The Triangle, publication of Mu Phi Epsilon music fraternity, Volume 118, Issue 3 Fall 2024

Mu Phi Epsilon International Professional Fraternity for the Advancement of Music in the Community, Nation and World.

VO LU M E 1 1 8 I I SS U E 3 I FA L L 2 024

NEO-ART PIANO DUO Creating Harmony in Music and Friendship

Learn the seven essential elements to developing voices in choir. Page 4.

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contents FA L L 2 0 2 4

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VOLUME 118, ISSUE 3

FEATURES 6

Unleashing the Power of the Voice by Francis Cathlina

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Neo-Art Piano Duo by Regina Tanujaya and Matteo Generani

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2024 Mu Phi Epsilon Fraternity Award Winners

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Foundation Grants and Scholarships Information

COLUMNS 1

President’s Message: Recruitment is Everyone’s Job, All the Time

by Kurt-Alexander Zeller

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From the Archives: Mu Phis During Wartime by Wendy A. Sistrunk

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Founders Day Message by Kurt-Alexander Zeller

DEPARTMENTS 22

Applause and Encore: Member and Chapter News

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Final Notes, Compiled by Ann Geiler

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District Directors Directory

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Executive Officers Directory

On the Cover: Regina Tanujaya (Alpha Kappa, Kanas City Alumni) and Matteo Generani (Alpha Kappa) met while pursuing their doctorate degrees at University of Missouri — Kansas City. They started playing together in 2018 and formed the Neo-Art Piano Duo in February 2022.

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 Kat Braz editor@muphiepsilon.org DESIGN & PRODUCTION Paul Wilson thetriangle@muphiepsilon.org Send all material for publication to: Kat Braz, editor@muphiepsilon.org The Triangle welcomes story suggestions from Mu Phi Epsilon members and friends.

Publication selections will be made at the discretion of the editor. Photos must be provided as the original digital file at high resolution. Please include photographer credit information. All photographs are published courtesy of the contributor unless photographer credit is provided.

Deadlines for submissions: Spring — February 15 Fall — August 15 Winter — October 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 6510 Telecom Drive, Suite 370 Indianapolis, IN 46278 toll free: 888-259-1471 fax: 888-855-8670 email: executiveoffice@muphiepsilon.org The Triangle is published three times per year

by Mu Phi Epsilon, International Professional Music Fraternity.

Member, Professional Fraternity Association.

(ISSN 0041-2600) (Volume 118, Issue 3) Subscription price is $20.00 per year.

Single copies are $8.00.

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, 6510 Telecom Drive, Suite 370 Indianapolis, IN 46278 © 2024 Mu Phi Epsilon. All rights reserved.

PRESIDENT’S MESSAGE

K U R T - A L E X A N D E R Z E L L E R , IN T E R N AT I O N A L PR E S I D E N T, MU C H I , ATLA N TA A LU MN I PR ES I DE N T@M U P H IE P S ILO N .O RG

RECRUITMENT IS

EVERYONE’S JOB, WENJIN CHEN

ALL THE TIME

lthough you will be reading this column in fall, at the beginning of a new program year, I’m actually writing it at the ending of the last program year, immediately following the annual meeting of the International Executive Board. The annual IEB meeting is always an exhilarating time when the members of the board enjoy deepening our bond of Friendship as we work “Together in Harmony” to further our Fraternity’s calling to advance the cause of Music.

There is always one activity during the annual board meeting, however, that is not so much fun, and that is setting the Fraternity’s budget for the coming year. This actually is quite an exercise in working “Together in Harmony,” because in the end we have to harmonize the Fraternity’s anticipated revenue with the Fraternity’s expected expenses to create a budget that is in harmonious balance. Achieving this balance has become more challenging over time because the Fraternity’s dues-paying membership has been declining for many years. In 2024, despite a tiny uptick in dues-paying alumni membership numbers, we have more than 500 fewer dues-paying members than we did in 2019 before the pandemic.

No one should panic — we finished the 2023-24 fiscal year in the black and we have created a balanced budget for this year.

But a course of continually decreasing revenue (membership) at some future point will cease to be sustainable. Even long before we would reach that point, there is a problem, because members do not want Mu Phi Epsilon merely to find ways on the cheap to manage to continue to do what we’ve always done. They want new initiatives, new services, new programming — they want Mu Phi Epsilon to be bold, to be innovative, to be out in front of the curve. Innovation, however, requires investment — in time, in human effort, and yes, in finances.

The thing that will give Mu Phi Epsilon more of all three of those things is enhanced member recruitment. The International Executive Board will be pursuing several membership-recruitment and extension initiatives this year, but we also want to challenge each chapter and each member to do the same — in a membership organization, recruitment is everyone’s job, all the time.

Each one of you, whether you’re 18 or 80, knows a wonderful musician who would be an exemplary member of Mu Phi Epsilon. Please invite them! Working “Together in Harmony,” our fraternity can grow and prosper.

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IN TRIBUTE K U R T - A L E X A N D E R Z E L L E R , I N T E R N AT I O N A L PR E S I D E N T, MU C H I , ATLA N TA A LU MN I PR E S ID E N T@M U P H IE P S ILO N .O RG

EVER IN OUR HEARTS Remembering Past International President Katherine Doepke would take Mu Phi Epsilon into atherine Guldberg Doepke the future, saying, “Hanging out (Phi Beta, Minneapolis/ with our Collegiates at conventions, St. Paul Alumni) was one one could see her joy and support of the treasures of Mu Phi shining through. I doubt any ColEpsilon, and her loss is deeply felt legiate that ever met her didn’t have by all members of the Fraternity. a touch more pride in their Mu Phi After a strong career of leadership membership after being with Kathat the local level in Minnesota, she erine.” Katherine cultivated new joined the International Executive ideas, new goals, new initiatives and Board as International 3rd Vice new leaders.

President, serving under InterI know this firsthand. It was national President Lee Clements Katherine and her 1st Vice PresiMeyer (Phi Xi, Austin Alumni) from dent, Wilma Sheridan (Phi Lambda, 1989 to 1992. Lee held Katherine Portland Alumni), who came up with in high regard and remembered the idea that the Fraternity needed that she “was a loyal, hard-working standing rules as part of the bylaws member that I could depend would overhaul Katherine started — and do her work very well and on time. they decided they knew just who I appreciated her decision to estabshould be in charge of writing them: lish the Doepke Award for Creative me. I had quite enough to do as Programming, a much-needed enKatherine Doepke (December 18, 1921 – April 20, 2024) Pacific NW 3 District Director and couragement and enhancement for had no intention of taking on anothchapter gatherings. She truly loved er job. But I am not the only person who firmly made up his mind Mu Phi Epsilon.” At the end of Lee’s second term as International to say “no” to Katherine, only to have his voice somehow come out President, Katherine was elected to succeed her. with “yes.” Over time one thing led to another, from standing rule Katherine was International President from 1992 to 1995, chair to bylaws chair to parliamentarian to International Executive which was a triennium of challenge and change for the fraternity, Board to now Mu Phi Epsilon’s first male international president, and she met both with a clear head, an optimistic smile and a and each step of the way, Katherine always gave me a big smile and steely glint of determination in her eye that one overlooked at said, “You’re going to be great!” one’s own risk. Katherine valued our Fraternity’s traditions, but Which brings us to Katherine’s greatest superpower: encourshe knew that it’s impossible to live in the golden past if you agement. After she left office and joined the Fraternity’s Honorary want to get to a rosy future, and during her tenure she tirelessly Advisory Board as a past international president, all of Katherine’s nudged the Fraternity to embrace change for the better. As she successors could count on her encouragement. True, she would tell presided over the 1995 convention, the Fraternity and its memyou exactly what she thought if you asked for advice, but once a bers began a national conversation about who we wanted to be course of action was determined and set in motion, she was always and where we wanted to go, and she set in motion a process that at the forefront of the cheerleaders; whether you’d taken her advice led to a complete revision of the Fraternity’s bylaws and moved or not, she had a way of making you feel that the right thing had the Fraternity forward toward the 21st century. Past Internationbeen done and that it was all going to be great. al President Rosemary Ames (Omega, Boston Alumni) remembers Appropriately for someone who always embraced innovation that Katherine always especially valued the young people who 2

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Katherine Doepke (left) with Lee Clements Meyer (Phi Xi, Austin Alumni).

Katherine Doepke singing during a Mu Phi Epsilon program.

Above: Katherine Doepke (at right) as president of the International Executive Board.

Right: Members of the Minneapolis/St. Paul Alumni chapter gathered to celebrate Katherine Doepke’s 100th birthday in 2021.

and creativity and who embodied the Mu Phi Epsilon ideal of “Mu Phi for Life,” remaining active in her local alumni chapter in Minneapolis and hosting them at her retirement home just the week before her passing, Katherine for many years funded a Fraternity-wide award, named in her honor, for creativity in chapter programming; chapters all across the country have been touched by her generosity, and their members have been inspired by the programming and ideas that, but for the impetus of her foresight, might not have been part of their local experience.

This is another of the ways that Katherine blessed and encouraged

Mu Phi Epsilon members across the whole nation.

Katherine will be mourned and missed throughout the entire Fraternity, but most importantly, she will be remembered with love, admiration and gratitude. How fortunate we all have been to have enjoyed her leadership and her friendship! Mu Phi Epsilon is a better and stronger organization because of the legacy of Katherine Doepke, and we hope that we will continue to live up to the confidence she had in us. In turn, we are confident that, as this sweet singer who liked to give her voice type as “fallen soprano” takes her place in the heavenly choir, she’s going to be great.

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FROM THE

ARCHIVES W E N D Y A . S I S T R U N K , IN T ER N AT I O N A L LI B RA R I A N /A R C H I V E S C H A I R , MU MU, KA N SAS C I TY A LUM NI

MU PHIS DURING WARTIME ince our very early days as an organization, Mu Phi Epsilon has supported and served the United States’ war efforts. Our membership has always created and provided much in the way of leadership and service, music and therapy, respite and celebration. Below is a small example of what Mu Phis have and continue to provide to those who serve in the military and for those who await their return.

By the time the United States entered the fray of World War I in April 1917, the war in Europe had been going on for several years already. That is not to say that during those years the U.S., and indeed Mu Phis, had not been providing supplies and support to the other countries involved. There had been an annual exodus of MFE music students to European conservatories, but this came to a halt in the summer of 1914 when war in Europe was declared, so they all had to come back.

