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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Member, Professional Fraternity Association. (ISSN 0041-2600) (Volume 116, Issue 3)
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A PATH INTO THE FUTURE
n June, I was thrilled to meet with the Mu Phi Epsilon Foundation Board and with the International Executive Board for mostly face-to-face, honest-to-goodness in-person meetings (the first of my presidency) at the International Executive Office in Indianapolis. It was a joy to be together in the same room — working and learning and sharing insights and stories and laughter and food. (They eat well in Indianapolis!) Most of all, we shared our love, for our art form of Music and for each other in our bond of Friendship, as we strove to find ways that our fraternity can thrive and increase in Harmony, even in times that can seem very disharmonious.
And Mu Phi Epsilon is not immune to the challenges of these times. The headlines about stock market declines became eye-poppingly real when applied to the returns on our Foundation endowment. The COVID-19 pandemic may be receding, but it isn’t over, and we aren’t done dealing with its financial and social fallout on our fraternity, its members and the schools that host its chapters. The price of inflation we feel at the grocery store is also at work on the Fraternity’s expenses, from ritual supplies to insurance. Your International Executive Board had to consider the Fraternity’s budget for 2022-23 very carefully,
adopting significant spending cuts as well as some increases in fees to ensure that Mu Phi Epsilon can close this fiscal year and open its 2023 convention in sound financial health.
You’ll read about some of the other decisions and plans the two boards made in this Triangle issue. (And more will come throughout the year.) The work of our members and chapters recognized with awards is extraordinary and should make us all proud to be their fellow Mu Phis! The IEB is continuing our theme of “Building Bridges” in 2022-2023 and will start two new initiatives: 1) opening a path into the future by harnessing the power of our MemberClicks platform to construct a learning management system that eventually could make training for members, officers, chapters and district directors available and immediately updatable online 24/7 and 2) reconnecting back to our past with an oral history project that will launch in late 2022. And, of course, we continue to make plans for our 2023 Convention, July 19-22 in Grapevine, Texas, where all of us can experience the joys of being gathered together again as we construct “A Bridge Forward” for Mu Phi Epsilon.
‘ANÁM THE WITCH AND BEATRICE THE BEAUTIFUL’
Children’s opera offers uplifting message of forgiveness
was honored to write the libretto for La Bruja Anám y La Bella Beatrice or Anám the Witch and Beatrice the Beautiful, a children’s opera composed by Mary Alice Rich that opened at Lakewood United Methodist Church in Dallas, Texas, this spring. The performance was very well received. The audience showed great enthusiasm, which encouraged continued promotion and additional performances to better expose children to the world of opera.
Mary Alice, a composer and violinist, decided to work on a children’s opera after a successful run of her opera Wading Home, based on a book by violinist Rosalyn Story. She wanted to focus on the Hispanic culture and was inspired by a Mexican folk tale her cousin introduced to her. The folk tale was not appropriate for children, however, as it contained very dark magic and the witch was of a truly evil nature.
After a brief meeting with Mary Alice, I agreed to write the libretto and she would put it to music. I was teaching bilingual kindergarten with the public school system and knew that adapting the folk tale to reflect a positive message of forgiveness and redemption would be more appropriate. I also made the witch character a much more compassionate person. Because of my many years of experience in musical theater and opera, the libretto included stage directions.
Anám the Witch and Beatrice the Beautiful was ready for Mary Alice, who then took my libretto and composed a score with a true Mexican feel along with a touch of South American flavor. The opera is just under 30 minutes long complete with overture, arias, recitative and a joyous quartet finale.
Susan Poelchau (Epsilon Pi, Dallas Alumni) agreed to be our accompanist and Walteria Caldwell (Alpha Xi), director of Diversitá Opera Arts Company, agreed to audition and cast the opera. Diversitá is the opera’s sponsor. We introduced the opera just over two years ago at a Mu Phi meeting and the attendees were very excited about it. We have had an additional performance and another is scheduled at a school in September.
Receiving the Mu Phi Epsilon Helen Haupt Grant will help us to stage more school performances and realize our goal of
bringing opera to children. The story revolves around a poor brother and sister, Beto and Beatrice, whose parents have died; their neighbor, Anám, a healer who is believed to be a witch; and a handsome young king, Renaldo. Its message conveys that while conflict and ignorance can divide us, it is forgiveness and love that brings us together.
A look back at the origins of the Fraternity’s signature song
You know that song we sing at the end of our Mu Phi Epsilon meetings and during other special occasions — “Our Triangle?” I thought I’d delve a little deeper into its beginnings and history. Maybe some of you remember everything there is to know about our official song from your initiation days (how far back were those?), but just as a refresher:
• “Our Triangle” was written by Caliste C. Walter (née Sinek) (1879-1967), a member of the Iota Alpha chapter of Chicago.
• Walker served as national song book editor in 1911 and was national secretary 1913-1915.
• The song was first sung at the 11th National Convention in 1914 which was held in Chicago. It was voted to be one of our national songs henceforth.
Walker was quite a musician and from the age of 15 planned a professional career. Soon after graduating, she became a silent film actress, a radio personality and a popular entertainer for clubs, church functions, conventions and vaudeville, performing as a musical humorist under the stage name Caliste Conant. She later moved to the San Diego area and helped to start the first alumnae chapter there. Her belief in Mu Phi Epsilon was deep and loyal to the end of her 88 years!
A year after Caliste passed away, Mu Phi Epsilon member Harriet Pauline Payne, (Kappa), premiered a new piano accompaniment to “Our Triangle,” which is the version often heard today. Payne (1911-1997) was herself a very interesting musician! At 19, she was one of the youngest students to receive her Bachelor of Music from the American Conservatory in Chicago, where she went on to receive a Master of Music in 1932.
In addition to her compositions, Payne was always busy playing violin or viola in orchestras in Indianapolis, Chicago,
Cincinnati and Europe. Several of Payne’s pieces were submitted to the Mu Phi Epsilon Composition Contest, which she won four times. Her Phantasy for Strings was performed by the Columbia Symphony and the New York Philharmonic, and her Variations for Orchestra was often performed by the Rochester Philharmonic. She even went to Hollywood and was chosen to write the musical score for the nature film, Timpereque. Harriet ended her days in Los Angeles, always involved in teaching, performing, composing and Mu Phi Epsilon!WENDY A. SISTRUNK, INTERNATIONAL LIBRARIAN AND ARCHIVES CHAIR, MU MU, KANSAS CITY ALUMNI 61GWENSINGER@GMAIL.COM
FRATERNITY PARLIAMENTARIAN NEEDED!
Our Convention is coming up (July 19-23, 2023, in Grapevine, Texas), and Mu Phi Epsilon needs an experienced parliamentarian to help make it a success. The parliamentarian must be welltrained in the application of Robert’s Rules of Order and other parliamentary procedures and will assist the presiding officer (the international president) in the orderly conduct of the fraternity’s business sessions by providing rulings on questions of procedure that may arise and also will advise the Resolutions Committee in the transaction of its business. Because the parliamentarian will be active in the business meetings, that person must be a member in good standing of Mu Phi Epsilon but may not be a voting business delegate to the Convention. If you would be interested in serving the fraternity in this capacity, please contact Kurt-Alexander Zeller, international president (and former fraternity parliamentarian!), at president@muphiepsilon. org by December 10, 2022.
Calling All Mu Phis!
We’re counting on you to participate in the 2023 International Convention
Proposals are currently being accepted for presentations. All collegiate and alumni members of Mu Phi Epsilon are encouraged to apply to discuss a topic related to their area of expertise. The 20-minute presentation can be in a lecture, workshop, panel discussion, demonstration, lecture/recital format or, NEW this year, poster session.
Applications for music delegates are now being accepted. Collegiate music delegates must be from chapters in the South Central and Central Provinces. An Alumni Music Delegate may be any currently-affiliated alumni member. Performances may be up to eight minutes long. Applications require a video or audio recording of a recent performance.
If you are a composer, there will be opportunities for your music to be performed at the Convention. Note, you must be able to provide musicians to perform the work. Performers for the composer concert may be an alumni or collegiate member from any chapter. Applications require a midi or recorded version of the selection.
SEE YOU IN GRAPEVINE!
The 2023 International Convention will be a wonderful way to connect with our Mu Phi family. We have a talented membership to provide amazing learning and listening opportunities as we unite in Music, Friendship and Harmony.
BRINGING THE BLING Conductor Joanna Medawar Nachef dazzles audiences around the globe
ward winning distinguished artist, conductor and educator Joanna Medawar Nachef (Gamma Sigma, Palos Verdes/ South Bay Alumni) is from Beirut, Lebanon, and moved to Los Angeles in 1976. She is recognized both for her immense contributions to the world of choral music and her humanity. Hailed as the first woman conductor from the Middle East, Joanna has made guest appearances in motion pictures and toured and guest conducted nationally and internationally. Medawar Nachef earned her Bachelor of Arts in piano performance from California State University, Dominguez Hills, and her Master of Music and Doctor of Musical Arts degrees in choral music and conducting, respectively, from the University of Southern California. She is director of choral activities at El Camino College, on the faculty at CSU Dominquez Hills, founder and conductor of the Joanna Medawar Nachef Singers and choir director at Peninsula Community Church. She is speaker and citizen diplomat for the U.S. State Department, a charter board member for LA/Beirut Sister City Organization and an alumna of the U.S. Institute of Peace, Washington, D.C. She also serves as cultural ambassador between the United States and Lebanon.
ACME recognition highlights the strengths and accomplishments of our fraternity’s Artists, Composers, Musicologists and Educators. We encourage members to nominate deserving, actively affiliated candidates who have achieved national and/or international acclaim in their music fields for ACME consideration. Learn more at muphiepsilon.org.
Who is Dr. Bling?
To her friends, students and colleagues, Medawar Nachef is a force of nature who has a great sense of fashion and is always dressed immaculately, with a little bit of sass. Medawar Nachef has an eye for spectacular wardrobes that bring out both her personality and confidence as a performer.
“I wear elegant dresses and look attractive because I want the audience to see beauty and enjoy it on the stage,” she said. “That’s why I insist my singers also dress impeccably.”
Known for her love of sequins — glitter even on her face masks — her shoes, wardrobe, makeup and jewelry are all synonymous with a beautiful presentation. She builds her outfit from the feet up, starting with the choice of footwear, followed by her clothes, and finished with cherry red lipstick by Chanel.
