Musican, Educator- Faculty, Researcher, Writer Resume
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CAREER SUMMARY
Innovative interdisciplinary work in the humanities through designing and teaching classes drawn from the research areas of musicology and ethnomusicology, feminist/queer theory and women studies, history, religious studies, sound studies, and anthropology.
Substantially active and highly accomplished practicing musician and educator who specializes in flute performance, applied woodwind pedagogy, audition coaching, chamber ensemble performance, music history studies, and music theory instruction.
Ph.D., Media, Art, and Text Program
Virginia Commonwealth University, Richmond, VA
Post-Baccalaureate Graduate Certificate
Gender, Sexuality, and Women Studies
Virginia Commonwealth University, Richmond, VA
Master of Music, Flute Performance
Georgia State University, Atlanta, GA
Bachelor of Arts, Music Studies
Virginia Commonwealth University, Richmond, VA
Bachelor of Arts, Religious Studies
Virginia Commonwealth University, Richmond, VA
AWARDS AND HONORS
Graduate Assistantship for the VCU Humanities Research Center
Graduate Teaching Assistantship for the VCU Media, Art & Text Department
Graduate Teaching Assistantship for the VCU Media, Art & Text Department
Graduate Assistantship for the GSU Music Department
Graduate Assistantship for the GSU Music Department
GRANTS AND FELLOWSHIP
Christopher Desch Foundation Performance Grant
*Solo flute performance in chemotherapy treatment rooms at all four locations of the Virginia Cancer Institute
Virginia Commission for the Arts "Musicians on Call" Performance Grant
VCU Medical Center ($,)
*Solo flute performance in multiple hospital units.
Rome Festival Orchestra in Rome, Italy
*This was made possible by the generosity of members of the Richmond, Virginia community whose sponsorship totaled $,. Based on my recorded audition, I was invited to join this prestigious international orchestra as its principal flutist. I was also a featured chamber music soloist and afterward I organized and produced a formal thank you recital dedicated to the “Rome Festival Sponsors” at Westminster Canterbury in Richmond.
TEACHING EXPERIENCE
Virginia Commonwealth University, Richmond, VA
Adjunct Gender Studies Faculty -
Graduate Teaching Assistant -
Adjunct Music Faculty -
GSWS -Introduction to Gender, Sexuality, and Women's Studies: This course is an interdisciplinary and cross-cultural introduction to the perspectives and core concerns pertaining to gender, sexuality, and women studies. It focuses on connecting diverse theories about women and gender to various academic fields and community causes, and fosters thinking more critically about the self and others through a deepened understanding of how social, cultural, and biological categories shape our lives and our worldviews. credits (fifty students)
*These are courses that I created, proposed, recruited participants for and sole- taught with an average class size of twenty-five students.
MHIS GSWS - Women in Music: This is an introductory cross-listed survey course for which no prior gender/women, religious or musical studies experience is necessary. It first contemplates the musical experiences of women globally in prehistory as an innovative point of departure for constructing a woman-centric music history narrative. The musical roles, activities, challenges, and contributions of women in the following genres will be examined: Western Art Music, Folk, Women-Identified/Lesbian, Country, Blues/Jazz, Gospel, Rock, and Hip-Hop. credits.
MHIS - Sacred Sound: Music in Religion: This is an introductory survey course that explores global cultural diversity via religious musical traditions. It will focus on developing a foundation for understanding the musical heritages of Judaism, Christianity, Islam, Hinduism, Buddhism, Sikhism, Shinto and the practice of Shamanism. No prior background in either music studies or religious studies is required. credits.
John Tyler Community College, Midlothian, VA -
Adjunct Music Faculty
MUS - Music Theory: Beginner-level foundational class whose coursework provides an introduction to Western musical notation and basic theoretical concepts of tonality for those with no previous musical experience, musicians who play only by ear, or for persons who seek remedial music theory studies. Aural skills component provides exercises in ear training: note recognition and rhythmic reading, rhythmic and melodic notation/dictation, identification of scales, intervals and triads. credits.
