning and Placement Office. Member of Music Educators National Conference (MENC) (1987-91) Vice-President. University of Rochester for the musical Baby. Verona. New Jersey.-Dec. New Jersey 07930 (908) 555 – 1818 School: 100 Gibbs Street. Rochester. (Summers. conductor. (Winter. especially in the Music Education Department. Member of the Eastman Orientation Committee (1988) AWARDS New Jersey Governor’s Teaching Scholar (1987-91) Member of the Keidaeans. New York – Donald Neuen. New York (1987-1991) Graduating with High Distinction Cumulative Average: 3. Fairport. 1989 –90) Taught Music Theory and supervised individual instrumental practice sessions. Teacher and Music Supervisor – Summer Institute for the Gifted – College Gifted Programs.and out-of-class tutor for various subjects. (1987-91) Rehearsal and performance pianist – Various musicals. Rochester..85 TEACHING EXPERIENCE Student teacher – French Road Elementary School. RELATED EXPERIENCE Music Director – committee on Performing Arts. formed and conducted pit orchestra. including curriculum. Carlson Metrocenter YMCA. Inc. Teacher’s assistant and tutor – Summer Institute for the Gifted.
New York. Conducted trombone and tuba sectionals for students in grades 9-12. Summer 1990. New York. Taught the “Music TIME” method to toddlers (ages 3-4).A. Pittsford. School No. Intern. euphonium and trombone. and tour production. Spring 1989. New York. Directed high school and elementary (fifth and sixth grade) band. Performed with Sutherland High School jazz Ensemble and directed the Mendon-Sutherland High School Orchestra.C. Student Teacher. Rochester. Maintained a studio of six students of various ages and ability levels. Hopewell Prior to May 25th: 100 Gibbs Street. Pittsford Sutherland High School and Park Road Elementary School. PROFESSIONAL EXPERIENCE Student Teacher. Oregon 04108 (207) 555-1234 EDUCATION Eastman School of Music. programming. Metrocenter Y. 6..Marion A. and prepare thirteen person show choir for winter concert.
. 1986 – present. Private Instructor. New York Fall 1990. Rochester. Student Teacher. The method involves the teaching of rote songs to establish early tonality and rhythm. Student Teacher. Mendon High School Show Choir. Fall 1989. Rochester. Currently pursuing a Bachelor of Music degree. taught group and private lessons at both levels. Monroe County School for the Arts. New York. Fall 1990. Retained by the school district of Pittsford. Expected date of graduation: May 1991. Gained practical experience in the areas of grant-writing. Taught beginning recorder to third grade students (some with learning disabilities) using the “Jump Right In” method. New York 14605 (585) 555-1725 After May 25th: 46 Black Cove Estates. Rochester Philharmonic Orchestra. to direct. with a double major in music education (instrumental concentration) and euphonium performance. Assisted and observed all departments of the Rochester Philharmonic Orchestra. Directed elementary band Performance of personal arrangement of the chorale “A Mighty Fortress is Our God” for low brass. Rochester. New York. rehearse. Observed union contract and artist fee negotiations.M.26 -
. Spring 1990. Portland. Box 168. Rochester. Director. Served as assistant conductor on the high school winter concert. The method utilizes tonal and rhythmic patterns to improve aural skills.
Maine Winds—professional touring ensemble. trombone and euphonium. improving curriculum in all Eastman School departments. Eastman School Merit Scholarship. 1990 – present. 1988-89. residence hall fire. Supervised 30-student committee with subcommittees on activities. Music Educators National Conference (Eastman chapter).
