The Triangle, publication of Mu Phi Epsilon, Vol. 110, Issue 1, Spring 2016

VOLUME 110, ISSUE 1 SPRING 2016

THE

TRI ANGLE

INTERNATIONAL PROFESSIONAL FRATERNITY FOR THE ADVANCEMENT OF MUSIC IN THE COMMUNITY, NATION, AND WORLD

OPERA

the art & business of telling stories The Essential Joyce

Plan for success

Welcome Zeta Omega

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.

EDITOR Melissa J. Eddy editor@muphiepsilon.org

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contents

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SPRING 2016 | VOLUME 110, ISSUE 1

features 4

The Essential Joyce Meet opera superstar and Mu Phi alum Joyce DiDonato, in her own words.

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Discover Your Story, Then Tell It A roundtable conversation with three emerging and mid-career Mu Phi opera artists.

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Entrepreneurship in Opera Learn why entrepreneurship in opera is a necessary skill, and about one program that helps to develop it.

14 Messiaen & His Bird Calls Undergraduate research paper about a composer who loved ornithology.

18 Welcome Zeta Omega Installed April 3, 2016

columns 10 11 12 13 19

ACME Inspirational thoughts, practical advice Upon Listening Best of Bassett: Chamberworks Alumni Corner Plan with an end in mind Collegiate Connection Close out the school year with success Chapter Anniversaries

departments 3 16 21 22 23

President’s Message Applause / Encore Final Notes District Directors Directory Executive Officers Directory

DESIGN & PRODUCTION Corinne Lattimer thetriangle@muphiepsilon.org PROOFREADER Doris Braun Send all material for publication to: Melissa Eddy, editor@muphiepsilon.org or by mail to 220 Link Drive, Kingsland, TX 78639-5262 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.

Deadlines for submissions: Fall — August 15 Winter — December 1 Spring — February 15 Summer — May 1 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 P.O. Box 1369 Fort Collins, CO 80522-1369 toll free: 888-259-1471 fax: 888-855-8670 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 110, Issue 1) Subscription price is $20.00 per year.

Single copies are $8.00.

Periodicals postage paid at Fort Collins, Colorado and at additional mailing offices.

Printed in the United States of America.

POSTMASTER: Send all changes of address to: Mu Phi Epsilon, PO Box 1369, Fort Collins, CO 80522-1369. © 2016 Mu Phi Epsilon. All rights reserved.

On the cover: Joyce DiDonato Drama Queens ©Josef Fischnaller Photo credit top left::Joyce DiDonato ©Simon Pauly

© EdgeofReason | Dreamstime.com - Denver Panorama

Denver, Colorado - site of 2017 International Convention

PRESIDENT’S MESSAGE ROSEMARY AMES

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INTERNATIONAL PRESIDENT

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PRESIDENT@MUPHIEPSILON.ORG

Spring is upon us and our collegiates are getting ready to close another year of school. For some, that means taking a summer break before heading back next fall. For others it means graduation and “Great, finished with school. Now what?” It’s often a time of reflection as recent graduates struggle to find their place in the world, and perhaps of surprise when their path takes a different direction from what they imagined. Some may find themselves exhilarated with new adventures; others may be discouraged that they are not able to do that for which they spent the previous years preparing. It’s something we all can relate to. Humans are pretty poor predictors of the future, and we all have ended up on journeys we could not have imagined.

In this issue of The Triangle, we look at the field of opera from several different perspectives. As musicians, most of us have had an introduction to opera. We recognize it as a combination of music, words, and drama that tell stories in such a powerful and extraordinary way that even the biggest skeptic becomes excited and exhilarated. Storytelling is a fundamental human need, and there is nothing that can beat opera as a way of telling the stories that need telling, the stories that help us to understand what it is to be human.

Bylaws revision underway; to be considered at 2017 convention Although it is more than a year away, the IEB has begun planning the next international convention to be held July 27-July 30, 2017, in Denver, Colorado. Convention is a time when Mu Phis from places near and far gather together to share our common bond in music. We sing together, learn together, and make decisions together – decisions that affect the future of our fraternity.

At the 2014 convention, I appointed an ad hoc committee to review and suggest revisions to our fraternity bylaws. The bylaws have served us well since the last major revision in 2004, but it is time to revisit them and make sure they are an effective guide as we continue to move forward. The committee’s charge is to bring updated bylaws to the 2017 convention, where the delegates will vote on accepting them.

By that time, all affiliated members should have had the opportunity to review the recommendations and send comments or concerns to the committee. All collegiate and alumni chapter presidents have already received the revisions and recommendations to review with their members. If you haven’t seen them, please ask your chapter president. If you’re not currently affiliated with a chapter, you may email newbylaws@muphiepsilon.org to request a copy.

I hope you are sending your comments to the committee. Every comment will be considered because this is your document – the document that governs and guides your fraternity. Future decisions will be made according to the bylaws. They guide us, but they are also a reflection of our hopes for the future of Mu Phi Epsilon. Please take the time to review the Read an revision suggestions. We need your help to continue to take Mu Phi Epsilon into the future. interactive version

Rosemary Ames International President

of this issue online at muphiepsilon.org!

Spring 2016 | THE TRIANGLE

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COVER FEATURE

JoyceDiDonato.com

THE ESSENTIAL JOYCE FULL OF LIFE, FULL OF MUSIC COMPILED BY MELISSA J. EDDY

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MU THETA

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INTERNATIONAL EDITOR

International opera superstar. Crossover artist. Passionate advocate and mentor for young musicians. Two-time Grammy® winner. Social media maven. Sports fan. Activist for social justice. Budding film actor. Kansas girl who remembers her roots. Who is the essential Joyce?

Mezzo soprano Joyce DiDonato (Phi Pi, Kansas City Alumni) is all these and more. Sixth of seven children in a vibrant Irish-American family, Joyce (born Flaherty) has risen from early artistic and personal struggles to become arguably the best-known American mezzo today. But follow her on social media or read her blog, and you’ll find she’s also a funny, down-to-earth person you’d love to chat with over coffee or a beer.

At the time this Triangle was being written, Joyce was deeply immersed in musical preparation for a South American recital tour and her role debut as Charlotte in Massanet’s Werther this June. So she regretfully had to decline all interview requests, including ours. Fortunately for Triangle readers, her website and social media are so rich with Joyce’s own thoughts that (with her publicist’s permission) we created this article without a personal interview. We hope you’ll enjoy a glimpse into the essential Joyce and will visit her online to learn more.

1991 Initiation to Phi Pi

1992 Graduation from Wichita State University

1995 Apprenticeship at Santa Fe Opera

1996 Apprenticeship at Houston Grand Opera

1998 Regional opera roles, recitals & solo engagements

2000 Role debut as Meg in world premiere of Little Women

2001 International debut at La Scala

From one Mu Phi to others As shown in this excerpted 12/23/14 blog entry, Joyce is generous with her time and enthusiastic advice to young artists, including Mu Phis. All emphasis is hers.

During the flurry of my insanely bizarre and wonderful fall schedule, I received a request from the Mu Phi chapter at Radford University, asking for some words of encouragement. As a proud Mu Phi alum, it took me weeks to respond, but I managed to get a few thoughts down onto “paper” while speeding across Europe on a high speed train. [I hope it will empower] them to get fierce about their paths!

