text:
Linda Allegretti, Academic Dept Assoc
Office location: Center Of The Arts 2076
Phone: (262) 472-1566
Email: email@example.com
Department(s): Theatre/Dance
B.S. University of Wisconsin-La Crosse; M.M., Ph.D. University of Wisconsin-Madison
Prof. Allsen teaches Music History I (Medieval/Renaissance) and several World Music and General Studies courses offered by the Music Department. He has several published musicological articles, editions, and reviews to his credit, and has contributed to the New Grove Dictionary of Music and Musicians, to its German counterpart Die Musik in Geschichte und Gegenwart, and to several other reference works. An active program annotaor, Allsen has written program notes for the Madison Symphony Orchestra and several other orchestras. He has also authored feature articles on local music history for the Wisconsin State Journal. An active performer, he is bass trombonist with the Madison Symphony Orchestra and freelances with other classical and jazz ensembles in Wisconsin. Allsen received the College of Arts and Communication Excellence Award for teaching in 1998 and 2005, in 2004 he received the College's Excellence Award for research, and in 2009 he received the College's Excellence Award for academic advising. Since 2001, he has served as an artist-in-residence (sackbut) and music historian at the Madison Early Music Festival.
Classes Taught
World of the Arts, Music History I, Survey of World Musics, Survey of African American Music, Survey of Latin American Music, Trombone Choir, Music as a World Phenomenon, Introduction to Classical Music.
Cristina Ballatori has performed across the United States, Europe, England, and Latin America as a recitalist, soloist, chamber and orchestral musician. Recent performance highlights include concerts in such venues as the World Flutes Festival in Mendoza, Argentina, Atelier Concert Series in Paris, France, "Live from Hochstein" Series public radio WXXI in Rochester, New York, and artist residencies in Spain, Costa Rica, and Mexico. As a chamber musician, Ballatori is a member of the Semplice Duo with pianist Kevin Chance, Duo Sacromonte with guitarist Jonathan Dotson, and the Whitewater Chamber Players. Ballatori regularly appears as a guest artist and has been a featured performer, clinician, and adjudicator at many festivals, universities, and conferences including those of the National Flute Association, Music Teachers National Association, Texas Music Educators Association, and Florida Flute Association among others. Ballatori has been a prizewinner in several competitions including the Flute Society of Washington, D.C.'s Young Artist Competition, the Bruce Ekstrand Competition, and the George Mason University Concerto Competition.
Ballatori joined the University of Wisconsin-Whitewater music faculty as Assistant Professor of Flute in Fall 2016. The recipient of the University of Texas System's Regents' Outstanding Teaching Award, she previously served as Associate Professor of Flute at the University of Texas Rio Grande Valley (UTRGV). Her students have been named winners and finalists in local, state, regional, and national competitions, including those sponsored by the National Flute Association and Texas Association of Music Schools, and have been accepted into top summer festivals and graduate programs. Under Ballatori's direction, the UTRGV Flute Choir and Flautarra Ensemble enjoyed the university's first invitations to appear as featured performers at the National Flute Association Convention (2015, 2014, 2013), Texas Music Educators Association Convention (2016, 2014), and Texas Flute Festival (2012).
A winner of the National Flute Association's Graduate Research Competition, Ballatori's doctoral thesis, "Suite Paysanne Hongroise for Flute and Piano by Béla Bartók/Arr. Paul Arma: A Performer's Guide," was recognized for its outstanding contribution to flute research. Her articles have been published in American Music Teacher, Flute Talk, and Flutist Quarterly. Ballatori has served as co-director of the Frontera Chamber Music Society, a non-profit organization she co-founded in 2012, and as co-director and co-founder of the South Texas Flute & Clarinet Festival. She joined the Board of the National Flute Association in November 2016, and previously served the organization as coordinator of the NFA High School Soloist Competition from 2009-2014.
Ballatori completed the Doctor of Musical Arts in Flute Performance, Pedagogy, and Literature at the University of Colorado at Boulder. The recipient of a Rotary Foundation Ambassadorial Scholarship, she received a postgraduate diploma from the Royal Northern College of Music in Manchester, England where she studied with Peter Lloyd, retired principal flutist of the London Symphony Orchestra. She earned performance degrees at Louisiana State University (M.M.) and George Mason University (B.M.). Her major teachers include Alexa Still, Katherine Kemler, Judith Lapple, and Diane Smith.
Visit www.cristinaballatori.com
Master and Bachelor of Music degrees, Julliard; Doctoral degree at University of Wisconsin-Madison
Karen Boe, a Minnesota native, was a Willim Petschek scholarship student and teaching fellow in piano at the Juilliard School, where she received her Master and Bachelor of Music degrees. While completing her doctoral degree at University of Wisconsin-Madison under Howard Karp, she also served as a member of the piano faculty. Previous teachers include William Masselos, Leonard Shure, Sophia Rosoff, and Aube Tzerko. Ms. Boe has performed extensively, including solo and collaborative concerts in Alice Tully Hall, the Museum of Modern Art, and the Juilliard Theatre in New York, the Villa Terrace Museum in Milwaukee, guest recitals at Northwestern University, Luther College, Illinois Wesleyan College, and Oberlin College, and numerous concerts in Spain and France.
Classes Taught
Studio Piano, Piano Pedagogy, World of the Arts
BFA University of Wisconsin – Milwaukee (String Education); MA Saint Francis Seminary (Pastoral Studies); additional credits in string education from the National String Workshop, the American Suzuki Institute, Cardinal Stritch and Viterbo Universities.
Ms. Chandler joins the faculty of UW-Whitewater in 2009. She began her teaching career in the districts of Racine, Kenosha, South Milwaukee and Oak Creek. For 23 years, she was with the Kettle Moraine School District where she was Director of Orchestras, building the district into one of the finest string programs in the state. Chandler has served as state Secretary, Treasurer and Solo Competition Chair/Co-Chair for the Wisconsin American String Teachers Association. To the Wisconsin School Music Association, she has served on the Honors Orchestra Project - Viola Coach, the Music Selection Committee and is a qualified adjudicator for festivals. She also served two terms as the State Orchestra Chair to Wisconsin Music Educator's Conference.
Susan holds many awards and honors and currently serves as a Certified Yamaha String Educator to the Yamaha Corporation national string division. In 2008, Susan was named the Wisconsin State Music Teacher of the Year by the Wisconsin American String Teacher's Association, and in 2007 the Milwaukee Civic Music Association Music Teacher of the Year Award, in 2005 Teacher of the Year Award presented by the Wisconsin Music Education Association, in 2003 the Herb Kohl Education Foundation Teacher Fellowship, in 2001 the Education Award presented by the Waukesha Symphony Orchestra League, in 2000 Award of Distinction: Arts Education, presented by Waukesha Area Arts Alliance and in 1999 the Kettle Moraine Teacher Leadership Award.
Classes Taught
String Pedagogy, String Techniques, Elemnetary/Middle School Instrumental Music Methods, Fundamentals of Music, supervising student teachers
B.M., M.M., Juilliard School of Music; D.M.A., Manhattan School of Music
MyungHee Chung was born in Korea and began piano when she was four. Four years later, she debuted with the Seoul Philharmonic Orchestra with a Mozart Piano Concerto.
Dr. Chung holds Bachelor of Music and Master of Music degrees from the Juilliard School and Doctor of Musical Arts degree from the Manhattan School of Music. She has been the recipient of numerous awards, including first prize at the Chicago Symphony Orchestra Young Performer's Competition and the William Kapell International Piano Competition. Her playing has been described as "clean, strong…marked by a bell-like quality that never disappeared even under the severest pressure." Since then, she has performed throughout North America with orchestras such as the Chicago Symphony Orchestra and the Baltimore Symphony Orchestra, as well as in Europe and Asia. Public radio has also broadcasted her performances.
MyungHee Chung has also been an active chamber musician—not only as part of the Seraphin Piano Trio, but also as a collaborator with many artists such as David Kim, David Taylor, and Alison Balsom. She performs regularly as a member of UW-Whitewater Piano Trio and with other faculty. More recent performances include concerts in Wisconsin and England, as well as the Ravinia Festival in Highland Park, Illinois and recording all 24 Debussy Preludes.
MyungHee Chung has taught at the Missouri Southern State University in Joplin and the University of New Mexico in Albuquerque. In August 1995, she joined the faculty of the University of Wisconsin-Whitewater, where she is a full Professor and Keyboard coordinator. She has judged many competitions including Missouri Southern International competition and has given master classes in universities in the US and Korea.
Classes Taught
Studio Piano, Piano Literature, Accompanying, Chamber Music
Doctor of Philosophy, Communication—University of Missouri
Master of Science, Communication—Illinois State University
Bachelor of Science, Public Relations—Illinois State University
Assistant Professor, Michael Dugan, a native of St. Charles, Illinois, joined the music faculty at the University of Wisconsin-Whitewater in 2009. Currently Dr. Dugan is the Department Chair, teaches applied trombone, directs the Trombone Ensemble, and plays in the Whitewater Brass Quintet.
In addition to his teaching duties, Dugan is an active freelance artist in the Upper Midwest. He is currently a member of the critically acclaimed Isthmus Bass Ensemble and is the per-service principal trombone of the Wisconsin Chamber Orchestra. Other recent engagements include the Milwaukee Symphony, Minnesota Orchestra, Saint Paul Chamber Orchestra, as well as many fine regional orchestras throughout Wisconsin and Iowa. Other recent performances include the San Francisco Ballet Orchestra, the Intergalactic Contemporary Ensemble, Thunder Bay (Ontario) Symphony, Elvis Costello, Audra McDonald, Doc Severinsen, Johnny Mathis, Irish Tenors, and The Four Tops in various capacities. Dr. Dugan has performed and and been of faculty at the American Trombone Workshop, International Trombone Festival, Big 12 Trombone Conference, and the Upper Midwest Trombone Summit
From 2001-2005, Michael was a member of the United States Air Force Band of Liberty. During his tenure with the Band of Liberty, Michael was the featured trombone soloist with the Concert Band, and the Colonial Brass Quintet. His other performance assignments included the Band of Liberty Jazz Ambassadors and Ceremonial Band.
