The Triangle, publication of Mu Phi Epsilon music fraternity, Vol. 112, Issue 4, Winter 2019

TRIANGLE I

ISSUE 4

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WINTER 2019

THE

VOLUME 112

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

A CONVERSATION with

KATSUYA YUASA PAGE 12

Behind the Scenes: A Contestant’s Journey PAGE 9

Name that Theme!

Programs with a Hook PAGE 7

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.

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Katuya Yuasa performs with Valerie Stark (Beta) at Wellesley Middle School, Wellesley, MA, last December.

contents WINTER 2019

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VOLUME 113, ISSUE 4

features 9 Entering an International Competition 12 Mu Phi’s Pied Piper: Concert Artist Katsuya Yuasa 22 New Chapter Installation

columns 4 Musings 5 Collegiate Connection: Mentorship through Facebook 6 Alumni Corner: Let Music Surround You 7 ACME: Themed Concerts

departments 3 President’s Message 19 Applause/Encore 22 Final Notes 26 District Directors Directory 27 Executive Officers Directory 2

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EDITOR Ellen Ritscher Sackett editor@muphiepsilon.org DESIGN & PRODUCTION Paul Wilson thetriangle@muphiepsilon.org Send all material for publication to: Ellen Ritscher Sackett, editor@muphiepsilon.org or by mail to 1309 E. Pecan St., Gainesville, TX 76240 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 the original digital file and as high resolution as possible. Images copied from social media are not acceptable. Please include photographer’s credit information.

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 1611 County Road, B West, Suite 320 St. Paul, MN 55113 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 113, Issue 4) Subscription price is $20.00 per year.

Single copies are $8.00.

Periodicals postage paid at St. Paul, MN and at additional mailing offices. Printed in the United States of America.

POSTMASTER: Send all changes of address to: Mu Phi Epsilon, 1611 County Road, B West, Suite 320, St. Paul, MN 55113. © 2019 Mu Phi Epsilon. All rights reserved.

On the cover: Katsuya Yuasa, MPE Foundation Concert Artist and winner of the 2017 Mu Phi Epsilon International Competition. Cover photo: Rui Cong

PRESIDENT’S MESSAGE

THE PATH TO PROGRESS R O S E M A R Y A M E S , I N T E R N AT I O N A L P R E S I D E N T P R E S I D E N T @ M U P H I E P S I LO N.O R G

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he days are getting shorter, the nights are getting colder, and we are wondering how to stay warm, if the flu will miss us again this year, and trying to find ways for the cold season to pass quickly and return to milder days. If the new year is as busy as the holidays were, we are sure to see the time fly.

Many of our districts have held conferences or are planning for them soon. I attended the Pacific Southwest conference, which was wonderful due to everyone’s helping hands, all coordinated by District Director Tanner Wilson. It is always wonderful to be with fellow Mu Phi members, to share and learn from each other, and most of all, to enjoy that special bond of friendship we have through Mu Phi. To those anticipating your upcoming district conference, I know you look forward to being together soon.

The IEB has been busy with administrative items. To capture a few…

• Everyone helped this fall with the rollout of the electronic dues paying process. And it was a success! We had more chapters paying dues on time than ever before. The system will continue to evolve to meet member needs and streamline our efficiencies. Thanks for your patience, and big kudos to Jess LaNore at IEO for making it all happen!

• A successful Harmony Campaign, the fraternity annual fund appeal, launched in November. Did you know you can contribute to the Harmony Campaign any time during the year? Not just in November! Contribute to Mu Phi any time! Your continued financial support is critical to enabling Mu Phi to continue to grow and serve. https://muphiepsilon.site-ym.com/donations/ • We are negotiating an agreement with Affinity Royalties to create a Mu Phi store where members can purchase items with the Mu Phi logo and/or letters that will earn money for the fraternity. More to come on this soon.

• We have two new collegiate chapters to be installed in January and February. Look for news on these very exciting events in the next Triangle issue.

• It may seem too soon, but contracts have been signed for the 2020 convention to be held in Grapevine (Dallas), Texas, July 22-26, 2020. We’ve begun the planning and welcome all suggestions.

• The revised ritual books are nearing completion and will soon be distributed to each collegiate and alumni chapter. Your comments and suggestions have been considered and we thank you for your input and feedback.

• We welcome with this edition of The Triangle, new editor Ellen Sackett. Ellen is working closely with Melissa for a smooth transition, and I know we will all enjoy working with and getting to know Ellen.

I hope you have recovered from the hectic holidays, the time of year when members give their time and talents to share the gift of music far and wide. One could not walk into a store or down the street without hearing strains of music being played. Have you noticed that music gives everyone a lift in their steps?

A smile to their face? Make no doubt about it — your shared music is important, whether as part of an ensemble, as a soloist, or just humming a tune on an elevator!

May 2019 be filled with music, friendships, and harmonies for each and every one of you.

Rosemary Ames, International President

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MUSINGS

IT’S OFFICIAL. I’M A MU PHI NOW! E L L E N R I T S C H E R S A C K E T T I D E N T O N A LU M N I T H E T R I A N G L E I N T E R N AT I O N A L E D I T O R I E D I T O R @ M U P H I E P S I L O N . O R G

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t’s about time!” a good friend said, and she’s right.

Full disclosure: During all my time as a professional harpist and nearly 20 years as a University of North Texas music professor, I never joined Mu Phi Epsilon — and I am just now finding out what I’ve been missing!

I have felt the warmth from every Mu Phi who has brought me into the fold. Thanks to my dear friends Peggy Capps and Beverly Hoch — now Mu Phi sisters!

— who recommended me for The Triangle’s international editor position and to President Rosemary Ames and the executive committee for their trust in me. I am grateful to the supportive administration and foundation staff, to the dedicated and encouraging magazine contributors, and to the Denton Alumni members who lovingly initiated me into the chapter. I am especially thankful for Melissa Eddy, The Triangle’s longtime, gentle steward who has patiently guided me as I take over her vital role.

As I have said to whoever has been within earshot, I have big shoes to fill. How fortunate am I to follow in Melissa’s footsteps! I inherited a magazine that’s already expertly organized. Case in point: For her last issue (Fall 2018), Above: My new Melissa painstakingly worked with The Triangle’s new Mu Phi Epsilon designer, Paul Wilson, to recreate the magazine from scratch initiation pin with a close-up in a new software program so it would be ready to go for the of a napkin Peggy Capps new editor. Melissa has generously given me suggestions I purchased at could immediately put into play; for example, resurrecting the 1977 Mu Gina Gillie’s article (“Preparing for International CompetiPhi Epsilon convention. tion,” page 9) was her idea. Truly, I couldn’t ask for a better mentor than Melissa and hope to do her proud.

I hope to do you proud, too. I couldn’t be more excited! Here I have the opportunity to put my expertise in music and journalism to good use. I want to be a resource for you. Feel free to contact me with your ideas, suggestions, content, constructive criticism and high-resolution photos, anytime.

I look forward to working with you and getting to know you. Thank you for the honor to serve you as your new editor.

Best,

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Members from the Denton Alumni chapter, from left to right: Peggy Capps (Phi Tau), Carol Harlos (Phi Tau), Sue Smith (Phi Tau), and Beverly Hoch (Epsilon Phi). Beverly is holding a napkin from the 1977 convention — the year she won the Foundation International Competition.

C O L L E G I AT E C O N N E C T I O N

MENTORSHIP THROUGH FACEBOOK B Y J E N N Y S M I T H , S E C O N D V I C E P R E S I D E N T / C O L L E G I AT E A D V I S O R C O L L E G I AT E A D V I S O R @ M U P H I E P S I L O N . O R G

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ould you use a mentor? Could you use mentoring?

A new option on our Mu Phi Epsilon Collegiate Network Facebook group allows followers to participate in a mentorship program. This enables us to get or give support to each other within our community. I am excited for this additional opportunity to build stronger relationships with each other and encourage you to join.

My hope is that not only students but also professionals will learn from this process by sharing and helping someone else grow. I am also hopeful that many will sign up who are not explicitly performing musicians, teachers, or composers. There are so many different avenues to success for Mu Phi collegiates and ways that a music degree, music interest, or additional professional skills can light new paths and enrich one’s life.

Participation in the mentorship program is completely voluntary. It is not an official service from the fraternity, but rather, it is there to be used at will. There’s no fee and no commitment beyond your mutual desire to participate.

