The Triangle, publication of Mu Phi Epsilon music fraternity, Volume 118, Issue 1 Spring 2024

Page 1

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


HARMONIZING SUCCESS A band director’s guide to building a healthy culture


The Polish Jewish composer Moritz Moszkowski (1854-1925) is just one of the early composers who experimented with bringing the humble étude to the concert stage.

contents SPRING 2024




ACME Honorees, compiled by Mary Au


Evolution of the Concert Étude by Yi-Yang Chen


Harmonizing Success by Elizabeth Hering


President’s Message: Together in Harmony by Kurt-Alexander Zeller


Musings: Wood, Wind and Wire by Susan Erickson


From the Archives: Pioneers in Orchestral Conducting: Ebba Sundstrom by Wendy A. Sistrunk

DEPARTMENTS 20 Applause and Encore: Member and Chapter News 25

Final Notes, compiled by Ann Geiler


District Directors Directory


Executive Officers Directory

Fraternity Mission Statement: Mu Phi Epsilon International Professional Music Fraternity is a coeducational fraternity whose aim is the advancement of music in the community, nation, and world through the promotion of musicianship, scholarship and music education with emphasis on service through music. EDITOR Kat Braz DESIGN & PRODUCTION Paul Wilson Send all material for publication to: Kat Braz, The Triangle welcomes story suggestions from Mu Phi Epsilon members and friends. Publication selections will be made at the discretion of the editor. Photos must be provided as the original digital file at high resolution. Please include photographer credit information. All photographs are published courtesy of the contributor unless photographer credit is provided. Deadlines for submissions: Spring — November 15 Summer — March 15 Fall — July 15 Change of address, renewals, notice of deceased members, requests for extra copies and subscription requests should be sent to: Mu Phi Epsilon International Executive Office 6510 Telecom Drive, Suite 200 Indianapolis, IN 46278 toll free: 888-259-1471 fax: 888-855-8670 email: The Triangle is published three times per year by Mu Phi Epsilon, International Professional Music Fraternity. Member, Professional Fraternity Association. (Volume 118, Issue 1) 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, 6510 Telecom Drive, Suite 200 Indianapolis, IN 46278 © 2024 Mu Phi Epsilon. All rights reserved.

CORRECTION: The listing recognizing “Alumni Top 5 for Individual SERV Hours” that appeared on page 27 of the Fall 2023 issue of The Triangle incorrectly listed the chapter affiliation of Janis Hays Brown. She has been a proud member of the Lincoln Alumni chapter since 1968. The Triangle regrets the error. On the Cover: “My bands hold traditions that have grown from grassroots weirdness,” says veteran band director Elizabeth Hering (Phi Lamda). “In most cases, I am not the impetus for tradition, but I am the curator. It’s important that students have the opportunity to create an identity, as long as this identity is healthy, ethical and unifying.” Photo courtesy of Elizabeth Hering





t is a Mu Phi Epsilon tradition for each new International Executive Board to set a theme to express some of its priorities. The previous board focused on building bridges and making connections. Some of the results of that effort included a significant increase in affiliate members, a firm bridge between the Fraternity and the Foundation that led to the generous sponsorship by the Foundation of significant elements of the International Convention and the establishment of 2023’s 120/60 campaign for our “double diamond” anniversary, and, of course, all the connections forged as we met again for our first face-to-face convention in six years. Naturally, there are still many more connections yet to be made, but now that we have built some of these bridges to bring friends, musicians and communities closer together, the 20232026 International Executive Board has chosen a new theme: Together in Harmony. Harmony requires multiple pitches to sound together and also, as words dear to Mu Phi Epsilon remind us, is the essence of a true and happy life. Likewise, our ideals of friendship and

music both are antithetical to isolation; each is an activity that calls us to reach out to others and include them in the joyous work of creating friendship and creating music together. It will take all of us working together in harmony to make Mu Phi Epsilon as strong, effective and inspiring as we know it can be. At our convention in July 2023, we already took steps together along that path. The work of the business sessions resulted in actions to take greater care to make Fraternity communications and documents speak inclusively to all members together; to establish a committee to study recruitment and retention practices that will help us all to work together to add to our numbers; and to commission a task force to help us find harmony between the Fraternity’s desire to meet together in conventions and the limitations of its resources of finances, time and personnel. As we move together through this triennium, we will be hoping to expand and augment our experience of harmony.


