The Triangle, publication of Mu Phi Epsilon, Vol. 106, Issue 3, Fall 2012

Volume 106, Issue 3

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Volume 106, Issue 3 Fall 2012

Fall 2012

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Fraternity Mission Statement: Mu Phi Epsilon International Professional Music Fraternity is a coeducational fraternity whose aim is the advancement of music in the community, nation, and world through the promotion of musicianship, scholarship, and music education, with emphasis on service through music.

Volume 106, Issue 3

Fall 2012

EDITOR Melissa Eddy editor@muphiepsilon.org DESIGN & PRODUCTION Corinne Lattimer thetriangle@muphiepsilon.org

contents Individual and Chapter Awards . . . . . . . . . .4

PROOFREADER Doris Braun

Outstanding members and chapters of 2012.

Send all material for publication to: Melissa Eddy, editor@muphiepsilon.org Fax 325/388-0914 or by mail to New Mailing Address: 220 Link Drive, Kingsland, TX 78639-5262

Winning Chapter Projects of 2012 . . . . . . . . . . . . . . . . . . . .6

All materials submitted for publication become the property of Mu Phi Epsilon.

Requests for return are accepted and must be accompanied with a self-addressed stamped envelope. Electronic transmissions are preferred. Photos must be scanned at a minimum of 300 dpi.

Collegiate Considerations . . . . . . . . . . .7

Deadlines for submissions: Winter — December 1 Spring — February 15 Summer — May 1 Fall — August 15 Change of address, renewals, notice of deceased members, requests for extra copies and subscription requests should be sent to: Mu Phi Epsilon International Executive Office 4705 N. Sonora Avenue, Suite 114 Fresno, CA 93722-3947 toll free: 888- 259-1471 fax: 559-277-2825 email: executiveoffice@muphiepsilon.org The Triangle is published 4 times per year by Mu Phi Epsilon, International Professional Music Fraternity.

Member, Professional Fraternity Association.

(ISSN 0041-2600)(Volume 106, Issue 3) Subscription price is $20.00 per year.

Single copies are $8.00.

Periodicals postage paid at Fresno, California and at additional mailing offices. Printed in the United States of America.

From house management for concerts to a walking tour of historic organs, chapters serve in many ways.

Professionalism: important now and in the future. Also photos from EGL1 district conference.

Feature: The Need to Compose . . . . .8 Three Mu Phi composers at different career stages talk about their calling to create new music.

Bookshelf . . . . . . . . . . . . . . .15

by Rona Commins A book of everything you wanted to know but were afraid to ask about seventeenthcentury performance practices.

Foundation . . . . . . . . . . . . .16 Complete listing of grants and scholarships currently offered, with application form, plus news of recent recipients.

ACME . . . . . . . . . . . . . . . . . .21

by Mary Au Meet honoree Victoria Bond, a conductor and composer whose most recent opera is about the first woman to run for American president.

Founders Day . . . . . . . . . . .22 Embraced and welcomed into something very special: a message from International President Rosemary Ames.

Mu Phi Leaders . . . . . . . . . .23 Alumni: Reaching Out . . . . . . . . . . . .12 Thoughts and tips about bringing unaffiliated Mu Phis back into the fold.

Upon Listening . . . . . . . . . .13 A delightful recording of holiday music performed by Mu Phi duo pianists.

First in a series: who are the IEB and what do they do? Plus, meet a District Director.

Applause / Encore . . . . . . .24 Petra Anderson recovering; other news from members and chapters.

Final Notes . . . . . . . . . . . . . .26

International Corner . . . . . .14

by Keith Ford Bridging generations and genres through music and poetry.

POSTMASTER: Send all changes of address to: Mu Phi Epsilon International Executive Office, 4705 N. Sonora Avenue, Suite 114, Fresno, CA 93722-3947 © 2012 Mu Phi Epsilon. All rights reserved.

On the cover: Hand with pen and music sheet Credit line © Nikolai Sorokin | Dreamstime.com On the back cover:Music note background Credit line © Kienst | Dreamstime.com

Alumni Presidents Directory . . . . . . . . . . . . . . .28

President’s Message Reaching Out

District Directors Directory . . . . . . . . . . . . . . .30 Executive Officers Directory . . . . . . . . . . . . . . .31

Ready or not, here I come! Remember the anticipation you felt when playing Hide & Seek as a child? You were excited to see if you would be found, or how quickly you could find your friends and race them back to base. That’s how I feel now: filled with excited anticipation about the coming year and looking toward all the possibilities for our Fraternity.

This year we are reaching out to unaffiliated members far and wide. Just like Hide & Seek, many of those unaffiliated have been hiding far too long, and it’s time active members seek them out. We need everyone to remember why they joined Mu Phi Epsilon and to know that the aims and purposes have not changed since then. If we truly believed in Mu Phi when we were initiated, we should still believe in it now, and renewing an affiliation with the Fraternity is one way to continue the support and love we have for Mu Phi Epsilon.

visit us online @ muphiepsilon.org

The International Executive Board (IEB) and the Foundation Board of Directors each met this summer, and at both meetings I was amazed at the creative ideas generated for the future of Mu Phi Epsilon. You will be hearing more of them as the days go by, but here are some teasers:

Upcoming Mu Phi Epsilon Award and Contest Deadlines

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Mary Alice Cox Award for Lifelong Learning Deadline January 31, 2013 See page 12 Marian Bowker Davidson Collaborative Pianist Award Deadline March 1, 2013 See page 25 Original Composition Contest Deadline March 1, 2013 See page 11 Also be sure to review current grants and scholarships offered by the Mu Phi Epsilon Foundation, pages 16-18; application deadline is March 1, 2013. And don’t forget to book the Mu Phi Epsilon International Artist for a concert in your community; see page 6.

• • • • •

Get ready for a grand celebration of the Mu Phi Epsilon Foundation’s 50th anniversary.

Our next Convention will be in Sacramento, CA, from July 29 to August 2, 2014 –four days of music, friendships, and harmonies.

We’ll be reaching out to unaffiliated members and building our active membership base.

There are new collegiate chapters on the horizon.

We’ll welcome the Colorado Springs Alumni Chapter.

And so much more!

My To Do list is getting longer and longer, but it is all so exciting as I watch our Fraternity expand and become stronger while never forgetting what we are about: > Making and enabling marvelous music everywhere > Keeping friendships alive and making new friends > Creating harmonies all over the world with music!

Mu Phi Epsilon belongs to all of us, so I hope you will keep in touch with the IEB throughout the year. We love hearing from you. Be sure to check the website regularly to find scholarship applications, contact information, online copies of The Triangle, links to other chapter websites, the most up-to-date bylaws, and so much more.

Rosemary Ames, International President

Purple Basil Leaf © Sikth | Dreamstime.com

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all o d l u o heart, a ad w , 2012 Indiv idual A wards nd mbak t sou u be es r courage strong d g l ron t ou s w e for mu g life sic sohoisth s our coura e k a es m d th t an e tro t, ubled hear t Oh tell us wha If

International Sterling Achievement Award Jabez Co, Mu Pi Ohio Wesleyan University Composer, flutist, conductor. Active in his chapter, Jabez was an Original Composition Contest winner in 2011 and has received many other composition honors. He performs with the Columbus Symphony Chorus and New Albany Symphony Orchestra and completed his B.M. in music education earlier this year. Learn more at jabezsamuelco.com.

Orah Ashley Lamke Award Doris Ruth Kraushaar Gamma, Ann Arbor Alumni Singer, pianist, retired elementary music teacher. Active Ann Arbor Alumni member for 33 years, corresponding secretary since 1980. Chapter hostess, performer, correspondent, and “walking public relations advertisement for Mu Phi Epsilon.”

Musicological Research Contest PhD Dissertation, Category I Alicia KopfsteinPenk, PhD Alpha Eta, Washington DC Alumni “Leonard Bernstein’s Young People’s Concerts: Context and Canons”

Undergraduate Paper, Category IV Dana M. Carey Mu Eta, University of the Pacific “Influences and Similarities: Takemitsu’s Air, Debussy’s Syrinx, and Messiaen’s Le Merle Noir”

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THE TRIANGLE | Fall 2012

Marian Bowker Davidson Collaborative Pianist Award

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Kristin Jónína Taylor Alpha Kappa Graduate Advisor of Zeta Lambda Pianist. The award will underwrite Kristin’s exploration through research, recording, and performance of works by Icelandic composer Thorkell Sigurbjörnsson for flute/piano and solo voice/piano. Visit kristinjoninataylor.com.

Province Senior Achievement Awards EASTERN GREAT LAKES Donna Zdan Lambda, Ithaca College

GREAT LAKES

SOUTHEAST Brooke Dyson Zeta Zeta, Elon University

WEST CENTRAL

Heather Huber Epsilon Lambda, Eastern Michigan University

Lauren Turner Gamma Gamma, Southwestern Oklahoma State University

EAST CENTRAL

PACIFIC

Jabez Co Mu Pi, Ohio Wesleyan University

Erica Wilens Alpha Delta, Sacramento State University

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oul ves w i our music be if we k l r u new If it wer a friend o et e,if n 2012 Chapter A wards e tknew no no wo b be ic us m r t ou d all ld g but sad wou l a f o r son ou g for m w usic sooth e f i es the troubled heart, an l s i h t hat Alumni Chapters w Collegiate Chapters s u

INTERNATIONAL ALUMNI CHAPTER

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INTERNATIONAL COLLEGIATE CHAPTER

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Kansas City

Alpha Pi, Texas State University

PROVINCE ALUMNI CHAPTER ACHIEVEMENT AWARDS

PROVINCE COLLEGIATE CHAPTER ACHIEVEMENT AWARDS

Atlantic Eastern Great Lakes Great Lakes East Central Southeast South Central Central North Central West Central Pacific Northwest Pacific Pacific Southwest

Eastern Great Lakes Great Lakes

Washington DC Rochester Ann Arbor Terre Haute Area Atlanta Dallas Kansas City Minneapolis-St. Paul Tie: Wichita & Denver Tacoma Sacramento Palos Verdes/South Bay

Lambda, Ithaca College Epsilon Lambda, Eastern Michigan University Mu Pi, Ohio Wesleyan University Zeta Zeta, Elon University Alpha Pi, Texas State University Zeta Lambda, Waldorf College Gamma Gamma, Southwestern Oklahoma State University Alpha Delta, Sacramento State University

