Coming Alive Performance Analysis

I’ve done several plays including “Beverly Hillbillies”, “Get Smart”, “My Man Godfrey”, and “May The Farce Be With You”. I’ve also done a few musicals including “Urinetown”, “AIDA”, and “Shrek”. I’ve also worked behind the scenes as the Dramaturg and set crew whilst helping out with some middle school productions. I’ve been in choir for 4 years lead by my inspiration and hero, Tim VanEperen. When I first joined, I had major confidence issues with my singing, but he worked very hard with me to get over them. I’ve sung Alto 1 & 2 and currently Soprano 2. I hope to continue doing what I love in the community. I participated in Forensics for two years doing Solo-Acting Serious, Solo-Acting Humorous, and Play Acting. I’m also very passionate about the environment which is why I’m in Earth Club! We are a bunch of tree huggers who strive to teach the importance of recycling and doing everything we can to conserve energy, water, and help stop

I have learned proper breathing techniques and vowel modifications to get the best possible sound quality and overall enhance my singing abilities over the past four years. I have been the section leader of the soprano voice section since sophomore year, and being in charge of almost 50 people in the choir has taught me valuable leadership skills such as responsibility. I have learned to take responsibility for the women in my section, learning the music quickly in order to teach it, and to help students individually so they become more confident in their part. In the absence of our choir director, I have been appointed to run choir rehearsals. I have also gained confidence in myself through high school choir. My middle school choir director had her favorite students, and I was not one of them. She made me feel like I was not talented and would not amount to any sort of success musically. Once I got to high school, the director there believed in me and would always push me to do my best and improve on everything. When I was 13 years old, I thought I was an awful singer. Now at 18 years old, I can say with confidence that I am an excellent musician. This is a result of the music educators who have influenced my life through their teaching. As a future teacher, I would strive to exemplify my high school director and positively influence as many students as I can. Through the

Teaching demands a lot of creativity and being able to adapt to different situations and environments. However, in order to experience lasting success, more than pot luck, charisma and spontaneity are required. Planning is essential. Planning and preparation gives a certain level of confidence. Whether it is a single lesson or a whole course, planning allows you to design the learning journey you wish to take your students on. In designing, you can make sure that you are catering for all your learners’ needs. This includes sufficient differentiation; for SEN needs as well as your gifted and talented students. In planning you can ensure that your lessons have a definite beginning, middle and end and have clear aims and targets. At this stage you will also prepare and plan resources. Also, you must plan your assessments. How will you know when the students have learned what you set out to teach? How will they know? How are you going to prove that learning has taken place at the end of the course? All these points will be addressed in the planning stage of the teacher training cycle.

In schools teachers are required to complete long, medium and short term planning this means that it could be planning for the entire year, the term or the week. The long term planning provides a summary of the subject content. A medium term plan shows an overview of the activities and topics example pirates. Short term shows detail such as learning aims, activities, resources, differentiation, staffing, and timescale. Usually a teaching assistant will be asked to help with the short term planning of learning activities this maybe the short term planning. Everybody attending the class such as the teacher, teaching assistant and students should know the lesson objectives which will be

After moving to New York City to pursue an acting career, I continued to work on my singing voice through professional voice lessons. As I learned more about my own voice, I became very interested in the science behind singing and speaking. This led to an independent inquiry for knowledge that quickly took me beyond the scope of singing pedagogy, and I began to rely on vocal anatomy and speech pathology text

Daryl Yasay, my old high school chorus director, has helped me to become the music lover I am today. Mr.Yasay is an awesome chorus director as expected from someone with a Master’s degree from FSU in choral conducting. But instead of just focusing on the technique of music he also would teach his students to focus on the emotion and message of the music. I remember once after an after school rehearsal I was waiting for my mom to come pick me up and we were talking about the new song he had gave us. I was explaining to him how I was annoyed at the thought of singing the song because it was a love song and at the time I was going through a heartbreak and did not want to sing about love. He then told me a story about how when he was in high school