Medawar Nachef believes that “bright colors, like music, can lift the human spirit.” Beautiful jewelry, such as a pair of sparkly teardrop earrings, completes her Dr. Bling maestra look. Everything — including her batons — must be color coordinated. Apart from beautiful outfits, “erect posture is crucial,” Medawar Nachef said. “I teach and live that. It gives our breathing mechanism a chance to work naturally.”
Life is a Performance
As a self-appointed “ambassador of harmony,” Medawar Nachef believes God has blessed her with the gift of music to help unite people and cultures. Her motto as a musician is “Life is a performance and not a rehearsal.”
“My desire is to seek excellence, not perfection,” Medawar Nachef said. “I choose to reflect the music in every fiber in my body as I conduct the music of the masters. My mission is to use this incredible gift of music to make a difference and leave behind a legacy of excellence in the arts and through the arts.
“My responsibility is huge because I want to dissolve these misconceptions that people from the Middle East are terrorists. Music is the universal language and the best tool to unite us all.”
Living Her Faith
Medawar Nachef’s life is a testament to her faith. When she is on stage, she does not want her audience to see her. She wants them to see God in her, like Handel and Bach, who signed off soli Deo gloria, only for the glory of God.
“If God chooses to use me, I am just so grateful that I am an instrument in His hand,” Medawar Nachef said. “I will work on refining my talent and my gift so it can sound beautiful in His ears, and it will show that I am being used for His glory.”
A devout Christian, Medawar Nachef is a member of the Peninsula Community Church in Palos Verdes, where she served as minister of music from 1980 to 1997 and became choir director in 1997.
About Joanna Medawar Nachef Singers
Nachef founded the JMNS in 2015 so that her former El Camino students can continue to share the “universal language of music” with audiences worldwide! The mission of JMNS is to build bridges of understanding, dissolve human misconceptions and stereotypes, nurture tolerance and expand the strands of harmony across cultures between the U.S. and Lebanon through the powerful message of music — people to people through educational and cultural exchanges.
“Guided by the principles of musical excellence and artistic diversity, I want to showcase my choir’s creative flair by performing music from varied eras and genres,” Medawar Nachef said. “Today, perhaps more than ever, we need positive forces that bring people together.”
For her ensembles, Medawar Nachef chooses repertoire with wide audience appeal to “educate & entertain.” Here are a few examples of her concerts:
For her 2018 concert at Carnegie Hall, Medawar Nachef programmed Lord Nelson Mass, “one of Leonard Bernstein’s favorite Haydn masses to conduct at Carnegie Hall,” said Medawar Nachef. “I love the powerful brass that adds the fire to the contrasting lyrical themes.”
Singing Ambassadors in Russia
“Folk music can help build bridges of understanding between Russia and U.S. Our visit to Russia gave us a chance to become ‘ambassadors of harmony,’” said Nachef. This joint concert of JMNS and the Pokrov Chamber Choir, a Choral Seasons Project, includes American swing, spirituals and music by Tchaikovsky and Rachmaninoff. This singing ambassadors collaborative program with Joanna Nachef and Andrei Goryachev “proves that relations between nations can remain good and rise above any political differences.”
ECC Diamond Jubilee Concert
“My vision for the El Camino College (ECC) Diamond Jubilee Concert was to create an evening of music that celebrates the facets of ECC’s musical mosaic,” Medawar Nachef said. “Another facet was to celebrate the legacy of excellence in our music department.” The program was titled “Soul to Seoul, East Meets West: A Time of Hope.”
“I have known from a very young age that I wanted to be a conductor,” Medawar Nachef said. “I would watch conductors waving their arms conducting an orchestra and wonder if I could
pursue my dream as a woman from the Middle East. My talent and drive, in this land of opportunity, the United States of America, allowed me to follow my passion, with perseverance and determination, and pave a new path for women from my region.
“I was discovered by Jane Hardester, my college professor at El Camino College, in 1977 during a conducting class. She looked at me and said, ‘You’ve got that special talent to be a conductor.’ As fate would have it, my conducting journey brought me to ECC where I have been serving for the past 21 years and carrying the legacy of the professor who discovered me.
“When I started out, there were hardly any woman conductors in Lebanon. In fields perceived as being the exclusive or near-exclusive domain of men, the biggest obstacle to overcome as a woman is to work twice as hard to gain the respect and acceptability of male colleagues.”
In 1989, Medawar Nachef became the first woman conductor from the Middle East when she conducted the Pacific Symphony Orchestra at the Orange County Performing Arts Center (now the Segerstrom Center for the Arts) for the 500 Club LebaneseAmerican Organization.
“When I stood before the Pacific Symphony Orchestra, they — all men — looked at me,” Medawar Nachef said. “I am small. I am female. I am a different race. I had to prove to them that I know my score so well and know what’s going to be expected from every instrument. Sometimes, they tricked me. They would play at the wrong time or they would play the wrong key and ask
me which note they should be playing — it was all a part of their strategy to see how much I knew.”
With patience and a smile, Medawar Nachef never lost her temper. “I choose to be an inspiration to people and it’s not about me. Music is bigger than all of us.”
When Medawar Nachef conducted the Lebanese Philharmonic, “I had to show them that I am equal to or better than any conductor they’d ever seen,” she said. When leading a group, she aims “to present excellence in the way I dress and present myself. I talk to my audiences, and allow them to be a part of what happens. In Lebanon that was a big change for them.”
Medawar Nachef names Jane Hardester and Francis Steiner as her mentors. Both were pioneers in the field and created a legacy of musical excellence and paved a path for female conductors to follow in their footsteps.
Behind this successful woman
“I owe my success in music to my parents, my family and my faith,” Medawar Nachef said. “My parents instilled in me the desire to follow my dreams and pursue paths that may not have been tread before.”
Her father, Michel Shakeeb Medawar, a noted clockmaker and jeweler known as the Lebanese inventor of a talking flower clock, led his family to immigrate to the U.S. after civil war broke out in Lebanon in 1996. They settled in the Palos Verdes Peninsula. Her parents opened Medawar Fine Jewelers in the
Rolling Hills Estates. Her mother, Yolla Akl Medawar, is a glorious soprano and shared her love of music with Medawar Nachef. Yolla Akl Medawar still sings in some of her daughter’s choirs at the age of 80.
About her family
Medawar Nachef met her husband, Hani Elias Nachef, in 1983 when she was invited to conduct an Arabic singing Christmas choir started by Nachef and his friends. They gave nine performances together. The couple has been married for 35 years. Nachef is in the restaurant business and plays the violin, lute & percussion in his spare time. He also is a talented singer. Their daughter is a civil litigator and their son is finishing his college degree to become a pastor.
“It is the dream of every musician to perform at Carnegie Hall,” said Medawar Nachef, who gave her conducting debut at Carnegie Hall in 2005 and has since returned five more times (2007, 2010, 2013, 2015, 2018) to conduct several historic performances with choirs from the U.S., Lebanon and United Arab Emirates. For Medawar Nachef, performing on one of the world’s biggest stages never gets old.
“The thrill of making beautiful music with choirs of different ages, backgrounds and abilities is most magical at Carnegie Hall,” Medawar Nachef said. “And to hear their voices coming back at them; the acoustics of this hall have never, ever been duplicated anywhere else. To walk on that stage where Tchaikovsky, Toscanini, Bernstein have performed, and to be in the maestro suite where they were … it’s only God that allows that to happen.”
To Medawar Nachef, multicultural concerts are a form of soft diplomacy that allow her to fulfill her mission “to build bridges of understanding, dissolve misconceptions (and stereotypes), nurture tolerance and expand the strands of harmony across cultures through the powerful message of music, educational and cultural exchanges.”
In 2009, Medawar Nachef traveled to Lebanon to compile Arabic choral music for publication in the U.S. That year she also made her conducting debut in her home country at the Al Bustan Summer Festival in Beit Mery. Additionally, she conducted the Lebanese Philharmonic Orchestra on three occasions: 2013, 2014 and 2019. One of Medawar Nachef’s
proudest moments came in 2014, when she ignited the career of a young Lebanese composer Georges Tomb, 22, who sought her out to critique his music compositions.
“Joanna premiered my career,” Tomb said. “Every artist needs someone to believe in him at first. She was the one giving me this very first chance in my country, where many wouldn’t have risked it.”
Preparation for a Career in Music
What advice do you have for young women interested in a career in conducting?
As a woman conductor, it takes the balancing act of a commanding presence and a winning personality. I have always chosen to take the podium with the attitude of collaboration and the complete knowledge of the weight of responsibility that lies strictly on my shoulders. My aim is to never imitate or replace a male conductor, but to represent myself as a refined and well-prepared conductor with a keen sense of fashion!
Young women conductors can succeed if they adopt certain traits. Among them are being an excellent communicator, an effective problem-solver and a team player. Focus on bringing out the best in people and then aligning all of the parts into one whole.
How would you like to be remembered?
I want to be remembered as someone who has served my art with complete respect and has left a legacy of excellence in everything that I have done and I have lived my Christian faith and not just preached it.
What are your future plans?
After my son graduates from college, I would like to take a traveling professional group around the world and share music that way, because I believe we are ambassadors of harmony, using harmony as that bridge that connects people together. I want to continue to live my life and show them that I’m not just a teacher, I am a performer.
I feel very blessed every time I walk on that stage. I see myself as this young Lebanese lady who dreamed of becoming a conductor, who has been given the chance to do this at this level as the first woman conductor from that part of the world. And not just to do it once, but again and again. And I always feel humbled and honored that God chose me to be that instrument to make music a universal language.
Mu Phi Epsilon is proud to announce the latest ACME (Artists, Composer, Musicologists, Educators) honorees and include them among our most accomplished members whose achievements place them at the acme of our profession. Like all ACME honorees, they welcome mentoring requests and other contact from Mu Phi members.
David Isaacs Gamma Sigma
David Isaacs is an artist, composer/ arranger, musicologist and educator. He earned his master’s and bachelor’s degrees in classical guitar performance at California State University, Fullerton and his Doctor of Musical Arts in historical performance practice at Claremont Graduate University under the tutelage of Jack Sanders.