East Central Southeast South Central North Central West Central Pacific

OUTSTANDING NOTEWORTHY PROJECT Denver OUTSTANDING COMMUNITY SERVICE PROJECT Alliance OUTSTANDING SERV CHAPTER Palos Verdes/South Bay CHAPTERS

OUTSTANDING SERVICE PROJECT

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OUTSTANDING SERVICE PROJECT

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Lambda, Ithaca College

WITH THE MOST HOURS PER MEMBER:

Palos Verdes/South Bay, San Diego, Rochester

WEBSITE

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Alpha Pi, Texas State University

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Gamma Eta, Central State University

WINNERS AWARD

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Rochester, Palos Verdes/South Bay, Ann Arbor, Wichita

CHAPTER

KATHERINE DOEPKE AWARD FOR CREATIVE PROGRAMMING

Phi Tau, University of North Texas

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Fullerton

OUTSTANDING COMMUNICATIONS YEARBOOK NEWSLETTER WEBSITE

Palos Verdes/South Bay & Rochester Ann Arbor, Boston, Dallas, Los Angeles, Palos Verdes/South Bay, Washington DC and Wichita Alliance, Berkeley, Palos Verdes/South Bay

DISTRICT DIRECTOR OF THE

YEAR

Terry Rowe Epsilon Alpha, Minneapolis/ St. Paul Alumni North Central 1 & 2

FACULTY ADVISOR OF THE

YEAR

Nitza Kats Advisor Alpha Zeta, Radford University

CHAPTER ADVISOR OF THE

YEAR

Dr. Keith Bohm Alpha Delta, Sacramento Alumni Advisor Alpha Delta, Sacramento State Univ MUPHIEPSILON.ORG

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A ward-Winning Chapter Projects of 2012 wardCollegiate

Alumni

Outstanding Service Project to School Gamma Eta, Central State University, Wilberforce, Ohio

Outstanding Noteworthy Project Denver Alumni

Gamma Eta’s assortment of impressive projects was key to their win. As an ongoing project, the chapter is in charge of arranging house management and stage management for student recital performances, guest artist recitals, and other events hosted by the music department in the recital halls. Duties include keeping each hall clean, controlling the lights, and making sure any prop or item needed by the performer is on the stage at the right time. Another ongoing activity is free, two-hour music theory and piano tutoring, offered by chapter members three times a week during the academic year. Finally, “Purple Carpet Affair” was a one-time event to honor excellence in musicianship and scholarship within the music department. It was free to department faculty, staff, and students, and all the banquet food was prepared by chapter members. The event honored attendees for hard work and excellence throughout the academic year.

Outstanding Service Project to Community Lambda, Ithaca College, Ithaca, New York As a one-time project, Lambda sponsored a benefit concert for the Owego School District, which had suffered a major flood catastrophe with damage to many musical instruments, and where many students were homeless for a period of time. A chapter committee organized the benefit, which raised more than $300 and also spurred donation of several instruments. Ongoing projects included performances at area nursing homes and participation in a local intergenerational choir.

Abstract illustration of the music word with music © Brailescu Cristian | Dreamstime.com

Get Your Show on the Road

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Time is running out! If you have not invited the 2011 Mu Phi Epsilon International Competition Winner Yukiko Sekino to perform for your chapter, now is the time.

Check out the requirements on the mpefoundation.org website, select your dates, fill out the application, and get your show on the road.

Questions? Call or email Concert Artist Manager Beverly W, Abegg bevabegg@verizon.net 978-692-7353

THE TRIANGLE | Fall 2012

Denver Alumni played a significant role in the establishment of a new alumni chapter in Colorado Springs. Activities included staffing a booth at the Colorado Music Educators Association Conference in Colorado Springs, where a few names of interested persons were gleaned. The chapter also placed ads in yearbooks of the Denver chapters of American Guild of Organists and Music Teachers Association. Chapter members asked IEO for names and contact information of unaffiliated members in the Colorado Springs area, to whom they sent letters and made follow-up calls. As a result of these and others’ efforts, the new alumni chapter began to meet earlier in the year and it was formally installed in late September.

Outstanding Community Service Project Alliance Alumni In collaboration with the Alliance Historical Society, Alliance Alumni organized a walking tour of four churches and organs in historic downtown Alliance.

Sixty-five people walked from one church to the other, learned about a particular artistic feature of each church sanctuary and the history of its organ and pipes (many were locally manufactured), and were treated to a short recital by the church organist.

Katherine Doepke Award for Creative Programming Fullerton Alumni All Fullerton Alumni programs in 2011-2012 related to birds. Each meeting featured performance of a birdthemed work, including: Bird, Water, Wind by local composer Jennifer Pawlowski When It’s Iris Time in Tennessee (Tennessee state song) Where the Columbines Grow (Colorado state song) Carol of the Birds (Traditional) Lo, Hear the Gentle Lark

by Sir Henry Bishop The Lone, Wild Bird

by Emma Lou Diemer Hope is the Thing with Feathers

by Emma Lou Diemer, text by Emily Dickinson

Collegiate Considerations Professionalism

By Sandra McMillen (Alpha Nu) Second Vice President/Collegiate Advisor What qualities are necessary for an individual to be considered professional? A musician needs much more than talent and a love of music to be successful. The ability to work well with colleagues in career situations can make a big difference in becoming a successful professional. Knowledge of business, budgets and finance, and scheduling helps too. Successful individuals in every field, including music, exhibit a variety of skills and are able to navigate the business and political sides of situations.

It is also important to dress the part if one expects to be treated as a professional. How an individual presents herself or himself sets a tone when working with people, so be sure that the tone you set is positive. This is as true whether a student is conferencing with a teacher or a professional is meeting with a supervisor.

Every student would be wise to seek out opportunities to practice being professional. Collegiate Mu Phi members are fortunate that many such opportunities exist within the fraternity. Through chapter activities, members learn first-hand how organizations operate. Serving as a committee member, committee chairman, or officer on a chapter’s executive board develops skills that can be used in any setting. These skills will be essential when students graduate and move on to their chosen careers, whether as performer, director, or teacher. If the career is one in which music is secondary, knowing how to work within organizations can be even more essential for success.

Mu Phi Epsilon members have the opportunity to set the tone and be the example of a consummate professional.

Are you taking advantage of that opportunity?

EGL1 Kicks Off Mu Phi District Conferences on September 22

Upper left:Singers of Lambda (Ithaca College) perform the Creed.

Upper Right: District director Signe Zale (right) congratulates Yukiko Sekino, pianist and current Mu Phi Epsilon International Artist, after her performance at the conference.

Lower left: Members of Zeta Eta (Binghamton University) who attended the conference.

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Cover Feature Violin key Credit line © Somika87 | Dreamstime.com

A Roundtable with Mu Phi Epsilon Composers

The Need to Compose

By Melissa Eddy, Mu Theta, International Editor

Composing is an innate gift that few possess; composing is an art that anyone can learn. New music springs full-blown from the imagination; new music is painstakingly crafted from one note to the next. Composing is difficult; composing is easy. What’s true, false, or somewhere between?

In this interview, three Mu Phi composers at different career stages give you a glimpse into their calling. Russell Nadel (Phi Gamma, Washington DC Alumni) won the fraternity’s Original Composition Contest undergraduate category in 2005 and continues to compose while pursuing a music education career. See russellnadel.com. Aaron Alon (Phi Omicron) also won in 2005 in two graduate categories and again in 2009 in the Former Winners category. His multifaceted career includes composing, two faculty appointments, playwriting, and theatrical production. Visit aaronalon.com. Emma Lou Diemer (Mu Delta) is an eminent longtime composer and retired university professor who received the Mu Phi Epsilon Award of Merit in 1995 in recognition of her distinguished composition career. More at emmaloudiemermusic.com.

How and when did you begin composing? Tell the story of your very first piece.

Emma Lou (above): The title of the piece was “Santa Lost His Toy Bag.” It was in A minor and I believe it had three phrases. The first two were sequential/parallel in 8

THE TRIANGLE | Fall 2012

construction, and the third was a bit different but ended on the tonic. So the form was A-A1-B. I began making up little pieces at the piano when I was about five, and since I didn’t know how to read music yet, my piano teacher Mabel Payton wrote them down in a little blue book (sadly lost in a move to California years later). I don’t think there was any conscious thought of creating something of one’s own, nothing as deep as that. I simply liked to make up music and sounds at what had become my instrument of choice.

Russell (right): When I was in ninth grade, my piano teacher encouraged me to enter a local competition for students. I figured it was for piano performance, but it turned out to be an original art competition, with artists in different media contributing original work to honor Holocaust victims. It was intimidating to think that I could write anything original, and it took me a long time to figure out how to even start a brand-new piece of music. But after shamelessly stealing the first three notes from a Chopin prelude I was playing at the time and running in a totally different direction from there, I managed to write a piece that pleased me. Imagine my surprise when it won! After that, I started composing more regularly, although I didn’t become serious about it until the summer before my senior year.

Aaron: While I dabbled before college, I didn’t really begin seriously composing until my second undergrad year. I had started off studying theoretical mathematics, but came to realize that music and the arts couldn’t be on the sidelines of my life. So in my second year, I started a double major in math and music. By my third year, I was solely a music major. I had been a performer as a kid, but at this point I realized that where I really needed to be was in the creative arts, and I shifted my focus to composing.

I’m not sure what to consider my first piece, but one of my earliest works that I think was noteworthy (pardon the

Cover Feature pun) was a song cycle “Experiment of Green.” I ended up rewriting one of those songs for my MM program.

melodic line or the chord structure might be notated first and the rest filled in.

Many people wonder about composers, “How do they do that?” What’s your composing process – how do you do that?

As one’s musical vocabulary expands, and one’s knowledge of and acquaintance with different styles and periods broadens, one’s composing should become more complex, varied – at first imitative and eventually more individual.

It was a bit of a leap from playing in John Thompson to the concertos of Prokofiev and beyond. I’ve always been attentive to the structure of a work, usually intuitively (like the simple form of that first piece), but sometimes analytically – being aware that contrast was needed, or more spice, or repetition, or development.

Russell: My process varies from piece to piece, but I often start by sitting down at an instrument – ideally the instrument I’m composing for, but any instrument will do – to try to discover an accompaniment pattern that sounds “fresh, logical, and beautiful” (in the words of my teacher Harold Boatrite). Then, with an accompaniment figuration in hand, I’ll try to improvise or sing a melody that would fit with it. After that initial gesture, it becomes a matter of extension, or trying to draw out as much musical material from the original melodic and accompaniment ideas as possible before going on to something slightly or completely different. Once I have two or more different ideas, then I try to craft them into a larger form, with some ideas transforming, some returning, and some intertwining.

