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Michael Sitton dma |
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v.
540-362‑6262/362-6511 f.
540-362-6648 |
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Professional experience |
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At |
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January
2005 – |
Associate Provost |
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January
2004 – January
2005 |
Acting Vice President for Academic Affairs |
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2003 –
2004 |
Professor of Music and Chair of the Faculty |
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2002 –
2003 |
Professor of Music and Chair of the Department of Music |
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1995 –
2002 |
Associate Professor of Music Chair of the Department of Music, 1995-1999 |
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1991 –
1995 |
Assistant Professor of Music |
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1987 – 1991 |
Assistant
Professor of Music |
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1985 – 1987 |
Piano
Faculty, (until
1986 a part of the National Academy of Arts) |
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Education |
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Doctor of Musical
Arts in piano performance and literature, 1991 Thesis: “The Album des Six and Pianism in Works of
Les Six, 1917-1925" |
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Diplôme de
concert, 1983, Schola Cantorum, Paris |
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Master of Music
in piano performance, 1982 |
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Bachelor of Music
in piano performance summa cum laude,
1980 |
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Academic teaching areas |
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Applied Piano (all levels) |
Piano Literature |
Twentieth-Century Music |
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Class Piano |
Undergraduate Music Theory (all levels) |
Composition
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Piano Pedagogy |
Form and Analysis |
Orchestration |
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Committee service at Hollins
University various short-term and ad hoc
committees in addition |
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Faculty Executive Committee (chair) |
Tenure and Promotion Committee |
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Academic Affairs Council |
Development and External Relations Council (chair) |
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Review Board |
International Studies Steering Committee |
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Faculty and administrative search committees (including presidential search) |
President’s
Task Force on Building an Inclusive Community (co-chair) |
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As
a member of the Hollins music faculty, participated (as department chair) in
SACS accreditation review; contributed to two department self-studies;
participated in feasibility study and subsequent plans for the renovation of
an historic music facility, with involvement in fundraising for renovation
and related programmatic needs; and made significant revisions to the music
curriculum and array of department programs. As
Chair of the Hollins University Faculty, served as liaison between faculty
and administration, meeting as a member of the President’s Cabinet, and
represented the faculty at meetings of the Board, chaired legislative
meetings of the Faculty, served as chair of the Faculty Executive Committee,
and ex officio as member of a
number of other bodies. As
Acting Vice President for Academic Affairs, served as chief academic officer
of the University, overseeing all graduate and undergraduate academic
programs. Ongoing
duties as Associate Provost include oversight of six graduate degree programs,
initial stages of institutional accreditation review, and internal review
mechanisms. |
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Other administrative experience and training |
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External member of music position search committee, Virginia Polytechnic Institute and State University, 2003-2004 External consultant for music program review, DePaul University Music Management/Recruitment Workshop,
summer 2003 |
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Responsible
for Hollins University Preparatory program in music (since 1991);
administrator for endowed annual Galbraith Masterclass and Teacher’s Workshop
series (since 1992) |
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Founder/Director
of Hollins Keyboard Festival (summer day camp), 1992-1994 |
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At
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Relevant service activities |
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State office holder, Virginia Music Teachers’
Association and South Carolina Music Teachers’ Association |
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Frequent
service as adjudicator in piano competitions and auditions, and as clinician for workshops
and masterclasses |
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State board member, Equality Virginia
(political/educational nonprofit), 2003- |
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Christ
Episcopal Church, |
Honors |
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Cabell Fellow, October
1999 Cabell Lecture: “Image, Sonority and Cohesion in the Debussy Preludes” (publication
pending in Festschrift for Walter Taussig) |
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Herta T. Freitag
Faculty Legacy Award, |
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French Embassy
