The Arts Administration
Résumé Handbook
updated May-12
Abridged version for DePaul School of Music
© 2012 Office of Careers and Professional Development at the Eastman School of Music
*This document may not be copied or distributed without written permission.
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Table of Contents
What is a Résumé? ..................................................................................................................................... 3
The First Draft ............................................................................................................................................ 4
Format ........................................................................................................................................................ 6
Selling Yourself ......................................................................................................................................... 7
Style ............................................................................................................................................................ 9
The Finished Product ............................................................................................................................... 12
Sample Résumés ...................................................................................................................................... 13
Bibliography. ............................................................................................................................................ 24
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WHAT IS A RÉSUMÉ?
A résumé is a formal overview of your past and current professional and educational experience. It should directly and
concisely list any experiences related to the teaching position you are seeking. Some description of your experiences may
be appropriate, but you should be as concise as possible and no more than 1 page long. Remember, a résumé is not an
autobiography – it is an outline of your experiences.
Résumé or CV?
Some people understandably confuse résumés and vitae. The two documents are very similar and many employers use
the terms interchangeably. In fact, employers in academia will often ask for a “vita” in an employment advertisement
when they wish to receive a one-two page document that others might call a résumé.
For practical purposes, this handout will focus on teaching résumés used when seeking arts administration positions. This
type of résumé should be 1 page long. You should only use 2 pages if you have extensive experience.
Purpose and Importance
Although a résumé is useful in a number of situations, it has two basic purposes. The first is to create in the reader such
an interest in you as an applicant that s/he will want to invite you for an interview or audition. The résumé should serve
essentially as an advertisement of and for a product – you! It should make the employer (the “buyer”) want to take a
closer look. Statistics show that the average employer spends less than 10 seconds scanning a résumé, so the overall
design and format of a résumé is important!
The other purpose of a résumé is to encourage potential employers to pay close attention to you when they do meet you or
hear you perform. Remember, a résumé is your only representative when you are not present. Thus, it must be perfect –
well organized and highly polished. A great résumé alone will not get you a job, but a poor résumé can easily keep you
from getting even an interview.
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THE FIRST DRAFT…
Résumé Categories
The following is a list of possible categories (in no particular order) that you may wish to include in your résumé.
Look over these categories carefully and decide which ones would best present your professional and educational
experience. Most importantly, do not feel compelled to follow a given formula, rather, design and organize your résumé
so that it best highlights your experience.
Name
Address
Home and/or Work
Current/Permanent/After “x” date
Education/Training
Degree(s) earned (include dates and institutions)
Grade Point Average
High School Study (if at a major music institution)
Major/Principal Teachers
Master Classes
Professional Certification, Licensure, Accreditation
Professional Experience
Internships
Arts Administration Experience
Music Related Work
Non-Music Related Work
Administrative Experience
Business Classes Taken
Selected Teaching Experience
Professional Teaching
Student Teaching
Musical Coaching
Private Studio
Summer Camps
Master Classes Given
Clinics Given
Non-Music Teaching
Selected Performance Experience
Solo Experience
Solo Orchestral Engagements
Recitals
Chamber Music
Orchestras/Wind Ensembles
Jazz/Rock
Freelance
Voice-Opera, Roles Studied, Musical Theater
Professional Leadership
Guest Lectures
Professional Presentations
Affiliations/Memberships
Other Experience
Language Proficiency
Community Service
Volunteer Work
Special Skills
Collegiate Extracurricular Activities
Honors/Awards
Scholarships, Fellowships, and Scholastic Awards
Prizes and Grants
References
Remember that this list is by no means all-inclusive!
Some of the categories may not suit your purposes or needs and you probably won’t have something that fits into every
category. Don’t worry!
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Many people make the common mistake of selling themselves short. They prejudge their past experience and its
inadequacies, often eliminating good, relevant experience before it ever has a chance to get down on paper. To be sure
that you weigh your experiences evenly and avoid significant omissions, you should first get everything down on paper,
and then decide what to keep and what to omit.
In your first draft, write down everything under the appropriate category titles. Do not eliminate anything in the process.
Save the editing of this information until you have a better sense of how you want to lay out your résumé. For now, just
keep an open mind!