Dugan's formal education includes a DMA from the University of Minnesota, where he also holds a Master of Music degree. Prior to his study with Tom Ashworth at the University of Minnesota, Dugan received his undergraduate degree from DePaul University in Chicago, where he studied with Mark Fisher, Charles Vernon and Edward Kocher. Other pedagogical influences include Ed Zadrozny, Kari Sundstrom and Doug Wright.
Dugan is an Edwards performing artist.
B.M. DePaul University; M.M., D.M.A. Univeristy of Minnesota
Classes Taught
Studio Trombone, Survey of American Jazz, Jazz Ensembles
B.M. Eastman School of Music; M.M. Indiana University; D.M.A. University of North Carolina at Greensboro
Christian Ellenwood, Professor of Clarinet, is a passionate recitalist, chamber musician, orchestral clarinetist, and composer. Dr. Ellenwood has performed with the Grammy Award-winning Ying Quartet, the Telluride Chamber Music Festival, the San Francisco-based Ives Quartet, the EastWind Quintet, and is frequently heard in live radio broadcasts on Wisconsin Public Radio. Dr. Ellenwood has presented solo and chamber music recitals throughout the United States and Pacific islands of Japan, Guam, and Hawaii. He is principal clarinetist with the Skylight Opera of Milwaukee, the Woodstock Mozart Festival, and Bel Canto of Milwaukee; and he performs frequently with the Milwaukee Ballet, Madison Symphony Orchestra, and the Madison Opera. His clarinet playing can be heard on the Albany Records release, Music of Chris Theofanidis, and on CD projects produced by UW-Whitewater.
Dr. Ellenwood has composed several works for clarinet, as well as pieces for chamber ensembles, choir, wind ensemble, and strings. His compositions have been performed at prestigious festivals and concert venues worldwide, including Carnegie Hall, the World Saxophone Congress, ClarinetFest, and the Chamber Music National Festival/Music for All. Recent commissions include a new quintet for clarinet and strings, commissioned by Vandoren for the winner of the 2015 Vandoren Emerging Artist Competition. His compositions have also been broadcast over Chicago's WFMT and the Wisconsin and Nebraska Public Radio networks.
Dr. Ellenwood is committed to the musical and intellectual growth of his students, and the quality of his teaching has earned significant recognition from his students and colleagues, including the W. P. Roseman Award, UW-Whitewater's highest honor for excellence in teaching, as well as multiple inclusions in Who's Who Among America's Teachers. Dr. Ellenwood has also received UW-Whitewater's Outstanding Research Award and the University Faculty/Staff Academic Advising Award. He has held teaching positions at the University of North Carolina–Greensboro, Rocky Ridge Music Center, and New England Music Camp.
He holds degrees from the University of North Carolina-Greensboro, Indiana University, where he was an I.U. Fellowship recipient, and the Eastman School of Music, where he was awarded Edith Babcock and George Eastman scholarships. Major teachers and pedagogical influences include Kelly Burke, Eli Eban, and Peter Hadcock.
Classes Taught
Studio Clarinet, Music Theory, Clarinet Techniques, Clarinet Ensemble
Jane Riegel Ferencz is Associate Professor of Music History and serves as the Interim Associate Dean of the College of Arts and Communication. She has presented papers nationally and internationally at meetings of the American Musicological Society, the Society for American Music, the Haydn Society, and a number of other organizations. Her musicological research interests are diverse, ranging from late 18th and early 19th century orchestral and chamber music to American music of the 20th century. Current projects include a book chronicling the musicians of the WPA Federal Dance Project, as well as a biography of the American pianist-composer-arranger Genevieve Pitot.
Dr. Ferencz is a member of the American Musicological Society, the Society for American Music, and the American String Teachers Association, and has been a member of the Board of Directors for the Wisconsin Cello Society. She has chaired several committees for the Society for American Music, and has also served as secretary of the AMS Midwest Chapter (2009-2011). She has been active in a number of campus initiatives focused on intentional teaching and assessment.
At UWW, Dr. Ferencz teaches Music History courses. She has also participated in several Travel Study courses, taking students to Italy and France.
Awards: UW-W Everett Long Award for the Advancement of General Education (2012); College of Arts and Communication Teaching Award (2009); nominee for the W.P. Roseman Teaching Award (2009); UW-W LEARN Center Teaching Scholar (2002-2003); UW-W Excellence Award for Instructional Academic Staff (2002)
B.M. DePauw University (Cello Performance); M.M. Kent State University (Cello Performance); M.A. Kent State University (Musicology); Ph.D. UW-Madison (Historical Musicology); additional doctoral study at Indiana University-Bloomington
B.M., B.M.E., Ohio State University; M.A., Ph.D., Kent State University
A published author, composer, and arranger, Dr. Ferencz performs weekly as solo pianist at The Fireside restaurant in Fort Atkinson. He edited The Broadway Sound: The Autobiography and Selected Essays of Robert Russell Bennett (U. of Rochester Press, 1999) and is recognized internationally as the leading authority on Bennett's career. Publications also include six entries in the latest New Grove Dictionary of Music and Musicians and piano-vocal selections from recent Broadway musicals Wicked, Urinetown, and Avenue Q (Hal Leonard). He has received both the campus's Roseman Award for teaching excellence and its Faculty Research Award.
Classes Taught
Music Theory, Aural Skills, Arranging
UW-Whitewater, BBA in Management, minor in Communication
UW-Milwaukee, MA in Communication (emphasis, Organizational Communication)
Academic Staff member at UWW since 2006
B.A., Macalester College; M.M., Boston University; D.M., Indiana University
Robert Gehrenbeck is Director of Choral Activities at the University of Wisconsin-Whitewater, where he conducts the UW-W Chamber Singers, Concert Choir, Women's Chorale, and opera and musical theatre productions. Since 2008 Gehrenbeck has served as Artistic Director of the Wisconsin Chamber Choir, whose 2010 performance of Bach's St. John Passion was praised as "superbly disciplined, of beautifully balanced sonority" and "a remarkably consistent, coherent, and artistically splendid achievement." Choirs under Gehrenbeck's direction have performed throughout the upper Midwest and in Europe. As a singer, Gehrenbeck has appeared with the Robert Shaw Festival Singers, Boston's Cantata Singers, New York State Baroque, Pittsburgh's Bach and the Baroque, and the Bloomington Early Music Festival. Dr. Gehrenbeck earned degrees at Macalester College (B.A.), Boston University (M.M.) and Indiana University (D.M.), with additional studies at the Felix Mendelssohn-Bartholdy Conservatory in Leipzig, Germany. His doctoral dissertation on contemporary British composer Giles Swayne received the 2007 Julius Herford Prize from the American Choral Directors Association.
Classes Taught
Chamber Singers, Concert Choir, Choral Conducting, Opera, Musical Theatre, Applied Voice
As a native of the Milwaukee area, Suzanne Geoffrey has played both oboe and English horn with many southeastern Wisconsin orchestras. Currently, Suzanne is principal oboe of the Wisconsin Philharmonic Orchestra (formerly the Waukesha Symphony), the Kenosha Symphony, the Racine Symphony, the Manitowoc Symphony, the Oconomowoc Chamber Orchestra, and the Wisconsin Wind Orchestra. She also plays English horn in the Festival City Symphony.
The Wisconsin Wind Orchestra toured The Netherlands in 2002. One of the highlights for Suzanne was performing live on the radio from the Concertgebow in Amsterdam. The tour consisted of several performances in 13th to 17th century cathedrals throughout Holland and The Netherlands, along with the live radio performance. Suzanne can be heard on the three professional recordings of the Wisconsin Wind Orchestra: Old Wine in New Bottles, Wind Consorts, and World Wind.
Suzanne has been featured as a soloist on oboe performing Haydn's Concerto for Oboe with the University Community Orchestra in Milwaukee, and with the Manitowoc Symphony in a performance of J.S. Bach's Concerto for Oboe and Violin and in Mozart's Sinfonia Concertante for Winds. She has performed J.S. Bach's Concerto for Oboe d'Amore and Orchestra with the Racine Symphony Orchestra. As an English horn soloist, she has performed Aaron Copland's Quiet City with both the Wisconsin Philharmonic and the Manitowoc Symphony and Jan Sibelius' Swan of Tuonela with the Festival City Symphony and the Wisconsin Philharmonic Orchestra.
Suzanne's current faculty appointments include Beloit College, Carroll University, and two University of Wisconsin schools – Whitewater and Parkside. She is in demand as a clinician throughout southeastern Wisconsin, and maintains a private studio for students of all levels. Suzanne is also active as a chamber musician, performing with the Spring City Winds (resident faculty woodwind trio/quintet at Carroll University) and the Great Lakes Wind Quintet.
Suzanne is a graduate of the University of Wisconsin-Milwaukee and attended the University of Arizona on a Fellowship for her Master of Music degree in oboe performance.
B.S. University of Akron; M.M., D.M.A. The Ohio State University
Professor Frank Hanson teaches UW-Whitewater's talented undergraduate trumpet students, assisting them to develop musicianship and performance skills for careers as professional educators and performers. In addition, he conducts the UW-Whitewater Trumpet Ensemble and Brass Choir and teaches courses in brass technics, brass pedagogy and general studies. Dr. Hanson founded and performs with the Whitewater Brass Quintet, the university's first faculty chamber ensemble, established in 1983. Dr. Hanson has also served the university in various administrative roles as Music Department chair, Interim Associate Dean of the College of the Arts, and chair of the Faculty Senate.
Dr. Hanson is an active orchestral musician, recitalist, chamber musician, and clinician. He has appeared as soloist with the Wisconsin Chamber Orchestra in works by Tartini, Handel, Torelli, Copland, Shostakovich, Haydn, Barber and Sallinen, and has performed frequently on Wisconsin Public Radio broadcast recitals with the Whitewater Brass Quintet and others, and on Wisconsin Public Television broadcasts with the Wisconsin Chamber Orchestra and Madison Symphony. He has performed frequently at conferences of the Interantional Trunmpet Guild in the US and in Europe. He is the Principal Trumpet of the Wisconsin Chamber Orchestra and a member of the Madison Symphony Orchestra. Prior to joining the faculty at UW-Whitewater, Dr. Hanson performed with the Akron Symphony, Canton Symphony, and Columbus Symphony Orchestras in Ohio, and with the Classical Music Festival Orchestra in Eisenstadt and Vienna, Austria.
