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Friends,

Summer in the city ... Only during the summer months can you attend a free outdoor classical music concert and do the following: pack a picnic basket, bring a lawn chair or spread a blanket on the lawn, drink wine DURING the concert, socialize, crunch on cheese and crackers or other audible edibles, laugh/chat/text with friends and fellow listeners, bring children under 8 years old, COUGH, and basically chillax without the usher/security coming to talk to you. (Still, no smoking please.) All things in moderation ... nonetheless, audiences typically don't have that much freedom during the regular season.

I rather appreciate the ability to take down my tight bun, shake out my hair and kick off my sandals at an after-work concert ... all while listening to the music that I love and supporting the people whom I respect. Summer is a time to take advantage of all that limitless access ... and as a performer, all the visibility that free outdoor events garner from the general public may pull in addition loyal fans! You can't beat that type of audience-building publicity.

Summertime...

Word,
Rashida N. Black

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Jonathan Bailey Holland

The National Association of Negro Musicians, Inc.

Composer Jonathan Bailey Holland's thoughtful scoring of Christopher Durang's 1995 one-act play features a self-described psychotic mother, Naomi, entertaining her son, John, and his wife, Johnna during the Christmas holiday season. Presented for the first time at the NANM conference in Chicago, audiences stared captivated during the 20-minute work while the music navigated the uneasy waves of the laugh-out-loud lunacy and cringe-worthy events happening on stage.

Introducing the piece, Holland apologized for the character's use of profanity and lightheartedly placed blame on those NANM committee members who elected to present the piece at the conference. Calling it a "dark comedy," he warned the audience that we would get a "glimpse into a very dysfunctional family." Written during his college years, Holland composed the opera as a libretto, where the words are set to music, instead of as separate arias, or individual songs. This gave the dialogue more of a conversational feel rather than a series of tracks on a CD playing one after the other. A master of his craft, Holland's sensitivity to the oftentimes dense dialogue allowed for the music to be sparse enough in places, which granted listeners the opportunity to really hear what was being said on stage. And much was said.

For example, Naomi, the mother with "Tourettes-like outbursts," asks Johnna whether or not she and her son, John, have any children. Johnna explains that they did, but their children died tragically in a car accident ... the result of a drunken babysitter. It doesn't get much darker than that, folks. Naomi, in response, replies with perfect comic timing, "Uh huh ... Do you like sitting on the couch?" Quips like these add to the overall feel of this play -- maddeningly sad and yet awkwardly funny. Holland's score accompanies both the manic-depressive emotions of the characters as well as the ebbs and flows of their dialogue. During the course of the visit, John excuses himself from the two women to change his clothes into something more comfortable ... which for him, is the same exact outfit as his wife! Mimicking her gestures, he follows her around the room melodramatically, soliciting whoops from the audience. Holland acquiesces, "there should be more comic operas."Indeed.

Minimally set for two sopranos, baritone and piano, the piece has become a favorite among the college and conservatory crowd. "I'm going to bring this piece back to school!" exclaims Celeste Lea Bembry, member of the George Walker Society at the University of Northern Iowa, a vocal ensemble who recently returned from a collaborative engagement with the Costa Rican Young Artists Program. The George Walker Society is a college branch of NANM. "This would be perfect for the students. It's fun, poignant, functional and dysfunctional ... a perfect piece to challenge young artists and explore the realms of reality. It really takes the artist to a place they need to be."

Charles Overton

The National Association of Negro Musicians, Inc.

An evening with Imani Winds is like attending a family reunion. Unlike some other chamber groups, this quintet exudes the jovial harmony that embodies organic music-making. While performing, the instrumentalists playfully sway toward each other ... "here goes a melodic line, catch it!" is the motion of their respective instruments. The fun had on stage permeates the audience, who smile and participate without the barrier of them vs. us that often happens in classical music performance.

