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minor to focus more on technique. Courses, such as Dance and Culture, will be added along with Ballet, Modern and Hip-Hop Technique, Dance Production, Intro to Dance, Dance Composition and Improvisation. Tickets for Dance 2015 are $8 General Admission, $5 Senior Citizens and Alumni, $3 PLU Community, Students and 18 and under. Tickets are available at the Concierge Desk in the Anderson University Center, 253-535-7411 [credit/debit/cash), and can be purchased at the door before the show [cash only

, because it’s in those memos that I place my creativity that I used to put into music composition.” The Department of Music will celebrated Dave Robbins’ tenure with a tribute concert on May 22 at 8pm in Lagerquist Concert Hall. In His Own Words: Finding a Special Place at PLUIn the spring and summer of 1969, I was looking for my first college teaching job as I completed my graduate music degree at the University of Michigan… Read Previous Cosmosis: combining the art of music with the inquiry of

Radio. Read Previous Learning to Brew Read Next PLU choral conductor winner of The American Prize for 2013 COMMENTS*Note: All comments are moderated If the comments don't appear for you, you might have ad blocker enabled or are currently browsing in a "private" window. LATEST POSTS Three students share how scholarships support them in their pursuit to make the world better than how they found it June 24, 2024 Kaden Bolton ’24 explored civics and public policy on campus and studying away in Oxford

featuring her fourth cast of dancers. “Each of the six dancers represent different characters, qualities and emotions, and memorize those parts from a structured improvisation,” Winchester said. “It’s complex.” Simply, this piece is designed by chaos, meant to be fun, but also very specific. The dancers analyze the story into dance through the process of dramaturgy, the technique of dramatic composition and theatrical representation. This is what defines Vonnegut’s description of female shorthand typing

.” Ronning feels blessed he’s been able to do both. Read Previous Finding a special place at PLU Read Next Organist off the Grid LATEST POSTS PLU’s Director of Jazz Studies, Cassio Vianna, receives grant from the City of Tacoma to write and perform genre-bending composition April 18, 2024 PLU Music Announces Inaugural Paul Fritts Endowed Chair in Organ Studies and Performance January 29, 2024 PLU’s Weathermon Jazz Festival to Feature Acclaimed Musician Aubrey Logan February 28, 2023 Horn & Fixed Media

. Huertas was also cast as Feste in the Seattle Shakespeare Company/Wooden O’s production of Twelfth Night, a role which he also played at PLU under the direction of Brian Desmond. Read Previous Streaming Concerts now a permanent reality Read Next The Choir of the West takes to the road LATEST POSTS PLU’s Director of Jazz Studies, Cassio Vianna, receives grant from the City of Tacoma to write and perform genre-bending composition April 18, 2024 PLU Music Announces Inaugural Paul Fritts Endowed Chair in

family! Read Previous Snapshot of the recent Honolulu trip Read Next Wind Ensemble’s World Premiere of Echo Chambers LATEST POSTS PLU’s Director of Jazz Studies, Cassio Vianna, receives grant from the City of Tacoma to write and perform genre-bending composition April 18, 2024 PLU Music Announces Inaugural Paul Fritts Endowed Chair in Organ Studies and Performance January 29, 2024 PLU’s Weathermon Jazz Festival to Feature Acclaimed Musician Aubrey Logan February 28, 2023 Horn & Fixed Media Premiere

during a break in rehearsal. Jack Sorensen, ’13, plays Stephen, who is a ghost, then nine years old, and then his adult self as the play ends.  Jill Heinecke, ’13, plays the youngest, 7-year-old Claire, at the beginning of the play. PLU student Jordan Beck ’12 has also composed music for the production and also serves as musical director for all the plays. Beck’s composition will be played on an instrument called a samisen, a banjo-like instrument that is the traditional instrument of choice to

different characters, qualities and emotions, and memorize those parts from a structured improvisation,” Winchester said. “It’s complex.” Simply, this piece is designed by chaos, meant to be fun, but also very specific. The dancers analyze the story into dance through the process of dramaturgy, the technique of dramatic composition and theatrical representation. This is what defines Vonnegut’s description of female shorthand typing pools in the 1950s. However, Winchester’s choreography itself is not the