All of you are probably much busier than I am at the moment! I remember my college days: I was holding down 3 jobs (Church choir director, waitress, and assistant to the Dean for a few hours a week!) plus school AND the opera! I remember you don’t have a moment to catch your breath or stop to smell the roses!!

However, if I could offer one small piece of advice … MAKE the time to stop and smell the roses. Your treasure lies in the PROCESS. Your riches lie in the JOURNEY, not the destination.

[Also:] Support each other. No one else in the universe understands what we go through better than each other. We are not competitors. We are family.

Be your own very best friend and support system – not your own worst enemy. Tune in to how you speak to yourself.

(But beware – it may horrify you!) Then ACTIVELY change your inner dialogue. There are few greater gifts you could EVER give yourself.

Do everything you have to, to remember WHY you love music. FEED THAT JOY WITH ABANDON AND WITHOUT ONE OUNCE OF APOLOGY! Never, ever, EVER give someone else the power to rob you of your joy.

Declare war on fear. Unless you’re using it to survive (i.e., “I’m scared to jump off this 300 foot high rocky cliff into the raging shark-infested waters below” vs. “I’m scared I might suck on my first time through this Schubert song.”) Usually fear is just holding you back. Experiment – just force yourself to face what frightens you, and see what happens as you move through it.

Again – the world will most likely not Facebook Joyce DiDonato fall off its axis. It’s all good!

Twitter @joycedidonato For more words of wisdom, read Instagram JOYCEDIDONATO Joyce’s 2014 commencement address to The Juilliard School or watch it on YouTube Joyce Didonato YouTube. Search online for “Joyce DiDonato Juilliard commencement speech.”

2006 Metropolitan Opera debut as Cherubino in Le nozze di Figaro

2012 Grammy for Best Classical Vocal Solo (Diva, Divo)

2014 Mu Phi Epsilon Award of Merit Sang national anthem at World Series Game 7

2015 Performance at the Stonewall Inn to honor victims of anti-gay crime

2016 Grammy for Best Classical Vocal Solo (Joyce & Tony Live at the Wigmore) Filmed title role in docu-drama The Florence Jenkins Story

COVER FEATURE ROUNDTABLE WITH EMERGING AND MID - CAREER OPERA ARTISTS

DISCOVER YOUR STORY, THEN TELL IT What’s it like to be an emerging operatic artist, or hitting one’s operatic stride at mid-career? Three performers generously agreed to share their experiences in a Triangle e-interview. Their responses are combined here into a roundtable conversation.

Soprano Jenny Dryer (Delta Pi, 2008) studied at Tarleton State University and is completing graduate studies at Texas State University, where she is active with Alpha Pi. She is currently an apprentice with Sarasota Opera. jenniferdryer.com

Baritone James LeSu’i (Beta Alpha, 2011) studied at Cabrillo College and California State UniversityFullerton and is now in graduate school at The Boston Conservatory. He has participated in summer programs including OC Ars Vocalis in Rome and a master class with Deborah Voight. Find James on Facebook.

Baritone Michael Mayes (Phi Tau, 1999) studied at the University of North Texas and Cincinnati Conservatory of Music and held apprenticeships with the Central City, Santa Fe, and Cincinnati opera companies. Now an established mid-career artist, he performs all over the U.S. ada-artists.com/artistroster/michael-mayes

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How did you first become interested in opera? When and why did you decide to pursue it as a career?

MICHAEL: I didn’t even know what opera was until I got to the University of North Texas. I thought I’d just take the scholarship money and run – sing in their ensembles and get myself a nice business degree. The summer of my sophomore year I did my first operatic role in a summer program at Stephen F. Austin University and I was hooked. I was given the role of Frank Maurant in Street Scene, and once I discovered the power of performing a character like him, I couldn’t get enough. The tremendous amount of energy that the audience was sending at my character was intoxicating.

It was absolutely addictive. There’s a reason people talk about singing opera in the same terms that they do about addiction: it’s like a powerful drug.

JAMES: I wasn’t interested in opera for the longest time. All I knew was that I loved to sing, especially with my friends. I used to think opera was long and boring; little did I know that it’s anything but. While attending a song program in Rome in 2013, I watched my very first opera, Don Pasquale. I was completely taken aback with how spectacular it was.

JENNY: I’m not sure why exactly, I just knew that I had to do that!

How have you developed yourself as a performer?

MICHAEL: Most of what I’ve learned about performing I learned singing lead roles at small regional companies instead of covering or training in a program. For me, the laboratory is the stage and to this day, I always say that I learn while I earn.

JENNY: I have gone to grad school and done a few paid gigs here and there during the summer. I am currently at Sarasota Opera as an apprentice and it is paying off. I love it here. I have learned that you truly have to love this art form, because it is long hours and months away from family and it gets hard. You just have to be strong and forge ahead.

that it’s the most performed American opera in the 21st century. Operas with a conscience are what really get my creative juices flowing. Opera is an epic art form, and there isn’t a genre better suited to address the issues of our time than one as epic as the issues themselves.

How has your Mu Phi membership helped or supported your career?

Jenny Dryer (standing, front center) in Dialogues of the Carmelites

JAMES: As a first-year grad student, I’ve learned so much and yet realize that I’m barely scratching the surface so far.

What’s your favorite or most memorable role to date, and why?

JENNY: Josephine from HMS Pinafore. I performed it in grad school and had an absolute blast. The cast and direction were great and it was an overall good time.

JAMES: The two biggest ways ΜΦΕ has directly had an impact on my career are networking and scholarship opportunities. Networking with other musicians has been fun, inspirational, and a great learning experience.

Scholarship support enabled me to pay for my education and summer programs that help me become the best musician and performer I can be. And I’ve met wonderful people and made lifelong friends.

Since I’ve been in Boston, I’ve attended a few Boston Alumni meetings and am now working with a few colleagues at The Boston Conservatory to establish a collegiate chapter there. It was such a joy to be part of ΜΦΕ in my undergrad years, and it was a huge delight to find fellow members in my master’s studies. We hope to provide a positive ΜΦΕ experience soon for students on our campus.

JAMES: Two recent roles were a thrill to play. One was Count Danilo Danilovitch in Leyhar’s The Merry Widow. I love the story of this operetta and enjoyed being the romantic lead for once. What made it an even brighter experience for me is that all my friends were in this production. Performing a piece of art for the world is always a good experience. Performing something with people you love is even better.

The most recent role I played was Wolf in Barab’s Little Red Riding Hood, and it was a hoot and a half. For the opening performance, children were invited to sit on mats in front of the stage. My blocking opened with Wolf jumping out from behind a tree onto center stage and growling into his opening aria. When I jumped onto stage and growled, there was a gasp from scared children throughout the room. One little girl screamed and collapsed in tears into her grandmother’s arms, then awkwardly exited the room while I sang and pretended not to notice. It was fun to sing for children, but I didn’t expect to have that kind of impact on the audience!

MICHAEL: Joseph de Rocher in Dead Man Walking has become my signature role. This is an opera that changes people, both on the stage and in the audience. You can’t walk into Dead Man and leave as the same person. It’s one of those soul-shattering pieces, and not surprising

James LeSu'i as Count Danilo Danilovitch in The Merry Widow

Michael, as an established mid-career artist, what advice would you offer to opera students and emerging artists?