Classes Taught
Applied Trumpet; Brass Instrument Techniques; Brass Ensemble; Trumpet Ensemble; Trumpet Pedagogy and Literature, Introduction to Classical Music, Surbey of American Jazz.
Director: Symphonic Wind Ensemble, Warhawk Marching Band
B.M.E. Central Michigan University; M.M. Northwestern University; Ph.D. Northwestern University
Glenn C. Hayes is in his twenty-ninth year as Director of Bands at the University of Wisconsin-Whitewater. His responsibilities include conducting the Symphonic Wind Ensemble, Chamber Winds, University Band and the Warhawk Marching Band. Dr. Hayes' teaching areas include graduate and undergraduate conducting, graduate music education, wind literature, secondary instrumental music methods, student teacher supervision and marching band techniques. His previous teaching positions include Moorhead (MN) State University, Bowling Green (OH) State University, Greater Muskegon (MI) Catholic Schools and Grand Blanc (MI) Community High School.
Under his guidance, the UW-W band program has received regional, national and international acclaim for excellence in performance both in the concert hall and on the marching field. The Symphonic Wind Ensemble has performed by invitation at conventions of the British Association of Symphonic Bands and Wind Ensembles, College Band Directors National Conference and the National Association for Music Education. On February 20, 2013, Dr. Hayes led the Symphonic Wind Ensemble in a performance at Carnegie Hall to great acclaim - the first Wisconsin university band to perform in the legendary venue. That performance led to an invited performance at Symphony Center in Chicago as the featured ensemble for the 2014 Chicago International Music Festival. Prominent composers and guest conductors have acclaimed the ensemble for exquisite musical sensitivity. The Warhawk Marching Band has performed eleven times for the Green Bay Packers, three times for the Milwaukee Brewers Opening Day ceremonies and hosts the Wisconsin State Marching Band Championships.
Dr. Hayes has presented at international, national, regional and state music conferences on topics ranging from ensemble development, sensitivity of performance, literature selection and conducting. He has been an instructor at various workshops and served as a consultant to school districts throughout the Midwest. Dr. Hayes is a Past-President of the College Band Directors National Association North Central Division and a member of the Wisconsin Comprehensive Musicianship through Performance Committee.
Dr. Hayes has guest conducted and adjudicated throughout the United States and the United Kingdom. He has given hundreds of clinics for high school and middle school bands. His primary conducting teachers have been John P. Paynter, Elizabeth A. H. Green and Norman C. Dietz. Dr. Hayes earned his undergraduate degree from Central Michigan University and his graduate degrees from Northwestern University.
Classes Taught
Director of Bands, Basic and Advanced Conducting, Secondary Instrumental Methods, Student Teacher Supervision, Symphonic Wind Ensemble, Warhawk Marching Band
B.A. Middlebury College; M.M. Florida International University; Ph.D. University at Buffalo (SUNY)
Jeff Herriott composes music using sounds that gently shift and bend at the edges of perception. His works have been described as "colorful…darkly atmospheric" (New York Times) and "incredibly soft, beautiful, and delicate" (Computer Music Journal). Jeff's compositions have been supported by commissions from the MATA Festival, the American Composers Forum through the Jerome Composers Commissioning Program, the Barlow Endowment for Music Composition, and the National Endowment for the Arts Art Works Imagine Your Parks Program. Jeff is also active as a collaborator in a range of musical styles, including with the sleepy rock/ ambient project Bell Monks; with the heavy metal band Realmbuilder; as a laptop composer/ improviser with Skewed and Such and Sonict; and most recently as a film composer on the 2015 existential horror western, Bone Tomahawk, starring Kurt Russell.
Classes Taught
Technology for Music Educators; Music Composition; Electronic Music and Sound Design; Sound and Image; Audio I: Fundamentals of Audio; Audio II: Advanced Audio Techniques; Audio III: Studio Production; Sonict New Music Ensemble
B.M.E. Belarusian State Pedagogical University; M.E., University of Oklahoma; PhD in Music Education, University of Florida
Alena is an associate professor and the Coordinator of Music Education. Originally from Belarus, Alena Holmes started career in her native country where she taught general music, choir, music theory and piano, worked as a musician and singer with popular bands and concert organizations and had numerous appearances on popular Belarusian TV and radio shows. She then worked as a music teacher, singer and musician in China, Bahrain and Italy and Florida. An active teacher, clinician, researcher and musician, Dr. Holmes has given over 60 presentations throughout the United States and in Malaysia, Italy, Greece, Australia, Brazil, Ireland and the United Kingdom. She is published in multiple national and international journals including Music Educators Journal, Journal of Education and Training Studies, Perspectives: Journal of the Early Childhood Music & Movement Association, GSTF International Journal of Music, Wisconsin School Musician as well as a variety of conference proceedings. She is the author of the chapter in the upcoming Oxford Handbook on Assessment Policy and Practice in Music Education.
Her primary research areas include early childhood music education, multicultural music education, music education in Eastern Europe, internationalized approach to instruction, world music preferences, undergraduate research in music and autobiographical studies. Dr. Holmes has received several awards, including the Excellence in Research from the UW-Whitewater Music Department and the UW-Whitewater College of Arts and Communication; Excellent in Service from the UW-Whitewater Music Department and David Wilmor Prize for Excellence in Music Education from the University of Florida.
She serves as Early Childhood State Chair at the Wisconsin Music Education Association and on advisory board of Music Educators Journal. In addition to her research and teaching, Alena Holmes is a singer and songwriter performing in educational, professional, and community contexts throughout US.
Alena Holmes lives in downtown Madison and is mother to two creative and musical children: son Anthony and daughter Tamara. She is in the process of recording two new children's albums.
Classes Taught
Early Childhood Music Methods, Pedagogy and Practice for Teaching General Music K-12, Elementary/Middle School Music Methods, Students Teacher and Field Study Supervision, Music as a World Phenomenon, Class Voice, Technology for Music Educators.
Celebrated Polish-born soprano Brygida Bziukiewicz has impressed audiences as a soprano of ethereal beauty in stunning performances in cities around the world. Her many operatic starring roles have included Pamina in the 'Magic Flute' with the Milwaukee Opera; Violetta in 'La Traviata', in Klagenfurt, Austria; Gretel in 'Hansel and Gretel'; the triple lead of Olympia, Giuletta, and Antonia in 'Tales of Hoffmann' with the Grant Park Music Festival in Chicago; Michaela in 'Carmen'; and Mimi in 'La Boheme' with Lincoln Opera. She has also sung the soprano leading roles of Gilda in 'Rigoletto', Donna Anna in 'Don Giovanni', Cio-Cio San in 'Madam Butterfly', Lucia in 'Lucia di Lammermoor', and Rosina in 'Barber of Seville' at opera houses in Italy, Poland, Turkey, Cairo, as well as in Chicago, New York, San Francisco, and Toledo.
Ms. Bziukiewicz has performed solo recitals for European and American television and radio and had her Orchestra Hall, Chicago debut in 1996 accompanied on piano by Daniel Barenboim. She has performed the soprano part in Henryk Gorecki's Symphony No. 3 with the State Symphony Orchestra in Istanbul, Turkey; the Rockford Symphony; the Chicago Youth Symphony in Orchestra Hall, Chicago; the Binghamton Symphony in New York; and the Toledo Symphony in Toledo, Ohio.
Ms. Bziukiewicz received her Masters degree in Vocal Performance and degrees in Music Theory and Piano Performance from the Frederick Chopin Academy of Music in Warsaw, Poland and has won numerous awards and prizes including those of the Mac Allister Singing Competition and the Polish Vocal Literature Singing Competition and was a Young Talent National winner in the Polish National Radio Competition. Equipped with this training, she has taken her passion for her heritage and has proudly promoted Polish music and culture for over fifteen years. Ms. Bziukiewicz has participated in master classes at Indiana University with Carlos Montane, Lyric Opera of Chicago with Bruno Bartoletti and the Metropolitan Opera of New York with Craig Rutenberg. In addition to her extensive performing career, she is also a co-founder and the general director of La Musica Lirica in Novafeltria, Italy where, during the summer, she teaches voice and coaches students in concert performance. Ms. Bziukiewicz also maintains a private studio and has taught students from the USA as well as abroad.
Classes Taught
Studio Voice; Voice Class
James Kates is an Associate Professor in the Department of Communication at UW-Whitewater. He teaches courses in media history and law, digital journalism, writing, reporting and editing. He earned a Ph.D. in mass communication from the University of Wisconsin-Madison in 1997 and joined the UWW faculty in 2007. Trained as a historian, his research specialty is the role of writers and editors in social movements, particularly natural-resources conservation in the early 20th century. His book, "Planning a Wilderness," was published by the University of Minnesota Press in 2001. Dr. Kates has 25 years of experience as an editor at metropolitan newspapers, including The Philadelphia Inquirer and the Milwaukee Journal Sentinel.
B.M. Lawrence Conservatory; M.M. University of Wisconsin-Madison
The exciting musical life of hornist Linda Kimball includes performance, teaching, and arranging/composition. Linda is principal horn of both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra. She has been a featured soloist with the Wisconsin Chamber Orchestra on several occasions. In addition to her active orchestral career, Linda is involved extensively in chamber music; having been a decades-long member of both the Wingra Woodwind Quintet, and the Artemis Horn Quartet. She is a founding and current member of the Whitewater Brass Quintet.Chamber music performance has taken Linda to Austria, Germany, France, Scotland, Sweden, and all around Wisconsin. Linda recently checked Bach's Brandenburg Concerto No. 1 off her "horn bucket list" with performances at John Harbison's Token Creek Chamber Music Festival.
Linda has been the University of Wisconsin-Whitewater faculty hornist since 1984, where she is the creator and artistic director of the annual "Fall Horn Festival" – a daylong extravaganza for horn-players of all ages and abilities. Recent festival themes have included: "The Jazz-tastic Horn," "The Intergalactic Horn," "Horns Go Halloween" and most recently "Horn Superheroes!" The lack of excellent music for young horn ensemble prompted Linda to begin writing and arranging; she has over four dozen compositions and arrangements for horn ensemble, ranging from Mozart to Broadway show tunes.
