User:Pthjc16/sandbox/Jan Broberg Carter

Jan Broberg Carter
Jan Broberg Carter is a classically-trained female American musician, a multi-instrumentalist, original scorer, composer, conductor, music editor and supervisor, an executive music producer, and film producer. Jan’s scores and the films she has worked on internationally and in the United States have won several awards, including best picture and best film score in numerous domestic and international film festivals. Jan was elected to the ASCAP in 1977 upon the recommendation of renowned lyricist Hal David, and has been an active member ever since.

Jan’s film scores are exclusively orchestral and do not employ the use of computer generated programs to emulate instruments for sounds and resonances, as she prefers to use live musicians who are gifted in their own right to comprise her scores. From the beginning, Jan has been adamant about working personally with her musicians and values the talents of others. Her scores and the films for which she has composed, have won numerous awards at domestic and international film festivals.

Biography
Early Years and Family Life

Jan Broberg Carter was born on December 23, 1951, in Provo, Utah, to Marilyn Broberg Carter and David Jerry Carter. After her birth, Jan’s maternal grandparents, Florence Aline Broberg and Wallace Elroi Broberg, Sr., brought her with them to Phoenix, Arizona. At the time, Jan’s parents were in the process of leaving Utah to relocate to Phoenix. During this time, Jan formed a close bond with her grandparents that would last a lifetime.

Growing up, Jan was the eldest of seven children, and is the only living daughter of her immediate family.

Childhood and Introduction to Music

Jan’s mother, Marilyn, was pianist and a vocalist. While still a young child and in school, Marilyn became a professional dancer. Jan describes her mother as having a lovely voice and as someone whose lifelong dream was to make a living as a professional dancer. Marilyn’s wide range of dance ability included tap, tango, jazz, ballet and modern dance. For many years, Marilyn studied dance under the direction of Gene Bump in Phoenix, who was a well-known professional dancer himself and a much sought after dance instructor with his own dance company. However, Marilyn sacrificed her career goals in dance to marry and embark on motherhood.

Growing up, Jan happily spent a lot of time in the care of her maternal grandparents (Broberg) in the company of her brother Rick, who is a year and a half younger.

Jan first began playing the piano at the age of three when her grandfather placed her tiny hands upon his own while playing. One day while sitting at her grandfather’s piano in the living room, Jan looked toward the dining room archway to find her grandparents were quietly observing her play the piano piece, “Tea for Two.” To this day, Jan remembers vividly the surprise on her grandparents’ faces as they watched her independently play a tune she had heard her grandfather play.

Shortly thereafter, Jan’s grandfather arranged and paid for her to take piano lessons with Janet Lundquist, a Swedish piano teacher living in a Phoenix neighborhood near Encanto Park. Jan loved to practice the piano and began singing as well. She later went on to formally study concert piano with concert pianist Ruth Stevens. Jan credits her early days spent in the happy pursuit of music with the help and support of her beloved grandparents as having greatly influenced her career in music as well as her continued love for the arts, especially film.

High School

In high school, Jan played with the University of Nevada-Las Vegas Symphony, and was chosen from thousands of musicians to perform instrumentally, vocally, and as a soloist with the Las Vegas Ambassadors while in the 10th grade. The Las Vegas Ambassadors was a touring group that opened in the main showrooms of major Las Vegas Hotels as the entr'acte before headline performers. This group toured and became popular under the direction of Norman Kaye, who was a member of the famous trio; the Mary Kaye Trio. Richard Astone was the choreographer for the Las Vegas Ambassadors.

Jan studied classical piano and vocal studies with Dr. Jocelyn K. Jensen, a highly regarded musician and conductor in Las Vegas. She and her husband Ronald B. Jensen—a talented painter, sculptor, and mixed-media artist inspired and encouraged Jan enthusiastically on her path into the world of music and her love of the arts. They gave of themselves generously in order for Jan to thrive musically and artistically. During this time, Jan also had the opportunity to study guitar under the Brazilian musician Joao Donato, as well as string bass under John Mulvehil and Ennio Bolognini in Las Vegas. As a senior at Valley High School, Jan sang with the UNLV A Cappella Choir and Chamber Singers.

After graduating from high school with honors a year and a half early, Jan studied voice with Betty Jeanne Chipman and performed with various ensembles and symphonies, including the Utah Symphony, and in a chorale group directed by Newell B. Waite and Gerald Ottley, the former director of the Mormon Tabernacle Choir.

Early Career in Music and Higher Education

After High School, Jan moved to Los Angeles, to accept a job at Sunset Magazine where she was also invited to collaborate with well-known lyricist, Oleg Lopatin, a writer who worked with many recording artists, including Johnny Mathis. Jan wrote music to Lopatin’s lyrics and orchestrated his songs, and their collaboration produced such compositions as “House for Sale,” “Ordinary People,” “Changes,” and “Thinking of You.” With Lopatin’s assistance and nomination, Jan was elected to the American Society of Composers, Authors and Publishers (ASCAP) in 1977. She was welcomed by lyricist Hal David personally.