An audience favorite was, of course, Paquito D'Rivera's (b. 1948) "Aires Tropicales," where Imani Winds stomp their feet collectively, rhythmically. Amidst smiles, winks and often giggles, the ensemble created visuals out of sound ... especially in their "La Nouvelle Orleans" by Lalo Schifrin (b. 1932), which posited listeners at a New Orleans jazz funeral procession. French hornist Jeff Scott raised his bell skyward resembling an entire marching brass section. I envisioned black shoes clouded with brown dirt... Monica Ellis, bassoon, sounded like an upright bass and a drum holding down the groove. If I had a handkerchief, I would've waved it! Valerie Coleman played the sweetest, clearest piccolo -- an instrument which usually makes me cringe -- I've ever heard. Clarinetest Mariam Adam shined here as she did in "Freyleka" from Klezmer Dances arranged by Gene Kavadlo, easily switching her sound from Creole to Eastern European Jewish. James Roe, the oboist who replaced Toyin Spellman-Diaz on maternity leave, fit in perfectly as if he'd been with the ensemble since inception.

After the Imani Winds concert, the audience rose from their seats and walked into the lobby for a post-show show featuring recently-turned-15-year-old harpist Charles Overton, who captivated listeners for at least 30 minutes more.

As Imani Winds signed CDs and conversed with the public, Charles charmed his way into their ears and hearts playing a collection of tunes from Baroque to jazz. Without music, he performed this mini-recital receiving as much applause for his Handel Concerto in B-flat as for his arrangement of the 1959 Dave Brubeck Quartet tune Take 5. "I'm going to be his manager!" I announced to his proud mother, Lisa, as we stood beaming collectively in the back. A few people came over to shake her hand and congratulate her on their shared success. Discussions about the young man's future filled the room.

After only four years of study, Charles performs pieces not at the beginners or advanced level, but at the intermediate, a testament of his and his family's dedication and encouragement. And love. Charles' eyes swelled as he told me of his excursion to the Lyon & Healy harp factory. "There were a LOT of harps there, right?" I asked laughing. "Since all of the rooms were taken [by other visiting harpists], I had to play in their concert hall!" My face said, "Awww, woe is you, Charles. Woe." But my mouth conceded, "Lucky! That space has a great sound!" Just a little bit of jealousy perhaps?

Charles will attend Interlochen Arts Academy in the Fall. We wish him every success.

Many thanks to Imani Winds, especially Monica Ellis, for their friendship and assistance.

Toomer's Cane

Cane . . . sugar cane....bending beneath breezes of stilted soft summer wind in early nineteen twenties backwoods rural Black Georgia. I feel as if I know Jean Toomer's Georgia. His description of dense rural woodlands conflate with frequently told family stories and several collections of faded brown edged early twentieth century photographs.

Several decades ago, on a cool early late summer upstate western New York morning, my uncle's deep gravelly voice tap dances with intense excitement after a trip south to Georgia. He echoes palpable images of rural life. Uncle Lawyer and my daddy, holding thick bamboo looking stalks at eye level, laugh in a mystic sharing totally unfamiliar to me. Two working class Black men, looking back into a past of "in your face" survival, seem like one soul, lost in sights and sounds of rural life with shoeless feet, mule plowed fields, Sunday overalls, and coal stoked trains. Daddy hands momma the cane. She places it on the red formica kitchen table. Smiling she simply says, "Well." Her eyes blink small tears. She looks at me as if I should understand her silence. "Is that stuff really sweet?" I ask. Momma, daddy, and Uncle Lawyer go outside to watch the red winged black birds noisily playing above the empty clothes line. When I try to follow, they shoo me back inside, laughing at my youthful Northern suburban naiveté.

I look out the kitchen window. Uncle Lawyer's hand proudly grips a bundle of Macon Georgia sugar cane like cat eye marbles from an old treasure chest. He and daddy break open a stalk. They hand momma a piece. All three stand in crisp morning sun, woods framing their unity. They laugh and talk for almost a half hour before momma brings several stalks back into the house. She slides one yellow-green stalk on the kitchen table and stands the rest next to the fridge. My brothers and sister eagerly lick their lips as they asked about the cane. I whine again, "Is that stuff REALLY sweet?"

Everyone looks at me as if I am a little space being. I run off to the railroad tracks behind the house, slamming the screen door behind me, singing at the top of my voice, "Freight train, freight train . . ." That's when I saw Aunt Bert. She winks and shakes her head. Aunt Bert and Uncle Lawyer, momma and daddy, come back outside to sit and sip ice tea with mint leaves. They sit in our back yard facing the suburban Tonawanda New York meadows and trees behind our house. Later, during a supper table of collard greens with ham hocks, pan fried corn bread, pork chops smothered in creamy brown gravy and mashed potatoes, their stories began again.