The following is an example of what a list might look like after a brainstorming session:
Jane Jones
Clarinet
111 East Avenue Permanent Address
Rochester NY 14604 123 Any Street
Phone: 585-555-1212 Anytown, USA 12345
Email: [email protected]chester.edu Phone: 123-456-7890
Education:
MM, Eastman School of Music, Rochester, NY (expected graduation 2007)
Arts Leadership Certificate, Eastman School of Music, Rochester, NY (2007)
BM, Michigan State University, East Lansing, MI (2005)
Principle Teachers-Clarinet
John Smith, Professor ESM
Richard Johnson, Principal Clarinet, Rochester Philharmonic
Robert Jones, Professor MSU
Teaching Experience: Clarinet Instructor, ECMS
Private Studio 2004-present
Recitals: Junior and Senior recitals, MSU
Alumni recital, MSU
ESM Recitals
Orchestras: RPO, Cobbs Hill Orchestra, ESM, MSU
Wind Ensembles: ESM, MSU
Freelance: Various gigs in Rochester, MSU
Related Experience: RPO Artistic Operations Intern 2007
NY Phil Summer Marketing Intern 2006
Student House Manager, Eastman Theater 2006-present
Usher, Arts Center, MSU
Other Experience: Head RA-ESM, RA-MSU
Proficient in Spanish
Habitat for Humanity Volunteer
Computer Literacy
Prof. Membership: American Symphony Orchestra League
Honors/Awards: Graduate Assistantship and Summer Fellowship, ESM
Performance Honors, MSU
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FORMAT
Once you have thoroughly brainstormed your past and current experiences, it is time to decide on a format for your
résumé. The four most common résumé formats used by musicians are:
•
Chronological
•
Order of Importance
•
Functional
•
Targeted
Chronological
A chronological résumé, as the name suggests, lists your work experience in chronological (or more typically, reverse
chronological) order. This format enables the reader to track your work history easily, check for gaps of unemployment
and visualize your professional growth.
The entire résumé need not be in reverse chronological order. Most people who use this format will have sub-categories;
much like those listed in the résumé category section on pages 6-7, and will arrange information in reverse chronological
order only within each category. The résumé on the previous two pages provides a good example.
Order of Importance
With this format, experiences are listed in the order of importance to the reader, enabling him/her to see your most
relevant and impressive information first. This form is almost always used for performance résumés.
Functional
A functional résumé highlights your skills, abilities and accomplishments rather than the places where you obtained them.
Past work experience should be listed separately, but the focus is on skill. This format is not commonly used for music
positions.
Targeted
A targeted résumé is not as much of a format as it is a style. It is often eclectic, using characteristics of each of the first
three formats, and is used most often to produce a highly focused résumé for a very specific job. Most performance
résumés are targeted résumés; that is, they eliminate all peripheral information and discuss the only two things that
auditioners are interested in: training and performance experience.
A targeted résumé does not have to be limited to performance jobs. Any résumé that you are writing solely for a specific
job would be a targeted résumé.
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SELLING YOURSELF
Confidence and Experience
Some people develop résumés that come off as either too arrogant or too shy. You should strive to find an honest
medium. The general rule for writing résumés is “don’t hold back.” In other words, sell yourself – show potential
employers how good you are. However, don’t embellish. If what you set down on paper is the truth and is presented in a
factual, professional manner, you need not worry about appearing too arrogant.
“Résumé” Language
A good résumé communicates professionalism and energy to a potential employer, not only by its form and content but
also by its style. The language you use to represent yourself can make a reader want to know more about you, so choose
your words carefully. Try out several ways of characterizing your experience and decide which best conveys an
attractive, dynamic and professional applicant. The following tips will help.
Say “no” to pronouns and “yes” to verbs
It is understood on a résumé that you are speaking about yourself; therefore it is redundant (and wordy) to use “I” or other
personal pronouns when describing your experience. Start with a verb to convey action and accomplishment.
Example:
Church Music Minister, St. Mary’s Church, Rochester NY (2003-2005)
-Directed adult choir, which increased by 50% the second year
-Founded and directed children’s choir
-Managed all aspects of choir, including budgeting, rehearsals, planning, and library management
-Created the first combined choirs ecumenical spring concert
Make a Tense Decision
Notice in the above example that the verbs chosen all work with the understood pronoun “I.” The use of past tense
conveys a sense of accomplishment: all of these achievements have been successfully completed and are now a part of the
applicant’s experience.
Some people use present tense to describe positions that they currently hold. If you decide to use present tense, be sure to
make it clear that you are still performing the activity you describe. Do not arbitrarily shift from past to present tense,
which indicates a lack of professional foresight and revision. Whatever tense you use, make sure it works with the
understood “I.”
Example:
Private Piano Teacher, Pittsford NY (2005-Present)
-Teach elementary students, plan lessons, establish repertoire and program recitals
Action Verbs
Beginning with a verb conveys immediately an energetic, capable applicant – someone who will perform well. However,
some verbs work better than others, and you should put some thought into selecting them. You want to choose a verb that
says precisely what you have done and emphasizes your accomplishments and skills. Notice the difference between the
following descriptions of the same job:
! Worked on audition process
! Revised and streamlined audition process
Both descriptions express action, but the latter grabs the reader by being more concrete, specific and positive. An even
better entry might read:
•
Introduced innovative and successful changes into audition process.