An Eroica Classical Recording Artist, Isaacs has performed throughout the United States and Greece as a soloist and chamber musician as well as the guitar and voice duo Chanson du Soir, which he founded. He has released 6 CDs and has been featured on radio stations across the U.S. The American Record Guide’s Ken Keaton wrote “Isaacs plays with sensitivity and technical finish and is more emotionally committed to the music and its images than many far more famous players.”
As a pedagogue, Isaacs is adjunct faculty, instructor of guitar at CSU, Dominguez Hills, Cerritos College and Cypress College where he conducts guitar ensembles, coaches chamber groups and guides young players on their path to university study, judges for guitar competitions, and presents masterclasses, adjudicates competitions, supports new compositions and transcribes works for the guitar and voice pairing. In print, Isaacs writes sheet music reviews for Soundboard and authored The Essential Classical Guitar Scale Book with Michael Anthony Nigro. Isaacs helped establish and operate the Long Beach Classical Guitar Society, the Long Beach Classical Guitar Academy and the Southern California Classical Guitar Summer Workshop for over seven years. An avid rock music fan, Isaacs shares this passion in history of rock courses at Cypress College.
Phi Nu, Los Angeles Alumni
Born and raised in Los Angeles, Wagner received her formal training at Loyola Marymount University, UCLA, California State University, Fullerton and USC. For 10 years, she was assistant director of the Los Angeles Master Chorale, preparing masterworks for such prominent conductors as Eugene Ormandy, Carlo Maria Giulini, Zubin Mehta and Michael Tilson Thomas. Her work with new and unusual repertoire also included premieres of compositions by Steve Reich and Krzysztof Penderecki. In 1991, she founded the Wagner Ensemble, and in 1992, she became the director of the Roger Wagner Chorale founded by her late father, Roger Wagner. In December 2017, Wagner completed her 12th tour of Japan as the conductor of the Roger Wagner Chorale. Her myriad credits also include chorusmaster and assistant conductor of various opera productions. She has participated as singer and consultant in over 80 motion picture and television soundtracks, including work with Steven Spielberg and John Williams. As an educator, Wagner has taught at the California Institute of the Arts; California State University, Los Angeles; Immaculate Heart College; UCLA; California Institute of Technology; the Los Angeles City Schools; and has served as the Los Angeles Music Center’s consultant to the Wiseburn School District. She is the director of the Chamber Singers at St. Lucy’s Priory High School in Glendora, California; the Wagner Ensemble; and the St. Francis de Sales Choir. She is also conductor of the Roger Wagner Chorale.
ACME is the acronym for Artists, Composers, Musicologists and Educators
ACME highlights the strengths of our Mu Phi Epsilon artists, composers, musicologists, and educators. It is an honor bestowed upon Mu Phi Epsilon members who are distinguished in their respective fields of musical endeavors. We therefore encourage members to nominate deserving candidates who have achieved national and/or international acclaim in their music-related fields for ACME consideration. Information about ACME members and their attainments are published to recognize outstanding achievements of our members as well as to provide mentors who are willing to advise other musicians in the same category of the music profession.
ACME nominations may be submitted by an alumni or collegiate chapter, or by individual members year-round. For more information, contact ACME co-chairs Arietha Lockhart (Beta Gamma, Atlanta Alumni) and Mary Au (Mu Nu, Los Angeles Alumni) at ACME@muphiepsilon.org.
Sophia TegartMu Beta
Sophia Tegart is recognized for her immense contributions to the world of music, particularly music by women composers. She has greatly distinguished herself for her outstanding accomplishment as an artist, musicologist and educator.
Tegart earned her Bachelor of Arts in history and Bachelor of Music in performance from Washington State University. She graduated with a Master of Arts in music history and a Master of Music in flute performance from University of Oregon. She earned her Doctor of Musical Arts in flute performance from the University of Missouri-Kansas City Conservatory of Music and Dance where she held the flute fellowship in the Graduate Woodwind Quintet.
As a Yamaha Performing Artist, Tegart has performed extensively throughout the Europe, Asia and the U.S. and held masterclasses throughout the country. In addition to teaching at Washington State University, Tegart has taught flute lessons, flute choir, chamber music, music history and women in music courses at several other colleges and universities.
Tegart’s research interests include 19th-century operatic mad scenes, representations of art and literature in music and zoological elements in early 20th-century French flute music. For her master’s thesis, “An Instrumental Voice: Use of the Flute in Lucia’s Mad Scene,” she won the Mu Phi Epsilon Musicology Award. Tegart has also presented lectures about ekphrasis in the music of Jessica Rudman, specifically Anne Sexton’s Transformations, a retelling of Grimm’s Fairy Tales.
At each school she attended, Tegart was part of the lifeblood of Mu Phi Epsilon. She has helped reactivate collegiate and alumni chapters. She has served in multiple leadership roles within the Mu Phi Epsilon Foundation, recently concluding her term as foundation president.
Jennifer BarlamentDelta Zeta
Jennifer Barlament, executive director of the Atlanta Symphony Orchestra (ASO) since 2016, earned her Bachelor of Music with a minor in physics from Emory University. She earned a master’s degree in clarinet performance from the Eastman School of Music in Rochester, New York, where she founded the student-run New Eastman Symphony to help provide practical experience for graduate students at Eastman.
Barlament is recognized for her “exceptional leadership, dedication and accomplishment” of providing a platform for the art form of the orchestra to continue and thrive through the combined involvement of ASO management, musicians and community support to make that vision a reality both artistically and financially. Under her leadership, ASO achieved fiscal sustainability for eight continuous years even during the height of the COVID-19 pandemic through its “Behind the Curtain” virtual concert series and livestreams. Barlament believes that the orchestra is for everyone. ASO’s creative vitality engages the next generation of music lovers and music-makers through its educational programs, family concerts, youth concerts, as well as its regular programming, including pieces composed by women and people of color, world premieres, ASO commissions and U.S. premieres. Barlament’s historic hiring of Nathalie Stutzmann as ASO’s first woman music director (and the second woman to lead a major American orchestra), promises to see the return of major choral music to ASO programming.
Barlament has more than 15 years of experience leading orchestras across the country, holding various positions such as general manager of the Cleveland Orchestra; executive director of the Kalamazoo Symphony Orchestra; general manager of the Omaha Symphony; concert manager of the Baltimore Symphony; director of special projects at the Detroit Symphony; and orchestra management fellowship program of the League of American Orchestras at the San Francisco Symphony, the New Jersey Symphony and the Detroit Symphony. In 2013, Barlament was the recipient of the League of American Orchestras’ prestigious Helen M. Thompson Award.
Discover a rich tradition of music that honors culture, history
Historically, the canon of art song in Western classical music included French, German, Italian and English texts and compositions. Even as Spanish literature began to be incorporated, it represented primarily European composers. Mexico has its own rich tradition of music, culture and history. Mexican art song was influenced by European genres including opera and chamber works. Dance rhythms and folk songs also laid the foundation for this music. The Mexican Revolution inspired nationalism in music and elements of native cultures found its place in art.
The Mexican Nightingale
Angela Peralta (1845-1883), one of the first notable artists to come out of Mexico, was influenced by European composers. The prima donna opera singer, pianist, harpist and composer gained international fame as one of the country’s most critically acclaimed performers.
At 15, Peralta made her operatic debut at the Gran Teatro Nacional — one of 19th-century Mexico’s premier opera houses. The performance received such acclaim that it prompted Peralta to further refine her talent in Italy. As a teenager, Peralta toured across Europe and the United States garnering the nickname of Mexican Nightingale. Her life was cut tragically short — she died from yellow fever in 1883 at age 38 — but her contribution to the history of Mexican classical music is undeniable.
Manuel M. Ponce (1882-1948), one of the most prominent figures in Mexican music history, married traditional folk melodies and harmony with modern performance and classical sophistication. His work as a performer, composer and educator revolutionized Mexican art music. In A Guide to the Latin American Art Song Repertoire, editor Maya Hoover states, “Ponce paved the way with a compositional style that varied over decades from Romantic to Impressionistic and later incorporated dissonant harmonies within a consonant framework.”
(Above) Publicity photo of Mexican composer María Grever taken by Paramount Pictures or 20th-Century Fox Studios for whom she worked as a film composer from 1920 until her death in 1951
Jessica Rosas Lira, a Ponce scholar, writes about Ponce, “As for his vocal compositions, he composed over 150 songs, including early folk song arrangements for voice and piano, original songs for voice and piano and his modern song cycles for voice and piano. Through his popular song
arrangements, Ponce created a connection between Mexican vernacular music and classical art song. He borrowed many folk-motives and worked them into his classical compositions; these motives also served as inspiration for new works with an authentic local color that earned him recognition as a founding figure of Mexican musical nationalism.
“Experts refer to Ponce as a founding figure because, although other composers had made efforts to write nationalistic music before Ponce, he was among the first composers to research folk music, harmonize it and use it as inspiration for the majority of his classical works. In this way, Ponce paved the way for future composers to explore and develop the genre.”
Ponce gave a lecture on Mexican song, stating, “…I consider it the duty of every Mexican composer to ennoble the music of his native country, giving it artistic form, dressing it with polyphonic clothing and preserving with love the popular melodies which are the expression of the national soul.”
Ponce’s archives were left to his student Carlos Vazquez. When Vazquez died, some scores were donated to La Universidad Nacional Autónoma de México. Some scores were donated to Ponce’s home state of Zacatecas. Determining who holds the rights to Ponce’s body of work is a difficult undertaking. Many Mexican musicians who spent time in Europe studied with great composers such as Debussy and Lehar and were introduced to prominent figures that included de Falla, Segovia and Turina. Students of Ponce included Carlos Chavez and María Teresa Prieto among others. It was Ponce’s students who presented the first recital of Debussy’s music in Mexico.
Madonna of Song
Another dynamic Mexican woman to change the course of Mexican music is María Grever. The life and work of Grever is fascinating and inspiring, yet her story is not widely known. She has been referred to as a “famous stranger” and labeled the Madonna of Song. Her melodies are familiar, yet her name is not. She overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer.
She was a pioneer of popular music during the first half of the 20th century, working alongside some of the greatest artists of the time. Composer and singer Nayeli Nesme states, “To recover the works of María Grever is to recover the sound memories of Mexico and of the world” and that Grever’s music is an “esthetic, emotional, sociological and cultural reference” because her music has gained a wide exposure from the popular to the academic fields.