The program depends on people signing up who both want to mentor and be mentored. Don’t be shy! If you would like to be matched with a specific person, just reach out and connect.

You just might make their day! And your participation will definitely make a difference.

Here’s how the program works: You sign up, connect with a partner, and get helpful conversation starters each week to get to know each other better. It’s up to you how much time you want to spend together and what goals you want to work toward.

Find Mu Phi Epsilon on social media!

On Facebook: • Mu Phi Epsilon Professional Music Fraternity • Mu Phi Epsilon Collegiate Network • Mu Phi Epsilon Alumni Network • Mu Phi Epsilon Foundation WINTER 2019

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How to get started: First, if you have not yet done so, visit our Facebook group Mu Phi Epsilon Collegiate Network. Once you are approved as a member, you will find links that will lead you to more information about the mentorship program and how to apply.

If you are already a member of the Mu Phi Epsilon Collegiate Network, just go to our home page and look for the mentorship links. That’s it!

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ALUMNI CORNER

“LET MUSIC SURROUND YOU” B Y M A R C U S W YC H E , T H I R D V I C E P R E S I D E N T / A L U M N I A D V I S O R A LU M N I A D V I S O R @ M U P H I E P S I LO N.O R G

“ Let music surround you.

Let it warm your heart.

Those who sing in harmony never grow apart.”

What a wonderful expression of our vocation, our passion, our calling, our life’s work! Over the decades, Mu Phi Epsilon has changed — through its expansion nationally and internationally, in the growing diversity of its membership, in the challenges it faces between generations and finding a resonant voice in the digital age. But through it all is our desire for creative expression, our common love for music, the joy we receive in sharing our musical gifts with the world. These needs are embodied in the fraternity’s core values of Music, Friendship and Harmony.

At the PSW1 District Conference, Palos Verdes/South 6

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ven though you are reading this column in the Winter 2019 issue, I am actually writing it near the end of 2018. The holidays are in full swing while beautiful decorations and music fill the spaces. As crazy-busy as it can be, it is also a time of reflection and, hopefully, peace.

Ordinarily, as Alumni Advisor, I would be writing reminders about documenting SERV hours, chapters capping off their year’s activities, expanding membership, presidents preparing their annual reports, et cetera. To be sure, these things are important. This time, though, I feel more contemplative, thinking about our fraternity at both collegiate and alumni levels, and what it means for us to be musicians and members of Mu Phi Epsilon.

Recently I attended the Pacific Southwest District 1 Conference to listen, share ideas, and enjoy fellowship with Mu Phis in Southern California. One joyous experience for me was a demonstration workshop given by the Orff Schulwerk Association’s Los Angeles Chapter. We learned and sang a simple canon I’d never heard but instantly adored (it’s always the little things, isn’t it?). The canon, “Let Music Surround You,” repeated these lyrics:

Bay Alumni president Lenita McCallum offered this interesting observation: For a long time, Mu Phi Epsilon was an organization primarily comprised of music creators and performers. Now we are evolving into a multi-faceted fraternity where music professionals of all types — educators, researchers, administrators, arts managers, therapists — are involved and (sometimes literally) play a part. We truly are a professional music fraternity. But no matter what you bring into our ever-expanding tent, no matter whether you are an Instagram-addicted collegiate or “old school” alum, the joy we give the world in sharing our art unites us as Mu Phis.

Before we slip into singing “Kum ba yah” for a coming together moment (or “Our Triangle,” if you prefer), I want to acknowledge that yes, we have challenges. Indeed, there is plenty of work to do at all levels of the fraternity to ensure Mu Phi Epsilon’s viability. But every now and then it helps to gently remind ourselves of why we are Mu Phis, don’t you think?

ACME

Creating Deeper Connections through THEMED CONCERTS B Y M A R Y A U , A R T I S T, C O M P O S E R , M U S I C O L O G I S T A N D E D U C AT O R M U N U , LO S A N G E L E S A LU M N I , A C M E C O - C H A I R I A C M E @ M U P H I E P S I L O N . O R G

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reviously, in the ABCs of Concert Planning (Vol 111 Issue 4, Winter 2018), we talked about various concert programming ideas.

Expanding on the repertoire section in that article, this one is specifically on themed concerts. Examples of themed concerts include the following: 1. Around the World in 80 Minutes – A concert that features music from various parts of the world 2. Faces of Eve – A concert that features works by all women composers (The Triangle Vol. 104 Issue 1, Spring 2010) 3. Music Behind Barbed Wire – A multi-genre, multimedia concert that commemorates the 75th anniversary of Executive Order (EO) 9066. The concert featured Taiko drumming, a commissioned work, 40s jazz standards, a play, and swing dancing.

4. All-Chopin recital – A solo, duo, or chamber music recital presenting all-Chopin works for solo piano; duos for cello and piano, voice and piano, and flute and piano; and a trio for piano, violin, and cello.

5. Watts 1965 – A concert featuring music in commemoration of the 50th anniversary of the Watts 1965 Riot.

Included is a commissioned work by Deon Nielsen Price titled Watts 1965: A Remembrance. You can watch this piece at: https://youtu.be/LPsXRCZn_QY 6. ¡Adelante! LatinX Activism – A concert featuring works relating to activism, gender identity/inclusion, diversity and social injustice in the LatinX population and how historical events have impacted their struggle within a society that alienates and marginalizes them.

Included is a world premiere of Our Struggle until the End composed by Anthony Almendarez (Gamma Sigma) for voice and track that juxtaposes current political commentary and the voices of dreamers who are fixed in a state of limbo, as the country decides what to do next.

7. Come into the Light Symposium – A symposium that celebrates the significant artistic contributions of the LGBTQIA+ community through music and dance.

The choice of program would depend on the availability of collaborators and the presenter’s preference and taste, and the proposed program’s marketability. Often multi-genre multimedia programs can attract attendees with varying interest and taste. Symposiums under the same title fall under the same philosophy.

Allow me to expand on two of the above-named themed concerts: Music Behind Barbed Wire and Come Into the Light Symposium.

Music Behind Barbed Wire – This multi-genre, multimedia concert took place at California State University, Dominguez Hills in Carson on April 18, 2018, and commemorated the 75th anniversary of the signing of EO 9066 by Pres. Franklin D. Roosevelt. This executive order led to the incarceration of 120,000 Japanese-Americans in American concentration camps during World War II. The concert featured an original commissioned work, 40s favorites, a play, 40s jazz standards, and swing dancing. Rather than remain bitter about being imprisoned by their beloved country, the spirits of many of the incarcerated people were uplifted through the power of poetry, dance and music, and baseball.

Music Behind Barbed Wire opened with traditional Japanese Taiko drumming followed by a children’s choir that performed songs incarcerated Japanese-American children may have sung between 1942 and 1946. Mary Kageyama Nomura, known as the Songbird of Manzanar, performed “The Manzanar Song,” composed for her by her mentor Lou Frizzell, the music man of Manzanar. Pianist Mary Au (Mu Nu, Los Angeles Alumni) and saxophonist Chika Inoue (Los Angeles Alumni) premiered Behind Barbed Wire by Dr. Deon Nielsen Price (Los Angeles Alumni) for saxophone, piano and narrator with video that tells the story of the incarceration from Pearl Harbor to Hiroshima through music, WINTER 2019

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private lives of LGBT composers have been largely ignored or glossed over.

Dawn and Rik wanted to find a way to celebrate the lives of LGBT+ composers and examine how their personal identity might have shaped their creative processes.

During her master’s thesis, Poulenc: Le Travail du Paintre: A Unification of Art, Poetry, and Music, Dawn discovered that the significant relationship between Francis Poulenc and his baritone partner Pierre Bernac shaped how Poulenc wrote vocal music.

In his doctoral thesis, The American Homophilic School of Composition, Rik noted, “A small Dr. Rik Noyce (Gamma Sigma, Los Angeles Alumni, ACME) and Dr. Meg Griffith, flutes, enclave of gay composers in New York, performed Phoenix by Robert Maggio for the Come into the Light Symposium Concert led by Aaron Copland (1900-1990) last December. Guest dancers were Nathan Ortiz and Ashley Jones. and Virgil Thomson (1896-1989), established a distinct twentieth-century musical sound that haiku, and Tanka poems. Dubbed the Queen of War Music, became synonymous with America.” In addition to comDeon Nielsen Price is an award-winning, Los Angeles-based paring two specific works for flute, Copland’s Duo for Flute composer whose previously commissioned works include and Piano and Thomson’s Sonata for Flute Alone, Rik’s thesis Watts 1965: A Remembrance. The program continued with addressed the question of whether “something as seemingly Residence Elsewhere presented by the East West Players. The unrelated as sexual preference could, in fact, impact a muplay depicts three different narratives in time, location, and sical style.” Copland’s music has become synonymous with sentiment: EO 9066, Native American relocation in WW II, American pride and culture in the twentieth century. and the immigration ban.