I the triangle 1



WOOD, WIND AND WIRE A harpsichordist’s joys and challenges in exploring Baroque repertoire s a musicologist and a harpsichordist, I’ve had a varied career, both as an academic and as a performer. For 10 years I taught musicology at the Sydney Conservatorium in Australia and then returned to California to be closer to my family. It was a major transition and required some adjustment on my part, but my colleagues here in Sacramento and Davis, particularly those in the local Mu Phi Epsilon Sacramento Alumni chapter, were most welcoming. In addition to performing as a soloist, I play with various chamber groups, most recently Wood, Wind and Wire. We’ve performed with the Jefferson Baroque Orchestra in Ashland, Oregon; appeared in the series Music at Noon in the historic Westminster Presbyterian Church in Sacramento; and played for a Sacramento Alumni meeting. My colleagues in this venture are Robin Houston and Alan Paul, both of whom play baroque oboe, bassoon and recorder. They also play Renaissance woodwinds in other groups, and Robin plays clarinet in the Auburn and Folsom symphonies. Sometimes we are joined by our talented colleague Michelle Martin, who plays a violin with baroque fittings and uses a baroque bow. She performed with us in the Westminster concert and we are planning more concerts together. Like many harpsichordists of my generation, I began my studies as a pianist. As an undergraduate at Carleton College in Northfield, Minnesota, I had my first experience playing a harpsichord. Early on I was drawn to music of the baroque era and continued studying harpsichord at Northwestern University with Dorothy Lane while pursuing my master’s in music. As a Ph.D candidate at Cornell University, I found my interests directed to the Italian baroque, specifically the harpsichord music of Domenico Zipoli (1688-1726), whose keyboard music was the subject of my dissertation. While at Cornell, I was privileged to study piano with Malcolm Bilson, whose insights into performance practice of early music shaped my approach to keyboard music in many ways. At Cornell, I met my (now former) husband, Robert Samson Bloch, a gifted violinist with a particular affinity for the baroque 2

violin and its repertoire. We remained musical partners and have performed together over the years. Through Bob, I met the remarkable New York harpsichordist Louis Bagger, with whom I studied for a time. Both musicians have had a lasting influence on me, and I have the highest respect for them both. I own two harpsichords, both are custom-made from the Hubbard workshop in Waltham, Massachusetts. I also own a Carl Fudge clavichord, which I brought over to Australia to have with me while I was living in an apartment in Sydney and wanted to practice without disturbing the neighbors. Not only is it an incredibly quiet instrument, but it also has subtleties in touch and tone that make it an excellent practice instrument for a harpsichordist. I’ve even played it in public on occasion, once with the help of amplification. My current group plays at a low pitch, 415, and I find equal temperament works well for the varied repertoire we perform. I have experimented with different temperaments on other occasions, using Werckmeister III, for example, in 2015 when I recorded Zipoli’s 1716 harpsichord pieces [Demeter Recordings, 1688], because it was well suited to all the keys used. Of my two harpsichords, the big French double (Ruckers/ Taskin) works best for our group. It is strung with low tensile wire and sounds happiest at 415, the pitch at which my colleagues like to play. My other harpsichord, a Flemish single modeled after a 17th century Ruckers, is more versatile, and switches easily between 415 and 440, possibly because it is not strung with low tensile wire, as is the French. It, like the French double, has three registers (8’ 8’ 4’) and a buff. Frank Hubbard once told me that this particular design may have been his very favorite. Reading figured bass, as is the task of a continuo harpsichordist, is a skill not taught to students of an earlier generation. Realizations were written out in the editions that we graduate students prepared for our professors to use in their publications of the collected works of baroque composers. There were rules to follow, and we followed them diligently, relying on treatises from an era that abounded in written instructions on how to play music. Interestingly, there are few surviving written examples of

Origins of the Harpsichord The earliest known reference to a harpsichord dates from 1397, when a jurist in Padua wrote that a certain Hermann Poll claimed to have invented an instrument called the clavicembalum. It was a modification of the concert cimbalom, a type of chordophone composed of a large, trapezoidal box on legs with metal strings stretched across its top and a damping pedal underneath. It is typically played by striking two sticks against the strings. The prefix clavi- means “with keys.” —New Grove Dictionary of Music and Musicians The earliest known image of a harpsichord, from the 1425 altarpiece of the cathedral in Minden, Germany. The harpsichord is reversed in orientation in the original, not in the photograph. A second angel plays a psaltery, a hand-held instrument widely used in the Middle Ages.