. 1988-89. Fall 1990. Marcia Brown Memorial Scholarship. Howard Tribeau Memorial Scholarship. page 2
President. President. President. Hopewell. 1987 – present. 1987-89. Representative. Eastman Chamber Rock Ensemble. principal euphonium. seasonal. handbook. and administer all fund raising activities membership drives. Volunteer. Resident Advisor. Eastman School of Music. Engagements with various brass quintets. 1989-90. Vice-President. Sophomore Class. Port City All-Stars—rock/dance band. lead trombone. Eastman School of Music. trombone. informational seminars. 1988. Eastman-Rochester Chorus member. and the “Freshman Show. 1989 – present. Eastman School of Music. Design. Eastman School Special Scholarship. and personal injuries. intervene in crisis situations including suicide attempts. 1989-90. PERFORMANCE EXPERIENCE Eastman Wind Ensemble. 1987-88. Strong Memorial Hospital. initiate.27 -
. Committee on Academic Policy.LEADERSHIP AND VOLUNTEER EXPERIENCE
Marion A. Eighteen member senior honor society of the University of Rochester. perform administrative duties as assigned by resident director. Music Educators National Conference (Eastman chapter). Counsel undergraduate music students. Eastman Orientation Committee. Sophomore Class. Served on committee of four student representatives and faculty representatives from each department. 1987-88. Pediatric Unit. and community outreach programs. HONORS AND AWARDS Member of Kaiedeans. Eastman School Leadership Award. REFERENCES AVAILABLE UPON REQUEST.” Responsible for planning all aspects of week-long orientation programming for incoming freshmen. 1990 – present.
Michigan. Fall 1988. weekly seminars were initiated on the development of art music in the twentieth century emphasizing major trends. New York. Teaching Artist. New York. Eastern Michigan University. Texas 78712 (512) 555-9876 Education
3914 Avenue B Austin. Programmed. Eastman School of Music. current.
. Trained primary and secondary school teachers about art music and jazz from a composer’s point of view. Eastman School of Music. 1990 . candidate for the degree of Doctor of Philosophy (Composition). During the following school year. Coordinate and supervise the regular Composer Concert series of recent music by composition majors. in addition. worked with students of the trained teachers as preparation for a serious music performance. Fall 1987.Department of Music The University of Texas at Austin Austin. Taught weekly private instruction of fundamental musical composition to non-music majors. Lecture/instruct beginning composition class for undergraduate composition majors as well as talented non-composition majors stressing creative approaches to writing music. master’s and undergraduate composition majors. Teach private weekly instruction in the craft of musical composition to major and secondary students at the undergraduate. Master of Music (Composition). Bachelor of Music (Piano Performance). Cultural Resource Council. which consisted of performances of music by doctoral. Graduate Teacher. graduate and doctoral non-composition majors and supervision of graduate composition teaching. Eastman School of Music. Projected completion date August. produced and publicized the monthly Composers’ Forum Concerts. Rochester. Assist in programming and conducting the University of Texas New Music Ensemble. New York. Syracuse. master’s and doctoral levels. Taught fundamental theory for non-music majors.1990. Chair of the Composition Curriculum Committee designed to improve and strengthen both undergraduate and graduate programs. Rochester. 1986. Composition Instructor. Austin.1990. Ypsilanti. Visiting Lecturer. stressing aural comprehension and dictation skills. 1988 . rehearsed. Texas 78751 (512) 555-3889
Eastman School of Music. Michigan. Visiting Lecturer. Texas.Community Education Division. and conducted the University Collegium Musicum in a concert of early music for a combination of vocal and instrumental ensembles. New York. New York. Rochester. aural comprehension skills and notation/manuscript. 1987 .. University of Texas at Austin. Taught private weekly instruction in the craft of fundamental composition ranging from tonal and modal writing through advanced current practices to undergraduate. Visiting Lecturer. Rochester. Taught private weekly lessons of fundamental composition ranging from tonal and modal writing through advanced current practices to undergraduate and graduate music majors. Ypsilanti. 1989. Taught private weekly teaching of fundamental musical composition. College of Arts and Sciences. University of Rochester. Coordinated. through a variety of techniques to community members ranging in age from high school to senior citizen. in a comprehensive two-week seminar. stylistic changes and techniques of important composers. 1988 – 89. 1991.28 -
. Eastern Michigan University.
Christopher Young. New York. 1983 – 87) Rudolf Nissim Orchestral Prize. 1986 – 87) Anthony Iannaccone (Eastern Michigan University. First Prize Winner of the 1990 Concert Artists Guild International New York Competition. 1990. Outstanding Graduate Teaching Prize. in Carnegie Hall. New York. Authors and Publishers. Ypsilanti. a new work for harpsichord solo to be performed throughout the country and recorded for commercial release on the Gasparo label. Inc. 1987 – 89) Samuel Adler (Eastman School of Music.Major Teachers
Christopher Rouse (Eastman School of Music. NY. a theatrical overture Commissions commissioned by Meet the Composer. OH. Eastman School of Music. NY. New York. 1990. 1989. 1988 American Guild of Organists National Winner. 1989.