Really, after the initial spur-of-the-moment creation of the original one or two ideas, it becomes less a matter of inspiration and more a matter of puzzle-solving – of putting pieces together in different ways to see how they best fit, to see how the big picture looks without a piece or with an extra piece added, or to try and figure out exactly what harmony on the downbeat of measure 93 is the one I need to change the mood of the piece at that moment.

Occasionally, my process starts with text as the inspiration.

Poetry is an especially marvelous musical source, since it comes with its own innate rhythm and music that a composer can choose to bring out or de-emphasize to make the text more dramatic or effective.

I have a series of video blog entries online that were recorded by the educational program ARTSEdge, based in The Kennedy Center in Washington, DC, in which I explain in a kid-friendly way how I write music. This was in conjunction with a piece commissioned by ARTSEdge that incorporated students’ dramatic storyboards and musical suggestions into the final orchestral piece, titled “The Road to Independence.” You can see the blogs and read more about the project at http://bit.ly/ARTSEdgeBlog.

Emma Lou: From the beginning, my composing process began with improvisation: sitting down at the piano (later sometimes organ or synthesizer) and creating a mood or gesture or purpose, making up motives, harmonies, patterns, melodies, searching for ideas that seemed worthy of development. Then the piece might be improvised or conceived from beginning to end and written down. Or the

Aaron (right): While it seems not very fashionable right now to write programmatic music, my music almost always starts with something extramusical – often a story, social issue, text, etc. I tend to write very meticulously. The advantage is that my works tend to have rich detail; the disadvantage is that I write very slowly (with the exception of musical theatre, which I write quickly, then revise extensively).

I often think of composition in analogy to painting. A painter doesn’t start in the top-left corner of the painting and produce the completed painting, row by row, like a computer printer. I compose much as painters tend to paint: in layers. I believe part of the mystery around composition has to do with people not realizing that the final product is the result of layers of refinement and revision. What passes by in five seconds may have taken hours to write, with layer upon added layer and numerous revisions.

How do you make time to compose amidst other personal and professional demands?

Aaron: This is a significant challenge. Luckily, I love my life and my work. Most of my time is taken up with teaching. Since I love teaching, this is richly rewarding and actually fuels my creativity and passion. But as for finding the time, I find I have to pick my projects carefully and still never find nearly enough time. I sneak in what little time I can whenever I can and, bit by bit, pieces eventually get done. I find that many creative people tend to rise at dawn or go to sleep at dawn; I’m of the latter type. The nighttime is a wonderful time for me to get creative work done without interruption. Now if I could just avoid teaching early morning classes!

Continued on page 10 MuPhiEpsilon.org

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Cover Feature Aaron: The Mu Phi Epsilon Foundation has supported me through numerous grants, scholarships, and awards, which helped cover the significant costs associated with three degrees.

Russell: It was a thrill to be able to enter – and win – the 2005 Mu Phi Epsilon Original Composition Competition in Division I (Class A). It really validated the composition work that I was doing at that time, and encouraged me to continue writing. I hope to enter the Original Composition Competition in Division III this year.

To Emma Lou: What advice would you give to an early-career composer? Mid-career?

Russell Nadel in the classroom. Courtesy photo.

Russell: That is my number one challenge right now as a full-time classroom teacher. I have found myself doing a lot more composing for immediate, utilitarian reasons over the past several months – rather than writing for large ensemble or chamber group, for instance, I’ve written a lot of music for recorders, guitars, and percussion that I know my students can play well and will enjoy. I was actually able to turn those compositions into a book that’s going to be published within the next calendar year.

I’ve also used my compositional skills to re-create, edit, adapt and customize existing song arrangements into versions that will challenge my students and meet their musical needs without requiring more skill than they have.

I find it both challenging and exhilarating to write for children. On the one hand, there are so many more limitations to the pitches, rhythms, and techniques I can use, but on the other, children are capable of amazing musicianship if you write music they can own. All that said, I do hope to start writing music for grown-ups again very soon – it’s been much too long.

Emma Lou: Composing is the most rewarding activity in which I engage. I, for better or worse, can write music at the drop of a hat, and have written a great deal for almost eighty years! That doesn’t mean it has all been good, but it has been a kick, a pleasure. Since it comes easily — well, there is some work involved — there has been time for it along with teaching and performing and reading and social activities.

Emma Lou: First of all, the need to compose should be foremost. Then, on-going exposure to all kinds of music, ability to play at least one instrument well, openness to writing requests, and interest in/friendship with other composers and performers. I am not an expert in what an early-career composer should do to disseminate her/his music. Quality, appeal, perhaps the uniqueness or adventurousness of what one writes are elements that might lead to some success. Even the level of difficulty: the virtuoso wants to be challenged; the less advanced also, but within technical reason. One might research in an analytical way what publishers want, or what audiences want. But then there are many kinds of audiences, from university or avant-garde to community orchestra or church.

The mid-career composer will have pondered all these things and, seeing the success of others, might say, “I can do better than that; why am I not as recognized as I should be?” My own experience has been to try almost every avenue I could think of, to write in all of the above milieus, to challenge myself, to like what I write and believe in it (after taking care in the writing and the assessment of its worth). And – to use a cliché we all know and love – to be not discouraged.

To Russell and Aaron: What’s one burning question you’d like to ask an established composer?

How has Mu Phi Epsilon membership contributed to your career as a composer?

Aaron: How do you write, and how do you listen? When it comes to music, I sometimes feel that I’ve learned enough to know how very little I know. That is, perhaps, the mark of a successful education.

Emma Lou: Mu Phi Epsilon was one of the first organizations to recognize the work of women in the music field. It has been an invaluable means of learning about the careers and experiences of others, of letting the membership know of one’s own work, and of sharing the beauty and strength of music in our lives.

Russell: What experience(s) have you had working with either your publisher or your performing rights organization? How did you go about finding a publisher in the first place?

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THE TRIANGLE | Fall 2012

Cover Feature Emma Lou: I hope I’ve answered Aaron’s questions in some of my previous responses. Now, publishing. It’s a rocky road, but here are some ideas. If you are or want to be a composer on a university faculty, you must publish. If you wish to have your music known and performed, you must publish. The classical music field changes rapidly, and composers who are “crossover” in style and webknowledgeable fare much better than traditional composers. Of course a composer in the popular field, either secular or sacred, will have a much easier road. Even factoring in crossover, classical music in the U.S. accounts for less than three per cent of sales. The percentages are better in South Korea and France.

My experience has been mostly with printed sheet music that is purchased at a music store or ordered. My first published work (1957) was a toccata for marimba, written for a percussionist at Tanglewood who suggested a publisher of percussion music. It is still in print. Next, I decided my music for church could compete with the publications I saw on the market, and sent some anthems to a publisher of sacred music and they were accepted. I had some similar success with organ and choral pieces. A little more “in the know,” I sent brass music to publishers of brass music, selected works to publishers of music by women, etc. Only in later years was I able to publish much of my music for my first-love instrument, piano. Some was concert music and some was music for less advanced pianists, a legitimate field that composers should provide with quality work, just like writers of children’s literature.

Chamber and orchestral works are a hard sell for publishers and composers alike. Publishers that accept works of that type are out there and are commendable in their devotion to contemporary classical music. They can be found by talking with fellow composers and researching catalogs. One should have computer notation copies and some type of recording to submit this category of composition. Of course, other ways have developed recently for one’s music to be heard and known: purchased and printed digitally online from a publisher, listened to on YouTube, included on the composer’s website and available there for direct purchase.

I was advised to join ASCAP in 1962, and that association has improved greatly in recent years, with more performances being noted and improved remuneration for composers. BMI works to similar advantage.

Anything else you would like to say to Triangle readers about your experiences as a composer or about composing in general?

Aaron: Composers need musicians who will champion new music. Musicians need composers who will write new

works for them. Young composers and musicians need more experienced ones to encourage and guide them, and opportunities to test themselves. I’ve seen a rich tradition of all of this in Mu Phi Epsilon, and I would ask all Triangle readers to recommit themselves to supporting new music and emerging talent. I would love to share my latest works, performances, and news with Mu Phi members. Please visit aaronalon.com and add yourself to my mailing list!

Russell: I firmly believe that anyone can compose!

Composition, as far as I’m concerned, is a craft that can be learned and trained, not a supernatural gift from a higher power to a select few. Improvise often, and let those musical experiments be the seeds that you nurture into complete musical expressions. Compose for those who might have use for your music right away, whether that’s other musicians in your life, fellow Mu Phi chapter members looking for a recital piece, children you teach, or the church choir you sing with. And don’t feel like you have to create something epic, or super-long, or super-complex; if you express your musical ideas clearly, straightforwardly, and without pretense or self-consciousness, people will be drawn to your creativity and support you.

Call for Entries

2013 Original Composition Contest Attention composers! Does your career need a boost? Would you like to join the ranks of recognized Mu Phi composers? Then pull out your blank staff paper (or boot up your favorite notation software) and get ready to enter the 2013 Mu Phi Epsilon Original Composition Contest.

The contest is open to all Mu Phi Epsilon members in good standing, i.e. currently affiliated with a chapter or Allied. There are contest divisions for undergraduates, graduates, and alumni as well as former first place winners. Complete details, rules, and application form with submittal information may be found at muphiepsilon.org under Grants and Scholarships/Mu Phi Epsilon Fraternity Contests and Awards, or requested through the International Executive Office.

Contest entry deadline is March 1, 2013.

MuPhiEpsilon.org

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Alumni Reaching Out

by Lenita McCallum, Third Vice President/Alumni Advisor “Reach out and touch someone.” Does that sound familiar? It was a telephone company’s ad slogan a few years back, encouraging us to use long distance calls to stay in touch with family and friends. Contrast that with today’s cell phones that enable us to call around the world with hardly a thought of the distance between caller and receiver. The explosion in devices and methods for instantaneous communication has almost totally changed the way we interact with one another, both personally and corporately.

The IEB’s choice of “Reaching Out” as the Fraternity’s 2012-13 theme has a twofold purpose. First, we want to reach out to all our members in ways they can easily access and will use almost automatically, like email, the Mu Phi Epsilon website, and our Facebook page. The fraternity is increasingly using these and other modern options to move information quickly and cost-effectively and keep in touch with members.