MICHAEL: Opera isn’t just a musical form. It’s so much more than that. You of course have to have your technique in line and know your stuff - but that’s just Continued on page 20

Spring 2016 | THE TRIANGLE

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COVER FEATURE

BY CINDY SADLER

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MU THETA

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CINDY@CINDYSADLER.COM

WAVE OF THE FUTURE

ENTREPRENEURSHIP IN OPERA My education had provided a marketable singing Opera is a difficult Learning the business of singing technique but left me My business to inhabit. There interest in these occupations springs are always many more woefully unprepared from my own experiences. As a young artist, talented and qualified I quickly became aware that my education to manage my singers than there are jobs; had provided a marketable singing technique and historically, in order to be but left me woefully unprepared to manage my business. seen as successful, opera soloists business. Luckily my teacher, Metropolitan Opera have had to downplay their other income streams, despite the fact that only a small percentage of professional musicians make 100% of their income from performing.

mezzo-soprano Mignon Dunn, offered me guidance and opened some doors for me, and after only one semester of graduate school I was accepted to Chicago Lyric Opera’s prestigious apprenticeship.

Happily, this is changing. There is still some snobbery associated with soloists having day jobs, but many singers are becoming more open and matter-of-fact about their non-performing income, as they embrace the new entrepreneurial style of a life in the arts.

But even within the Lyric’s hallowed halls, any education in the actual business of singing was haphazard and incomplete. When I asked for help with creating a professional resumé, I was merely pointed towards a filing cabinet of predecessors’ efforts. I left the Lyric with no idea of what to do next. I had to “wing” soliciting auditions, negotiating my own contracts, and finding an agent, and I made some costly (and avoidable) mistakes.

In the past, artists and arts organizations depended heavily on deep-pocketed patrons for support, and they still do. But increasingly, a model of the entrepreneurial artist is emerging. In a time when the big opera companies are folding right and left and donations are drying up, it’s clear that for this art form to survive we must develop new business models, including entrepreneurship for singers.

Entrepreneurship is a lifelong passion for me, and I have dedicated much of my own career to it. A working singer with New York management, I am equally well known as Classical Singer Magazine’s Ask Erda columnist; for my Business of Singing consultancy; increasingly, as a stage director; and as the founder and executive director of Spotlight on Opera, a professional development program dedicated to developing singers’ artistry and entrepreneurship.

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Once I’d learned from those mistakes and became vocal about them, singers desperate for guidance began flocking to me. I developed sidelines, with the deliberate idea of creating income streams within the arts that would allow me the flexibility needed to support my performing career. I created The Business of Singing, a suite of services designed to educate and guide singers through the bewildering and overwhelming maze of establishing a career, and began writing Classical Singer’s Ask Erda advice column. Developing an opera training program was a natural and necessary next step.

I established it as a nonprofit corporation and named it Spotlight on Opera.

Artistic and entrepreneurial tools There are many pay-to-sing programs, but Spotlight on Opera is special in that it is a true professional development program with a mission of providing the best artistic and entrepreneurial tools to our students.

They receive intensive training in the business of singing, including lectures on creating press kits, marketing, management, auditions, time management, and finances; a workshop and audition feedback from a major agent; video recordings of audition arias and a complete press kit; voice lessons, musical and dramatic coachings, classes including fitness, diction, audition techniques, and acting, and a plethora of performance opportunities including two mainstage operas.

This year we’re adding instruction in healthy crossover technique and a student directors program to provide even more tools and options for young singers working in today’s hectic and uncertain artistic climate. Unlike most programs, Spotlight has no age limits and provides support for avocational as well as established artists; this kind of inclusiveness is almost unheard of in the field. Our Opera Ambassadors enjoy similar opportunities year-round and support our professional concert opera division.

Cindy Sadler

More than an artist While performing continues to be my top priority, my passion for providing singers with education and opportunities continues to grow. This crystallized for me recently when a general director introduced me to patrons as “more than an artist,” a singer known for being the go-to for other singers and whose columns he himself never misses.

I dream of developing Spotlight Clearly, artistic entrepreneurship has proven to be a into a fulltime, free very successful career strategy for me. Far from harming Spotlight professional development my own performing career, it has become a highlight of program for young, on Opera is a my personal “brand.” I encourage other musicians to emerging, and embrace entrepreneurship for themselves and to true professional established artists. In impart its importance to their students. In our September 2015, the development program ever-changing artistic climate, it is the wave of the organization earned with a mission of future, for the foreseeable future.

501(c)3 status, and we providing the best artistic are now working For more information, please visit CindySadler.com, towards achieving this and entrepreneurial TheBusinessOfSinging.com, and SpotlightOnOpera.com. vision.

tools to our students.

Scene from a Spotlight on Opera production.

Photos courtesy of Cindy Sadler

Spring 2016 | THE TRIANGLE

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ACME ARTISTS, COMPOSERS, MUSICOLOGISTS MARY AU

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MU NU, LOS ANGELES ALUMNI

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EDUCATORS

AUHAUS@GMAIL.COM

PRACTICAL ADVICE, INSPIRATIONAL THOUGHTS Self-Publishing From remarks by Deon Nielsen Price on How to Manage Your Own Music Publishing Company © 2016 Carol Worthey

Mary Au (left) and Chika Inoue

Many ACME honorees embrace their role as mentors to other Mu Phis. With that spirit, several ACME honorees spoke and performed at the Women in Music conference at Antelope Valley College in March. They included Deon Nielsen Price (Gamma), Berkeley Price (Mu Upsilon), Adrienne Albert (Phi Nu), Carol Worthey (Phi Nu), Alex Shapiro (Phi Nu), Chika Inoue (Omega Omega), and Mary Au (Mu Nu), all of the Los Angeles Alumni chapter. The conference was a cooperative project of the college’s Department of Music, Los Angeles Chapter of the National Association of Composers, U.S.A. (NACUSA), and American Nominate Society of Music Arrangers and the most Composers (ASMAC) to mark accomplished Mu Women’s History Month.

Phi you know to be Here are two topics from the an ACME day’s presentations.

honoree! See page 20.

Self-publishing is not for everyone, because you are working mostly alone and it requires self-discipline.

Plan to spend about 50% of your time on the business and 50% composing. Important beginning steps are to name and properly register your company at city, county, and state levels; join a performing rights organization like ASCAP or BMI, as both a composer and publisher; and learn the business end of composing, from copyrighting your work through producing, marketing, and distributing printed scores and parts.

Self-publishers must also be adept at website maintenance and social media.

Another recommendation is to research what the Deon Nielsen Price (top) strongest markets are for new compositions; self-published composer Alex Shapiro says band and choral ensembles are currently looking for new music. For more thoughts, read an interview with Alex on the subject at composeronfire.com.

And talk to experienced self-publishers like Alex, Carol Worthey, Adrienne Albert, or me for advice; we are happy to help other Mu Phis.

Life and Music: What Secret Do They Share?

From keynote address by Carol Worthey © 2016 Carol Worthey

Carol Worthey

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Life and music are both a series of choices. By living an examined life, knowing what our themes are, accepting our past, present and future as a never-ending chain of transformation, and appreciating our memories as the stories of our lives, we can make good and smart decisions. [Composers can use these] powers to create emotionally powerful and tender music and timeless works of art that move others and unite us all.