CITL Symposium presented Copland’s Duo for Flute and The program ended with dancers swinging to the music Piano and music by other homophilic composers, including of 40s jazz standards popular in the camps by Duke EllingPeter Ilyich Tchaikovsky, Ernest Chausson, Charles Tomlinton, Glenn Miller, Cole Porter, Billy Strayhorn, and more. son Griffes, John Corigliano, Gary Schocker, Samuel Barber, You can view this program at: https://youtu.be/cPgC3jbjjBk Leonard Bernstein, Robert Maggio, Jake Heggie, Jennifer You can view Behind Barbed Wire by Deon Nielsen Price at: Higdon, Cole Porter, Stephen Sondheim, Rufus Wainwright, https://youtu.be/lg8xX0vFQN0.

Barry Manilow, Elton John, and Rebecca Sugar.

To learn more about The American Homophilic School Come into the Light Symposium (CITL) – The Fall 2018 of Composition authored by Dr. Rik Noyce, please visit symposium was conceived by Dr. Rik Noyce (Gamma digitalscholarship.unlv.edu/thesesdissertations/1526/.

Sigma, Los Angeles Alumni, ACME) and Dr. Dawn Brooks, Happy programming! professors at Cal State University, Dominguez Hills (CSUDH) Music Department, as a celebration of significant ACME Nominations artistic contributions of the LGBTQIA+ community.

Membership in ACME highlights the strengths of our Through music and dance in concerts and lectures, the event MPE Artists, Composers, Musicologists and Educators. told the story of this community, revisited its challenges, and We encourage members to nominate deserving, celebrated the beauty that has been created during its history dues-paying candidates who have achieved national and/or of adversity. international acclaim in their fields of musical endeavors Dawn and Rik talked about how the private lives of for ACME consideration. Visit muphiepsilon.org certain composers (Mozart, Schumann, Beethoven, etc.)

(About/Honors & Awards/ACME). have been well examined in music history courses, while the 8

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Entering the International Competition B Y G I N A G I L L I E , E P S I LO N S I G M A , TA C O M A A LU M N I F I N A L I S T, 2 0 1 1 M U P H I E P S I L O N I N T E R N AT I O N A L C O M P E T I T I O N

I began my journey to the Mu Phi Choosing repertoire Dr. Gina Gillie International Competition in 2003 One of the first steps in entering is an associate when I attended the Centennial a competition is choosing repertoire. professor of Convention as Epsilon Sigma’s colleUsually a list of required selections is music at Pacific giate delegate and president. I heard provided, representing a wide range Lutheran some of that year’s competition of styles, periods, genres, and skills so University and was sincerely amazed by each the judges may assess a wide scope of where she teaches horn, chamber musician’s performance. I was inspired ability and expression. For the Mu Phi music, aural skills, composition, and thought, “Wow, someday I’m competition, a performer is required music history; conducts a horn choir; and frequently performs solo and going to do that!” Several years passed. to prepare about 75 minutes of music chamber recitals. She is a member of I went to graduate school and then drawn from several choices of specific two faculty chamber ensembles: came back to teach at Pacific Lutheran repertoire as well as a modern piece Camas Wind Quintet and Lyric University, my alma mater. In early composed within the last thirty years.

Brass Quintet. Dr. Gillie was assistant 2010, I read of the 2011 International My strategy was to select music principal horn with Symphony Competition that would take place I was familiar with, had performed Tacoma from 2008 to 2017. She in Rochester and thought, “Now’s the recently, and highlighted the strengths freelances with several professional time. I guess I’m ready to take this on.” of my playing. This was motivated groups, including Pacific Northwest Ballet, Fifth Avenue Theater, Vashon A competition like Mu Phi Epsilon’s, in part by the fact that I would need to Opera, Northwest Sinfonietta, and for which a variety of instruments and memorize a majority of the music, and Seattle Soundtrack Orchestra. She voices all compete within the same starting with unfamiliar pieces would enjoys composing chamber music pool, is highly complex. Judges look have taken even more preparation for horn and other instruments. for a performer who grabs them time. My advice to anyone planning Her compositions, published through musically, artistically, expressively, to participate in a competition is, as RM Williams Publishing, Veritas emotionally, and even visually, and for much as possible, choose music that Musica Publishing and Brass Arts a certain level of artistry that tranmakes you sound good. If an optional Unlimited, have been performed scends the instrument. While some nationally and internationally. piece on the list is flashy but contains things are objective – like intonation, something you don’t do well, don’t play consistency, rhythm and accuracy – it. If there is a piece you really like but many other things are subjective. With this in mind, a you don’t have enough time to get it ready, choose something performer needs to develop a stage presence that goes else you already know or can prepare more quickly. beyond the instrument and speaks to a diverse audience.

My approach to selecting competition repertoire differed In such an all-inclusive competition, the musicians dramatically from planning a recital in that I did not follow cannot rely on judges who know the challenges and a structure based on a coherent central idea. My selections strengths of a particular instrument and its repertoire and were an eclectic bunch, pieces that showed a great deal of compare competitors who all play that instrument. Instead, contrast, but which I would never program together on performers compete against completely different sounds one recital. From the list for horn, I chose Bozza’s En Foret, and repertoire. It is therefore important for performers Mozart’s Concerto No. 4, Hindemith’s Sonate for Horn and to highlight their unique, compelling skills and their Piano, and Persichetti’s Parable. For my modern piece, I instrument’s specific attributes. selected Eric Ewazen’s Sonata for Horn and Piano.

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Recording performance samples I needed to make a 30-minute, unedited recording of music from the repertoire to submit with my application.

I chose selections from my list that were already well prepared and displayed a wide range of style and ability. I hired an accompanist, gave him the scores, and scheduled recording dates far enough in advance of the February submission deadline for him to feel comfortable. I started practicing the repertoire in September 2010 and recorded my application CD in December and January.

For the recording, I used my own personal portable Sony digital device and transferred the sound files onto my computer to burn onto a disc. Some musicians prefer to hire recording engineers or use recording studios. For a preliminary competition round, the most important thing is that the sound quality is a good representation of your true work.

I find that this is possible to achieve with a high-quality digital recorder and an appropriate natural acoustic.

After submitting my application by the February 2011 deadline, all I could do was wait, but since the competition required memorization, I needed to continue working on the music. With a full-time teaching job and other obligations, I found it difficult to motivate myself without knowing the results of the preliminaries.

Memorization challenges In April 2011, I heard that I was one of five finalists.

Now that I knew I would be performing, memorization had to begin in earnest. In the horn world, we are not frequently asked to memorize complete programs, so committing a whole recital’s worth of music to memory was a new venture. The Mozart was easiest to memorize since it made so much harmonic sense and I was so familiar with it. The Bozza was challenging because it is flashy with lots of fast finger work and various effects like stopped horn, mutes, glissandos, and natural horn. The unaccompanied Persichetti piece went quite well since I didn’t have to worry about accompaniment, but the Hindemith Sonate was giving me fits. I found it a challenge to motivate myself to make progress during the spring months.

At one point in early June I re-read the competition rules and discovered that sonatas did not need to be memorized.

I contacted competition organizer Beverly Hoch to ask for clarification, and she affirmed that I could use music for the Hindemith and Ewazen sonatas. This saved me a vast amount of time and let me focus on musical ideas.

I spent the summer months practicing and mentally preparing. I practiced about 3 to 4 hours a day, and when I wasn’t playing, I listened to recordings of the repertoire.

I studied the scores to learn the piano part and even used Fixed Do solfege to create “lyrics” that would help me remember specific pitches in harmonically ambiguous passages. I found that memorizing music on horn was much more difficult than memorizing vocal music. Being a singer as well, vocal music has always been easy for me to memorize, but I found that with the absence of lyrics and

“ I worked towards perfection by playing every piece every day, sometimes with a recording to hold myself accountable to intonation, rhythm, and uninterrupted performance.”