Second, we want to reach out to post-graduate members who are no longer actively affiliated with the Fraternity.

In a small way we already do so through the Allied membership category for those who do not live near an alumni chapter but wish to remain connected to the fraternity. Mu Phi leaders are committed to finding ways for our Allied members to reach out and feel more bonded with each other as a group, and to have a more clearly defined status at convention.

But our greater emphasis is on reaching members who are completely unaffiliated – that is, who have graduated (whether recently or long ago) and are not active Allied or alumni chapter members.

Let’s explore “reaching out” in that light. While electronic media are a boon in many ways, we all are aware that online communication can de-personalize relationships to some extent. We also know that an email campaign alone will not do the job of getting the unaffiliated to sign up; that requires personal contact from a chapter or actively affiliated member. That’s where you come in! Here are some activities that you or your chapter could pursue to Reach Out to unaffiliated Mu Phis: • Ask the International Executive Office to help identify unaffiliated members in your area.

• Include unaffiliated members in your activities Continued on back cover.

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THE MARY ALICE COX AWARD FOR LIFELONG LEARNING Applications open through January 31 Supported by a generous bequest from Mary Alice Cox (Beta Omega, Muncie Alumni), the Fraternity offers an annual $1500 award to support a project for continued or renewed development or mid-career transition of an alumni member. The award is competitive and may be used in any field of professional music, including but not limited to performance, composition, pedagogy and education, music therapy, music administration, or music technology.

Applicants must be actively affiliated (current dues paid to an alumni chapter or as an Allied member) and must have been affiliated for at least ten years.

Applications include a detailed plan of action, a simple budget, a schedule for the proposed project, what accomplishment is expected, and how it will benefit the applicant. A $25 fee must accompany the application.

For complete requirements, details, and application form, visit http://bit.ly/MPEContestAwards. Submit applications to Music Advisor Dr. Martha MacDonald (see IEB directory for address) and postmarked by January 31, 2013.

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Upon Listening

’ Tis the Season Reviewed by Sherry Kloss Upon listening to ’Tis the Season performed by the DuehlmeierGritton Piano Duo, you will be filled with nostalgia and Christmas spirit.

Our childhoods were abundantly rich with holiday music that imprinted memorable tones in our hearts and souls. Here we have the opportunity to revisit those times with a new twist as the beloved melodies appear in 21st century realizations. It is likely that every listener knows each song on the recording. It is unlikely, however, that you have heard these melodies performed with such pianistic flair and utter joy, so this collection will be a welcome addition to your holiday listening.

As a noble effort to ensure that young pianists of today have the opportunity to study music, sale proceeds of this CD will benefit the University of Utah Piano Outreach Program to inner-city schools.

How to characterize this music? The tunes are arrangements or transcriptions of original compositions, with a mixture of light jazz, boogie-woogie, rock n’ roll, minimalism, traditional hymn, and the majesty of Bach, creating a musical experience that is pleasant, soothing, restful, and worthwhile.

The writing for two pianos features contrapuntal, melodic and harmonic elements that mesh well between the instruments. This is not background

music, but begs for a true listening to discover interesting use of thematic materials, hemiolas, rhythmic pizzazz, and a wide array of harmonic surprises.

“Go Tell It on the Mountain” employs an etude-like ostinato that is handed back and forth amidst an adventurous romp of melody. Listen carefully to discover Mel Torme within spicy rhythmic and ornamental patterns in “The Christmas Song.” A journey of tonalities describes “Silent Night,” with effective use of strummed chords creating a sojourn into unfamiliar harmonic territory.

Leroy Anderson’s “Sleigh Ride” is truly that in the hands of these artists: a picturesque ride from moments of calmness to more excited animation. Rich, masterful use of the pedal to emulate the celeste in Tchaikovsky’s “Dance of the Sugar Plum Fairy” adds the required aura, while the arrangement accomplishes the daunting task of translating a full orchestral work to four-hand piano.

One cannot help visualizing “Russian Dance” while listening, with dancers daringly hoisted into the air. There is nothing like Bach’s “Jesu, Joy of Man’s Desiring,” and this arrangement is a restorative and welcome treat. Variations within the joyful 13th century carol ”Good King Wenceslas” are a delight.

Available through CD Baby, Amazon, and directly through the University of Utah School of Music by check.

The proceeds of the sale go to benefit the Piano Outreach program in Title 1 Schools at the University of Utah.

Piano Area University of Utah 1375 President's Circle SLC, UT 84112 pianist@xmission.com

Award-winning Steinway Artists and Grammy® nominees Duehlmeier and Bonnie Gritton (both Epsilon Mu and Salt Lake City Alumni) have travelled the continent sharing their art and love of music. They are in residence at the University of Utah and have performed with the Warsaw Philharmonic, Boston Pops, Czech Radio Orchestra, Utah Symphony, Armenian Philharmonic, and in many important concert halls of the world. Their CDs on the Albany, MMC, Centaur and D&G labels are available at www.duehlmeier-gritton.com.

> Upon Listening Contributor

Sherry Kloss

Epsilon Upsilon, Muncie Alumni 3510 West University Avenue Muncie, IN 47303 765-287-8469 sherkl@excite.com MuPhiEpsilon.org

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Breaking the Silence

by Keith Ford

Earlier in my career as a community classical musician, I worked alongside orchestras to bring classical music to children who were unfamiliar with the music. These education-based projects would often end with a field trip to a fantastic show of orchestral music at the Barbican or the Royal Festival Hall. These concerts were inspiring, but they always left me wondering what music the children would switch on when they got home.

Rap? Sesame Street? Nigerian music?

A bit of Mozart – or not?

Collaboration among generations Over the last four years I have explored my students’ tastes in music while working as a keyboard teacher at my local public high school. There I led concerts alongside teenagers that included their music as well as classical. I wanted to see if a classical musician (me) could collaborate with teenage musicians (who are often beginners and listen to other kinds of music) in concerts that featured both of our musics and would still draw in a crowd.

Last June my students and I performed a musical feast that we called Breaking the Silence.

Performed in a local church, it showcased eleven teenage musicians and six adult musicians, professional and amateur. The program was music and poetry by the students and me, plus Beethoven, Schumann, Brahms, Debussy, Pärt, and Ives.

The classical composers on the program were chosen near the end of the project because there were other issues to attend to first. How would we organize a program with so many different musical genres? And how could we professionals collaborate effectively with these beginners, who didn’t listen to much classical music 14

anyway? As one of the students remarked afterwards, no one knew what we were doing when we started planning the concert.

Uniting genres through poetry At the beginning of the school year my keyboard students and I had formed a poetry club to discuss and write poetry about issues that were interesting to us. Out of these discussions came four themes: Nature, Life, Monasteries, and Childhood, and we realized while planning the concert that these themes could help determine the music we would play. Debussy’s Images Book I and Beethoven’s Moonlight Sonata fit beautifully under Nature. Schumann’s youthful pieces fit well under Childhood. Yet ultimately it was our poetry and compositions that formed a glue to unite the classical music with the non-classical from Johnny Cash to student raps.

One of the most challenging collaborations was between me and one of my pupils, a 16-year-old rapper named M.C. Genius. In the months of rehearsals, his rap “I want to be free” was accompanied by a backing track from his Blackberry. It sounded fine in the classroom, but at the last rehearsal, in the church, it sounded hideous.

Our collaboration up to that point had consisted of my playing after him in the concert: he rapped, then I played Brahms’ Ballade op. 10 no. 1 (about patricide in Scotland – a very ‘rap’ theme). But I wanted to collaborate with him, not next to him, and that horrible phony sound in the last rehearsal was my opportunity to do something. I jumped to the piano and started playing a fortissimo loop of four broken chords (imagine Steve Reich’s 8 Lines but without the

The Triangle | Fall 2012

Keith rehearsing with violinist Barnaby Hollington before the Breaking the Silence concert last June in London.

irregular time signatures). M.C. wove his words around my regularly metered playing, and we were both blown away with the results.

Making space for all music Classical music is a canon that radiates forth from Western history – it is my music, the music I was taught and surrounded by in childhood. But I’ve learned to make space for other music of different audiences, whatever music that might be. We connect as human beings first, and that connection can, through new relationships, join newly written music with music that echoes from the past.

Keith Ford is an Allied Member living in London, UK. He is a pianist and composer who graduated from the Royal Academy of Music in 2005. He co-chairs the International Committee with conductor and pianist Marlon Daniel.

> International Committee Co-Chairs

Marlon Daniel

Mu Xi, New York Alumni 212-641-0305 marlondanielnyc@gmail.com

Keith Ford

Alpha Kappa, Allied +44 7792-863-867 Keith.L.Ford@gmail.com

Bookshelf Bookshelf Credit line : © Dmstudio | Dreamstime.com

A Performer’s Guide to SeventeenthCentury Music, Second Edition Reviewed by Rona Commins A Performer’s Guide to Seventeenth-Century Music is an invaluable resource for both students and professional musicians. It brings musicians up to date on musical research about the period and helps performers to see the seventeenth century as (almost) a separate era within the Baroque.

The book’s twenty-two essays, written by eminent scholars and musicians in each field, are organized into four parts: Vocal and Choral Issues; Wind, String, and Percussion Instruments; Performance Practice and Practical Considerations; and The Seventeenth Century Stage. This new edition contains updated and expanded reference materials and internet resources.

The first essay in part one is “National Singing Styles” by Sally Sanford, which begins with a quote from 1609 that sums up her thesis and leads humorously into the seventeenthcentury milieu: Divers Nations have divers fashions, and differ in habite, diet, studies, speech and song. Hence it is that the English doe carroll; the French sing; the Spaniards weepe; the Italians … caper with their voices; the others barke; but the Germans (which I am ashamed to utter) doe howle like wolves. (Translation by John Dowland from Musicae active micrologus) Sanford delineates the differences among singing practices in Italy, France, Germany, England, and Spain.

She concludes with the observation that “a pan-European approach (has) … led to a regrettable homogenization of performance styles in present-day performances of seventeenth-century music.” Performance styles in the

seventeenth century were as distinctive and unique as are those of Placido Domingo, Renee Fleming, Barbra Streisand, Bobby McFerrin, and Andrea Bocelli in our time.

Part two on Wind, String, and Percussion Instruments contains eleven essays, including a new chapter on trombone by editor Stewart Carter.