keyboard realizations. One such is Kirnberger’s realization of the Trio Sonata from J. S. Bach’s Musical Offering. In my early years as a continuo player, I relied on written-out realizations by editors. Some were better than others, and I learned to make modifications. But when I began to play with my current colleagues, things changed. We have explored repertoire not only from the more familiar baroque composers such as Handel and Telemann but from lesser known figures on the order of Chelleri, Gottfried Finger, Daniel Purcell and the like. The facsimile editions with which I am confronted not only have no realizations, but sometimes they don’t even have figures. The continuo player must be aware of what is going on in the whole texture and be prepared to incorporate whatever rules make sense at the moment. In my student days, I would have found this daunting, but no longer! Not only is the intellectual exercise satisfying, but I feel involved in the music in a way I never did before. I am grateful to my colleagues not only for their musical companionship and expertise, but also for expanding my appreciation of my own role in the whole musical enterprise.


Robin Houston, Alan Paul and Susan Erickson (Alpha Delta, Sacramento Alumni) of Wood, Wind and Wire.

This harpsichord is the work of two celebrated makers: originally constructed by Andreas Ruckers in Antwerp (1646), it was later remodeled and expanded by Pascal Taskin in Paris (1780). It is part of the collection of the Musée de la Musique in Paris. SPRING 2024

I the triangle 3




EBBA SUNDSTROM “Ebba Sundstrom Now Conductor of Women’s Symphony Orchestra of Chicago” Edited and excerpted from The Triangle, vol. XXIII, no. 4 (Aug. 1929)

ota Alpha has added to its many distinctions the appointment of Ebba Sundstrom as the conductor of the Women’s Symphony Orchestra of Chicago. The organization will begin its fourth season on October 9. The Eighth Street Theater has been engaged for six concerts and the orchestra is busily occupied with preparing itself for the season. Sundstrom, taking the place of Ethel Leginske who was absent on a concert tour, scored a big success last year at her debut as conductor of the Women’s Symphony. Her well-grounded ability and her fine knowledge of orchestral instrumentation and routine, gained through years of experience as an orchestral player, soloists, and director of both instrumental and vocal ensembles brought her immediate recognition from both public and critics. Sundstrom’s unique position as the only Americanborn woman symphony orchestral conductor [thus far] has come to her naturally as the result of an exceptionally full musical experience. Her natural musical talent and instinct manifested itself early in violin, piano and composition. At the age of 12, she had led her own string quartet. Sundstrom has been soloist with the Minneapolis and other symphony orchestras and has given successful recitals in Chicago and throughout the country. “We aim at the top,” says Sundstrom, in speaking of the ambitions of the musicians in the first fully professional women’s symphony orchestra in the United States. Under Sundstrom’s peppy and persuasive baton the Women’s Symphony is making its mark on Chicago. 4

A Splendid Musician Following Ebba Sundstrom’s first season (1929-1930) as conductor of the Women’s Symphony Orchestra of Chicago, a story titled “Women’s Symphony Orchestra of Chicago complete successful season,” appeared in the Musical Courier on May 24, 1930. It included this description of Sundstrom: She is a splendid musician, a violinist of long orchestral training and concert experience, who has tackled the job of being one of the foremost women orchestral conductors, from the ground up. Unlike most aspirants … she has developed her skill on the basis of a sound and firsthand knowledge of the orchestra, gained by years in the concert master’s seat of various orchestras. Though Sundstrom was credited in her obituary as founder of the Women’s Symphony Orchestra of Chicago, the orchestra was founded in 1924 by three musicians: Lillian Peonisch, clarinetist; Adeline Schmidt, flutist; and Lois Bichl, cellist. Sundstrom was the orchestra’s longest-serving conductor (1929 to 1938).