Like the rural inhabitants of Toomer's novel Cane, all of daddy's brothers and sisters inhabited a farmland terrain. Their personal narratives continued as they migrated from Georgia to settle within a few miles of each other in urban Buffalo New York during the late nineteen forties and early fifties. Momma's immediate family also moved to large urban centers. Her surviving sister lived in Chicago; several distant relatives still lived in Georgia, some in the high mountains. Prompted by the sight of Uncle Lawyer's gift that summer, it seemed as if all my kinfolk who visited Buffalo relatives, and us in Tonawanda, talked about sugar cane as if it was mythic ambrosia. Their conversations surrounded "cane talk" with a cast of colorful, sad, funny, and bigger than life characters from a sun baked distant south. In the next few weeks, with this new batch of cane, my daddy began to talk about parts of his life he hadn't mentioned before. He talked about his quartet days singing tenor in a local group that travelled to La Grange, Idea, Manchester and other odd named Georgia counties. Music provided a popular source of folks' entertainment at church, work, and at home.[2] Daddy and I would walk around our small vegetable garden, talking about birds and listening to their songs. Then, we'd sit on a stump in his small dark purple skinned grape arbor next to the vegetable garden. He'd look over at the oak trees, start talking about Georgia and remembering. We became closer than I'd ever remembered that year.

Some days that summer, when he was working outside alone, he'd whistle, gentle as a breeze, a sad tune. He would stop and pull a piece of cane from his pockets. Unfolding the wax paper, he'd look out over the yard, cane in hand. His whistling was almost as pretty as his sweet high tenor voice. When we lived in Buffalo, few of the neighborhood fathers sang like him. They were city born. Daddy sure seemed "country" then. Out in the suburbs, none of the dads, mostly European immigrants, whistled while they worked. My friends said their folks did sing old songs they mostly couldn't understand. Seems we all had one thing in common, music. READ MORE

[1] Jean Toomer. Cane.(New York: University Place Press, 1951) 3^rd printing 1967. with Foreward by Waldo Frank. Toomer's collection of poems, vignettes, short stories, and songs weave a surreal tapestry of early twentieth century Georgia rural life. As a child, my images of Georgia, through relatives' stories, grew into a mystical fable world.

[2] We attended the Trinity Baptist Church in Buffalo New York which, at that time, was located at 41 Spruce Street.

Gateways Music Festival, 2007

TONIGHT!
HERBIE HANCOCK AND LANG LANG WITH THE NEW JERSEY SYMPHONY ORCHESTRA
Saturday, August 1 at 8 pm -- NJPAC in Newark

NEW JERSEY SYMPHONY ORCHESTRA
JOHN AXELROD conductor
HERBIE HANCOCK and LANG LANG duo pianos

MOZART Overture to The Marriage of Figaro
BERNSTEIN Mambo from West Side Story
RAVEL Mother Goose Suite - piano-four hands
GERSHWIN Rhapsody in Blue - new arrangement for two pianos
VAUGHAN WILLIAMS Concerto for Two Pianos

Herbie Hancock and Lang Lang first appeared together on last year's Grammy Awards telecast, when we heard them blow the lid off Gershwin's Rhapsody in Blue in a unique two-piano arrangement. That piece is the centerpiece of this exclusive NJPAC concert, which will also feature other shared works for these two keyboard masters.

Prices: $118*, $88*, $77*, $67, $54 and $29
*Sold Out

Click here to order or call 1.888.466.5722.

Introducing ...

New Jersey Symphony Orchestra violinist Kelly Hall-Tompkins, has written the introduction to The Last Quartet: A Violinist's Memoir of the Holocaust by Alfred Mur. Available as an e-book on KellyHall-Tompkins.com, she thusly writes:

Alfred Mur is a survivor of the Holocaust and wrote a memoir from 1951- 1952 about his life during the war. He handed me the tall volume in forest green hardback, which he had bound himself and was typed by his late wife. I was amazed when, after only meeting a few minutes before, he encouraged me to take it home to read. I told him I would not dare do such a thing unless he had other copies. He assured me he did and even pulled them out. So I eagerly took the memoir home to read.