. Charles E. American Society of Composers. a new work for orchestra commissioned for the “first Music 8” series to be premiered May 24. Ives Scholarship. Rochester. under Max Plank. Los Angeles. an oboe concerto with small chamber ensemble to be premiered in March. ASCAP Standard Award for Serious Music. Thomas Gallant. NY. ASCAP Grant to Young Composers. 1991. April 20. New York Chamber Ensemble. New York. 1992. 1988. Eastern Michigan University Wind Ensemble. 1992. 1991. Pro Musica. a work for Classical chamber orchestra premiered under Timothy Russell. a new major work for traditional saxophone quartet to be premiered in September 1991. under Samuel Wong. MI.29 -
. Sernoffsky Composition Prize. 1989. New York. NY. an extended work for wind ensemble commissioned by Kappa Kappa Psi and Tau Beta Sigma of Eastern Michigan University. CA. Eastman School of Music. Eastman School of Music. NY. Premiered October 24. Rochester. 1988. for a virtuosic showpiece premiered in November 1989. New York Youth Symphony. New York. under Lukas Foss. Rochester. American Society of Composers. 1988 – 90) Joseph Schwantner (Eastman School of Music. 1987. PA.
Recent Honors and Awards
Recent Brooklyn Philharmonic. and the ASCAP Foundation. Prism Saxophone Quartet. 1989. 1991. under Stephen Rodgers Radcliffe. 1989 – 90) Warren Benson (Eastman School of Music. Authors. NY. NY. NY. Saint Paul’s Cathedral.. 1982 – 86) David Burge (piano) (Eastman School of Music. for a solo oboe work to be premiered in Los Angeles. 1989. NY. Barbara Harbach. April 1990. Pittsburgh. 1989. then performed throughout the country. NY. Howard Hanson Award for Orchestral Music. 1987 – 88) Joseph Gurt (piano) (Eastern Michigan University. Columbus. New York. American Academy and Institute of Arts and Letters. To be premiered March 1994. 1990. and Publishers.
soprano. Three Poems of Paul Blackburn. Café at Night. Kansas in October 1990. Toccata JMF. Young. Dcember 1988. Halliley Music Works. Pennsylvania. At least ten more scheduled performances in through February 1991. Prism Saxophone Quartet. October 1989. November 1989 (premiere). Rochester. NY 14604. Toccata JMF. Most recently performed in Seattle. Fall 1989. American Composers Orchestra under Paul Lustig Dunkel. Paul James. Publications Arbor Prismatci. Also performed in each of 22 concerts during a U. Twelve Secrets. Cooper Union. Columbus. Detroit. Professor of Composition and Composition Department Head. Halliley Music Works. Equitable Center Auditorium. Saxophone Quartet. Rochester.30 -
. various artists. Songs After Light. Liscio. MI. New Mexico. 26 Gibbs Street. New York. and Vale. and Wichita. Hallley Music Works.Selected Living It Up. Orchestra Hall. Oakland. Grand Rapids. Serenade. Café at Night. New York. April 1990. Michigan. Halliley Music Works. Boulder Colorado. January 1991. Grand Rapids Symphony under Catherine Comet. July/August 1990 Performances Living It Up. ASCAP. other performances in major concert halls in Chicago. Rochester. (585) 555-0000. Sampler (chamber music) due to be released Winter 1992. Halliley Music Works. NY. Eastman School of Music. Albuquerque. Halliley Music Works. Halliley Music Works.S. Merkin Hall. CA. Serenade. Pittsburgh. Eastman School of Music. full disc(orchestral and chamber music) due to be released Fall 1992. Living It Up. Detroit. Spring 1991. Halliley Music Works. DeVos Hall. Christopher C. Due to be released Winter 1991. Barbara Harbach. Gasparo. piano. Oakland East Bay Symphony under Michael Morgan. possible release date Winter 1993. Three Poems of Paul Blackburn. organ. (585) 555-0001
. Professor of Composition. Recent NY. CO. Great Hall. Los Angeles and throughout the country. New York. Phenisher Harris. organ. OH. Pro Musica under Timothy Russell. Koch International. Rochester Philharmonic under Kenneth Jean. NY. 26 Gibbs Street.Brooklyn Philharmonic under Lukas Foss. Prism Saxophone Quartet. Twelve Secrets. Twelve Secrets. NY 14604. To be recorded and commercially released on compact disc. October 1990. References Samuel Adler. Toccata JMF. December 1990. Saint Paul’s Cathedral. Washington in September 1990. June 1990. Invitation Standing: Music of Aaron Paderewski. Twelve Secrets. tour. Warren Benson. January through May 1990.