Aside from her herculean efforts against racism and gender bias, Grever is also unique in that she wrote nearly all her own texts and poetry. Many of the texts are also inspired by personal events. The text, therefore, is passionate and authentic. Common themes in Grever’s poetry include romance, heartbreak, unrequited love and personal hardship.
Grever and Ponce had influence from European composers but felt a duty to maintain integrity of Mexican style and form. Ponce has songs written in five languages. Grever wrote almost exclusively in Spanish. While living in America she felt a duty to maintain her cultural identity. Once she was established in the U.S. she stated, “I had to leave the country and I am now interested in modern music. But I am interested most of all in my own Mexican music and I want to try to present it for the Americans. I do not think that they know very much about it. And it is worth knowing … There is a wealth of song-culture in Mexico. It is of Spanish and Indian origin and there is also the blend of the two. Melody and rhythm are there — idiomatic and distinct from the rhythm of other countries. It is my firm conviction that folk-music is the valid basis of all music.”
It is important to note that the compositions of these excellent musicians are as worthy of performance and study as any of the rest of the standard canon. They have a prolific output with hundreds of compositions to their credit.
Learning and assigning students repertoire from Mexican composers is an important and enjoyable endeavor. However, there are challenges facing the performance of historical Mexican art songs.
Lack of accessibility to scores: Determining which pieces are still under copyright and who currently owns the rights to certain
publications can be difficult. It is easier to find the scores to the pieces that were more commercially successful because they may have been more widely distributed. Additionally, Mexican music does not default to being public domain and is protected 100 years after publication.
Not included in curriculums: As previously mentioned, if a Spanish piece is studied, most frequently it is from Spain. For better or worse, teachers typically assign pieces they already know, have performed themselves or are easily accessed in popular anthologies.
Neglect is a consequence of a lack of knowledge or immersion: In a cyclical manner, pieces are not as widely known so they are not as readily assigned and studied among students. Therefore, scholars must research Mexican composers and uncover the vast amount of work yet to be studied and performed. Sources may be published in Spanish: This may present difficulty to an American audience. Also, the greatest wealth of archives may only be accessed in the country of origin.
Some are still in manuscript form or unpublished: If the archives have not yet been digitized, some of the scores may still be in handwritten, manuscript form.
Opportunities to Perform
Although there are challenges facing the study of Mexican concert music, there are also excellent opportunities for programming Mexican art song:
Bridge the few familiar pieces with newer pieces or older pieces that have not been performed. By starting with the well- known, beloved compositions with mass distribution, you can open the doors for further examination of this repertoire. For instance, Consuelo Velazquez’s “Besame mucho” is widely known and popular but she wrote much more music. Including “Besame mucho” in a set of songs by Velazquez could help the audience connect a piece they are familiar with to the rest of Velazquez’s oeuvre.
Discover the many important Mexican and Latina composers. If the study of Mexican or Latin American composers is under-represented, the study of Latina or Mexican women is even more sparse. Angela Peralta, Ana Lara, Cuquita Ponce, Consuelo Velázquez, Maria Grever, Marcela Rodriguez, Laura Chavez-Blanco and Anastasia Guzman are just a few of the wonderful women composers that are worthy of study and performance.
Collaborate with piano, guitar or other instrumentation. The study and performance of Mexican music opens the doors for collaboration with a pianist, guitar, small ensemble or other
instrumentation. Making ensembles of varying sizes creates opportunities for collaboration at any level. The beautiful, simplicity of a voice and guitar or voice and piano allows for authentic and intimate performances.
SEARCH FOR LIVING COMPOSERS AT The Living Composers Project
Learn from living composers. There are many wonderful, living composers to study and learn from such as Julio Cesar Oliva, Gabriela Ortiz and Arturo Rodriguez. It is a wonderful opportunity to communicate with the composer directly and properly convey the intentions for the music.
Include popular sounding music with credibility on a classical recital program. Many of the composers were classically trained but knew how to craft a beautiful melody and a hook that would capture an audience. Their songs are intelligently crafted but have a sound that could be considered popular. Classical sophistication with popular accessibility makes great recital repertoire.
Showcase Spanish, a very accessible foreign language. There is a large Spanish-speaking population in the USA and abroad. Spanish is often studied in schools and makes a very accessible foreign language for students.
The wealth of Mexican and Latin American music yet to be discovered is daunting. However, the study and performance of this repertoire is essential for representation and perseverance of this rich culture. It is an important time in history where minority voices are being given bigger platforms to be heard. It is our job as performers and pedagogues to do our part in researching and presenting this body of work and ensuring this rich, vibrant culture receives the attention and acknowledgment it deserves.
Some of my efforts to increase the education and performance of Mexican and Latin American art song have been forming my voice and guitar duo, Duo Atesorado (“treasured duo”), with guitarist Noe Garcia. The partnership was formed on the belief that Latin American and Mexican music are too important to be overlooked and under-represented. The timeless beauty and sincere storytelling in this genre was meant to be shared. We share a common mission of education, performance and support of Latin American and Mexican music. www.duoatesorado.com
Ocean OF SOUL
Brian K. Simmons brings passion, energy as director of Texas Southern University’s storied marching band
Brian K. Simmons (Omega Omega) was named the director of Texas Southern University’s Ocean of Soul Marching Band in July 2021. A native of New Orleans, Simmons earned a Bachelor of Music and Master of Educational Leadership from Southern University. He also serves as an adjudicator and clinician to middle and high school bands nationwide. In addition, Simmons is an exceptional euphonium and trombone player. He is also a prolific arranger and educator respected throughout the country. He has received many awards and critical acclaim for his performances and arrangements.
Upon his appointment at TSU, Simmons said, “It is an honor to join the TSU Family. Texas Southern has always been a respected rival of mine. I am excited to work with a program with so much history both in the band and HBCU world. I look to honor the rich history and traditions of the Ocean of Soul while incorporating new and innovative ideas. Fans and alumni can expect to see what the band is known for as we rise to the next level. Ultimately, it will be the same Ocean, just a new wave!”
Following his first year at TSU, Simmons spoke with the Triangle about his plans for the Ocean of Soul and the role music has played in his life.
How did you get into music/band as a child?
I always had a connection to music. I was fortunate to have family that had an eclectic taste in music. My love for my favorite artist, Sade, comes from my dad. He would listen to her regularly. My mother also was well-versed in other genres of music. Michael Jackson, Phil Collins, Johnnie “Guitar” Watson, Janet Jackson and Jill Scott would blast throughout the house at some part of the day. It was an infectious feeling.
What made you choose to attend Southern University? Growing up in New Orleans, marching band wasn’t just an activity, but a culture. I always knew Southern University (Baton Rouge) was out there but I didn’t really pay too much attention. I had a lot of offers from different schools, but when I saw Southern University play Jackson State University in 2008, my mind was made up.
What/who have been some major influences on your musical life trajectory?
My band directors have influenced my moves and career thus far. Lawrence Jackson, former director of bands at Southern University, taught me the balance of educating your audience and crowd as well as entertaining them. With every performance, I look to give our audience an appreciation for what it is we do while making them comfortable with the world’s greatest language — music. Nathan Haymer (Beta Zeta), former director of bands at Southern University, was not only my teacher but my former boss. He was big in showing that marching bands are great tools for advertisement and branding. Bands are the biggest ambassadors for their respective universities and can spread the message far and wide.
What was the process you used when first arriving at Texas Southern?
When first arriving at Texas Southern University, my plan was to assess the program for what it was in its current state. I am big on efficiency, so I look to see what is working for us and what isn’t working. Once I sifted through those issues, I wrote down a few things I wanted to personally implement. It’s all about creating a balance.
How did it feel the first time you hit the field with the Ocean of Soul?
Hitting the field for the first time was surreal. I think it was the first time in my career I noticed the crowd. It was a lively time
in Houston. The band executed well, and the crowd was into the performance. I just remember being still, just at peace.
What dreams do you have for the program under your leadership?
I want the Ocean of Soul to become a household name. My biggest decision as a leader was deciding what that name meant to me. When you hear Texas Southern University Band, I want you to know that this is the most soulful musical experience you will ever witness. I won’t stop until that is a reality.
What was your biggest challenge to overcome in your first year?
My biggest challenge was the language barrier. I come from a different place and mindset, not better or less, just different. So my way of doing things and expressing certain ideas was hard for them to understand. In the inverse, the band had its own culture that I acknowledged, but it took a minute for me to understand. It was like I was speaking Spanish and they were speaking French; both saying things of equal importance, but we couldn’t understand each other.
What do you hope your musical legacy will be?
I hope that I will be remembered for my work ethic and for always wanting to create an environment for personal growth.
I truly believe I can do whatever I put my mind to and want my career to reflect the same.
What’s a list of your top five favorite songs that you have arranged?
I always like the music that has sentimental value to me. I do my best with songs that I either grew up on or grew up with. Good arrangements are all about capturing the message of the music through notes.
1. “Set Me Free” by Teddy Pendergrass
2. “Song Cry” by August Alsina
3. “Forget Me Nots” by Patrice Rushen
4. “Gypsy Woman” by Crystal Waters
5. “You Can’t Stop the Rain” by Loose Ends
ALUMNI AWARD WINNERS
International Alumni Chapter of the Year:
First Place: Palos Verdes/South Bay
Second Place: Minneapolis/St. Paul
Third Place: Dallas
Orah Ashley Lamke Award: Katherine Musat (Mu Phi, Cleveland Area Alumni)
Katherine Doepke Creative Programming Award:
Winner: Minneapolis/St. Paul
Honorable Mentions: Dallas, Denver, Lincoln, Palo Verdes/South Bay
Noteworthy Community Service Project: Oklahoma Summer Library Program
Outstanding Yearbook: Dallas
PROVINCE ALUMNI CHAPTER ACHIEVEMENT AWARDS
Atlantic Province: Boston
Eastern Great Lakes: Cleveland Area
Great Lakes: Ann Arbor
East Central: Indianapolis
South Central: Dallas
Central: Kansas City and St. Louis
North Central: Lincoln and Minneapolis/St. Paul
West Central: Denver
Pacific Southwest: Palos Verdes/South Bay
ORAH ASHLEY LAMKE AWARD
The Orah Ashley Lamke Award is given each year to a longtime alumni member who has shown dedication and loyalty at the local level. This year’s recipient is Katherine Musat (Mu Phi, Cleveland Alumni).
