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This year the College of Fine Arts and Communications has committed to improve the experiences of faculty and students in all of the CFAC learning spaces. The CFAC Diversity, Inclusion and Accessibility Committee has responded by creating the Brave Space Series.What is a Brave Space? The CFAC Brave Space is a series of Workshops, Panels and Arts and Communications events designed to help the College of Fine Arts and Communications students and faculty collectively create and support an environment of belonging in our college learning spaces. This includes our classrooms, labs, stages and studios.The Brave Space Series will be held monthly with workshops and events for students and others for faculty.Ed Adams

The Museum of Art will say farewell to three inspiring exhibitions in the coming weeks, but there’s still time for you to see them! Don’t miss out; these artworks have something for everyone. 'Far Out: The West Re-seen, Photography of Victoria Sambunaris' and 'Art for the People: Associated American Artist Prints from the Springfield Museum of Art' opened during Fall Semester 2020 and feature a large number of loaned works from outside the MOA collection. Far Out showcases 40 photographs from renowned photographer Victoria Sambunaris that bring to life the tension between the American West’s rugged natural beauty and the lives and creations of the people who inhabit it. Art For the People includes etchings and lithographic prints created by the Associated American Artists in the early-mid 20th century to provide accessible and affordable art to everyday Americans. Artists featured in this exhibition include Grant Wood, Doris Lee, Thomas Hart Benton, and more. The third exhibition, 'From the Vaults: Minerva Teichert’s Book of Mormon Paintings,' contains the titular artist’s iconic series of artworks depicting scenes from the Book of Mormon, including Lehi’s flight from Jerusalem, the conversion of Alma the Younger, and the visit of the Savior to the Americas. These artworks will return temporarily to the Museum vaults, allowing the MOA to perform routine conservation work and plan for their use in other exhibitions. “All of these exhibitions provide BYU students and our local audiences with access to well-known and highly acclaimed artists,” said Janalee Emmer, Associate Director of Exhibitions and Programming at the Museum of Art. “Seeing this work up-close and in person can be a transformative experience. The precision of the etchings in 'Art for the People,' the scale and complexity of Sambunaris’s photographs, and the unique perspective of Teichert’s Book of Mormon paintings are all remarkable and demonstrate vastly different types of subject matter, media, and styles — essentially meaning that there is something for everyone at the Museum right now.” After the closure of these shows, the MOA will prepare those spaces for new exhibitions, including a celebration of the artwork of Brazilian artist Vik Muniz and a collection of photographs of Utah and its people during the Great Depression and World War II. Check the MOA website for additional updates on these future exhibitions. 'From the Vaults: Minerva Teichert’s Book of Mormon Paintings' is on exhibit until April 28, 'Far Out: The West Re-seen, Photography of Victoria Sambunaris' is available until May 1, and 'Art for the People: Associated American Artist Prints' from the Springfield Museum of Art closes on May 21. Come see these beloved works of art yourself before it’s too late!

Dance professor Rachel Barker hopes people enjoy a visceral experience through her contemporary dance film

Museums can be filled with anything from ancient statues to modern sculptures. Some even display historical documents, colorful paintings and illuminated texts. The BYU Museum of Art displays art through its semi-permanent and traveling exhibitions. Behind the art displays and interactive elements of exhibits are the museum staff — each member fulfilling unique responsibilities to aid in the acquisition and installation of art. Acquiring art Before art can be displayed at the MOA, it must first be acquired by the museum’s curators. Ashlee Whitaker, the Roy and Carol Christensen curator for religious art, has been in charge of curating a number of art pieces displayed at the museum. Whitaker’s curatorial responsibilities include searching for art to be added to the museum’s collection. “We’re always looking for acquisitions and pieces of art that will enhance our collection and mission as a university art museum,” Whitaker said. She explained that art can be acquired by the museum in many ways, from art auctions to open galleries. Read the full story written by Rebecca Nissen at universe.byu.edu.