UPON LISTENING

BY SHERRY KLOSS

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EPSILON UPSILON

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MUNCIE ALUMNI

Best of Bassett: Chamberworks Compositions by Leslie and Anita Bassett Performed by artists of Ann Arbor Alumni Upon listening to Best of Bassett: Chamberworks, you will discover creations from two brilliant musical minds who were husband and wife.

Thanks to the Mu Phi Epsilon Foundation’s Helen Haupt award, the Ann Arbor Alumni chapter has brought this special tribute to life.

With four vocal/piano settings, an unaccompanied oboe piece, and a work for three flutes, there is a wide range of styles and timbres in this interesting CD of approximately 32 minutes.

The late Anita Bassett (Gamma, Ann Arbor Alumni; see Final Notes, this issue), artist, composer and pianist, welcomes us to the CD with two of her songs, “Now Dreary Dawns the Eastern Light” (text: A.E. Housman) and “Transforming Love” (text: Glace De Conde).

Soprano Dianna Dumpel Hochella (Alpha Zeta) demonstrates excellent diction and rich sonorities amidst moments of modern harmonic centers that emphasize the message within.

What could be better than to have the composer (a pupil of Nadia Boulanger) at the piano to ensure sensitive partnership and perfect musical conception?

Works of Leslie Bassett (Ann Arbor Alumni Patron) complete the recording. The late University of Michigan Distinguished Professor Emeritus and Pulitzer Prizewinning composer had a World War II army band background. Thus, as you experience Susan OwenBissiri (Lambda) negotiating leaps and jumps across her oboe’s register with great panache in the unaccompanied “Song of Aulos,” it

is clear that the composer is wellversed in the possibilities of the instrument. Abundant trills, interesting close harmonic intervals, and short melodic figures keep the listener engaged.

“The Three Graces” for three flutes is a rich landscape of colors, performed by Deborah Rebeck Ash (Gamma Omicron), Glennis Metz Stout (Phi Pi), and Susan Whitener (Gamma Omicron).

The resulting effects of interacting harmonies, rhythms, dynamics, trills and tremolos combine wonderfully, culminating in a forceful crescendo in the first movement. The influence of the Second Viennese School and the 12tone effect are apparent in the third movement; close timbre and harmony contrast with melodic line, and spirited urgency is demonstrated in technical flutter tongue and low tones.

“Two Stephens Songs” on texts by James Stevens, ably sung by mezzosoprano Lori Gould (Gamma) with Fayola Ash (Gamma) at the piano, begin with effective spoken word in “The Shell,” a picturesque text treatment revealing dark content and a feeling of finality.

Melodic motion and a multitude of piano effects speak the sophisticated language of the 21st century. In “The Lion,” masterfully set to reflect the text, piano punctuation mimics the magnificent beast’s heavy footsteps in low basso register. We are then taken on a musical adventure, first ominous, then hopeful, as the singer ultimately offers friendship: “I dare my fear and call the Lion out to lick my hand.” A delight!

Best of Bassett Produced by Ann Arbor Alumni Cost: $10 $1 of each sale benefits the Mu Phi Epsilon Foundation. Order through Deborah Rebeck Ash drash17@yahoo.com

© Kwest19 | Dreamstime.com - Isolated Piano Photo

Spring 2016 | THE TRIANGLE

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ALUMNI CORNER

BY RUTH CUCCIA

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THIRD VP/ALUMNI ADVISOR

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ALUMNIADVISOR@MUPHIEPSILON.ORG

PLAN WITH AN END IN MIND I recently had the opportunity to play the part of know and encourage our fraternity’s collegiate Mozart’s sister Nannerl with the group Campus members, who are very much here and now. We can do Concerts. An instrumental quartet and I gave ten so by attending their performances and senior recitals, different school presentations about Wolfgang Amadeus helping their chapters in some way during the school Mozart’s life from the perspective of his young sibling. year, inviting them to perform at our alumni meetings Our audiences were first- and second-grade and special concerts, and so forth. students. I narrated, and the quartet – flute, violin, viola and cello — played musical Get ready for Sunset – third year examples as the story progressed. The of our triennium performers also had a moment to We can imagine how We can also “begin with the end in illustrate how their own particular we want our next year - mind” in the planning and execution instrument was made and to play a of our alumni programs and events. small snippet of a familiar song for the Sunset of our 2014-17 As the end of our High Noon year the students. (The cellist played an approaches, we can imagine how we fraternity triennium - to example from Star Wars; the want our next year – the Sunset of conclude. What do your students went crazy.) Even though our 2014-17 fraternity triennium – the students were young, they were a and your chapters want to conclude, and plan accordingly. rapt audience. Some asked me, as they What do you and your chapters want to accomplish? filed out after the program, how it could to accomplish in the next year? be, if Mozart was born 260 years ago and deceased, that I, his sister, was still alive!

We will have our convention in Denver in

Practice and planning We all know that the love and study of music is a lifetime pursuit. You may have seen a little cartoon circulated on Facebook recently: when you look at a new piece of music for the first time, it appears insurmountable, but after you’ve practiced well, it looks like a simple “twinkle, twinkle…” piece. As a musician, you understand the comedy of the cartoon.

summer 2017. Who will attend from your chapter, and who will perform? Will your chapter complete its reporting to be eligible to receive awards and recognition for the hard work you will have done between now and then? I hope you and your chapter are planning right now to attend and participate!

“Begin with the end in mind” is a philosophy and practice set out in Steven R. Covey’s book The 7 Habits of Highly Effective People, in which it is habit number two. The students for whom I performed as Nannerl cannot, at their young age, see the “end” or outcome of their love and study of music. (Hopefully, we adults aren’t done with that, either). But as parents, teachers, performers, etc., we can help them along their musical way, so they too will “get” the cartoon someday.

Of course, we may not know exactly who those future music lovers and musicians are just yet, so how can we help them? We do, however, have a chance to get to

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© Ivelinr | Dreamstime.com - Time to Plan

COLLEGIATE CONNECTION

BY JENNY SMITH

| SECOND VP/COLLEGIATE ADVISOR | COLLEGIATEADVISOR@MUPHIEPSILON.ORG

CLOSE OUT THE SCHOOL YEAR WITH SUCCESS As collegiates wrap up the spring semester, here are some important reminders on how to successfully close out the end of your school year and get on the right track now for the fall.

Consider the following points to make sure you get important fraternity tasks done in time.

INFORMATION CHECKLIST FOR ANNUAL REPORT

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Individual and chapter SERV hours

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Chapter service projects and fundraisers

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Monetary donations (especially those to the Fraternity or Foundation)

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Results of your Rush and candidate recruitment

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Alumni involvement

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Link to your chapter’s website

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Links to your chapter’s social media pages

Start now on preliminary planning for the fall semester. The end of spring is always hectic, so start thinking ahead when you have time, and before members leave for the summer. At the very least, officers should set a meeting date prior to the fall semester to begin organizing activities.

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The best example of how your chapter used the new fraternity logo

Prepare for convention

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Anything else noteworthy that you’d like to share with the international officers

Collect necessary information for annual reports Be sure you have all the information needed for your chapter’s Annual Report. The International Executive Board (IEB) uses this information each year to determine which chapters were most successful in their endeavors and to give awards accordingly, including International Chapter of the Year. Chapter presidents will be submitting reports soon, so help them by organizing your efforts and making note of everything you’ve done this year.

Use the handy checklist at right to make sure you cover everything.