Musat is president of the Cleveland Area Alumni chapter. She has held other chapter offices as well, including vice president and chaplain. She has been an active member of Mu Phi Epsilon for 58 years. She is currently principal trumpet in the Parma Symphony Orchestra, of which she has been a member for 54 years. She is also an active musician at St. Colette’s Church. She is a member of the Baldwin Wallace University Alumni Jazz Ensemble. Musat earned her Bachelor of Music Education at Baldwin Wallace College (now University) studying trumpet with Charles Gorham. She went on to earn a Master of Science in education from College of Mt. St. Joseph in Cincinnati, Ohio. She taught 10 years at Cleveland Catholic Schools and over 30 years in Parma City Schools.
She was instrumental in the reactivation of the Mu Phi chapter at Baldwin Wallace University. She met many, many times with the conservatory director to discuss why Mu Phi Epsilon is so important to Baldwin Wallace and share the chapter’s storied history. She led the initiation of the first class after the chapter reopened, including initiation of the chapter advisor. She was the lead Mu Phi to train the students as pledges. She also led the initiative to keep the Alliance, Ohio, Phi chapter active. While small in number (under 10 members), she saw the need to keep that chapter going and was the person to guide them in the process. She is in the process of reactivating the Gamma Phi chapter at Cleveland State University. She vows to keep going despite the obstacles!
Alumni Chapter SERV Hours Awards:
First Place: Palos Verdes/South Bay, 6,744 hours
Second Place: Colorado Springs, 2,209 hours
Third Place: Lincoln, 1,876 hours
Fourth Place: Ann Arbor, 1,743 hours
Fifth Place: St. Louis, 1,568 hours
Alumni Top 5 for Individual SERV Hours 29 members reported earning over 300 SERV hours
First Place: Gwen Rapp (Colorado Springs), 1,100 hours
Second Place: David Chapman (Palos Verdes/South Bay), 845 hours
Third Place: Jennifer Holly Cannon, (Palo Verdes/South Bay), 672 hours
Fourth Place: Jason Sia (Sacramento), 600 hours
2022 COLLEGIATE AWARD WINNERS
International Collegiate Chapter of the Year, Tier 1: Gamma Sigma, California State University, Dominguez Hills
International Collegiate Chapter of the Year, Tier 2: Zeta Kappa, Young Harris College
International Collegiate Chapter of the Year, Tier 3: Alpha Kappa, University of Missouri, Kansas City Conservatory of Music Delta Psi, Clayton State University
Collegiate Chapter of the Year Honorable Mentions:
Tier 1: Alpha Pi, Texas State University Lambda, Ithaca College
Tier 2: Beta Pi, Nebraska Wesleyan University
Gamma Zeta, Delta State University
Tier 3: Beta Theta, Tennessee Tech University Zeta Omega, Illinois College
International Sterling Achievement Award: Rylee Lemay (Beta Alpha), California State University, Fullerton
Outstanding Chapter Service Project To School: Zeta Omega, Illinois College — Each member of the chapter signed up to audio record at least one concert (including college ensembles, the community orchestra, and community and school-sponsored Fine Arts Series). The recordings are stored in the school’s music library and are available to students, faculty and staff throughout the year.
Honorable Mention, Service Project To School: Delta Psi, Clayton State University — Weekly study sessions available to all music majors and minors were held every Saturday. Volunteer staff members were available for any students who needed extra help or wanted to ask questions
Delta Zeta, Emory University — Personalized Thanksgiving thank you notes were sent out to professors and in the music department. Students were appreciative of a way to thank those who had been working so hard to teach them. Many faculty hung their cards up and left them throughout the year as a reminder of the impact they have on students.
Outstanding Chapter Service Project To Community: Delta Psi, Clayton State University — A Mu Phi and Friends Music Festival was held April 15, 2022. All music majors or minors were invited to perform. A chorale sung music by Black composers. The free event was open to the public and all chapter members participated in the performances.
Honorable Mention, Service Project To Community: Alpha Pi, Texas State University — The chapter participated in the university’s Bobcat Build, where organizations are assigned to a home in the community to assist with housework, painting or chores needed. The chapter painted, planted flowers and cleaned out and organized a farmhouse.
Most Overall SERV Hours: Beta Omicron, Western Illinois University, 1,871 hours
Honorable Mention, Overall SERV Hours: Gamma Sigma, California State University, Dominguez Hills, 667 hours
Most Reported SERV hours per member: Beta Omicron, Western Illinois University, 81 hours/member
Honorable Mention, SERV hrs per member: Beta Theta, Tennessee Tech University, 34 hours/member
Most Chapter Total SERV Projects: Lambda, Ithaca College, 11
Honorable Mention, Total Chapter SERV Projects: Gamma Sigma, California State University, Dominguez Hills, 7 Beta Theta, Tennessee Tech University, 7 Alpha Pi, Texas State University, 7
Outstanding Membership Recruitment Awards (includes high number of total initiations, and high ratios of recruitment): Alpha Kappa, C2, Gamma Sigma, PSW, Mu, SE2, Zeta Kappa, SE2
PROVINCE COLLEGIATE CHAPTER ACHIEVEMENT AWARDS
Alpha Kappa, University of Missouri Kansas City Conservatory of Music
East Central Beta Theta, Tennessee Tech University
Eastern Great Lakes Lambda, Ithaca College
North Central Beta Pi, Nebraska Wesleyan University
Mu Eta, University of the Pacific
Pacific Southwest Gamma Sigma, California State University, Dominguez Hills
South Central Alpha Pi, Texas State University
Southeast Delta Psi, Clayton State University
West Central Phi Pi, Wichita State University
Honorable Mention, District Directors:
100+ Individual SERV Hours: Eta Zeta, University of North Georgia — Kasey Higginbotham, 119.75; Beta Omicron, Western Illinois University — Lauren Antoniolli, 977; Hailey Shaw, 197.5; Abby Lindsey, 110
PROVINCE SENIOR ACHIEVEMENT AWARDS INTERNATIONAL STERLING ACHIEVEMENT AWARD
Eastern Great Lakes Margaret George (Mu Phi), Baldwin Wallace University
North Central Joshua Reiff (Beta Pi), Nebraska Wesleyan University
Pacific Lily Tumbale (Mu Eta), University of the Pacific
Pacific Southwest Rylee Lemay (Beta Alpha), California State University, Fullerton
South Central Madison Merritt (Alpha Pi), Texas State University
Southeast Cameron Wood (Delta Tau), Mercer University
The International Sterling Achievement Award is given annually to the outstanding Collegiate chosen from the Collegiate Province Award winners. It is the highest honor Mu Phi awards to a Collegiate member. This year’s recipient is Rylee Lemay (Beta Alpha), California State University, Fullerton.
Lemay graduated with a bachelor’s in business administration and human resources management, minoring in music and liberal studies, earning placement on the dean’s list several times. She has served the Beta Alpha chapter as chapter president, International Convention business delegate, treasurer, SERV chair and SERV Committee head.
Lemay was very involved on campus in addition to her Mu Phi Epsilon service. She provided tutoring for students in the business microeconomics class, was a part of the Student Society for Musicology and served on the Education Inter-Club Council. She was a representative for the National Association for Music Education (NAfME), American Choral Directors Association and the California Leadership Academy. Off campus, she provided no-cost tutoring for a middle school percussion program and was a member of Synesthesia Sinfonietta choir. She also played an instrumental role in connecting the Beta Alpha chapter with the Fullerton Alumni chapter and set the fraternity-wide example on collegiate-alumni relations.
SCHOLARSHIP AND GRANT APPLICATIONS s Available online only starting January 1, 2023 mpefoundation.org/grants-and-scholarships
KIRA DIXON firstname.lastname@example.org
ZACHARIAH CARLSON email@example.com
MATTHEW HOCH firstname.lastname@example.org
SEAN KILGORE email@example.com
KATSUYA YUASA firstname.lastname@example.org
ISABEL DE LA CERDA email@example.com
LEI WENG Leiweng@gmail.com
Mu Phi Epsilon Foundation is also proud to support, through our philanthropic gifts, the following summer programs:
• Aspen Music School
• Brevard Music Center
• Chautauqua Institution
• Inspiration Point Fine Arts Colony
• International Festival at Round Top
• Music Academy of the West
• Tanglewood Music Center
• LMTA: Lincoln Outreach Program
• LMTA Mop
• Lyra Music at Summer Music Workshop in New York
• Neighborhood Music School Association
• Project STEP
Mu Phi Epsilon members applying to the above summer programs should advise them of your membership in the Fraternity for consideration of scholarship funds distributed directly by the institutions.
IMPORTANT UPDATES AND REMINDERS
Scholarship and Grant Applications
The Foundation Board is excited to announce the 2023 scholarships and grants season will be here before you know it. We have a few exciting changes ahead.
BIG NEWS: The Foundation Board voted this summer to offer the following new grants.
Diversity Scholar Grant ($2,000) 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 or workshops, or projects.
Early Music Grant ($1,000) 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 or workshops, or purchase of a period instrument.
Large Ensemble Grant ($2,000) will 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. The Large Ensemble shall consist of 11 or more musicians and shall have a separate conductor. Ensembles with more Mu Phi Epsilon members will be considered to be of particular application strength.
A reminder that we are now offering Musicological Research Awards, Composition Contest Awards, and three Music Educator Grants to augment our reach and broaden the impact of our grants. The Music Educator, and Professional Development Grants have a new separate deadline to better meet the needs of Mu Phis. This new deadline is November 1. Application information on our website.
Finally, we have started an adopt an applicant program, in which alumni members can sponsor an application for students in need. Applicants pay $25 per application, and many of our applicants like to apply for multiple grants. If you are interested in sponsoring an application, please check out the grants and scholarships page on our website for more details to arrive this fall!
• Dues deadline. Applicants are only eligible if they are members in good standing (i.e., have paid their dues) by 11:59 p.m. CT on December 31, 2022. This is a firm deadline with no exceptions.
• Application deadlines. All applications (except for Wilson Summer Scholarships) are due by 11:59 p.m. CT on March 1, 2022. The Wilson Summer Scholarships are due by 11:59 p.m. CT on April 15, 2022.
• Recordings are accepted via links to websites such as YouTube (preferred). Websites such as Dropbox where sign-in by a third party is required to access materials will not be accepted. Make sure the listing is marked either public or unlisted.