CORRECTION: The Fall 2023 issue inadvertently omitted Third Vice President, Alumni Advisor Ann Geiler from the list of 2023-2026 International Executive Board members. Sincere apologies to Ann, whose support of alumni chapters is much appreciated. — Editor



2023-2026 International Executive Board members (from left): Ann Geiler, Liana Sandin, Ashley Bouras, Kurt-Alexander Zeller, Tanner Wilson and Marshall Pugh

The fraternity installed a new slate of officers to its International Executive Board during the 2023 convention. INTERNATIONAL PRESIDENT

Kurt-Alexander Zeller, Mu Chi, Atlanta Alumni FIRST VICE PRESIDENT, EXTENSION OFFICER

Liana Sandin, Beta Pi, Lincoln Alumni


Ashley Bouras, Phi Tau, Dallas Alumni


Ann Geiler, Phi Theta, St. Louis Alumni


Marshall Pugh, Alpha Xi, Roanoke Valley Alumni

Mu Phi Epsilon is proud to announce the reactivation of the Alpha Sigma chapter at Abilene Christian University in Abilene, Texas. Kristen Ward, associate professor at the university and the chapter’s faculty adviser, reports that 27 students celebrated the chapter’s reactivation by beginning the candidacy process in November.


Tanner Wilson, Beta Alpha, Fullerton Alumni Ex-Officio Members


Jess LaNore, Beta Psi, Indianapolis Alumni EDITOR


Haley Stevenson, Kappa, Indianapolis Alumni SPRING 2024

I the triangle 5



IN RECOGNITION 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.


Hailed as a voice with “rich vocal color and appealing quality,” American tenor and conductor Lynn Gary Atkins Jr. is a proud son of the Jersey Shore. He is recognized by his contemporaries for his range of expression and clarity on the podium as well as a tenor in solo and choral ensemble performance. With 20-plus years of performance experience, Atkins is at home as a solo vocalist, conductor, chorus master and music educator in classrooms, sacred music spaces and community music programs. During the 2019-2020 school year, he was honored to be part of the partnership between the New Jersey Department of Education and Garden State Equality’s team of teachers to pilot teach and develop an LGBT inclusive curriculum. He earned his Bachelor of Music in music education from Westminster Choir College of Rider University in Princeton, New Jersey; and his Master of Music and Doctor of Musical Arts in choral conducting from James Madison University in Harrisonburg, Virginia. Atkins has shared the stage with the New York Philharmonic (Maazel, Dutoit), New Jersey Symphony (Macal), the Royal Philharmonic Concert Orchestra (Dougherty), and One Voice Chorus Richmond (VA) among others. He is an assistant professor of music, director of choral activities and voice area coordinator at California State University, Dominguez Hills in Carson, California. 6

He is also director of music at Faith United Methodist Church in Torrance, California, and the artistic director of the Los Angeles Bronze Handbell Ensemble. Atkins is a proud member of Pi Kappa Lambda and Mu Phi Epsilon. In October 2023, he began his tenure on the National Board of Directors for Handbell Musicians of America.

Philip Glass and Paul Barnes


Mu Gamma, Lincoln Alumni Praised by the New York Times for his “Lisztian thunder and deft fluidity,” pianist Paul Barnes has electrified audiences with his intensely expressive playing and cutting-edge programming. He has been featured seven times on APM’s Performance Today and on the cover of Clavier Magazine with his recordings streamed worldwide. Celebrating his 25-year collaboration with Philip Glass, Barnes commissioned and gave the world premiere of Glass’s Piano Quintet “Annunciation.” The work is Glass’s first piano quintet and first work based on Greek Orthodox chant. Barnes, also a Greek Orthodox chanter, has collaborated most recently with

Glass and Victoria Bond to create piano works based on ancient Byzantine and Jewish chants. Barnes is the Marguerite Scribante Professor of Music at the University of Nebraska-Lincoln Glenn Korff School of Music. He was recently appointed artistic director of the Lied Center Piano Academy which welcomes several high-school pianists to Lincoln each summer for an intensive week of piano, composition, improvisation and collaboration. Barnes released his fourteenth recording in 2021 on Albany Records titled Illumination: The Piano Works of Victoria Bond. American Record Guide wrote “he sings with haunting musicality ... and plays with fervid virtuosity ... the music is calm and meditative, perfect for these troubled times.” In 2022, he gave the world premiere performance of “The Way of Mountains and Desert” by Native American composer Ron Warren. The work explores indigenous themes of creation and beauty. Barnes collaborated with Hollywood film composer JAC Redford on a new work inspired by the incarnational writing of Plato that premiered at the St. Constantine School in Houston in July of 2023. SPRING 2024