Jan later left Los Angeles to continue her formal education at Dartmouth College, where she had been awarded a scholarship. As an undergraduate, Jan studied Music Composition, Film, Film Music, and Psychology, while continuing to sing in Dartmouth chorale groups and play string bass in the Dartmouth Symphony. In 1979, Jan received her first post-secondary degree from Dartmouth, an A.B. majoring in Film Studies and Psychology. She continued at Dartmouth and earned a Master’s Degree in Film Music and Film Studies in 1984.

From 1978-1980, Jan was the Arts Critic for Palascope Magazine, where she reviewed films, symphonies, theater, opera, and dance performances in a weekly column. From 1980-82, Jan also wrote a weekly film and film music column entitled “At the Movies” for the Valley News (Lebanon, NH) that covered the Upper Valley area of New Hampshire.

In 1988 Jan went on to complete a PhD in Psychology at Harvard University. Even while working as a clinical psychotherapist and raising two sons, Jan never abandoned her passion for music.

Continued Film Career

In 1999, Jan returned to graduate school in England, and completed a Masters in Music Composition and Conducting at Oxford University, where she studied under the tutorial of the highly regarded Edward Higginbottom, conductor of the New College Boy’s Choir/Organist/Professor of Music.

Jan continued to compose orchestral and vocal music. Two years later, at the Sundance Film Festival, Jan connected with a non-profit film production company, Little Voice Productions known for producing work of a socially conscious nature. During her collaboration with Little Voice, Jan produced three documentary scores: Sweet Ambition, Swift Justice, and Haiti: Small Miracles.

Early Sundance Film Festival Days

In 1977 Jan was invited to participate with the Utah/US Film Festival by Robert Redford, founded by Sterling Van Wagenen. She attended screenings and participated with the Utah Film Commission. In the early days the Sundance Film Festival began as “just a hope” said founder Robert Redford. Jan was a regular contributor to Utah Holiday Magazine, the Great Salt Lake Newspaper, and to film publications. Sometimes there would be a handful of people in attendance to screen the slate of movies for the festival and in those early days, the screenings took place most often at the Trolley Square Cinemas in a Cineplex that was converted from old trolley car barns from the late 1800’s.

During the time Jan went east to complete her education, she stayed faithfully connected to Sundance and remains a member of the Sundance Film Festival Leadership and Patron’s Circles. She has been a panelist for workshops and has given a variety of presentations since the early years of the festival.

Published Works and Events

Today, Jan is widely known for her film and television scores and for her work with orchestras and choirs around the world. As a composer, Jan’s film scores have been featured in over fifty six film festivals worldwide. Her score for the award winning short film, “The Man With The Spying Glass,” screened at the Naoussa International Film Festival in Greece on October 1, 2011, and 24 other festivals and won Best Score at the Rome International, Jaipur International, Wyoming and New Delhi Film Festivals. Her score for the feature film, “Nocturnal Agony,” premiered in the spring of 2012 at the American Film Institute in Washington D.C. and then at the Director’s Guild of America in Los Angeles.

Jan also composed the score to a recent short film directed by Daniel DeFabio, “Menkes Disease,” which has been shown in film festivals worldwide and has impacted the medical world immeasurably regarding this rare, fatal, childhood disease, largely because of Mr. DeFabio’s tireless efforts on this film’s behalf. Her other works that have been widely shown in festivals in the United States and on all continents appear below. She composed the film score for an animated series called “Linear Tales” and worked with the Greek animator Yiannis Liolios. Presently, she is working on a film with director Philippe Reypens and co-director Loic Porcher, called “Higgi.”

Jan has also served as an international film festival judge in several countries, including the New York, Los Angeles, Ballston Spa, Lucania (Pisticci, Italy), Greece, Newport Beach, San Francisco, California, Lisbon, Portugal, Madrid, Spain, Boston, Massachusetts, and Bozeman, Montana festivals. Jan also continues to affiliate with and support the Sundance Film Festival in Utah.

Jan most recently has composed a symphony titled, “The Marshes of Canning,” an orchestral work inspired by the wonders and beauty of Nova Scotia, where she spends time at her home on the Bay of Fundy. This work is planned to premier in Nova Scotia, in 2017.

Personal Life
Although her work takes her around the globe, Jan currently splits her time between homes in Portland, Maine and Nova Scotia, Canada. Though primarily residing in Maine, Jan composes music in both locations. Jan co-parented two sons, Nathaniel and Morgan and treasures her time with them. Now grown, they reside in the San Francisco Bay and Los Angeles areas respectively. Both sons are gifted artists and are professionals in their career fields.

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