From the very first page, his life story during the war unfolds with poignant and gripping scenes about his many escapes from death at the hands of the Nazis, while watching his own family being executed or taken on the death trains to Auschwitz. This memoir, entitled "The Last Quartet", is deeply moving and insightful, a paradoxical story of death, cold hatred and terror juxtaposed with the sublime music played by his quartet, and the love shared between two brothers who actually managed to escape together after hiding for years apart from one another.

A congratulatory shout to Marshell Jones Kumahor, the newly-appointed Vice President of Education & Community Engagement at the New Jersey Symphony Orchestra. Kumahor will oversee the NJSO's array of education programs, such as the Newark Early Strings Program (NESP) and Greater Newark Youth Orchestras (GNYO), as well as the community engagement initiatives of the Orchestra's innovative Resources for Education and Community Harmony (REACH) program.

Tickets are $50 for Premium seating. Receive a fifteen-dollar discount with the special online code "DANIEL". General Admission seats are $35 and senior and student tickets are $20. For a live orchestra concert with three fantastic soloists, this is very inexpensive! Tickets are available at http://is.gd/1ndj6

Beethoven's piano concerti are a testament to the composer's enormous creativity and again mark his undisputed place as a creator of genius piano compositions. Like his symphonies and sonatas, the concerti are not only cornerstones of the Classical style, but also forge the way to the Romantic period.

On Thursday, August 13 at 7pm at Kaufman Center, Merkin Concert Hall (129 West 67^th Street NYC), hear the fantastic Piano Passions' 2008/2009 pianists; Richard Dowling, Kimball Gallagher and Beatrice Long end their concert season with a collaboration with Ensemble du Monde (chamber orchestra) and brilliant African American conductor, Marlon Daniel performing Beethoven's concerti No. 3 Op. 37, 4 Op. 58 and 5 Op. 73 "Emperor".

Individuals wishing to propose a chapter to 20UNDER40 will undergo a two-step peer-review process.

STEP ONE: Submit a 1-2 page (double-spaced, one inch margins, 12 point font) chapter proposal via our electronic submission process by 11:59 p.m. EST on Friday, August 31, 2009. Authors will be notified of their acceptance status on or before September 25, 2009. Successful chapter proposals will identify a problem within the field and pose a solution; highlight a need and articulate a new vision, and/or; debunk an accepted theory or practice and posit a new one. Please include your name and email address on each page of your chapter proposal.

STEP TWO: Selected authors will be invited to submit full chapters for a second round of peer-review. Full chapters (4000-6000 words) are due from invited authors on or before January 15, 2010. Guidelines for full chapter submissions will be sent to invited authors. Twenty of the full chapters received by invited authors will be selected for publication. The target date to notify invited authors of the status of their full chapter submissions is April 30, 2010.

All chapter proposals must include an electronic submission coversheet.

The core ideas of all chapter proposals/full chapters must be the original work of the author. Chapter proposals/full chapters must be written in English. Multiple chapter proposals are permitted-please submit each proposal separately. Submissions must be electronic word processor documents (i.e. Microsoft Word documents). Please use the following format to label your submission: "LASTNAME.doc". Do not send ".docx" files.

20UNDER40 welcomes chapter proposal submissions from individuals practicing at all levels-and in all capacities-within the field of the arts and arts education. In order to be eligible for inclusion in 20UNDER40 an author must be under the age of forty by the chapter proposal submission deadline (August 31, 2009).

If you have any questions regarding our submission guidelines, please visit the Frequently Asked Questions discussion board on our Facebook group page or contact the editor. http://www.20under40.org/

For more information, please call (585) 232-6106

This year will feature composers: Leslie Adams, T.J. Anderson, Samuel Coleridge-Taylor, Noel DaCosta, William P. Dawson, Nathaniel Dett, Duke Ellington, Adolphus Hailstork, Hall Johnson, Scott Joplin, Ulysses Kay, Nkeiru Okoye, Anthony Kelley, Florence Price, Alvin Singleton, William Grant Still, George Walker, Delores White and Michael Williams.

Featured conductors include: Daniel Andrews, Alfred Duckett, Amadi Hummings, Michael Morgan, Awadagin Pratt, Kay George Roberts, and Chelsea Tipton.

