Jennifer Jackson portrait
  • Visiting Assistant Professor, Theatre Department

Creative Research

  • Sound Design and Music Composition for Bull Shark Attack with Salt Lake Acting Company. Created abstract and ambient soundscapes for production as well as sound effects. Music created for production was largely scored using various synthesizers. Sound effect work included crafting a highly detailed seascape complete with two fatal shark attacks. Curatorial/Production, completed 09/2016.
    http://www.saltlakeactingcompany.org/this-season/i...
  • Sound Design for Streetlight Woodpecker with Salt Lake Acting Company. Created detailed soundscape of Philadelphia neighborhood. Much research and listening was needed to craft a realistic environment. Music was researched as well for use in scene transitions. Curatorial/Production, completed 02/2016.
    http://www.saltlakeactingcompany.org/this-season/i...
  • Sound Design for Hello Dolly at Kingsbury Hall, University of Utah Department of Theatre. Designed sound effects and balanced levels, equalization, and processing effects for orchestra and vocal performers. Curatorial/Production, completed 01/2016.
    http://theatre.utah.edu/productions/hello-dolly/
  • Original Music and Sound Design for Good Kids with the University of Utah Department of Theatre. Music composed for this play consisted of near constant underscoring throughout the performances and transitional music pieces in between scenes. Instruments used were exclusively electronic, with an emphasis on intense synthesizers and bass. Research included exploring both mainstream and independent music from the six months prior to the show’s opening performance, as the setting of the play had a great need to be immediate and topical. Sound effects created included many realistic ambient locations. Collaborators: Julie Rada. Curatorial/Production, completed 10/2015.
  • Original Music and Sound Design for Blackberry Winter with Salt Lake Acting Company. Music composed underscored the entirety of three segments of a creation myth about the origin of Alzheimer’s Disease. Instruments in composition included flute, clarinet, violin, viola, cello, bass, oboe, English horn, and piccolo. Each animal in the creation myth was represented by a particular instrument (i.e. melancholy clarinet for a well meaning yet tragically destructive gray mole, a graceful flute for the white egret). Sound effects created included many layers of forest sounds to create a verdant forest. Research consisted of exploring animal sounds and their physicality and then translating them into instruments with similar aural sensibilities. Collaborators: Keven Myhre, Sandra Shotwell, James Craig, K.L. Alberts. Curatorial/Production, completed 09/2015.
  • Original Music, Sound Design, and Music Direction for Twelfth Night with Salt Lake Shakespeare. Music composed underscored several scenes, as well as scene transitions, and also included four live songs and one live piano piece. Instruments in composition included piano, guitar, tambourine, harmonica, and blown jug. Research included heavy study of jazz piano from the late 1910s into the 1920s and also included careful study of rhythmic forms and chord progressions of the period. Sound effects created underscored several beach, ocean, and seaport ambient locations as well as a massive storm at sea that rips a ship in half immediately following the first scene. Collaborators: Alexandra Harbold, Jesse Portillo, Thomas George. Curatorial/Production, completed 07/2015.
  • Original Music and Sound Design for School for Lies with the University of Utah Department of Theatre. Music composed for scene underscore and scene transitions in a hybrid style of music I termed as Baroque Electronica, combining both elements of current electronic music and the musical structure of the Baroque period. Instruments in composition included harpsichord, violin, viola, electric guitar, synthesizers, and bass. Research included exploring both popular electronic and Baroque music in order to compose a hybrid of the two vastly different styles. Sound effects created included many comical sound effects such as offstage crashes and collisions with furniture, china, and unseen household felines. Collaborators: Chris DuVal. Curatorial/Production, completed 02/2015.
  • Original Music and Sound Design for Two Stories at Salt Lake Acting Company. Music composed for scene underscore and scene transitions. The story of the play focuses on the blend and conflict of two families from different cultures, grassroots America and Pakistan. Instruments included acoustic guitar and traditional percussion from Pakistan. Research explored various current American singer songwriter artists in addition to traditional instruments of Pakistan. Sound Effects created included many realistic suburban ambient locations and the recording of several cast voice overs. Collaborators: Keven Myhre, Jesse Portillo, K.L. Alberts, Elaine Jarvik. Curatorial/Production, completed 01/2015.
  • Sound Design and Original Music for "The Owl Girl". This play is set in modern day West Bank/Jerusalem and focused on two families on opposite sides of the conflict. Research consisted of extensive research into differences between western music and music of the Middle East in regards to rhythm and micro tones. Research also included searching for local musicians with expertise in the music of that region. Collaborators: Alexandra Harbold, Monica Raymond, Jesse Portillo. Curatorial/Production, completed 10/2014.
  • Sound Design and Original Music for "A Midsummer Night's Dream". This production held the unique challenge of performing all sound effects and music live with an onstage percussionist. Research included experimentation with extended technique to find what in the percussionists arsenal (marimba, snare drum, crotales, cymbals, violin bows, bell trees, and triangles) could sound like birds or even insects. Extended techniques were also explored to create musical pieces, underscore, and textures. Collaborators: Hugh Hanson, Seth Miller, Dave Evanoff. Curatorial/Production, completed 07/2014.
  • Sound Design for "The Last Five Years". This musical was set in modern day New York City. Research included exploring various New York soundscapes, including traffic, crowds, and wildlife (Central Park). I recorded a large portion of the show's city soundscapes during a trip of mine to New York a few months before the production opened. Collaborators: Denny Berry. Curatorial/Production, completed 06/2014.
  • Sound Design for "Once on This Island". Play takes place on a tropical island in the French Antilles. Research included exploring environment, climate, wildlife, time period, technology, historical conquest of region, and culture. Collaborators: Alexandra Harbold, Jason Bowcutt, Jeff Sturgis, Keven Myhre, Seth Miller. Curatorial/Production, completed 03/2014.
  • Original music score and sound design for "Romeo and Juliet". Music written for use as underscore and for scenic transitions within the play. Instrumentation included violin, viola, cello, bass, guitar, and several synthesized elements. The play was set in a warehouse dance club setting, my research consisted of exploring the genre of dance music and the sonic nuances of the environment in order to write music and craft sound effects to fully support the production's concept. Collaborators: Sarah Shippobotham. Curatorial/Production, completed 02/2014.
  • Sound Design for "She Loves Me". Production was set in the 1940s. My research consisted of exploring the aural environment of that time period, asking questions of how technology, population, and society affected the way the world sounded. Collaborators: Denny Berry, Kyle Becker. Curatorial/Production, completed 01/2014.