Students perform original works Nov. 8-9

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Scott Holden shares his passion for piano By Sarah Ostler Hill He has been known to instruct his students to move their fingers “like Olympic divers” or to play a piece “more brown.” His tactics may sound strange, but Professor Scott Holden is not only an accomplished pianist in his own right, he is also an inspiring and motivating teacher in BYU’s School of Music. When asked why music was important, Holden paused briefly before taking a deep breath and replying, “It’s the antidote to all of the violence and corruption that is constantly in our headlines. Beauty, truth, expression. It’s the noble antithesis of much of the world.” Holden would know. He has seen how music has served as a language between two peoples who would otherwise be incommunicado. He spoke of performing in countries that have been enemies of the United States, specifically the time he played in Vietnam. “There I was, playing Gershwin in the heart of Hanoi, to a big crowd of very enthusiastic Vietnamese,” Holden recounted. “They were very accepting and generous. But it was also surreal. To be in a place that has had such anti-American sentiment, and playing Gershwinn — I mean, what’s more American than that?” Discovering the Magic in Music Holden has a hard time remembering his life without piano. He began taking music lessons when he was six and has been told by his parents that he would practice multiple times a day, sometimes sneaking in to climb up on the piano bench. He loved the piano, but when he attended the Interlochen Music Festival in Michigan as a teenager he had a transformative experience. “I found my voice as a person,” said Holden. “There I was, among other musicians, going to concerts, exposed to a very high level of talent. What I once considered an option made a magical impression on me.” This magical impression made it impossible for Holden to see himself doing anything else for the rest of his life. His parents were, as he called them, “cautiously supportive,” as they recognized what a difficult and highly competitive field he was considering. “I always recommend to students if there’s something else they might do and be fairly happy, do that,” Holden laughed. But for Holden, he didn’t feel like anything else would be a viable option. “I call it sweet slavery. You have to be a little bit crazy to do this, but I look forward to going to work every day.” This work is the weaving of discipline and emotion. Music, and performing it all over the world, has taught Holden empathy in a way that nothing else could. He explained how music can express emotions that you can’t necessarily verbalize, or how it helps you understand emotions you may not have experienced yet. “I was playing a benefit concert in memory of a teacher who had died of cancer,” he recounted. “As I was playing, I thought of this person and how they had fought and who they had left behind and how this scho larship fundraiser would keep their memory alive, and I just felt very moved. The emotions infused its way into the music. It was a piece I had played many times, but it took on new meaning.” Music has also taught him a lot of discipline and the power of persistence, not to mention how to deal with pressure and stress. But it is also there in times of happiness and rejoicing. “My most spiritual experiences usually involve music-making,” Holden reminisced. “I’ve been to many temple dedications. I can’t remember specific things that were said, but I can remember the music that was there, how I felt singing ‘The Spirit of God.’ Hearing from a General Authority is incredible, but the music brands the Spirit into my soul.” There almost seems to be a musicality to the way Holden speaks of the power of music, perhaps summarized nicely when he concludes, “Think of the ‘Last Supper.’ What was the last thing they did? Sang a hymn. In the absence of words, there’s always music.” Bringing Music and Musicians to Life Holden’s fingers float and fly over the piano keys as one who has done both mental and physical work to get to this point. He is careful to study and memorize, but cautions against planning a performance down to every detail. “I don’t calculate every exact phrase. It can become stiff and insincere. I’ve done my work, so the music is there and I’m not thinking about what the notes are. Then I let it just happen.” Holden likes to speak to the audience about what they will hear. He believes audiences connect better with the message when they understand the intention. “If they know the backstory, it becomes a much more meaningful piece, not just some abstract dead white guy,” he noted, a little impishly. “A piece of musical composition can be a breathing, living kind of work. I’m always flattered when someone enjoys my performance, but it is a far better compliment when I hear they request a recording or want to learn more about the composer.” Holden sees his job to educate about the composer, not just the technique. He particularly delights in finding pieces or composers people haven’t heard before. “Great music exists because it can be performed in so many possible ways,” he said. Holden is very conscious of trying to