Linda and her UW-W horn students visit music programs around southern Wisconsin to present "The History and the Mystery of the Horn," playing garden hoses, animal horns, conch shells, and valve-less horns, in addition to their regular horns. The program is designed to be fun, educational, and inspirational.
Classes Taught
Studio Horn
Ann is a dynamic change-agent in public relations. She believes innovation and progressive thinking are keys to survival in today's competitive global PR environment. Her 25+ years in military public affairs, national security and international settings leverage her civilian and educational experiences. She describes herself in broad terms as a "relationship-builder," referring to her extensive work in media relations, internal communications, social media, community relations, international public affairs and congressional relations.
Specialty areas:
- Universal Accreditation in Public Relations - Military Communications (APR+M)
- Crisis Communication
- International Public Affairs
- National Security Studies
- Social Media Strategist
- US Air Force Reserve officer, currently rank of Colonel at Pentagon
- College PR Instructor, Crisis Comm Workshop Facilitator
- Media Trainer, Seasoned journalist, editor
- Senior Public Relations Counselor with BVK
Kris Kranenburg is an award-winning copywriter and creative director. She has worked with numerous advertising agencies on clients including M&M/Mars, Cadillac, Kellogg's, HBO, Oscar Mayer, Kraft, Jack Daniel's, Campbell's, and Keebler. Kranenburg received an M.S. in Integrated Marketing Communication from Roosevelt University and a B.S. in Advertising from Southern Illinois University Carbondale.
Since coming to the University of Wisconsin-Whitewater in 2006, Kranenburg has taught Advertising Campaigns, Advertising Copywriting and Layout, Advanced Advertising Creative, Foundations of Advertising, Publication Layout, Electronic Media Copywriting, and Publication Photography. Kranenburg oversees the Communication Department's advertising interns and is the advisor for the Whitewater Advertising Association. In her spare time she enjoys doing pro-bono advertising work for churches, schools, and non-profit organizations.
Dr. Kate Ksobiech is on the faculty in the Communication Department. Her expertise is in health communication, quantitiative research methods, audience analysis, intervention design and implemention, substance abuse risk reduction, and community-based participatory research.
B.M. The Florida State University; M.M. UW-Madison
Leanne is associate concertmaster of the Madison Symphony Orchestra and assistant concertmaster of the Wisconsin Chamber Orchestra. Her performances include chamber music and orchestral performances in Italy, Austria, Amsterdam, Costa Rica, and Slovenia, and cities throughout North America. From 1996-1999, she was a fellow at the New World Symphony in Miami, Florida where she performed as concertmaster and principal second violin. She earned her M.M. in performance from UW-Madison, studying with Vartan Manoogian and holding an assistantship at UW as a violinist in the Strelow String Quartet. Her undergraduate studies were completed at The Florida State University and Eastman School of Music. On the Baroque violin, Leanne has studied with Karen Clarke and has performed with Nicholas McGegan, Max von Egmont, the Tallahassee Bach Parley, the Wisconsin Baroque Ensemble, and the Madison Bach Musicians.
Classes Taught
Studio Violin, Studio Viola
BA-Music Education Luther College; MM-Voice Performance University of Nebraska-Lincoln; Further graduate study towards the DM-Voice Performance The Florida State University
Baritone Brian Leeper currently teaches studio voice, opera workshop and men's chorus at UW-Whitewater. In demand as a soloist and clinician, he has presented master classes and recitals at numerous Universities across the United States, Canada and Europe. Frequently appearing as soloist in Oratorio and Opera, Mr. Leeper has performed over twenty major roles with opera companies in the US and abroad. He made his New York City debut performing the role of Dulcamara in Donezetti's L'Elisir d'Amore at CAMI Hall.
Brian has been featured as soloist in Wisconsin area performances of The Verdi Requiem, Brahms Ein deutsches Requiem, Walton's Belshazzar's Feast, Rutter's Mass of the Children and numerous performances of Handel's Messiah. Mr. Leeper is currently the Artistic Director of La Musica Lirica, a five-week summer opera program in Novafeltria, Italy, and was previously on the voice faculty of Operafestival di Roma, in Rome, Italy. He is also the founder and director of the UW-Whitewater Solo Voice Camp, a week long summer music camp for high school singers.
Brian holds degrees in voice from Luther College and The University of Nebraska-Lincoln, and has done further graduate study towards the DM in Voice Performance from the Florida State University. His students have been finalists in the Seattle Opera International Wagner Competition, The Metropolitan Opera National Council Auditions, and winners at state and regional NATS Auditions. Brian's teachers include Roy Delp, Yvonne Ciannella, David Judisch, Harold Stark & Richard Grace. In 2011, he was named the University's Academic Excellence Award recipient.
Mr. Leeper was previously on the voice faculty of Butler University and Western Illinois University and Lutheran Summer Music Program.
Classes Taught
Studio Voice, Opera Workshop, Men's Chorus, Voice Pedagogy, Diction for Singers, Vocal Literature
"I try to cultivate an environment that promotes critical thinking and the practical application of knowledge."
Fundamentals of Audio Production, Radio Practicum, Introduction to Mass Communication, Fundamentals of Human Communication, Travel Study
Professional History
Teaching at UWW since 2000
More than 15 years of sound reinforcement experience working with both local and national touring musicians and performers
Engineered and produced a variety of albums for regional bands
UW-Whitewater M.S. Mass Communication
UW-Whitewater B.A. Psychology
Director of radio for 91.7FM WSUW
UWW Cycling Club Advisor
Areas of Research/Expertise
Radio Broadcasting,Music Recording, Photography
Winner of the 2011 American Prize in Orchestral Conducting, Christopher Ramaekers is currently Principal Conductor of the Ravenswood Community Orchestra and Director of Orchestras at the University of Wisconsin-Whitewater. Chris has been Music Director of the Orchestra of St. Vincent's and the Hyde Park Youth Symphony and the summer of 2016 marks his seventh season as Director of Orchestras at Camp Encore/Coda in Sweden, Maine.
As a guest conductor, Chris has appeared with the Skokie Valley Symphony, Kalamazoo Symphony, North Shore Chamber Orchestra, Salt Creek Chamber Orchestra, the Alice Millar Brass Ensemble, Ensemble Dal Niente, the Palomar Ensemble, the Chicago Opera Vanguard, and internationally with the Berlin Sinfonietta.
Chris was a 2012-2013 Conducting Fellow with the Allentown (PA) Symphony Orchestra and a part of the 2013 Emerging Conductors Program with the Peninsula Music Festival. He holds degrees from Western Michigan University and Northwestern University.
Bachelor of Music, University of Wisconsin-Madison; Master's Degree and Professional Studies Degree, Manhattan School of Music
Carol Rossing (bassoon/contrabassoon) is a native of Portage, WI. She received her Bachelor of Music degree in Bassoon Performance at the University of Wisconsin-Madison, studying with Richard Lottridge and a Master's Degree and Professional Studies Degree in Bassoon Performance at the Manhattan School of Music, where she studied with David Carroll and Frank Morelli, respectively.
Carol is currently the principal bassoonist in the Oshkosh Symphony and in the Beloit/Janesville Symphony, and is the contrabassoonist in the Madison Symphony. In addition, she has performed with the Milwaukee Symphony, the Milwaukee Chamber Orchestra, the Green Bay Symphony, the Fox Valley Symphony, the Dubuque Symphony, the Waukesha Symphony, and the Wisconsin Chamber Orchestra. Carol also has vast chamber music experience, having played with numerous woodwind quintets, trios, and chamber ensembles over the years.
In addition to teaching at the University of Wisconsin-Whitewater, Carol is also on the faculty at Beloit College and the University of Wisconsin-Oshkosh and maintains a private teaching studio.
Classes Taught
B.M. New England Conservatory of Music; M.M. Eastman School of Music; Auditor Conservatoire National Superieur de Musique de Paris; Performer's Certificate Eastman School of Music; DMA Eastman School of Music.
Saxophone professor Matthew Sintchak joined the music faculty at the University of Wisconsin-Whitewater in the fall of 2001. Sintchak has given saxophone performances and masterclasses throughout the United States, Canada, Europe, China, and Japan and has performed with the Hartford Symphony, the Portland Symphony (Maine), the Rochester Philharmonic, and the Eastman Wind Ensemble on two tours of Japan. He is a regular member of the Ancia Saxophone Quartet (based in Minneapolis), Duo Nouveau (saxophone and guitar), and the Intergalactic Contemporary Ensemble. An avid supporter of contemporary music, he has commissioned and premiered over 20 compositions by numerous composers including Pulitzer-prize winner John Harbison, Gunther Schuller, Lawrence Fritts, Mark Engebretson, Michael Colgrass, and Yoshihisa Hirano. His primary teachers have been Kenneth Radnofsky, Ramon Ricker, George Garzone, and Claude Delangle. He has recorded for the Innova and Southport labels. Education: B.M. New England Conservatory of Music; M.M. Eastman School of Music; Auditor Conservatoire National Superieur de Musique de Paris; Performer's Certificate Eastman School of Music; DMA Eastman School of Music.
Classes Taught
Studio Saxophone, Saxophone Techniques, Jazz Ensemble I, Saxophone Quartets/Ensemble, Survey of American Jazz, Jazz Pedagogy, Sonict New Music Ensemble
Jazz Labs Director
BM Music Performance, University of Iowa; MM Improvisation, University of Michigan
Bradley Townsend holds a Masters of Music Degree in Improvisation from the University of Michigan and a Bachelors Degree in Music Performance from the University of Iowa, where he studied with Diana Gannett. Since graduating from Michigan in 2005, Brad has been teaching both jazz and classical double bass. In addition to his private bass studio in the Madison area, he has also been teaching music at UW- Platteville since 2005. Brad is also an avid jazz and classical performer. In addition to playing with many notable touring artists, he has played with the Rountree Ensemble, the Madison Symphony Orchestra, and the Dubuque Symphony Orchestra. His most recent honors include an invitation to perform at the Spark Festival of Electronic Music in the Twin Cities and a feature in Jazziz magazine of his University of Michigan jazz trio. He is currently performing as a member of a number of musical ensembles including Cashew, Executive Tea Set, and Arp of the Covenant, whose first CD was recently reviewed on All About Jazz.