The Foundation encourages all students (undergraduate and graduate), student chapters, alumni chapters and alumni members to apply for these grants and scholarships. For reminders, tips and information on the process, visit our website (mpefoundation.org), watch our YouTube channel and follow us on social media.
• Application fees are non-refundable, even in the case of incomplete applications.
• Applicants must be dues-paying members as of December 31, 2022.
• Applicants may apply for more than one scholarship/grant.
• Previous winners may apply for the same scholarship or grant as long as three grant cycles have passed since they last won (winners in 2019 and before may apply in 2023). Winners of the Helen Haupt Alumni Chapter Project Grant or the Wiese-Abegg Collegiate Chapter Project Grant may apply every year.
• A Mu Phi Epsilon Foundation scholarship or grant may not be used for everyday living expenses, to repay educational loans, or to repay personal debt.
• Required recordings must not be older than two years from the date of application.
GRANTS AND SCHOLARSHIPS
GENERAL MUSIC EDUCATOR GRANTS
Grants awarded to music educators. Grants may be used to supplement classroom supplies, equipment or other educational expenses. Value $2,000 (three awards) Chair: Dixon
MERLE MONTGOMERY DOCTORAL GRANT*
To a doctoral candidate whose advanced work toward the degree is at a significant stage of completion. Value $3,000 Chair: Yuasa
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. Value $2,000 (three awards) Chair: Yuasa
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, 2023. Value $2,000 Chair: Yuasa
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 Chair: Carlson
PROFESSIONAL DEVELOPMENT GRANT
To support registration fees associated with a professional development opportunity or conference. This grant cannot be used to fund registration for the Mu Phi Epsilon International Convention or District Conference. Value $2,000 Chair: Yuasa
WIESE-ABEGG COLLEGIATE CHAPTER PROJECT GRANTS*
To help support one or more special projects undertaken by collegiate chapters. Value up to $2,000 Chair: Carlson
* 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
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 Chair: Kilgore
MUSIC HISTORY & RESEARCH MUSICOLOGICAL RESEARCH AWARD — DOCTORAL DISSERTATION
To a doctoral student, or recent grad within one year, who has written a doctoral dissertation. Value $1,000 Chair: DeLaCerda
MUSICOLOGICAL RESEARCH AWARD — GRADUATE THESIS
To a graduate student, or recent grad within one year, who has written a musicological research thesis. Value $750 Chair: DeLaCerda
MUSICOLOGICAL RESEARCH AWARD — UNDERGRADUATE PAPER OR THESIS
To an undergraduate student, or recent grad within 1 year, who has written a musicological research paper or thesis. Value $250 Chair: DeLaCerda
COMPOSITION & THEORY LILLIAN HARLAN RAMAGE GRANT FOR GRADUATE STUDY IN COMPOSITION*
To a graduate student in composition. Value $2,000 Chair: Yuasa ELLEN JANE LORENZ PORTER GRANT FOR GRADUATE WORK IN COMPOSITION*
To a graduate student working on an advanced degree in composition. Value $2,000 Chair: Yuasa
ORIGINAL COMPOSITION AWARD — UNDERGRADUATE
To an undergraduate student for an original composition or work. Value $1,000 Chair: DeLaCerda
ORIGINAL COMPOSITION AWARD — GRADUATE
To a graduate student (master’s, doctorate, etc.) for an original composition or work. Value $1,000 Chair: DeLaCerda
ORIGINAL COMPOSITION AWARD — ALUMNI
To an alumni member for an original composition or work. Value $1,000 Chair: DeLaCerda
RUTH DEAN MORRIS SCHOLARSHIP
To a student majoring in music theory or composition. Value $2,000 Chair: Yuasa
JAZZ JAZZ STUDY GRANT
To a student studying jazz performance or composition. The funds must be used to fund a project or jazz studies. Value $2,000 Chair: DeLaCerda
JOHN AND MARY VIRGINIA FONCANNON CHORAL CONDUCTING OR SACRED MUSIC SCHOLARSHIP
For study in choral conducting or sacred music. Value $10,000 Chair: Carlson
JOHN AND MARY VIRGINIA FONCANNON CONDUCTING/ COACHING SCHOLARSHIP
To support the study of conducting/ coaching. Value up to $10,000 Chair: Carlson
INSTRUMENTAL ALBERTA DENK SCHOLARSHIP FOR VIOLIN, VIOLA, CELLO, DOUBLE BASS*
To support a music major’s study of music performance. Value $2,000 Chair: Kilgore
GERKE COLLEGIATE ARTIST SCHOLARSHIPS*
Woodwinds, Brass, Percussion, Strings. To an undergraduate music major with a minimum 3.0 GPA in music and a 2.0 GPA in all other subjects. Value $2,000 (two awards) Chair: DeLaCerda
BETH LANDIS VIOLIN SCHOLARSHIP
For undergraduate or graduate study in violin. Value $5,000 Chair: Kilgore
JEAN LOUISE MARTIN SCHOLARSHIP
To an undergraduate or graduate instrumentalist (brass, woodwinds, strings or percussion) for study in music performance. Value $2,000 Chair: Kilgore
ELEANOR HALE WILSON CELLO SCHOLARSHIP
To an undergraduate or graduate music education, music therapy or performance major whose primary instrument is cello. Value $2,000 Chair: Kilgore
CHAMBER MUSIC 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 Chair: Yuasa
EDYTHE G. BURDIN SCHOLARSHIP
To a student studying arts management. Value $2,000 Chair: Kilgore
MUSIC EDUCATION 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 Chair: Dixon
BETH LANDIS MUSIC EDUCATION SCHOLARSHIP
For undergraduate or graduate study in music education. Value $5,000 Chair: Dixon
HAZEL B. MORGAN SCHOLARSHIP*
For graduate study in music education. Value $2,000 Chair: Dixon
To an applicant currently enrolled in an accredited program of graduate study in music education. Value $2,000 Chair: Dixon
INES PRATT JAMISON
To a music education major who is studying voice. Value $2,000 (see Voice) Chair: Hoch
DR. FRAN IRWIN MUSIC
EDUCATION MEMORIAL SCHOLARSHIP
For a junior or senior majoring in music education. Value $2,000 Chair: Dixon
HUBIN SCHOLARSHIP FOR MUSIC TECHNOLOGY
In memory of Lucie Benefiel Scandling for a project or study involving music technology. Value $2,000 Chair: Carlson
LA VERNE 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 Chair: Kilgore
KEYBOARD BERNSTEIN-CROSMAN SCHOLARSHIP
Piano scholarship for study outside the United States in a country other than the country of the applicant’s birth or citizenship. Value $2,000 Chair: Weng
NANCY BROGDEN BOOKER COLLABORATIVE
To an affiliated 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 Chair: Weng
WIHLA HUTSON ORGAN SCHOLARSHIP
To an organist. Value $2,000 Chair: Weng
BETTYLOU SCANDLING HUBIN SCHOLARSHIP FOR WORLD MUSIC/MULTICULTURAL MUSIC
Awarded in memory of Lucie Benefiel Scandling for a project or study involving world/multicultural music. Value $2,000 Chair: DeLaCerda
SARA EIKENBERRY VOICES SCHOLARSHIP* — UNDERGRADUATE
To a deserving mezzo-soprano or contralto voice student. Value $2,000 Chair: Hoch
SARA EIKENBERRY VOICE SCHOLARSHIP* — POSTGRADUATE
To a deserving mezzo-soprano or contralto voice student. Value $2,000 Chair: Hoch
INES PRATT JAMISON SCHOLARSHIP
To a music education major who is studying voice. Value $2,500 Chair: Hoch
HAZZARD VOICE SCHOLARSHIP
To any Mu Phi Epsilon member pursuing vocal study, awarded on behalf of the Los Angeles Alumni Chapter. Value $5,000 Chair: Hoch
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 Chair: Weng
HELEN HAUPT PIANO SCHOLARSHIP
To a pianist. Value $2,000 Chair: Weng
ELIZABETH BOLDENWECK VOICE SCHOLARSHIP*
For undergraduate study in voice. Value $2,000 Chair: Hoch
LIANA K. SANDIN VOICE SCHOLARSHIP**
To any Mu Phi Epsilon member for a project or to pursue vocal study. Value $2,000 Chair: Hoch
MIKANNA CLARK TAURMAN VOICE SCHOLARSHIP*
For postgraduate study in voice. Value $2,000 Chair: Hoch
Applications are due by 11:59 p.m. CT March 1, 2023.
ELEANOR HALE WILSON SUMMER SCHOLARSHIPS
For study at any American or International Summer Music Program. Scholarship applications may be made before program acceptance is confirmed. Value $2,000 (6 awards) Chair: Carlson
Applications for Wilson Summer Scholarships are due by 11:59 p.m. CT April 15, 2023. Complete information, qualifications, requirements, and online applications are available on Mu Phi Epsilon Foundation website at: mpefoundation.org/grants-and-scholarships
Complete information, qualifications, requirements, and online applications are available on Mu Phi Epsilon Foundation website at mpefoundation.org/grants-and-scholarships
The International Competition will be held from 2-5:00 p.m. on July 19, 2023.
* 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
MUSICOLOGICAL RESEARCH AWARD — GRADUATE
Brooks Clarke (Omega Omega, Boston Alumni) is a guitarist, composer and music educator from Jacksonville, Florida. A prolific and dynamic performer, Clarke is well known for the variety of styles and instruments he can be seen performing in everything from concert pits to black metal.
His music has premiered at various festivals around the world including the Longy School of Music Divergent Studio Festival, the Atlantic Music Festival, the Charlotte New Music Festival and The São Paulo Contemporary Composers Festival. Other compositions have been performed by the ensembles loadbang, Hypercube, the Arizona Wind Symphony, the Jacksonville University Orchestra, the Sewanne Summer Music Festival and the MOCA Jacksonville Silent Film Collective. Clarke studied composition with Jianjun He, Tony Steve and Bob Moore. He studied jazz guitar with James Hogan and Gary Starling. He is a member of the Jacksonville based black metal group The Noctambulant and is featured on the albums Advocatis Diaboli and The Cold and Formless Deep.
In his work as a recording engineer, Clarke has been the audio engineer for the podcast for the NEC NOVA Fellowship, served as head of technology for the NEC NOVA Fellowship, served as an audio/visual engineer for the Atlantic Music Festival, and produced the Be Alive podcast for the Catholic Diocese of Saint Augustine.