As I unlocked my jaw from my mouth, nothing came out. The director and the instructor stared at me with open jaws. They weren’t able to take me in because I had lost my voice. I was the quiet 14-year-old, who lost the ability to sing falsetto anymore. My only strength was my baritone voice, but the choir, at the time, did not start a boy choir in their choir yet. I auditioned yet again, but the same result happened; however, this time, they had troubadours for me to start my life in choir: The choir that is called the South Bay Children’s Choir (SBCC)

feedback and identify objectives. It is usually the line manager who has to plan, prioritise

For example, students were asked to sing a glissando up and down the scale, intone “Ah” for as long as possible, practice diaphragmatic breathing, and other vocal exercises (see Appendix B for an example of directed exercises). Although students were initially reluctant to use their voices, the justification for these activities was that the clinician must demonstrate a procedure or task for the client so that the client understands what is required. If the clinician is tentative in using his or her voice or if the clinician’s model is flawed, the client will also behave tentatively and the output will be equally flawed. Practice produced proficiency so that students were able to provide an efficient model for the voice client. Moreover, students were counseled to learn to love their voices. This was necessary because an informal survey on session one of the class revealed that every student, without exception, did not like the sound of their voice. To be a potential voice specialist, students needed to be unashamed of their voices and to behave as if they were performance artists. This appeared to have a positive effect on their voice use in class and in the clinical settings. Many students reported that they were more comfortable working with voice

At the start of the semester I had become more aware and grounded in my voice. In my everyday life, I would notice if I was holding my breath. The reason for this was because over the summer I had to stand-up to one of my shut-up judges, my dad. The incident was extremely emotional, and I coped with it through the use of my actor training; instead of checking out and holding tension, I chose to breathe deeply and stay grounded. This allowed me to speak up even when I was told to shut-up. This awareness of breath was developed through necessity rather than choice. I had to be strong. My strength didn’t only come from being grounded in my breath, but it also came using breathe to stay present in the room. The use of breath also allowed me to go into my body and release the build-up of emotions. As a result of these experiences, my voice was able to drop more consistently to my lower resonator rather than my typical chest voice.

Ever since I was accepted into A Capella Choir, I felt like the smallest fish capable of survival in the big pond. The seniors were actually good- they practiced, and they have been members for 4 years; I could never aspire to even equal these larger than life figures. Rather than working with us underclassmen,

Unit 397 a Custom Life Bot, that was all she was meant to be. Yes she had a personally selected outward design, with a few specially selected run programs, but none of it truly should have amounted to who Alice was. Even her name, such a simple thing really. But in choosing it Alice seemed to gain the first mark against her.

Both Vicanna and Cameron stress the importance of organization and planning to be one of the most important aspects. In Cameron’s study a teacher said “In terms of preparation and planning . . . it was more labor intensive and now that it’s done and

For the conductor preparing a rehearsal is not an easy task. Several aspects of the choral program must be taken into account. Before a conductor can prepare for their rehearsal, they have to take several objectives into account. Before the conductor can move on to planning his rehearsal, they must look at when they can have a concert. This gives the conductor a goal and a limit on deciding if the choir has enough time to rehearse before their concert. In fact, the conductor should plan for blocks of time that would best benefit the choir and their work. The conductor then must prepare rehearsal objectives. For example, as the rehearsal goes on, one should have objectives that are specific and to the point at the beginning of the rehearsal,

The director role fits me well as it marries well with my StrengthsFinder strengths of futuristic, significance, focus, competition, and achiever. Futuristic individuals are fascinated by the future and look to what is next on the horizon at any moment (Academic Affairs, n.d.). My significance strength helps me want to stand out in the crowd and work on efforts with significant impact (Academic Affairs, n.d.). My remaining strengths of focus, competition, and achiever help me set goals and work hard to find the thrill of achievement in their completion (Academic Affairs, n.d.). The coach role comes in to play if I need to invoke it to focus my efforts and achieve my