FUNDING FOR YOUR CREATIVITY
2009 Professional Development Fund for Emerging Leaders of Color (Great Lakes Region)
Deadline: Aug 14, 2009

Americans for the Arts is pleased to announce that the Chicago-based Joyce Foundation has renewed its support for Americans for the Arts' Professional Development Fund for Emerging Arts Leaders of Color. A total of five Joyce Fellows from the Great Lakes Region (Illinois, Indiana, Michigan, Minnesota, Ohio, and Wisconsin) will be selected to participate in this program in 2009. Fellows will receive stipends of $3,000 to support their attendance at the 2009 National Arts Marketing Project Conference, 2010 Arts Advocacy Day, and 2010 Americans for the Arts Annual Convention. In addition, fellows will have special opportunities to meet field leaders, work alongside mentors, and receive individualized career coaching. An additional five fellows will be selected in 2010.

Americans for the Arts will provide $3,000 in support of ten (10) young professionals of color (five each year) to help offset expenses associated with registering and traveling to three national convenings (National Arts Marketing Project Conference, Arts Advocacy Day, and Annual Convention). Opportunities to connect with mentors and to receive individualized career coaching are also available to recipients. Throughout the program, participants will reflect and document their professional growth through post-conference reports, internal cohort discussions, and end-of-year program evaluations.

Financial support will be issued in partial installments to participants after each national convening. Recipients are required to attend all three events, conference calls, and to complete evaluations and conference reports. Each fellow will receive a total of $3,000 to offset costs of travel plus event registration and hotel expenses (estimated as follows). The funds will not cover all expenses associated with these meetings, but they will significantly decrease expenses to participants.

Eligibility Requirements
Application must be received by Friday, August 14, 2009.
All applicants must be:
• An emerging leader (Americans for the Arts defines an emerging leader as someone who is under 35 years of age or new to the arts administration field.)
• Person of color

Assistant to Two Performing Arts Agents
Opus 3 Artists (New York, NY)

Opus 3 Artists, one of the world's leading classical music and performing arts management companies, is seeking an experienced assistant. This is a position where knowledge of and passion for classical music are essential and enthusiasm for dance, jazz, and world music is important. The successful candidate will be highly motivated and extremely detail-oriented with outstanding oral and written communication skills. General knowledge of the performing arts industry and proficiency with Microsoft Office programs also required. This position reports directly to two Performing Arts Agents in the Opus 3 Artists Booking Department. Responsibilities include contract administration, management of a high volume of phone calls, interoffice communication, distribution of promotional materials, travel and appointment coordination, and other administrative duties as required. This position requires a bachelor's degree and at least two years of prior administrative experience. Opus 3 Artists offers a competitive salary plus excellent benefits. All interested and qualified candidates please email your resume and cover letter with salary requirements to This e-mail address is being protected from spam bots, you need JavaScript enabled to view it or fax to: 646-300-8222. EOE

Website: http://www.opus3artists.com

The Manhattan New Music Project is a nonprofit performing and arts education organization that engages both young and adult audiences in innovative music programming.

Currently seeking Teaching Artist applications for two different team-based programs:
- Spanish/English original musical theater creation
- Arts for students with Autism

1. We are seeking talented Bilingual English/Spanish Teaching Artists to join an original musical theater creation program at P.S. 24K, a dual language elementary school in Sunset Park.

2. We are seeking talented Teaching Artists with proven educational experience, and experience or interest in working with students on the autism spectrum. Teaching artists should be comfortable working (on a rudimentary level) in any of the following arts disciplines: music, visual arts, movement, and drama.

Teaching Artists are asked to collaboratively develop curricula, team-lead workshops, and co-teach classes alongside classroom teachers. Full-day professional development workshops take place up to fifteen times a year, and in-class instruction ranges from five to ten classes per week, with the possibility of being assigned to additional projects. Compensation is $70/class, and ranges from $45 to $100/hour for professional development workshops. This is a contract position that does not provide benefits.

