University of Redlands

B.Mus., B.Mus.Ed., Memorial University of Newfoundland
M.Mus., D.Mus., McGill University

• Director of Choral Activities 
• Body Mapping (training to become a registered Andover Educator)
• Performance Anxiety 
• Vibrato and Pitch Perception 
• Contemporary Choral Music

Originally from Newfoundland and Labrador, Canada, Andrews is director of choral studies at the University of Redlands. 
Under her direction, the choral ensembles at Redlands have been invited to perform at festivals and conferences such as the National Collegiate Choral Organization Convention, California Music Educators Association Convention, California All State Music Educators Conference, and Festival 500 Sharing the Voices. She is in high demand across North America as a conductor, adjudicator, and clinician.

Andrews has worked with composers Imant Raminsh, R. Murray Schafer, Alcides Lanza, Krzysztof Penderecki, William Bolcom, Joan Tower, Libby Larsen, Christopher Theofanidis, and Gunther Schuller, and eminent conductors Bramwell Tovey, Sir David Willcocks, Bobby McFerrin, Tõnu Kaljuste, Robert Sund, Frieder Bernius, Georg Tintner, Lydia Adams, and Jon Washburn.

Andrews is currently training as a body mapping clinician (Andover Educator). Her areas of research include the study of performance anxiety in musicians, pitch perception, and awareness of the body through conducting. Her publications can be found in sources such as the Journal of Research in Music Education.

In January 2013, Andrews created the University of Redlands Youth Choir as a training program for both children from surrounding communities and music education students at the University. The program, now in its fourth year, has grown in numbers allowing the creation of a Training Chorus (ages 4-7) as a feeder ensemble for the Youth Choir (ages 8-14).

Having completed her doctorate and master’s in choral conducting at McGill University, Andrews studied with Professor Iwan Edwards, Dr. John Baboukis, and Dr. Julian Wachner. While at McGill University, she taught musicianship, instrumental conducting, and choral conducting. She completed a Bachelor of Music in oboe performance and a Bachelor of Music Education at Memorial University of Newfoundland, where she studied conducting with Dr. Douglas Dunsmore.

Andrews has also taught music in several public schools (kindergarten to grade 12) throughout Canada and England.

Advanced Choral Conducting
Choral Conducting Lessons
First Year Music Seminar
Graduate Seminar on Performance Anxiety 
Chapel Singers
Madrigal Singers
University Choir
Ear Training and Musicianship

Conducted the University of Redlands Chapel Singers at California All-State Music Education conferences (CASMEC) San Jose, CA February 2016

Conducted the University of Redlands Chapel Singers for a Spoonful of Sherman with Richard Sherman , Redlands CA, January 2016

Conducted the University of Redlands Chapel Singers at the National Collegiate Choral Organization Conference, Portland OR, November 2015

Conducted the University of Redlands Chapel Singers performance for His Holiness the Gyalwang Karmapa, Redlands CA, March 2015 201

Conducted the University of Redlands Madrigal Singers at Frederick Swann’s CD release concert Spring 2009 

Conducted the University of Redlands Madrigal Singers at CMEA (California Music Educators Association) in 2008 Sacramento, and 2009 Ontario 

Festival 500, 2009 Conducting The University of Redlands Madrigal Singers, Invited performance 

Published in the Journal of Research in Music Education : An Investigation Into the Choral Singer’s Experience of Music Performance Anxiety 

Presentation at Festival 500 The Phenomenon of Singing, International Symposium VI, 2007 Teaching Through Composition: The Study of alcides lanza 

Presentation at Festival 500 The Phenomenon of Singing, International Symposium VI, 2007 An Investigation Into the Choral Singer’s Experience of Music Performance Anxiety 

Presentation at Festival 500 The Phenomenon of Singing, International Symposium VII, 2009 Vibrato and Pitch Perception: Does the presence or absence of vibrato influence how intonation is perceived and assessed?