Carter describes the seventeenthcentury instrument, how to buy a historic reproduction, and how to choose a mouthpiece. Other topics include playing technique, embouchure, articulation, and ornamentation, plus a list of repertory for trombone solo, as continuo, and in small mixed ensembles. Other new essays survey the latest research on the violin, violoncello, and violone.

Part three on Performance Practice and Practical Considerations contains five essays on topics that are applicable to instrumental and vocal performers, conductors, and coaches: ornamentation, basso continuo, meter and tempo, tuning and temperament, and pitch and transposition.

The two essays in part four, The Seventeenth-Century Stage, are fascinating discussions of dance and theatrical productions. Dorothy Olsson’s essay on dance includes wonderful reproductions of drawings of actual dance productions of the period; a discussion of music, steps, and costumes; and production considerations for staging seventeenthcentury dance. Suggestions are to use a long, narrow hall; situate the audience in a historically accurate position; and use a wood floor preferably without cement underlay In the final essay, James Middleton puts in a good word for present-day productions of seventeenth-century

A Performer’s Guide to SeventeenthCentury Music, Second Edition Edited by Stewart Carter, revised and expanded by Jeffery Kite-Powell.

Published May 25, 2012; 560 pages, 20 b&w photos, 58 music examples.

Cloth, ISBN 978-0-253-35706-9 $49.95; Ebook, 978-0-253-00528-1 $41.99 Indiana University Press 1-800-842-6796 or http://iupress.indiana.edu

theatrical works. He suggests that we endure the tongue-clicking of purists as we use modernized transcriptions: “I believe they do more good than harm, because they make an unfamiliar kind of theater available to a new audience.

Besides, the purists of even a decade ago are now reviled by the new crop of purists, who somehow believe their work to be a true and accurate representation of ‘what they really did in 1687.’”

Bloomington Indiana Press speaks truly when it recommends “this highly accessible handbook … a welcome reference for any musician or singer interested in historically informed performance.”

> Bookshelf Contributor

Rona Commins

Alpha Delta, Sacramento Alumni ronacommins@yahoo.com MuPhiEpsilon.org

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ACME

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ARTISTS, COMPOSERS, MUSICOLOGISTS & EDUCATORS

Meet Victoria Bond, Composer and Conductor

By Mary Au, Mu Nu, Los Angeles Alumni ACME honoree Victoria Bond (Epsilon Psi) leads a dual career as composer and conductor. Her compositions have been praised as “powerful, stylistically varied and technically demanding” (New York Times) and her conducting as “impassioned” (Wall Street Journal) and “full of energy and fervor” (NY Times).

The first woman awarded a doctorate in orchestral conducting from Juilliard, Bond is one of few female American composer/conductors to receive multiple commissions from major organizations and also hold music director positions with leading ensembles. Among many conducting posts, she served as an Exxon/Arts Endowment Conductor with The Pittsburgh Symphony under André Previn, and she has guest conducted throughout the United States, Europe, South America, and China.

Through her non-profit organization Welltone New Music, Bond is producer of Cutting Edge Concerts New Music Festival in New York. Currently Principal Guest Conductor of Chamber Opera Chicago and a frequent pre-concert lecturer for the New York Philharmonic, Bond has been profiled in The Wall Street Journal, NBC’s Today Show, People magazine, and The New York Times, and was voted Woman of the Year in Virginia.

As a composer, Bond’s mastery of orchestral writing stems directly from her experience on the podium. Her catalogue includes concertos, operas, ballets, chamber music, keyboard music, choral works, works with narrator, and works for youth. Her music is published by Theodore Presser, C.F. Peters, G. Schirmer, Subito Music, Southern Music and Protone Music, and has been recorded on the Koch International, Albany, GEGA, Protone, and Family Classic labels. In 2009 Bond received the American Academy of Arts and Letters Walter Hinrichsen Award,

Copyright © 2012 Victoria Bond All Rights Reserved.

given for the publication of a work by a mid-career American composer.

In her third opera Mrs. President, “Bond has struck gold” (NY Times) in the true story of Victoria Woodhull, the first woman to run for the American presidency in 1872.

Without letting historical detail overwhelm its purely operatic potential, the opera – inspired by the headstrong young woman and her ideas and advocacy for free love, women’s voting rights, and other progressive issues – is most vividly about passion, betrayal, and backstairs intrigue. “It is music that overflows with lyricism and passion,” praised The Southampton Press after a preview concert. In October 2012 Bond conducted The Anchorage Opera in the fully staged premiere of Mrs. President.

Learn more about Victoria’s career at victoriabond.com.

She welcomes contacts from Mu Phi members and may be reached at info@victoriabond.com.

> ACME Co-Chairs

Arietha Lockhart,

Beta Gamma, Atlanta Alumni 404-291-5162, acme@muphiepsilon.org

Mary Au,

Mu Nu, Los Angeles Alumni 323-666-2603, auhaus@gmail.com

ACME Nomination Procedure

ACME Honorees Update

Eligible ACME nominees are Mu Phis who are current, dues-paying chapter members and have a distinguished career in one of the ACME areas. Nominations must be in writing. Send an email or letter briefly describing the person’s career; include the nominee’s address, telephone number, and e-mail address. Mary and Arietha will then contact the nominee with an invitation to submit further information. After that’s received, the ACME committee will evaluate and decide on the nomination.

ACME honorees, please keep Mary and Arietha informed of your professional activities and projects. Email your news to them or send a letter briefly describing your recent projects or performances and any other noteworthy updates. Please feel free to include photos and programs, and be sure to include your name, contact information, chapter of initiation, and present chapter affiliation.

Think about the most accomplished Mu Phis you know and nominate them for ACME recognition!

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Mu Phi Leaders Meet a District Director First in a continuing series of short profiles to introduce the district directors – leaders who keep the wheels turning at our fraternity’s regional level. Today, meet the 2012 District Director of the Year.

A University of Minnesota graduate, vocalist Terry Rowe became a Mu Phi by special election in 2004 and immediately became active with the Minneapolis/St. Paul Alumni chapter, serving as chapter vice-president (2006-08) and president (2008-10). Because of her skill and dedication, she was recommended to become a district director.

As a new DD, Terry took on not one but two districts and has provided strong leadership to all chapters in both districts. When she first began, the collegiate chapters were uneasy about her visits; it had been a long time since NC1 or 2 had a DD, they didn’t know what to expect, and were worried that they would be judged. Terry put them at ease, let them know she was there to help, shared ideas, and provided needed leadership.

Now the collegiate chapters look forward to her visits and hope to build more connections with area alumni. Terry and her chapters are planning an NC1/2 district conference for 2012-13 – the first in many years.

Terry Rowe Epsilon Alpha, Minneapolis/St. Paul Alumni District Director NC1 & NC2.

Terry lives in Minneapolis, where she is an active performing member of the Minnesota Chorale and Thursday Music Society and previously sang with church and school choirs.

She studies piano with fellow alumni chapter member Jim Reilly and is learning French. Merci beaucoup to Terry for her service to Mu Phi Epsilon!

Founders Day Message - 2012 On November 13, more than 80,000 Mu Phi Epsilon members will celebrate our 109th anniversary. It all began with two people, Dr. Winthrop S. Sterling and Elizabeth Mathias Fuqua.

They saw a vision and had the courage to conceive and build this Fraternity we know today. They envisioned an organization based on the bonds of music, friendship and harmony. Those principles are as important today as they were in 1903.

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Picture yourself on an evening in November 1903, when a small group of friends desired to add to their school life something that would enrich their experience and become a lasting legacy for more students to come. And now remember your initiation day into Mu Phi Epsilon.

No matter where or when, you were embraced and welcomed into something very special – something that extends well beyond our college years.

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THE TRIANGLE | Fall 2012

Mu Phi Epsilon members reach out to each other all over the world. We are unique in our individuality but united in our common commitment to our Fraternity. There is nothing that we cannot achieve together. My hope for each member is that we will continue to build on the dreams our founders had for the future to make Mu Phi Epsilon a place where undergraduate and alumni alike can thrive and of which we can all be proud.

The International Executive Board joins me in wishing you a very happy and exciting 109th anniversary in Mu Phi Epsilon! We urge you to join us in reaching out to Mu Phi members near and far. Renew those Mu Phi connections.

Rosemary Ames International President

Mu Phi Leaders First in a series

Who are the IEB and what do they do?

By Melissa J. Eddy, International Editor Have you ever wondered exactly what our elected officers do? Yes, you know their titles. You may even be familiar with their job descriptions from the bylaws. But do you have any concept of their actual activities on behalf of Mu Phi Epsilon, every week if not every day? The Triangle wants you to know!

In this and coming issues, we will introduce each International Executive Board position, with a description of duties and a snapshot of activities. We hope you’ll have a renewed appreciation of our volunteer leaders.

First International Vice President/ Extension Officer

Activities of the First VP include: • Receive and respond to mail, phone, and email inquiries about how to establish a new chapter or reactivate one. For prospective collegiate chapters, receive dean’s letter of permission to establish a chapter. Send brochure that explains the steps and fees.

• Talk by phone or email with representatives of prospective chapter (students, faculty, alumni, etc.) about recruitment, application, budget, and other relevant matters. Consult as needed on selection of faculty advisor. Send informative brochure that can be copied for recruitment.

• Review submitted Petition for Charter for completeness and necessary signatures. Communicate with faculty advisor to verify the eligibility of candidates.

• Have IEO send training materials to prospective chapter.

Duties as stated in the fraternity’s bylaws: Be the Extension Officer responsible for the formation of new chapters and the reinstallation of previously-established chapters of Mu Phi Epsilon; work with the Membership Committee in recruitment of and communication with Allied members.

• Consult with faculty advisor and chapter leaders as needed. Keep International President and Executive Secretary-Treasurer informed of chapter’s progress.

• Prepare and present IEB ballot for vote to approve new chapter.

• Coordinate personnel (International President, local alumni members) to conduct chapter training.

• Occasionally, travel to assist with chapter installation.

Current First VP/Extension Officer Charlotte Brown (left), a retired elementary school music teacher and band director, estimates that she spends an average ten to twelve hours per week on these activities. She also looks forward to working with a reinvigorated Membership Committee to improve services to Allied members. Charlotte says the position brings great personal reward in working with students and alumni members and making new Mu Phi friends. “I feel honored to meet many talented, friendly, and enthusiastic people who share the bonds of friendship, harmony, and music.” We thank Charlotte for her service in extending our fraternity’s reach to musicians and their communities.