At the start of the U.S. joining the war, there were 18 active Collegiate Mu Phi chapters on our rosters The Dallas Alumni chapter hosted a series of concerts in 1943 and 1944 (by the time Armistice was declared in November of at the Dallas Museum of Fine Arts featuring talented musicians from around 1918, we had 25). Much of the support Mu Phi EpsiTexas. Following the concert, each artist was invited to the museum’s lounge lon members provided was in the form of nursing aid where a canteen for servicemen was sponsored by the Museum League. and music therapy to the Red Cross, organizing food and money drives and staffing canteens (often accompanied by music), knitting socks and scarves, and other such efforts to keep morale positive at the home front dations and citations from the national government. and abroad. Some chapters even raised funds to “adopt” war One delightful outcome from WWII was the growth in orphans, underwriting their sustenance and care. The National appreciation for the humble accordion. Otis Manning, USO, MFE Office organized a Committee on Purchasing and Sending wrote an article in from the August 1944 issue of the Accordion Phonographs and early on we hand-carried Victrolas with recordWorld (reprinted in the October 1944 issue of The Triangle ings and various needles across the oceans “Over There” as a way (Vol. 38, no. 4)): of supporting and bringing cheer to the soldiers in hospitals.

“This war has done more to prove the worth of the accordiWorld War II (1939-1945) provided yet more structured onist in the eyes of thousands and thousands who never gave opportunities for the Mu Phi Epsilon membership to serve and it too much thought before now…. Acts in the USO Camp support the war efforts. In addition to continuing activities Shows … couldn’t work without music. The piano is out due offered during World War I, many Mu Phis worked in various to conditions under which we play: in fields, on top of trucks, machinery and armament factories (i.e. “Rosie the Riveter”), mess halls, hospitals, in makeshift stages of every kind. The provided national administrative leadership in patrols, ordinance, accordion can use arrangements of orchestra and piano music and even the FBI, and, yes, enlisted in active military duty as and provide accompaniment for singers. The accordion has WACs, WAVEs, SPARs. Quite a few Mu Phis received commenproven its worth!”

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The membership of Mu Phi Epsilon has continued offering support during other wars and conflicts that the U.S. has been involved in since World War II. One concept started in World War I and continuing in World War II was the importance of music as therapy. The discipline of music therapy grew certainly as doctors saw the benefit of music (live or recorded) on the morale of those suffering in hospitals, those worried about their loved ones, those seeking inspiration and courage, those who are human. Whether offering performance, composition, historical study, engineering or a myriad of other aspects that “music” is made up of, we must remember how important what we do is for our humanity and for the world.

Evelyn Gibson DeGordin (Upsilon) joined the U.S. Naval Women’s Reserves (WAVES) on November 4, 1943. After training, she was assigned to duty at the U.S. Naval Hospital in Oakland, California, where she supervised music for all church services and directed a WAVE chorus. After she was commissioned as an ensign in October 1944, she then was appointed assistant recreation and welfare officers at the second largest all-WAVE station, located in Arlington, Virginia, where she supervised musical activities for 2,000 WAVES.

In the October 1944 issue of The Triangle, Alta Muehlig (Gamma) wrote about learning to play the accordion and how its portable size “makes its use convenient for hospitals, out-of-door parties, sick rooms and the like, as well as for community singing.

Leota Lane Day (Mu Alpha) toured for the USO, perfroming at Army bases across the nation. In 1944, she joined the Women’s Army Corps.

Captain Mary Parker Converse was the first woman to be commissioned by the United States Merchant Marine. She was also a noted philanthropist who wrote poetry and composed music. In response to the United States’ entry into World War I, she joined the Boston chapter of the American Red Cross where she penned an inspirational pamphlet for U.S. military and helped assemble soldiers’ grooming kits. She then actively worked to improve conditions for prisoners of war and joined the U.S. Navy’s ambulance corps.

The April 1945 Triangle identifies this photo as “Ensign Grace K. Hosler and her ensign husband.” A member of Sigma chapter, she served as a Navy communications officer in San Francisco.

Composer and member of the Seattle Alumni chapter, Amy Aldrich Worth (Tau) volunteered for the Red Cross Hospital and Recreation Corps, whose members were affectionately known as the Gray Ladies and provided nonmedical services to sick, injured and disabled patients, including thousands of wounded American servicemen.

Ruth Bradley (Mu Rho), at left, national chairman of the Music in Hospitals Committee of the National Federation of Music Clubs, and contralto Dorothy Fisher-Jones (Tau Alpha) presented musical programs in hospital wards. In early 1944, the Federation of Music Clubs inaugurated a nationwide program of hospital music in collaboration with the American Red Cross, the Veterans’ Bureau, the Public Health Service and the Army and Navy.

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B Y F R A N C I S C A T H L I N A , PH I TAU

UNLEASHING THE POWER OF THE Vocal Pedagogy in the Choral Ensemble The following story is an excerpt of “On the Voice: Seven Essentials for Developing Voices in Choir, Parts I and II” which appeared in the June/July and August 2021 issues of the Choral Journal. Permission to reprint was granted by the American Choral Directors Association.

ing back their voices from the start, diminishing their potential for greater vocal colors within the choral rehearsal. The unity of choral blend can occur when singing a piece together. This allows for each singer to bring their best vocalism to the repertoire.

Singing in a choral ensemble can create a positive impact in the lives of its singers, helping them find community to develop into emotionally whole human beings. Consistent support from the choral director, along with a strong understanding of healthy vocalism, can promote the singers’ positive view of their own voice. The building of strong voices in choir relies on the following seven key principles: the choral warm-up, posture, breathing and support, tone, choral blend, musical acuity and the conductor’s model/gesture. By refining the choral conductor’s knowledge of these seven essentials, and expanding their pedagogical toolboxes to use in rehearsals, each singer’s technique can blossom healthfully within a choral ensemble.

Alignment Strong vocal technique is founded on excellent physical alignment, and many choir directors begin the warm-up process by addressing this in some way. Because individual students vary in posture, the term “alignment” is preferred over “posture.” Using the term “posture” often causes singers to alter their body position through muscularity (puffing out their chest or excessively pulling their shoulders back). The term “alignment” invokes a calmer positioning of the body’s bones, resulting in less muscular tension. Each singer’s organic alignment should reduce the body’s extraneous muscle tension to prepare the body for success. Watch for an elevation of the sternum with shoulders placed back and relaxed; because of cell phones, rounded shoulders are the most common ailment afflicting our students nowadays.

The Choral Warm-Up The choral warm-up is one of the greatest tools we have to develop voices. Similar to an exercise warm-up, it is wise to begin with light exercises over a limited range, and then progress toward heavier singing loads with greater range. Some ideas to engage the musicians include: conducting horizontally to engender breath flow; using the arms to visually depict the inhalation/exhalation process; palpating the larynx for a physical awareness of its position; or gently massaging the masseter muscles (chewing muscles) while vocalizing.

Expect to hear a cacophony of vocal sounds, especially when warming up more advanced singers. Work to further develop the students’ studio technique during the warm-up at a mezzo forte; the voice functions at maximum efficiency at this dynamic level.

Do not insist upon choral blend yet, or the singers will begin hold6

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Breathing and Support A fundamental part of developing voices in a choral ensemble involves the pedagogy of breathing and support. Inhalation should be silent, the muscles of the abdomen should be released, and the singer should maintain expanded ribs and a contracted diaphragm for a controlled exhalation. Without these elements, the singer would not be able to sing in tune since pitch accuracy correlates directly with breath support. Sustained tone exercises (such as singing on an /a/ vowel on any single pitch) serve an important role in teaching support. It allows each singer to concentrate on breath management, making corrections as needed; it builds continuous coordination of breath and resistance in the folds; and it leads to the ability to sustain legato phrases, producing a more connect-

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ed tone. It is also important to note that because singers take in a breath to sing an entire phrase, the conductor should aim to rehearse in phrases — and not little spurts. This trains the singers’ bodies to take in, and release, breath efficiently for each phrase.

Tone Tone development constitutes the richest section on developing voices in choir. Few things influence vocalism more than laryngeal position. The larynx’s position, which houses the vocal folds (the source of all vocal sounds), has a tremendous impact on the length of the vocal tract. In altering its position, one can significantly alter tone quality. Elite classical singing calls for a low, stable larynx at all times. The low larynx also positively contributes to vowel quality: it lowers all vowel formant frequencies so the vowel sounds become warmer. This is often what choir directors seek when they ask for “tall vowels.” The tone produced in this manner employs acoustical properties that are better suited to the blend required in a choral ensemble. Conversely, a tone produced with a raised larynx is characterized as bright, brassy, and “spread,” which is not ideal for the bel canto style.

To develop this technique in your choral singers, encourage them to sing through the beginning of a yawn. Synonymous with an “open throat,” this “yawn-sigh” corresponds to the sensation of a raised soft palate, a common instruction in choral rehearsals. A second way to help singers identify this lowered laryngeal position is by having them palpate their thyroid cartilage (Adam’s apple) to track its movement. This kinesthetic tool introduces a physical awareness.

A third way consists of having the singers close their lips, open their teeth, and inhale deeply through the nose. Singers will instinctively lower the larynx to open the airway as wide as possible. /o/ and /u/ vowels also encourage a lowered larynx, so utilizing these two vowels during voice building — or when singing on neutral syllables — will help solidify this concept.

Once the singers become aware of the larynx’s tendency to rise with pitch, they can work toward keeping the larynx low, even while ascending. If further assistance is required, the use of ascending portamentos on an /o/ vowel can help re-establish this foundational skill. Once this low larynx is a part of the singers’ vernacular, their tone quality will improve exponentially, and the overall choral sound will become opulent.

Choral Blend The most distinctive aspect of choral singing from solo singing is the concept of choral blend. The key to exceptional blend lies in the vowels. Vowels must first be correct, then unified. Be aware that vowel modification is necessary for sopranos in the upper extremes of their range. Their vowels should gravitate toward an /a/ with a dropped jaw. Allowing the singers to modify too soon, however, will diminish a vowel’s definition, shape and resonance, 8

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and, thus, dismantle choral blend.

