ITEA Journal Volume 49 Number 1 (Fall 2021)
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Interview with Dr. Danielle VanTuinen
By Steven Darling
Creation of Opportunities: A Euphoniumist's Guide to Leading a Diverse and Fulfilling Career No. 3
Danielle VanTuinen is a performer, educator, and entrepreneur based in Gainesville, Florida. She currently serves as Assistant Professor of Tuba and Euphonium at the University of Florida. Prior to her current appointment, Danielle served as Lecturer of Music at Plymouth State University where she taught low brass methods, chamber music and applied lessons. She also served as low brass faculty at the Portland Conservatory of Music, adjunct staff for the marching band at the University of New Hampshire, private lesson instructor throughout northern New England, and low brass instructor for the Phoenix Youth Symphony. She has been invited to adjudicate at a variety of festivals, including the New Hampshire MEA Solo & Ensemble Competition, the Paul I. Willwerth Brass Competitions, the International Women's Brass Young Artist Competition, and the AETYB Young Artist Competition in Madrid, Spain. As a co-founder of the internationally acclaimed Moreau | VanTuinen Duo she has been invited to perform at the Spanish Association of Tubas and Euphoniums, Northern Arizona University, Ithaca College, the Miraphone Academy of the Southwest, the United States Pershing's Own Army Band Tuba-Euphonium Workshop, and the International Women's Brass Conference. Her commitment to expanding low brass repertoire has resulted in over 15 compositions by composers such as Steven Snowden, James Grant, Shaun Tilburg, and Etienne Crausaz. Danielle earned a Doctor of Musical Arts degree in Music Performance and Master of Music degree in Music Performance from Arizona State University, and a Bachelor of Music degree in Music Performance from Central Michigan University. Dr. VanTuinen proudly endorses both the S.E Shires Company and Eastman Winds.
Steven Darling (SD): What is your musical background and when did you begin studying the euphonium?
Danielle VanTuinen (DVT): I'm from a small town in Michigan and had an unusual journey to the euphonium. I actually started on flute, playing in concert and marching band in high school. However, I desperately wanted to perform in the jazz band, so I added bass trombone. Though my musical experiences were really enjoyable, I decided to attend the University of Central Michigan, to pursue a degree in Genetics and Microbiology.
Though I was pursuing a non-musical degree, I wanted to remain engaged musically in some capacity. In my second year, I was asked by the marching band director to play baritone horn, and shortly thereafter, began to participate in non-major ensembles. I instantly fell in love with the instrument and approached the Professor of Tuba, Dr. Mark Cox, about applying and auditioning for the school of music.
VanTuinen in High School
Musically, I was quite behind and, ever the astute educator, Dr. Cox instructed me to study with his best euphonium student, Eric Dluzniewski. If, once I had completed two semesters of lessons with Eric and I showed noticeable improvement, Dr. Cox would consider accepting me into his studio. Fortunately, Eric was not only a wonderful example of how to practice and a great teacher, he also exposed me to recordings of Steven Mead and many other incredible musicians. This exposure to outstanding musicianship greatly encouraged my musical growth and inspired me to practice. And so, it happened, I began my formal musical training on euphonium as a junior in college.
SD: Who were your mentors and teachers along the way? How did they positively influence you and challenge you to succeed?
DVT: Eric Dluzniewski and Dr. Mark Cox really challenged and inspired me throughout my undergrad. However, when Dr. Cox went on sabbatical, I had the life-changing opportunity to study with Scott Hansen. His encouragement and tutelage challenged me to elevate my musicality and expressivity beyond my imagination. Scott is the living embodiment of 'yeah, man.' It is, of course, through Scott's encouragement I applied to Arizona State University to study with the incredible Deanna Swoboda.
VanTuinen with Mark Cox (COUPLE with picture #4)
VanTuinen with Deanna Swoboda and Joanna Hersey (COUPLE with picture #3)
Dr. Deanna Swoboda has profoundly impacted my life as a musician, educator, and person for the better. Through her teaching and life-coaching I was persistently challenged. I highly value her continued support and guidance.
SD: What were some of the high/low points of your academic career before working in academia?
DVT: I've had a lot of positive and important high points: switching my degree to study music, learning from all my teachers, and finishing my doctorate. Those were all really powerful and meaningful experiences. Though there were plenty of low points, the most difficult time for me was after I finished my doctorate. I felt a little listless and frustrated. Fortunately collaborating with my wife in our duo and a variety of other performative and educational experiences gave me moments of inspiration and enrichment. These little moments that kept me moving forward.