recognize and stay true to what the composer intended, but also put a “fresh face” on the piece. “I try not to just come up with something different, but find the balance between my and the composer’s truth,” he explains. This balancing act may be one reason he is so fascinated with “first recordings.” Most people wouldn’t even consider that there might be recordings from Liszt’s students or Chopin’s stude nts’ students. But they exist, and according to Holden, it’s something he really sweats over. “Their style of playing is so different than today,” he begins. “When you hear a pianist from the 1920s playing Chopin or Liszt, it makes me question what the composer had in mind. When those so close to the original source of the composition perform it so differently than pianists today, it makes me question what is musical truth.” There’s a pendulum, Holden says, of playing what the composer wanted, and letting the performers express themselves. Today’s performers strive to be true to the music as it was written. In the 19th century, the performer’s intention mattered more than the composer’s. “There were some major liberties taken with the score,” Holden said, almost incredulous with this news. “Students of Liszt added notes, or omitted sections, to the point where you think it’s just wrong. And yet they were so close to him, he would have given them approval.” Back in the day, schools of piano on Russia, England and Germany represented different styles. “Those individual styles look more pronounced in this day when the world has become smaller and more mainstream,” he explained. “Back then, there was a kind of elegance, aristocracy and spontaneity we just don’t often hear any more.” Teaching the Next Generation Today, Holden continues to perfect his technique and explore his interpretations and pass that on to others. He is impressed with his students who seem equally dedicated. Holden has a deal with his students that they can practice in his office any time they want if he’s not there. “These students work so hard,” he sounds almost awestruck. “Most days when I get to the office at 6:30 am, I find students already hard at work, and have been for some time. And they’re very bright in all areas, not just music.” He proudly speaks of his students who just recently won first, second and third in the Utah Music Teachers Association Concerto competition earlier this year. Holden also speaks admiringly of a student who, as a freshman, won the school concerto competition playing one of the most difficult concertos in the repertoire, and then “learned another severely difficult sonata as a surprise to just a few weeks later to perform in his recital.” The way Holden speaks of his students is similar to a loving father praising his children. He also admires the students who are hard-working and very talented, but also devoted to the gospel. “These students have the spiritual depth that they are willing to leave the piano for a mission. It is very humbling and exciting. They are great, smart, and well-grounded musicians, but they also have a bigger vision of things.” From his earlier discovery that nothing else would make him happy, to his personal success as a performer, to his students who praise his instruction and excel in their own right, it is not surprising to hear the smile in Holden’s voice as he says, “I love going to work. I have a great job.” He looks forward to working with his students, who he says he gets to know very well over the weekly sessions they have for four years. “As a teacher, I have to find the tricky balance between understanding their gifts and helping them find their own voice without becoming my marionette.” Rounding Out a Life in Music While Holden is fully committed to music and furthering the success of others, he also recognizes how it integrates with his own spirituality. “Music takes an enormous amount of time. The mental and emotional energy that goes into it can be incredibly draining. But I also hope I’m living my life in a way that my Heavenly Father will look at and see that there was more to my life than ju st music.” Holden also speaks lovingly of his family, spending time in the desert, and long-distance cycling. He loves all music genres and encourages others to listen to all kinds of music and sounds. “Whether it’s German folk songs or pop or jazz, listen to it,” he said. “Read and learn about art and literature and poetry. Underline things when you read books. Be curious. Always learn more.” This passion for learning is what has taken Holden to some of the most prestigious concert halls in the world. But while playing in Moscow or Carnegie Hall are deserving of pride, Holden maintains that his proudest moments, professionally speaking, have nothing to do with the location or size of his audience. “When I play a phrase perfectly marrying the composer’s intentions of truth and my intention, and someone is there to hear it, that is my proudest moment,” he said, before laughing and adding, “It’s a rare thing.” When he isn’t teaching, Scott Holden can most likely be found in his office, working on that phrase, perhaps playing it a little more brown, perhaps diving his fingers into the keys. And, hopefully, someone is there to hear it.