Placement of singers affects vocal unification as well. A singer who has a dark and dramatic voice placed next to another equally dark and dramatic voice may not work well because their voices may “argue.” Voice placement, an optimal arrangement where singers are placed next to others with a complementing tone quality, should be done as soon as possible. This aids choral blend early on in the ensemble’s development. The more dramatic voice, placed next to “flute” voices (lighter, blendable, and clear) will encourage the “flute” voices to sing out with more confidence, and offer the more dramatic voice the space to sing freely without feeling hindered by a similar, competing voice.

The main requirements for choral blend, aside from unified vowels, are: the ability to hear oneself and others well, an efficient and effective singing ability and individual listening skills to make appropriate self-corrections. Space around each singer lets them use their mechanism freely and hear themselves and their neighbors. Circumambient spacing — spacing singers twenty-four inches apart laterally with a vacant row between them — proves to be the ideal space for improved hearing of oneself and the ensemble.

Musical Acuity Robert Shaw is famous for stating, “The right note at the wrong time is the wrong note.” This quote exemplified much of his defining qualities as a world-renowned conductor. His strive for musical acuity should be shared in the development of all choral singers. Often, the misplaced note Shaw referred to in his quote resulted from a consonant not being placed ahead of the beat, or the onset of breath being too relaxed. In both cases, the vowel sound is late. By encouraging the singers to breathe rhythmically, the onset will be more precise. This rhythmic treatment of text produces a precision of releases, and, thus, an opportunity for well-prepared breaths for subsequent phrases. The resulting choral sound will be drastically impacted. Ann Howard Jones eloquently expresses this sentiment: “The more precise the ensemble rhythm, the more concentrated the sound. The more rhythmically precise the vowel and pitch, the more convincing the sound.”

Model and Gesture One’s awareness of posture and conducting gestures could positively influence the singers’ vocal technique. Good postural mechanics from the conductor engages mirror neurons in the singers that motivate them to embody the conductor’s posture. Jones suggests that conductors: “Be centered… Keep your torso long, not collapsed … Convey energy [and] buoyancy in your body … Monitor tension in your head, mouth, neck, face, hands. Eliminate it if you can.” A study of Alexander Technique would be tremendously beneficial for the conductor and the singers. Even more importantly, a conductor’s gesture directly affects the singers’ voices. The most common fault for many conductors is conducting in the

high, vertical plane. The height and focus of this gesture engenders clavicular breathing — ignoring the contribution of the diaphragm to a well-supported breath. The solution is to conduct in the lower plane near the abdomen, what the author refers to as the “breath circle.” This activates the diaphragm during inspiration. Additionally, preparatory gestures should be fluid and predictable so that the breath can be organic; cut-offs should not be abrupt; and the gesture should embody breath flow and harness horizontal space to encourage line in the voice. Constant awareness in one’s posture and gesture provides an optimal environment where the singers’ vocal development can burgeon.

Additional Resources Cottrell, Duane. “Support or Resistance? Examining Breathing Tech-niques in Choral Singing.” Choral Journal 50, no. 9 (2010): 53-59.

Fett, Darlene Louise. “The Adolescent Female Voice: The Effect of Vocal Skills Instruction on Measures of Singing Performance and Breath Management.” PhD diss., The University of Iowa, 1993.

Freer, Patrick K. “Choral Warm-Ups for Changing Adolescent Voices.” Music Educators Journal 95, no. 3 (2009): 57-62.

Gackle, Lynne. “Finding Ophelia’s Voice: The Female Voice during Adolescence.” Choral Journal 47, no. 5 (2006): 28-37.

Gebhardt, Rianne Marcum. “The Adolescent Singing Voice in the 21st Century: Vocal Health and Pedagogy Promoting Vocal Health.” DMA diss., The Ohio State University, 2016.

Francis Cathlina is a distinguished Vietnamese-American conductor and educator, known for his innovative programming that seamlessly weaves choral music with narrative. As director of choral activities at the University of Memphis, he provides visionary leadership for the choral area, oversees the doctoral and master’s choral conducting program and conducts the University Singers (flagship SATB) and Mazi (SSAA).

A two-time GRAMMY-nominated educator, his work with choral ensembles has garnered international recognition. The UofM University Singers, under his direction, were selected for the 2024 Tennessee MEA state conference. He was named a 2023 National Finalist for The American Prize: Dale Warland Award in Choral Conducting. A recognized authority in vocal pedagogy, he has co-led conducting Masterclasses in Greece and was the choral headliner for the 2024 Alabama Music Educators Association Conference. Driven by a passion for human connection, he frequently serves as an honor choir conductor nationwide. Cathlina holds degrees from the University of North Texas, Michigan State University and Baylor University. Before earning his doctorate, he taught in Texas public schools. Cathlina, his husband, Kyle, and their fur baby, Coco, proudly call Memphis, Tennessee, their home. www.franciscathlina.com

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B Y R E G I N A T A N U J A Y A , A L PH A KA PPA , KA N SAS C I TY A LU MN I A N D M A T T E O G E N E R A N I , A L PH A KA PPA

NEO-ART PIANO DUO HARMONY IN MUSIC AND FRIENDSHIP

OUR STORY Neo-Art Piano Duo members are Regina Tanujaya (Alpha Kappa, Kansas City Alumni) and Matteo Generani (Alpha Kappa). We chose the name Neo-Art because we always want to bring something new to our audiences, we want to try new ways to perform and we also want to create new music. While Neo-Art Piano Duo is based in Kansas City, Missouri, Regina is from Indonesia, and Matteo is from Italy. We first met while pursuing our doctorate degrees at the University of Missouri – Kansas City. We studied with the same professor, Alon Goldstein, an incredible mentor and inspiration to both of us.

We started playing together in 2018 after we became good friends, mainly just for fun and occasionally to perform together as an addition to our solo performances. After realizing how well we worked together, we officially formed the Neo-Art Piano Duo in 2022 and performed professionally. Since 2018, we have performed together on many occasions in Kansas City from outreach performances in retirement homes to bigger concerts at the Kauffman Center for the Performing Arts in Kansas City. In February 2023, the Emerald Coast Music Alliance Foundation invited us as guest artists for a 10-day residency to perform concerts in Florida.

Neo-Art Piano-Duo also serves as co-artistic directors for the Classical Music Express concert series, a newly founded concert series that brings classical music performances outside the concert halls to create a stronger connection between performers and audience.

CHOOSING REPERTOIRE The Neo-Art Piano Duo is very flexible with our programming, 10

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and we play repertoires for four hands (on one piano) and two pianos. We want to be versatile and offer unique and interesting performances. We mainly perform classical music but can easily expand our genres depending on our interests.

When programming, we make sure to vary the different kinds of music we present to create a captivating program that aims to both educate the audience to different styles and periods and to entertain them. As a room with paintings and visual arts is a decoration of space, a concert is a decoration of time. Not every piece of visual art fits in the same room, or next to another piece.

Similarly, not every piece of music works alongside any other. A process of selection and planning is necessary to create a program that will intrigue and not bore the listeners. To start out our duo, we perform quite a lot of audience favorite repertoires, because we know that this would be more accessible to a larger audience and we want to reach as many people as we can to introduce Neo-Art Piano Duo. As a duo, we also make our arrangements of pieces we love.

We also experiment with putting some theatrics into our piano performances. Our interest has been to perform pieces, usually for larger ensembles or the orchestra, in more venues and to be more accessible to larger audiences. As a piano duo, we can condense a large-scale work to be heard by performing on one piano. This has benefited smaller venues or facilities without a big budget, as bringing an entire orchestra to them is challenging. In the future, we want to collaborate with different artists and create multidisciplinary events. We are also always open to ideas and exploring other genres/types of performances.

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Our Favorite Four-Hands Repertoire: • Saint-Saëns — Carnival of the Animals (arr. Lucien Garban) • Schumann — Bilder aus Osten, Op. 66 • Bernstein — Candide Overture (arr. Charlie Harmon) • Gershwin — Rhapsody in Blue (arr. Henry Levine) Our Favorite Two-Pianos Repertoire: • Rachmaninov — Suite No. 2 • Mozart — Sonata in D major • Poulenc — Concerto for Two Pianos and orchestra • Saint-Saëns -— Carnival of the Animals (for two pianos and chamber ensemble)

TWO-PIANO FORMATIONS When performing in a two pianos formation, usually the two pianists face each other, with the two pianos laid out parallel to each other, in opposite directions, with the two bent sides next to each other. This makes the two pianists able to cue by nodding with the heads, and to look each other easily in the eyes. The downside of this layout is that it’s not possible to see each other’s hands.

A way to solve this issue is to position the two pianos in a way that the two pianists are almost side to side, with the pianos still parallel and in opposite directions, but not interlocking the bent sides. In this manner, the two pianists are still able to see each other, plus they can see at each other’s hands.

REHEARSAL PROCESS After we choose our repertoire, we also immediately assign who will play which part. This selection is usually based on the order of a specific recital program, if any of us already studied a specific part before. So far, we have been able to divide the parts without any conflicts.

We do not meet to rehearse until we get a little closer to the performance date, because both of us have our own individual schedules. We are always having a hard time finding times that work for both of us that we usually end up rehearsing late at night, around 8:00 p.m. to midnight.

Each of us would practice our own parts but study the piece as a whole. That way, we already know how things interlock 12

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musically, we just need to rehearse how to execute them well.

This process goes smoother and faster as we work together more.

One thing that is a lot more time-consuming than anticipated is choreographing the page turns. We want to page-turn ourselves and incorporate that act into our performance.

FINDING OUR DYNAMICS We have been performing more four-hands repertoire programs because it is easier to find venues with one piano than two pianos.

When we do four-hands pieces, there are many challenges in figuring out the positioning of our bodies and hands. We are always quite “uncomfortable,” because we have to share our space and we have to sit in a position that is not ideal for some passages.

We found out quickly how little space we have when playing with another pianist next to us compared to when we practice alone.

It’s crucial to remember who crosses under/above, and when to move out of the way fast. We would also have the other person’s elbow too close to the other’s face at times.

To play together, we have to pre-determine who leads the cues on every necessary spot. Mainly, we cue with breaths, like in most collaborative performances. However, since we sit so close, our arms touch and we sometimes use arm motion to execute the “push and pull” of the music together. We also use our wrists to conduct. We are still exploring more ways to communicate without words for the performance. There needs to be a lot of verbal communication in our rehearsals to achieve a great ensemble in the performance.