But all three descriptions, because they start with verbs, work better than the lifeless and worn-out “responsibilities
included.”
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Here is a short list of Action Verbs to help you get started:
created
started, conceived, designed, developed, established, expanded, founded, generated, implemented, initiated, introduced,
invented, launched, opened, organized, originated, produced, set up
taught
trained, rehearsed, instructed, tutored, directed, coached, conducted, briefed, informed, prepared, advised, familiarized,
counseled, discussed, acquainted, guided, lead, drilled
did
conducted, directed, produced, developed, participated, provided
wrote
composed, arranged, edited, recorded, researched, reported, summarized
supervised
administered, controlled, coordinated, delegated, demonstrated, directed, guided, instructed, led, managed, monitored,
ordered, oversaw, programmed, scheduled, trained
evaluated
adjudicated, judged, assessed, analyzed, conceived, conceptualized, compared, defined estimated, forecasted, inspected,
interpreted, observed, pinpointed, recommended, reviewed, projected, solved, strategy, surveyed, updated
assisted
advised, carried out, consulted, notified, observed, performed, supported
changed
influenced, encouraged, innovated, motivated, promoted, persuaded, stimulated, supported, reduced, cut, altered,
eliminated, expanded, increased, negotiated, adapted, adjusted, improved, modeled, proposed, reconciled, revamped,
revised
put together
assembled, built, compiled, coordinated, effected, engaged, gathered, implemented, maintained, organized, planned,
prepared, researched, selected, structured
achieved
attained, completed, dealt, effected
chose
brought, enlisted, selected, ordered
communicated
consulted, contacted, interviewed, investigated, lectured
efficiency
accelerated, expedited, applied, maintained, mastered, reinforced
Catering Your Résumé to the Position
Just as important as conveying energy and aptitude is convincing a potential employer that your qualifications meet the
job description.
Try to picture the kind of person who would be perfect for the position you want, then emphasize the skills and
experiences you possess that make you resemble that picture. In other words, bring out what the employer wants to see.
Order
The order of your résumé categories should reflect the position you are applying for and your level of experience. For a
person with years or teaching experience, that is the first category an employer would want to read. However, for a
teacher who has just graduated and does not have much teaching experience, education is the first category and employer
would want to read. As you gain experience, you will rearrange your categories and add new listings and delete the older
ones.
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STYLE
Letterhead
The top of your résumé should include your name, address, and contact information, including telephone number and
email address. Try to create a “letterhead” that will help your résumé stand out from others. You don’t need anything too
flashy, but something that is pleasing to the eye and reflects you and your overall style.
Some examples of letterheads:
Jane Jones
111 East Avenue, #C11 ● Rochester NY 14604
(585) 555-1212 ● jd000e@mail.rochester.edu
JANE JONES
111 east avenue, #c11
rochester, ny 14604
(585) 555-1212
jd000e@mail.rochester.edu
~
Jane Jones ~
111 East Avenue, #C11
Rochester NY 14604
(585) 555-1212
jd000e@mail.rochester.edu
Jane Jones
111 East Avenue, #C11 Rochester, NY 14604 (585) 555-1212 jd000e@mail.rochester.edu
Jane Jones
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Overall Look
Make sure that the printing fonts are easy to read. They should be around 12pt in size. You don’t want to make your
reader squint to read too-small print. You also want to avoid too-large print, which looks elementary and seems to be
striving to fill space.
Similarly, choose a font style that looks professional. Don’t play around with create fonts (shadow fonts, for example) –
they distract and often annoy readers. Some good examples of font styles are Arial, Times New Roman, and Tahoma.
Whatever font style and size you choose, remember to be consistent. Don’t switch from one to the other throughout your
résumé, even to distinguish between category headings and entries. Instead, use bold, CAPS, or underlining to highlight
important categories or subcategories. If you do decide to change font size as a means of distinguishing, make sure the
difference is subtle and doesn’t call attention to itself rather than the content.