Clarke is a magna cum laude graduate of Jacksonville University and holds a Bachelor’s of Music in composition. He is a current graduate student at the New England Conservatory of Music, in the composition studio of Stratis Minakakis. His paper, “The Use of Artaud’s Theatre of Cruelty and its Influence in Pierre Boulez’ Piano Sonata No. 2” was awarded the Musicological Research Award from Mu Phi Epsilon Foundation.
You Ju Lee (Beta Tau, Atlanta Alumni) was awarded the 2021 Steinway Grant at the Georgia Music Teachers’ Association Conference on November 6. Lee is a professor of piano at Toccoa Falls College. With the grant funding, Lee will set forth several chamber music (piano trio) concerts in various venues both in the United States and overseas.
Tamer Maamoun (Gamma Sigma, Palos Verdes/South Bay Alumni) launched a startup called The VR Music Company with co-founder Lance Pierre. The company’s current focus is delivering VR music in a therapeutic setting for veterans. Learn more at tamermaamoun.com.
Joyce DiDonato (Phi Pi) received an honorary doctorate from the San Francisco Conservatory of Music in May. The celebrated mezzo-soprano, multi-Grammy Award winner and 2018 Oliver Award winner spoke and performed during commencement exercises and conducted a masterclass for the conservatory community.
Violinist Zina Schiff (Omega Omega, Boston Alumni) released a new CD, Summerland, featuring world-premiere recordings of music composed by William Grant Still, the “Dean of Afro-American Composers.” Schiff performed with the Royal Scottish National Orchestra which was conducted by her daughter, Avlana Eisenberg. Schiff met Still when she was a child and has programmed his music for 30 years.
Barbara Hill Moore (Mu Chi) received the 2022 Faculty Career Achievement Award from the Meadows School of the Arts at Southern Methodist University. Hill Moore, a world-renowned opera singer and voice teacher, began teaching at Meadows in 1974.
Rik Noyce (Gamma Sigma, Los Angeles Alumni) performed his long awaited “Faces of Eve” faculty concert at Cal State Dominguez Hills in April. The concert, featuring music by and about women, was originally scheduled for 2020. Mary Au (Mu Nu, Los Angeles Alumni) accompanied Noyce on piano.
Jordan Buchholtz (Alpha Kappa) accepted a full-time position as principal organist at Mount Olivet Lutheran Church in Minneapolis. Previously she was the organist at Mindekirken, the Norwegian Lutheran Memorial Church of Minneapolis.
Members of Alpha Omega at Stephen F. Austin State University brought drinks and water to the Lumberjack Marching Band to show appreciation for their amazing band friends who were working hard at rehearsal.
In September, Norma Jean Sigler (Phi Phi, Kansas City Alumni) celebrated 75 years of both membership in Mu Phi Epsilon and teaching piano lessons.
Congratulations, Norma Jean, on your diamond anniversary as a Mu Phi!
Yi-Yang Chen (Omega Omega, New York City Alumni), assistant professor of piano at the University of Kansas, performed Mozart Concerto No. 23 with the University of Kansas Symphony Orchestra in September.
(Gamma Sigma), a double major at CSU Dominguez Hills in flute performance and composition, performed at the Los Angeles Alumni chapter’s September meeting. She will present her senior flute recital in November.
Saxophonist Russell Veirs
(Omega Omega, Los Angeles Alumni) performed The Last Rose of Summer and A Gershwin Fantasy as soloist with the Roseville Community Concert Band during the Community Band Festival in Carmichael, California, in July.
(Alpha Kappa, Kansas City Alumni) performed with accompanist Melody Stroth at the Kansas City Alumni chapter’s September meeting.
Founders Day Message
NOVEMBER 13, 2022
Each year we remember the founding of Mu Phi Epsilon in Cincinnati on November 13, 1903. Usually, we look backward, celebrating our rich heritage of achievements and experiences in music and friendship and focusing on a comfortable tradition of harmony. This year, however, I’d like to remind us all that the creation of Mu Phi Epsilon was a profoundly radical act — one that our founders, Professor Winthrop S. Sterling and his colleague Elizabeth Mathias, undertook not primarily intending to inaugurate a historical tradition upon which we now look back with pride but rather to look forward with hope and to change the future.
In 1903, the fundamental rights of women were hotly debated all across the United States. In no state could they vote for president and in only four could they vote in statewide elections. Women were fighting for their economic and property rights, too; 1903 also was the year that the organization that became the International Ladies’ Garment Workers’ Union was founded. In 1903, talented women encountered opposition and discrimination in seeking to enter any of the skilled professions as doctors, lawyers, clergy — or musicians. They were not welcome in Sterling’s own professional fraternity.
It was in this social context that Sterling and Mathias founded Mu Phi Epsilon — to make opportunities for advancement and achievement available to musicians for whom the playing field was not level but was, instead, a decidedly uphill battle. It was a distinctly forward-looking, and hopeful, vision of how broadening the bonds of music and friendship can increase harmony, and the rightness and wisdom of that vision have been demonstrated repeatedly in the ensuing 119 years. As we move toward to our 120th anniversary, I encourage all of us in Mu Phi Epsilon to look around and ask ourselves, as our founders did, who else needs to be seen, heard and included in our journey forward?
Statement of Ownership
Management and Circulation (Act of Oct. 23, 1962; Section 4369, Title 39, US Code)
Date of Filing: October 2022
Title of Publication: The Triangle
Frequency of Issue: Four times per year
Location of known office of publication and headquarters of publishers: 4011 N. Pennsylvania St. #100 Indianapolis, IN 46205
Publisher: Lane Velayo
Editor: Kat Braz
Owner: Mu Phi Epsilon FraternityANN GEILER, THIRD VICE PRESIDENT/ALUMNI ADVISOR, PHI THETA, ST. LOUIS ALUMNI ALUMNIADVISOR@MUPHIEPSILON.ORG
Phi Kappa, May 24, 1943
Cleveland Area Alumni Died September 28, 2021
Cellist, educator. Ida attended Wayne State University, where she graduated in 1945. After her marriage she moved to the Cleveland area to teach and perform. At one point in her life, she worked for the Cleveland Opera Association cataloging and documenting their activities. Ida will be greatly missed by the Cleveland Area Alumni.
Virginia “Ginny” Jennings
Mu Phi, December 10, 1951
Cleveland Area Alumni Died February 23, 2022
Educator. Ginny earned her Bachelor of Music Education from BaldwinWallace College in 1954 and taught music in Mentor, Ohio, until 1958. In 1959 she earned a Master of Music Degree from the University of Iowa. She returned to the Cleveland area and taught instrumental music in the Parma City Schools from 1959 to 1985, when she retired and moved to Port Townsend.
Mu Phi, February 21, 1969 Cleveland Area Alumni Died April 2, 2022
French horn, organist. Linda pursued a double major in French horn and pipe organ at Baldwin-Wallace College and then earned a master’s in pipe organ from the University
of Michigan. She returned to the Cleveland area in 1977 to resume teaching music and playing organ at the Westlake and Berea Methodist Churches and finally at the Episcopal Church of the Ascension in Lakewood, Ohio. As an organist she played for many weddings and funerals. She played French horn for 25 years in the Lorain County Community College orchestra and in the summers, she performed with the Strongsville Community Band. Linda was a member of the Cleveland Chapter of the American Guild of Organists and authored many articles for their newsletter. In her spare time, she was an avid reader and crocheted many afghans for family and friends.
Marguerite (Hoffacker) Gilbert
Phi Omicron, April 2, 1978
Cleveland Area Alumni Died April 23, 2022
Pianist. Marguerite earned a Bachelor of Music in piano from the Cleveland Institute of Music in 1949. She was a member of the Cleveland Area Alumni chapter of Mu Phi Epsilon, the Musical Art Society and the Cecilian Musical Club, just three of her many musical groups. Her ultimate contribution came from her love of teaching others to play her beloved piano. She accredited her longevity to her life’s passion, “touching the lives of others with music.” Teaching was so important to her that she was still teaching one week before her death.
Nancy Louise (Church) Martin Ann Arbor Alumni, November 13, 2000 Died May 16, 2022
Flutist. Nancy earned a Master of Social Work from the University of Michigan working well into her 80s as a psychotherapist. She enjoyed playing her flute and played in the Dexter Woodwind Choir for several years and was a member of the “Frequently Flawless Five Wind Quintet.” She was an active and emeritus member of the Ann Arbor Alumni chapter of Mu Phi Epsilon. Nancy was active in attending meetings and playing in ensembles and annual concerts up until the last few years. The Ann Arbor Alumni miss her and her sweet kindness.
Margaret (Schelin) Campbell Phi Iota, November 5, 1977 Minneapolis/St. Paul Alumni Died May 22, 2022
Vocalist. Margaret graduated from the University of Hartford’s Hartt School of Music in 1959 where she starred in many of their student opera productions. She went on to sing professionally with the Toronto (now Canadian) Opera, where she sang the lead in Carlisle Floyd’s opera, Susannah. She married Frank Campbell in October of 1966 and subsequently moved to Minneapolis where she was active as a soprano soloist, voice teacher, member of the Bach Society and Thursday Musical. She was a member of both the Minneapolis and St. Paul Alumni chapters of Mu Phi Epsilon. In the
late 1990s she and Frank moved to St Louis, Missouri, where she continued as a soloist, voice teacher and a soprano section leader of the St. Louis Symphony Chorus for many years. Margaret will be remembered for her beautiful voice, dedication to music and sunny disposition.
Diana (Herbert) Warner Phi Pi, November 23, 1954 Lincoln Alumni Died May 29, 2022
Pianist. Diana was a strong spirit from the beginning, surviving polio in the late 1940s. She earned her Bachelor of Music cum laude and Master of Music from Wichita State University. She excelled as a concert pianist and used her talent to accompany countless Lincoln musicians for performances and auditions. She and her husband purchased KIMB radio station in Kimball, Nebraska, in 1960. Diana served as president of the Lincoln Alumni chapter multiple times, treasurer for many years, district director and province governor. She was also a member of Musical Art Club and Morning Musical Review. Diana was a founding member of Friends of Opera and served on the boards of the Laux Art Center Guild, the Robert Hillestad Textile Gallery, the Lincoln Community Playhouse Guild, Lincoln’s Symphony Guild, Friends of Opera and the Wyuka Historical Foundation Auxiliary. Diana created two scholarships for deserving piano students: the Diana Warner Piano Fellowship at Wichita State University and The Diana Warner Piano Scholarship at the University of Nebraska. She was the most wonderful accompanist and collaborative pianist. She opened
her home to the Mu Phis, and many groups for meetings and performances on her two grand pianos. She had various duo-piano partners over the years. She was wise, witty and so kind. She will be missed. Diana’s daughter, Lisa Warner Simon, is also a member of Lincoln Alumni, although she lives in New Jersey.