Nominate your best and brightest Each collegiate chapter may nominate a graduating senior for the Senior Achievement Award; nomination materials are provided to chapter presidents. The chapter votes on one outstanding member who is graduating. That person then completes a form describing his or her accomplishments in academics, music, and service. The IEB will review that information at its annual meeting this summer and choose one senior to receive the award, the fraternity’s highest undergraduate honor, which includes a monetary prize.

We also want chapters to send nominations for Faculty Advisor of the Year and Chapter Advisor of the Year. If your advisor is outstanding, nominate him or her and tell us why!

Set goals and start planning Once you’ve assessed, together, how much your chapter has accomplished this year, it’s time to set goals for next year. How do you want your chapter to grow? Remember our pillars of Music, Friendship, and Harmony to guide you in setting those goals.

Set aside time to train newly elected officers to ensure they’re set up for success over the summer and next fall. Go over important deadlines, responsibilities, and a timeline of what to expect before leaving for the semester, and hand over any critical documents or handbooks.

Our triennial convention is in July 2017. Chapter delegates and members from across the world will converge to celebrate everything Mu Phi, renew and make friendships, network, learn how to improve your chapter, meet international officers, and conduct important business that keeps the fraternity as a whole current and relevant. Start financial planning early, and try to raise enough money to send not only your chapter’s one required delegate, but other members who have an interest in attending. It’s a life-changing experience you don’t want to miss!

Newsletters you’ve sent (electronic or print)

Spring 2016 | THE TRIANGLE

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RESEARCH

BY BETHANY HANSEN

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BETA PSI

MESSIAEN & HIS BIRD CALLS Excerpted from an undergraduate research paper, University of Indianapolis, December 2015 Of all the broad topics discussed within the subject of nature writing, the matter of music rarely receives mention. Yet music written on the topic of nature could become a genre in itself. One such composer decided to devote a large portion of his compositional career both to becoming familiar with and embodying the many characters of nature. Olivier Messiaen sought to bring the world of birds to his audience by creating truly authentic bird calls, but written for the piano. Without using verbal language, he manages to communicate the language of the birds, thus bridging the gap between man and wilderness.

d’oiseaux, “Little sketches of birds,” represents one of the composer’s largest collections of birdsong, written for solo piano. Within the collection, he not only dedicates each piece to a particular species, but also incorporates the sounds of the landscape as well (Bell 120). The first performance of Catalogue d’oiseaux occurred in 1959, a significant amount of time into his composition career (Bell ii).

Messiaen both informs his audience about the technical side of bird calls and also invokes his own personal appreciation for ornithology.

Nature writers such as Thoreau and Emerson were able to advocate for nature because of their appreciation and their keen observation of their surroundings. Like them, Messiaen both informs his audience about the technical side of bird calls and also invokes his own personal appreciation for ornithology, all with his musical compositions and without text, expanding the original definition of nature writing.

Messiaen’s love of birds and their calls came from an early age and later transformed into some of his most notable compositions. Relating back to his spiritual beliefs, Messiaen used his natural surroundings both to renew “spiritual strength” and find inspiration. The composer’s appreciation for nature blossomed into his notable bird songs. Upset about his own ignorance towards the subject of bird calls, Messiaen decided to begin studying with several French experts regarding ornithology. He himself became an amateur ornithologist and was able to recognize multiple species just by hearing their calls (Bell 119).

Character of the blackbird Nature quotes had already made their appearance in Messiaen’s works prior to the 1950s, but it was not until around 1953 when a large portion of his creative works consisted of bird calls (Bell 108). Messiaen’s Catalogue

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‘La merle noir’ represents his first piece of pure transcription for composition, as opposed to before when birdsong was not the main influence. The song is composed for flute and piano and focuses exclusively on the character of the blackbird. The addition of the piano provides musical contrast as well as adds more characterization. The piece builds to become a conversation between the two instruments, embodying a call and response between two characters.

Here, one can observe the aforementioned techniques in the flute part. The lines over the top of the note indicate a slur, meaning the notes within the slur are connected, the beginning note of the slur more accented than the last, creating a sighing motive. Also notice the irregular rhythms: the note values vary from quarter notes all the way to 32nd notes – a large contrast. This indicates the fast past of the call while also invoking the sounds of the natural habitat. At the end of the excerpt, the flute plays an extremely jarring trill. For this particular trill, Messiaen instructs the performer to play unlike a flute player would normally play. To incorporate the character of the blackbird, the performer must use a raspy undertone, much like the obtrusive bird who is the protagonist of the piece.

Nature writer without words In Thomas Lyon’s article “The Taxonomy of Nature Writing,” the scholar compartmentalizes the vast

repertoire of nature writing into digestible categories for our better understanding. Because the term “nature writing” encompasses so many different authors, it helps readers to learn and understand authors for their different purposes and techniques.

As for Messiaen and his compositions, one could argue they fit within Lyon’s definition of nature writing without including any actual written word. “… [T]he literature of nature has three main dimensions to it: natural history information, personal responses to nature, and philosophical interpretation of nature.” (Lyon 276).

Works Cited Bell, Carla Huston. Olivier Messiaen. Boston, Mass.: Twayne Publishers, 1984. Print. Twayne’s music series; Twayne’s music series.

Lyon, Thomas. “A Taxonomy of Nature Writing.” This Incomparable Land. Minneapolis: Milkweed Editions, 2001.

Messiaen’s music fulfills all three of these qualifications. For natural history information, Messiaen underwent years of detailed research and study devoted to bird calls. Because of his attention to detail, we now have more information and references for bird species and their individual calls. The composer also shared a personal connection to nature, especially birds. He spent so much time learning and familiarizing himself with them because of his personal want to be immersed in nature. As for philosophical interpretation of nature, Messiaen intermingled his spiritual faith with every single piece he composed, using his own personal philosophy to influence his work.

Messiaen incorporates movement, solitude, and wildness within each piece.

Therefore, the composer adds to the already diverse category of nature writing, and broadens the genre, without using a written word.

Silhouette of a black bird © Les Palenik | Dreamstime.com

Lyon’s further explanation also encompasses Messiaen’s accomplishments: “In essays of experience, the author’s firsthand contact with nature is the frame for the writing.” (Lyon 279). Of course, Messiaen’s subjects for the birdsongs, although containing spiritual undertones, primarily center nature as their main content. The composer also shares similar characteristics in the smaller genres Lyon names, such as travel and adventure. “The travel and adventure writer often seems like a ramble writer gone wild; there is less emphasis on natural history and more on movement, solitude, and wildness.” (Lyon 279).

Messiaen definitely incorporates “movement, solitude, and wildness” within each piece. Therefore, because his compositions fit within Lyon’s conditions, the French composer adds to the already diverse category of nature writing, and broadens the genre, without using a written word.

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APPLAUSE & ENCORE news from members and chapters APPLAUSE Pianist Julie Bees (Phi Pi, Wichita Alumni), right, spent February and March in the Far East as a visiting teacher and performer. She was artist-in-residence at the Institute of Music at UCSI University in Kuala Lumpur, Malaysia, where she taught master classes, gave private lessons, and performed in solo recitals and chamber music concerts.

She also performed in Penang, Malaysia, and in Shanghai and Beijing, China. Readers may remember Julie as a performer at the 2014 Mu Phi international convention in Sacramento.