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Petra Anderson Doing Well

Applause & Encore

Survivor of Colorado Shooting Vocalist Rachel Barham (Delta Nu, Washington D.C. Alumni) performed in the Capitol Fringe Festival in July as a cast member of The Outcasts of Poker Flat, a new opera by Andrew Earle Simpson.

Mu Phi Epsilon members and several chapters have supported Petra through benefit events, contributions, thoughts, and prayers. Austin writes, "Thanks to the incredibly generous actions of the thousands of people who donated their time and money, we have raised enough funds to cover Petra's medical and recovery costs."

He continues, "I know I speak for Petra when I say that we would both be greatly honored to have Mu Phi Epsilon perform her works.

A 2012 graduate of University of the Pacific, 2011 Mu Eta president, and a winner of the 2011 Original Composition Contest, Petra has been accepted to graduate school at the University of Maryland but will delay those studies until her recovery is more complete. Here are a few resources about Petra and her remarkable story.

Article about one of Petra’s projects: The Triangle, Winter 2011, p. 17 News and support: facebook.com/groups/andersonfamilyprayers Official blog: readytobelieve.blogspot.com Petra’s website: petraandersonmusic.com

Pianist Madeleine Forte (Gamma Kappa, ACME) recently donated her collection of personal letters from Olivier Messiaen and Yvonne Loriod-Messiaen to the Woodson Research Center at Rice University.

Keyboard artist Amanda Setlik (Delta Rho) interviewed composer Emma Lou Diemer (Mu Delta) in Santa Barbara in October 2011.

The interview was in preparation for Amanda’s doctoral lecture recital on Emma Lou Diemer (left) and Emma’s keyboard music Amanda Setlick. later that semester at the University of Colorado at Boulder. The lecture title was “Extended Keyboard Techniques and Compositional Philosophy: A Conversation with Emma Lou Diemer” and Amanda performed Diemer’s Toccata for Piano as well as excerpts from her Piano Sonata No. 3.

Photo courtesy of Amanda Setlick

As of late summer, Petra was reported to be making excellent progress in her recovery. She has returned home where she continues cognitive and physical therapy and maintains a strong, resolute spirit, according to the blog where her sister Chloe, boyfriend Austin Hogan (Mu Eta), and others post regularly. Music is an important component; one blog entry describes Petra’s request, just days after the shooting, for clarinetist Austin to play for her in the hospital. He is now working with Petra to help her recover musical memory and other functions.

Conductor Marlon Daniel (Mu Xi, New York Alumni) writes, “I recently spent the afternoon with the great Pulitzer Prize winning composer George Walker. We had wonderful lunch (he George Walker (left) and Marlon Daniel. actually bought mine!) and conversed about his life and many of his compositions. I am fortunate that I have gotten to meet and work with some of the most prolific composers of our day, and now George Walker and I are in discussion about working together this season. Wow.”

Photo courtesy of Marlon Daniel.

Violinist and composer Petra Anderson (Mu Eta) was seriously injured in July’s theater shooting incident in Aurora, Colorado, receiving wounds to the head and arm.

A shotgun pellet that passed through her brain caused miraculously little damage, and her amazing survival and recovery have been covered by media around the world.

She and her family received an outpouring of support, including over $260,000 raised in an online campaign to benefit both Petra and her mother Kim, who was battling cancer at the time and has since passed away.

Gamma Psi members Sharon Boyle, Sherry Bube, and Laura Kempton traveled in June to Jamaica, where they volunteered to provide music therapy services at a special needs school, a homeless shelter, and an infirmary. “There was limited stimulation, typically no visitors,” said Sharon, associate professor of music therapy at St. Mary-of-the-Woods College where Laura and Sherry are music therapy students, quoted in an article in the Terre Haute Tribune Star. “When we came in and began playing music, the people sat up, they smiled and laughed. Music brought beauty into that space.” Read the full article at http://bit.ly/REmhMw.

Applause & Encore An article about violinist Margaret Davis Kew (Mu Phi) appeared in Lady A Magazine in Atchison, Kansas.

Her longtime friend Lurena Brown Hermann (Phi Epsilon) graciously provided the article to The Triangle.

It covered Margaret’s long career from early aspirations (“I was eight years old when I got my first violin, but I wanted one when I was three”) through many years as an orchestral musician, chamber music artist, faculty member, and private teacher. The article includes her fond recollection of once playing a Stradivarius violin loaned to her by Isaac Stern. Margaret continues to teach from the home she shares with her husband in an Atchison retirement community.

In late September, music therapist and educator Tracy Richardson (Gamma Psi, Terre Haute Alumni) was a guest on a music therapy talk show online through blogtalkradio. The podcast is available at http://www.blogtalkradio.com/mtshow.

Davidson Collaborative Pianist Award Applications Now Open If you are a collaborative keyboard artist, here’s your chance to apply for one of the few awards offered in this important musical field. Mu Phi Epsilon members in good standing (i.e. currently affiliated with a chapter or Allied) may apply for the 2013 Marian Bowker Davidson Collaborative Pianist Award. The $1000 award is given annually to support a project by a collaborative pianist or other keyboard instrumentalist.

The proposed activity should develop collaborative performance skills, support further non-academic study, or facilitate a special collaborative project.

The award is not limited by age, financial need, or geography (i.e. the project may be in the U.S. or abroad).

Complete details, rules, and application form with submittal information may be found under Grants and Scholarships/Mu Phi Epsilon Fraternity Contests and Awards @ muphiepsilon.org, or requested through the International Executive Office. Application deadline is March 1, 2013.

Left to right: Lestelle Manley (District Director, P1), Dana Carey, Austin Hogan, and Sara Zeigler (President, Sacramento Alumni)

Sacramento Alumni collaborated with Crocker Art Museum in July to present a recital by two past winners of the chapter’s scholarship competition, flutist Dana Carey (Mu Eta, 2011 winner) and clarinetist Austin Hogan (Mu Eta, 2009 winner). The duo’s repertoire included compositions by John Cage, Heinrich Sutermeister, Ian Clarke, Kaspar Kummer, Jacob TV, Paquito D’Rivera, and John Addison, both solo and duets, all unaccompanied. The music choices complemented current exhibitions at the museum.

Sacramento Alumni has been holding scholarship competitions for nearby collegiate members for over forty years and has collaborated with Crocker Art Museum for over thirty years.

IEB members worked hard at their annual meeting in July.

Clockwise around table, from lower left: Gloria Debatin, Charlotte Brown, Martha MacDonald, Sandra McMillen, Rosemary Ames, Lenita McCallum, Kurt-Alexander Zeller.

Not pictured: photographer Melissa Eddy.

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Final Notes Marian D. Aglio Phi Nu, March 12, 1944 Died May 10, 2011 Emily Gibbs Begian Phi Kappa, May 23, 1943 Died February 20, 2012 Educator. Emily endowed a foundation at the Blue Lake Fine Arts Camp to assist aspiring young musicians.

Helen Elizabeth Alexander Blair Phi Tau, March 22, 1945 Died January 10, 2010 Pianist, church musician. Helen was a founding member of the Longview (Texas) Symphony and the Longview Piano Teachers Association.

Louretta Irene King Brooks Phi Zeta, November 26, 1940 Died August 9, 2011 Music educator.

Louretta taught public school music for thirty years. She was a member of Chicago’s Grant Park Symphony and long-time assistant principal bassist in the Omaha Symphony.

Anna Lea Mayhew Donaldson Phi Xi, October 24, 1941 Died January 20, 2011 Music historian, organist. Anna served many years as a church organist and was music librarian at HardinSimmons University.

Rebecca Gwendolyn Evans Doolittle Mu Psi, May 17, 1943 Cedar Rapids Alumni Died March 8, 2012 Music educator. Becky and three sisters started their musical careers by learning to play trumpet, French horn, flugelhorn, and piano at the Salvation Army. She later taught piano privately.

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Valerie A. Szczech Dudek Mu Epsilon, October 13, 1940 Died March, 2010 Pianist. Valerie taught piano and entertained with the Showtime Performers.

Katherine Louise Lennard Phi Xi, February 3, 1940 Died June 3, 2010 Music educator. Katherine was a music coordinator in the North East School District of San Antonio.

Rose Marie Hartdegen Fazekas Phi Mu, November 16, 1941 Died September 21, 2011 Educator. A first grade teacher for more than forty years, Rose Marie played piano, recorder, and accordion.

Emily Boyd Lowe Epsilon Lambda, February 11, 1961 Ann Arbor Alumni, ACME Died August 11, 2012 Vocalist, conductor. Emily was professor of music for thirty years at Eastern Michigan University, where she conducted the Madrigal Choir.

After moving to Florida, she taught voice and performed as a soloist at Florida Keys Community College, where she founded and directed the Keys Chorale.

Katharine Peterson GronenKaiser Tau, November 13, 1942 Died April 23, 2011 Vocalist. Katharine taught second grade in public schools, performed as a soloist, and served as a church musician.

Elizabeth Martin Hall Mu Gamma, April 1, 1942 Died May 4, 2012 Music educator.

Helen Young Harville Phi Mu, June 1, 1941 Died February 13, 2012 Pianist. Helen taught privately for many years.

Doris Evelyn Helfer Phi Pi, November 5, 1941 Died September 21, 2011 Music educator, church organist.

Myra Irene Smith Hook Mu Zeta, 12-9-1941 Died October 15, 2011 Music educator, pianist. Myra taught music in public schools, college, and privately, and performed as pianist, organist, and accompanist.

Margaret Boyd Kashner Zeta, May 12, 1940 Died May 4, 2010 Music educator. Margaret taught music and arts, served as a church musician, and volunteered in many musical activities.

THE TRIANGLE | Fall 2012

Lenore Marie Biesterfeld McKirahan Mu Upsilon, November 5, 1944 Died September 11, 2010 Pianist. Lenore performed as a soloist and collaborative pianist, taught private piano, and was active in the Music Teachers Association of California.

Jane Ringo Unhoch Murray Mu, December 9, 1945 Atlanta Alumni Died July 3, 2012 Soprano. A past president of Atlanta Alumni, Jane was an accomplished soloist, voice and piano teacher, and choral director. She also taught high school French, Latin and English.

Betty J. Saling Normandin Mu Beta, November 16, 1940 Died February 10, 2012 Educator. Betty specialized in special education and was an advocate for art therapy.