Classes Taught
Studio Bass, Jazz Improvisation, Jazz Labs
B.M.E., M.M.E., D.M.A. (in progress) University of Wisconsin-Madison
John Tuinstra holds BM and MM degrees in Music Education and a DMA in Tuba Performance from the University of Wisconsin-Madison with minors in Music Education and Conducting He began his association with the University of Wisconsin-Whitewater Department of Music in 1984 and currently serves as Assistant Director of Bands and instructor of euphonium and tuba at the University of Wisconsin, Whitewater. Since joining the faculty at UWW, he has taught courses in music education, music appreciation, interdisciplinary arts appreciation and brass pedagogy. He is Principal Tuba with the Wisconsin Chamber Orchestra and The Wisconsin Wind Orchestra, and is a member of the Willson Tuba Quartet. He performs with various orchestras including the Madison, Beloit-Janesville, Rockford and Dubuque Symphonies.
Classes Taught
Concert Band, Applied Tuba and Euphonium, Low Brass Techniques, World of the Arts
Vocal Jazz director
B.M.E. (Bachelor in Music Education) Bethel University-Minnesota; M.M. (Master of Music in Choral Conducting) St. Cloud State University-Minnesota; Ph.D. (Music Education) University of Minnesota
Dr. VanAlstine joined the faculty at UW-Whitewater in 2011. Her courseload revolves primarily around music education - both secondary choral music education courses and music methods for elementary classroom teachers. Dr. VanAlstine also directs the UW-W Vocal Jazz Ensemble, an auditioned group that performs frequently in the community and region.
Dr. VanAlstine has received several awards, including the Excellence in Teaching Award from the UW-Whitewater Music Department and the UW-Whitewater College of Arts and Communication. She was also selected to participate in the Wisconsin Teaching Fellows and Scholars Program and the UW-Whitewater Teaching Scholars Program.
Dr. VanAlstine has presented locally, regionally, nationally, and internationally. Her research agenda and presentation topics include an internationalized approach to instruction, world music preferences, undergraduate research in music, edTPA performance, madrigal dinner procedures, and most recently, self-efficacy as it relates to improvisation in vocal jazz. In addition, Dr. VanAlstine has publications in a variety of journals, including Music Educators Journal, Journal of Education and Training Studies, as well as a variety of conference proceedings.
Dr. VanAlstine is a member of NAfME, ACDA, and the College Music Society.
Classes Taught
Vocal Jazz, Women's Chorale, Choral Methods, Class Voice, Music Methods for Classroom Teachers, student teacher supervision.
Rhea Vichot graduated from the Massachusetts Institute of Technology in Comparative Media Studies in 2004. She attended New York University and attained a Masters in Cinema Studies as well as a Graduate Certificate in Culture and Media in 2006. In 2009, Rhea received a Masters in Digital Media from Georgia Institute of Technology. At Annenberg, Rhea has conducted continuing research on Anonymous, along with other online countercultures and their relationships to learning, cultural practices, and political and civic engagement. Her current research interests include global popular culture, online and fan communities, and media criticism. In particular, she is interested in subaltern groups that have been historically linked with either 'hacker' culture or 'deviant' subcultures. Recently, her work has shifted to looking at cross cultural communication between online communities in Japan and the United States as well as looking into media produced by and for the Japanese queer community.
My education experience is as follows:
BS (accounting) University of Central Florida
MA (communication) University of Central Florida
PhD(communication) Kent State
I have been at UW-W since 2002
Cello Ensemble Director
Doctor of Philosophy degree in Music Theory and a Master of Music degree in Cello Performance from the University of Texas at Austin and a Bachelor of Music degree in Cello Performance from Oklahoma State University.
Benjamin Whitcomb, cellist and music theorist, has earned a national reputation as a performer and teacher of music. An active recitalist and chamber musician, he performs more than thirty concerts a year. He appears regularly on the "Sunday Afternoon Live from the Chazen" concert series broadcast live on Wisconsin Public Radio. He collaborates with pianist Vincent de Vries in frequent recitals around the country and overseas, and he is a member of the Ancora String Quartet and the UW-Whitewater Piano Trio. He performs concertos with local orchestras, and he has also been a member of several orchestras in Texas and Wisconsin, including serving as Associate Principal Cello of the Madison Symphony and the Wisconsin Chamber Orchestra. He has produced several CDs of his recordings, including his release of solo cello works by Bach and Gabrielli on the MSR Classics label.
Dr. Whitcomb is a frequent guest clinician and performer at high schools and summer camps, including the National String Workshop, and universities throughout the country. His book, The Advancing Cellist's Handbook, has received rave reviews from the journals of ASTA and AUSTA. He is a contributing author to Sharpen Your String Technique and Teaching Music through Performance in Orchestra. He has published several articles on cello and on music theory, and has presented papers numerous national and international conferences as well. He is also a reviewer for the American String Teacher journal. He is past president of the Wisconsin Chapter of the American String Teachers' Association, and currently serves as Secretary for the organization as a whole. Dr. Whitcomb served as chair of the instrumental faculty at the La Musica Lirica music festival in Nova Feltria, Italy, from 2004 to 2006.
Dr. Whitcomb is Associate Professor of Cello and Music Theory at the University of Wisconsin- Whitewater, where he has received recognition for his teaching, research, and service. Also at UW-Whitewater, he initiated and continues to coordinate the Theory/History Colloquium speaker series, the Musical Mosaics Faculty Concert Series, the Chancellor's Quartet program, and the Summer String Camp. He is a graduate of the University of Texas at Austin and Oklahoma State University, and he has studied with Phyllis Young, George Neikrug, and Evan Tonsing.
Personal website: www.benjaminwhitcomb.com
Whitewater Orchestra: http://www.uww.edu/cac/music/orchestra/
Classes Taught
Studio Cello, Aural Skills I & II, Counterpoint, Form & Analysis
B.M. and B.M.E. Central Michigan University; M.M. Rice University
Senior Lecturer of Music, Tobie Wilkinson has been a member of the music faculty since 2002. Since his appointment, the percussion studio has become a thriving and vibrant place to train young percussionists using the "total percussion" model, and is a respected member of the percussive community. In addition to concerts every semester on the UWW campus, the UWW Percussion Ensemble has performed at the WSMA State Music Conference, and at the Wisconsin PAS "Day of Percussion".
Active as a free-lance performer, Mr. Wilkinson has performed with the Bel Canto Chorus Orchestra, the Milwaukee Ballet Orchestra, the Racine Symphony, and the Waukesha Symphony. He has also performed with the Madison Symphony, and the Wisconsin Chamber Orchestra. Prior to his appointment at UW-Whitewater, he was Principal Percussionist with the Greater Lansing Symphony, and Principal Timpanist with the West Shore Symphony, and Orchestra X in Houston, TX. Mr. Wilkinson was also a member of the Pacific Music Festival Orchestra under the direction of Michael Tilson Thomas and Charles Dutoit. In addition, Mr. Wilkinson has performed with touring Broadway companies, and pop artists for special events.
Equally active as a chamber musician, Mr. Wilkinson performs on faculty recitals and is co-founder of the UW-Whitewater new music ensemble, SONICT. The UW-Whitewater Percussion Ensemble also performs on many SONICT concerts under his direction.
In his role as Assistant Marching Band Director, Mr. Wilkinson works closely with the percussion section as instructor and arranger. He also adjudicates marching bands, and has worked with numerous high school percussion sections across the Midwest. Mr. Wilkinson also serves as a judge for solo/ensemble festivals in Wisconsin.
Dedicated to teaching young musicians, Mr. Wilkinson has hosted Percussion Camp every summer since his appointment in 2002. Percussion Camp enjoys a superb reputation as an outstanding educational and performance experience designed solely for young percussionists. In 2015, Mr. Wilkinson became the Percussion Ensemble director and percussion coach for the Milwaukee Youth Symphony Orchestra. He is a member of the Percussive Arts Society, the Music Educators National Conference, and the American Federation of Musicians. He is currently the President for the Wisconsin Chapter of PAS, and has twice served as director of the Wisconsin PAS Collegiate All-Star Percussion Ensemble.
Classes Taught
Studio Percussion; Percussion Techniques; Percussion Literature and Pedagogy; UW-W Percussion Ensemble, Sonict New Music Ensemble; Associate Director of the Warhawk Marching Band.
Mezzo-soprano Rachel Wood has appeared in opera, concert, and recital performances across Canada, the United States, Italy and the Netherlands. Rachel is a graduate of the Opera Studio Nederland in Amsterdam, where she performed the title role in The Rape of Lucretia, La Natura and Endimione (La Calisto), and Penelope (Il Ritorno d'Ulisse in Patria). At Indiana University, Rachel performed the roles of Dorabella (Così fan tutte), Zita (Gianni Schicchi), La Zia Principessa (Suor Angelica), and Alma March (Little Women). Other opera credits include Madame de Croissy (Dialogues des Carmélites), Cornelia (Giulio Cesare), and Dame Doleful in the Canadian premiere of Too Many Sopranos.
Rachel has given art song and chamber music recitals throughout North America and has appeared as a soloist in concert performances with instrumental and choral ensembles. She studied art song at the Mountain View International Festival of Song and Chamber Music in Calgary, Alberta, and at Songfest in Malibu, California, where she was a Marc and Eva Stern Fellow. Rachel has returned to Calgary as a recitalist with the Mountain View Connection concert series.
Rachel completed her Doctor of Music degree at Indiana University, and holds Master of Music and Bachelor of Music degrees from the University of Western Ontario. She furthered her studies at the Canadian Operatic Arts Academy, Accademia Europea dell'Opera, and the Centre for Opera Studies in Italy. Rachel has served as a Lecturer of Voice at the University of Western Ontario, and an Associate Instructor at Indiana University. In 2015, Rachel joined the voice faculty at the University of Wisconsin-Whitewater, where she teaches studio voice, lyric diction, song literature, and voice pedagogy.


