The Triangle, publication of Mu Phi Epsilon music fraternity, Vol. 110, Issue 4, Winter 2017

VOLUME 110, ISSUE 4, WINTER 2017

THE

TRI ANGLE

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

CONDUCTORS PASSION LEARNING LEADERSHIP

Winning Musicological Research Paper

First convention performers announced

Welcome new chapters

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 WINTER 2017 | VOLUME 110, ISSUE 4

features 4

Think Globally: Conducting Around the World Meet globe-trotting Mu Phi conductor Marlon Daniel.

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Conductor Roundtable A roundtable conversation with three Mu Phi conductors at different career stages.

14 Foundation Scholarship winner report and new board members.

16 Musicological Research Summary of 2016 Musicological Research Contest winning paper about Brahms Ballades, op. 10.

columns 10 11 12 13

ACME Beauty of the saxophone Upon Listening New works by Mu Phi composers Collegiate Connection All about convention Alumni Corner Growth and change

departments 3 18 20 21 22 23

President’s Message Applause / Encore New Chapters 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 a minimum of 300 dpi.

Deadlines for submissions: Summer — May 1 Fall — August 15 Winter — December 1 Spring — February 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 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 4) 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. © 2017 Mu Phi Epsilon. All rights reserved.

On the cover: Marlon Daniel conducting at African Musical Arts concert, St. Louis, MO, March 2016. Photo by Charles Guthrie, courtesy of Women's HOPE Chorale of St. Louis. Photo credit top left: Nicole Vega.

PRESIDENT’S MESSAGE ROSEMARY AMES

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INTERNATIONAL PRESIDENT

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PRESIDENT@MUPHIEPSILON.ORG

About our convention theme Explore: To travel in or through an unfamiliar territory; to learn about or familiarize oneself with it. To investigate, study, or analyze; to become familiar with by testing or experimenting. I would guess that most, if not all, musicians are explorers. From our very beginnings, we latched onto rhythm patterns, melodies, or sounds. As we grew, we wondered what might happen if we combined this sound with that rhythm, or we wondered if there were specific instruments that might represent our musical thoughts. If not, maybe we could design a new instrument. Musicians still explore today, and that is perhaps what keeps us continually learning, creating, performing, teaching, composing, and listening to new ideas in music. It so exciting to continue to hear new music and find joy in new musical ideas.

Engage: To occupy, attract, or involve someone’s interest or attention; to participate or become involved in.

And what do all musicians hope for? We hope to engage others in our joy. We might ask others to join us in performing a piece by an old master or a contemporary artist. We might ask someone to listen to our own composition. We invite audiences to listen to our performances. Each time we do one of these things, we are engaged ourselves and engaging those around us. Music can open the doors to our memories or take us to a new place. We don’t just perform, we engage.

Elevate: Raise or lift up to a higher position; raise something up to a higher level or state; enhance. We are elevated with our music. We are so fortunate to know and love music, to share music, and to have music in our lives every day. Every time we explore and engage in music, we are elevating our knowledge and love of music. How wonderful that is.

These are some of the thoughts that went through our heads at last summer’s IEB meeting in Denver as we decided on the theme for this year’s convention. I hope you’re already planning to join us July 27-30 in Denver where we will Explore, Engage, and Elevate our music and ourselves. Remember, the convention is for all Mu Phi members, so we hope to see you there.

There is much to do before we meet this summer. Every chapter has received a copy of the newly revised Bylaws to be approved at the convention. The revised Standing Rules will be in your hands soon, and those too will be approved at the convention. We want your feedback now so we can present a final version at the convention. Please make your thoughts and suggestions known so we have an opportunity to carefully consider and possibly incorporate them in advance. The Bylaws and Standing Rules are your documents.

Registration is now live on our website! Information about performers, presenters, and other schedule details will be posted as we get closer to convention, so be sure to check the website often for the latest.

Rosemary Ames International President

Read an interactive version of this issue online at muphiepsilon.org!

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COVER FEATURE

BY MELISSA J. EDDY, INTERNATIONAL EDITOR

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MU THETA

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EDITOR@MUPHIEPSILON.ORG

Marlon Daniel

Think Globally: Conducting Around the World Marlon Daniel (Mu Xi, New York others, he has been guest conductor of Visit marlondaniel.com Alumni) has built a worldwide the Pazardzhik (Bulgaria) State to learn more reputation as a conductor and Symphony Orchestra, assistant clinician, and at mid-career, he’s just conductor of the Sofia (Bulgaria) about Marlon’s getting started. He holds several Opera and Ballet, and associate background, career, permanent conducting appointments, conductor of the Prague Sinfonietta and and recent and future including music director of New Yorkthe Sofia Sinfonietta. appearances. based Ensemble du Monde, which he founded (ensembledumonde.org). He also While Marlon’s conducting repertoire is artistic encompasses all classical periods and director of the Saintgenres, he is a champion of music by composers of Georges International African and African American descent, from SaintMusic Festival in Georges to George Walker. In 2011 he conducted the Guadeloupe, French West Russian premiere of William Grant Still’s iconic AfroIndies; music director of American Symphony. He is also an avid supporter of the Colour of Music music by living composers, and he has worked closely Festival in Charleston, NC with and conducted premieres by numerous major (colourofmusic.org); and composers. His recording Phoenix Forever (music of director of the Bahamas Hampson Sisler) on the MSR Classics label received rave National Symphony reviews and was in consideration for a 2011 Grammy©.

Orchestra (BNSO) Orchestra Workshops. He Passion for education also travels the world as a Marlon also teaches workshops and master classes resident and guest around the world for music students of all ages. Fluent conductor. Among many in French, he especially enjoys working with youngsters

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in French-speaking countries, and he also instructs in the U.S. and Europe. He says, “One of my passions is education. I taught for several years at New York’s Third Street Music Settlement, where I had a thriving class of successful young pianists. I love teaching and by all accounts was good at it, and I left the school only because I wanted to give more time to my performing career.

“Now that I don’t do the everyday teaching of lessons and classes, I prefer to think more globally. I can inspire teachers and students through lectures, masterclasses and workshops. I implement educational programs in the festivals where I am artistic director and in a variety of residencies, from elementary schools in France to universities such as Columbia and Yale.

“I have always thought that your first music teacher should be your best teacher. I also think one should not choose to teach because of a failed performing career. Teaching is for the truly impassioned musicians who really want to pass on knowledge to the next generation. Teachers should be the best among us, and they should be revered.”