Doris Holland Parker Phi Xi, April 3, 1944 Died January 17, 2000 Music educator. Doris taught public school choral music and was on the honorary board of the San Angelo (TX) Symphony.

Final Notes Mary Patricia Peddicord Phi Sigma, June 11, 1944 Died January 13, 2011 Music educator.

Kathryn Lee Prosser Perkins Phi Epsilon, April 10, 1943 Died February 5, 2012 Music educator, organist. Kathryn taught public school music and private piano, and was an active church musician. She served on the boards of Emporia Arts Council and Emporia State University Music School.

Mary Lee Herron Pokrywka Phi Mu, November 8, 1942 Died June 2, 2012 Educator. Mary Lee was a teacher aide and education volunteer.

Elizabeth Pitt Stewart Rosson Iota Alpha, February 21, 1943 Died December 26, 2010 Pianist. Elizabeth was a lifelong supporter of the music community and longtime music teacher in the nursery department of her church.

Jean Antoinette Zenk Rudloff Phi Sigma, June 11, 1944 Allied Died June 12, 2012 Archivist. Jean was archivist in the Department for Libraries and Archives at the University of Kentucky. Active in the arts community, she had served as president of the Frankfort Arts Foundation.

Helen Rees Selby Phi Mu, June 14, 1942 Claremont Alumni Died April 29, 2010 Music educator. Helen was a church musician, gave private voice lessons, sang in the Mountainside Master Chorale, and was active in other music organizations.

N. June Anutta Splees Gamma, April 22, 1944 Died August 14, 2010 Music educator. June taught private piano.

Eileen Rose Steensen Epsilon, November 17, 1943 Died January 19, 2011 Piano. Eileen studied in Paris and the U.S., and during WWII traveled with a USO group to Europe and Egypt to perform duopiano. She taught piano at Southern Methodist University and was active in Pro Musica and the Dallas Symphony Orchestra League.

Mary Elizabeth Durett Stephens Phi Tau (charter member), March 22, 1945 Lawrence Alumni Died May 19, 2011 Pianist, organist. A church organist and choir master, Mary Elizabeth also taught piano and organ at the college level and privately. She was active in American Guild of Organists, Pi Kappa Lambda, Association of Anglican Musicians, and local music clubs.

Shirley Trevor Stephens Mu Tau, December 23, 1943 Died April 22, 2012 Pianist. Shirley taught piano and was active in local music organizations.

during WWII and later became a librarian.

Dagney Elanor Ordahl Vaswig Epsilon Sigma, November 26, 1962 Tacoma Alumni Died May 7, 2012 Vocalist, church musician. Dagney won a 1953 competition to perform on national television, launching her career in classical music and musical theater. One of seven musical sisters who often performed together, she served as president of Tacoma Alumni and was long-time advisor to Epsilon Sigma.

Perla L. Zuluetz Warren Kappa, April 26, 1958 Sacramento Alumni Died August 1, 2012 Pianist, educator. Perla was a classical pianist with a passion for jazz who ignited similar passions in generations of musicians. Also a conductor and teacher, she was a faculty member at American River College in Sacramento and conducted many honor choirs.

Elinor “Bobbie” Jensen Wayne Mu Chi, May 10, 1942 Died October 9, 2010 Music educator. A long-time music teacher and educational therapist, Bobbie served as chapter advisor for Alpha Pi at Texas State University.

Ruby H. Keller Wilkens Phi Epsilon, December 14, 1942 Died December 8, 2011 Pianist. Ruby was active in local music groups and taught private piano well into her 90s.

Helen Hite Stern Phi Upsilon, January 1, 1942 Died April 7, 2011 Jean Jeffrey Tosdal Gamma, November 2, 1941 Died June 16, 2010 Flutist. A lifelong professional performer, Jean first learned the flute for respiratory therapy as a child. She served in the Women’s Marine Corps

> Final Notes Contributor

Wynona Wieting Lipsett

Mu Chi, Dallas Alumni 148 LCR Cedar B-1 Mexia, TX 76667 254-562-9397 wyndon@nctv.com MuPhiEpsilon.org

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Alumni Presidents Directory ALLIANCE, OH RUSSELL NEWBURN 330-821-7877 RSLNBN@YAHOO.COM

DAYTON, OH CHRISTINA SMITH 937-890-6689 OFMC.JR@JUNO.COM

MINNEAPOLIS-ST. PAUL JIM REILLY 612-870-4592 REILL084@UMN.EDU

SAN JOSE, CA EMILY LU 408-253-4305 EMILYLUH@AOL.COM

ANN ARBOR, MI NANCY MURPHY 734-665-2008 N_MURPHY@DESIGNTEST.COM

DENTON, TX PEGGY CAPPS 940-382-0804 PEGGYCAPPS@GMAIL.COM

MUNCIE, IN CONTACT: MARY HAGOPIAN 765-288-5500 MHAGOPIA@BSU.EDU

ST. LOUIS AREA, MO ELAINE REPKING 314-846-0526 WILDLAVENDER@AOL.COM

ATLANTA, GA ARIETHA LOCKHART 404-284-7811 ARIETHAL@HOTMAIL.COM

DENVER, CO JANIE PETERSON 303-356-3439 JANIE33@ME.COM

NEW YORK CITY MONICA VERONA 212-663-7808 MJVERONA@YAHOO.COM

TACOMA, WA SYRA BETH PUETT 253-651-7869 SYR07@NVENTURE.COM

BERKELEY, CA KAREN ASHFORD 925-682-6412 HAUTBOISGAL@GMAIL.COM

DETROIT, MI TUESDAY RAMBO-MCCALL 248-852-3346 MCCALLFRIAR@HOTMAIL.COM

PALOS VERDES/ SOUTH BAY, CA DARLENE VLASEK 310-377-1484 J-DVLASEK@COX.NET

TERRE HAUTE AREA, IN ELIZABETH OSELLA DAVIS 765-832-9213 ELIZABETH@CEDAVIS.NET

BLOOMINGTON, IN JANE GOUKER 812-332-0058 JGOUKER@MCCSC.EDU

FRESNO, CA GAYANE KORKMAZIAN 559-255-5803 KORKYSHOME@ATT.NET

BOSTON, MA BEVERLY ABEGG 603-318-1937 BEVABEGG@VERIZON.NET

FULLERTON, CA BARBARA STEARNS 562-947-5112 HBSTEARNS@AOL.COM

CINCINNATI, OH CHRISTINE “TINA” KRAMER 513-742-0427 TNKRAMER@CINCI.RR.COM

INDIANAPOLIS, IN ELIZABETH LEVIN 317-881-5850 ELEVIN@MSDPT.K12.IN.US

CLEVELAND, OH MARGARET BETZ 440-884-5915 MKBETZ@SBCGLOBAL.NET

KANSAS CITY, MO JULIA SCHERER 913-897-3139 TRULYJULIA@SBCGLOBAL.NET

CLEVELAND HEIGHTS, OH KAREN HOLTKAMP 216-229-5991 KMCFAR123@CONCERTORGANISTS.COM

LAWRENCE, KS LYNN BASOW 785-550-6960 LYNBASOW@ SUNFLOWER.COM

COLORADO SPRINGS, CO JANET DAVIDSON 719-572-5716 JMPTDAVIDSON@Q.COM

LINCOLN, NE KAREN HOWLAND 402-489-0295 KHOWLAND@NEB.RR.COM

DALLAS, TX JENNY SMITH 214-662-5087 JENNY.MUSICALSCIENTIST@ GMAIL.COM

LOS ANGELES, CA MARIE BROWN CUREA 310-459-5150 SHOGASAN@MSN.COM

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THE TRIANGLE | Fall 2012

PHOENIX AREA, AZ MARY MALM 602-955-4387 MKMALM@HOTMAIL.COM PORTLAND, OR PATTI DUTHIE 503-297-7681 PATTI.DUTHIE@COMCAST.NET ROCHESTER, NY B. JEAN JOHNSON 585-224-0447 BJEANJOHN@FRONTIERNET.N

TOLEDO, OH BARBARA KONDALSKI 419-882-6302 JBKONDALSKI@ BUCKEYE-ACCESS.COM URBANACHAMPAIGN, IL GRACE SCHOEDEL 217-367-8798 G.SCHOEDEL@COMCAST.NET

ET

WASHINGTON D.C. ALICE MAXFIELD 301-210-5192 ALMUSIC@VERIZON.NET

SACRAMENTO, CA SARA ZIEGLER 916-996-1572 ZEIGGY05@EARTHLINK.NET

WICHITA, KS MARJORIE WALTON 316-631-1271 BWALTON11@COX.NET

SAN ANTONIO, TX JULIE CANTU 210-402-0347 DCANTU2@ATT.NET SAN DIEGO, CA CAROLYN ROSSE 858-385-7818 CWROSSE@GMAIL.COM SAN FRANCISCO, CA RUTH KOENIG 415-479-0807 RUTH@RNRKOENIG.COM

Welcome to New Colorado Springs Alumni Chapter Installed September 23, 2012 International Vice Presidents Charlotte Brown and Lenita McCallum joined International President Rosemary Ames and Denver Alumni chapter president Janie Peterson in Colorado Springs on September 23, 2012, to install the new Colorado Springs Alumni chapter. Other Denver Alumni members were present to show support and presented the new chapter with a white Bible and a lovely bouquet.

New chapter members gave a recital after the installation ceremony. Performers and their musical selections were pianist Krista Reynolds, Molto Allegro of Grieg’s Piano Sonata, Opus 7; violinist Vanda Skadden and pianist Janet Davidson, Andante from Wieniawski’s Second Concerto and Ladies in Lavender by Nigel Hess; soprano Sarah Groh Correa accompanied by Krista Reynolds, Copland’s Shenandoah and “The Little Horses” from Old American Songs; cellist Jennifer Yopp, Menuets I and II and Prelude from Bach’s Suite No. 1 in G major for Violoncello; and pianist Lynn Godfriaux Maloy, Chopin’s Ballade in A flat Major, Op. 47.

Recital performers below (left to right): Soprano, Sarah Groh Correa; Violinist, Vanda Skadden; Cellist, Jennifer Yopp; and Pianists, Janet Davidson, Krista Reynolds and Lynn Godfriaux Maloy.