text:
Sorry for not posting any updates in a long time. Leaving Cameroon, coming to the US and being in Aptos, then San Francisco, then Boulder and now (finally) settled back in SF -- all my regular activities have fallen by the wayside. . .
So to inject some discipline into my life and get some support, and to learn some stuff to increase my strength and flexibility, I signed up for a 5-week "Boot Camp". It's nice because we workout outside and one day a week, we meet at different points around the city.
Today was Day 1 and it was primarily assessment. So, here are my stats:
Weight: 136.8 lbs (eegads. . .)
1.5 mile run: 13:20
Pushups: 7 "regular" + 10 on my knees
2 min. Crunches: 57
I'll test myself at the end of the 5 weeks and report on my progress.
Tuesdays and Thursdays are primarily strength days and we meet at Kezar Stadium which happens to be 1.8 miles from the house where I am staying. That's quite handy as running there is a good warmup and running home is a good cooldown.

subset: commoncrawl


text:
Father: Theodore F. Waddell b: `1847 in Indiana
Mother: Lillian Viola Boomershine b: 19 JAN 1866 in Darke County, Ohio
RootsWeb.com, Inc. is NOT responsible for the content of the GEDCOMs uploaded through the WorldConnect Program. If you have a problem with a particular entry, please contact the submitter of said entry. You have full control over your GEDCOM. You can change or remove it at any time.


text:
Tag: michael zeibolt
Friday Male Call #120 – Hot Shirtless Men
No one likes to look at a nice male form more than we LeMays. And two of our favorite blogs, NYC's David Dust and Boston's Wicked Gay Blog often feature pictorial posts of ga-ga worthy guys. Some are about specific guys and others are themed… either way, we like'em!! So, on Fridays I post links [...]
Posted: March 23rd, 2012 under Friday Male Call.
Tags: david dust, hot, jocks, males, men, michael zeibolt, models, shirtless, underwear, wicked gay blog
Comments: none


text:
The HEARTest Yard initiative is a family service program administered in conjunction with Levine Children's Hospital in Charlote, NC. This cutting edge program with provide families of congenital heart babies with a multitude of services including in home private nursing care, physical therapy, speech therapy etc. and help ease families into their new lives as CHD parents. These services will act as an extension of the amazing care already offered at Levine Children's and be completely free to both the family and the hospital.
The HEARTest Yard goal is to establish a program that will improve the interstage mortality rate that is an unfortunate reality for these babies and increase life expectancy as well as their quality of life.
Receptions for Research The Greg Olsen Foundation was established in 2009 to provide hospitals, doctors, and researchers the necessary resources to save those affected with various types of debilitating diseases. We collaborate and partner with other organizations so that we can help find a cure for these diseases. It is our goal to make sure that everyone has a second chance in life.
A portion of the proceeds of this shirt go to help support programs from the HEARTest Yard and Receptions For Research.
This comfy HALVE A HEART shirt is a super soft dual blend made from 50% polyester, 50% cotton to give the shirt a soft, lightweight feel. Order yours here.
This women's HALVE A HEART shirt is a raglan sleeve top made from 50% polyester, 28% cotton, and 22% rayon to give the shirt a soft feel. Order yours here.


text:
Photos courtesy of the NBA and Getty Images.
Continued: NBA Finals
Riker, Boswell the only Gamecocks with an NBA ring
Should the Cavaliers win the NBA championship, Kinsey would join rarefied company as a former Gamecock on an NBA title team. Only Tom Riker and Tom Boswell hold that distinction. Riker was a 6-foot, 10-inch forward-center was a reserve player on the 1972-73 New York Knicks title team featuring Willis Reed, Jerry Lucas, Walt Frazier, and other greats. Boswell, a 6-foot, 9-inch forward-center, was a member of the 1976 Boston Celtics NBA title team. He played one season at Carolina in the mid 1970s.
Riker, an All-American, played on Frank McGuire's 1969-70 Gamecock team that finished 25-3 overall, including 14-0 in the Atlantic Coast Conference. Teammates included Tom Owens and All-American guard John Roche, who led the 1974 New York Nets to an American Basketball Association title.
Other Gamecocks who were NBA standouts:
- Alex English, Nuggets, league's most prolific scorer of the 1980s
- Brian Winters, Lakers and Bucks, 1970s
- Mike Dunleavy, 76ers, Rockets, Spurs, Bucks, 1970s-'80s; NBA runner-up with Rockets in '80-81; head coach of Lakers, Bucks, Trail Blazers, and currently coaches Clippers.
Kinsey says his chance to win an NBA title in a city long overdue for one would be the thrill of a lifetime.
"That would be pretty big, to do it in Cleveland, being a team that brings the city a ring," he says.


text:
Achieve your swimming aspirations faster and get great discounts on all of our swims with a membership, for adults as well as young swimmers participating in our New Waves program. Other swim clubs offer annual memberships at up to $400-$500 - we are offering ours at almost half the price with our family atmosphere, support, and record holding coaches.
With membership, you'll be given a unique membership card that you'll use to receive your discounts. Show it off at the weekly swims to swim for free - over $700 in savings annually if you attend every Sunday alone!
Please note that there is no membership discount applicable to Centurions.


text:
UK Govt to investigate BT
Have the turkeys finally come home to roost?
The British Government is to investigate BT amid concerns the monster telco has failed to respond sufficiently to moves to open up its network to competition.
According to the Times, Lord Haskins - affectionately called the 'red tape czar' - will lead an investigation next month which will, no doubt, focus on the telco's bid to unbundle the local loop.
He is to look at complaints that the cost of telecoms services, including mobile and Net access, are simply too high and that BT has failed to loosen it grip on its dominant market position.
This latest twist in BT's fortunes comes less than a week after CEO, Sir Peter Bonfield, won the praise of an influential group of MPs who, according to the FT, "praised" him for "speeding up the unbundling process".
Indeed, telecoms watchdog, Oftel, is satisfied that BT has met all its criteria for local loop unbundling - the process of opening up BT's network to competition.
If this is the case, then it will only add further weight to critics who argue that the Government is meddling in the affairs of a private company. The last time it did it, Chancellor Gordon Brown managed to wipe off £2 billion from the value of BT shares.
That was in February when it was reported that Brown said he would cut the cost of Net access in Britain. In the event, he didn't. He merely voiced his desire to see costs come down and to speed up the unbundling of the local loop. But the combination of political spin and media hype cost investors dear.
Of course, any move against BT would be popular among many people, or "voters", as the Government likes to call them. Especially since there is a general election on the horizon.
No one was immediately on hand at BT to comment on the Times' story and we certainly didn't want to disturb anyone at home on Boxing Day.
So we asked BT's new "intuitive question and answering service" from Ask Jeeves, which is now available on BT.com.
Apparently, it can handle questions such as, "What is BT Together?", "What can SurfTime do for me?" and "What is the best way to pay my bill?".
But what's it like on something a bit tougher?
So we asked: "How will BT deal with a Government investigation?" "Does BT think the investigation is politically motivated" and "Does BT really stand any chance?"
Unfortunately, BT.com couldn't supply any answers. Not even when we gave it the chance to "ask the audience" and "phone a friend". ®
Related Story
MPs give BT broadband thumbs up
BT shares tumble on false Brown Net cuts story


text:
Hi, thanks for the comment! On Sat, Nov 29, 2008 at 1:10 AM, Tom Lane <tgl(at)sss(dot)pgh(dot)pa(dot)us> wrote: > "Fujii Masao" <masao(dot)fujii(at)gmail(dot)com> writes: >>>> You export replication_timeout as a PGC_USERSET variable, but it is >>>> dangerous. It allows non-superusers to kill servers easily by setting it >>>> too low value. Walsender dies with FATAL on timeout. > >> Unlike other background processes, FATAL by walsender doesn't kill the >> whole server. In FATAL case, walsender is treated like the normal backend, >> and only walsender dies. Please see reaper() in postmaster.c. > >> Just to be safe, I re-export the parameter as PGC_SUSET in the latest >> patch. Is still this parameter dangerous? > > If this parameter is only used by a background process, then both of > those are wrong. It should be marked SIGHUP to reflect the fact that > the only effective way of modifying it is via postgresql.conf. This parameter is used by the backend to wait for replication to complete for the specified time at most. If the timeout has come, the backend send the timtout-interrupt to walsender. Then walsender invokes FATAL error, which doesn't kill the whole server. So, I choosed PGC_USERSET at first. Regards, -- Fujii Masao NIPPON TELEGRAPH AND TELEPHONE CORPORATION NTT Open Source Software Center
Next: From: Greg Smith Date: 2008-12-01 02:17:37 Subject: Re: Simple postgresql.conf wizard Previous: From: Tom Lane Date: 2008-11-30 23:55:27 Subject: Problem in contrib/tablefunc's crosstab()