Apply and wait The application was one of the most rigorous I have undertaken. (However, this was the first international competition I had ever entered, so it may be right on par with others.) The complete packet included a current performance résumé, concert and recital portfolio with programs, competition repertoire list, CD, original score for the modern composition, professional headshot, two recommendations, registration fee, and completed application form. Preparation of the materials followed specific parameters, and any deviation could result in disqualification. Thus, it is imperative to read the instructions carefully, review them multiple times, and check the list again before you send the materials out to make sure that everything is in order. It would be terribly disappointing to be winnowed out of the selection pool simply because you didn’t read well.

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the presence of specific finger combinations, I had to learn the music on a much deeper level, both harmonically and structurally. The most useful technique was visualizing the page in my mind and then becoming so used to playing each phrase that it would be committed to muscle memory as well.

Working toward perfection Most of the memorization finally came together in July.

I worked towards perfection by playing every piece every day, sometimes with a recording to hold myself accountable to intonation, rhythm, and uninterrupted performance. I tasked my husband with randomly choosing selections from the list so that I would get used to jumping quickly from style to style, as would happen in the competition. The entire process required so much concentration that I emotionally withdrew inside myself for most of the summer, and my mind was consumed with the music even when I wasn’t practicing.

It was frustrating and alarming that I had not played any of my pieces perfectly from memory until two weeks before the competition. I felt that this was not enough time for me to have lived with the pieces memorized before playing them for the judges, but I didn’t have much choice at that point. If I should enter another competition in the future, I would set a more rigorous practice schedule and have my music fully ready at least a month in advance. I would also schedule recital performances so that the competition is not the first time I play the pieces from memory for an audience.

Competition time In August I traveled to Rochester. There, I had just two rehearsals, two hours each, with competition accompanist Bill Shaffer. It was exciting and fun to work with Bill, who had only recently learned all the music for four contestants.

He had a great sense of musicianship and was prepared, upbeat, and professional, which made for a positive experience. The first rehearsal was spent settling on tempi, pace, and other ensemble issues. The next day allowed for deeper expressive exploration, but overall, the process was quite brief, and we relied on musical skill and experience since extended rehearsal time was unavailable.

Interactions between the Mu Phi competitors were friendly and collegial; all of us were close to or in our 30s with extensive teaching and performance experience, so we had much in common. Many times at other competitions, participants will not interact or even actively avoid each

other. But in this case, we all were amicable, which made the experience more enjoyable and less awkward.

On competition day I made sure to be rested, fed, and well hydrated. I had planned my wardrobe carefully to be comfortable and look professional. I kept mostly to myself and focused on the performance. During my 40 minutes onstage, I began with a piece of my choice and was then asked to play whole movements or portions of other pieces as the judges called them out. I did not find it difficult to quickly change between styles and genres since I had practiced this format. I maintained a relatively poised and stoic stage presence, and I played the best I could, which is all anyone can do in a performance. I missed more notes than I would have liked, but this motivated me to practice more in the future.

Yukiko Sekino, pianist, was deservedly named the competition winner, and Jonathan Young, organist, was named alternate. For the rest of us, it had been an honor to participate and to gain the experience.

Feedback for the future I was able to speak with one of the judges, Dr. Keith Bohm, and received some insightful comments. One was that the judges were looking for a stage presence that commanded their attention and engagement. I was reminded that I could perhaps let more of my gregarious nature show from the stage and that performing is not just about musical expression, but also extra-musical communication.

Vocalists practice this early on, but sometimes instrumentalists hide much of their personality behind their instruments. Another comment had to do with too many missed high notes, which reinforced the fact that the audience wants to hear a seamless and jolt-free performance, no matter the difficulty.

My participation in the competition was educational and positive, one that will strengthen my future performances and teaching. I encourage any who are eligible to consider participating in the Mu Phi International Competition, keeping in mind that the process takes more than a year of planning and preparation. The musicians who participate are of high caliber, and the networking that can occur is wonderful for establishing connections for future performances and collaboration.

This article was originally published in the Winter 2012 issue of The Triangle.

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The

PIED

PIPER MU PHI of

A conversation with MPE Concert Artist Clarinetist Katsuya Yuasa

12 MuPhiEpsilon.org

K

atsuya Yuasa (Phi Mu) has

made a lot of friends and

followers while on tour as

Mu Phi Epsilon’s enthusiastic

ambassador. As the fraternity’s

Concert Artist and winner of

the 2017

International Competition,

Foundation

he has traveled throughout the U.S., giving concerts and masterclasses for alumni and collegiate chapters and spreading joy wherever he goes. He is as versatile as he is charismatic on stage, as comfortable playing classical and contemporary music as he is performing ethnic music and jazz. Katsuya is a founding member of Duo Esplanade (flute and clarinet) and Cosmos New Music (flute, clarinet, violin, cello and piano). He is currently adjunct professor of clarinet at Florida A&M University and a graduate teaching assistant at Florida State University where he working on his doctorate.

P H OTO C O U R T E S Y J O H N PA R K S

TRIANGLE: How has your tour been so far?

KATSUYA: The tour has been amazing! I have reunited with those I met at the Denver convention and have enjoyed meeting new Mu Phi faces, spending quality times to get to know them, and making music. I want to thank the Mu Phi Epsilon Foundation for this opportunity to tour all across the U.S. and for the privilege to meet such wonderful people. Thank you also for extending the original contract length by another year. I’m looking forward to contributing much more through May 31, 2020. Last, but certainly not least, I would like to thank Florida State University and Florida A&M University for their continued support and giving me the flexibility to make this tour possible.

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Katsuya Yuasa takes a selfie posing with a group of aspiring clarinet students from Summer in the City Music Camp at San Jose State University.

T: Have you taught master classes too?

K: I have given master classes to most of the universities I’ve visited. I’ve also given community engagements at middle schools and music stores. I liked these experiences too because I gave lecture-type recitals, bringing joys to the faces of young audience that had limited access to the arts or little experience listening and seeing professional music performance.

T: What has it been like to meet with Mu Phi members at the various chapters?

K: This is the most beautiful part of the tour. I may not be a big social butterfly, but I enjoy meeting people from both collegiate and alumni chapters. I consider myself very lucky to have met each and every one of them, and I look forward for more.

T: Are you performing the same or different music that you played for the competition?

K: Yes and no. I often mix some music from the competition and add other works. I receive requests from the chapters – for example, duration of the concert, musical style, specific repertoire, collaboration with other 14 MuPhiEpsilon.org

musicians and composers – and decide on the program after hearing about the pianist and target audience. I bring something flashy, romantic, jazz, new music, pop, fusion, or all of them in one! In all the performances, I’d like to show the audience that the term “classical music” has such an incredibly diverse array of music and there’s a whole lot of music to explore together.

T: What has your experience been like to play multiple performances of the same music?

K: Although it’s the same music, since I am working with a different pianist at each event, the outcome is always different; I mean that in a great way. I see these performances as making chamber music. I have never looked at a pianist and thought of one as an accompanist. We each come from different musical backgrounds, education, and have unique stories to tell for certain music and composers. In the short times we have to rehearse, we share ideas, the feels, and how to go with the music. There are always laughs and positive energies when making these multiple performances and especially on the same music. I can continue to share multiple stories and pass them along too. The more I play, the more I learn, and it’s pretty fascinating.

Katsuya Yuasa and International President Rosemary Ames take a moment together for a photo-op at the Pacific Southwest District Conference last November at University of La Verne in California.

T: Reflecting back on winning the competition, what is or are your biggest takeaways from the experience?

K: From not only Mu Phi, but all the competitions I have participated, I have learned invaluable lessons. Regardless of whether we are capable or not, we as musicians have to just keep going and put ourselves out there. A little risk is worth taking. At some point, things work out; it is a form of art.

Everyone likes this in a different way. Winning the competition does not mean you are the best. Losing the competition does not mean you are the worst. Everybody prepares and tries to do their best, so your goal is to do your best and enjoy the moment. Be yourself, meet as many people as possible, make music, friendship, and harmony. Keep trying and doing what you love because you will never know when it will be your turn.

T: How long did you prepare for the competition?

K: Competition chairman Dr. Keith Bohm informed me on March 4, 2017, that I was selected as a finalist. I had until April 1 to submit my official repertoire list and respond if I will use the official competition pianist. I was already working on my doctoral solo recital on May 1 with a phenomenal pianist Mark Franklin on four of the five pieces I decided to

use for the competition. We definitely had them down in our fingers by the recital and continued to expand in tackling smaller and specific details during the summer, even if we were away at times. I don’t think I ever set foot on a competition stage with someone this versatile and fun. I definitely felt comfortable and held nothing back at the competition thanks to his musicality and support. Thank you Mark!