When not globe-trotting, Marlon is active in the New York Alumni chapter. He is chair of the Mu Phi Epsilon International Committee and has written several Triangle columns. He conducted the 2011 International Convention Chorus in performing works by Libby Larsen.

Opposite page (top): Marlon Daniel and young Chineke! Orchestra musicians before performance at Royal Festival Hall, London, UK, in September 2016. Photo by Chi-chi Nwanoku. This page (top): Marlon conducting at African Musical Arts concert, March 2016. Photo by Charles Guthrie, provided courtesy of Women's HOPE Chorale of St. Louis. (Middle): Instructing at the piano.

Photo by Christine Chris. (Bottom): Teaching at Columbia University residency, March 2016. Photo courtesy of Marlon Daniel.

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COVER FEATURE CONDUCTOR ROUNDTABLE

A CONDUCTOR'S LIFE: LEARNING NEVER STOPS The Triangle conducted email interviews with three conductors at different career stages. Dylan Forshell (Alpha Mu) is studying at Missouri State University for a master’s degree in choral conducting. Georgina Phillipson (Phi Lambda, Allied, ACME) is founding artistic director of Consonare Chorale in Portland, OR, and an in-demand clinician (see The Triangle, Fall 2016, page 13, for more about Georgina). The first woman awarded a doctorate in conducting from The Juilliard School, Victoria Bond (Epsilon Psi, ACME) has served as Exxon/Arts Endowment Conductor with the Pittsburgh Symphony and has guest conducted on four continents. She is also an award-winning composer. More at victoriabond.com.

a director until my junior year at the Frank DeMiero Jazz Camp. I was a camper, and one of the music staff observed that I was spontaneously conducting the girls’ serenade piece to the boys during lunch. It was thrilling and empowering. I started college as a business/economics major but switched to music education after three weeks.

Dylan Forshell

When and how did you first know you wanted to be a conductor?

Dylan: I realized in eighth grade that I wanted to become a music teacher, having been in choir, band, and orchestra throughout middle school. I continued in all three disciplines in high school but knew I would need to choose one to focus on during college. Working with a wonderful high school choral conductor showed me what a choral life could be, and my first Missouri AllState Choir experience introduced me to challenging literature that fed my soul.

Georgina: I began my love affair with performing music in sixth grade, but didn’t know that I wanted to be

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Victoria: My original plan was to be a singer and composer. But then I went to study voice in Aspen one summer during college. A classmate’s older brother was teaching a conducting class there and he told me, “If you’re planning a career as a singer, you will undoubtedly be singing opera, and you should know what a conductor does, so you should take my class.” So I signed up. The classmate’s older brother happened to be Leonard Slatkin. What a marvelous introduction to conducting! I was amazed at how much more globally I thought about music and realized that being a conductor/composer was the best option for me.

Who is or was your most influential teacher?

Victoria: Herbert von Karajan, who taught a master class at Juilliard in 1977. I was one of seven students who had the privilege of studying with him. The way he listened to the orchestra was precise, and the way he insisted on getting what he wanted was clear and specific. He would have me conduct a passage, then stop me and ask what I was hearing. As a result, he taught me to listen in depth. His standard was the highest I had ever experienced and he radiated a laser-like focus. His

lessons formed the basis of my conducting and I have used the tools he gave me ever since.

Georgina: Russ Christensen, the public school music specialist for grades 6-12 in the small Oregon town where I grew up. When I was in sixth grade, he got the ball rolling in my musical life. He auditioned and enrolled me in every choir, invited me to accompany, and encouraged me to try musical theater, where I landed several roles.

Russ also made sure our little town had big musical experiences by bringing in professional ensembles like Chanticleer. He showed me an example of the musical life possible through conducting and inspiring other musicians.

Georgina Phillipson

Dylan: I chose Missouri State for college so I could sing under the baton of Dr. Guy Bedford Webb. Focused study of the voice was incredibly important to him, and now is to me as I work with voices at various stages of technical ability. His music choices influenced how I look at repertoire, and the textbook he wrote is part of my academic conducting knowledge. And the connection Webb makes with his singers is one I hope to achieve with every singer I work with throughout my career.

What’s your one conducting experience that stands out as most memorable or challenging?

Georgina: This one’s easy. As a person who loves and admires the perfect wholeness of the choral octavo, I never expected to conduct multi-movement operas or excerpts. But in 2010 I did just that, conducting more than 148 pages of opera at the National Opera Association’s national conference. I brought the choir I direct, Consonare Chorale, for confident and excellent interpretive work, collaborated with renowned soloists, and connected with our current accompanist, Rebecca Stager. The experience was completely rewarding and broadened my musical self-concept.

Victoria: In 2004 I conducted a gala with the Central Opera in Beijing. The orchestra was not accustomed to putting their heart and soul into the music and they approached the concert as just another job. So it was a

challenge to ignite their passion. But I found a way. The schedule involved a morning rehearsal, lunch for everyone, and an afternoon rehearsal. The dressing room where my lunch was served adjoined their lunchroom, and I could hear them yelling and shouting during a lively card game. That afternoon I told Victoria Bond them I knew they were capable of great fire and passion because I heard them express it during the card game, and challenged them to put that much emotion into their playing. It worked, and the level of power and gripping energy was palpable! The concert was a great success.

Dylan: The first four movements of Vivaldi’s Gloria.

This was the first time I had prepared and conducted a piece from first reading to performance. It tested all that I had learned throughout my undergrad years and gave me an idea of how much I still have to learn. The phrase “you don’t know what you don’t know, until you know it” has never been more true for me.

What’s the one piece you haven’t conducted yet and most want to?

Dylan: St. Matthew Passion by J.S. Bach, hands down.

Bach has always held a special place in my heart, and this particular piece contains melodic material that has stuck with me since the first time I heard it. Sometimes I find myself singing a “random” melody only to realize a few seconds later that it’s from the St. Matthew. I’ve experienced it live twice, and both performances have changed how I look at the relationship between music and humanity.

Victoria: I would like to conduct Salome by Richard Strauss. It is an opera I would like to study in depth, and the best way to accomplish this is to conduct it. The score is powerful and intricately conceived, and I find it fascinating. I want to take it apart and see how it works and communicate my findings to an orchestra and singers.

Georgina: For me, it isn’t a piece of music, but opportunities to work with different people in a variety Continued on page 8

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Continued from page 7

How has being a Mu Phi been a part of your career development?