text:
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution license (http://creativecommons.org/licenses/by/3.0/).
The theory of Shannon entropy was applied to the Choi-Williams time-frequency distribution (CWD) of time series in order to extract entropy information in both time and frequency domains. In this way, four novel indexes were defined: (1) partial instantaneous entropy, calculated as the entropy of the CWD with respect to time by using the probability mass function at each time instant taken independently; (2) partial spectral information entropy, calculated as the entropy of the CWD with respect to frequency by using the probability mass function of each frequency value taken independently; (3) complete instantaneous entropy, calculated as the entropy of the CWD with respect to time by using the probability mass function of the entire CWD; (4) complete spectral information entropy, calculated as the entropy of the CWD with respect to frequency by using the probability mass function of the entire CWD. These indexes were tested on synthetic time series with different behavior (periodic, chaotic and random) and on a dataset of electroencephalographic (EEG) signals recorded in different states (eyes-open, eyes-closed, ictal and non-ictal activity). The results have shown that the values of these indexes tend to decrease, with different proportion, when the behavior of the synthetic signals evolved from chaos or randomness to periodicity. Statistical differences (
Since the works of Kotelnikov and Shannon [
The classical Shannon entropy measures the average information provided by a set of events and proves its uncertainty. This measure is shown as a natural candidate for quantifying the complexity of a signal. Also the level of chaoticity may be measured using entropy; therefore higher entropy represents higher uncertainty and a more irregular behavior of the signal. Moreover, if noise is added to an ordered signal the uncertainty increases and the entropy is also increased. Entropy can even explain how linked complex systems interact and exchange information. The quantification of the magnitude of this information becomes a goal in the study of biological signals.
The entropy estimation consists in calculating the probability of events that occur in time signals and in obtaining a reliable average value of the information provided by each of these events. The evolution of the entropy of a signal with respect to time, calculated from the instantaneous information of a window that slides over the signal, is a smoothing of the sequence of instantaneous information because the entropy is the average value of the information in this window.
The purpose of this paper is both to avoid this low-pass filtering inherent in the calculation of the entropy and to obtain instantaneous values of this measure. The time-frequency representation (TFR) technique is suited to achieve both aims. TFR generalizes the concept of the time and frequency domains to a joint time—frequency function that indicates how the frequency content of a signal changes over time [
In this paper, we investigate new measures that quantify the complexity and information content of a signal. Selecting time and frequency functions that satisfy marginal properties, one can assume that the energy density of a signal in one instant (or instantaneous power of the signal) is given by the entropy associated with the frequency components of the signal at this time instant (or instantaneous entropy). By similar reasoning, an equivalent measure can be obtained in the frequency domain (spectral information entropy). Thus, a different way to calculate the information in the TFR by estimating a probability density function of a signal either in time or in frequency domain is proposed in this paper. In a similar study, Baraniuk [
The Choi-Williams distribution (CWD) [
These indexes are tested on synthetic time series that simulate signals in which different behaviors (periodic, chaotic and random) are combined and on a dataset of electroencephalographic (EEG) signals recorded in different states (eyes-open, eyes-closed, ictal and non-ictal activity). For this analysis, EEG signals are selected since they are generated by nonlinear deterministic processes with nonlinear coupling interactions between neuronal populations [
CWD (1) is obtained by convoluting the Wigner distribution (WD) (2) and the Choi-Williams exponential (3) [
The spectral power is defined as:
Choosing an adequate parameter
Entropy can express the mean of information that an event provides when it takes place, the uncertainty about the outcome of an event and the dispersion of the probabilities with which the events take place. Let
The probability mass function (PMF) was defined for a time instant
The two distributions, quantization-time
From this proposed methodology, new indexes were defined:
Partial instantaneous entropy:
Partial spectral information entropy:
Complete instantaneous entropy:
Complete spectral information entropy:
In order to study the performances of the
A periodic signal
A MIX process, used in previous studies [
The same MIX process of 2) using as
The same MIX process of (3) using as
All synthetic signals had a length of 200 s and a sampling frequency of 128 Hz. For each synthetic signal, mean (
A freely available EEG dataset was used for validation [
Partial and complete distribution quantization
Partial and complete distributions quantization
Similarly to the evolutions observed in
Quantization-time distributions of signal 4 are shown in
Comparing the
The fundamental assumption of nonlinear techniques is that EEG signal is generated by nonlinear deterministic processes with nonlinear coupling interactions between neuronal populations. Nonlinearity in the brain is introduced, even at the neuronal level [
As it can be seen in
Regarding the sets C, D and E of the EEG database, there are very significant differences between the values of
Certain differences are observed between the inter-ictal activity recorded from the epilogenetic zone (set C) and from the opposite brain hemisphere (set D) in the frequency domain (
In contrast to the traditional time domain information measures as the
It is well known that the closed eyes condition produces certain changes in the EEG. One of the most remarkable alterations is the rise in the power of the alpha rhythm [
As it can be seen in
Higher values of
A new approach to calculate TFR entropy has been presented and applied to simulated and real physiological time series. This approach is based on the definition of Shannon entropy applied to the probability mass function of the TFR in both time and frequency domain. In this way, the smoothing inherent in the calculation of the entropy is avoided and instantaneous values of this measure are obtained.
This methodology takes advantage of the property inherent to TFR that permits to deal with non-stationary signals together with the property of Shannon entropy that deals with chaoticity, complexity and randomness.
The results have shown that the values of the proposed measures tend to decrease, with different proportion, when the behaviors of the synthetic signals evolve from chaos or randomness to periodicity. Finally, this paper has demonstrated that they can be useful tools to quantify the different periodic, chaotic and random components in EEG signals.
This work was supported within the framework of the CICYT grant TEC2010-20886 from the Spanish Government and the Research Fellowship Grant FPU AP2009-0858 from the Spanish Government. CIBER of Bioengineering, Biomaterials and Nanomedicine is an initiative of ISCIII.
All authors collaborated and contributed extensively to the work presented in this paper. More specifically: Umberto Melia, Francesc Claria and Montserrat Vallverdu designed the methodology and wrote the paper; Umberto Melia carried out the development of the algorithms and the application of the entropy measures to real and simulated signals; Pere Caminal had the general overview of the work.
The authors have declared no conflicts of interest.
Signal 1: (
Signal 2: (
Signal 3: (
Signal 4: (
Set A (awake state with eyes open): (
Set B (awake state with eyes closed): (
Set C (non-ictal activity recorded from the epilogenetic zone): (
Set D (non-ictal activity recorded from opposed brain hemisphere to set C):
Set E (ictal activity): (
EEG signals: (
EEG signals: (
EEG signals: (
EEG signals:
|A vs. B
|C vs. D
|C vs. E
|D vs. E
n.s., non-statistical significant.
EEG signals:
|alfa band
|beta band
|delta band
|alfa band
|beta band
|beta band
|A vs. B
|C vs. D
|C vs. E
|D vs. E
n.s., non-statistical significant.
EEG signals: sensitivity (
|A vs. B
|pInstEntr (alfa)
|cInstEntr (delta)
|C vs. E
|cInstEntr (alfa)
|cInstEntr (beta)
|D vs. E
|pInstEntr (beta)


text:
2041: SBIRT Implementation: Undergraduate and Graduate Students Perspectives; Using Simulation to Teach Cultural Competency as a Component of SBIRT Training
Screening, brief intervention, and referral to treatment (SBIRT) for alcohol and other use was integrated into the nursing curriculum at University of Pittsburgh School of Nursing. We will present themes identified by focus groups of undergraduate nursing students. Qualitative data collected from nurse practitioner students will also be presented.
This presentation offers results of cultural competency taught through simulation experiences in undergraduate and graduate nursing education. Culturally diverse simulation scenarios were used to reduce student stigma of other cultures while learning an evidence-based practice to screen and intervene with patients who use substances.
Speaker: Lynn Boucek, BSN; Marie Fioravanti, RN, MSN, DNP(c); Ann Mitchell, PhD, RN, AHN-BC, FAAN
Disclosures: This presenter has no conflicts of interest or commercial support to disclose. Off-label uses will not be discussed during this presentation. The activity planners have no conflicts of interest to disclose.
Session Length: 45 minutes
Target Audience: RN, APRN
Session Objectives
Upon completion of this presentation, the participant will be able to:
1. Describe 3 themes identified by a student focus group that improved their ability to provide care for substance use.
2. Discuss strategies to help advanced-level nurse practitioner students use SBIRT as part of their clinical rounding sessions.
3. Describe a teaching methodology to assist undergraduate and graduate nursing students in considering their cultural competency.
4. Report the results of a cultural competency assessment administered pre and post-simulation and training.
Continuing Nursing Education
0.75 contact hours. *In order to receive contact hours, you must: Listen to the entire session, complete an evaluation, and earn a passing score on the post test before the expiration date. You will have 5 tries to correctly answer the questions on the post test. Once you have passed and completed an evaluation, the certificate will be generated online, available for you to print immediately. We cannot award credit unless all steps are completed.
The American Psychiatric Nurses Association is accredited as a provider of continuing nursing education by the American Nurses Credentialing Center's Commission on Accreditation.
Originally Presented
Thursday, November 8th
Mini Concurrent Sessions on Education
APNA 26th Annual Conference
David L. Lawrence Convention Center
Pittsburgh, Pennsylvania
Release Date: December 21, 2012
The contact hours for this session expire: December 31, 2013