T: Do you get nervous when you perform?

K: Maybe more excitement than getting nervous! I just love performing because I get to express to my heart’s content at that moment with the musicians I share on stage and invite those audience members to be part of the memory. That memory can never be repeated again, which is why I often get more excited than nervous, then cherish and enjoy it.

Sometimes nerves do kick in. The “what if ” is generally the cause of it, but there’s no turning back when I’m on the stage. When I do get nervous, I will accept it and shift my focus elsewhere, which mostly goes to the mindset of how I can contribute something of value to my audience.

I transform the adrenaline into performing energy rather than worrying the small details. Being on stage in front of people and the center of attention is what life of a performer is about.

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Boston Alumni members pose for a photo with Katsuya Yuasa. From left to right: Carolyn Frost (Beta Epsilon), Maria-Pia Antonelli (Phi Upsilon), Katsuya Yuasa, Valerie Stark (Beta), Beverly Abegg (Phi Upsilon), Yoko Nakatani (Nu).

These Mu Phi trips to the chapters hosting me are quite short if you think about it: fly in, rehearse, meet the members, give master class, concert, and fly out. To live the fullest in those few days, I shift my focus to thinking “how can I make this tour more special?” or “what can I do to make people enjoy more?” I am often playing with different pianists and in front of different audience members. I would just love to make the music connection with them, sort of create this image of a playground, deliver the performance in a way that only myself and that pianist can do, and bring the audience together to join in on the fun. It gets more interesting this way, and I get to share my story through music. In the midst of it all, we are all having fun and enjoying the moment. There’s no time or another moment to think about the “what if.”

T: How do you prepare for these recitals?

Katsuya Yuasa works with Samantha James, a student from Dr. Sandra Jackson’s clarinet studio, during a masterclass at the Eastern Michigan University.

16 MuPhiEpsilon.org

K: Working as a professor and completing my doctorate while serving as a TA, I have very little time to prepare.

When I practice, I make the most of it, and that usually takes place when I’m flying on a plane just reading through the music or during any trips non-related to work. Thanks to all the hours I spent when I was little learning most of the rep, I am able to bring them back in no time; and I’m

able to focus more on newer music this way and add them to my list.

In recitals, the pianists will have the music at least a month in advance. Once we meet, we have about an hour to just a few to rehearse. We would usually work on the musical ideas and agree on certain lines including cues.

This is the strategy I often use especially when there are recitals one after another lined up. Regardless of whether they are events or not, we as musicians agree on the chamber music making and bring 100 percent into the performance with plenty of flexibility in drawing out more color from the music.

T: What performances do you have coming up?

K: I will be giving concerts at the Pacific 2 District Conference to kickoff 2019, Wichita State University with Wichita Alumni and Phi Pi, and two in Atlanta. One is a clarinet recital hosted by Zeta Kappa, and the other is performing the Finzi Clarinet Concerto with the Clayton State University Orchestra, hosted by the Atlanta Alumni and Delta Psi. Very much looking forward to all the events and meeting friends!

T: Aside from your MPE performances, do you have other plans?

K: Oh yes! Traveling and performing is a huge passion for me. In addition to continuing my concert activities, I will be completing my doctoral program in spring 2019 at FSU. It’s about time I say goodbye to the life of a student! There are a few projects I am quite excited to getting started as soon as I graduate. I hope to continue touring with my groups: Duo Esplanade (flute, clarinet) and Cosmos New Music (flute, clarinet, violin, cello, piano), expand my repertoire as well as studio, and see what life will bring in the next few years!

MPE FOUNDATION ANNOUNCEMENT The Mu Phi Epsilon Foundation is proud to announce a contract extension with the 2017 Mu Phi Epsilon International Competition winner, Katsuya Yuasa, clarinet. Katsuya is now available for bookings through May 2020. For information please contact, Liana Sandin, Booking Agent, at vicepresident@mpefoundation.org.

KATSUYA YUASA’S 2018 MPE CONCERT ARTIST PERFORMANCES February 21-23 San Jose State University, San Jose, CA – Phi Mu February 26-28 Radford University, Radford, VA – Alpha Zeta March 2-3 Texas A&M University at Commerce College Station, TX – Beta Mu March 24-26 Missouri State University, Springfield, MO Alpha Mu March 28-30

Sacramento State University, Sacramento, CA Sacramento Alumni April 24-26 Ithaca College, Ithaca, NY – Lambda May 4-6 Parma Symphony Orchestra, Parma Heights, OH Cleveland Alumni October 8-14 Nebraska Wesleyan University, Lincoln, NE Beta Pi and Lincoln Alumni Kansas City Civic Orchestra, Overland Park, KS Kansas City Alumni November 6-9 Eastern Michigan University, Ypsilanti, MI Ann Arbor Detroit Alumni November 14-20 El Camino College, Torrance, CA; Pacific Southwest District Conference at University of La Verne, CA; and California State University at Northridge, Northridge, CA – Palos Verdes/South Bay and Los Angeles Alumni hosted the 3 events November 27-29 Brookhaven at Lexington, Lexington, MA Boston Alumni

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ON TOUR

Katsuya Yuasa visits the Kansas City Alumni Chapter for

MUSICALE, BARBECUE, AND JAZZ

O

n October 13, 2018, Mu Phi’s Kansas City Alumni chapter partnered with the Kansas City Civic Orchestra to present the Mu Phi Epsilon International Competition winner Katsuya Yuasa, clarinet, at Atonement Lutheran Church in Overland Park, Kansas. The musicians performed for a capacity crowd of 850 people. Daniel Freiberg’s Latin American Chronicles, a concerto for jazz clarinet and orchestra, was a perfect vehicle for Katsuya’s extraordinary skills in both classical and jazz idioms. At the conclusion of the work, the audience roared to its feet in a thunderous ovation.

Following the concert, members of Mu Phi Epsilon were invited to a special donor reception where they were able to meet and greet the musicians.

We learned that there are several Mu Phi Epsilon members in the Kansas City Civic Orchestra including Dr. Chris Kelts, conductor; Board President Sheila Evans; Dr. Mary Holzhausen, flute; Gail Rowland, cello; and Ben Cross, bass. Several are already affiliated with our chapter and Membership Chair Cheryl Sue Herbert is working hard to bring in those who are not.

Katasuya had performed in Lincoln, Nebraska, on

Tuesday, October 9 so Liana Sandlin, International Foundation Board member, drove him to Kansas City on Thursday, October 11. Visitors often inquire about barbecue and jazz in Kansas City, so we made sure that he had the opportunity to enjoy both in between his scheduled events, beginning with dinner on Thursday evening at one of Kansas City’s famous BBQ restaurants.

On Friday, October 12, Katsuya held master classes with clarinet students of Dr. Jane Carl (Gamma) at the UMKC Conservatory of Music and Dance. Following the master classes, he joined Mu Phi Epsilon members for dinner at Webster House restaurant, which offers a breathtaking view of the world-renowned Kauffman Center for the Performing Arts. It was so convenient to be able to walk right next door to take in the Kansas City Jazz Orchestra’s first concert of the season, Autumn in New York.

As if all this weren’t enough, Katsuya’s visit to Kansas City was capped off by taking part in the initiation of his duo partner, flutist Ayça Çetin, into Mu Phi Epsilon.

This October weekend was truly packed with music, friendship, and harmony!

—Charlotte Brown, Musicale Chair

s

APPLAUSE

ne ws f rom me m b e rs

On October 20, 2018, Atlanta Alumni member Arietha Lockhart (Beta Gamma) was the featured soprano soloist with the Georgia Symphony Orchestra singing aria favorites by Puccini, Mozart, Verdi and more.

Arietha wears many Mu Phi hats as Atlanta Vice President for Programs, District Director SE2, ACME honoree and as the current ACME co-chair with Mary Au. She was also a music delegate for the Jacksonville and Sacramento conventions. In February, she will sing spirituals arranged by conductor Juan Ramirez-Hernandez of the Atlanta Community Orchestra.