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What a final résumé might look like…
JANE JONES
111 East Avenue, #C11 Permanent Address
Rochester NY 14604 123 Any Street
(585) 555-1212 Anytown, USA 12345
jj000e@mail.rochester.edu (123) 456-7890
PROFESSIONAL EXPERIENCE
Artistic Operations Intern, Rochester Philharmonic Orchestra, Rochester, NY, September-May 2007
! Coordinated schedules, itineraries, transportation, catering and hospitality arrangements between agents and guest
artists
! Assisted in writing and editing guest artist contracts and technical riders, as well as orchestra concert data sheets
and instrumentation guides
! Supported Artistic Operations department members on concert preparations and execution
Marketing Intern, New York Philharmonic Orchestra, New York, NY, June-August 2006
! Wrote and edited press releases and print advertisements
! Collaborated with marketing staff to promote summer concerts in various locations and venues
Student House Manager, Eastman Theater, Rochester, NY, September 2006- present
! Supervised student ushers during performances in the theater
! Coordinated schedules for over 20 student ushers
! Developed new system for ushers to report time worked
Usher, Arts Center, East Lansing, MI, 2001-2005
! Assisted patrons during concerts and events
! Recruited and oversaw training of new employees
EDUCATION
Master of Music in Performance, Eastman School of Music, Rochester, NY, 2007
Arts Leadership Certificate, Eastman School of Music, Rochester, NY, 2007
Bachelor of Music in Performance, Michigan State University, East Lansing, MI, 2005
HONORS AND AWARDS
Graduate Assistantship, Eastman School of Music
Summer Fellowship, Eastman School of Music
Performance Honors, Michigan State University
PROFESSIONAL MEMBERSHIPS
Member, League of American Orchestras
ADDITIONAL EXPERIENCE
Resident Assistant, Michigan State University
Volunteer, Habitat for Humanity, Rochester, NY
Proficient in Spanish
REFERENCES FURNISHED UPON REQUEST
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THE FINISHED PRODUCT
Creating an effective résumé requires time and careful revision. Once you have completed your résumé, take some time
away from it to achieve distance. Then come back to it with a critical eye to see if it conveys a good candidate for the
kind of position you want. Ask your teachers and colleagues to read your résumé and give you their impressions.
Different opinions on the finished product can help you shape it further.
Paper
You should invest in high-quality bond paper – it need not be too expensive, but should be better than regular photocopy
paper. Choose an attractive color, one that is easy on the eye (e.g. off-white, ivory, pale grey). We strongly caution you
against choosing a “wild” color (chartreuse, hot pink, etc.) as a way to “stand out.” Using such colors will attract notice
but will also scream “look at me!” as if the content might not be enough to grab a reader’s attention. Think carefully
before making such a choice. (Note: going with white bond paper may actually be one way of standing out since most
résumés today are light, non-white shades.)
Emailing your résumé
Many employers now accept résumés and cover letters electronically by email or by uploading it to their website. When
emailing or uploading your résumé to a potential employer, send the document as a PDF. When emailing Word
documents, the different versions of Word can change your formatting, font size and style to something other than what
you intended. Be cautious of this and use PDF’s whenever possible.
Résumé Checklist
As you consider the effectiveness of your résumé, ask yourself the following questions. A “yes” answer to each question
will ensure that you have created a professional looking document.
1. Have I adequately covered all of the work experiences and skills (including transferable skills) relevant to the
position?
2. Does the order of my résumé emphasize my suitability for the position?
3. Is the format appropriate and easy to follow?
4. Have I used strong, active verbs to describe my experience?
5. Have I avoided mere listing (“responsibilities included”)?
6. Have I achieved consistency of point of view, verb tense, categorical form and chronology?
7. Have I avoided wordiness and redundancy?
8. Is the résumé attractive in terms of style, font, and format?
9. Have I thoroughly proofread for grammatical, typographical and mechanical errors?
10. Have I used high quality paper and printing for a polished final product?
Set up a meeting with the Music Career Services Office!
We are here to help you with all your job search needs! Call or email or stop in to set up an appointment today.
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SAMPLE RÉSUMÉS
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JANE M. JONES
janemjones@hotmail.com
585.274.1234
Temporary: 123 Any Street, Providence RI 02908
Permanent: 456 Any Street, Dallas, TX 75146
EDUCATION:
Eastman School of Music, Masters in Music, Performance and Literature, May 2007
Eastman School of Music, Catherine Filene Shouse Arts Leadership Program Certificate, May 2007