Dylan: It’s been important from the moment I began the rush/orientation. At each chapter recital, Alpha Mu sings as a group, allowing students from all disciplines to create music together. Chapter activities have given me ample performance opportunities, and at the 2014 Mu Phi convention I participated in Georgina’s masterclass and was chosen to conduct the convention chorus in performance of “Our Triangle.” This experience reassured me of Mu Phi Epsilon’s trust in me, so beautifully set to music. Convention also enabled me to create a wider network of members from across the country.

Georgina Phillipson conducted the 2014 International Convention Choir. Photo by Kathleen Earl Midgley.

Georgina: There is one common denominator to my Mu Phi Epsilon journey: Dr. Kurt-Alexander Zeller. It started when he looked at me over the piano during an undergrad voice lesson and said, “You will be a Mu Phi Epsilon member. Initiation is this week. Be there.” I was intrigued to become a member of a music fraternity, especially as a girl. We were a great fit from the start, and he has championed my professional career through a friendship spanning more than twenty years of fraternity-connected music making.

Victoria: Mu Phi Epsilon has been an important networking tool, connecting me to other musicians throughout my career.

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Dylan asks Victoria and Georgina, “If you could travel in time and speak to a younger you, what advice would you give yourself?”

Georgina: Take what you do seriously, but don’t take yourself too seriously. Listen to your instincts about people and music. Realize that we really are in a service industry, now more than ever. Your art must serve, and in turn, we must serve our art. There is something transformative about music, to those creating it and those hearing it. Music has loved me through the toughest times of my life.

Victoria: Stick to your path and hold fast to your dream.

Don’t be discouraged by obstacles and don’t allow anyone to dictate your future. Be sensitive to the advice of those you trust and ignore the criticisms of those you don’t. Be humble and realize that music is bigger than you are. You are its servant, not its master, and learning never stops.

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The conductor is the artistic leader and sometimes cultural arbiter of his or her community. It is their leadership that is looked to and should anything go wrong, they are the persons taking most of the heat.

Leonard Slatkin

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of settings that excite me. From a middle school choir giving its first performance to a community chorus taking a work from first reading to concert, each piece of music requires musicians to see themselves through its lens of self-reflection and self-expression. That makes for dynamic and rich musical moments.

from BrainyQuote.com

CONVENTION

First Convention Performers Announced The celebrated and beautiful campus of the U.S. Air Force Academy in Colorado Springs is just down the interstate from our convention’s location in the Denver area, and the Academy’s topnotch band program shares Mu Phi Epsilon’s dedication to service and musical excellence. So it was only natural that convention planners invited a USAF ensemble to perform at our event.

We were delighted that the woodwind ensemble Rampart Winds accepted the invitation.

They will perform for the convention’s opening ceremonies the evening of Thursday, July 27, with a stirring fanfare, a “classical casserole,” and more. Will they play “Our Triangle” for us to sing along? Come to convention and find out!

About the Rampart Winds As one of ten performing ensembles in The United States Air Force Academy Band, Rampart Winds is a featured woodwind quartet that performs traditional literature. Each ensemble member brings a wealth of musical knowledge and experience, having performed in numerous orchestras and music festivals around the world.

Rampart Winds supports its mission of community relations, educational outreach, and Air Force recruiting by performing a diverse repertoire of original works, standard and contemporary compositions, and patriotic favorites.

The exquisitely polished and refined ensemble is in high demand for diplomatic and military protocol events throughout the country and ceremonies for numerous U.S. and foreign dignitaries.

In recent years, members of the Rampart Winds have performed for the National Flute Association, the International Clarinet Association, and the International Double Reed Society conventions. The music of Rampart Winds has been broadcast on National Public Radio, PBS, and television stations worldwide. The ensemble’s engaging approach to clinics and workshops makes it a favorite in academic circles, benefiting students of all ages.

Update Convention planners have learned that prior to our convention, the Rampart Winds will add a French horn player and become a quintet. Convention participants will be among the first to hear a performance by the expanded ensemble!

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ACME ARTISTS, COMPOSERS, MUSICOLOGISTS MARY AU

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MU NU, LOS ANGELES ALUMNI ACME

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EDUCATORS AUHAUS@GMAIL.COM

Beauty of the Saxophone ACME honorees are artists, composers, musicologists and educators from many musical disciplines. In this issue we focus on the saxophone, since 2016 marks the 170th anniversary of its patenting by Belgian inventor and musician Adolph Sax. He succeeded in creating an instrument with the tone quality of a woodwind and the power of a brass instrument. I interviewed saxophonist Chika Inoue (Omega Omega, Los Angeles Alumni, ACME), above, to learn more.

Tell us about your warm-up routine.

My routine includes singing as well as scales and exercises.

I consider the saxophone the closest instrument to the human voice in its range, lyricism, flexibility, and tone production within the saxophonist’s oral cavity. Like singers, we cannot see nor touch our throat and have to rely on what different oral placements feel like and how they are associated with producing the desired tones, harmonic overtones, and altissimo notes.

What music do you listen to?

Apart from listening to the recordings of renowned saxophonists , I like to study how top pianists and singers utilize phrasing, note spacing, and articulation to create dramatic effect, evoke emotion, and draw out the music’s beauty. Listening to the beautiful sound of oboist Albrecht Mayer has taught me about smooth control, graceful execution, and beautiful tone.

Do you compose?

I am a performer and do not compose original music. However, since saxophone repertoire is primarily composed after 1846, I transcribe and arrange classical strings and woodwind repertoire from earlier periods to highlight the strength of my instrument.

Let’s talk about the training of saxophone students.

Developing a solid technical foundation and amassing repertoire are crucial to the Nominate development of young artists, the most So I start my warm-up by singing, usually whether in long tones over 1.5-octave scales, holding accomplished Mu Phi classical or each note two to four counts. This you know to be an jazz studies. promotes steady pitch, deep breathing, ACME honoree! For form, Apart from controlled air release, and vocal agility. see muphiepsilon.org scales, I give Then I go on to scales and exercises. my students (About/Honors & Playing scales reinforces my knowledge of studies such keys and fingerings, and exercises played in Awards/ACME). as Ferling’s 48 twelve different keys build transposition Etudes for skills and give me more appreciation of the tone Historical photos contributed Saxophone to help colors related to each key.

by Mary Au them develop their technique and musicality, What is your goal as a classical saxophonist? and to enforce their use of alternative fingerings for I want to perform for audiences who would not phrasing and ornamentations. Once they have otherwise hear classical saxophone repertoire, to developed the necessary technique and discipline, connect people from different cultures through art, and students are ready to learn jazz standards and/or to introduce young audiences to the saxophone’s beauty. classical repertoire. Ensemble playing is also important I also hope to attract more classical composers to write to teach collaboration, awareness of steady rhythm, for the saxophone, not only as a solo instrument but also sensitivity to matched pitch, articulations, breath, an orchestral one. It always amazes me when an dynamics, musicality, and ensemble. Koechlin duets and audience member tells me, “I didn’t know the other ensemble music for saxophone with piano and/or saxophone can sound so beautiful.”