Madeleine Hsu Forte (Gamma Kappa) presented two programs in memory of her late husband Allen Forte, Yale University Professor of Music Theory, with performers from the Yale International Music Festival at Yale Sudler Hall last September. From left to right: Dr. Janos Kery from Liszt Academy Budapest, Hungary, Dr. Madeleine Hsu Forte from Connecticut, Debra Riedel from Boise Idaho, Robyn Metz Riggers from Tucson Arizona, Sara Apostol Opposits from Debrecen Hungary, Suzanne Lovejoy from Yale University New Haven, CT, and Dr. Anna Kijanowska from Silesia University, Poland.

••••

Alumni member Charlotte Papp (Delta Sigma) of Twin Peaks, California, has been accepted into the Peace Corps and departed for Guinea late last November to begin training as an agroforestry volunteer. During the first three months of her service, she will live with a host family in Guinea to become fully immersed in the country’s language and culture. After acquiring the necessary skills to assist her community, Papp will be sworn into service and assigned to a community in Guinea, where she will live and work for two years with the local people.

Papp earned a B.S. in environmental engineering and a B.M. in performance at University of California, Irvine (UCI) in 2017. As a member of Mu Phi Epsilon, she participated in local outreach to young music students and service projects for the UCI music department.

Last November, MO I E Colorado Springs Alumni Chapter President Deborah Yagmin presented chapter member Gwen Rapp (right) with a certificate from International for the individual member with the most SERV hours for 2017-2018 – more than 1600 hours! The presentation took place during a meeting held at the home of Vanda Skadden, an alumni member for more than 50 years. “We are so proud of Gwen and her accomplishment,” Deborah says. “She is the energizer bunny of our alumni chapter!” Deborah remarks that Gwen spends a lot of time with community and church groups in addition to many hours of unpaid work with school groups. “[She’s] a true music warrior!” Deborah says.

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s

APPLAUSE

ne ws f rom me m b e rs

Pianist Jason Sia (Alpha Delta, Sacramento Alumni) gave a solo recital at Weill Recital Hall at Carnegie Hall in New York City on June 21, 2018. He performed masterworks

by Beethoven, Chopin, Liszt, Debussy, Ravel, Brahms, Rachmaninoff, and Gershwin. He performed a solo recital for the Sacramento Alumni chapter on Feb. 16, 2019.

••••

Guitarist Aaron LargetCaplan (Beta, Boston Alumni, ACME) has a new release on Stone Records entitled John.

Cage. Guitar. featuring early and mid-career compositions by 20th century American composer John Cage. The album release concert took place on Dec. 1, 2018, at Arlington Street Church Chapel in Boston. The new release is available on Amazon, iTunes, Stone Records (UK) and ALCGuitar.

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••••

Dallas Alumni member Katherine Freiberger (Mu Chi) is now one of some 200 benefactors honored by the Hans Kreissig Legacy Society since 1987 for her planned gift to the Dallas Symphony Orchestra. According to the DSO website, her reasons for including the orchestra in her will were twofold: “First, teaching piano was my profession, and I loved my profession.

Secondly, our world needs music desperately because it unites people of different ethnicities, religions, politics, financial means, education and dispositions. A gift to keep symphonic music and an extraordinary orchestra alive after my departure gives me hope that music will impact future generations as strongly as it impacted me!”

s

ENCORE

ne ws from chapte rs

Left: A group from the Alpha Pi chapter performs “I Can’t Help Falling in Love” arranged by chorister member Nathan Thompson.

On Nov. 6, members of Mu Phi Epsilon (Alpha Pi, Texas State University, San Marcos, TX) and members from Sigma Alpha Iota, Phi Mu Alpha, Kappa Kappa Psi, and Tau Beta Sigma joined together to put on a benefit recital for the Hays County Food Bank (HCFB). In total, they raised $300 and collected 30 canned goods. HCFB events coordinator Gillian Spangler says, “For every $1 we can make 4 meals for Central Texans in need…We can stretch $1 a lot further than folks at the grocery store. In other words we can turn $1 donations into $8 worth of food at retail price.”

Katie Blalock conducted an instrumental version of “Around Us Love is Everywhere” and Nathan Thompson conducted his arrangement of Elvis Presley’s “I Can’t Help Falling in Love” (see photo). “Both were very well received by the audience,” Nathan says. “Overall the recital was a wonderful success!”

Back Row: Lane Stanberry, Tucker Tasker (Epsilon Phi), Gunnar Marcum, Panya Amphone (Epsilon Phi), Bethany Filer Front Row: Olena Brown, Alison Parker (Epsilon Phi), Hope Clark, Jared Shetler (Epsilon Phi), Samantha Scantlin (Epsilon Phi)

The new initiates into Alpha Pi are (left to right): Pierce Goddard, Allen Barnes, and Garrett Cobb with Alpha Pi Vice President Anarra Whitcher (front).

On November 1, 2018, members also participated in a recital themed Mu Phi at the Movies, featuring duets and solos from classic Disney movies and modern musicals.

The new initiates into Alpha Pi (Allen Barnes, Garrett Cobb, and Pierce Goddard) arranged the Cups (When I’m Gone) and sang as a trio, and chapter instrumentalists performed a medley arranged by Katie Blalock of tunes from The Greatest Showman.

Students from Friends University, Wichita, Kansas, participated in the West Central Region in NATS, held at the University of Nebraska at Lincoln on November 2 and 3, 2018. Twenty students and two accompanists attended.

Epsilon Phi members who made finals include Samantha Scantlin, 1st place Underclass Womens Music Theater; Samantha Scantlin, 4th place sophomore women; and Jared Shetler, 4th place nontraditional. Panya Amphone and Tucker Tasker made the semi-finals. Sam Scantlin and Panya Amphone also sang in master classes that weekend. Epsilon Phi members Chenille Hawkins and Kiesha Anderson also participated in the weekend event.

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C H A P T E R I N S TA L L AT I O N

Eta Epsilon Chapter Installed Mu Phi Epsilon’s newest chapter installation took place on January 19, 2019, in the new music complex on the campus of Florida International University, located in the heart of Miami’s bustling metropolis. FIU already is home to an SAI chapter, a Phi Mu Alpha Sinfonia chapter, and a Kappa Kappa Psi chapter; the new Mu Phi Epsilon student chapter is a welcome addition to the university.

International President Rosemary Ames presided over the Eta Epsilon chapter initiation with the help of Julia Scherer, first Vice President, Extension, who came from Kansas City for the occasion. They set up the rituals and initiated 15 new members comprised of 13 undergraduate students, one graduate student, and faculty advisor Marcia Littley. Afterward, the chapter presented its charter recital. The program showcased the students’ talents and professionalism as they performed a variety of selections on a wide range of instruments. Friends, family and faculty attended the recital, including members of SAI, Phi Mu Alpha and Kappa Kappa Psi. A reception followed the recital, then dinner at a nearby Cuban restaurant.

Officers of the new chapter include: President Jorge Acin, Vice President Alexandra Rameau, Treasurer Matthew Torres, Secretary Karina Corton, Steward Joshua Corea, Historian Michael Kawalya and Chorister Luis Vargas.

Congratulations and welcome to Eta Epsilon! We’re so glad to have you!

s

FINAL NOTES

MEMBER REMEMBERED

Ruth Dean Morris (1920-2018) Phi Xi, May 26, 1939 Died September 2, 2018 Music Educator Ruth was International President of Mu Phi Epsilon from 1980 to 1983 and served as 5th Vice President from 1977 to 1980. Significant during her term as president was the 50th anniversary celebration of the Mu Phi Epsilon School of Music at Gads Hill-Chicago, which was held at the 1983 convention in Wichita, Kansas. The Executive Board presented the school with financial help, music and clothing for students and the Gads Hill community. Another important event during the convention was the introduction of several members from ’s collegiate chapter, Alpha Tau, from Philippines Women’s University. The school’s dean and several students

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presented a concert of Philippine folk music. The fraternity’s U.S. chapters were generous in providing music and financial help to the Philippine chapters.

Ruth began her long teaching career at Edinburg Junior College in 1945 where she helped develop its music department. The college changed names several times, eventually becoming the University of Texas-Pan American (UTPA), and Ruth adapted the lyrics to the school song with every name change. Ruth was known to her students as “Mama Morris” and served as their teacher, conductor, chaperone and mentor. She retired from UT Pan-American in 1980 at the rank of professor.

Ruth and her husband Hank shared a passion for promoting higher education opportunities for their students. The Foundation named a scholarship in Ruth’s honor for her years of dedication to music and the fraternity. The Ruth Dean Morris Scholarship is awarded every year to a student in music theory or composition.