Qualifications:
Applicants should have demonstrated experience as a Teaching Artist, preferably in the New York City public school system, with appropriate skills for the respective programs. Bachelor's degree required.
For BPS: experience with scriptwriting and/or composing music with students at the elementary school level, and familiarity with GarageBand and iPhoto a plus.
For CASTA: priority is given to applicants with experience working with children with disabilities.
Please send your resume, relevant Teaching Artist work samples (lesson plan, video/photo documentation, and/or letter of reference), and a cover letter to Allyson Morgan at This e-mail address is being protected from spam bots, you need JavaScript enabled to view it . Include "BPS Bilingual TA" or "CASTA TA" as applicable in the subject line. Interviews will take place throughout the month of August. No phone calls please. Website: http://www.mnmp.org

Overview: Opera New Jersey is one of the fastest-growing opera companies in the country producing varied types of productions with varied levels of artists since 2004. Our productions are accompanied by the New Jersey Symphony Orchestra. The office is located in Princeton Jct., NJ. Venues include McCarter Theatre in Princeton, State Theatre in New Brunswick and New Jersey Performing Arts Center in Newark

Operatic productions have won critical and popular acclaim and the 2007 and 2008 summer season were both sold over 100% capacity. As the company continues to grow, Opera New Jersey is looking for a dynamic individual who has five or more years of successful senior management experience to join our team as Director of Finance and Administration. Reporting to the General Director and working closely with the Board Treasurer, this individual is responsible for the financial and administrative management tasks necessary to achieve the company's mission and vision.

Job skill requirements:
- Knowledge of finance, accounting and budgeting
- Ability to analyze financial data and prepare financial reports, statements and projections
- Proficiency in QuickBooks and Excel
- Experience with nonprofits, arts or cultural organizations preferred but not a prerequisite
Working conditions: Normal for an office environment. Work may require occasional weekend and/or evening work.

Qualified applicants please send your resume and cover letter, including salary history and expectations, to This e-mail address is being protected from spam bots, you need JavaScript enabled to view it Indicate the job title "Director of Finance and Administration" in the subject line.

Website: http://www.opera-nj.org

The American Music Center (AMC) seeks a creative, enthusiastic, and self-motivated individual for the position of Assistant to the CEO and Board Liaison.

This position is multi-faceted, consisting of directly assisting the CEO with day to day activities, acting as the principal liaison to AMC's Board of Directors, and performing administrative tasks necessary for the office to run smoothly.

Qualifications:
* Experience (educational, internship, or professional) working in the performing arts, preferably music
* Bachelor's degree or equivalent
* Proficiency with MS Word, Excel, and Outlook
* Strong interpersonal skills and tact in dealing with individuals and colleagues
* Excellent organizational skills, including budget management, and extremely high level of attention to detail
* Demonstrated ability to handle multiple tasks simultaneously and meet deadlines
* Talent for taking initiative
* Superior communication skills, both written and verbal
* Ability to practice discretion and confidentiality
* Interest in music and a desire for professional growth are highly preferred

This is an ideal environment for an individual to learn and gain experience about arts administration. Attending concerts and light travel may be required. Salary commensurate with experience. Competitive benefits.
Please send your resume to This e-mail address is being protected from spam bots, you need JavaScript enabled to view it . Please write "Assistant to the CEO/Board Liaison" in the SUBJECT line of your email.

Website: http://www.amc.net

Reports to: Vice President and General Manager

The Administrative Director of ORCHkids assumes responsibility for the management of all human and financial resources needed to achieve the ORCHkids program mission. To that end, the Director is accountable for all administrative aspects of the program and for implementing strategies in conjunction with senior management. . As a spokesperson for the program, the Director is responsible for presenting positive images to school administrators, parents, donors, and members of the community regarding the program and the program's role as part of the BSO. A key player in the program's fundraising, the Director works closely with the BSO development department to develop and implement all fundraising strategies for the program. The multi-faceted responsibilities call for demonstrated leadership skills, arts education program management experience, fundraising experience and an ability to collaborate with artistic, academic and administrative staff, board and community members.

ABOUT ORCHkids
ORCHkids is an after-school program designed to effect social change and nurture promising futures for youth in Baltimore City's low-income neighborhoods. In collaboration with a broad array of community partners, the BSO's ORCHkids program will provide music education, instruments and mentorship to Baltimore's neediest youngsters.

Under Music Director Marin Alsop's artistic leadership and direction, ORCHkids is a cornerstone of the BSO's vision to expand the Orchestra's relevance within the city's broad and diverse community. To effectively implement ORCHkids and to create a network of community support, the BSO is undertaking the program in partnership with several key local organizations, including the Baltimore City Public School System, The Peabody Institute, Arts Everyday, Baltimore School for the Arts and The Family League. Each partner organization will contribute its own expertise and unique resources to the program.