MUS & - Music Theory: Novice-level foundational skills building class whose goal is to establish and further develop fluency with the rudiments of Western musical notation/terminology and theoretical concepts of tonality. The coursework provides structured exercises in the musical construction of key signature and corresponding scales, intervals, diatonic triads and chord progressions. Elementary harmonic analysis of written musical scores is introduced. Aural skills component provides training in melodic and rhythmic dictation and learning solfege syllables for sight singing of written music. credits.
*When I taught this class, there was no keyboard class offered. Through the JTCC bookstore I procured "piano roll-outs" that were reasonably priced for students to purchase. They ran on small batteries, laid flat on a desk's surface and folded up neatly, which made them as easily portable as a textbook. Keyboard skills were successfully integrated into the aural skills component.
MUS - Music Appreciation: This is an introductory survey course of music history that focuses on the canonic repertoire of Western art-music, its composers, and their respective cultural/historical contexts. Students will become acquainted with central stylistic trends and develop the ability to place the music under discussion into its cultural/historical context. This course is appropriate for non-music majors with additional emphasis on cultivating sensitive listening skills, Western art-music concert attendance etiquette, and an awareness of one's personal aesthetic preferences. credits.
*Field component consists of attending live concerts and submitting written personal responses of the experience.
*Research component consists of a class presentation of one composer's biography and contributions and classroom response essays. In order to assist students in their research and writing projects, early in the semester the class met in the library (both campuses).The library staff graciously conducted demonstrations, explaining research tools available both physically on site and online.
MUS - Jazz History: No previous knowledge of music is necessary for this introductory survey course of the genre of Jazz. The unique cultural/historical components of its emergence in American history are identified by tracing contributions from many perspectives. Students will become acquainted with the central stylistic trends, performing artists, and composers in Jazz through readings, lectures, guided listening and written response sessions. credits.
*Field component and Research component replicated
*I proposed and developed this class for JTCC
Texts:
*Martin, Henry & Waters, Keith. Essential Jazz: The First Years, nd Edition,
Boston, MA: Schirmer, ISBN:---, ISBN :--
*Walser, Robert, ed. Keeping Time: Readings in Jazz History. New York, Oxford:
Oxford University Press, . ISBN --
Longwood University, Farmville, VA Spring Semester
Adjunct Music Faculty
MUSC - History of Popular Music in America: This is an introductory survey of American popular music from the post-Civil War era to today and is intended for non-music majors. It traces the evolution of popular music within the context of its multi-faceted cultural/historical roots in order to appreciate the diversity and underlying relatedness of its many styles and how they have influenced and impacted one another. credits.
Text
*Campbell, Michael. And the Beat Goes On: An Introduction to Popular Music in America to Today. Vol. . Wadsworth Pub Co, . ASIN: BITIK
MUSC - Aural Skills: This class serves as a lab component for the development of competency in reading, writing, and singing musical notation through gradated melodic- rhythmic-harmonic exercises. credit.