FINAL NOTES

ANN GIBBENS DAVIS, PHI L AMBDA, WASHINGTON DC ALUMNI, DAVISMUSEC@COMCAST.NE T

Mary Virginia Richie Abdo Mu Chi, November 15, 1949 Died July 2, 2018 Violinist, violist, teacher. Mary was a member of the Texas Education Association. She performed violin and viola in several orchestras, chamber ensembles and string groups in the Dallas area. She cofounded the Wagner Society of Dallas.

Margaret Jane Henry Berger-Atwell Mu Mu, November 2, 1938 Kansas City Alumni Died November 25, 2018 Music educator, philanthropist. Margaret taught for several years in Glen Elder and Hunter, Kansas. She was president of the Kansas City Alumni chapter from 1981to1983. She served many years as a nurse and director of nursing in Kansas City General Hospital. Margaret was a supporter of the Women’s Symphony Association, Lyric Opera, American Heart Association and American Red Cross.

Joyce Howard Bradley Phi Tau, January 9, 1953 Died October 12, 2018 Vocalist. Joyce taught in the Big Spring School District for 31 years. She was a member of the All-American Chorus and toured Europe. Joyce sang in the Midland-Odessa (TX) Choir and was a member of Delta Kappa Gamma, a music educators society.

Betty Zumpe Cirtin Beta Omega, March 9, 1972 Died October 10, 2017 Pianist, organist, teacher. Betty taught music in public schools in Muncie, Indiana. She served as children’s music director, choir director, pianist, and organist in numerous churches.

Carol Ann Brumfield Chatelain Xi, April 16, 1953 Kansas City Alumni Died June 5, 2018 Violinist, music educator. Carol taught music at Tomahawk Elementary School for 31 years. She was concertmaster of the Kansas City Civic Orchestras for more than 20 years and was a member of the Harvest String Quartet for 27 years.

Sidney M. Mayfield Hahn Culver Xi, February 20, 1946 Lincoln Alumni Died October 8, 2018 Cellist. Sidney was principal cellist for the Lincoln Symphony Orchestra and was a foreign language instructor for 18 years at the University of Nebraska.

Janis Sue (Roth) Danders Phi Pi, April 4, 1965 Wichita Alumni Died August 31, 2018 French hornist, music educator. Janis taught instrumental music in Derby and Wichita public schools. She performed French horn with the Wichita Symphony for 40 years, the Music Theater Orchestra and numerous other orchestras in the area. Janis was a member of the Wichita Music Association and coordinator for the Yamaha Music School.

Sylvia Betts Dodd Phi Gamma, May 27, 1951 Baltimore Alumni Died October 15, 2018 Music educator, pianist, philanthropist. Sylvia taught music in the Baltimore County Schools for 49 years. She was a patron of the Baltimore Symphony Orchestra, Baltimore Opera Company, the Vagabond Players, and the Enoch Pratt Free Library in Baltimore. She served as president of Phi Gamma and the Baltimore Alumni chapter of Mu Phi Epsilon.

Frances Marsh-Ellis Beta Zeta, April 23, 1966 Died August 28, 2018 Vocalist, music educator. Frances was a professor at the Southern University School of Music for more than 40 years. She served as choir director for the First Presbyterian Church in Baton Rouge, Louisiana.

Eleanor Lee Harris Phi Xi, December 11, 1943 January 21, 2018 Pianist, organist, harpist, cellist. Eleanor served as organist, choir director and pianist in many churches in Texas where her husband was the pastor. She was active in the Marshall Music Club, sold pianos through the Tyler Baldwin Co. and was a member of P.E.O.

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FINAL NOTES

Karen Christiansen Haverlah Mu Theta, April 29/ 1978 Austin Alumni Died September 8, 2018

Margaret Anne LeClerc Mu Beta, November 11, 1941 Died May 6, 2018 Vocalist. Margaret was active in the Presbyterian Church choir, a member of the Sacajawea DAR Chapter and other local organizations.

Pianist, organist. Karen was a longtime member of the Austin District Music Teachers Association and participated in many piano festivals. She taught piano and organ at St. Stephen’s Episcopal School for 29 years and was organist at several churches in Austin, Texas.

Marjorie Grey Hindman Tau, December 14, 1952 Died September 14, 2018 Pianist, harpsichord, accompanist. Marjorie began her teaching career in Naples, Florida.

She later taught in Portland, Oregon, at the Shattuck School. For many years, Marjorie was accompanist for India Zerbe Joebelmann, also a Mu Phi Epsilon member, who was principal cellist with the Portland Symphony Orchestra.

Maria Alexandra Jaque Mu Nu, December 19, 1980 Palos Verdes/South Bay Alumni Died September 12, 2108

Mary Ruth McCulley Mu Kappa, January 22, 1950 Amarillo Alumni Died October 27, 2018 Organist, music educator. Mary was appointed organist and music director of Polk Street United Methodist Church where she served for 50 years. In 1955, she joined the faculty of West Texas A&M University where she taught organ and music education until she retired in 1989.

She obtained five new organs for the teaching halls and the auditorium at WTAMU. She started collegiate chapter Alpha Nu and was a member of the AGO and the Texas Association of College Teachers.

Katherine Merk McNally Mu Upsilon, April 30, 1983 Rochester Alumni Died October 28, 2018

Flutist. Maria was an active recitalist, chamber musician, and a dedicated music teacher in public schools and at El Camino College. She was a featured soloist with several symphony orchestras and choral groups.

Paul Josef Krystofiak Gamma Tau, April 20, 2001 Died April 3, 2018

Mary Louise Krengel Miller Phi Kappa, May 19, 1951 Died August 16, 1972

Pianist, educator. Paul was a professor at the University of St. Thomas where he taught piano, piano pedagogy, and chamber music for 30 years. He served as director of the music preparatory school and founded a series of summer music camps. Paul was a member of the Houston Music Teachers Association and was a founding member of the Houston Chopin Society and the Houston Young Artist Concerts. He was faculty advisor to Gamma Tau at University of St. Thomas.

Vocalist. Mary Louise sang in a high school chorus and later in a group called “The Musical Belles,” an all-girl symphony and chorus that played in veterans’ hospitals in the 1940s. She was an active member of Mu Phi Epsilon at Wayne State University.

Mary Jo Hoover Lewis Mu Omicron, May 22, 1949 Died June 17, 2018 Pianist, organist, harpist. Mary Jo taught at Beaufort Community College and various public schools in North Carolina. She was the organist for many years for the First Methodist Church in Washington, North Carolina.

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Pianist, cellist, vocalist. Katherine performed with the Rochester Oratorio Society and Finger Lakes Choral Festival.

Margaret Jean Hanna Molzen Xi, May 22, 1948 Died July 29, 2018 Vocalist. Margaret “Marjean” taught chorus at Garfield Jr. High and served as librarian at Valley High School Albuquerque, NM, for many years.

She was a member of the P.E.O. Sisterhood.

Margaret Ann “Peggy” Muth Epsilon Tau, April 25, 1953 Died January 28, 2018 Vocalist. Margaret was a member of choirs in the many churches where her husband was a pastor. She was also a member of the P.E.O. Sisterhood.

Janet Elaine Jones Murdock Gamma Rho, February 22. 1976 Died May 25, 2018

Attie Sue Plummer Sullivan Beta, April 16, 1949 Died October 20, 2017

Vocalist, director. Janet sang in the Sandy Ridge AME Zion church in Sandy, North Carolina, for many years. She was president of her Mu Phi Epsilon chapter in 1977.

Vocalist, pianist. Sue sang with the Shreveport Civic Opera and was a soloist in many churches. She taught piano privately and vocal music in the schools.

Juanita “‘Nita” Joy Holbrook Rizzo Mu Chi, January 9, 1957 Died October 23, 2018 Vocalist, organist. ’Nita taught music in the Dayton School district and sang in the Deci-Belles Barbershop Chorus for 15 years.

Betty Joyce Harden Shaw Alpha Gamma, September 30, 1958 Died May 9, 2018 Pianist. Betty taught piano for more than 50 years. She was a music educator at the University of Houston, gave numerous piano master classes, and was a member of the Houston Music Teachers Association, MTNA, TMTA and AAUW. Walta Jean Smith Mu Theta, April 15, 1950 Died October 18, 2017

Vocalist. Walta was active in the choir at St. Luke’s United Methodist Church where she served as a Stephen minister and was given a Distinguished Life Award.