Choral conductor Zack Carlson (Zeta Lambda, Minneapolis-St. Paul Alumni), grade 6-12 choir director in St. Ansgar, Iowa, attended the Choral Conducting Institute at Oxford University last summer, with support from the Mu Phi Epsilon Foundation’s 2015 John and Marie Virginia Foncannon Choral Conducting grant.

While there, he met David Ross Lawn, a Scottish composer, vocalist, and oboist, currently a graduate student in composition at Westminster Choir College.

They discussed a future collaboration, and Zack subsequently secured a grant and commissioned David to write a new choral work. In March, David flew to St. Ansgar to give workshops and attend the world premiere of his new work She’s Somewhere in the Sunlight Strong, performed by Zack’s choirs.

Zack commented, “[The Foncannon] grant for one person has now stemmed into a lifechanging and educational experience for over 100 students.”

David Ross Lawn (left) and Zack Carlson

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The late Marian L. Danek (Kappa, Terre Haute Alumni; see Final Notes in spring 2015 Triangle) made a bequest in her will to The Damien Center in Indianapolis, a charity whose mission is to bring the HIV count to zero by providing quality HIV services to the community. The Center wanted her Mu Phi family to know of her generosity.

Conductor Marlon Daniel (Xi, New York City Alumni) was an artist-in-residence at Columbia University Teachers College in March, along with his orchestra Ensemble du Monde as ensemble-in-residence. He conducted concerts, headed lecture panels, gave presentations on diversity in classical music, and worked with 150 young student musicians.

In November 2015, organist Betty Wehner Davis (Phi, Alliance Alumni) was honored by the Canton (OH) chapter of American Guild of Organists for 70 years of service as organist and music director at her church.

Graduate student in music education Dylan Fornshell (Alpha Mu) has been elected the 2016 collegiate state president for Missouri National Association for Music Education (NAfME) and appointed an advisory member of the Missouri Music Educators Association board of directors.

Violist Lois McNeil Gullerud (Phi Pi, UrbanaChampaign Alumni) retired in 2015 as associate principal violist of the Champaign-Urbana Symphony after more than fifty years of service. Upon her retirement, she and her husband (right) made a substantial gift to the orchestra to endow the Lois & Ernie Gullerud Associate Principal Viola Chair. Lois also taught music in public schools and in her private studio. An active Mu Phi, she has held every officer position in her chapter, was a delegate to the 1977 convention, and enjoys following the career progress of collegiates from nearby Epsilon Xi. Vocalist Lindsey Johnson (Phi Tau, Berkeley Alumni) performed in February in a Lamplighters Music Theatre production of Gilbert & Sullivan’s comic opera Ruddygore, or, The Witch’s Curse, and in March she revisited the role of Isabel for a Pirates of Penzance sing-along.

APPLAUSE & ENCORE news from members and chapters ENCORE Boston Alumni marked the 99th birthday of member and pianist Edith Stearns Trask (Phi Upsilon) with a February party at her residence. Attendees sang a lively parody song, “Hello, Edith,” written by Carolyn Frost (Beta Epsilon, Boston Alumni) and Edith herself played Bach and Debussy on her baby grand piano. Members reminisced about Edith’s longtime teaching and performing career at Boston University and her support of young artists including members of Phi Upsilon, for which she served as faculty advisor.

Guitarist Aaron Larget-Caplan (Beta, Boston Alumni), above right, was interviewed in February on Boston Neighborhood Network public access television about his recent John Cage publication, his recentlyreleased, Japanese-themed CD Legend of Hagoromo, and living as a musician in the Dorchester neighborhood. Also in February, Aaron was featured on the nationally syndicated radio program Classical Guitar Alive with Tony Morris, which reaches global listeners via 250 radio stations. Aaron introduced Legend to listeners and performed the work. Watch and listen to the interviews at alcguitar.com/blog/aaron-on-tvradio/

Vocalist and music educator Patricia Hauke Staubo (Phi Rho, Colorado Springs Alumni) has donated her library of vocal music to Colorado State University in Fort Collins, where she now resides. A dedicatory concert by CSU student vocalists was held in February.

Previously a Portland resident, Patricia taught voice at Reed College, had a private studio, and was active in Portland Alumni (including as president) and in NATS. After moving to Colorado, she became a charter member of Colorado Springs Alumni and was president of the Colorado Springs Opera Festival Guild.

Fluent in Norwegian, she once translated Peer Gynt and has taught Norwegian language classes. Patricia recently celebrated her 90th birthday.

In late 2015, Luke Verseput (Beta Alpha) played and professionally recorded with Ismael Gallegos, a Grammy®-winning producer of Latin music.

Pianist Jordan Williams (Fresno Alumni) is one of two winners of the Fresno State Concerto Competition in February. As part of his prize, he performed the Allegro from Piano Concerto No. 2 in F major, Op. 102

by Dmitri Shostakovich with the Fresno State Symphony Orchestra in early May.

Rachel Brandwein (third from left) and friends in Denver.

Denver Alumni and Colorado Springs Alumni partnered to present Mu Phi Epsilon Concert Artist, harpist Rachel Brandwein (Gamma, Minneapolis-St. Paul Alumni), in a master class and concert in late January.

Alliance Alumni, Greater Cleveland Area Alumni, and Phi combined three important events in one day last November: Founders Day, EGL3 district conference, and Phi’s 100th anniversary. Hosted by Phi at the University of Mount Union, with registration managed by Alliance Alumni, the day included a morning roundtable on the topic “How can we better serve each other?” and remarks by District Director Nancy Gray (Mu Phi, Alliance Alumni) and Mu Phi Epsilon Foundation President Linda Florjancic (Mu Phi, Greater Cleveland Area Alumni) After lunch, the 27 attendees enjoyed a sheet cake made and expertly decorated by Janet Brown (Mu Phi, Greater Cleveland Area Alumni) to celebrate Phi’s anniversary.

The afternoon session included a meaningful Founders Day observance, chapter and individual honors, and a closing recital by Phi members. See photos on back cover.

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CHAPTER NEWS

WELCOME ZETA OMEGA

International President Rosemary Ames traveled to Jacksonville for the event, and reported it took place on a beautiful spring day. She met with the students prior to the rituals to administer the candidate quiz and talk about plans for the chapter. Zeta Omega has excellent faculty support, with one faculty member already a Mu Phi and the initiation of four more. Ten collegiates were also initiated, making a total of 15 members who signed the Zeta Omega charter. Hope Quarles, the student behind the movement to bring Mu Phi onto campus, is the chapter’s first president.

Six St. Louis Alumni members (including Past International President Frances Irwin and current Fourth Vice President/Music Advisor Jan Scott) and four Beta Omicron collegiates drove in for the day to join the celebration and assist with the festivities. C1 District Director Cathy Woelbling-Paul also attended. The alumni put on a lovely reception and gave the new chapter an engraved gavel and a beautiful

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le

arrangement of silk violets for future ritual tables.

The new Zeta Omegas then presented a musicale, where they were heartily applauded by many friends and family.

ar

Jacksonville, Illinois, home to Illinois College, is located about halfway between St. Louis, MO, and Macomb, IL, the respective locations of St. Louis Area Alumni and Beta Omicron. Alumni and collegiates alike have long wished for another chapter in the region, and with the installation of Zeta Omega, they have it. The Zeta Omega installation brings the fraternity to the end of our Zeta family of chapters.