OTHER ACADEMIC TEACHING EXPERIENCES
Drew Charter School, Atlanta, GA -
Woodwind Instructor
*Flute, Clarinet, Saxophone lessons
Maggie L. Walker Governor’s School, Richmond, VA -
Orchestra Director
*School Assembly Concerts, Graduation Ceremony Music
*Competitions
St. Catherine’s School, Richmond, VA
Performing Arts Camp Flute Choir and Band Director
Henrico County Public Schools, Richmond, VA -
Substitute Music Teacher
*Band, Orchestra, Choir, and General Music Classes
Henrico County Public Schools, Richmond, VA -
Tutor of Homebound Students – All subjects
Maggie L. Walker Governor’s School, Richmond, VA -
Substitute Music Teacher
*Jazz Orchestra, Choir
Harrison’s Music, Richmond, VA -
Woodwind Instructor
*Flute, Piccolo, Recorder, Saxophones, Clarinet lessons
*Composition, Improvisation, and College Preparatory Theory Lessons
*Audition Coaching
*Student Recital Facilitation
PRESENTATIONS
International Symposium: Music, Spirituality, Wellbeing and Theology
Winchester, England
*"A Pathway to Wellbeing: Re-conceptualizations of Women's Musical and Spiritual Identities"
Mississippi University For Women's Music by Women Festival, Columbus MS *"Letting A Long Story Be Long: Contemplating Women’s Sonic, Musical, Spiritual Experiences in Prehistory"
Nordoff Robbins Music Therapy Center Conference, London UK
*"Exploring Global Cultural Diversity via Spiritual and Religious Musical Heritages: A Classroom Model"
Verge Conference: Arts and Spirituality, Langley BC
*"Paleolithic Spiritual Practices: An Audio-Visual Perspective"
Old Dominion University Women's Studies Department: Works in Progress Conference
Norfolk VA
*"Women in Music: Letting A Long Story Be Long"
INVITED TALKS (Richmond, VA)
“Women in Music: Letting a Long Story be Long”, Sizzling Summer Series Program at Unity Church of Richmond
“Music in Religion”, University of Richmond
“Women in Jazz”, Borders Books and Music
“Ethics” and “History of the Holocaust”, Temple Or Atid Religious School
VIRGINIA COMMONWEATH UNIVERSITY TALKS
“Women in the Musical Traditions of Judaism, Christianity and Islam”, Department of Religious Studies
“Women in the Musical Traditions of Judaism, Christianity and Islam”, Department of Religious Studies
“Overview of Jazz History”, Department of Music
“Women in Judaism”, Department of Women’s Studies
“Jewish Mysticism”, Department of Religious Studies
CONFERENCE ACTIVITY
*Music by Women Festival (March -) in Columbus, Mississippi
*Exploring the Spiritual in Music: Interdisciplinary Dialogues in Music, Well-being and Education in London, England
*Verge Conference–Arts and Spirituality in Langley, British Columbia, Canada
*Works is Progress Conference ( Years of Women's Studies at Old Dominion University) in Norfolk, Virginia
ABSTRACT EXCERPTS
Letting A Long Story Be Long: Contemplating Women’s Sonic, Musical, Spiritual Experiences in Prehistory
Keywords: women in music, prehistory, sound studies, feminist musicology, female spirituality
In this paper, I explore the auditory and spiritual lives of Paleolithic women and their agency in mediating the spiritual powers of sound. By introducing contributions from the disciplines of sound studies and archeoacoustics, a more nuanced understanding of Paleolithic spiritual practices emerges that reorients the framework of the narrative of women in music, providing fresh insights into musical and cultural production by women at large.
Paleolithic Spiritual Practices: An Audiovisual Perspective
Keywords: spirituality, Paleolithic, archaeoacoustics, sound studies, rock art, echoes, rituals
The notion that sounds of an ancient place may have been part of its purpose and meaning is gaining momentum. In this paper, potential audio-visual-lithic relationships are explored for their implications for deepening our understanding of the spiritual aspects of Paleolithic life, which may also lead to our ability to render a more holistic depiction of prehistoric musicality.
Musicology Meets Queer Theory and Good Things Happen
Keywords: Musicology, Queer Theory, Feminist Critique, Music Pedagogy
This paper provides an introductory overview of queer musicological scholarship in which I assess and describe the contributions of some prominent queer musicologists and their impact on musicological scholarship and music pedagogy in the wider musical academic discourse.