. Eastman School of Music Bill Dobbins. in Music Education Eastman School of Music Rochester. New York 14604 (585) 325-2599 Present Position: Graduate Student/Teaching Assistant Eastman School of Music 26 Gibbs Street Rochester. Eastman School of Music Emily Vanderpool. Eastman School of Music Arranging Teachers: Rayburn Wright. New York 14604
EDUCATION Ph. Fratangelo 111 East Avenue. New York Expected date of graduation (Research advisor: Dr. Richard Grunow) Eastman School of Music Rochester. Virginia
1992 1988 1981
Master of Music in Music Education Bachelor of Music with teaching certification SPECIALIZATIONS
Improvisation Inservice Teacher Education Instrumental Music Education Jazz Studies: Piano/Arranging Measurement and Evaluation in Music Music Learning Theory Music Technology (MIDI) Student Teacher Supervision PERFORMANCE MEDIUM Piano Teachers: Bill Dobbins.Andrew D. Eastman School of Music
. New York George Mason University Fairfax.D. #800 Rochester.
Instrumental Music Workshop. Student Teacher Supervision. Ontario. 2/5/90 – 2/6/90. Geneseo. BOCES. and Workshops Instrumental Music Education Workshop. Instrumental Music. Improvisation and Instrumental Music. 11/10/90. New York. Canada. Geneseo. Teacher Inservice and Program Evaluation. 1/31/91 – 2/2/91. page 2
Teaching Assistant – The Eastman School of Music. Teacher Inservice. Music Learning Theory and Instrumental Music Instruction. Instrumental Methods Classes. 5/2/91. Rochester. NY. Connecticut Public Schools. 3/22/91. Understanding Classical Music. 4/5/89. 7/23/90 – 7/27/90. Rochester. Improvisation. Lockerby Composite School Junior Band. Improvisation and Music Learning. Fairfax. 2/12/91. Instrumental Music. Albany. and Music Education. 8/31/90.32 -
. Eastman School of Music. Eastman School of Music. West Hartford. 7/29/91 – 8/2/91. 4/6/90. Philadelphia. MIDI. Synthesizers. Bolling Air Force Base (United States Air Force Band). 10/15/88. MIDI and Music Education. Improvisation.Temple University. Fairfax County Public Schools. Improvisation and Music Learning. Instrumental Music Education Workshop. Williamsport Pennsylvania Public Schools. Improvisation. Teacher Inservice. 3/12/88 – 3/20/88. Synthesizers. 7/12/90 – 7/13/90. Geneseo. State University of New York. MIDI. Presentations. NY. Bristol. State University of New York. and Music Education. Mount Morris. Dominican Republic. 4/8/91. Morris.
. Eastman School of Music. Mt. NY. Mount Morris. Carol Morgan School. MIDI and Arranging. Seminars. School Voyageurs.PROFESSIONAL EXPERIENCE Teaching Experience
Andrew D. CT. 1988. NY. National Music Clinic. Adam’s Mark. Instrumental Music/Music Learning Theory. NY. Santa Domingo. PA. Hartt School of Music. Fratangelo. 10/26/90. 8/30/90. 7/22/91 – 7/26/91. Eastman School of Music. Philadelphia. 10/27/89. Board of Cooperative Education Services (BOCES) Improvisation. MIDI (Musical Instrument Digital Interface). State University of New York. Teacher Inservice. VA.