I the triangle 7



Susan Greenberg and Delores Stevens

SUSAN GREENBERG Phi Nu, Los Angeles Alumni

Flutist Susan Greenberg enjoys a versatile career as soloist, chamber musician, symphony player and recording artist. The Los Angeles Times has described her playing as “brilliant,” “elegant” and “supple,” and has lauded her “panache” and “musical projection.” She was a member of the LA Chamber Orchestra for 36 years, where she was a frequent soloist on both flute and piccolo and even alto flute. She has also appeared as guest soloist with the San Francisco and Oakland Symphonies, the Santa Monica Symphony, the Napa Valley Symphony and at the Hollywood Bowl. She has performed with the Los Angeles Philharmonic, L.A. Opera, New York City Opera, American Ballet Theater and the Joffrey Ballet, as well as at the Casals, Ojai and Martha’s Vineyard Music Festivals. Greenberg was the principal flutist for the Hollywood Bowl Orchestra’s tour of Japan and has received the “Most Valuable Player” award on the flute from the National Association of 8

Recording Arts and Sciences. She received both her Bachelor of Arts, cum laude, and her Master of Arts from UCLA, and is presently the flute professor at Pepperdine University and Santa Monica College. She also has taught at California Institute of the Arts, Occidental College. Greenberg is principal flute with the Santa Monica Symphony and the Vicente Chamber Orchestra and the artistic director of Chamber Music Palisades. She has recorded for over 500 motion pictures and many television shows, including The Simpsons for 25 years.

DELORES STEVENS Xi, Los Angeles Alumni

A founding member of the famed Montagnana Trio, Delores Stevens is recognized as a leading piano soloist and chamber musician throughout the United States and the world. Her consistent support of contemporary composers, including numerous commissions for Martha’s Vineyard Chamber Music Series (MVCMS),

and Chamber Music Palisades (CMP), led to a prestigious award from the National Association of Composers, the Presidential Award of Merit from the International Music Fraternity of Mu Phi Epsilon, and the prestigious Living Legends Award from Young Musicians Foundation. Her career began with the Los Angeles Philharmonic’s Green Umbrella Series, Ojai Festival, Monday Concerts, Chamber Music in Historic Sites, Coleman Chamber Concerts and Athenaeum Chamber Concerts. She co-founded and serves as artistic director for MVCMS, which celebrated its 50th season in 2021. She also co-founded and serves as co-artistic director for CMP, now in its 27th season. Her commitment to teaching young classical artists is exemplified by over 30 years as director of chamber music for the Young Musicians Foundation in Los Angeles, 29 years as head of piano studies at California State University, Dominguez Hills, and 33 years as head of piano studies at Mount St. Mary’s University in Los Angeles. Stevens served multiple terms as a director and as a trustee of the Recording Academy. She recorded for Orion, Laurel, Delos, Grenadilla, and Musical Heritage Records. Stevens and her husband of over six decades, Jim, have been residents of Pacific Palisades, California, for nearly 70 years. Lynn Swanson

LYNN SWANSON Gamma Pi, Atlanta Alumni

A native of the Atlanta suburb of Marietta, Georgia, Lynn Swanson holds a Bachelor of Music in organ performance from Shorter University, and a Master of Music Education in choral pedagogy from the University of Kansas. She is one of the most consequential leaders in the nearly four-decade history of the William Baker Choral Foundation. Swanson has enjoyed a significant international career, serving as associate organist of the Kronberg Evangelical Church, Kronberg, Germany, and Christ the King Anglican Church, Frankfurt, Germany. Her position also included a choral performance in the iconic Notre Dame Cathedral and organ/choral performance at the American Cathedral in Paris. She currently serves as music director & organist at Grace Episcopal Church in Gainesville, Georgia. The Grace Parish Choir will serve as choir-in-residence at Exeter Cathedral, England, in August 2024. From 2017-2018 she served as Assistant Director of the Zhuhai Classical Children’s Choir in Zhuhai, China, near Hong Kong. During her lauded tenure there, she conducted the chorus on national television as part of the 10th annual International Chamber Music Festival of the Central Conservatory of Music in Beijing.

Swanson served in several leading positions with the Choral Foundation from 2006-2018. She founded the Cobb Summer Singers in 2006, the Northside Young Singers in 2008, the Cobb Festival Singers in 2009, and the Institute for Healthy Singing in 2015. She co-created the Summer Singers of Lee’s Summit in 2014 and served as executive associate music director of the foundation from 2011-2017. Her choirs have recorded three albums: Between Heaven and Earth, Live in Charleston, and Legacies of Light.