The School of Music at Brigham Young University will welcome Utah’s celebrated NOVA Chamber Music Series in a free concert Thursday, Feb. 13, at 5:30 p.m. in the Madsen Recital Hall.

Two years ago, Babetta Kelly and her sister, Brynn Zimmer, never would have expected to be award-winning filmmakers. But now, after winning the Official Selection Award at film festivals in Seattle, Los Angeles and New York for the short film Dante’s Hamlet, their future together as filmmakers looks brighter than ever. “Since it was really my first project, it was kind of crazy,” Kelly said in regard to the film’s critical acclaim. “It’s so nice to get a response from other people and see how they connect with the story.” Dante tells the story of a boy in the Bronx whose brother has been killed. After noticing similarities between the lead in Shakespeare’s Hamlet and himself, Dante wrestles with how to handle his brother’s killer. The nature of revenge and the power of literature are explored in this 15-minute glimpse into Dante’s difficult dilemma. Kelly began writing Dante while she was taking a screenwriting class from Jeff Parkin, the Area Head of BYU’s Media Arts Fiction Production program. Kelly’s initial idea was simply to write a story that took place where she grew up, 10 minutes outside of the Bronx. Through many edits, long hours, late nights and several re-writes, Kelly began to see that Dante was rooted deep within her. “The people that I grew up with started emerging within the script, which was something I totally wasn’t expecting,” Kelly shared. The more she wrote, the more invested she and her sister became in the story and its characters. The two decided that they would make the film for their senior capstone project. Zimmer would produce and Kelly would direct the film. Kelly’s connection with the characters kept her motivated on through the end. “It was amazing that they were their own people. They’re kind of based on people I know and grew up with, but I also found that they had their own voice and started speaking for themselves,” Kelly said. “I’d never experienced that before. It was pretty magical.” Zimmer, six years Kelly’s senior, worked alongside her sister in bringing the script to life. Zimmer contributed not only to the film’s creative aspects, but also to its logistical side–making sure that everything was ready for a particular shot, helping with casting, ensuring that equipment was available, and other behind-the-scenes tasks. “Everything I learned about producing I learned from Courtney Russell,” Zimmer said, referring to her professor and mentor. “On top of that, she just believed in me. It extended way beyond anything I deserved. I would think, ‘Why do you think I can do this?’ She just infused us with confidence the whole time.” In addition to the strength she gained from her academic mentor, Zimmer relished the opportunity to collaborate with her sister. Zimmer had been warned by a friend to tread lightly when working with loved ones, but she soon found that the two are a filmmaking dream team. “Babetta and I were on the same page 100 percent of the time. She’s a total team player,” Zimmer said enthusiastically. “I hope we get to do it again someday because it was a blast.” Though Dante would not have been possible without help from the college, Kelly and Zimmer were required to raise 50 percent of the film’s cost through their own efforts. With so many things that needed to be accomplished, both Kelly and Zimmer are thankful for their faculty mentors, whose constant support gave them the confidence to complete this ambitious project. “Jeff Parkin was so wonderful. He just really believes in students and is willing to take time to work with them,” Kelly explained. “He would make sure that what we wanted to say happened in the film. He spent countless hours with us in the writing of it.” With the success of Dante, Kelly and Zimmer look to the future with confidence, hoping again that they will be able to work together as sisters on new projects. But they do hope to revisit Dante and to portray their characters and message in a full-length feature film. National: - Official Selection–Seattle True Independent Film Festival - Official Selection–Los Angeles Women’s International Film Festival - Official Selection–New Filmmakers New York - Redemptive Story Teller Award–Redemptive Film Festival (Virginia, 2012) Local: - Best of Fest and Audience Choice Award–BYU Final Cut Film Festival - Audience Choice Award and Third Place in Shorts Competition–LDS Film Festival - Awards in Writing, Talent, Photography and Editing–College Student Production Awards, National Academy of Television and Science, Rocky Mountain Southwest Chapter

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“Asking Important Questions That Are Framed by Faith” — A College Conversation Wednesday, October 2 5:00 PM Madsen Recital Hall Harris Fine Arts Center Memorandum Date: 26 September 2013 To: Students, Faculty and Staff of the College of Fine Arts and Communications From: Rodger Sorensen, Associate Dean Re: College Conversations Education is a process of asking and seeking answers to important questions. In many of the disciplines in our college we often encounter tough questions that challenge our faith. The Aims of a BYU Education encourage students, faculty and staff not to ignore difficult and important questions. 'Rather they should frame their questions in prayerful, faithful ways, leading them to answers that equip them to give 'a reason for the hope that is in' them (1 Peter 3:15) and to articulate honestly and thoughtfully their commitments to Christ and to His Church.' Having recently invited each of you to make a commitment as to what you might do to improve learning and teaching in the college this year, we now invite you to join us in a conversation about how to ask and address important and even difficult questions, in our classrooms and with each other. Specifically we will explore questions you may face that lie at the intersection between our disciplines and our faith. Led by faculty and administrators of the college, the conversation invites us, as Elder Jeffrey R. Holland recently said, to “be as candid about your questions as you need to be,” but to not “let those questions stand in the way of faith working its miracle.” -----------------------------------------