The most important thing is that both of us have a lot of fun practicing, rehearsing and solving all the puzzles together! We always appreciate our productive teamwork.

Ways to communicate in the performance: • Breath cues (auditory cues) • Conducting with wrist (visual cues) • Arms touch and moving together (kinetic cues) • Pre-concert agreements: For example, we might agree to give one full beat between movements, so we don’t need to cue for every single movements (attacca)

ARRANGING SHOSTAKOVICH PROJECT One of our ongoing projects is arranging the complete Suite for Variety Stage Orchestra No. 1 by Dmitri Shostakovich for four hands. This piece was mistakenly identified as Suite for Jazz Orchestra No. 2 and sometimes this piece is still referred to as the Jazz Suite No. 2. We both love this eight-movement suite, because it is full of character. Our plan is to arrange all eight movements of the suite, publish the score, record us performing our arrangements, and present the project in concerts and conferences.

Clarification about Shostakovich Suites: • 1934, Shostakovich composes The Suite for Jazz Orchestra No. 1 (Jazz Suite No. 1) • 1938, Shostakovich composes The Suite for Jazz Orchestra No. 2 • The score was lost during World War II, but a piano score of the work was rediscovered in 1999 by Manashir Yakubov. Three movements of the suite were reconstructed and orchestrated by Gerard McBurney, and were premiered at a The Proms in London in 2000.

• Prior to its rediscovery, another eight-movement suite by Shostakovich had been misidentified and recorded as the second Jazz Suite. That work is now correctly known as the Suite for Variety Orchestra No. 1.

• Sometime after 1956, Shostakovich-Atovmyan Suite for Variety Orchestra No. 1 • An editorial error in the tenth volume of the Shostakovich collected works edition published by Muzyka in 1984 resulted in the Suite for Variety Orchestra No. 1 being misidentified as the Suite for Jazz Orchestra No. 2 or Jazz Suite No. 2.

• The score was first published with the correct name in 2001 • Levon Atovmyan, who arranged and assembled the suite, was a close friend of Shostakovich and was regularly tasked with arranging concert suites of his film music.

Neo-Art Piano Duo is an emerging duo from Kansas City, known for performing programs of audience favorites. Regina Tanujaya (Alpha Kappa, Kansas City Alumni) and Matteo Generani (Alpha Kappa) are performing together in various venues and occasions, from outreach performances in assisted living communities in the Kansas City areas to bigger venues such as the Kauffman Center for the Performing Arts and the Steinway Piano Gallery Kansas City. They also work together as co-artistic directors of the Classical Music Express concert series. Neo-Art Piano Duo is excited to continue exploring different ways to perform, enriching their repertoire selections and reaching larger audiences.

Follow on Instagram: @neoartpianoduo Learn more at www.neoartpianoduo.com FALL 2024

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FRATERNITY AWARDS

2023-2024 ALUMNI AWARD WINNERS International Fraternity Chapter of the Year Palos Verdes/South Bay Chapter of the Year per Tier Tier 1 — Kansas City Tier 2 — Lincoln Tier 3 — Oklahoma

Top Five SERV Hours Tier 1 Lorna Katz (Palos Verdes/South Bay Alumni) — 895 hours David Champion (Palos Verdes/South Bay Alumni) — 750 hours Gail Gerding-Mellert (Palos Verdes/South Bay Alumni) — 700 hours Linda Chen (Kansas City Alumni) — 400 hours Cynthia Stadig (Denver Alumni) — 388 hours

Top Five SERV Hours Tier 2 Liana Sandin (Lincoln Alumni) — 1,129 Lisa Foltz (Atlanta Alumni) — 1,085 Katherine Doepke Award for Creative Programming Janis Brown (Lincoln Alumni) — 720 hours San Jose, Global Connections Programming Daniel Shavers (St. Louis Alumni) — 700 hours Highlighted a different country every month, serving food Arietha Lockhart (Atlanta Alumni) — 564 hours and performing music from that country.

Outstanding Chapter Newsletter Tier 1 — Los Angeles Tier 2 — Lincoln Tier 3 — Indianapolis

Outstanding Chapter Newsletter, Honorable Mention Tier 1 — Palos Verdes/South Bay Tier 2 — Minneapolis/St. Paul and St. Louis Noteworthy Community Service Project Tier 1 — Palos Verdes/South Bay — Musical Mosaics Concert Tier 2 — Baton Rouge — Reading music-related books written by Paris Daniels to children.

Tier 3 — Fresno — Fresno American Music Concert

Noteworthy Community Service Project Honorable Mention Tier 2 — Lincoln — Commissioning of a piece to honor Joy Maag (Lincoln Alumni) and her 40 years at Vine Congregational United Church of Christ.

Individual Noteworthy Service Project Kathleen Jung (Oklahoma Alumni) As director of operations at HOBY Oklahoma Leadership Seminar, Jung oversees staff & student activities during a four-day camp.

Top Five SERV Hours Tier 3 Peggy Trieb (Indianapolis Alumni) — 407 hours Jane Sandstrom (Colorado Springs Alumni) — 300 hours Kathleen Jung (Oklahoma Alumni) — 233 hours Bridgette Shelton (Oklahoma Alumni) — 204 hours Kathleen Anderson (Colorado Springs) — 172 hours Total SERV Hours for each tier Tier 1 — 12,082 hours Tier 2 — 12,575 hours Tier 3 — 2,229 hours Total Fraternity Hours — 26,886 Top Three Chapter Hours by Tier Tier 1 Palos Verdes/South Bay — 5,236 hours Cleveland Area — 2,133 hours Kansas City — 1,445 hours Tier 2 Lincoln — 3,776 hours St. Louis — 3,009 hours Dallas — 1,585 hours

Tier 3 Indianapolis — 751 hours Colorado Springs — 615 hours Initiation of the Most New Members

Oklahoma — 562 hours Los Angeles, Inducted three new members Alumni Top 5 for Individual SERV Hours 32 members reported earning over 300 SERV hours 1,129 Liana Sandin (Lincoln Alumni) 1,085 Lisa Foltz (Atlanta Alumni) 895 Lorna Katz (Palos Verdes/South Bay Alumni) 750 David Champion (Palos Verdes/South Bay Alumni) 720 Janis Brown (Lincoln Alumni)

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2024 COLLEGIATE AWARD WINNERS International Collegiate Chapter of the Year, Tier 1 Alpha Kappa, UMKC Conservatory of Music, Kansas City, Missouri International Collegiate Chapter of the Year, Tier 2 Eta Theta, California State University, Long Beach International Collegiate Chapter of the Year, Tier 3 Phi Mu, San Jose State, California Collegiate Chapter of the Year Honorable Mentions: Alpha Omega, Stephen F. Austin University, Nacogdoches, Texas Mu Phi, Baldwin Wallace University, Berea, Ohio Beta Alpha, California State University, Fullerton Delta Psi, Clayton State University, Morrow, Georgia Zeta Omega, Illinois College, Jacksonville Beta Mu, Texas A&M University, Commerce, Texas Mu Psi, Coe College, Cedar Rapids, Iowa Outstanding Chapter Service Project To School: Mu Phi, Baldwin Wallace University, managed a donation center called the Room of Requirement in the Conservatory of Music. Members ensured that essential items such as granola bars, non-perishable food, winter weather gear and school supplies were always available. The Room of Requirement supports the Conservatory of Music community and is accessible to anyone aware of its existence. The participation of the entire chapter in maintaining this resource highlights their dedication to the well-being and support of their fellow students.

Honorable Mention, Service Project To School: Alpha Mu, Missouri State University, collaborated with the campus chapters of Phi Mu Alpha and Kappa Kappa Psi to stage two musicals, fostering connections and friendships among members of different fraternities. The collaborative nature of the effort enhanced fraternity unity and cooperation, involving all members and rush candidates. This initiative significantly boosted camaraderie and established stronger bonds between the fraternities, showcasing the power of teamwork and shared goals.

Beta Alpha, California State University, Fullerton, organized mock juries for music students, designed to help them practice performing and receive valuable feedback for their upcoming juries, providing critical performance practice and expert feedback from a panel of professors and an accompanist. The involvement of at least three faculty members on the panel each semester, along with an accomplished accompanist, underscored the project’s high quality. The mock juries successfully aided many students in their preparations, thereby benefiting the entire music department and reinforcing the chapter’s commitment to academic excellence.

Outstanding Chapter Service Project To Community: Alpha Kappa, University of Missouri – Kansas City, hosted two piano masterclasses for local students in the community, combining community outreach with professional development, allowing chapter members to gain valuable teaching experience while serving the community. The masterclasses were successful in providing local students with high-quality music education and fostering their musical growth. By engaging with the community in this meaningful way, the chapter demonstrated its commitment to both service and the enhancement of musical education, benefiting both the students and the members who taught them.

Honorable Mention, Service Project To Community: Mu Eta, University of the Pacific, performed two recitals at O’Connor Woods memory care facility. The recitals enriched the lives of the facility’s residents, offering them the joy and therapeutic benefits of music. The project demonstrated the chapter’s commitment to community outreach and their ability to positively impact the lives of elderly residents through their musical talents.

Beta Zeta, Southern University and A&M College, dedicated a day during Founders Week to create letters and art gifts for sick children in hospitals. In this heartfelt effort more than 30 letters and art gifts were delivered to children during the Christmas season. The initiative spread joy and comfort to hospitalized children, making their holiday season a little brighter. The project showcased the chapter’s compassion and willingness to make a difference in the lives of those in need, emphasizing the impact of thoughtful, personalized gestures of kindness.