Continued on page 17

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UPON LISTENING

BY SHERRY KLOSS

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EPSILON UPSILON, ACME

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MUNCIE ALUMNI

Poems and Dreams New works by Mu Phi composers Upon listening to Poems and Dreams, a collection of original works superbly performed by flutist Rebecca Jeffreys and pianist Alexander Timofeev, you will be convinced that new music is alive and thriving. Composers Russell Nadel (Phi Gamma, Washington DC Alumni), Jeffrey Hoover (Beta Omega, ACME), Adrienne Albert (Phi Nu, Los Angeles Alumni, ACME), Francis Kayali, and Kevin Walker demonstrate that they are the new representatives of what is contemporary today.

poignant explorations of melodic and harmonic content and rhythmic variants. The concluding capriccio is driven by a superb mesh of multirhythmic figures, including a bass line of boogie-woogie and jazz – quite a virtuosic escapade.

“Byzantine Dances” by Russell Nadel opens with a simple piano bass note and an effective swish of piano strings to introduce a purely melodic theme in the flute. The theme evolves and expands as the instruments’ voices intertwine in fervently passionate exchange; the listener is instantly captured by exotic rhythmic energy. Sumptuous color, modal use, and special effects pervade these mesmerizing dances, causing one to visualize a vibrant Middle Eastern square.

Jeffrey Hoover’s “Romantic Sonata: Poems of Light” in three movements encompasses elements of many stylistic periods. Jeffrey visualizes each stroke of a paintbrush within the musical notes and shares this vision with us. The opening piano statement “Of Light and Shadow” is abundant in catchy rhythm, imitation, and thematic segments that evolve into an interactive conversation with the flute. Trills, fugato, repeated notes, and jazzy harmonies fuse beautifully into unison. “Colors in the Clouds” opens ominously, but soon the piano sets the stage for songful escapades as the wistful flute prances around, prodded on by the pattering piano. Meditative Eastern spiritualism is evoked when the unaccompanied flute trills, creates harmonics, moans and cries in prayer. In “Prism of the Heart,” the piano unfolds a storyline in preparation for the lyrical flute. The music is melodic, ponderous, and rich in harmonic exploration; a heartbeat of life is the driving force.

The flute cascades over the entire range of the instrument amid probing chordal piano progressions, concluding in a simple g minor cadence.

The prelude to “Intermezzo” by Francis Kayali is an extended piano introduction that travels through an array of harmonic locations to welcome pleasant flute meanderings. The nocturne section is beautifully conceived with

“Acadian Dreams” by Adrienne Albert evokes red, white, and blue spirit even though Acadians are descendants of French settlers who migrated to Canada. Truly American, the flute pronouncement calls to mind Paul Revere's

Without question, knowledge and understanding of our great compositional legacy is their guiding light. We readily recognize tools of the trade like imitation, harmonic progressions, catchy rhythmic patterns, and form, with both subtle and obvious cadences.

What I wish to emphasize in this review is the emotional essence that characterizes each.

Release Date: October 21, 2016 Label: Rebecca Jeffreys and Alexander Timofeev Copyright: 2016 Rebecca Jeffreys and Alexander Timofeev Total Length: 49:39 Genres: Classical ASIN: B01M9E8TVL Available at Amazon

important cry to the people, with the piano in open harmony as both continue the thematic statement.

We visit ragtime, honky-tonk, and are immersed in American melodies, followed by a beautiful reflective ballad with exploration of harmonic centers both new and familiar, motivating the listener to sing along. In the conclusion of “Acadian Dream” we find ourselves in New Orleans, with an infusion of ragtime, jazz and rock and roll.

Flute Suite in D Major by Kevin Walker is a formidable work of five varied movements. In “Prelude,” the piano offers an opening invitation to the flute, which enters with a phrase (reminiscent of the Prokofiev flute sonata) that expands to an interesting melodic line. “Allegro Trill” is an energetic romp, and “Allegro con moto” is a mesh of Continued on page 17

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COLLEGIATE CONNECTION

BY JENNY SMITH

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

ALL ABOUT CONVENTION Please mark your calendars for this year’s convention, July 27-30 in Denver CO. Your collegiate chapter needs to start thinking immediately, if you haven’t already, about who will attend and how that can happen. Plan now! Your chapter is required to send a delegate, according to our official International Bylaws.

What is convention?

Photo credit Katherine Pfeiffer

Convention is three things in one: a retreat, business meeting, and celebration for Mu Phi Epsilon members. Its purposes are to commemorate the successes of our individuals and chapters, collaborate to improve our efforts, and build our professional skills together as a fraternity. We also make many important fraternity-wide decisions in formal, closed business meetings. We engage in music-making and master classes. You don’t want to miss the camaraderie, information, and unforgettable experience that IS Mu Phi Epsilon International Convention.

How to get ready Use the following step-by-step guide to help you and your chapter prepare.

1. Select an official delegate. Some chapters prefer that their current president attend. This is great if your president will remain an active member the following year, because the delegate will bring back a lot of valuable information for your chapter to put to use. If your president will have graduated and moved on, consider sending a younger chapter leader, such as a junior by hours. The delegate will represent your entire chapter at the convention and vote on official Mu Phi business, and must be able to attend the entire convention.

Photo credit Katherine Pfeiffer

2. Prepare to cover the delegate’s expenses. You should start fundraising and saving money now as a chapter to help this person attend convention. The largest expenses will likely be transportation to Denver, which must be purchased by the chapter and/or delegate, and registration.

3. Register your delegate. Registration is now open online at muphiepsilon.org. Each chapter must pay the registration fee for its delegate.

4. Consider sending other members. Any initiated Mu Phi Epsilon member is encouraged to attend convention!

Members who are not official delegates must also register and pay for their own registration, transportation, and hotel stay (though they will get the reduced hotel rate). The chapter is encouraged help pay expenses for nondelegate members as much as possible.

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5. Discuss and decide your chapter’s vote on important fraternity business. Pay attention to emails from International Executive Board (IEB) members. We will be sending your chapter important items to discuss and/or vote on prior to the convention. These include a completely new set of international bylaws and standing rules.

Each member’s individual voice is at the chapter level, and if you do not participate, your voice will not be heard.