The University of Texas at Austin, Bachelors of Music Education, August 2005
PROFESSIONAL EXPERIENCE IN ARTS ADMINISTRATION:
Education and Community Partnerships Intern: Rhode Island Philharmonic and Music School, summer 2007
•
Responsibilities are to include assisting the Performance Education Director and Community Partnerships Coordinator with:
program development for the community partnerships programs for the 2007-2008 academic year, professional development
for mentors, staff and teaching faculty, summer camps, internal and external communications, grant and funding
opportunities, youth ensemble coordination, youth ensemble auditions and provide quality customer service
Intern: Office of Development, Eastman School of Music, spring 2007
•
Responsibilities included: assisted with alumni relations, outreach and involvement, grant researching, marketing and
communications, website development, created and implemented alumni performance database and assisted project manager
on special events
Intern: International Festival-Institute at Round Top, Round Top, Texas, 2006
•
Served as the summer intern for the festival’s duration (plus two and weeks before and after) festival activities
•
Responsibilities included: served as deputy to the Assistant Program Director and assistant to the Personnel Director,
generated schedule for faculty and young artists, stage management, administered and coordinated chamber concerts, updated
music library and festival repertoire database
Office Assistant: Office of Technology and Music Production, Eastman School of Music, 2005-2006
•
Assistant to the Office Secretary
•
Responsibilities included: proofread all recordings and CD jackets, digitized and organized paper files, filled orders for
recording requests, maintained numerous databases used by the office
Communications and Marketing: The Emerald Brass Quintet, 2006-2007
•
Responsibilities included: created identity and brand for ensemble, created and maintained website, created posters/flyers for
upcoming events
RELATED ACTIVITIES:
Teaching Assistant, Eastman School of Music: Winds, Brass and Percussion Department, 2005-2007
•
Taught studio class once a week to Sophomore horn majors, assisted in logistical and administrative duties for the 24-
member horn studio, participated in Conducting Orchestra, on occasion taught and coordinated regular studio class, served as
Assistant Conductor for the Eastman Horn Choir
Teaching Assistant, Eastman School of Music: Music Education Department, 2005-2007
•
Taught Horn Methods, an undergraduate course for Music Education majors
French Horn Instructor, Middle and High Schools, Austin, TX, 2001-2005
•
Taught individual horn lessons to students ranging from 5
th
grade to high school, taught horn lessons for summer music
camps for the middle and high school levels at The University of Texas at Austin
PERFORMING EXPERIENCE:
Eastman Wind Ensemble, 2005-present
Eastman Philharmonia, 2005-present
Emerald Brass Quintet, 2006-present
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HONORS AND AWARDS:
Catherine Filene Shouse Arts Leadership Program Certificate, May 2007
•
The Arts Leadership Program is committed to recognizing that the success of a professional musician encompasses not only
outstanding artistry, but entrepreneurial savvy, strong communication skills, a commitment to audience education and public
advocacy for music and the arts
•
Participation awarded based on a competitive application process
Graduate Award and Tuition Scholarship, Eastman School of Music, 2005-2007
•
Awarded on basis of performance and faculty recommendation
Performance Certificate, University of Texas at Austin, August 2005
•
Awarded on basis of approval of additional full faculty jury and approval of three faculty members at degree recital
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(ABAFNM!^FMX!MXI!Norwegian+Broadcasting+Orchestra*!EQAG?>GNMI?!AP!PGMFAPGB!+AQ^IJFGP!3&! ! 1###!
bQFP>FRGB!YIBBFNM*!Young+Norwegian+Festival+Strings+ 0772!V!1###!
!
OTHER!
!
Languages:+cBCIPM!FP!'PJBFNX*!+AQ^IJFGP!L!OIQDGP!
Computer+knowledge:+,AQ?*!'e>IB*!.CMBAAW*!bA^IQbAFPM*!bXAMANXAR!L!)QIGD^IGSIQ!6^IE!?ISIBARDIPM8H!
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REFERENCES!
!
Robin+Thompson*!=NNA>FGMI!=QMFNMF>!)FQI>MAQ*!+I^!-AQW!YFMU!.RIQG!
Catherine+Cahill*!bQINF?IPM!GP?!YXFIT!'eI>CMFSI!)FQI>MAQ*!]QAAWBUP!bXFBXGQDAPF>!
Matthew+Zelle*!<GPGJIQFGB!=NNA>FGMI*!%<O!=QMFNMN!%P >!6+I^! -A QW!.TTF>I*!%PNMQCD IPMGB!)FSFNFAP8!
Martin+Vinik*!%PNMQC>MAQ*!bQAJQGD!FP!=QMN!=?DFPFNMQGMFAP*!YABCDEFG!dPFSIQNFMU*!3IG>XIQN!YABBIJI!
!
!"#'*$'(/#D"&9*'/"#(*4*/=*G=%(3C"#(&%K3%.'!
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SALLY SMITH
123 Any Street
Any Town, USA 12345
Ph. 123.456.7890
Sally.Smith@email.com
SUMMARY:
Extensive management experience including working closely with governance boards; hiring and managing staffs of
various sizes; fundraising; strategic planning and budgeting; contracting and managing musicians; and planning and
supervising community educational programs.