text:
Software Architecture, Working IEEE/IFIP Conference on (2011)
Boulder, Colorado USA
June 20, 2011 to June 24, 2011
pp: 56-65
DOI Bookmark: http://doi.ieeecomputersociety.org/10.1109/WICSA.2011.17
Scenario based architectural assessment is a well established approach for assessing architectural designs. However scenario-based methods are not always usable in an industrial context, where they can be perceived as complicated and expensive to use. In this paper we explore why this may be the case and define a simpler technique called TARA which has been designed for use in situations where scenario based methods are unlikely to be successful. The method is illustrated through a case study that explains how it was applied to the assessment of two quantitative analysis systems.
software architecture, assessment methods, case study
Eoin Woods, "Industrial Architectural Assessment Using TARA", Software Architecture, Working IEEE/IFIP Conference on, vol. 00, no. , pp. 56-65, 2011, doi:10.1109/WICSA.2011.17


text:
It appears you have not yet Signed Up with our community. To Sign Up for free, please click here....
Women's Health Message Board
what colour should my urine be if think im pregnant
All times are GMT -7. The time now is 04:08 AM.
Site owned and operated by HealthBoards.com


text:
Pin Me Up Photography Photographer
sara sereneModel Female Miami, Florida, US
Mayhem # 712528
About Me
Hi everyone. I was born and bred in England, moved to Miami when I was 20.
I love pin up work, have been featured in Calendars and editorial work.
I'm also a makeup artist, and love to laugh. I don't take life too seriously-no one gets out alive anyway>>> but my work I do take seriously and LOVE to have a laugh on shoots
I also co own a jewelry company who's clients include various rock bands and actresses
Let's see what the future holds.. God bless
Have you worked with sara serene? Add Credits for sara serene! >>
Credit Notes
david siqueiros
kolo tattoo
brett thompson
fred love
damon -
Loading Content


text:
Everyone wants to live life by their own terms. Why wouldn't NFL players? It is never easy when told that: "the team is going in a different direction" or "we no longer need your services." Much like being fired from a job, an immediate reaction sets in and it isn't always one of higher ground.
Recent roster cuts by the New York Football Giants have elicited mostly gracious statements from those athletes who are no longer on said roster. Moving forward as a "former" can take its toll on the pride of these guys. Anger is the first emotional response and revenge is something that is obviously most sought-after. The fact that football on a professional level is a business…well, that just is the last thing a bruised ego wants to hear.
Back when Bill Parcells told tight end Mark Bavaro that his knee wasn't going to hold up much longer, to when Dan Reeves cut Super Bowl XXI MVP quarterback Phil Simms in favor of Dave Brown, to Jim Fassel sending defensive backfield favorite cornerback Jason Sehorn packing, there has been and always will be a bit more to the stories.
Offensive lineman Luke Petitgout was another starter that fell to injury, and eventually the Giants' roster cut monster in February 2007. A month later, he signed with the Tampa Bay Buccaneers, but finished his only season there on injured reserve after he tore his ACL in week four. Tampa Bay subsequently released him in August of 2008.
Petitgout recently sat down with the New York Post and revealed how he felt as one of General Manager Jerry Reese's first crucial cuts of older/injury-prone players in 2007.
"It's a machine," Petitgout told The Post. "Players think they have the power and the leverage. It's the team. It never stops. It spits people out left and right."
#77 clearly had some animosity about the "corporate" aspect of football and how Reese was conducting blue business. Of course, shock was the immediate feeling, followed by some resentment.
"He's basically getting rid of the guys before they expire, so to speak," Petitgout said. "They're always looking for younger, cheaper – just like getting new tires on your car."
Luke Petitgout was a first-round draft pick out of Notre Dame in 1999 and not only played, but started for them (all over the offensive line) until 2006, when he was released. If you all remember, #77 broke his leg late in the '06 season, but chose not to have surgery at that time on his chronically-hurt back. With another two years on his contract, he was cut and the Giants saved on his $5 million-a-year contract. Petitgout claims he's over the ill will.
"The Giants are a family. It's something tough to accept, like when a girlfriend dumps you. They know when your time is up. Some guys may buck the trend and have a good couple years after that but if you've been there a long time, they know your medical history, they know your aches and pains, they usually make the right decision," he said.
As time passes, with it comes a period to reflect on what has transpired. Eventually, clarity comes though as the cloudy ego has diminished. The New York Giants aren't a team that does their players dirty; the organization does what is necessary to attain the goal of Lombardi trophy.
"I basically had a time bomb in my back and when I went to Tampa it went off. The Giants knew what they were doing. I was mad at the time, I harbored some ill will for a while," Petitgout said. "Time has healed everything. My time with the Giants, I wouldn't trade it for the world. I wasn't exactly Mary Poppins on my way out. I think that's just because I love the Giants. That's really what the bottom line is. It hurts a player to the soul. It's like back to the playground days of the last guy to get picked, that kind of deal."
Once a Giant, Always a Giant. Wellington Mara's words seem to strike deep chords in players that spend a good number of their career in blue.
photo credit: alexa627 via photopin cc
- Be sure to like Giants 101 on Facebook, follow Giants 101 on Twitter & +1 Giants 101 on Google+


text:
The legendary John Fogerty has re-signed to the label that helped launch his career, planning to release a new studio album sometime in 2006
The legendary John Fogerty said on Friday he has signed with Fantasy Records, the label that helped launches his career. To mark the reunion, the singer will on Nov. 1 issue "The Long Road Home."
In companion, there will also a live DVD, to be recorded Thursday Sept. 15 at Los Angeles' Wiltern Theater that will be released early next year. Besides, a new solo studio album and other projects are in development and will come soon.


text:
Alexa May - Mafia Princess
Alexa May (with Christina Bella and Sandra Romain)
Alexa May
Alexa May - Emotion (Infamia)
Alexa May Libertine
Alexa May and Mia Stone simply love the bone and eat it up like an ice cream cone
Slutty hot babe Alexa May fills her satin pink snatch with a massively hard pole
Alexa May gets a double helping of cock up both her hot fuck holes
Alexa May - Tropical
Alexa May (with Laura Angel, Sandy Style)
Sexy bitch Alexa May gets double drilled deep in her tight holes by two studs
Alexa May Cheats Next To Sleeping Husband
Booty babe Alexa May gets anice bang on her ass while sucking another cock
Alexa May Hardcore Feet
Alexa May Junior College Girls 3
Alexa May - Puttane Si Nasce
Brunette Alexa May gets a sticky spray of cock sauce all over her mouth
Alexa May (with Alissa)
Beautiful whore Alexa May enjoys a warm lick on her twat while blowing a cock
Alexa May with Mia Stone
Alexa May Swallowing Compilation Part 1
TrafficHolder.com - Buy and Sell Adult Traffic|Trafficshop.com - Let your business grow|Contact Us|Webmaster
All content, including images, text, graphics, video and audio content contained in the website is protected under the laws of copyright, owned or under license to company or its designees,and represents proprietary and valuable intellectual property.
Contact Webmaster 18 U.S.C. 2257 Record-Keeping Requirements Compliance Statement
Powered by Stream Rotator


text:
The Jitney Potential: Transportation for the Poor
December 14, 2011
Low-income families need transportation. The automobile is the most convenient form of transportation, but it is expensive to own and operate. Fares for public transit, such as buses, are low, but the service is slow and inflexible, says Jennifer Dirmeyer, an assistant professor of economics at Hampden-Sydney College.
- Transportation costs account for about 17 percent of the total household expenditures of the average American family, according to the Bureau of Labor Statistics -- second only to housing costs.
- Thus, policies that affect transportation options have a significant impact on the general welfare of Americans.
In an ordinary market entrepreneurs would solve this problem by creatively meeting people's needs. However, transit is so regulated that even the simplest solutions are often outlawed.
Competitive private bus or van services are called jitneys -- vehicles with flexible schedules and stops (like a taxi) that offer a ride along a route that is fixed (like a bus), but from which the driver can detour, if passengers are willing to pay more. In the early 20th century, such services were widespread in urban areas. However, they competed with trolley lines and bus monopolies, and most jitney services disappeared by the 1920s.
- In most U.S. cities, the limit on the number of taxis ensures that they do not provide jitney services, rather than more profitable taxi service dispatched by a limited number of cab companies.
- Other regulations restrict vehicle size, group riding or shared rides.
- Furthermore, many cities explicitly bar competition between taxis and buses by prohibiting taxis from soliciting passengers at bus stops.
- Licensed livery vehicles including limos, commuter vans and shuttles are also strictly regulated like taxis.
Three distinct reforms are necessary to permit jitney operators to provide services valuable to low-income consumers:
- Eliminate prohibitions on group riding.
- Eliminate regulations that prohibit commuter vans from picking up passengers without an appointment and from accepting street hails.
- Eliminate restrictions either on the number of jitneys per route or the number of jitney routes or the ability to deviate from a route.
Source: Jennifer Dirmeyer, "The Jitney Potential: Transportation for the Poor," National Center for Policy Analysis, December 14, 2011.
For text:
Browse more articles on Government Issues


text:
Planning for a strategic communications campaign for the Covering Kids Initiative
The Foundation's program, Covering Kids: A National Health Access Initiative for Low-Income, Uninsured Children, was designed to help states and local communities increase the number of eligible children who benefit from health insurance coverage programs.The purpose of this project is a three-year national communications campaign that will build on the initial successes of the Foundation's Covering Kids initiative (CKI) by working to ensure that the CKI meets its goal of maximizing the participation of eligible children in available health programs--Medicaid and the Children's Health Insurance Program (CHIP). Moreover, the campaign will work to make enrolling children in health programs as expected and commonplace as seeking vaccinations for young children. The campaign will provide comprehensive infrastructure, leadership, and resources for communications efforts aimed at enrolling children in these programs and changing attitudes about enrolling children in health coverage programs.
Grant Details
Amount Awarded $24,167,500.00
Awarded on: 5/4/2000
Time frame: 4/1/2000 - 6/30/2004
Grant Number: 38004