If your chapter does not discuss items to be voted on at convention, your delegate will not be able to adequately represent you. It’s crucial to provide direction to your delegate.

6. Get ready for a fun, informative, and fast-paced four days! There will be plenty of workshops, performances, and social events that you won’t want to miss. Many of the workshops are geared towards helping your chapter thrive and operate more smoothly. Brainstorming and idea sessions with members and chapters all over the country can contribute to your chapter’s success. We will also have masterclasses and sessions about boosting your future career.

There are many opportunities at convention to meet and network with alumni, district directors, and IEB members. The more members who attend, the more helpful and fun these session will be! Don’t miss out! Keep watch for more specific information on how to pack and prepare for the convention as well as information on a post convention trip to local landmarks.

7. Expect your delegate to come back needing reimbursement for additional expenses. Ground transportation from the airport and back will need to be covered by your delegate. While lunches and dinners Friday through Sunday are included with registration, breakfasts are not, and Thursday dinner is also on your own. Transportation is free from the hotel to restaurants within a 5-mile radius, and there are places to eat inside the hotel. Delegates will need to pay for local transportation costs outside that radius. Transportation options will be explained in more detail during the registration process and as convention draws near.

Get ready for a great time! I can’t wait to see you in Denver.

ALUMNI CORNER

BY RUTH CUCCIA

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THIRD VP/ALUMNI ADVISOR

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ALUMNIADVISOR@MUPHIEPSILON.ORG

GROWTH AND CHANGE A recent photo of my family reminds me of how quickly things change; the grandchildren are growing in stature and in so many other ways. It makes me want to grasp the moments we have together even more tightly, maybe even push the “pause” button on our lives to keep everything just as it is right now. But life isn’t like that; the children grow and change, and hopefully we do too.

Mu Phi Epsilon has changed, as well. Since our last convention in 2014, we have made many changes, such as our new logo, the way we pay our dues, how we retrieve forms, and more. If you take a quick look through the Triangle issues since that time (you can view them on our website if you do not have the hard copies), you’ll be so encouraged by the work and service accomplished by collegiate and alumni chapters and members. Their innovative work to inspire, educate, and motivate others remains a testament to Mu Phi Epsilon’s purpose and aim.

I encourage every chapter to make an inventory of your activities and accomplishments over the past three years. Then make a “wish list,” thinking forward into the next three years, and begin working toward these goals.

Finally, please share both these lists with me, either by email or regular mail, so I can compile a visual look at our wonderful alumni chapters. Please keep it short and simple (one page); more in-depth descriptions will be in the Vice President’s Annual Report. It will be fun for us to share your lists at Convention, so our chapters can inspire each other and get new ideas.

Let’s make the 2017 Convention in Denver the best we’ve ever had! Be sure to look online for registration materials. See you there!

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FOUNDATION Zodiac Music Festival 2016: Challenges and Community

by Jason Pegis, Phi Lambda Cellist Jason Pegis, recipient of the Foundation’s 2016 Jean Louise Martin Scholarship, headed to southern France last summer to participate in the Zodiac Music Festival. The rising two-week music festival was created by the Zodiac Trio, an internationally acclaimed piano, violin, and clarinet ensemble. Jason was one of about forty participating musicians, who included violinists, violists, cellists, bassists, flutists, clarinetists, pianists, and composers. Jason had several solo performance opportunities and also performed in three chamber music groups with musicians from all over the world.

He studied with the Vancouver Symphony Orchestra’s principal cellist, Ariel Barnes.

While the festival’s gorgeous setting in the tiny mountain town of La Boline was vacation-worthy, the festival was an intensive and valuable music experience for Jason. “I was often playing cello seven hours every day. The level of student musicianship was outstanding.

I had never been in such advanced chamber groups. It was incredible to play with students from top schools like Juilliard, NEC, Northwestern, San Francisco Conservatory, and others. Everyone was friendly, talented, and dedicated.”

One of Jason’s biggest challenges was rehearsing and performing a Juilliard graduate student’s commissioned composition for piano quartet. Intricate rhythms, extended techniques, and unusual harmonic gestures such as quarter-tones made it difficult to put together in two weeks. With so much new music being created

today, working with a living composer is a vital skill for any musician. To participate in that process was grueling but highly satisfying for Jason.

Beyond the music and the scenery, the most valuable part of the festival was the sense of community. Making connections to faculty, composers, and many outstanding musicians was great for networking and career building.

Then the unthinkable happened on the festival’s last night, and it strengthened the community even more.

Jason writes, “After everyone had played and the reception started, our director gathered everyone and made the announcement about the terrorist attack that was happening at that moment in Nice. We were in the mountains an hour away, but we had been there just a few days before and were leaving through the Nice airport the following morning.

“At first, the news destroyed our high spirits. But then the entire camp went to the local bar and in face of the terrible news, socialized, played music, laughed, and had a spectacular last evening together. It was bittersweet and moving. We weren’t about to let our sense of community and love be tinged or threatened by what had happened. We were musicians. I’ve never seen a music festival group become that tight-knit.

Everyone was genuinely happy to be there. Maybe it was the beautiful French setting, the great food, or the fresh air, but it was something very meaningful, scratching at the question of why we do what we do as musicians.”

Jason’s piano quartet won one of the Zodiac Music Festival chamber music awards, and Jason himself was honored to win the festival’s Young Artist Award. The festival was a perfect transition to graduate school, as Jason started pursuing his MM last August at McGill University in Montreal, studying with Matt Haimovitz.

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New Foundation Board Members

Sophia Tegart

Craig Young

Sophia Tegart (Mu Beta, District Director PNW1) is a flutist, musicologist, and clinician. As a Yamaha Performing Artist, she has performed throughout the U.S., Europe, and Asia. She has been a soloist with the Spokane Symphony, Washington-Idaho Symphony, Chehalem Symphony Orchestra, and Kansas City Civic Orchestra; held orchestra positions with the Oregon Mozart Players, Washington-Idaho Symphony, Walla Walla Symphony, and Des Moines Metro Opera; and performed as a guest artist. She currently is piccoloist with the Colorado Mahlerfest and second flute and piccolo in Carl Fischer Publications’ premiere recording ensemble, the Tradewinds Wind Ensemble. An avid chamber musician, Sophia co-founded the Cherry Street Duo and the Blue Box Ensemble and has collaborated with the Portland Percussion Group. Her arrangements of works for small chamber ensembles are published by Audible Intelligence Music.

