Quick Start Grants - Individuals
Quick Start Grants - Individuals
Attend masterclasses/reed-making workshops at the Glickman-Popkin Bassoon Camp
Janeen Carey: vocalist, retired Hibbing Community College librarian and information media specialist; Adam Guggemos: graphic designer, art events promoter; Michelle Ronning: jewelry designer and maker; Tara Makinen: Executive Director of Itasca Orchestra and Strings, musician; Moira Villiard: visual artist; Jeanne Doty: Retired Associate Professor of Music at University of Minnesota-Duluth, pianist; Amber Burns: choreographer, dancer, actor, middle school art teacher; Margaret Holmes: visual artist, poet, former Children's Theatre employee; Tammy Mattonen: visual artist, co-founder of Crescendo Youth Orchestra; Quentin Stille: student liaison, College Music Director at KUMD.
Jeanne Doty: Retired Associate Professor of music at University of Minnesota-Duluth, pianist; Michelle Ronning: jewelry designer and maker; Amber Burns: choreographer, dancer, actor, middle school art teacher; Margaret Holmes: visual artist, poet, former Children's Theatre employee; Tara Makinen: Executive Director of Itasca Orchestra and Strings, musician; Janeen Carey: vocalist, retired Hibbing Community College librarian and information media specialist.
ACHF Arts Access ACHF Cultural Heritage
My goal is to learn new, innovative techniques in bassoon reed making and be able to apply it to not only my own reed making for performance of solo, chamber and orchestral music, but also to inform my teaching of private bassoon students in the most current techniques and styles of reed making with the most current machines and tools. Specifically, I will learn to gouge raw, tube cane, use a cane hardness tester and apply that technique to the development of more consistent finished reeds, and learn how to adjust a bassoon cane profiling machine accurately. The method of measuring the outcomes of the project is a tangible, measurable result of completing 10-20 reed blanks and finished reeds during the time at the camp using the tools and the new techniques demonstrated in daily reed making classes. The finished reeds will be used in performance immediately, but most importantly, those 10-20 reeds and the information gleaned from the reed making sessions will result in a lifetime of more precise reeds that carry consistency in tone, pitch, and response. Looking forward, the finished product reeds will also help provide a model to future students and community bassoonists to develop better reeds as well. The goal will have been achieved if I am able to consistently apply the scrapes, adjustments and construction techniques to every reed I make going forward.
After attending the Glickman-Popkin bassoon camp, I have learned two new reed making techniques that have already resulted in more efficient reed making and have generated 10 new reeds in this new style(s). I have mastered these new techniques (specifically, beveling cane on the inside corners to achieve a greater seal and rounder tube on the finished reed, and using high-powered sanders to profile cane rather than the old way of machining it with a specialized lathe known as a profiler), and as a result, I will be able to teach this to high school and college students in master classes and reed making sessions in my travels throughout the state and in my own professional development. Additionally, I was able to complete an arrangement of West Side Story for five bassoon which was performed at this camp, and I will be seeking publication rights from Boosey and Hawkes. Without the camp, this would not have been possible.
Other, local or private