PROFESSIONAL EXPERIENCE:
Executive Director, Vivace Performing Arts Program
Yokota Air Base, Japan (2000-present)
•
Manage a 16-member staff and 100+ volunteer group
•
Oversee board development activities and strategic and financial planning
•
Plan concerts and events for education, outreach, and development purposes
•
Maintain vital communication between the organization, military leadership, and the local Japanese community
•
Spearhead development activities including grant writing, donor cultivation, and special events such as bazaars
and auctions
•
Received numerous awards and recognition for leadership including “Woman of the Year” in 2004, presented by
Yokota Air Base Leadership
Director of Development, American Voices
Houston, TX (January 2005-present)
•
Oversee development activities including donor and foundation research, grant writing, and donor cultivation
•
Create and design development and marketing materials
•
Work closely with executive director in developing strategic plan
•
Act as advisor to executive director in organization development and budget management
•
Implement and oversee new internship program
Director, USO Yokota
Yokota Air Base, Japan (2002-2004)
•
Oversaw planning and management of USO operations on five military installations in mainland Japan
•
Successfully planned and executed numerous morale and fundraising events ranging from golf tournaments and
barbeques to black tie events while overseeing four employees and a large American and Japanese volunteer
group
•
Maintained vital communication between base commanders and the USO Mainland Japan Council, a Board of
Directors overseeing USO operations in the Tokyo region
•
Oversaw financial planning including budgets for the local office
PAST EXPERIENCE:
Development Intern, American Voices
Houston, Texas and Bangkok, Thailand (April 2005-December 2005)
Orchestra Manager, College Conservatory of Music of the University of Cincinnati
Cincinnati, Ohio (1999-2000)
Artist Management Intern, Amy Blum Personal Representation and Publicity
Fairport, New York (1998-1999)
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!
Orchestra Manager, Guild Orchestral Society
Rochester, New York (1998-1999)
Executive Director and Co-Founder, Outreach Orchestra of Eastman
Rochester, New York (1997-1999)
HONORS AND RECOGNITION:
Excellence in Scholarship Award for Academic and Civic Achievement, Yokota Air Base (2006)
Woman of the Year, Yokota Air Base (2004)
Volunteer of the Year, Yokota Air Base (2003)
Semi-Finalist, American Symphony Orchestra League Fellowship Program (2000)
PROFESSIONAL AFFILIATIONS:
American Symphony Orchestra League, Member
Sigma Alpha Iota, Member
Yokota Players (Yokota Air Base, Japan), Board Member
Kunitachi Music Appreciation Society (Kunitachi, Japan), Board Member
American Red Cross (Yokota Air Base, Japan), Advisory Council Member
EDUCATION:
Goucher College, Townson, Maryland
Masters of Arts in Arts Administration
Anticipated graduation August 2006
American Symphony Orchestra League, New York City, New York
Essentials of Orchestra Management, January 2000
Eastman School of Music, University of Rochester, Rochester, New York
Bachelor of Music, Performance (Harp), May 1999
Arts Leadership Program Diploma
REFERENCES AVAILABLE UPON REQUEST
- 20 -
!
Aimée Rieger
14
Jefferson
Ct,
Fairport,
NY
14450
585.678.4250
Aimee_rieger@hotmail.com
PROFESSIONAL EXPERIENCE IN ARTS ADMINISTRATION
Community Music School, Trappe, PA – Registrar and Events Coordinator 2002
Advised students and parents in their selection of the school, instruments, classes, and teachers; managed
registration and scheduling of lessons for over 500 students; recruited students through representation at
community events and outreach concerts; managed student database; worked closely with faculty to create
successful procedures for improved communication and scheduling; organized events including auditions,
concerts, and annual fundraiser; developed and improved marketing strategies via press releases, advertising,
and regular contact with the press; oversaw student billing and payments.
Jo Ann Rile Artists Management, Jenkintown, PA – Contract Administrator 2001
Administered contracts in a precise and timely manner; acted as liaison between artists and presenters
concerning detailed contractual matter; advised international artists in the processing of visas and permits;
communicated with artists to maintain up-to-date file material; delegated responsibilities.
Britannic Asset Management, Glasgow, Scotland – Administrative Assistant to the Event Team 2001
Generated invitations and monitored responses for seminars, road shows, sponsored events, corporate dinners,
and exhibitions by working with database entry, mailroom staff, clients, and marketing team; assisted in onsite
event duties; planned small events for Tied Agent Team including hospitality and entertainment; managed
travel expenses for Tied Agent Manager; booked travel, accommodations, and appointments for Events and
Tied Agent Development teams; performed office tasks such as word processing, filtering emails and phones.
Royal Scottish National Orchestra, Glasgow, Scotland – Marketing Assistant (Temporary) May-July 2000
Assisted with front-of-house duties, ticket sales, and press releases.
Rochester Philharmonic Orchestra, NY – Artistic Administrator Intern 1998-1999
Processed contracts with strict attention to detail and deadlines; organized press kits.
Central Pennsylvania Friends of Jazz – Assistant to the Executive Director 1996-1998
Market Square Concerts, Harrisburg, PA – Assistant the Executive Director
Proofread program books and press releases; processed ticket sales, sponsorships, and subscriptions; managed
phones and mailings.