FALL 2024

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FRATERNITY AWARDS

PROVINCE COLLEGIATE CHAPTER ACHIEVEMENT AWARDS

Most Overall SERV Hours: Eta Theta, California State University, Long Beach — 867 hours

Honorable Mention, Overall SERV Hours: Mu Eta, University of the Pacific — 592 hours Beta Alpha, California State University, Fullerton, — 478 hours Zeta Omega, Illinois College — 453.5 hours Alpha Omega, Stephen F. Austin University — 430 hours Most Reported SERV hours per member: Eta Theta, California State University, Long Beach — 46 hours per member

Honorable Mention, SERV hours per member: Mu Psi, Coe College — 31.3 hours per member Mu Eta, University of the Pacific — 28 hours per member Most Chapter Total SERV Projects: Beta Alpha, California State Fullerton — 10 SERV projects Alpha Omega, Stephen F. Austin University — 10 SERV projects

Honorable Mention, Total Chapter SERV Projects Zeta Omega, Illinois College Outstanding Membership Recruitment Awards (includes high number of total initiations, and high ratios of recruitment): Mu Phi, Baldwin Wallace University — 14 new members Kappa, Butler University — 1.8 new to old member ratio Outstanding Fundraising: Alpha Nu, West Texas A&M University — 6 fundraisers Beta Omicron, Western Illinois University — 6 fundraisers District Director of the Year: Linda McNair (Omega Omega, St. Louis Alumni)

Linda McNair

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Honorable Mention, District Directors: Brandon Barnett (Zeta Xi, Indianapolis Alumni), Ayanna Lewis (Beta Alpha, Fullerton Alumni), Marcus Wyche (Delta Delta, Washington D.C. Alumni)

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Province

Chapter/Institution

Central

Alpha Kappa, UMKC Conservatory of Music, Kansas City, Missouri

East Central

Kappa, Butler University, Indianapolis, Indiana

Eastern Great Lakes

Mu Phi, Baldwin Wallace University, Berea, Ohio

Great Lakes

Phi Kappa, Wayne State University, Michigan

North Central

Beta Pi, Nebraska Wesleyan University, Lincoln

Pacific

(tie) Phi Mu, San Jose State, California, and Mu Eta, University of the Pacific, Stockton, California

Pacific Southwest

Eta Theta, California State University, Long Beach

South Central

Alpha Omega, Stephen F. Austin University, Nacogdoches, Texas

Southeast

Delta Psi, Clayton State University, Morrow, Georgia

West Central

Delta Rho, University of Colorado, Boulder

100+ SERV hours Mu Eta Mu Eta Mu Phi Beta Alpha Beta Alpha Zeta Omega Eta Theta Eta Theta Eta Theta

Tristan McMichael — 161 Hannah Estrella — 145 Julia Grady — 122 Lindsey Lacanilao — 231 Kelsey Rhebergen — 124 Jewelianna Fuqua — 175 Chester Roi Perez-Bingham — 137 Bri Zucker — 116 Shania Carden — 100.5

INTERNATIONAL STERLING ACHIEVEMENT AWARD Mary Denney, Mu Eta, Pacific Province Mary Denney (Mu Eta) is an accomplished music composition major at the University of the Pacific who graduated with high honors in May 2024. With an impressive GPA of 3.97, she has demonstrated exceptional academic and musical prowess throughout her college career.

Denney’s dedication to her craft has earned her numerous scholarships and awards, including the prestigious Pi Kappa Lambda Certificate of Honor in 2021, the 2023 Presser Award, the 2023 Mu Phi Epsilon Foundation Eleanor Hale Wilson Summer Scholarship and the 2024 Mu Phi Epsilon Foundation Ruth Dean Morris Theory and Composition Scholarship. She has consistently been recognized on the Dean’s List at the Conservatory of Music from 2020 to 2024.

As a professional musician, Denney has made significant strides in the field of composition. She was a featured composer at the Women Composers Festival of Hartford and participated in the 2023 Emerging Composer Workshop.

Denney’s talents were further acknowledged when she was selected as a composition fellow for both the 2023 Cortona Sessions for New Music and the 2024 programs at Longy’s Divergent Studio and the Valencia International Performing Arts Festival. Additionally, she won the College Music Society’s 2024 Southwest Regional Conference Call for Scores.

Denney’s contributions to Mu Phi Epsilon are noteworthy.

She has served as the conservatory community service head (2021-2022), treasurer (2022-2023), chorister (2023-2024),

and a member of the standing rules committee (2023-2024). Her leadership and commitment have greatly benefited the Fraternity and its members.

On campus, Denney has held multiple significant roles. She served as treasurer of the Pacific Brass Society (2022-2024) and was a general representative in the conservatory student senate (20232024). As the lead engineer at Owen Hall recording studio (2022-2024), she showcased her technical skills while also tutoring her peers in music theory (2023-2024).

Denney has been an active member of the university’s wind bands and orchestra throughout her time at the conservatory.

Denney’s dedication to music composition, her academic excellence and her leadership in both campus and Fraternity activities underscore her as an exemplary student and musician. Her future in the field of music composition is bright, and she is poised to make significant contributions to the world of music.

PROVINCE SENIOR ACHIEVEMENT AWARDS Eastern Madison MuellerHowell (Phi Omga)

Great Lakes Chloe Beehm (Lambda)

North Central Lauren Collins (Beta Pi)

South Central Grace Nicole Gaertner (Alpha Nu)

Pacific Anthony Osborn (Beta Alpha)

Southeast Samantha LeBlanc (Eta Eta)

FALL 2024

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FOUNDATION

SCHOLARSHIP CHAIRS DANIELLE KUNTZ Scholarships & Grants Coordinator grants@mpefoundation.org KIRA DIXON president@mpefoundation.org ISABEL DE LA CERDA vicepresident@mpefoundation.org MATTHEW HOCH treasurer@mpefoundation.org HANNAH PORTER OCCEÑA secretary@mpefoundation.org DONNA CHRZANOWSKI philanthropies@mpefoundation.org WANDA YANG TEMKO admin@mpefoundation.org

The Mu Phi Epsilon Foundation is pleased to honor four philanthropies with 2024 Foundation Grants: Plumas Performing Arts in Quincy, California Delano Chamber Players in Wichita, Kansas Juniper Arts Academy in Wichita, Kansas Lincoln Music Teachers Association in Lincoln, Nebraska Congratulations to these organizations for their strong applications and worthy projects. The application for 2025 philanthropy grants will appear in the spring edition of The Triangle.

IMPORTANT UPDATES AND REMINDERS Scholarship and Grant Applications The Foundation Board is excited to announce the 2024-2025 Scholarships & Grants cycle!

New and Updated Grants: The Foundation Board is offering a new grant to support members specializing in commercial music. Check out the description below.

This year, we also return to offering the early music, jazz study, large ensemble and professional development grants, and we will offer two grants in our diversity scholar category. Please consider applying!

New Application Resources: We have revamped our application assistance page, which now includes resources for helping you to build your strongest application ever. In addition to our video tutorials, please check out the new budget resources page, which includes a budget template for you to use. Additionally, we’ve provided information on our new judging rubrics page about the judging process for all applications, including an assessment rubric.

Change to Deadline for Chapter Grants: Please note that the deadline for the Wiese-Abegg Collegiate Chapter Project Grants and the Helen Haupt Alumni Chapter Project Grants is now November 1, 2024.

Change to Deadline for Summer Scholarships: Please note that the deadline for the Eleanor Hale Wilson Summer Scholarships is now March 1, 2025.

Eligibility Statement • Application deadlines for the 2024-2025 Grants and Scholarships Cycle are as follows: • November 1, 2024 (by midnight, Central Standard Time): Applications due for music educator grants, professional development grants, Wiese-Abegg Collegiate Chapter Grants and Haupt Alumni Chapter Grants.

• March 1, 2025 (by midnight, Central Standard Time): Applications due for all other grants, scholarships and awards.

• All application fees are non-refundable, even in the case of ineligible or disqualified applications.

• Applicants must be dues-paying members.

• Applicants may apply for more than one grant, scholarship or award.

• Previous winners can reapply to the same grant or scholarship only after three years (in 2024-2025, these are winners from 2021 and prior), unless otherwise noted. Helen Haupt Alumni Chapter Project Grant and the Wiese-Abegg Collegiate Chapter Project Grant winners may apply annually.

• A Mu Phi Epsilon Foundation scholarship or grant may only be used to cover eligible expenses as outlined on the budget resources page provided under application assistance on our website (mpefoundation.org).

The Mu Phi Epsilon Foundation encourages all members to apply to our extensive program of grants, scholarships, and awards. For reminders, tips, and information about the process, visit our website (mpefoundation.org) and be sure to follow us on social media. * Designates grants and scholarships funded through the generosity of the Eleanor Hale Wilson Charitable Trust ** Designates grants and scholarships funded through the generosity of the Pearle Francis Finigan Foundation

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SCHOLARSHIP AND GRANT APPLICATIONS s Available online only starting January 1, 2025 m p e fo u n d at i o n .org /grants-and-schol arshi ps

GRANTS AN D SCHO LA R SHI PS GENERAL DIVERSITY SCHOLAR GRANT To be awarded to traditionally underrepresented and minoritized populations such as BIPOC, AAPI and LGBTQIA+ individuals. Applicants can be pursuing one or more of the following: study or research, performance, lessons, workshops or projects. Two awards. Value $2,000 LIANA K. SANDIN GRANTS-IN-AID** For a specific purpose essential to completion of an exceptional musical project or undertaking well beyond the planning stage. Three awards.

Value $2,000 HELEN HAUPT ALUMNI CHAPTER PROJECT GRANTS To support one or more special projects undertaken by an alumni chapter. Previous winners of this grant may re-apply for consideration of a significantly different project.

Value up to $2,000 PROFESSIONAL DEVELOPMENT GRANT To cover expenses related to a professional development opportunity (e.g., conference, workshop, etc.).

May not be used for Mu Phi Epsilon International Convention or District Conference. One or more grants available. Value $2,000 WIESE-ABEGG COLLEGIATE CHAPTER PROJECT GRANTS* To help support one or more special projects undertaken by Collegiate chapters. Value up to $2,000

@mpefoundation

INSTRUMENTAL ALBERTA DENK SCHOLARSHIP FOR VIOLIN, VIOLA, CELLO, DOUBLE BASS* To support a music major’s study of string performance. Value $2,000 BETH LANDIS VIOLIN SCHOLARSHIP To an undergraduate or graduate music major whose primary instrument is violin. Value $5,000 GERKE COLLEGIATE ARTIST SCHOLARSHIPS* To an undergraduate instrumentalist (woodwinds, brass, percussion or strings) with a minimum 3.0 GPA. Two awards. Value $2,000 ELEANOR HALE WILSON CELLO SCHOLARSHIP To an undergraduate or graduate music major whose primary instrument is cello. Value $2,000 JEAN LOUISE MARTIN SCHOLARSHIP To an undergraduate or graduate instrumentalist (brass, woodwinds, strings or percussion) for study in music performance. Value $2,000 KEYBOARD BERNSTEIN-CROSMAN SCHOLARSHIP For piano study outside the United States in a country other than the country of the applicant’s birth or citizenship. Value $2,000

HELEN HAUPT PIANO SCHOLARSHIP To a pianist. Value $2,000 NANCY BROGDEN BOOKER COLLABORATIVE PIANIST AWARD To a member of Mu Phi Epsilon who has demonstrated facility and continued activity as an accompanist for soloists, choral groups, dancers or others dependent upon keyboard artists for rehearsals or performances.