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INSTALLED APRIL 3, 2016, AT ILLINOIS COLLEGE

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Zeta Omega has good support from Illinois College and St. Louis Alumni, despite the two-hour drive between the two chapters. St. Louis Alumni president Ann Geiler has been especially supportive to both Zeta Omega and Beta Omicron. Zeta Omega is already looking forward to introducing more students to Mu Phi Epsilon.

Welcome, Zeta Omega, to our bond of Music, Friendship, and Harmony!

More photos on back cover.

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2016 Chapter Anniversaries Congratulations to these chapters on their milestone anniversaries of Music, Friendship, and Harmony.

110 Years Kappa, Butler University, Indianapolis, IN November 3, 1906

70 Years Phi Psi, University of Mary Washington, Fredericksburg, VA March 2, 1946

40 Years Gamma Sigma, CA State University, Dominguez Hills, CA May 8, 1976

105 Years Mu, Brenau University, Gainesville, GA February 6, 1911

Phi Omega, Westminster College, New Wilmington, PA April 6, 1946

Gamma Tau, University of St. Thomas, Houston, TX December 5, 1976

Epsilon Alpha, College of St. Catherine, St Paul, MN May 10, 1946

15 Years Delta Tau, Mercer University, Macon, GA April 21, 2001

Nu, University of Oregon, Eugene, OR March 3, 1911 Xi, University of Kansas, Lawrence, KS April 12, 1911 100 Years Detroit, MI May 2, 1916 90 Years Mu Phi, Baldwin-Wallace College, Berea, OH February 26, 1926 Mu Chi, Southern Methodist University, Dallas TX May 15, 1926 Mu Psi, Coe College, Cedar Rapids, IA May 22, 1926 Kansas City, MO November 26, 1926

Wichita, KS December 29, 1946 65 Years San Jose, CA February 8, 1951 60 Years Fresno, CA June 2, 1956 55 Years Alpha Xi, University of North Carolina, Greensboro, NC January 12, 1961 Alpha Omicron, Roosevelt University, Chicago, IL January 15, 1961 Alpha Pi, Texas State University, San Marcos, TX October 29, 1961

85 Years Dallas, TX February 26, 1931

50 Years Beta Zeta, Southern University, Baton Rouge, LA April 23, 1966

80 Years Denver, CO June 16, 1936

Beta Theta, Tennesee Tech Univeristy, Cookeville, TN May 29, 1966

75 Years Phi Pi, Wichita State University, Wichita, KS June 22, 1941

Denton, TX April 16, 1966

5 Years Zeta Iota, LaGrange College, LaGrange, GA January 25, 2011 Zeta Kappa, Young Harris College, Young Harris, GA April 5, 2011 Zeta Lambda, Waldorf University, Forest City, IA April 13, 2011 Zeta Mu, Texas A&M University, College Station, TX April 16, 2011 1 Year Zeta Chi, George Fox University, Newberg, OR April 19, 2015 Zeta Psi, University of San Diego, San Diego, CA May 2, 2015

Springfield, MO May 24, 1966

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ACME Nominations Are Always Open Honor the most accomplished Mu Phis you know – it’s easy!

Do you know a Mu Phi – maybe a member of your chapter – who has a distinguished national or international musical career as an artist, composer, musicologist, or educator? Does he or she deserve wider recognition within our fraternity? Nominate that member for ACME! Eligible ACME nominees are Mu Phis who are currently affiliated (dues-paying) chapter or Allied members. Just send your nomination in writing by email or letter, briefly describing the member’s career and why you believe she or he is worthy of ACME recognition. Be sure to include the nominee’s address, telephone number, and e-mail address.

The ACME co-chairs will contact the nominee with an invitation to submit further information. After that’s received, the ACME committee will evaluate and decide on the nomination. Contact one of the ACME co-chairs (information on page 23) for further details. There’s no deadline or closing date, but don’t delay – honor a distinguished member today!

Kudos for Michael Mayes Michael Mayes was named in March by New York’s WQXR classical radio as one of 40 Under 40 opera singers to watch. From the story: “[Mayes] has become known for his extraordinary portrayal of Joseph De Rocher on death row in Jake Heggie/Terrence McNally’s Dead Man Walking.”

Michael Mayes in his signature role as condemned prisoner Joseph de Rocher in Dead Man Walking.

Continued from page 7

the beginning. Opera is theatre, and at its heart it’s about telling a story. Knowing the score is merely the beginning; an opera singer has to be an accomplished actor as well as an incredible musician. See as much live straight theatre as you can and take every acting course you can get yourself into. “Acting for opera singers” classes have always struck me as a bit silly. Learn to act like actors learn to act. Once you get that tool in your toolbox, you’ll be surprised at how much it enhances your ability to communicate in this art form.

In a general sense, you must understand that your job as an aspiring performer is to discover your story. Find out what it is that you want to tell the world with your art and spend the rest of your life doing everything you can to tell it. Technically perfect singing is impressive, but without connection, it’s merely a circus trick, a lucky draw in the genetic lottery. The character Bea’s line from Jake Heggie’s Three Decembers springs to mind: “... I found on the stage what every person desires, not escape, but connection.”

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FINAL NOTES ANN GIBBENS DAVIS

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PHI LAMBDA, WASHINGTON DC ALUMNI

Anita Elizabeth Denniston Bassett Gamma, April 22, 1979 Ann Arbor Alumni Died February 26, 2016 Pianist, organist, composer. Anita was an author, painter, and composer who studied with Nadia Boulanger at the Paris Conservatoire de Musique. She was a leader in the Ann Arbor Society for Musical Arts concert series and performed in JazzElegance, a trio specializing in 1940s music. She was also a film and stage actress.

Dorothy Eastland McGregor Coy Tau, November 14, 1942 Died March 13, 2015 Vocalist, pianist. Dorothy sang on weekly radio broadcasts in Seattle for many years. She later taught piano and voice in southern California.

Eric Garcia Alpha Pi, April 26, 2015 Died January 20, 2016 Music student. Eric was an active and much-loved Alpha Pi at Texas State University.

Marilyn Grobel Mu Epsilon, May 1, 1951 Died January 28, 2016 Pianist, composer.

Martha “Marty” Hayes Mu Chi, March 2, 1960 Died July 11, 2015 Music educator, choral director.

Marty was a music teacher and Director of Fine Arts for the Dallas Independent School District.

She designed the fine arts curriculum for DISD’s first fine arts

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magnet school. She directed the Kimball Concert Choir and was active in area church choirs.

Marie Christine Lindvall Mu Rho, April 27, 1966 Denver Alumni Died November 22, 2015 Violinist, music educator. Marie taught public school instrumental music for many years. She was principal violinist in the Arapahoe Community College Orchestra and Littleton Symphony Orchestra and active with the Colorado Symphony Orchestra Guild.

Louise Evelyn Soper McCullough Epsilon Pi, April 15, 1965 Washington, D.C. Alumni Died February 1, 2016 Pianist, vocalist, church musician.

Louise moved frequently as an Air Force wife and found music activities wherever she lived. She led music groups in several states and the Philippines and served as a director of a community concert series in northern Virginia.

She was a past president of Washington D.C. Alumni.

Theresa Welsh Merrick Phi Nu, January 20, 1946 San Francisco Alumni Died January 9, 2016 Vocalist. Theresa taught special education for the blind. She served as treasurer and president of San Francisco Alumni and as parliamentarian for the Fraternity.