Anna Virginia (Phillips) Barthel
Theta, November 11, 1946
Died June 17, 2022
Educator, vocalist. Virginia taught for 36 years in Belleville, Illinois. She earned a bachelor’s degree from McKendree University in Lebanon, Illinois, and two music degrees at Oklahoma State University in Stillwater, Oklahoma. Virginia was an active member of the Trinity United Church of Christ in Belleville, past president of the St. Louis Alumni of Mu Phi Epsilon and a member of the Daughters of the American Revolution. Her love of music led her to be a church soloist, choir director and soloist with the Belleville Philharmonic and the Jewish Symphony of St. Louis.
Jean Somers Woodruff Griffin
Beta Tau, March 28, 1970 Atlanta Alumni Died July 24, 2022
Pianist, musicologist, educator. Jean earned her Bachelor of Music Education and Master of Music Education from Georgia State University in piano performance and music history, respectively. She held music positions with Reinhardt College, Mercer College and the Lovett School in
addition to maintaining a private studio for 25 years. Jean was very active in the Atlanta music community and served as a judge at various competitions and festivals including the National Guild of Piano Teachers. As a writer, she was the music critic for the Buckhead-Midtown Atlanta Newspaper. Jean was the founder of Young Performers of Atlanta and served as the vice president of the Atlanta Music Club along with several other distinguished board positions including the Atlanta School of Music and the Atlanta Alumni chapter of Mu Phi Epsilon. Deeply invested in Atlanta music history, Jean co-authored 75 Years of Music — A History of the Atlanta Music Club, 1915-1990 and authored A History of the Atlanta Community Orchestra, 1958-1978. Jean is an ACME honoree and served as third vice president, alumni advisor in the 1990s. She will be deeply missed by her family and friends.
Barbara Gail (Surbis) Kondalski Epsilon, December 15, 1973 Toledo Alumni Died August 4, 2022
Vocalist, teacher. Barbara graduated in 1961 from Marygrove College in Detroit, Michigan. With her love for music, Barbara worked for over 50 years, giving voice lessons to those who shared the same passion for music as she did. Barbara performed in many musicals with various organizations throughout her life, including Toledo Repertoire Theatre, Village Players, Westgate Dinner Theatre, Toledo Opera, Toledo Symphony, Detroit Symphony, The Croswell Opera House in Adrian, Fort Findlay Playhouse, University of Toledo choir and some theaters in Florida
and Monroe, Michigan. She was a member of Monday Musicale, Mu Phi Epsilon, served as a docent at the Toledo Museum of Art, was director of musicals for St. Francis, St. Ursula and Cardinal Stritch High School and was a longtime supporter of the Toledo Choral Society.
Phi Upsilon, January 3, 1962 Boston Alumni Chapter Died August 12, 2022
Educator, choral. Faith graduated from Boston University and went on to earn her master’s degree in choral conducting from the Boston Conservatory and an artist-teacher diploma from the Choral Music Experience Institute. During her career in public school music education, she taught general music, chorus, strings and music technology. Faith was a devoted teacher and musician. She was professor of music education at Berklee College of Music, where she taught music courses and served as student teacher coordinator. She was the primary conductor of the Gordon College Women’s Choir and an active member of Mu Phi Epsilon. Faith served as a choral adjudicator, clinician and conductor throughout the East Coast and as far afield as Kuala Lumpur, Malaysia. The winner of several awards for distinguished teaching, she presented choral workshops for state, regional and national music educators’ conferences, and her choral groups have been selected to perform nationwide. She was a past president of Massachusetts American Choral Directors Association and she served on the board of the Eastern Division
as middle school repertoire and standards chair. She also served on the Massachusetts Music Educators Association executive board in several capacities, including President, Secretary, Higher Ed Representative, and high school representative. A proponent of strong professional development, she was a three-term conference chair. Most recently, she was the choral techniques editor for the Massachusetts Music Educators Journal.
Stephanie Berry 574.596.8285 firstname.lastname@example.org
Susan Todenhoft 703.323.4772 H 703.509.0224 C email@example.com
EASTERN GREAT LAKES
DISTRICTS EGL1 & EGL2
Hannah Flowers 814.897.6531 firstname.lastname@example.org
Nancy Jane Gray 330.688.7990 email@example.com
DISTRICT GL1 Pat Butler 734.751.9069 firstname.lastname@example.org
DISTRICT GL2 Linda McNair 314.494.7472 email@example.com
DISTRICTS EC1 Herbert Jackson 678.577.3637 firstname.lastname@example.org
DISTRICTS EC2 & EC3 Brandon Barnett 317.557.3443 email@example.com
DISTRICT SE1 Marshall Pugh 252.599.2492 firstname.lastname@example.org
DISTRICTS SE2 Wanda Yang Temko 404.217.9712 email@example.com
DISTRICTS SE3 Arietha Lockhart 404.284.7811 firstname.lastname@example.org
DISTRICT SE4 Marcus Wyche 301.484.3652 email@example.com
SOUTH CENTRAL DISTRICTS SC1, SC3 & SC4 Isabel De La Cerda firstname.lastname@example.org 210.204.6425
DISTRICT SC2 Kaitlyn Swaim 281.757.9746 email@example.com
CENTRAL DISTRICT C1 Linda McNair 314.494.7472 firstname.lastname@example.org
DISTRICT C2 Paula Patterson 417.773.1176 email@example.com
NORTH CENTRAL DISTRICT NC Carmen Chavez 952.460-0708 firstname.lastname@example.org
WEST CENTRAL DISTRICT WC1 Ashley Roever 580.822.5682 email@example.com
DISTRICT WC2 Kirsten Forbes 720.232.6450 firstname.lastname@example.org
PACIFIC NORTHWEST DISTRICT PNW1 Sophia Tegart 509.991.4906 email@example.com
DISTRICTS PNW2 & PNW3 Michael Lasfetto 971.275.3800 firstname.lastname@example.org
PACIFIC DISTRICT P1 Jessica Dodge Overstreet 775.720.2135 email@example.com DISTRICT P2 Kirsten Forbes 720.232.6450 firstname.lastname@example.org
PACIFIC SOUTHWEST DISTRICT PSW Ayanna Lewis 310.970.4462 email@example.com Tanner Wilson 951.515.9680 firstname.lastname@example.org
2021-2024 INTERNATIONAL EXECUTIVE BOARD
Dr. Kurt-Alexander Zeller, Mu Chi Atlanta Alumni International President 770.961.4400 email@example.com
Liana Sandin, Beta Pi
Lincoln Alumni 1st VP/Extension Officer 402.560.7126 firstname.lastname@example.org
Ashley Bouras, Phi Tau
2nd VP/Collegiate Advisor 972.765.3252 email@example.com
Ann Geiler, Phi Theta St. Louis Alumni 3rd VP/Alumni Advisor 314.691.7648 firstname.lastname@example.org
Dr. Rebecca Sorley, Kappa Indianapolis Alumni
4th VP/Music Advisor 317.885.1103 email@example.com
Terrel Kent, Esq., Beta Zeta Baton Rouge Alumni 5th VP/Eligibility Advisor 225.772.7384 firstname.lastname@example.org
Jess LaNore, Beta Psi Indianapolis Alumni Executive Secretary-Treasurer 888.259.1471 email@example.com
Kat Braz International Editor firstname.lastname@example.org
HONORARY ADVISORY BOARD
Rosemary Ames, Omega Boston Alumni 508.498.4669 email@example.com
Katherine Doepke, Phi Beta Minneapolis Alumni 763.513.0381 firstname.lastname@example.org
Lee Clements Meyer, Phi Xi Austin Alumni 512.345.5072
Haley Stevenson, Kappa Indianapolis Alumni email@example.com
MUSIC LIBRARIAN & ARCHIVES
Wendy Sistrunk, Mu Mu Kansas City Alumni 816.836.9961 firstname.lastname@example.org
INTERNATIONAL CHAIRMEN ACME
Arietha Lockhart (Chair) Beta Gamma, Atlanta Alumni 404.284.7811 email@example.com
Mary Au (Co-Chair), Mu Nu Los Angeles Alumni 323.666.2603 firstname.lastname@example.org
BYLAWS & STANDING RULES
Dr. Kurt-Alexander Zeller, Mu Chi Atlanta Alumni 770.961.4400 email@example.com
Evelyn Archer, Omega Omega St. Louis Area Alumni 458.562.9177 firstname.lastname@example.org
Marlon Daniel, Mu Xi New York City Alumni 212.641.0305 email@example.com
2022-2023 FOUNDATION BOARD
Zachariah Carlson-Giving, President Zeta Lambda, Minneapolis Alumni firstname.lastname@example.org
Dr. Matthew Hoch, Vice President Lambda email@example.com
Dr. Katsuya Yuasa, Secretary Phi Mu firstname.lastname@example.org
Sean Kilgore, Treasurer Kappa email@example.com
Isabel De La Cerda, Delta Omega San Antonio Alumni firstname.lastname@example.org
Kira Dixon, Artist Concert Manager Grants and Scholarship Chairman Phi Mu, Palo Alto Alumni email@example.com
Dr. Kurt-Alexander Zeller Mu Chi, Atlanta Alumni firstname.lastname@example.org
International Executive Office 4011 N. Pennsylvania St. #100 Indianapolis, IN 46205 email@example.com 888-259-1471
The Triangle is published four times per year by Mu Phi Epsilon, International Professional Music Fraternity.
Member, Professional Fraternity Association. (ISSN 0041-2600) (Volume 116, Issue 3)
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, 4011 N. Pennsylvania St. #100 Indianapolis, IN 46205 © 2022 Mu Phi Epsilon. All rights reserved.
NOTICE OF CHANGE OF ADDRESS OR NAME Update online at www.muphiepsilon.org