Annette B. Stolberg Beta Epsilon, May 11, 1988 Rochester Alumni Died August 2, 2018

Teacher, composer, bassoonist. Annette was one of the founding members of the Brighton Symphony Orchestra and performed as principal bassoonist in the woodwind section for 20 years. She composed, directed, and produced plays at the Jewish Community Center in Rochester.

Audrey L. Stottler-Poppe Phi Iota, October 7, 1976 Minneapolis/St. Paul Alumni Died September 11, 2018 Opera singer, teacher. Audrey was an opera singer and performed in many opera houses in Canada and Europe, including France, Spain, Royal Danish Opera House, and Austria. She performed in the New City Opera house and the Metropolitan Opera house where she was known for her role of Turandot. Upon retirement, she had an active teaching studio In St. Paul and most recently moved her studio to St. Louis Park, Minnesota.

Doris Jean Taylor Tyler Mu Theta, April 22, 1942 Austin Alumni Died March 3, 2018 Violinist. Doris taught string music classes for the Dallas Public Schools. She was concertmaster for the UT Symphony and a member of the Austin Symphony for many years. She performed with numerous chamber music groups and was president of the Wednesday Music Club and vice president of the Women’s Symphony League.

Julianne Underwood Epsilon Delta, January 12, 1953 Portland Alumni Died September20, 2018 Cellist, violinist. Julianne performed in many musical organizations during her life and was active in DAR and the Mapleton Garden Club in Oregon.

Margaret A. Weber Epsilon, January 18, 1976 Toledo Alumni Died June 15, 2018 Pianist, organist, composer, poet, educator.

Margaret was a pianist and accompanist for the Toledo Choral Society and served as organist for many churches in the Toledo area. She wrote many compositions for organ, chorus, and voice as well as poems. She was a member of AGO, Toledo Piano Teachers Association, and the National League of American Pen Women. At the age of 100 years, she was honored with a concert of her compositions and poetry readings.

Nancy Barbara Kinnamon Zschietzschmann Alpha Kappa, April 29, 1962 Kansas City Alumni, Sacramento Alumni Died September 19, 2018 Pianist, vocalist. Nancy taught piano in the Kansas City area and performed vocal and piano concerts in Europe. She was president of the Kansas City Alumni chapter from 1993 to1995.

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DISTRICT DIRECTORS

ATLANTIC 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

DISTRICT SE2 Arietha Lockhart 404 284 7811 ariethal@hotmail.com

DISTRICT NC2 Liana Sandin 402 483 4657, 402 560 7126 Liana.Sandin@gmail.com

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

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

DISTRICT SE4 — OPEN

EASTERN GREAT LAKES DISTRICT EGL1 Danielle Stoner 585 217 6597 dstoner326@gmail.com

SOUTH CENTRAL DISTRICT SC1 Rachel Reynolds 512 944 3398 reynolds_r_m@yahoo.com

DISTRICT EGL2 Eric Westray 571 239 1809 ericwestray@aol.com

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

DISTRICT EGL3 Nancy Jane Gray 330 688 7990 bobgrayz@aol.com

DISTRICT SC3 Ashley Roever 580 822 5682 amroever@hotmail.com

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

Anissa Smith 806 217 0395 anissa.smith@wheelerschools.net

DISTRICT GL2 — OPEN EAST CENTRAL DISTRICTS EC1 Herbert Jackson 678 577 3637 herbertjackson5@gmail.com DISTRICTS 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 SC4 Isabel De La Cerda 210 204 6425 idelacerda@hotmail.com CENTRAL DISTRICT C1 Ann Geiler 314 691 7648 celloanng@centurytel.net DISTRICT C2 Paula Patterson 417 773 1176 paulapatterson@missouristate.edu NORTH CENTRAL DISTRICT NC1 Zack Carlson 218 201 1437 zachariah.davin@gmail.com

Kathleen Jung 580 822 1170 kathleen.a.jung@gmail.com DISTRICT WC2 Kiley Wilson 405 625 5265 kiley.r.wilson@gmail.com PACIFIC NORTHWEST 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 Billy Sanders 209 552 6996 billysjazz@yahoo.com DISTRICT P2 Patrick Aguayo 408 991 4011 patrickanthony551@gmail.com PACIFIC SOUTHWEST DISTRICT PSW1 Tanner Wilson 951 515 9680 tannerwilson263@gmail.com

DIRECTORY OF EXECUTIVE OFFICERS

2017-2020 INTERNATIONAL EXECUTIVE BOARD Rosemary Ames, International President Omega 13 Travis Dr, Framingham, MA 01702 508 872 5818 president@muphiepsilon.org Julia Scherer, 1st VP/Extension Officer Alpha Kappa 15220 Dearborn St, Overland Park, KS 66223 816 225 2987 extensionofficer@muphiepsilon.org Jenny Smith, 2nd VP/Collegiate Advisor Phi Xi 1913 Dana Ct, Irving, TX 75060 214 662 5087 collegiateadvisor@muphiepsilon.org Marcus Wyche, 3rd VP/Alumni Advisor Delta Delta 2729 Nicholson St, #103, Hyattsville, MD 20782 301 484 3652 alumniadvisor@muphiepsilon.org Rebecca Sorley, 4th VP/Music Advisor Kappa 7295 W Road 350 N, Bargersville, IN 46106 317 885 1103 musicadvisor@muphiepsilon.org Terrel Kent, 5th VP/Eligibility Advisor Beta Zeta 2606 Galvez Street, Baton Rouge, LA 70805 225 772 7384 eligibilityadvisor@muphiepsilon.org Lane Velayo Executive Secretary-Treasurer Omega Omega International Executive Office 1611 County Road B, West, #320 St. Paul, MN 55113 888 259 1471 Fax: 888 855 8670 executiveoffice@muphiepsilon.org Ellen Sackett, International Editor Denton Alumni 1309 E. Pecan Street, Gainesville, TX 76240 940 395 1300 editor@muphiepsilon.org

HONORARY ADVISORY BOARD

MUSIC LIBRARIAN & ARCHIVES

Katherine Doepke, Phi Beta 825 Summit Ave., Apt 606 Minneapolis, MN 55403 612 377 2043 katdoepke@gmail.com

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

Lee Clements Meyer, Phi Xi 8101 Club Court Circle, Austin, TX 78759 512 345 5072 INTERNATIONAL CHAIRMEN ACME Arietha Lockhart (Chair) Beta Gamma, Atlanta Alumni 3159 Springside Crossing Decatur, GA 30034 404 284 7811 ariethal@hotmail.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 Kurt-Alexander Zeller Mu Chi, Atlanta Alumni 1872 Central Park Loop Morrow, GA 30260 770 961 4400 zellertenor@aol.com 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 45 Tiemann Place, Apt 5F New York, NY 10027-3327 212 641 0305 marlondanielnyc@gmail.com

2018-2019 FOUNDATION BOARD Linda Florjancic, President 7959 Wright Road Broadview Heights, OH 44147 216 219 4953 president@mpefoundation.org Liana Sandin, Vice President 6321 A Street Lincoln, NE 68510 402 560 7126 vicepresident@mpefoundation.org Dr. Sophia Tegart, Secretary 225 SW Mountain View St. Apt. B Pullman, WA 99163 509-991-4906 secretary@mpefoundation.org Craig Young, Treasurer 2656 Bluebird Circle Duluth GA 30956 404-857-7045 treasurer@mpefoundation.org Zachariah Carlson 405 River Street South #12 Delano MN, 55328 218-201-1437 admin@mpefoundation.org Dr. Kristín Jónína Taylor 18926 Ontario Street Omaha NE 68130 641 590 0547 grants@mpefoundation.org Rosemary Ames 13 Travis Drive Framingham, MA 01702 508 872 5818 president@muphiepsilon.org Liana Sandin Artist Concert Manager 6321 A Street Lincoln, NE 68510 402 560 7126 vicepresident@mpefoundation.org WINTER 2019

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International Executive Office 1611 County Rd B, West, #320 St Paul, MN 55113 executiveoffice@muphiepsilon.org 888 259 1471

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

C O N G R AT U L AT I O N S !

Denton Alumni president Peggy Capps (Phi Tau) recently presented Martha Len Nelson with a commemorative certificate honoring her 70th anniversary as a member of Mu Phi Epsilon. Martha Len was initiated into the Phi Tau chapter of North Texas State Teachers College (now the University of North Texas) in the fall of 1948.