SD: At what point did you add tuba? What other skills did you seek to acquire throughout your DMA to make yourself marketable?
DVT: I actually added tuba during my master's, though euphonium was still my primary instrument. Once I decided to remain at Arizona State for my doctorate, Dr. Swoboda accepted me upon the stipulation that I pursue a degree in Tuba Performance.
I was drawn to the collaborative nature of chamber music and, in an entrepreneurial class taught by Deanna, I founded the first iteration of my duo as a trio for tuba, euphonium, and marimba. During my doctorate, my wife and I officially formed our duo and began to arrange, compose, and commission works. I also began to study and experiment with works for euphonium and interactive media.
SD: What drew you to teaching at the collegiate level?
DVT: Its funny, I didn't get my doctorate to pursue a career in academia; I wanted to complete the terminal degree for myself. However, working with the students at the Phoenix Youth Symphony and a variety of other teaching experiences inspired me to pursue a career as an educator.
Prior to working at the University of Florida, I was serving as a Visiting Lecturer and Adjunct at a couple institutions. I applied to a few full-time positions each year, though I was relatively selective, only applying to positions I was truly interested in. Eventually, Deanna called me and encouraged me to apply to the University of Florida. I had reservations at first, as I had never envisioned myself living in the south and, as a married gay woman, worried about the safety of my wife and I. Throughout the interview process, I still worried. However, when I met my colleagues and future students in person, I knew UF was the perfect place for me.
SD: What was the process of applying to collegiate positions like? How did you prepare? What were the high and low points throughout the application process?
DVT: I began applying to full-time collegiate positions during my doctoral studies. I knew, however, that without the completion of my terminal degree, I wouldn't be taken seriously. I simply applied to refine my materials and learn more about the process. During that time, I applied to about one position a year.
Once I completed my degree, I wasn't sure what to do, so I continued to apply to a few positions each year, while diversifying my skills and experiences. I did experience some success, advancing to the semi and final rounds at a few jobs, though nothing quite 'fit.' However, once I interviewed for the job at the University of Florida, I knew I had found the right place for me to work, and my wife and I to live.
SD: What appealed to you about the University of Florida?
University of Florida Brass Faculty
DVT: My colleagues and students are amazing! Also, the culture at the University of Florida is supportive and conducive for me, my colleagues, and students to thrive in. Also, many of our students are pursuing two majors, one in music and one in a completely different degree. As such, many of my students learn differently from me, which challenges me as an educator and allows for a healthy learning environment.
SD: Let's talk about your duo. How did you start the duo? What is the collaborative experience like?
DVT: Chamber music and collaborating with other performers has always been something I've greatly enjoyed; something that has enriched my musical experiences and career. My wife and I began this ensemble as a trio with another student at ASU. Eventually, we solidified the ensemble as a duo with flexible instrumentation, though we mainly perform on euphonium and marimba, as the instruments blend incredibly well.
Last year, as a project during the pandemic, we initiated a series of commissions, calling for composers to submit miniatures for euphonium and marimba. Amazingly, we received over eighty works. The rehearsing and recording of those works continue to keep us busy! We've also built a make-shift woodworking space in our garage, where we design and create percussion instruments to incorporate into future performances.
SD: What skills would you encourage current euphoniumists to cultivate to achieve and enjoy a diverse successful career?
DVT: I encourage my students to explore and experiment with any and all skills that will enrich their educational experience. Through the Moreau | VanTuinen Duo, we've experimented and honed a variety of skills, including arranging. As an educator, I continuously challenge myself to learn from my students; the result of which enhances my abilities as an educator, mentor, and artist.
SD: The third installment of this interview series, Dr. VanTuinen's astute and thoughtful responses should be considered a 'part of the whole.' Each interviewee, which to date includes Dr. Mary Ann Craig, Dr. Matthew Tropman, and Dr. VanTuinen, pursued unique pathways derived from their strengths, performative and academic interests, and professional opportunities. In the pursuit of your personal and professional goals, remain studious, organized, determined, and adaptable as opportunities arise. To gain further insight into how these artists' experiences can influence your decisions and aspirations, check out the next installment of this series with interviewee Dr. Christopher Dickey, Assistant Professor of Tuba & Euphonium at Washington State University.
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