performance award, French Piano Institute, |
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University
Fellowship, |
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Graduate Teaching
Assistantships, |
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Harriet Hale
Woolley Scholarship of the Fondation des Etats‑Unis for study in |
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First prize,
triennial Leschetizky Association New York Debut Contest, 1981 |
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Haggin
Fellowship, |
Work as a performing pianist |
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Selected solo performance venues/orchestra appearances: |
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Carnegie Recital Hall (now Weill Hall), |
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French Embassy, |
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Muzik Zentral Festival, Bad |
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Musée des Beaux-Arts, |
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Contract performer, Roanoke Symphony Orchestra, since
1992; frequent performances as chamber musician and accompanist; broadcast performances
on public stations in |
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Recordings: |
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Pending
(recording complete): Contemporary Record Society disc of songs by American
composers, with soprano Judith Cline A Sampler in Song: accompanist for soprano Judith Cline,
private issue CD recording of
songs by women, 1999 The Joy of
Mozart, The Joy of
Chopin, and The Joy of Romantic Piano (Vols. I and II), educational
series, Music Ed Company, |
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Work as a composer |
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Publications: (detailed
listing available upon request) |
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Paraclete
Press, |
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Selah,
Pittsburgh, PA: one choral works, 2001; additional work pending |
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Earthsongs,
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Trinitas,
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Voice
of the Rockies, Boulder, CO: one song cycle, 1999 |
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Music
70 (Lawson-Gould), |
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Mark Foster,
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Cathedral
Music Press ( |
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Selected commissions, recordings, and prizes: |
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ASCAP
composers’ awards annually since 1993; works recorded by St. Mary’s College
Women’s Choir (Ave, Ave!, Pro
Organo), Girls’ Choir of the Cathedral of St. Paul, Buffalo (Ex ore innocentium, Pro Organo),
Choristers of St. Bartholomew’s Church, NY (Sing in Exultation!, Pro Organo), and soprano Judith Cline
(Contemporary Record Society, pending); national winner, Signature Anthem
competition, Cantate Children’s
Choir (2002); commission from national conference, Association of Anglican
Musicians (2002); commission from Lowry-Miller organ and trumpet duo for
performance at Piccolo Spoleto festival (2001); cum laude, Diana Barnhart American Song Competition (1998);
winner in sesquicentennial composition competition, Cathedral of St. Philip,
Atlanta (1996); commission by Parkland Camerata, Champaign, IL, for
performance at Midwest meeting of American Choral Directors’ Association
(1990) |
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Pedagogical and scholarly publications |
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“Why Do I Have to Practice Scales?,” Keyboard Companion, 7 no. 2 (Summer 1996), pp. 20-22. |
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“The Pedagogy of
Practice,” The American Music Teacher
40 no. 5 (April‑May 1992) pp. 30-33+. |
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“The Album
des Six: its Musical, Cultural, and Pianistic Context,” Mid-Atlantic Regional
meeting, College Music Society, Spring 1992 |
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“Americanism in Music: Two
Twentieth-Century Careers,” Music Clubs
Magazine (journal of the National Federation of Music Clubs) 70 no. 4
(Summer 1991), pp. 30-31. |
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“Ravel, Viñes,
and Gaspard de la Nuit,” Clavier 29 no. 4 (April 1990), pp.
14-16. |
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“Mozart's Cadenzas and
Improvisation in the Light of Eighteenth‑Century Sources,” The Piano Quarterly 138 (Summer
1987), pp. 40-44. |
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“Beethoven's Op. 77 Fantasy: An Improvisational Document?” The American Music Teacher 36
no. 6 (June‑July 1987), pp. 25‑28+. |
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Program annotator
for the Roanoke Symphony, 1992-1999; program
annotator for the Wintergreen (VA) summer Music Festival, 2000 and 2001; critical
reviews for the Florence (S.C.) Morning
News |
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Professional memberships |
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College Music Society |
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ASCAP |
Music Teachers’ National Association |
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Leschetizky Association |
(nationally
certified in piano and theory) |
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Honoraries: Pi Kappa Lambda (music); Alpha Chi
(undergraduate scholarship); Phi Kappa Phi (graduate scholarship); Omicron
Delta Kappa (leadership); Marquis Who’s Who in America |
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References available upon request |
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