Search

, and there are fewer and fewer things I know. But I know what it takes to write. I know the fear; I know the dangers and demons; and I know the joy. As a teacher, I try to help students understand this journey, and I try to help them live it as the adventure of their lifetime.”

., Magura, B., Pratt-Sitaula, B., Thompson, D., and Whitman, J.. "Teachers on the Leading Edge: An Earth Science Teacher Professional Development Program Featuring Pacific Northwest Geologic Hazards." Geological Society of America Abstracts with Programs - Annual Meeting Vol. 41, 2009: p. 195. Butler, R.F., Granshaw, F.D., Groom, R., Hedeen, C., Johnson, J., Magura, B., Pratt-Sitaula, B., Thompson, D., and Whitman, J.. "Translating Earth-Scope Science for Middle School Teachers and Students in the

Connecticut District of the Metropolitan Opera National Council Auditions, was a finalist in the Palm Beach Opera Competition, completed fellowships at the Aspen Music Festival, Music Academy of the West, and the Britten-Pears Programme in England, and is a graduate of the Seattle Opera Young Artists Program and the Baroque Performance Institute at Oberlin College. She is a passionate teacher and an active member of The National Association of Teachers of Singing (NATS), where she serves on the board of

, where he studied with Peter Ellefson, Ron Munson, and Steve Fissel.  Jason currently holds the position of Lecturer of Euphonium at the Pacific Lutheran University, and is also a Kindergarten teacher in the Steilacoom School District. Jason has enjoyed an ever increasing demand as a clinician and euphonium soloist.  Gilliam has been a featured euphonium artist at the 2012 International Tuba Euphonium Conference in Linz, Austria, the Northern Rockies Tuba Euphonium Festival, Monroe High School Wind

mind, then metaphor is an accelerant and poets are arsonists.” Whether a writer intends this fire to provide warmth or to burn something down, my goal as a teacher and mentor is to provide them with the tools necessary to stoke that flame. Meeting students’ writing on its terms and through the lens of their own individual poetic canons, rather than a monolithic notion of craft, I hope to draw out the best and bravest versions of their work. I encourage writers to court failure in their writing

Quartet, violinists Ian Swensen and Andrew Jennings, and cellists Johannes Moser and Anthony Elliott. Ezhokina holds a Doctor of Musical Arts degree in piano performance from Stony Brook University. She is the pianist of the Volta Piano Trio, whose recordings for Con Brio label received accolades in multiple international music magazines, such as The Strad, Gramophone and American Record Guide. A sought-after teacher, she has given piano and chamber music masterclasses in colleges and universities

, and Breckenridge Music Festival Orchestra. While maintaining an active performing career, Dr. Cho is an artist teacher deeply committed to education. While holding herself and her students to the highest standards, Dr. Cho always adopts a nurturing, holistic, learner-centered approach that brings out the best in young singers. Through open conversations and practical guidance, she equips her students with the skills and resilience needed for success in the professional world. Her students have

Voice Lessons, Directs Knights Chorus, Co-Directs Opera Production/Workshop Accolades National Winner, Bel Canto Competition of Chicago Regional Winner, San Francisco Opera Auditions Biography Baritone Barry Johnson is enjoying a successful career as an opera singer, stage director, concert performer, and voice teacher. Having sung roles in more than 20 productions at Seattle Opera, Mr. Johnson has performed as a guest artist with companies throughout the west including Seattle Opera, Tacoma Opera

, Jerilyn, an elementary teacher librarian in the Bethel School District.

work may be in lineage with. As a teacher and a fellow poet, I have found that the poems we write are often smarter than we are. At times a promising draft carries a mysterious autonomous logic, one that is difficult for the writer–too close to the thing they’ve made–to fully grasp. As a result, in workshop discussions I press readers to be as descriptive as possible about what they see or hear, so as to mirror back a discrete sense of what a given poem is up to. I will also challenge you to break