Value $1,000 WIHLA HUTSON ORGAN SCHOLARSHIP To an organist. Value $2,000 MUSIC EDUCATION BETH LANDIS MUSIC EDUCATION SCHOLARSHIP For undergraduate or graduate study in music education. Value $5,000 DR. FRAN IRWIN MUSIC EDUCATION MEMORIAL SCHOLARSHIP To a junior or senior majoring in music education. Value $2,000 HAZEL B. MORGAN SCHOLARSHIP* For graduate study in music education. Value $2,000 INES PRATT JAMISON SCHOLARSHIP To a music education major who is studying voice. Value $2,000

ELEANOR B. WEILER AND MILDRED B. FRAME PIANO SCHOLARSHIP To support piano study in France (preferably Paris). One or more scholarships available. Value up to $6,000 FALL 2024

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FOUNDATION

MADGE CATHCART GERKE SCHOLARSHIP To an applicant in music education with no professional classroom teaching experience who will complete certification requirements at the end of any term of the current academic year. Value $2,000 MUSIC EDUCATOR GRANT To a professional K-12 music educator to assist with classroom expenses and other supplies. One or more grants available. Value up to $2,000 NADINE WILLIAMS SCHOLARSHIP To an applicant currently enrolled in an accredited program of graduate study in music education. Value $2,000 SPECIAL INTERESTS & FIELDS BETTYLOU SCANDLING HUBIN SCHOLARSHIP FOR MUSIC TECHNOLOGY In memory of Lucie Benefiel Scandling for a project or study involving music technology. Value $2,000 BETTYLOU SCANDLING HUBIN SCHOLARSHIP FOR WORLD MUSIC/ MULTICULTURAL MUSIC In memory of Lucie Benefiel Scandling for a project or study involving world/ multicultural music. Value $2,000 COMMERCIAL MUSIC — NEW! To an applicant specializing in commercial music, including any non-classical styles and genres of popular music (e.g., country, folk, pop, rap, rock, R&B, soul, etc.), musical theater, jazz, gospel, traditional and ethnic music, etc. Applicants can be in any field or degree area and can use the funds to support study, research, professional development (e.g., workshops in performance or pedagogy) or other special projects.

Value $2,000

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ELEANOR HALE WILSON SUMMER SCHOLARSHIPS For study at a domestic or international summer music program.

Scholarship applications may be made before program acceptance is confirmed. Six awards. Value $2,000 EARLY MUSIC GRANT To be awarded to an individual for the study of or a project relating to early music. Applicants can be pursuing one or more of the following: study or research, performance, lessons, workshops or purchase of a period instrument. Value $1,000 EDYTHE G. BURDIN SCHOLARSHIP To a student studying arts management. Value $2,000 JAMES AND LOLA FAUST CHAMBER MUSIC SCHOLARSHIP To a chamber ensemble with one or two Mu Phi Epsilon members (depending on total number of members) demonstrating a performance history of at least two years.

Value up to $5,000 JAZZ STUDY GRANT To support study or a project in jazz performance or composition.

Value $2,000 JOHN AND MARY VIRGINIA FONCANNON CHORAL CONDUCTING OR SACRED MUSIC SCHOLARSHIP For study in choral conducting or sacred music. Value $10,000 JOHN AND MARY VIRGINIA FONCANNON CONDUCTING/ COACHING SCHOLARSHIP To support the study of conducting/ coaching. Value up to $10,000

LARGE ENSEMBLE GRANT To be awarded to an ensemble with at least one member of Mu Phi Epsilon involved in the ensemble.

Large ensembles must demonstrate a performance history of at least two years, consist of 11 or more musicians and have a separate conductor. Ensembles with more Mu Phi Epsilon members will be considered to be of particular application strength. Value $2,000 LAVERNE JACKSON MEMORIAL MUSIC THERAPY SCHOLARSHIP To an applicant who is enrolled in an accredited music therapy program and will be doing a pre-internship/ internship with a special population.

Value $2,000 MABEL HENDERSON MEMORIAL GRANT FOR INTERNATIONAL STUDY To support study outside the United States in a country other than the country of the applicant’s birth or citizenship. Applicants must be 21 years of age by June 1, 2024.

Value $2,000 MARY ALICE COX GRANT FOR LIFELONG LEARNING To an alumni member in good standing for 10 years or more at time of application. To be used for continued or renewed development of a mid-career transition in any field of professional music. Value $2,000 MERLE MONTGOMERY DOCTORAL GRANT To a doctoral candidate whose advanced work toward the degree is at a significant stage of completion.

Value $3,000

MUSIC RESEARCH AWARD — UNDERGRADUATE To an undergraduate music student (or recent graduate) for a music research paper (e.g., thesis) or research project. Applicants can be in any field. Value $250 MUSIC RESEARCH AWARD — MASTERS To a master’s level music student (or recent graduate) for a music research paper (e.g., master’s thesis) or research project. Applicants can be in any field. Value $750 MUSIC RESEARCH AWARD — DOCTORAL To a doctoral music student (or recent graduate) for a music research paper (e.g., doctoral dissertation) or research project. Applicants can be in any field. Value $1,000 THEORY & COMPOSITION LILLIAN HARLAN RAMAGE GRANT FOR GRADUATE STUDY IN COMPOSITION* To a graduate student in composition.

Value $2,000 ELLEN JANE LORENZ PORTER GRANT FOR GRADUATE WORK IN COMPOSITION To a graduate student working on an advanced degree in composition.

Value $2,000 ORIGINAL COMPOSITION AWARD — DIVISION I To an undergraduate student for an original composition or work.

Value up to $250

ORIGINAL COMPOSITION AWARD — DIVISION II To a graduate student or alumni member for an original composition or work. Value up to $350

SARA EIKENBERRY VOICE UNDERGRADUATE SCHOLARSHIP* To a mezzo-soprano or contralto undergraduate voice student.

Value $2,000

ORIGINAL COMPOSITION AWARD — DIVISION III To a former first prize winner in the Original Composition Divisions I & II. Value $400

SARA EIKENBERRY VOICE GRADUATE SCHOLARSHIP* To a mezzo-soprano or contralto graduate voice student. Value $2,000

RUTH DEAN MORRIS SCHOLARSHIP To an undergraduate student majoring in music theory or composition.

Value $2,000 VOICE BRENA HAZZARD VOICE SCHOLARSHIP To any Mu Phi Epsilon member pursuing vocal study, awarded on behalf of the Los Angeles Alumni chapter. Value $5,000 ELIZABETH BOLDENWECK VOICE SCHOLARSHIP* For undergraduate study in voice.

Value $2,000 LIANA K. SANDIN VOICE SCHOLARSHIP** For a vocal project or vocal study.

Value $2,000 MIKANNA CLARK TAURMAN VOICE SCHOLARSHIP* For study in voice beyond the undergraduate level. Value $2,000

Applications are due by 11:59 p.m. CT March 1, 2025.

Complete information, qualifications, requirements, and online applications are available on Mu Phi Epsilon Foundation website at

@mpefoundation

mpefoundation.org/grants-and-scholarships FALL 2024

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APPLAUSE & ENCORE MEMBER AND CHAPTER NEWS

The International Executive Board gathered for music and merriment at the home of Lane Velayo, partner at Synergos AMC, during the IEB board retreat in July. Pictured from left are: Marshall Pugh (Alpha Xi, Roanoke Valley Alumni), Tanner Wilson (Beta Alpha, Fullerton Alumni), Liana Sandin (Beta Pi, Lincoln Alumni), Kurt-Alexander Zeller (Mu Chi, Atlanta Alumni), Ashley Bouras (Phi Tau, Dallas Alumni) and Ann Geiler (Phi Theta, St. Louis Alumni).

Zack Carlson-Giving (Zeta Lambda) was invited to conduct the Minnesota American Choral Directors Honor Choir in April.

The choir consists of 130 seventh- and eighth-grade students who auditioned from around the state.

Joy Maag (Mu Gamma, Lincoln Alumni) was honored for 40 years of dedication and service to the music and ministry of the congregation of Vine United Church of Christ in Lincoln, Neb., in March.

Rebecca Nederhiser (Beta Pi, Lincoln Alumni) received third place in the American Prize — Vytautas Marijosius Memorial Award in Orchestral Programming. Nederhiser is the conductor of the Wartburg Community College and assistant professor of music at Wartburg College.

Susan Barksdale (Phi Omicron, Minneapolis Alumni) served on the planning committee and as registration desk manager for the annual conference of the Association of Anglican Musicians held in the Twin Cities in June.

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Naomi Cavanaugh (Epsilon Phi) won first place in the Advanced Classical Treble Voices division at the National Student Auditions hosted by the National Association of Teachers of Singing in July.

Michael Jones II (Delta Psi), a Marine Corps veteran and double major in music and chemistry at Clayton State University, represented Clayton State at the University System of Georgia’s 2024 Academic Recognition Day in April.

Kathy Adams (Phi, Alliance Alumni) presents Steven Smith (Phi), a music education major at the University of Mount Union, with the chapter’s annual $1,000 student award.

The chapter has established a partnership with Mount Union so that in future years, the academic prize will be awarded by the university.

Patrick Orr (Phi Pi, Wichita Alumni) won first prize at the Festival Internacional de Piano y Orquesta Guadalajara in Mexico in July. Orr is pursuing his Master of Music in piano performance at Southern Methodist University.

This past spring semester, members of Beta Alpha took part in the chapter’s bi-annual SERV project of Practice Room Cleaning. Beta Alpha cleans the practice rooms in the music building at Cal State Fullerton at the end of every semester to provide the music students with a welcoming and clean environment in which to practice.

Chika Inoue (Omega Omega, Los Angeles Alumni) made a special appearance at the Denver Alumni chapter meeting in May where she performed on saxophone along with host Linda Mack (Omega Omega, Denver Alumni) on piano.