EDUCATION AND TRAINING
Eastman School of Music, BM in Violin Performance 1995-1999
Catherine Filene Shouse Arts Leadership Certificate 1998-1999
Killington Music Festival Summer 1998
Boston University Tanglewood Institute Summer 1994
Sewanee Summer Music Festival Summer 1993
LANGUAGES AND RELATED SKILLS
Fluent in English and German. Proficient in Italian and French.
Proficient in Microsoft Word, Excel, Outlook and Access. Experience with various Database software.
Experience acquiring work permits/visas in Italy, Germany, Switzerland, and the UK.
- 21 -
!
Aimée Rieger, page 2
TEACHING EXPERIENCE
!
Fairport, NY – Private Violin Studio
July 2009-present
Trier, Germany – Private Violin Studio
2004-2009
Musikschule Bleser, Trier Germany – Violin Instructor
2008
Community Music School, Trappe, PA – Violin Instructor
2002
Fairfax, VA – Private Violin Studio
1994-1995
SELECTED PERFORMANCE EXPERIENCE
!
Schöneck Ensemble, 1st violinist (Germany)
2008-2009
Basilika Orchestra St Paulin, Assistant Concertmaster (Trier, Germany)
2005-2009
Konstantin Basilika, Soloist (Trier, Germany)
2004-2009
Konstanz Chamber Opera Orchestra (Konstanz, Germany)
Mühlenberg Piano Quartet, Founder and 1
st
violinist (Trappe, PA)
summer 2004
2002
Shenandoah Valley Bach Festival Orchestra (Harrisonburg, VA)
summers 1996-1997
Market Square Concerts, Young Artist Soloist (Harrisburg, PA)
1997
American Youth String Quartet, Founder and 1st violinist (Washington, DC)
1991-1995
American Youth Philharmonic, Rotating Concertmaster (Washington, DC)
1992-1995
PRIVATE STUDY AND MASTER CLASSES
!
Private Study: Laurent Weibel (Orchestra of Opera House Zürich, Switzerland)
2009; Jonathan Allen
(Orchestra of Opera House Zürich, Switzerland) 2003-2004; Charlie Haupt (Concertmaster, Buffalo
Philharmonic Orchestra and Eastman School of Music Professor) 1998-1999; Mitchell Stern (Eastman School
of Music Professor) 1997-1998; Camilla Wicks (Eastman School of Music visiting Professor) 1996; Teri Lee
(National Symphony Orchestra) 1988-1995.
Master classes: Ying String Quartet, Emerson String Quartet, Mitchell Stern, James Dunham, Muir Quartet,
Blair String Quartet.
HONORS AND AWARDS
!
Catherine Filene Shouse Arts Leadership Certificate
1999
George Eastman Merit Scholarship
1995-1999
PROFESSIONAL MEMBERSHIPS
!
The College Music Society
Chamber Music America
!
REFERENCES AVAILABLE UPON REQUEST
- 22 -
!
A SHLEY M. GA R OFALO
140 Franklin Street, Apt. 11, Rochester, New York, 14604 • 678.925.6302 • andantecantabile86 @ yahoo.com
EDUCATION
Eastman School of Music, University of Rochester, Rochester, New York
Master of Music in Music Education, Expected May 2010
Catherine Filene Shouse Arts Leadership Certificate Candidate
University of Georgia, Athens, Georgia
Bachelor of Arts in Music: Piano and Organ, December 2007, cum laude
Wesleyan College, Macon , Georgia
Bachelor of Arts in Music and Religion, partial completion
2008-present
2005-2007
2003-2005
LEADERSHIP EXPERIENCE
Center for Music Innovation - Intern 2009
Institute for Music Leadership, Eastman School of Music
•
Researched creative marketing initiatives and enhanced social networking platforms
with entrepreneurship resources
•
Assisted with preparations for a NASM Pre-Conference Workshop
•
Conducted interviews and composed articles highlighting careers in music leadership
Summer Associate 2009
Canandaigua LakeMusic Festival, Canandaigua, New York
•
Assisted Operations Manager with box office and concert operations
•
Served as liaison to artists and host families
•
Improved internet marketing and worked to advance online presence of organization
•
Researched and organized data for community music programs, corporate sponsorships,
and promotional development
Volunteer Music Intern 2006-2007
Georgia Children's Chorus, Athens, Georgia
•
Performed administrative tasks and assisted director in rehearsals and performances
•
Shared management of fundraisers and ticket sales
•
Composed program notes and edited concert programs
•
Created and formatted monthly communication and marketing documents
WORK EXPERIENCE
Director of Music Ministries 2005-2006
Park Memorial United Methodist Church, Macon, Georgia
•
Coordinated and programmed music for all worship services and designed worship orders
•
Directed and accompanied Chancel Choir and Children's Choir
•
Managed team of volunteers and participated in long-range vision planning
Organist, Piano Accompanist 2007-2008
First Christian Church, Winder, Georgia
•
Pe1formed music for weekly worship service, assisted with management of music for
special services, and participated in long-range vision planning
•
Accompanied the Chancel Choir, vocal and instrumental soloists, and small ensembles
Accompanist, Organist, and Pianist (Music Intern)
2005-2007
Athens First United Methodist Church, Athens, Georgia
•
Accompanied ensemble rehearsals and performed in three worship services per week
•
Performed administrative tasks for Children's Choir rehearsals and special programs
•
Performed with various ensembles for worship services and community outreach
- 23 -
!