Musical Notation, Music Performance and Technology: A Long Term Synergistic Relationship
Keywords: Musical notation, technology, performance practices, music history
In this paper I construct a historical narrative that demonstrates the dynamics of the coexistence of music performance and musical notation, how they have influenced and stimulated one another in Western music beginning in Greek and Jewish traditions known as antiquity, proceeding to contemporary situations. Musical notation has created both access and barriers to musicianship for people and musical identities/genres have been defined by the use (or not) of written music.
FESTIVALS
Music by Women Festival, Columbus, MS
*Multiple chamber ensembles
Mozart Festival RVA in Richmond, VA
*Chamber orchestra member
Music by Women Festival, Columbus, MS
*Cherise Leiter’s Chroma (flute and cello performance)
VCU Flute Fest Competition Judicator, Richmond VA
*panel member who critiqued flute solo performances, providing feedback
Rome Festival Orchestra, Rome Italy
* Principal Flute and Featured Chamber Music Soloist
VCU Flute Fest Clinician
*“Jazz Workshop” conducted an interactive session on jazz improvisation
SERVICE TO PROFESSION
Private Studio - Instrumental Music Lessons
Flute, Saxophone, Clarinet, Keyboard Lessons, Audition Coaching, Conducting Chamber Ensembles, Managing and Promoting Student Recitals, College Preparatory Music Theory Instruction, Composition and Improvisation Tutoring
*Mid-Atlantic Flute Convention (Reston, VA)
*VCU Health Orchestra at Science Museum of Virginia (Richmond, VA)
*Classical Revolution RVA (Chamber Ensemble Music)
*Gellman Room Series Recital at Richmond Public Library "Three Graces"
*Classical Revolution RVA (Chamber Ensemble Music)
*VCU Faculty Recital – Women in Music: Letting a Long Story be Long
*Second Sunday South of the James; The Concert Series of Bon Air Presbyterian Church
*Richmond Mozart Festival
*The Beauty of Two at Bon Air Presbyterian Church
*“Follow That Flute” at Unitarian Universalist Church of Glen Allen, VA
*John Luther Adams’ Inuksuit at University of Richmond, VA
*VCU Faculty Lecture Recital - Women in Music
*A Tribute to Jewish Composers Recital at Richmond Jewish Community Center
*Gellman Room Series Recital at Richmond Public Library
*VCU Alumni Recital
*Virginia Commission for the Arts “Minds Wide Open” (Virginia’s Celebration of Women in the Arts)
*Recital for “Rome Festival Sponsors” at Westminster Canterbury Richmond
*Longwood University Faculty Recital
*Richmond Philharmonic
*Gellman Room Series Recital at Richmond Public Library
*Professional Musical Theater Productions, Barnum and Baily Circus, -present
Freelancing Artist
*"Arts in the Hospital" program at VCU Medical Center (Chamber Ensembles) s-present
Freelancing Artist
RECORDINGS –MEDIA COVERAGE
*Interview with Zachary Mann, Illusion Filmworks’ producer for inclusion in the documentary film Dreams of Music
*VCU Faculty Recital Women in Music: Letting A Long Story Be Long – Video recording on file at VCU Library
*Virginia Channel ’s This Morning Show-archived video recording of live performance: http://wtvr.com////virginia-this-morning-flutist-deb-saidel/
*VCU Faculty Lecture Recital Women in Music on file at VCU Library
*Deborah Saidel, Rome Festival Sponsor Thank You Concert - CD recording on file at John Tyler Community College Library
*Tai Chi with Cas Overton instructional video - solo flute sound track
*Deborah Saidel Gellman Room recital recording on file at Richmond, VA Public
Library
*Ululating Mummies, Commercial CD. Eat the Carrot, Break the Stick, World Beat Rock Ensemble, Richmond, VA
COMMITTEE MEMBERSHIPS
VCU's Gender, Sexuality, and Women Studies Department Advisory Board -
PROFESSIONAL MEMBERSHIPS
American Federation of Musicians, Local , Richmond, VA s- present
The Flute Society of Washington, Inc. -present
IAWM – International Alliance for Women in Music
