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actual dancing was quite different from solo to solo. I then worked with the dancers to add nuance and to emphasize certain elements of their dancing.” “The real work of creating a dance is how the specific movements are arranged. For example, a solo is very different from a duet or a trio or a large group. A group of dancers dancing the same movement, at the same time, facing the same direction, is very different than a group of dancers performing completely different movement. So, after working

Portland for two sold-out Portland Piano International recitals, listened to Burton play Bach’s Prelude & Fugue in E-flat Major, BWV876. We caught up with Burton, recipient of the PLU Music and Bertha Gilbertson Endowed Piano Scholarships, during gap year in her hometown of Camas, Wash. What did you do right after graduation? I spent most of my summer doing Chinese translation work and researching graduate piano programs in China online. In the end, I had tennis elbow from all the computer time and an

, who was studying toddlers and words. “We’d have them in a sort of one-way mirror room watching them play with toys,” he recalled, “I got to see real research as a freshman. It was cool … to see these 18-month-olds with such a varying range of skill, but all very intelligent, finding out they’re learning like 150 words a day.” He also attended Western Psychology Association conferences and “got a real sense of what academic research and publication and the journey of a professor was like.” Bell

Tegels, organ, and PLU’s Choir of the West directed by Richard Nance. The idea of perspective is explored through two compositional views of the Prodigal’s humility in his return: Debussy with piano, and Arthur Sullivan’s oratorio, performed with organ and Choir of the West. The two versions give the same perspective from different compositional voices. Jim Brown, director, explains the differences. “Sullivan (of Gilbert & Sullivan fame) is a real Victorian era compositional voice. There are moments