School Hourse Retreat and Cultural Center








Faculty


Poppie Beveridge       Maria Jeleztcheva       Brian McWhorter     David Nesmith





 


Poppie Beveridge

As a youngster, Poppie Beveridge had years of training in the fine arts which included dance, piano, voice and drama. She attended USC for two years on scholarship in the theater arts department and earned a B.S. degree in practical arts from UCLA. She began teaching home economics in Los Angeles public schools and then devoted years to her home, husband and raising four children. Through those years, Poppie continued her deep interest in dance and body movement . Her background in dance is international in scope. She has participated in summer workshops in Paris, New York, and with the Danish Ballet Company in Denmark. She also attended a special presentation of the American Celebration of Modern Dance Conference in Lyon, France. She served on the Liaison Advisory Committee for the Oregon Ballet Theater in Portland, and has visited many ballet companies and attended many ballet competitions in Europe.

She created The SchoolHouse Studio in Talent, Oregon and taught ballet for eight years as a studio owner. She was invited to Southern Oregon College to be instructor in classes of Ballet, Introduction to Dance and to develop her program, Fundamentals of Body Movement. In addition to her connection dance, her interest in the body has led her to extensive study and practice in personal improvement, muscular, mental and emotional connections. She holds a deep respect and honor for the most wonderful instrument of all, YOU.

She is a Certified Alignment Specialist of The Egoscue Method of Exercise and has private clients in the fine arts industry and works with them on their physical and personal alignments.

Poppie developed her Posturing For Success programs to integrate her focuses in body structure, thoughts, feelings and resulting emotions and actions. Poppie is eclectic in her approach and training. She incorporates and utilizes a diverse spectrum of knowledge and the works of many modalities. This makes her a skilled, patient listener, adept at diagnosing posture, physical and personal alignment and movement problems and visualizes patterns of innate joy as hallmarks of success




Maria K. Jeleztcheva
Professional Artist
Stony Brook University

Bulgarian born Maria K.Jeleztcheva started taking piano lesson at the age of 6 and three years later began studying the bassoon. In 2002 after completing her studies with Dr William Dietz she was awarded a Bachelor of Music from The University of Arizona. The following year she started her Master of Music at Yale University with Dr. Frank Morelli and is currently continuing her studies with him as a Doctor of Musical Arts candidate at State University of New York at Stony Brook.

As an avid orchestral and chamber musician, Ms Jeleztcheva has performed with various ensembles in the US, Canada, Mexico, Brazil, Argentina, Europe and Asia. In 2003 she made her Carnegie Hall debut where she performed with the Moscow Chamber Orchestra and Trio Royale. In February 2006 she made her first appearance with Macao Orchestra and became their youngest member. She has also collaborated with the Hong Kong Philharmonic, Shanghai Symphony Orchestra and Orchestra Internazionale d’Ilatia.

Ms Jeleztcheva has participated in numerous prestigious music festivals such as Banff Centre For The Arts in Canada, National Orchestral Institute in Maryland, Norfolk Chamber Music Festival in Connecticut, Sarasota Chamber Music Festival in Florida, UBS Verbier Festival Orchestra and the Lucerne Festival Orchestra in Switzerland. She has collaborated with world famous conductors including Pierre Boulez, James Levine, Michael Tilson Thomas, Christoph von Dohnanyi, Gerard Schwartz, Michael Stern, and Lawrence Leighton Smith. Ms 1ztcheva’s performances have been broadcasted on several TV stations in the US, Europe, South America and Asia as well as on New York’s WQXR, Washington’s WGMS and Hong Kong’s RTHK radio stations. Her most recent project consists of arranging Bulgarian folk dances and songs for solo bassoon and bassoon and piano. She is currently on the chamber music faculty at 92nd Street Y School of Music in New York City.




Brian McWhorter
Professor of Trumpet
University of Oregon Department of Music
Member of the Meridian Brass Quartet

Brian McWhorter is assistant professor of Trumpet at the University of Oregon. Previously, he held positions at Louisiana State University (Trumpet & Jazz Studies), East Carolina University (Distinguished Guest Professor) and Princeton University. He received degrees in trumpet performance from the University of Oregon and The Juilliard School.

McWhorter is one of the most sought-after performers and teachers of his generation. He is a member of the internationally renowned Meridian Arts Ensemble, which is responsible for many new works for brass and eight critically-acclaimed albums. McWhorter was previously a member of Extension Ensemble; first prize winner at the Fischoff Chamber Music Competition, and the grand prize winner at the Chamber Music Monterey Bay Competition. In addition, McWhorter has worked with Sequitur (NYC), Renwicke (New Orleans) and Endy Emby (Boston), Elliott Sharp, Continuum, American Brass Quintet, New Jersey Symphony Orchestra, American Sinfonietta, Oregon Bach Festival Orchestra, Metropolitan Opera Orchestra, Mark Applebaum, John Zorn, John Cale (The Velvet Underground), and John Wesley Harding. He has recorded for a variety of films, television, and radio broadcasts.

Hailed as a "terrific trumpeter" by The New York Times, McWhorter is a featured soloist for the Mode Records releases of Berio: The Complete Sequenzas and Other Solo Works (NY Times Pick of 2006) and Earle Brown's Folio with Ne(x)tworks. He has appeared as a soloist with the BargeMusic Festival Orchestra (Bach's Brandenburg Concerto No. 2), Ensemble Sospeso, Sequitur, and the Oregon and LSU wind ensembles.

Along with Kevin Cobb, McWhorter leads the Integral Trumpet Retreat based in part on his research concerning the relationship between integral theory, trumpet practice, and musical life. His article “Towards an Integral View of Trumpet Practice” (for the International Trumpet Guild) led to invitations to lecture on the subject from places such as the Festival of New Trumpet Music (NYC) and Temple University.

McWhorter has studied with James O’Banion, Dave Bender, George Recker, Chris Gekker, Anthony Plog, Raymond Mase, Mark Gould, Kevin Cobb, and Laurie Frink.




David Nesmith

David Nesmith, is a certified teacher of the Alexander Technique (ATI) and a professional musician. He has studied the Alexander Technique since 1995 with several master teachers including Barbara Conable, Tommy Thompson, Anne Waxman and Don Zuckerman (breathing facilitation).

David has a private teaching practice and is on the faculty at Denison University. As a teacher of the Alexander Technique and Body Mapping, he works with a diversity of students including actors, athletes, computer users, dancers, musicians, visual artists and women in pregnancy.

Additionally, he is a certified Andover Educator presenting the course What Every Musician Needs to Know about the Body© to musicians around the country. As a musician, David performs with the Catheral Brass Ensemble, the Columbus Broadway Series, the New Hampshire Music Festival, the Shenandoah Valley Bach Festival and the West Virginia Symphony. He served for 10 years as Principal horn of the Cleveland Chamber Symphony, an ensemble specializing in the presentation and recording of new American music.

He is an alumnus of Capital University (Columbus, Ohio) and Indiana University. His primary horn teachers have been Nicholas Perrini, Philip Farkas and Frøydis Ree Wekre. Read David's articles:

- Ease Performance Anxiety Naturally
- How Body Mapping and the Alexander Technique Will Improve your Playing
- What Every Musician Needs to Know About the Body

Body Mapping is a growing field based on current neuroscience 
research.  We move (and play our instrument or sing) based in large 
part on the way we think our bodies are put together.  ..... Many 
musicians face limitations and/or pain...    By systematically 
addressing common body map errors, musicians can .... correct their 
map to match the reality of structure and function....

www.poisedforlife.com






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