1977 – present. Beginning Band. 1982 – present. Vienna. France with Jacques Helmus. Virginia.33 -
. Oakton High School (9-12). Beginning Band. 1986-1988. Marching Band Awards and Recognition Awarded the Teaching Assistant Prize in recognition of Excellence in Teaching at the Eastman School of Music.C. Concert Bands. D. drums. Performance in Lyon. Performance Experience Piano/Keyboard Freelance jazz pianist in the Washington. Jazz Ensemble. Fairfax County Public Schools. 1984 – 1986. Horn Studied horn with David Whaley. e. Symphonic Band. Chuck Sayre Music. Beginning Band. Eastman Jazz Ensemble. Eastman New Jazz Ensemble.
. Exemplary rating in “Skillful Teacher” evaluation program. April 1988. and Rochester. Eastman Studio Orchestra. NY metropolitan areas. Columbia Pictures Publishers. 1982 – present. Performances with Billy Hart. page 3 Instrumental Music Teacher – Fairfax County Public Schools.Andrew D. Jazz Ensemble. Jazz Ensemble. 1988 – 89. Fairfax. flugelhorn. Fairfax. 1981 – 1984. Symphonic Band.: Hal Leonard Publishers. Kenny Wheeler. Virginia. Symphonic Band. Robinson Secondary School (7 – 12). Corporate film and commercial recording with Chuck Sayre Music and other independent contractors. Fratangelo. Marching Band. Cooper Intermediate School (Grades 6 – 8). Concert Bands. 1990. McLean. National Symphony Orchestra. Concert Band. Virginia. Various recordings for publication promotion.g. 1977 – 1981. Eastman Chamber Jazz Ensemble. May 27. 1988. Musical Theater. Virginia.
1986. Instant Present Records. Edwin E. and Gordon. Arranged for Studio orchestra (with vocalist).34 -
. Publications. Illinois. Imagination. Watch What Happens. July. Grunow. Publications.I. Volume II. Recorded by Arranger’s Holiday Ensemble. Audiation.
. Illinois. Arranged for Jazz Ensemble.A. Numbers 1 and 2.. page 4
An Investigation of the Effects of Audiation-Based Improvisation Techniques on the Music Achievement of Elementary Instrumental Music Students (in process). Fratangelo. Tippin’. Jump Right In: Concert Selections (in process – expected date of publication: 1991). Arranged for Jazz Ensemble. Chicago. December. G. Richard F. Edwin E. But Beautiful. Richard F. Chicago. Arrangement for Jazz octet. Parcours. Recordings (piano/keyboard) Album with Jacques Helmus: Aimra Works. Arranged for Jazz Ensemble. Inc. Triste. Grunow. Original composition for Jazz octet. Performed by Eastman New Jazz Ensemble. Jump Right In: The Instrumental Series. Ensemble Book. The Quarterly. Chicago. April 1989. Recorded by Eastman Studio Orchestra Jazz Ensemble. Edwin E. Inc..A. and Gordon.I. Illinois: G. December. Home-Study Cassette.PUBLICATION Dissertation
Andrew D. 1988. Jump Right In: The Instrumental Series. 1989. University of Northern Colorado. July. Fratangelo. G. Accompaniments for Solo Book. Richard F.I. July. Recorded by Eastman Studio Orchestra jazz Ensemble. Articles Fratangelo. Summer. 1987. 1991.A. July. Performed by New Jazz Ensemble. Andrew D. Performed and recorded by Eastman Studio Orchestra.. Recorded by Arranger’s Holiday Ensemble. Spring/Summer. and Gordon. 1988. Compositions/Arrangements Grunow. Andrew D. Improvisation and Music Learning Theory. Jump Right In: The Instrumental Series. 1988.