Dianne Marie Lecocq Muller Delta Omega, December 11, 1964 Dallas Alumni Died June 3, 2015 Pianist, music educator. Dianne taught music and piano at a private school for 20 years, and also founded a music camp for children.

Katherine Jeanne Moyer Thompson Xi, November 13, 1940 Died October 14, 2015 Pianist, vocalist.

Katherine taught elementary school music for many years. She later earned a master’s degree in counseling, served as a high school counselor, and became principal of the first alternative high school in the Waco school district. She was an active church musician as singer, pianist, and choir director.

Frances Cernich Irwin We are deeply saddened to report the unexpected passing of Past International President Fran Irwin on April 16, 2016. A future Triangle will feature a full tribute.

Send Final Notes to: Ann Gibbens Davis 7200 3rd Avenue C-134 Sykesville, MD, 21784 410-795-9437 davismusec@comcast.net

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DISTRICT DIRECTORS ATLANTIC

DISTRICT SE2

DISTRICT A1 Stephanie Berry 574 596 8285 bmpenguin69@hotmail.com DISTRICT A2 Susan Todenhoft 703 323 4772 H 703 509 0224 C todenhoft@gmail.com

EASTERN GREAT LAKES DISTRICT EGL1 Danielle Stoner 585 217 6597 dstoner326@gmail.com DISTRICT EGL2 Cassandra Eisenreich 724 728 2440 cassandra.eisenreich@sru.edu DISTRICT EGL3 Nancy Jane Gray 330 688 7990 bobgrayz@aol.com

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

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EAST CENTRAL DISTRICTS EC1, EC2 & EC3 Sean Kilgore 317 750 3206 smk193@gmail.com

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

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DISTRICT SE3 Stephanie Sandritter 407 538 2371 stephanie.sandritter@gmail.com DISTRICT SE4

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SOUTH CENTRAL District SC1 Rachel Reynolds 512 944 3398 reynolds_r_m@yahoo.com DISTRICT SC2 Ashley Kimmel Bouras 972 765 3252 ashley.kimmel12@gmail.com DISTRICT SC3 Chrisalyne Hagood 580 383 8011 chrisalyne.hagood@gmail.com DISTRICT SC4 Isabel De La Cerda 210 204 6425 idelacerda@hotmail.com

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

NORTH CENTRAL DISTRICT NC1 Teresa Rowe 612 926 5854 Terryrowe568@gmail.com DISTRICT NC2 Liana Sandin 402 483 4657, 402 560 7126 Liana.Sandin@gmail.com

WEST CENTRAL DISTRICT WC1 Chrisalyne Hagood 580 383 8011 chrisalyne.hagood@gmail.com DISTRICT WC2

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PACIFIC NORTHWEST DISTRICT PNW1 Sophia Tegart 509 991 4906 sophia.tegart@gmail.com DISTRICT PNW2 Kathryn Habedank 206 405 4645 Kahabedank@aol.com DISTRICT PNW3 Michael Lasfetto 971 275 3800 pnw3dd@muphiepsilon.org

PACIFIC DISTRICT P1 Andrew Haff 209 988 2495 andrewonehalf@gmail.com DISTRICT P2 Kira Dixon 408 439 6076 kira.dixon@me.com

PACIFIC SOUTHWEST DISTRICT PSW1 Jane Davidson 626 487 6201 jane@newmusicempire.com

DIRECTORY OF EXECUTIVE OFFICERS 2014-2017 INTERNATIONAL EXECUTIVE BOARD

INTERNATIONAL CHAIRMEN

2015-2016 FOUNDATION BOARD

Rosemary Ames, International President ACME Arietha Lockhart (Chair) 13 Travis Dr, Framingham, MA 01702 Beta Gamma, Atlanta Alumni 508 872 5818, president@muphiepsilon.org

President Linda Florjancic 7959 Wright Road Broadview Heights, OH 44147 216 219 4953 lflorjancic@yahoo.com

3159 Springside Crossing

Charlotte Brown, 1st VP/Extension Officer Decatur, GA 30034 404 284 7811 12578 Barkley St, Overland Park, KS 66209 ariethal@hotmail.com 913 345 8999 extensionofficer@muphiepsilon.org Jenny Smith, 2nd VP/Collegiate Advisor 1137 Esters Rd #1524, Irving, TX 75061 214 662 5087 collegiateadvisor@muphiepsilon.org Ruth Cuccia, 3rd VP/Alumni Advisor 3408 S. Denison Ave, San Pedro, CA 90731 310 832 7433 alumniadvisor@muphiepsilon.org Jan Scott, 4th VP/Music Advisor 6223 Washington Ave, St. Louis, MO 63130 314 727 6876, musicadvisor@muphiepsilon.org Kayla Lisa, 5th VP/Eligibility Advisor 7881 Reflection Cove Dr #208, Fort Myers, FL 33907 239 841 8221 eligibilityadvisor@muphiepsilon.org Melissa Eddy, Editor & Webmaster 220 Link Drive, Kingsland, TX 78639 512 217 1264, editor@muphiepsilon.org Mark Gehrke Executive Secretary-Treasurer International Executive Office P.O. Box 1369, Fort Collins, CO 80522-1369 888 259 1471 Fax: 888 855 8670 executiveoffice@muphiepsilon.org

HONORARY ADVISORY BOARD

Katherine Doepke, Phi Beta 825 Summit Ave., Apt 606 Minneapolis, MN 55403 612 377 2043, katdoepke@gmail.com Lee Clements Meyer, Phi Xi 8101 Club Court Circle, Austin, TX 78759 512 345 5072

Vice President Liana Sandin 6321 A Street Lincoln, NE 68510 402 560 7126 liana.sandin@gmail.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 BYLAWS & STANDING RULES Kathleen Earl Midgley Alpha Delta, Sacramento Alumni 1704 Haggin Grove Way Carmichael, CA 95608 916 485 4017 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 kennedyeb48@gmail.com

INTERNATIONAL Marlon Daniel, Mu Xi New York Alumni 45 Tiemann Place, Apt 5F New York, NY 10027-3327 212 641 0305 marlondanielnyc@gmail.com

Dr. Kristín Jónína Taylor 139 Indian Avenue Forest City, IA 50436-2320 641 590 0547 kjtsonata@hotmail.com

MUSIC LIBRARIAN & ARCHIVES Wendy Sistrunk, Mu Mu Kansas City Alumni 1504 S. Ash Ave. Independence, MO 64052 816 836 9961 SistrunkW@umkc.edu

President of Mu Phi Epsilon International Fraternity Rosemary Ames 13 Travis Drive Framingham, MA 01702 508 872 5818 president@muphiepsilon.org Artist Concert Manager Dr. Keith Bohm School of Music Sacramento State 6000 J St. Sacramento, CA 95819 916 213 4085 kbohm@csus.edu

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International Executive Office P.O. Box 1369 Fort Collins, CO 80522-1369 executiveoffice@muphiepsilon.org 888 259 1471

NOTICE OF CHANGE OF ADDRESS OR NAME Update online at www.muphiepsilon.org

MORE APPLAUSE

New Zeta Omegas performing at the installation musicale & having fun!

Phi members at the chapter's 100th anniversary celebration in November.

Alliance Alumni president Russell Newburn (right) congratulates Phi president Haley Walls with a certificate honoring Phi's milestone anniversary.