Dear Student,

PHOTO: Summer hiking in the Tetons Professor Claudine Bigelow’s research and performance lead to international recognition By Sarah Ostler Hill Music is a part of every culture. Most people have an appreciation for it. A few people feel it deep inside their soul, knowing they were born with music almost literally in their blood. When Dr. Claudine Bigelow, associate professor of viola studies at BYU, speaks of music and how she got started, her voice pauses in wonder here and there, and when she says she feels music on a spiritual level, you believe her. Bigelow teaches and plays the viola both on-campus and around the world. Her studies have taken her across continents where colleagues have become close friends, and old composers feel like contemporaries. PHOTO: Bigelow's viola students go crazy at the Salt Flats Bringing Barták to BYU On September 7, Bigelow will present her most recent research on Béla Barták and his 44 viola duos, originally for the violin, in the Madsen Recital Hall of BYU at 7:30 p.m. The respected scholar Dr. Donald Maurice from the New Zealand School of Music, who worked with her on her research while she was there on a Fulbright Scholarship in 2012, will join her. This event is free to the public. Bigelow first met Maurice, considered one of the top Barták scholars in the string world, in 2000 when she was attending the International Viola Congress in Sweden. They became good friends and over the years had traveled to each other’s universities to play in concerts. In 2011, Bigelow began to consider a Fulbright scholarship, which would enable her to teach at Maurice’s school. “I looked it up and learned it was hard to get a Fulbright,” Bigelow says, with a little laugh. “But I’ve also learned over and over again that 50 percent of winning an audition is showing up.” In the past, violists had recorded some of Barták’s duos, and violinists had created recordings with all 44, but Bigelow discovered that no violist had ever recorded all 44 on one album. She talked with Maurice and he became an enthusiastic accomplice, writing a letter extending an invitation for her to come to the New Zealand School of Music, with or without the Fulbright. “One thing led to another, and then everything came together and helped me get this project,” Bigelow says. In January 2012, she and her family headed to New Zealand for the next six months. Bigelow and Maurice wanted to honor Barták’s original intent, so they weren’t going to just sit down and play the 44 duos for recording. These pieces were based on traditional Hungarian, Slovakian, Bulgarian and Romanian folk music. To get to know this music, Maurice acquired recordings from sources in Hungary, Slovakia and Austria, where the original wax cylinder recordings had been transferred to modern formats. “Thomas Edison had just invented the ability to record on wax cylinders,” Bigelow explains. “Barták felt a need to preserve the folk songs of his heritage, so in the early 1900s he took to the mountains and recorded people in their native villages singing these old songs. People were flabbergasted by the technology. It took him time to establish trust. But he felt like he was saving culture.” Barták was right to be worried. Most of the songs found in this agrarian society have since been lost. Bigelow marvels at how brave Barták was to undertake such an expedition. He had to rely on the hospitality of strangers. Inspired by the recordings, Barták then wrote the duos. “We’ve put the recordings from the wax cylinders side by side with our modern recordings,” Bigelow says. “There are different layers of meaning that come out when you look at all the details.” She talks about how the original folk music had distinct poetry associated with each one. Some were humorous, others were sad, and others appeared to be nonsense, similar to nursery rhymes. Barták’s music didn’t have lyrics, but after hearing the folk music, Bigelow and Maurice could replicate the un-notated musical slides and tempo changes present in the vocalizations. “Sometimes you’d hear giggles at the end and feel the humor,” remembers Bigelow. “We can add a gesture to mark that.” She went to great lengths to find people to help translate some of the poems. Even BYU, which has the most diverse language center in the country, did not have someone who spoke these rural dialects. Studying Barták’s efforts made Bigelow passionate about his music. “This brings more conviction to my own playing,” she says. “He went to such lengths to preserve his heritage. I feel more committed to him and what he has written.” Bigelow and Maurice will launch the CD of their recordings at their September 7 performance, which will include a presentation of photographs and music demonstrating some of their findings. After that, they will present their research at the International Viola Congress in Krakow, Poland, on September 14. Growing Up with Music It is surprising to discover that Bigelow didn’t start playing the viola until she was 14. Her exposure to music, however, began at a very early age. Her father was working on his doctorate in music at UCLA and played the guitar every day. “When I was a baby, my dad would practice at night to get me to fall asleep,” Bigelow says. Then, almost in wonder, she adds, “I remember that. I remember getting stories and then music. Music has intensely been a part of my life from the beginning.” Bigelow’s smile is contagious as she reminisces about a family trip they took to Mexico when she was only four. There, her dad bought her a guitar, which she played the whole way home. When she was a little older, she and her sister used to choreograph elaborate rollerskating shows to her dad’s LP collection of the Brandenburg Concertos. “We were encouraged to listen to classical music as loud as we