PROFESSIONAL SOCIETIES Music Educators National Conference International Association of Jazz Educators Virginia Music Educators Association Virginia Band and Orchestra Directors Association National Band Association REFERENCES Bill Dobbins Donna Brink Fox Edwin E. Gordon Richard F. Grunow Steven Laitz Alfred Mann Sheldon Turrentine Eastman School of Music Eastman School of Music Temple University Eastman School of Music Eastman School of Music Eastman School of Music
Andrew D.35 -
. Fratangelo. page 5
Jazz Studies Music Education Music Education Music Education Music Theory Music History Music Coordinator
Fairfax County Public Schools
D.M Rochester. and support staff. crisis and common issues in the lives of musicians. 1989 – present CONDUCTING AND ENSEMBLES DEPT. Perform various clerical tasks.M. GA Studio instruction of beginning and intermediate level bassoon students 11 to 18 years of age. E. E. Management training seminar
Education: 1986 – present
Work Experience: 1988 – present GIBBS CHAMBER ORCHESTRA Rochester. Counselor and mediator of student concerts.S. 1988 – present EASTMAN RESIDENCE HALLS. NY Personnel Manager Deal with personnel matters of 55 member orchestra and aid in maintaining a well balanced atmosphere. Organize and acquire rental materials for school ensembles. NY Bachelor of Music. 1985 – 1988 PRIVATE STUDIO TEACHER Atlanta. and mediating grievances between conductor and players.M.424 University Avenue Rochester. Performance (Bassoon) Expected date of graduation: May 1990. 1987 – present ENSEMBLE LIBRARY. University of Rochester Rochester. Assist in functioning and overall operation of Ensemble Library. and communicative abilities to help an organization achieve its goals. assist in production and operations. NY Resident Assistant Student advocate and liaison between 425 person student body. Other responsibilities include contracting extra players.C. Rochester. administration. Aid in accommodation of general needs of conducting staff. EASTMAN SCHOOL OF MUSIC.. NY Administrative Aide Assist in office administration. NY Library Assistant Maintenance and repair of library music. AMERICAN SYMPHONY ORCHESTRA LEAGUE Washington.
. New York 14607 Home: (585) 555-8200 Objective: A position that would enable me to use my strong organizational.S. Rochester. E.S. administrative. Creator and director of educational programs and activities.36 -
Principal bassoon GRANT TETON SEMINAR ORCHESTRA GENESEE SYMPHONY ORCHESTRA. 2nd bassoon
Activities and Professional Involvement: 1989 – present 1987 – 1988 1986 – 1987 1986 – present AMERICAN SYMPHONY ORCHESTRA LEAGUE. member
. page 2
ATLANTA SYMPHONY ORCHESTRA. Freshman Class President INTERNATIONAL DOUBLE REED SOCIETY. 3rd bassoon GIBBS CHAMBER ORCHESTRA. Principal bassoon STATE UNIVERSITY OF NEW YORK. GENESEO SYMPHONY ORCHESTRA. Treasurer EASTMAN SCHOOL OF MUSIC.Performance Experience: December 1987 1988 – present June 1988 1989 – present 1989 – present
James Starling. member EASTMAN STUDENT ASSOCIATION.37 -
Writing and Study Skills Center. University Health Service. orientation programs for new students. a senior officer of the University.38 -
. Interfaith Chapel.A. is a member of the Executive Staff of the University’s central administration and reports directly to the President. Coordinated efforts of the chaplaincy and student health services. NY 14627 585-555-1423 EDUCATION Eastman School of Music of the University of Rochester Ph. Advised various student organizations. (1972) Music Education/Violin B. residence halls. The vice-president. participated in minority recruitment. Eight units comprise the division. NY 14608 585-555-1616 Business: University of Rochester 500 Wilson Commons Rochester. assisted in the administration of student financial aid.M. Included are the offices of the Dean of Students. Wilson Commons (Student Activities Office). International Student Affairs. Student Union. Responsibilities include supervision of programs and personnel in: academic and personal counseling.D. Minority Student Affairs. Eastman School of Music 1981 – 1988 Responsible for all matters relating to student affairs and student life. Sports and Recreation. executive responsibilities for the Division of Student Affairs. (1968) Music Education/Violin ADMINISTRATIVE EXPERIENCE University of Rochester 1988 – Vice President and University Dean of Students
Chief student affairs officer with university-wide.CURRICULUM VITAE Samuel Anthony Butler Home: Corn Hill Terrace Rochester. Office of Career Planning and Placement. (1976) Music Education M. each with its own discrete organization and professional staff. school security. Had primary responsibility for Dean of Students
. Residential Life. edited and produced relevant publications.
course in the music of African-Americans. enrolls approximately 1300 students. helping to determine program direction. a United Way Agency and member of the National Guild of Community Schools of the Arts.”