Presentations

  • Panel member USITT - Diversity in Sound. Discussed the lack of diversity within the field of sound design and engineering as well as solutions for the future. Presentation, Presented, 03/18/2016.
  • Panel member of USITT Creative Teaching on the Web - Sound. Presented an in class activity for field recording training, developed in THEA 3500 Sound Design I for the University of Utah Department of Theatre. Presentation, Presented, 03/21/2015.
    http://areteaudio.com/USITT_Teaching/

Copyrights

  • Original Music for "Good Kids". Jennifer Jackson, 10/2015. Original music for "Good Kids" with the University of Utah Department of Theatre. Music composed for this play consisted of near constant underscoring throughout the performances and transitional music pieces in between scenes. Instruments used were exclusively electronic, with an emphasis on intense synthesizers and bass.
  • Original Music for "Blackberry Winter". Jennifer Jackson, 09/2015. Original music for "Blackberry Winter" with Salt Lake Acting Company. Music composed underscored the entirety of three segments of a creation myth about the origin of Alzheimer’s Disease. Instruments in composition included flute, clarinet, violin, viola, cello, bass, oboe, English horn, and piccolo. Each animal in the creation myth was represented by a particular instrument (i.e. melancholy clarinet for a well meaning yet tragically destructive gray mole, a graceful flute for the white egret).
  • Original Music for "Twelfth Night". Jennifer Jackson, 07/2015. Original music for "Twelfth Night" with Salt Lake Shakespeare. Music composed underscored several scenes, as well as scene transitions, and also included four live songs and one live piano piece. Instruments in composition included piano, guitar, tambourine, harmonica, and blown jug.
  • Original Music for "School for Lies". Jennifer Jackson, 02/2015. Original music for "School for Lies" with the University of Utah Department of Theatre. Music composed for scene underscore and scene transitions in a hybrid style of music I termed as Baroque Electronica, combining both elements of current electronic music and the musical structure of the Baroque period. Instruments in composition included harpsichord, violin, viola, electric guitar, synthesizers, and bass.
  • Original Music for "Two Stories". Jennifer Jackson, 01/2015. Original music for Two Stories at Salt Lake Acting Company. Music composed for scene underscore and scene transitions. The story of the play focuses on the blend and conflict of two families from different cultures, grassroots America and Pakistan. Instruments included acoustic guitar and traditional percussion from Pakistan.
  • Original music for "The Owl Girl". 10/2014. Original music score and sound design for "Owl Girl". Music written for use as underscore and for scenic transitions within the play. Instrumentation included various Middle Eastern percussive, wind, and stringed instruments such as oud, as well as more modern synthesizers to marry traditional music with the music of today. A portion of the music recorded with local group Eastern Artists.
  • Original music for "A Midsummer Night's Dream". Jennifer Jackson, 07/2014. Original music score and sound design for "A Midsummer Night's Dream". Music written for use as underscore and for scenic transitions within the play. Performance included live onstage percussion including marimba, crotales, cymbals, wood blocks, triangles, bell trees, snare drum. Music explored extended technique including using a violin bow on cymbals and crotales, and playing the resonator bars of the marimba with various mallets for a variety of sounds.
  • Original music for "Romeo and Juliet". Jennifer Jackson, 02/2014. Original music score and sound design for "Romeo and Juliet". Music written for use as underscore and for scenic transitions within the play. Instrumentation included violin, viola, cello, bass, guitar, and several synthesized elements.

Geographical Regions of Interest

  • United Kingdom of Great Britain and Northern Ireland
    This region boasts so many wonderful artistic opportunities, I am interested in pursuing the myriad of opportunities found here.