Carmen Christine Chávez (Mu Psi, Minneapolis Alumni) was appointed to the board of directors for the Minnesota Boychoir earlier this year.

Marcella Ratcliff (Beta Zeta) performed onstage behind Usher during the 30th Essence Festival held in New Orleans in July.

Members of the St. Louis Alumni chapter gathered to celebrate the retirement of Jeanine York-Garesche and Daniel Shavers in April. York-Garesche retired from teaching private clarinet lessons and Shavers retired after 21 years as a band director in the University City School District. Pictured from left are Jeanine York-Garesche (Mu Gamma), Janet Scott (Epsilon Tau), Daniel Shavers (Epsilon Tau), Ann Geiler (Phi Theta), Laura Holzen (Epsilon Tau), Linda McNair (Omega Omega) and Evelyn Archer (Omega Omega).

Several members of the Los Angeles Alumni chapter attended a 90th birthday celebration for Deon Nielson Price (Gamma, Los Angeles Alumni) in June.

Festivities included a concert performed by her former students, friends, colleagues and the birthday girl herself.

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WELCOME NEW COLLEGIATE MEMBERS!

Alpha Pi at Texas State University in San Marcos, Texas

Kappa at Butler University in Indianapolis, Indiana

Zeta Theta at the University of Lynchburg in Lynchburg, Virginia

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Founders Day Message N O V E M B E R

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Mu Phi Epsilon was founded on 13 November 1903. This Founders Day, our fraternity will be 121 years old. That means we are older than the National Broadcasting Company (1926) or General Motors (1908). We’ve been around longer than synthetic plastics (1907), commercial aviation (1910) or antibiotic drugs (1928). Mu Phi Epsilon has outlasted hearing music on the Victrola, the LP hi-fi, the cassette Walkman, the CD player and the iPod. Our longevity can make us feel like a venerable institution: Solid. Stable.

Maybe even stodgy. If we think that, however, we forget that the existence of Mu Phi Epsilon represents one success of a profoundly radical idea — an idea as old as our nation and yet as new as this moment, expressed in this triennium’s theme as “Together in Harmony” but long known to all Americans as “E pluribus unum.”

Just as music has grown to embrace a whole spectrum of pitches and elements that once were considered outside the harmony, our notion of the elements integral to our American society has progressed since the time when the full rights of citizenship applied only to property-owning white males. We musicians are never going back to the medieval idea that thirds are dissonant and major triads have no place in perfect harmony, and our nation cannot backslide on the inclusion of all our people — women, people of color, many waves of immigrants and indigenous people too, LGTBQ+ individuals, and those with disabilities — in the “pluribus” of our American “unum.”

Mu Phi Epsilon has played its role in these developments. It was a radical act for Winthrop Sterling and Elizabeth Mathias to found an organization for professional musicians with 13 young women who in 1903 had no legal right to vote or get a bank loan without a male co-signer. It was a radical act for Mu Phi Epsilon to embrace and support Ruth Watanabe when her neighbors were being sent to internment camps during World War II. In 1977, it was a radical act when Mu Phi Epsilon rejected the idea of excluding members on the basis of sex and thus became the first professional music fraternity open to members of every sex and sexual orientation. On this Founders Day, I invite us all to celebrate and honor not only our founders, but all the people who have joined “Together in Harmony” to build everything we now value so deeply.

LET US CLAP FOR YOU!

Send your newsworthy member and chapter news to editor@muphiepsilon.org for consideration in Applause & Encore. Please include a sharp, high-resolution photo and include any identifying information, including the place, date, event or award, and name(s).

FINAL NOTES A N N G E I L E R , T HIR D VICE PR E S I D E N T/A LU MN I A DV I SO R , PH I TH E TA , ST. LO UIS ALUM N I A LU M N IA DV ISO R@M U P H IE P S ILO N .O RG

Barbara Ann Gray-Massey Alpha Mu, January 13, 1966 Died January 2, 2024 Organist. Barbara graduated from Parkview High School, Missouri State University and Oklahoma University. She won the Mu Phi Epsilon Foundation International Sterling Staff Competition in 1970 and toured the United States for two years performing recitals on many beautiful pipe organs. She received many accolades and honors for her work.

She went on to teach organ at Kansas State University. Barbara was organist and choirmaster for numerous churches in Missouri, Oklahoma, Texas and Michigan.

Iva M. Buff Mu Upsilon, February 4, 1951 Died February 17, 2024 Music librarian, music historian. Iva graduated in 1953 with a Bachelor of Arts with distinction in music history from the University of Rochester and a Bachelor of Music with distinction from Rochester’s Eastman School of Music.

She went on to earn a Master of Arts degree in music from Smith College, after which she spent a year teaching mathematics at the Brearley School in New York City. She then returned to Rochester, where she earned a PhD in musicology from the University of Rochester. Iva spent her career at the Eastman School of Music as a musicologist and a music librarian at the Sibley Music Library, the largest university music library in the United States, where she served as head of

acquisitions and collections development. In 1973, she was awarded a fellowship by the American Association of University Women. In 1979, she published a thematic catalog of the works of the Italian composer Giacomo Carissimi with reviews lauding it for “breaking new ground in providing thematic access to the sacred works of the most celebrated composer of 17th-century Italy” and noting it was “an essential addition to any library or musicology collection.”

Mary Eileen Fogarty Phi Omicron, May 8, 1955 Cleveland Area Alumni Died February 23, 2024 Soloist, educator.

Mary earned both a Bachelor of Music Education and a Master of Arts in music history from Case Western Reserve University.

Her career included choral directing in the Cleveland Public Schools high schools and as department assistant in charge of academic affairs in the Chemistry Department of Case Western Reserve University. As a soprano soloist, Mary Eileen performed with the Cleveland Orchestra and the Cleveland Philharmonic Orchestra. She also appeared in musicals and operas with Lake Erie Opera, Karamu Theater, Huntington Playhouse, Clague Playhouse and Berea Summer Theater. Mary was also a soprano soloist at St. Paul’s Episcopal Church in Cleveland Heights as well as Lakewood Methodist Church and Messiah Lutheran Church in Fairview Park. When asked to perform for the Cleveland Area Alumni chapter she was always able and willing and so chapter members were given a great gift of music often by Mary Eileen.

Patricia Jeanne Stretten Epsilon Lambda, May 5, 1964 Died February 29, 2024 Educator. Patricia earned her Bachelor of Science from Eastern Michigan University in 1968. She was an elementary teacher for 13 years for Wayne-Westland Community Schools and Whitney Bloomfield Schools. After her teaching career, she worked for Allnet Communications for 11 years and was honored with many customer and productivity awards including winning three trips.

In 2012, she retired from Raytheon Professional Services after 15 years of aftersales training for General Motors International Product Center.

Nancy Lee (Russell) Hoover Epsilon Pi, May 12, 1954 Died April 2, 2024 Pianist, organist, saxophonist, educator. Nancy graduated from Texas Tech University with a bachelor’s in music education where she performed in the Texas Tech Band and Choir.

Nancy met her husband, Jerry, who became a Baptist minister and they spent most of their marriage traveling around Texas, Oklahoma and New Mexico as he ministered at a variety of congregations. She played organ at every church they were assigned to as well as conducting handbell and children’s choirs. She also taught piano lessons. Nancy took advantage of expanding her education in every new town they lived, earning her Master of Education degree from Eastern New Mexico University.

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FINAL NOTES

Sara Lou (Moore) Pipkin Mu Chi, November 13, 1950 Died April 29, 2024 Sara Lou attended Southern Methodist University where she joined Mu Phi Epsilon. She also enjoyed memberships in Chi Omega sorority, Chapel of the Hills, Calder Baptist Church, the Junior League of Beaumont, the Dental Auxiliary, the Beaumont Heritage Society, the Houston Baptist University Guild and the Wimberley Community Civic Club.

Elizabeth Joyce Gorby Phi, June 24, 1948 Alliance Alumni Chapter Died May 2, 2024 Pianist, vocalist, educator. Joyce started taking piano lessons at age 6 and music was always a large part of her life. Joyce taught in area public schools for 30 years. When she retired from public school teaching, she taught piano in Cope Music Hall of her alma mater, University of Mount Union Music Department. She loved sharing her love of music and instilling that passion in many fine students. She was a church organist for 52 years. She started out playing while a student at Mount Union and played regularly as full-time church organist in 1953.

She played for First Immanuel United Church of Christ and Sebring United Methodist Church. She often wished she had kept track of how many weddings she played. There were several hundred over the years. She participated in numerous high school musicals and hundreds of other mu26 MuPhiEpsilon.org

sical productions. She was honored by performing a piano concert at the Bellagio Hotel in Las Vegas. She sang for several years in the Mount Union Alliance Chorale, also directed some singing groups and choirs and accompanied numerous vocal and instrumental performers. Joyce was a member of First Immanuel, Alliance Women’s Club, Delta Delta Delta sorority and the American Guild of Piano Teachers. Joyce had been president and vice president of the Alliance Alumni Chapter and was an active Mu Phi member until her death.

One of her proudest accomplishments was encouraging a student teacher to realize his dream of becoming an opera singer. That student, Eduardo Valdes, had a very successful career with the Metropolitan Opera.

Neeltje Gingerich Phi Nu, December 3, 1950 Phoenix Alumni Died May 8, 2024 Pianist, children’s choir director. Neeltje earned her Bachelor of Music degree from UCLA and her Masters from California State, Dominguez Hills. She was a pianist and directed children’s choirs at Redondo Beach United Methodist Church for over 30 years. She especially loved directing children in musicals at church. Neeltje was active with the Choral Conductors Guild where she used her talents; organizing many Children’s Choir Festivals and helping churches build their programs.

Neeltje stayed involved with Mu Phi Epsilon after college. She was one of the founding members of the Palos Verdes/South Bay Alumni chapter and served as its first president in 1964-1965. She was also president of

the chapter from 1970-1971 and 19931994 and held other leadership roles throughout the years. In retirement, Neeltje moved to Phoenix to be close to her children and grandchildren.

Once in Arizona, she quickly became involved in the local Methodist church, gardening club and reinstated the Phoenix alumni chapter of Mu Phi Epsilon. She continued to work on developing and publishing musicals for children. At the church, she joined the United Women in Faith and played piano and organized special music for the Saturday evening service for 10 years.