Photos by Katie McNally

Group photo above. Back row (left to right):Janice Wignall Mitchell, Mu Upsilon; Sarah Groh Correa, Xi; Janie Peterson, Mu Rho, Denver Alumni President; Margaret Warner Reiber, Alpha Rho; Jennifer Roberts Yopp, Alpha Lambda, Karen Rondestvedt Bodmer, Phi Iota; Krista Larson Reynolds, Phi Iota; Janet Davidson, Gamma Lambda; Lynn Godfriaux Maloy, Mu Kappa; Lenita McCallum, International Third Vice President, Alumni Advisor; Charlotte Brown, International First Vice President, Extension Officer; Rosemary Ames, International President.

Front row (left to right): Ann Scott Honea, Mu Rho; Vanda Sydenham Skadden, Mu Rho; Patricia Hauke Staubo, Phi Rho; Carolyn Gayer Martin, Phi Xi; and Jeannine Thorn Holt, Phi Xi.

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Congratulations - Newspaper Text Credit line © Roman Zaremba | Dreamstime.com

Janet Davidson (Gamma Lambda), the driving force behind the new group, found the thirteen Mu Phis in Colorado Springs who now comprise the chapter’s charter members. President Ames says, “Surely there are more in the area who will not long escape Janet’s Mu Phi radar.” The installation produced a wonderful group of new affiliates, and the enthusiastic new chapter has already issued a newsletter and looks forward to its first year of music, harmony, and friendship.

District Directors ATLANTIC DISTRICT A1 Nichole Roles 540-818-3452C nicholeroles@gmail.com DISTRICT A2 Susan Todenhoft 703-323-4772H 703-509-0224C todenhoft@gmail.com

EASTERN GREAT LAKES DISTRICT EGL1 Signe Zale 585-594-8422 sigbobzale@aol.com DISTRICT EGL2 Kathleen Cameron 724-738-2894 kathleen.cameron@sru.edu DISTRICT EGL3 Nancy Jane Gray 330-688-7990 bobgrayz@aol.com

GREAT LAKES DISTRICT GL1 & GL2 Susan Owen-Bissiri 734-971-1084 slbissiri@sbcglobal.net DISTRICT GL3 OPEN

DISTRICT SE3 Anne Richie 904-534-4419 SE3DD@muphiepsilon.org DISTRICT SE4 OPEN DISTRICT SE5 Kimberlee Gross 225-266-8631 kimberlee_gross @yahoo.com

SOUTH CENTRAL DISTRICT SC1 Jediah Spurlock 512-909-5616 Sistas0ul@aol.com DISTRICT SC2 Jenny Smith 214-662-5087 jenny.musicalscientist @gmail.com DISTRICT SC3 OPEN DISTRICT SC4 Elda Garcia-Gomez 512-289-7113 mezzoallegra@yahoo.com

CENTRAL

EAST CENTRAL DISTRICT EC1 Marilyn Sandness 937-434-2636 msandness@woh.rr.com DISTRICT EC2 Stephanie Berry 574-596-8288 bmpenguin69@hotmail.com

DISTRICT C1 Cathy Woelbling Paul 314-567-3281 cpoboe@netscape.net DISTRICT C2 Linda Chen 913-486-3337 lindaychen@aol.com

DISTRICT NC3 Liana Sandin 402-483-4657, 402-560-7126 Liana.Sandin@gmail.com

WEST CENTRAL DISTRICT WC1 OPEN DISTRICT WC2 OPEN

PACIFIC NORTHWEST DISTRICT PNW1 OPEN DISTRICT PNW2 Kathryn Habedank 206-405-4645 Kahabedank@aol.com DISTRICT PNW3 Brandon Nelson 171-222-9294 BrandonCNelson01@gmail.com

PACIFIC DISTRICT P1 Lestelle Manley 916-485-0415 ms5cnts@yahoo.com DISTRICT P2 Kira Dixon 408-439-6076 kira.dixon@me.com

PACIFIC SOUTHWEST DISTRICT PSW1 & PSW2 Ruth Cuccia 310-832-7433 cuccia4@sbcglobal.net

NORTH CENTRAL DISTRICT NC1 OPEN

DISTRICT EC3 OPEN

SOUTHEAST DISTRICT SE1 Marshall Pugh 252-599-2492 mgpugh889@gmail.com

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DISTRICT SE2 OPEN

DISTRICT NC2 Teresa Rowe 612-926-5854 Terryrowe568@gmail.com

The Triangle | Spring 2012

muphiepsilon.org muphiepsilon.org

To view updates to this directory and a list of chapters within each District, visit http://muphiepsilon.org/ aboutmpe/officers/dds.html

Directory of Executive Officers 2011-2014 INTERNATIONAL EXECUTIVE BOARD

INTERNATIONAL CHAIRMEN

2012-2013 FOUNDATION BOARD

Rosemary Ames, International President 13 Travis Dr., Framingham, MA 01702 508-872-5818 president@muphiepsilon.org

ACME Arietha Lockhart (Chair) Beta Gamma, Atlanta Alumni 3159 Springside Crossing Decatur, GA 30034 404-284-7811 ariethal@hotmail.com

President Marcus Wyche 2729 Nicholson St., Apt. 103 Hyattsville, MD 20782 301-484-3652 VideoAuth@aol.com

Mary Au (Co-Chair), Mu Nu, Los Angeles Alumni 2363 W Silver Lake Dr. Los Angeles, CA 90039 323-666-2603 auhaus@gmail.com

Vice President Dawn Phelps Neal 3072 Solimar Beach Drive Ventura, CA 90032 805-643-7322 dphelpsneal@yahoo.com

BYLAWS Kathleen Earl, Alpha Delta, Sacramento Alumni 8009 Beethoven Court Citrus Heights, CA 95621 916-728-2122 bylaws@muphiepsilon.org

Treasurer Beverly W. Abegg 8 Phillips Dr. Westford, MA 01886 978-692-7353 bevabegg@verizon.net

FINANCE Evelyn Archer, Omega Omega, St. Louis Area Alumni 5312 Sutherland Ave. St. Louis, MO 63109 314-481-2361 archerbe@sbcglobal.net

Secretary Eileen Butler-Kennedy 2875 77th Avenue Baton Rouge, LA 70807 225-357-0310 eileenebk@aol.com

Charlotte Brown, 1st VP/Extension Officer 12578 Barkley St., Overland Park, KS 66209 913-345-8999 extensionofficer@muphiepsilon.org Sandra McMillen, 2nd VP/Collegiate Advisor 306 Shorewood Dr, Duncanville, TX 75116 972-298-5910 collegiateadvisor@muphiepsilon.org

NEW MAILING

ADDRESS

Lenita McCallum, 3rd VP/Alumni Advisor 28 Aurora Drive, Rolling Hills Estates, CA 90274.

310-530-1468 alumniadvisor@muphiepsilon.org Martha MacDonald, 4th VP/Music Advisor 8909 Wildridge Drive, Austin, TX 78759 512-345-3399 musicadvisor@muphiepsilon.org Kurt-Alexander Zeller, 5th VP/Eligibility Advisor 1872 Central Park Loop, Morrow, GA 30260 770-961-4400 eligibilityadvisor@muphiepsilon.org

NEW MAILING

ADDRESS

Melissa Eddy, Editor 220 Link Drive, Kingsland, TX 78639 512-217-1264 Fax: 325-388-0914 editor@muphiepsilon.org Gloria Debatin, Executive Secretary-Treasurer International Executive Office 4705 N. Sonora Ave., Suite 114, Fresno, CA 93722 888-259-1471 Fax: 559-277-2825 Local: 559-277-1898 executiveoffice@muphiepsilon.org

HONORARY ADVISORY BOARD

Frances Irwin, Epsilon Upsilon 6464 Rhodes Ave., St. Louis, MO 63109 314-752-2585 fmirwinstl@aol.com Wynona Wieting Lipsett, Mu Chi 148 LCR Cedar B-1, Mexia, TX 76667 254-562-9397 wyndon@nctv.com Lee Clements Meyer, Phi Xi 8101 Club Court Circle, Austin, TX 78759 512-345-5072

INTERNATIONAL Keith Ford, Alpha Kappa, Allied 20 Lynmouth Road Perivale, UB6 7HP United Kingdom 44 7792 863 867 Keith.L.Ford@gmail.com Marlon Daniel (Co-Chair) Mu Xi, New York Alumni 45 Tiemann Place, Apt 5F New York, NY 10027-3327 212-641-0305 MUSIC LIBRARIAN & ARCHIVES Wendy Sistrunk, Mu Mu, Kansas City Alumni 1504 S. Ash Ave. Independence, MO 64062 816-836-9961 SistrunkW@umkc.edu

Chairman Dr. Keith Bohm 9 Halsey Place Sacramento, CA 98535 916-213-4085 (cell) dr.keithbohm@sbcglobal.net Vice Chairman Judy May 408 West Mission Drive Chandler, AZ 85225 480-813-6973 judy.may@asu.edu President of Mu Phi Epsilon International Fraternity Rosemary Ames 13 Travis Drive Framingham, MA 01702 508-872-5818 president@muphiepsilon.org

STANDING RULES Open WEBSITE David Champion, Gamma Sigma, Palos Verdes/South Bay Alumni 229 15th St. Manhattan Beach, CA 90266 310-545-3442 webmaster@ muphiepsilon.org

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Mu Phi Epsilon International Executive Office 4705 N. Sonora Ave., Suite 114 Fresno, CA 93722-3947 executiveoffice@muphiepsilon.org 1-888-259-1471

Notice of Change of Address or Name Click on Alumni Update Form at www.MuPhiEpsilon.org

USPS Statement of Ownership

Reaching Out (McCallum), continued from page 12

whenever possible, and expand the number of appropriate opportunities.

• Offer to help them wherever they have need.

• Ask them to share their expertise, e.g. present a program or recital or offer advice on a project.

• Make music together.

• If potentially helpful, offer them a musical program, soloist, or music therapy session.

• Help them raise funds for a worthy music related project.

• Informally meet with them without membership as the primary focus; let them get to know you and vice versa.

• Chat about Mu Phi with members of music-related boards or committees where you serve. An unaffiliated member might be among them.

• And thinking of the future, partner with a current collegiate as a tutor or mentor, offer a job that will help pay for education, or offer financial aid (this could be done as a chapter or individually).

The bonds of friendship, so important to our fraternal organization, need constantly to be renewed. It’s easy to get so wound up in music (practice, performance, teaching) that we forget to reach out and keep up acquaintances.

Let’s make new friends but (even more important) keep the old!