Craig Young (Mu Upsilon) is a business analytics and strategy leader from Atlanta, Georgia. He grew up in Rhode Island, where he began his music education as a double bassist. He went on to study double bass performance and music education at The Eastman School of Music, where he served as president of Mu Upsilon. Craig has performed with orchestras throughout the Eastern U.S., and in England, Austria, and Germany.

Sophia earned a DMA in flute performance from the University of Missouri-Kansas City Conservatory of Music and Dance. Currently on faculty at Washington State University as Clinical Assistant Professor of Flute, she previously served on the faculties of Pacific University, George Fox University, Concordia University-Portland, and the University of Idaho. She regularly gives master classes, clinics, and lectures around the country. She is a past finalist in the Mu Phi Epsilon International Competition and has also won the fraternity’s Musicological Research Award. sophiategart.com

After leaving the professional music world, Craig earned a Bachelor of Business Administration degree from Johnson and Wales University in Rhode Island. He has spent the last thirteen years working in various capacities for Cox Communications. During his tenure there, Craig has been responsible for creating plans for revenue growth, operational expense management, and leading teams of analysts and sales agents. In his spare time, Craig enjoys attending local music events and Atlanta Symphony concerts as a subscription holder. He is also an avid brewer of wines, meads, and beers.

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MUSICOLOGICAL RESEARCH BALLADES OP. 10 BY JOHANNES BRAHMS “EDWARD AND THE EPIC JOURNEY” Summary of winning paper, Division II/DMA Paper 2016 Musicological Research Contest

by Aurelien Bastien Boccard Alpha Kappa, Kansas City Alumni The composition of the Ballades, op. 10, came at a crucial moment in Brahms’s life, while he was a young man and a composer seeking his own voice. In the Ballades, one is aware of Brahms’s new literary discoveries into Herder’s poem.

Brahms also used Chopin’s conception of the ballade, but personalized it with his own ideas about form and structure, thus creating a new genre, the Ballade cycle.

Finally, it was his strong relationship with the Schumanns and the tragic events around that time that molded the Ballades and infused in them their unequaled charm.

to play these pieces because they are not widely diversified in form and character except for the third one, the Intermezzo, which is marked Allegro. Indeed, the first one is marked Andante and poco più motto, the second one Andante and Allegro non troppo, and the fourth, Andante con motto. Those three Ballades are all fairly slow in tempo and require a refined touch to render in each piece a specific mood. Some scholars view the four Ballades together as a sonata in four movements, while others consider it more as a song cycle without words. If all scholars do not agree on a defined genre, all talk about unity and a coherent structure across the four Ballades.

Brahms dated the Ballades as “Sommer 1854” in his handwritten catalogue.

The Ballades have been subject to Because he was typically more precise in numerous analyses, but the opening dating his works, this raises questions Johannes Brahms, c. 1885 (unknown piece, “Edward,” is probably the most about the genealogy of the composition. photographer), public domain interesting, not only for its theme and its The first time Brahms mentioned the texture, but also for its close relationship to the lyrics of actual Ballades was in a letter to Clara Schumann dated the ballade itself. It is in a ternary form designated as October 21, 1854, saying that he played four of them in ABA’. The A section is in D minor and is divided into Hamburg for his teacher, Eduard Marxsen1. It is not exactly clear on what level the Ballades were connected two themes: Andante (A) and Poco piu motto (a); each to the Variations, Op. 9, then in the early stages of is repeated. The B section is the longest one and is in D composition, but as early as April 21, 1854 Clara major. The A’ section, in D minor, is only half as long as mentions in her diary that Brahms had “brought [her] the A section. three pieces, among them his spirited ‘Reminiscence of Mendelssohn’,” which would be used later as one of the In conclusion, the Ballades still hold an important place Ballades. in today’s repertoire. Most famous pianists of the twentieth century have performed and recorded them at Although Brahms did not compose anything for some point in their careers. The nostalgic character and orchestra before 1857, there is an evident orchestral simplicity of the Ballades make them appealing both to character in his early piano pieces, especially in his amateurs and experienced pianists alike.

Serenade, Op. 11, as well as in his piano sonatas and his Scherzo, Op. 4. However, the Ballades, Op. 10 seem to 1 Eduard Marxsen (1806-1881) was Brahms’s first piano possess fewer orchestral characteristics as they proceed. teacher. A composer and pianist, he was a pupil of Ignaz Edwin gives a convincing reason for this: “The von Seyfried, himself a pupil of Mozart. diminution of orchestral features in the Ballades is simply due to the nature of their subjects; and there can 2 Evan Edwin, Handbook to the Pianoforte Works of be little doubt that the subjects in their turn owe their 2 Johannes Brahms. (London: The New Tempe Press, sd, respective distinction in character to poetic influence.”

31-32).

The form of the Ballades can be problematic when it comes to performing them. For the pianist, it is not easy

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CONVENTION CONVENTION HOTEL

THE INVERNESS HOTEL & CONVENTION CENTER

Saxophone, continued from page 10

Upon Listening, continued from page 11

other instruments are effective starting points for ensemble playing.

imaginative ideas, as an energetic opening leads to strains of a familiar, powerfully enhanced spiritual.

"Presto Change-o Rondo” is a busy Bach-like invention with intricate piano activity beneath the melodic flute.

The work concludes with a brief reprise of the exposition, throwing in every contrapuntal possibility imaginable and driving on to a grand finale.

What do you tell your jazz students about mastering a classical piece?

The sounds and techniques of classical and jazz are like different languages. To successfully play classical repertoire, jazz saxophonists must alter their phrasing, sound concept (pure & centered tone), timing between notes, and manner of attack. The understanding of tension and release in music is crucial for both classical and jazz players.

Do you advise students to learn to play all the saxophones or to double in an ensemble?

Since there aren’t many orchestral pieces written for saxophone, it is practical for saxophonists to learn all the orchestral excerpts for the saxophone and also to become proficient in flute, clarinet, or another woodwind instrument. Personally, I have chosen to master the standard classical saxophone repertoire and transcriptions for soprano and alto saxophones. I like the Japanese proverb “Man wo jisu,” which translates to “Draw the bow, prepare thoroughly, and wait for the opportunity.”

About the Artists Flutist Rebecca Jeffreys is a solo and collaborative performer and music educator. She is adjunct professor of flute at St. Anselm College in New Hampshire.

Pianist Alexander Timofeev is a solo and orchestral performer. Also a composer, he founded the International Society of Pianists and Composers to promote contemporary piano music. He is Artist-inResidence and adjunct professor at Rowan University in New Jersey.

Special kudos to Jeffrey Hoover for his beautiful painting of a post-Impressionist landscape on the CD cover. See The Triangle, Winter 2016, page 6, for more about Jeffrey's multi-disciplinary work.