wanted,” Bigelow laughs. “Other kids listened to rock and roll. We turned up the classical music. I had a really fun childhood with music.” Her first instrument was the piano, learning from her parents. She took some formal lessons in third grade. Though these lessons weren’t consistent, her parents knew enough to keep her going, and Bigelow practiced a lot. “We lived in a branch, so they asked me to be the pianist in primary when I was still in primary,” Bigelow says. “So then I as really motivated to practice.” In high school, she played the hymns in sacrament meeting, young women’s meetings and seminary. She attributes this experience to teaching her a lot about music. The summer before Bigelow turned 15, however, changed her musical course for the rest of her life. “My dad had an acquaintance who was starting a new chamber music program for the summer,” she says. “She was desperate for violists. She offered me a scholarship to the camp if I would play the viola.” This acquaintance was Marjorie Aber, one of the people responsible for bringing the Suzuki method to the United States. She knew Bigelow was a musical person. She must have also known Bigelow had a gift. Bigelow was hesitant at first, so her father had a viola teacher at the local university give her a few lessons. She decided to give the summer camp a try. “They put me with 8 year olds,” she laughs. “But it was such a wonderful experience.” At this summer camp were some of the greatest musical instructors of the day: Bill Preucil, Sr., Roland Vamos and the famous Dr. Shinichi Suzuki. Preucil and his wife, Doris, helped bring the Suzuki method to violists and run their own music school. Vamos is on the faculty at Northwestern University. “I look back now and realize how good they were to me,” Bigelow remembers, warmly. “I was the big girl sitting at the back of the section, completely lost. They had compassion for me.” One of the tenets of the Suzuki method is that everyone is talented. With the amount of attention and encouragement she received, she believed she could learn this new instrument. Suzuki brought a number of child prodigies from Japan. Rather than be intimidated by such talent, Bigelow was deeply moved and inspired. Preucil took extra time to make sure Bigelow was holding the instrument correctly. She remembers how Vamos, on his lunch hour, would sit with her and work with her while eating his hamburger and milkshake. “Vamos made sure I learned the notes,” she says, fondly. “He was never disparaging. I was hooked from that time forward. I threw myself into it. I was deeply invested.” In learning her new instrument, Bigelow also looked to her younger sister for inspiration. “I would practice two hours a day, but my sister would practice her cello four hours a day,” Bigelow says. “She was a prodigy. I learned a lot from hearing her play all the time.” Through practice and summer camps, Bigelow gained a deeper appreciation for music and the life lessons it teaches. Dedication, diligence and endurance are all principles in action through music. But Bigelow still didn’t recognize she had a special gift until one day, as a BYU student, she was stopped by then-Professor Eugene England. He saw her pouring over a music score and tapped her on the arm. “He said, ‘You can hear all that right now, can’t you?’” she remembers. “That’s the first time I recognized that I did that. I had to have someone else tell me, ‘Look what you’re doing.’” Bigelow can look at music and hear it perfectly in her mind. This skill can be troubling, because she feels she never quite reaches the ideal, though others may find that hard to believe. Music Teaches She laughs at the great paradox that the more she learns about music, the more she realizes there is to learn. “Music isn’t for showing that you’re talented or the best at something, because someone will always be better,” Bigelow says, matter-of-factly. “Music is for communicating love. Music can be one of the highest forms of spiritual communication.” Empathy accompanies Bigelow’s words as she recounts how she has been able to touch people who don’t speak her language. As a teacher, she has seen how music can be the balm for a damaged person, helping them in times of emotional distress. “Music gives people a safe place to work with their emotions without directly addressing specific events from their life,” she says, with the wisdom of a philosophy professor. Music, to Bigelow, affirms that there is a God. She believes He created her to do music in this way, but while some people are really driven in their career, she never felt very passionate about working outside the home. Even though this tension is hard, she believes Heavenly Father wants her to be musical. “I discovered it was painful for me to not be musical,” she says, almost resignedly. “Every step of the way in my career, I have felt Heavenly Father’s influence in my life. He paved the way for me to do it. There are times I’ve felt inadequate and he’s magnified me and helped me do it. I’m not always sure I’m the best person, but I’m the person there to do it. So I’ve got to.” Bigelow is grateful for a husband and children who are extremely supportive. They must realize the innate need she has to create music. “When I’m playing music well and properly, in the way I had conceived it, and everything is going well, I get that same overwhelming feeling of joy as when you’re rocking your child to sleep and see their eyelashes flutter,” she says, almost poetically. “You realize you’re in the middle of a perfect moment.” Bigelow encourages students to work hard and be dedicated. They shouldn’t focus on what they can’t do, but what they can. She encourages balance, but also laughs at the idea, saying she’s never felt it. “And they need to show up for the audition,” she says, laughing.