Funding for the planning phase and first year of ORCHkids is made possible in part through the generous support of Robert E. Meyerhoff and Rheda Becker. Music Director Marin Alsop has committed $100,000, structured as a four-to-one matching gift, intended to motivate and inspire others in the community to provide additional support to sustain the ORCHkids program through the critical first few years of implementation and growth. The operating budget for the program in FY10 will be $400,000.

Interested candidates should submit (as attachments in doc or pdf format) a cover letter, resume, and salary requirements to This e-mail address is being protected from spam bots, you need JavaScript enabled to view it No phone calls, please. Website: http://bsomusic.org

Agency for the Performing Arts "APA" is a talent and literary agency and an international leader in the management and touring activities of some of the most well-renowned artists in music, television, comedy, Broadway and theatre.

APA's Concert Department represents clients all over the world, specializing in a variety of musical genres such as: Alternative Rock, Broadway, Christian, Classic Rock, Country, Gospel, Hip-Hop, Jazz, Latin, Metal, Pop, Punk, Rock, R&B, Reggae, Soul, Spirituals and Symphonies, etc.

APA seeks career-minded individuals, with a passion for the performing arts, to fill an administrative assistant to a Musical Agent position specializing in the national touring of artists and attractions in the genres of Broadway, classic rock, pop, jazz, country and theatre.

Prior administrative experience is essential, as well as a Bachelor's and/or Master's Degree relating to the field. An acute attention to detail, impeccable organizational skills and the ability to manage multiple projects at a time is critical. Prior experience as a personal assistant and/or executive assistant in a performing arts/theatrical presentation, booking, management and/or production setting would be a great asset.

Responsibilities for the position include the activities associated with supporting individuals involved in the production and management of an active roster of artists/attractions involved in national and international touring, single engagements and special events.

Salary: $26,000
Please forward resume and cover letter to This e-mail address is being protected from spam bots, you need JavaScript enabled to view it Website: http://www.apa-agency.com

Educational/Classical music publisher seeks an individual to manage the Licensing and Copyright Department.

The Licensing and Copyright Manager will:
Manage all licensing affairs and supervise all composer contracts and copyright issues.
Analyze and develop licensing revenue sources.
Negotiate and execute larger synchronization and print licenses, as well as contracts and agreements.
Establish and maintain annual departmental budget.
Manage the maintenance and utilization of licensing and contract information in Access and Royalty database systems.
Track outstanding license fees.
Attend to copyright infringements and/or legal issues.

Qualifications:
BA/BS degree.
3+ years experience in music or related licensing, rights & clearances, or business affairs. Music or book publishing a plus.
Music background or knowledge is essential.
Broad knowledge of and experience with copyright and licensing issues and contracts. Strong drafting, negotiating and reasoning skills.
Excellent verbal and written communication skills.
Must have the ability to organize heavy work flow and manage multiple projects in a fast-paced environment.
Strong work ethic and attention to detail
Experience managing staff and budgets.

Compensation will depend upon prior experience. Excellent benefits package offered first of the month after 90 days employment. Send resume, cover letter with salary history in confidence to This e-mail address is being protected from spam bots, you need JavaScript enabled to view it

Performer(s)
chashama (New York, NY)
Deadline to apply: AUGUST 15

chashama seeks multiple ambient / roving / interactive performers for it's Fall Gala (September 21, 2009)

We're interested in solo and group acts that engage audiences and do not require any technical support. If the words avant garde mean anything these days, we're looking for it. Flamboyant performers with an edge to their characters, and/or something a little bit naughty may be the perfect fit.

chashama serves the New York community by adopting temporarily vacant properties and converting them arts hubs and performance spaces where curious audiences as well as interested passers-by can experience new forms of art. Since 1995, chashama has transformed more than 40 locations, giving 7,500 artists access to subsidized space, which supported approximately 10,000 public presentations for over 500,000 viewers.

Our Fall Gala will be held in Anita's Way, the pass through between 4 Times Square and One Bryant Park. This is a public space, open 24 hours and we encourage potential participants to go take a look. This will be the grand opening event for the space itself, which may bring additional attention and press. The audience will be a mix of real estate professionals and cultural supporters.

Selected performers will need to attend an event orientation prior to the 21st, and be in character for the duration of the event (6:00 - 9:00 pm). Performer's stipends will be offered, as well as a meal at the end of the night.