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APPLAUSE & ENCORE news from members and chapters APPLAUSE Soprano Katharine Ball (Gamma, Ann Arbor Alumni) was interviewed in the January 2017 issue of Classical Singer magazine, where she talks about the joys and challenges of pursuing a professional career as a visually impaired artist. She began voice study at age 13 with a teacher who was a Mu Phi, and went on to earn several degrees. She also studied dance in high school and credits that training for her ability to move gracefully onstage. One of her proudest non-musical accomplishments has been getting around independently, especially when traveling internationally; she recounts several navigational adventures in the article. On the musical front, Kathy’s current adventure is developing from lyric to dramatic soprano as her voice matures. Although she has experienced some discrimination in the opera world because of her disability, she is determined to “show other people who have challenges that there is nothing that they can’t do if they have the passion and drive.”

Kathy was recently engaged to Andy Meagher (Gamma, Ann Arbor Alumni), a pianist and organist with whom she frequently performs. Read the full article at classicalsinger.com/magazine/article.php?id=3011.

Music therapy student Kayla Currie (Alpha Zeta) was one of several collegiate and alumni Alpha Zeta members who took positions last summer as residential counselors for the Virginia Governor’s School for the Humanities and the Visual and Performing Arts, held at Radford University. Designed to help high school students prepare for college, the month-long program included many workshops on artsrelated topics as well as a speaker series with an an open forum after each talk.

One invited speaker was Sam Rasoul, who represents District 11 in the Virginia House of Delegates. During

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the forum after his speech, Kayla asked what he is doing to support arts programs in public schools and ensure that arts therapists can find jobs in the school system.

Delegate Rasoul responded that her question “sounds like a great idea for a piece of legislation” and invited her to follow up with more information.

Chamber Music Palisades (CA) opened its twentieth season in October with a program that included performances by its co-artistic directors, flutist Susan Greenberg (Phi Nu, Los Angeles Alumni) and pianist Dee Stevens (Xi, Los Angeles Alumni).

Music educator Kayla Lisa (Alpha Zeta, International Fifth Vice President/Eligibility Advisor), below left, was honored in October as the American String Teachers Association-Florida Chapter (FL-ASTA) Beginning Teacher of the Year. Now in her third year of teaching at Cypress Lake High School Center for the Arts, Kayla has already doubled the enrollment of the orchestra, led it to superior ratings, and added a beginning orchestra class. In her second year, she was selected to coordinate the high school level of the Lee County All-County Orchestra, and promptly doubled its participation as well. In 2016 Kayla was named conductor of the Southwest Florida Symphony’s Sinfonietta, a feeder for the symphony’s Youth Orchestra.

Kayla is chair-elect for the Florida Orchestra Association (FOA) District 18.

Berkeley Price (Mu Upsilon, Los Angeles Alumni, ACME) was appointed Dean of Fine Arts at El Camino College, effective in January.

Mu Phis with Delegate Rasoul

APPLAUSE & ENCORE ENCORE Three Alpha Zeta alumni participated in Opera Roanoke’s production of South Pacific in October. Molly Cox sang in the chorus and covered the role of Bloody Mary, Zach Helms sang in the chorus and performed the role of McCaffrey, and Adam McAllister’s performance in the role of Luther Billis was a “tour de force,” according to one review.

Delto Rhos represent! Right: chapter leaders Sarah Rushing, Tessa Romano and Sarah Broadwell, pictured at the 2016 Delta Rho competition sponsored by Denver Alumni. Below: Delta Rho's latest initiation class.

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NEW CHAPTERS ETA ALPHA INSTALLED OCTOBER 11, 2016 RHODES COLLEGE The installation of Eta Alpha at Rhodes College begins the fraternity’s Eta family of chapters. Located in Memphis, Rhodes is is a small school with a campus renowned for its beauty and a music department of dedicated students. On installation day, fraternity officers Charlotte Brown (First VP/Extension), Rosemary Ames (International President), and Linda Chen (DD C2) flew into Memphis to do the honors.

They arrived within minutes of each other and were met by Thomas Bryant, the new chapter’s faculty advisor and driving force behind its creation.

The school of music holds a student recital every Tuesday afternoon, so the about-to-be new Mu Phis performed their installation recital as that day’s program, showing professionalism in their appearance, stage presence, and repertoire. The initiation and installation were held on the stage following the recital.

Twelve collegiates and one faculty member were initiated then, and later in the week the chapter initiated another three collegiates and one faculty member. In all, seventeen members signed the Eta Alpha charter. The

group’s vocal talent was evident when they sang Our Triangle; they will have a fine chapter chorus! Isabel Wittman is the chapter’s first president. The evening concluded with a celebratory dinner of genuine Memphis barbecue.

The new chapter was placed in the fraternity’s EC2 district to promote close association with Beta Theta, the other collegiate chapter in Tennessee. Eta Alpha has a bright future, with strong support from school and faculty and SERV projects already underway.

ETA BETA INSTALLED DECEMBER 4, 2016 BOSTON CONSERVATORY AT BERKLEE As a Boston-area resident, International President Rosemary Ames had a short commute to install Eta Beta at Boston Conservatory at Berklee, the name of recently merged Boston Conservatory and Berklee School of Music. James Lesu’i (Beta Alpha), a graduate student at BCB, was the driving force behind the new chapter. He tapped five other Mu Phis enrolled as grad students there to be the core group. All had had excellent Mu Phi experiences in their chapters of initiation, and they were thrilled to come together and welcome others.

Boston Alumni president Carolyn Frost (Beta Epsilon) and member Aaron Larget-Caplan (Beta) assisted with the installation, held in a large classroom. Eleven members signed the Eta Beta charter. Since newly reactivated Beta at New England Conservatory is only a few blocks away, Beta president Ian Wiese also

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initiated a new member as part of the day’s ceremonies.

The two chapters are already planning joint SERV activities.

Because December is such a busy time for music students, the Eta Beta members chose to give their installation recital in the new year, and they will also perform a program for Boston Alumni in April. They are planning a spring rush for undergraduates and also hope to seek out faculty members to install. Their SERV work is well underway, as they already volunteer in the community with service projects through the school of music.

FINAL NOTES ANN GIBBENS DAVIS

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PHI LAMBDA, WASHINGTON DC ALUMNI

Jennie Vee Means Cleaver Mu Kappa, May 23, 1941 Central Oklahoma Alumni Died September 2, 2016 Music educator, vocalist, church musician. Jennie taught for many years in Oklahoma and was a charter member of the Canterbury Choral Society in Oklahoma City.