Studied composition with Darius Milhaud, Roger Sessions

Enjoy a melodic evening as the BYU Baroque Ensemble presents “Positive Temperaments” drawing on the repertoire of J.S. Bach

Innovations aim to better serve campus community and journalism curriculum In an effort to better serve students and adapt to an ever-changing industry, BYU’s campus news labs are making innovations that will result in a new look to student-produced news products. BYU’s Daily Universe (newspaper and digital news) and Newsline (broadcast TV news) labs have functioned for decades as an important part of the journalism curriculum in the School of Communications. The labs are located in the Brimhall Building and provide experience for scores of students each year in the Communications BA degree program. In 2020, the journalism program received a BYU President’s Innovation Grant to explore ways to adapt to the changing news environment and prepare to serve student and curricular needs long into the future. A task force of three faculty members sought input from journalism faculty and staff in creating a plan for a two-year pilot to explore innovative solutions and ultimately decide on long-term adaptations. During the first phase of the pilot, starting in Spring Term 2021, the Universe will cease printing a weekly newspaper. Instead, the Universe will focus on a two-track approach. First, digital news will continue to be published each day on https://universe.byu.edu/, as well as on associated social media channels and in a free subscription e-mail newsletter. The print edition will be published monthly through spring and summer in preparation for transition to a news magazine-style print periodical to debut on campus racks Fall Semester 2021. The task force anticipates the print periodical will be published between four and 10 times per year but the details remain to be finalized. Meanwhile, the broadcast TV news program produced by students, called Newsline, also will transition from a five-day-per-week traditional local TV news program to a regular online video news show with an in-depth video newsmagazine program that will be produced in conjunction with the Universe’s new print periodical. Newsline also will continue to distribute daily video news content online at https://universe.byu.edu/newsline/ and on social media. The Universe and Newsline will continue to explore innovations such as augmented reality applications to news and building collaborations with other campus departments. Those collaborations already include translation of news stories to Spanish and Portuguese as well as joint domestic and international faculty-mentored trips to create non-fiction narratives about BYU athletics, nursing, engineering, study abroad, performing arts and a variety of other enterprises. The task force recommendations are based on academic and industry research showing that the online digital format provides the best outlet for daily news while the print and broadcast outlets still offer the chance to connect with the campus community in meaningful ways that involve longer forms of explanatory, in-depth and solutions-oriented journalism. As a key part of the journalism curriculum, the products of the newsroom labs aim to contribute to BYU’s goals to help all members of the campus community understand how news is produced and how to distinguish credible and valuable sources of news and information from low-value sources, propaganda and disinformation. The changes being implemented in the BYU newsroom labs will allow for increased focus on serving campus needs for journalism and news literacy. Students, faculty and staff in the journalism sequence are interested in building community connections on campus and in surrounding areas that will result in news better serving a vibrant audience in various fields of endeavor. The BYU campus community is invited to share ideas, suggestions and feedback at journalism@byu.edu. BYU’s first student news publication started in 1878 and, since that time, there have been a series of publications under various names and formats. The Universe newspaper came into existence in 1948 and published five issues per week between 1956 and 2012. Meanwhile, the broadcast radio and TV student news programs have their origins on campus in the 1920s. The radio and TV programs in the Department of Communications in the middle of the 20th century evolved into KBYU and, later, BYUtv and BYU Radio. The Universe also publishes an annual Housing Guide and Two magazine that are distributed free in racks on campus as well as a daily e-mail subscription newsletter. Free subscription is available at https://mailchi.mp/byu/subscribe. BYU’s newsroom labs and associated classes have contributed to the education of thousands of students, many of whom have gone on to become professional journalists in markets across the United States. Alumni include numerous reporters and editors at local, regional and national newspapers and digital news organizations as well as producers, reporters and anchors at national broadcast networks and local network affiliates. BYU journalism graduates also apply their skills in a variety of other graduate school programs and professions. Information for students interested in studying journalism is available at https://comms.byu.edu/journalism/.