To apply, email a brief description of what you would like to do at the event, and links to images or video of previous performances. Contact: This e-mail address is being protected from spam bots, you need JavaScript enabled to view it ; Website: http://www.chashama.org

Manhattan School of Music seeks an Administrative Assistant for its Precollege Division, a full-day Saturday music program for children ages 5 -18. The Administrative Assistant will assist in the planning, scheduling and implementation of Precollege Division activities for 450 students and 150 faculty, including lessons, classes, competitions, auditions, and juries. A minimum of two years administrative support experience required; musical background preferred. Position requires strong organizational, computer, and communication skills. Bachelor's Degree required, higher degree preferred. Candidates must be available to work Tuesdays - Saturdays.

To apply, send resume and cover letter to: Yvette Loynaz, Administrative Director, Manhattan School of Music, 120 Claremont Avenue, New York, NY 10027; This e-mail address is being protected from spam bots, you need JavaScript enabled to view it ; Fax (917) 493-4598; Website: http://www.msmnyc.edu

General Director
Arizona Opera (Phoenix and Tucson, AZ)

The General Director provides leadership and vision to ensure that Arizona Opera fulfills its mission and achieves its goals for artistic excellence, community engagement, and financial results. The General Director is responsible and accountable for the overall management of the company. S/he reports to the Board of Trustees through the Chairman.

The General Director leads the fundraising and marketing efforts of Arizona Opera. S/he provides impetus to the work of the Board and leadership to the staff in order to achieve goals for both earned and contributed income. The General Director ensures that strategic and operating plans are developed, implemented, monitored, and evaluated on a regular basis. Working with the Chairman of the Board, s/he identifies and recruits volunteer leadership for the Board and its committees. S/he provides the Board and committees with the information and staff support needed to function effectively.

The General Director builds positive relationships with individuals and organizations in Phoenix and Tucson in order to heighten awareness about the company and to expand the base of contributors at all levels. S/he develops and maintains productive relationships with current and potential donors. With the Artistic Director, s/he is an active and visible representative of Arizona Opera throughout the state.

Compensation, including benefits, will be competitive and commensurate with qualifications and experience.

Applications: Please submit a resume with a letter of application that describes specific interest and qualifications for the position. Include salary history or expectations and the names of three professional references. All applications will be treated as confidential and references will not be contacted without the candidate's agreement.

Nominations of potential candidates are welcome.

Please send materials to:
Arizona Opera General Director Search, c/o Catherine French Group, 2500 Q Street, NW, Suite 623, Washington, DC 20007; This e-mail address is being protected from spam bots, you need JavaScript enabled to view it
(MS Word or Adobe Acrobat attachments only, please.)

Website: http://www.azopera.org

Detroit Chamber Winds & Strings ("DCWS") announces a vacancy for a Marketing and Public Relations Associate. The position will service DCWS and its internal partners, the Great Lakes Chamber Music Festival and Eisenhower Dance Ensemble, as well as other organizations with which DCWS shares staff on a more limited basis.

Responsibilities include:
~Playing a lead role in the implementation of the organizations marketing and public relations plans. ~Managing the design, production, and distribution of all marketing materials.
~Supervising filing system for reviews, photographs, slides, posters, programs, and other archival material.
~Overseeing the organizations websites and other social media vehicles.
~Assisting in managing mailing lists and database.
~Assisting in implementation of special events.
~Facilitating smooth operation of ticket selling and maintain statistics on attendance.
~Providing support at performances and other activities.
~Performing other duties as assigned.

The ideal candidate will possess the following qualifications:
~A college degree in marketing, journalism, or the performing or liberal arts, or commensurate professional experience.
~An appreciation of the performing arts.
~Strong inter-personal and writing skills.
~Ability to manage multiple tasks simultaneously in an unsupervised environment.
~Familiarity with word-processing, spreadsheet, and database programs.

This is a full-time position that reports to the Director of Marketing Service and includes health insurance, paid vacation, and professional development support. Applications will be accepted until the position is filled. Interested candidates should either mail or e-mail a resume and cover letter to:

Brooke Hoplamazian, Detroit Chamber Winds & Strings, 20300 Civic Center Dr., #100, Southfield, MI 48076. E-mail: This e-mail address is being protected from spam bots, you need JavaScript enabled to view it ; http://www.detroitchamberwinds.org/