Dixie Smith Ferry Phi Theta, November 15, 1941 Washington, D.C. Alumni Died February 8, 2016 Vocalist, pianist. Dixie sang in the New York Avenue Presbyterian Church choir in Washington, D.C. until her retirement, and was a 75 year member of Mu Phi Epsilon.

Mary “Vivian� Newby Fleming Phi Pi, January 11, 1958 Wichita Alumni Died July 1, 2016 Vocalist, music educator. Vivian was professor of voice and music education at Friends University for 38 years and a choir director for 44 years. She also taught at institutions in Illinois, Oklahoma, Colorado, and Kansas.

She performed in many oratorios and operas with Friends University, and was a frequent alto soloist with the Wichita Symphony, Music Theater of Wichita, regional choral and symphonic concerts, and her church. Vivian was a member of NATS and MENC, and served as faculty advisor for Epsilon Phi at Friends University.

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DAVISMUSEC@COMCAST.NET

Constance Gay Roof Gill Phi Kappa, April 9, 1972 Died March 4, 2016 Music therapist. Connie graduated from Wayne State University with a B.A. in music therapy.

Jean Hana Ishikawa Hosokawa Mu Phi, November 7, 1943 Died November 3, 2016 Educator, organist, church musician. Jean taught in Ohio and California, and was a church organist.

Leigh Wright Kaplan Mu Nu, April 26, 1958 Palos Verde Alumni, ACME Died November 22, 2016 Pianist, composer, educator. Leigh taught music at several institutions in North Carolina and California, including El Camino College and California State University at Dominguez Hills, and had a private piano studio for many years. She was also a soloist, chamber musician, and recording artist in several genres. She composed and published works for solo and duet piano and is listed in Mu Phi Epsilon Composers and Authors (2003). Leigh also wrote and performed one-woman shows about the lives of famous female pianists, most notably Clara Schumann, as well as a historical drama based on letters and diaries of Chopin. She was a member of the American Association of American Women.

Marilyn Schlicher Jones Phi Kappa, May 19, 1951 Detroit Alumni Died July 18, 2014 Music educator, choral musician.

Marilyn taught music in Detroit public schools and several area colleges, and was the founding artistic director of Livingston County Chorale.

Joanne G. Peters Phi Kappa, June 7, 1970 Detroit Alumni Died June 20, 2016 Flutist, educator.

Joanne taught in several Detroit-area private and public schools and also gave private flute lessons. She performed with the Michigan Opera Theatre.

Marilyn M. Mathis Walthall Beta Tau, January 18, 1969 Atlanta Alumni Chapter Died September 28, 2016 Pianist, organist, educator. Marilyn was collaborative pianist and organist for the Robert Shaw Chorale, Atlanta Symphony Orchestra, Atlanta Boy Choir, and area churches. She taught at Kennesaw State University, developed and led the Applied Lessons Program for the Lovett School, and had a private piano studio for many years.

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 se1dd@muphiepsilon.org

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

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OPEN

SOUTH CENTRAL

WEST CENTRAL DISTRICT WC1 Chrisalyne Hagood 580 383 8011 chrisalyne.hagood@gmail.com Kathleen Jung 580 822 1170 kathleen.a.jung@gmail.com

District SC1 Rachel Reynolds 512 944 3398 reynolds_r_m@yahoo.com

DISTRICT WC2 Kiley Wilson 405 625 5265 kiley.r.wilson@gmail.com

DISTRICT SC2 Ashley Bouras 972 765 3252 ashley.kimmel12@gmail.com

PACIFIC NORTHWEST

DISTRICT SC3

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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

DISTRICT PNW1 Sophia Tegart 509 991 4906 sophia.tegart@gmail.com DISTRICT PNW2 & 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

2016-2017 FOUNDATION BOARD Linda Florjancic, President 7959 Wright Road Broadview Heights, OH 44147 216 219 4953 lflorjancic@yahoo.com

Rosemary Ames, International President ACME Arietha Lockhart (Chair) 13 Travis Dr, Framingham, MA 01702 Beta Gamma, Atlanta Alumni 508 872 5818, president@muphiepsilon.org 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 1913 Dana Ct, Irving, TX 75060 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 7201 Bergamo Way #202, Ft. Myers, FL 33966 239 841 8221 eligibilityadvisor@muphiepsilon.org Melissa Eddy, Editor 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

Liana Sandin, Vice President 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 FINANCE Evelyn Archer, Omega Omega St. Louis Area Alumni 5312 Sutherland Ave. St. Louis, MO 63109 314 481 2361 archerbe@sbcglobal.net INTERNATIONAL Marlon Daniel, Mu Xi New York Alumni 45 Tiemann Place, Apt 5F New York, NY 10027-3327 212 641 0305 marlondanielnyc@gmail.com MUSIC LIBRARIAN & ARCHIVES Wendy Sistrunk, Mu Mu Kansas City Alumni 1504 S. Ash Ave. Independence, MO 64052 816 836 9961 SistrunkW@umkc.edu

Beverly W. Abegg, Treasurer 8 Phillips Dr. Westford, MA 01886 978 692 7353 bevabegg@verizon.net Eileen Butler Kennedy, Secretary 2875 77th Avenue Baton Rouge, LA 70807 225 357 0310 kennedyeb48@gmail.com Dr. Kristín Jónína Taylor 139 Indian Avenue Forest City, IA 50436-2320 641 590 0547 kjtsonata@hotmail.com Dr. Sophia Tegart 150 NW Larry Street Pullman, WA 99163 509 991 4906 sophia.tegart@gmail.com Craig Young 2656 Bluebird Circle Duluth, GA 30096 404-857-7045 craigyoungMPE@gmail.com Rosemary Ames 13 Travis Drive Framingham, MA 01702 508 872 5818 president@muphiepsilon.org Dr. Keith Bohm, Artist Concert Manager 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

Reserve Ad Space in the Convention Program Book Attention chapters! Please consider purchasing an ad in the 2017 Convention program book. It’s an ideal way to honor special chapter members, remember those who’ve passed on, or just celebrate being part of Mu Phi Epsilon. If an ad isn’t within your chapter’s regular budget, consider asking members or patrons to sponsor one. An ad in the convention program will spotlight your chapter and help support the convention financially. You may submit camera-ready artwork, or send copy and we will design for a small extra charge. Contact editor@muphiepsilon.org or visit muphiepsilon.org/convention for more details and ad rates.

Space reservations must be made by April 30, 2017 Artwork or copy must be submitted by May 31, 2017