PERFORMING EXPERIENCE
Graduate Award in Accompanying
Eastman School of Music
•
Collaborated with multiple singers and instrumentalists for lessons, studio class
performances, auditions, recordings, masterclasses, juries, recitals, and coachings
•
Participated in three graduate-level chamber ensembles
Garofalo, p. 2
2008-2009
•
Performed in festivals, competitions, and the Warren Benson Forum for Music Creativity
Stern Piano Fellow 2008
Songfest, Pepperdine University, Malibu, California
•
Performed in masterclasses with Graham Johnson, Martin Katz, John Musto, Amy Burton,
John Harbison, and Paul Sperry
•
Collaborated with numerous singers in rehearsal and masterclass performances
Piano Accompanist 2006-2008
University of Georgia
•
Accompanied singers and instrumentalists for lessons, juries, studio class pe1formances,
auditions, competitions, and degree recitals
Chamber Choir Member, Soprano Soloist, and Organist
2007
University of Georgia Chamber Choir, Germany/Austria Tour
•
10-day concert tour in Berlin, Leipzig, Salzburg, Vienna, and Munich, among others
Piano Accompanist 2003-2005
Wesleyan College
•
Accompanied singers for lessons, performances , coachings, recordings, and degree recitals
TEACHING EXPERIENCE
Applied Piano Faculty
Lyric Arts Academy, Farmington, New York
•
Applied piano teacher for students ages four to adult
•
Handle cheduling, contract negotiations, and tuition payments
Graduate Teaching Assistantship in Music Education
Eastman School of Music
•
Scheduled and managed student observation assignments
•
Developed database of resource materials as introduced during the semester
•
Provided administrative support and assisted with grading and evaluation
Applied Piano Faculty
University of Georgia Community Music School
•
Applied piano teacher for students ages three to adult
•
Class piano and theory instructor through December 2006
2009-present
2009
2005-2008
AWARDS
•
John and Linda Lyon Van Voorhis Memorial Fellowship
•
James M. Barnett, Jr. Foundation, Inc. Scholar
•
John H. Dorminy, Jr. Scholarship
•
Hazel Hamilton Rogers Memorial Scholarship
•
Presidential Scholarship
•
Mildred Goodrum Heyward Endowed Music Scholar
2008-present
2007-present
2005-2007
2004-2005
2003-2005
2003-2005
PROFESSIONAL AFFILIATIONS
•
Americans for the Arts
•
ASCAP
ADDITIONAL SKILLS
•
Proficient in Microsoft Office/Outlook
•
Skilled in internet research
•
Strong writing and editing ability
•
Experience with Adobe Photoshop Express
- 24 -
!
BIBLIOGRAPHY OF SOURCES CONSULTED IN DEVELOPING THIS HANDBOOK
1990 ASCUS Annual Job Search Handbook for Educators. Evanston, IL: Association for School, College and University
Staffing, Inc., 1989.
Beeching, Angela Myles. “Tips for Writing Arts Administration Résumés”. Boston, MA: New England Conservatory
Office of Career Services, 2006.
Bolles, Richard Nelson. The 1990 What Color Is Your Parachute? San Francisco, CA: Ten Speed Press, 1990.
Janes, Jean. Résumé/Letter Writing for Conservatory Students. Oberlin, OH: Oberlin College Office of Career Planning
and Placement, 1989.
Papolos, Janice. The Performing Artist’s Handbook. Cincinnati, OH: Writers Digest Books, 1984.
Powell, Randall C. Career Planning Today. Dubuque, IA: Kendall/Hunt Publishing Co., 1981
Ulrich, Heinz. How to Prepare Your Own High-Intensity Résumé. Englewood Cliffs, NJ:
Prentice-Hall, Inc., 1983.
Uscher, Nancy. Your Own Way in Music. New York, NY: St. Martin’s Press, 1990.
Wheeler, R., and Han, S. The Career Skills Publication Series. Boston, MA: Office of Career Planning and Alumni
Relations, New England Conservatory, 1988.
Writing an Effective Résumé. Rochester, NY: Career Services and Placement Center, University of Rochester, 1990.