Emma Lou Diemer Mu Delta, May 6, 1951 Died June 2, 2024 Pianist, organist, composer. Emma Lou studied composition with Howard Hanson, Ernst Toch, Roger Sessions and Paul Hindemith, earning a bachelor’s and master’s of music at Yale School of Music and her PhD at Eastman School of Music. She studied in Brussels, Belgium, on a Fulbright Scholarship. From 1959-61 she was composer-in-residence for the Arlington, Virginia, schools under the Ford Foundation Young Composers Project, and then became a consultant for the MENC Contemporary Music Project. In 1965, Emma Lou began teaching music composition and theory at the University of Maryland.

In 1970, the University of California in Santa Barbara offered her a fulltime faculty position. She created an electronic music program at UCSB soon after, at a time there were few to be found. She taught composition and theory through 1990, becoming professor emerita there in 1991, and

continued to compose and publish works for organ, choir, voice, various chamber ensembles, solo piano and orchestra. Her sense of humor often shone through, as with the Pandemic Piano Collection, published in 2021.

Over 250 of her compositions have been published since 1956, more than 100 of them recorded. Her organ psalm settings and hymn preludes are considered standard repertoire, as are several of her choral compositions, including the early and very popular Three Madrigals for chorus. For years, she played weekly at the First Presbyterian Church in Santa Barbara, with improvisational preludes and postludes. She performed in concert usually as organist, including concerts of her own music at Washington National Cathedral, St. Mary’s Cathedral and Grace Cathedral in San Francisco, Cathedral of Our Lady of the Angels in Los Angeles, and elsewhere. She served on the Mu Phi Epsilon Foundation Board and was a member of ACME. During the NPR program Pipe Dreams devoted to her work, she was described as the “remarkably prolific, imaginative, energetic and altogether delightful American composer, Emma Lou Diemer.”

Pansyetta Fleener Mu Xi, April 11, 1954 St. Louis Area Alumni Died July 13, 2024

Kristina Weiler Mu Psi, May 10, 1979 Died July 4, 2024

Pianist. Marlene studied piano at the Eastman School of Music where she graduated with her bachelor’s degree in 1957. She went on to earn her master’s degree from Indiana University and completed her Doctorate in Music at the University of Wisconsin, Madison in 1968, making her the first ever woman to earn a PhD in Music at that university. Marlene was dedicated to playing and teaching the piano. She owned a variety of pianos including a six-foot Steinway

Kris graduated from Coe College in 1982 with a degree in music. She taught at Coe for several years after earning her doctorate at Arizona State University and teaching at several other colleges throughout the United States. Kris was an avid scholar of all things musical and loved to travel across the U.S. and abroad to learn more about music.

Vocalist, violinist.

Panysetta had a passion for music all her life. She earned her music degree from the American Conservatory of Music in Chicago, Illinois.

She was an active singer and violinist at the Third Baptist Church and Fee Fee Baptist Church all her life.

Panysetta toured the U.S. and abroad on mission trips, singing and playing her way around the world. Pansyetta played in the Florissant Valley Symphony Orchestra for 44 years, holding the chair of principal second violin. She loved Mu Phi Epsilon and was an active member of the St. Louis Area Alumni until her final years.

Panysetta held many offices in the St. Louis Chapter including president and happily played at many events.

Marlene R. Marston Mu Upsilon, December 12, 1954 Los Angeles Alumni Died July 24, 2024

and a Bösendorfer grand. She loved teaching piano, often saying that she felt like she should be the one paying her students for the enjoyment it gave her. In the 1990s, Marlene trained as a piano technician so that she could tune her pianos herself and rebuild the action on her Steinway grand. Marlene was active in the Los Angeles Alumni chapter of Mu Phi Epsilon. She held many positions in the chapter including vice president of membership and SERV chairman.

Carolyn Miles Epsilon Tau, May 14, 1955 St. Louis Area Alumni Died July 24, 2024 Organist, choir director. Carolyn earned a bachelor’s degree and master’s degree in music from Washington University in St. Louis. She served as the choir director and organist for Friedens Chapel UCC in Bellefontaine Neighbors for 38 years, glorifying God through her music. Carolyn was a devoted member of Central Presbyterian Church after retiring from Friedens Chapel. Carolyn held many offices in the St. Louis Alumni chapter, including president.

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DISTRICT DIRECTORY

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 EASTERN GREAT LAKES DISTRICTS EGL1 & EGL2 Hannah Flowers 814.897.6531 mrs.hannah.flowers@gmail.com DISTRICT EGL3 Nancy Jane Gray 330.688.7990 bobgrayz@aol.com GREAT LAKES DISTRICT GL1 & GL3 Donna Chrzanowski 586.751.7276 chrzdonna@gmail.com DISTRICT GL2 Linda McNair 314.494.7472 c1dd@muphiepsilon.org EAST CENTRAL DISTRICTS EC1 Herbert Jackson 678.577.3637 herbertjackson5@gmail.com DISTRICTS EC2 & EC3 Brandon Barnett 317.557.3443 indianapolis@muphiepsilon.org

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SOUTHEAST DISTRICT SE1 Lauren Moseley se1dd@muphiepsilon.org DISTRICTS SE2 Wanda Yang Temko 404.217.9712 wanda@yangtemko.com DISTRICTS SE3 Arietha Lockhart 404.284.7811 ariethal@hotmail.com DISTRICT SE4 Marcus Wyche 301.484.3652 videoauth@aol.com SOUTH CENTRAL DISTRICTS SC1, SC3 & SC4 Isabel De La Cerda 210.204.6425 idelacerda@hotmail.com DISTRICT SC2 Kaitlyn Swaim 281.757.9746 swaimk00@gmail.com CENTRAL DISTRICT C1 Linda McNair 314.494.7472 c1dd@muphiepsilon.org DISTRICT C2 Paula Patterson 417.773.1176 paulapatterson@missouristate.edu NORTH CENTRAL DISTRICT NC Carmen Chavez 952.460.0708 nc1dd@muphiepsilon.org

WEST CENTRAL DISTRICT WC1 Ashley Roever 580.822.5682 amroever@hotmail.com DISTRICT WC2 Kirsten Forbes 720.232.6450 kirsten_forbes@msn.com PACIFIC NORTHWEST DISTRICT PNW1 Sophia Tegart 509.991.4906 sophia.tegart@gmail.com DISTRICTS PNW2 & PNW3 Michael Lasfetto 971.275.3800 pnw3dd@muphiepsilon.org PACIFIC DISTRICT P1 Jessica Dodge Overstreet 775.720.2135 jessicadodge@gmail.com DISTRICT P2 Kirsten Forbes 720.232.6450 kirsten_forbes@msb.com PACIFIC SOUTHWEST DISTRICT PSW Ayanna Lewis 310.970.4462 psw1dd@muphiepsilon.org

OFFICERS DIRECTORY

2024-2025 INTERNATIONAL EXECUTIVE BOARD Dr. Kurt-Alexander Zeller, Mu Chi Atlanta Alumni International President 770.961.4400 president@muphiepsilon.org Liana Sandin, Beta Pi, Lincoln Alumni 1st VP/Extension Officer 402.560.7126 extensionofficer@muphiepsilon.org Ashley Bouras, Phi Tau, Dallas Alumni 2nd VP/Collegiate Advisor 972.765.3252 collegiateadvisor@muphiepsilon.org Ann Geiler, Phi Theta, St. Louis Alumni 3rd VP/Alumni Advisor 314.691.7648 alumniadvisor@muphiepsilon.org Marshall Pugh, Alpha Xi Roanoke Valley Alumni 4th VP/Music Advisor 252.599.2492 musicadvisor@muphiepsilon.org Tanner Wilson, Beta Alpha Fullerton Alumni 5th VP/Eligibility Advisor 951.515.9680 eligibilityadvisor@muphiepsilon.org Jess LaNore, Beta Psi Indianapolis Alumni Executive Secretary-Treasurer 888.259.1471 executiveoffice@muphiepsilon.org Kat Braz International Editor editor@muphiepsilon.org

HONORARY ADVISORY BOARD Rosemary Ames, Omega Boston Alumni 508.498.4669 rosemarykames@gmail.com Lee Clements Meyer, Phi Xi Austin Alumni 512.345.5072

MUSIC LIBRARIAN & ARCHIVES Wendy Sistrunk, Mu Mu Kansas City Alumni 816.309.5910 61gwensinger@gmail.com

INTERNATIONAL CHAIRMEN ACME Arietha Lockhart (Chair) Beta Gamma, Atlanta Alumni 404.284.7811 ariethal@hotmail.com Mary Au (Co-Chair), Mu Nu Los Angeles Alumni 323.666.2603 auhaus@gmail.com

BYLAWS & STANDING RULES Dr. Kurt-Alexander Zeller, Mu Chi Atlanta Alumni 770.961.4400 zellertenor@aol.com

2023-2024 FOUNDATION BOARD Kira Dixon, President Phi Mu, Palo Alto Alumni president@mpefoundation.org Isabel De La Cerda, Vice President Delta Omega, San Antonio Alumni vicepresident@mpefoundation.org Dr. Hannah Porter Occeña, Secretary Alpha Kappa secretary@mpefoundation.org Dr. Matthew Hoch, Treasurer Lambda treasurer@mpefoundation.org Donna Chrzanowski, Philanthropies Coordinator Phi Kappa, Detroit Alumni philanthropies@mpefoundation.org Dr. Danielle Kuntz, Artist Concert Manager, Grants and Scholarships Coordinator Mu Phi, Cleveland Area Alumni grants@mpefoundation.org Dr. Wanda Yang Temko, Website Administrator Eta Eta, Atlanta Alumni admin@mpefoundation.org Dr. Kurt-Alexander Zeller Mu Chi, Atlanta Alumni president@muphiepsilon.org

FINANCE Evelyn Archer, Omega Omega St. Louis Area Alumni 458.562.9177 archerbe@sbcglobal.net

Haley Stevenson, Kappa Indianapolis Alumni Social Media Manager social@muphiepsilon.org

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Mu Phi Epsilon Professional Music Fraternity 6510 Telecom Drive, Suite 370 Indianapolis, IN 46278 executiveoffice@muphiepsilon.org 888-259-1471

Donate to the 120/60 campaign to receive your commemorative pin.

www.mpefoundation.org/12060