. overseeing day-to-day operations. the Hochstein School continues its rich tradition of musical education. books. string methods instruction. music appreciation classes. Founded in 1921 as a settlement music school. several faculty committees. dance. in addition. Hochstein Memorial Music School 1970 – 1972 Chief Executive Officer. Other teaching responsibilities included violin instruction. for all aspects of the operation and management of this comprehensive community music school. founder. Responsibilities included representing the School in the greater Rochester community. 1983 1976 – 77 “The Music of Black Americans: Perspectives from Music and from Literature. and listening facilities. hiring faculty and staff which numbered about sixty. Nazareth College Wind Ensemble. vocal. overseeing the educational program and. Was Fulbright Program Advisor. among them. Chaired the School’s Affirmative Action Review Board for the appointment of faculty. and advisor to student chapter Music Educators National Conference (MENC) and to the Black Awareness and Cultural Association (BACA)—a minority student organization. Represented the Eastman School on several civic and cultural boards. offering a curriculum that includes instrumental. oversaw renovations of the School’s facilities and established the School’s first library of music. ensemble instruction as well as academic music classes. Rochester’s Cultural Commission and the Rochester Downtown Development Corporation. Nazareth College Lecturer Summers. The School. sound recordings. supervision of student teachers. reporting to the governing Board of Directors. Member.developing and writing the building program for the new Eastman Student Living Center. with the faculty. TEACHING EXPERIENCE University of Rochester 1990 “The Music of Black Americans: Selected Topics” Lecturer College of Arts and Sciences Executive Director
Nazareth College Assistant Professor of Music 1976 – 1981 Lecturer (1977 – 81) Conducting and ensembles. preparing and managing the budget.39 -
. first-year music theory. music education seminars.
Eastman School of Music Graduate Fellowship and Assistantships for study leading to the Ph. Chief student affairs officers from 25 leading major research universities in the United States. Installed. Elected to the Alumni Council of the Eastman School.40 -
. Honorary Member. 1983. An informal aggregation. 1987. April 1985. January.D. National Defense Education Act (NDEA). 1978 – 1981. Ryan. 1972 through 1975.. Professor of Sociology.D. City of Rochester. degree. the group meets twice yearly to share in one another’s thinking about higher education issues. Professor Valentine’s primary scholarly interests include Women’s Studies and Sociology of the Arts.. POTPOURRI Married to Bridget C. Travel experiences since 1975 have included extensive meandering for purposes of study and for pleasure throughout central and eastern Europe.PROFESSIONAL MEMBERSHIPS National Vice Presidents’ Group Elected to membership in 1989. Eastman School of Music Chapter. Nazareth College of Rochester. founder and director of Women’s Studies Program. Sigma Alpha Iota Professional Music Fraternity.
. 1968. Jones. National Association of Student Personnel Administrators Association of College Personnel Administrators American Association for Higher Education Music Educators National Conference College Music Society HONORS AND AWARDS Citation for Civic and Community Service by Mayor Thomas F. the Mediterranean.D. Citation for Volunteer Service by the Metropolitan Women’s Network of the National Association of Negro Women. Eastman School of Music. Ph. Title IV Fellowship awarded for graduate study leading to the Ph. and North Africa.
OH: Oberlin College Office of Career Planning and Placement. R. Janice. 1989. Martin’s Press. 1990. S. please consult the Office of Career Planning and Placement library. NJ: Prentice-Hall. Janes. Cincinnati. 1990. How to Prepare Your Own High-Intensity Résumé. and Han. Inc. 1983. Your Own Way in Music. Powell. Bolles. New England Conservatory. Nancy... CA: Ten Speed Press. Heinz. NY: St. Richard Nelson. 1984. Wheeler.
For further reading. 1981 Ulrich. Résumé/Letter Writing for Conservatory Students. University of Rochester. Oberlin. Rochester. The Performing Artist’s Handbook. 1990. MA: Office of Career Planning and Alumni Relations. Papolos. Evanston. IA: Kendall/Hunt Publishing Co. The 1990 What Color Is Your Parachute? San Francisco. Boston. Jean..BIBLIOGRAPHY OF SOURCES CONSULTED IN DEVELOPING THIS HANDBOOK
1990 ASCUS Annual Job Search Handbook for Educators. NY: Career Services and Placement Center. Career Planning Today. Uscher. Randall C. 1989. 1988. OH: Writers Digest Books. Englewood Cliffs.
. College and University Staffing. Inc. Writing an Effective Résumé.. Dubuque. New York. IL: Association for School. The Career Skills Publication Series.41 -