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 SPRING 2024

I the triangle 9




Étude A recommended listening list for piano études before 1900 — besides Chopin and Liszt


ne way the Romantic aesthetic left its mark on piano repertoire is seen in transforming the étude into a concert work. Though the concert étude is often associated with Chopin and Liszt, earlier composers were already experimenting with bringing the humble étude to the concert stage. English pianist Johann Baptist Cramer (1771-1858), who studied with Muzio Clementi, was considered by Beethoven to be the finest pianist of his day. Cramer’s technical prowess is well demonstrated in his 84 etudes, published in two volumes (Opp. 30 and 40). The first étude from Op. 30 (1804) is reminiscent of the ubiquitous Hanon studies but displays more textural and harmonic variety. Though it is a step above the études of Czerny and Hanon, this piece is still early in the evolution of the concert étude. Cramer’s contemporary Daniel Steibelt (1765-1823), a German pianist and composer, had a reputation for recklessness and arrogance. His compositions, including several operas and many piano concertos and sonatas, were admired by another flamboyant composer, Hector Berlioz. Among Steibelt’s most substantial works are his piano études. His Op. 78 contains 50 études with a variety of technical challenges. The third étude in this set (1809) features interlocking voices and a harmonic language similar to that of Robert and Clara Schumann. Marie Bigot (1786-1820) was a pianist and composer from Alsace, a region between France and Germany. She was highly praised by many of her contemporaries, including Cramer and Haydn, for her expressive pianism. She was also instrumental in introducing Beethoven’s works to Parisian audiences. Her own compositions, though, are less well known, whether due to her status as a woman composer or her hesitance to publish. Her contribution to the étude genre is the Suite d’études from 1818. This fusion of two genres — suite and étude — is quite unusual. Bigot creates variety between movements via changes of the meter (simple and compound) and mode (major and minor). Both Marie Bigot and Ignaz Moscheles (1794-1870) taught Felix Mendelssohn in his formative years as a pianist. Moscheles, though, lived much longer than Bigot and saw more

of his compositions published. Moscheles is regarded as a gifted pedagogue with a unique teaching method best represented by his piano études. Étude Op. 70 No. 6 features almost constant sixteenth note passages in the right hand with a few parallel passages in the left hand. It requires a crisp and deft non-legato touch throughout. As the 19th century progressed, the étude genre evolved to incorporate emotional expression alongside strict technical training. The étude well demonstrates this in F Minor by Felix Mendelssohn (1809-1847). The lyricism and continuous arpeggios are reminiscent of one of the composer’s Songs without Words. Suppose Mendelssohn’s Étude in F Minor falls on the lyrical side of the spectrum. In that case, Charles-Valentin Alkan’s Allegro barbaro (Étude Op. 35 No. 5 from 1848) lands on the opposite extreme, replete with octaves and leaps. A French Jewish pianist and composer, Alkan must have been a phenomenal musician to conceive of such a daunting work. Even in the softer middle section, the pianist must continue playing octave leaps in the right hand but in a piano dynamic range, which is arguably more challenging than playing them forte. This fiery work may have been an inspiration for Bartok’s gripping piano solo with the same name. The works of German pianist Friedrich Burgmüller (1806-1874) continue to be a cornerstone of piano pedagogy to this day. The didactic works found in Opp. 100, 105 and 109 present advancing students with various technical challenges in musically appealing settings. Each piece in Op. 109 has a programmatic title and addresses a particular technical challenge. Number 15, Les Sylphes, utilizes a quick triple meter and vibrant 16th-note triplets to depict mythological flying spirits. Often associated with his virtuoso piano concertos, French composer Camille SaintSaëns (1835-1921) also wrote two sets of études, Opp. 52 and 111. The pensive and lyrical Op. 52 No. 2 is ingeniously designed to increase finger independence. Saint-Saëns uses small and large notes to indicate which part the performer should voice. Hugo Reinhold (1854-1935) was Vienna’s highly successful composer and pianist. A pupil SPRING 2024

I the triangle 11

of Anton Bruckner, his works were premiered by the Vienna Philharmonic. His Opus 19 pairs an étude with a waltz. The étude is vibrant and joyous, featuring rapid sextuplets accompanying a lyrical melody. French violinist Benjamin Godard (1849-1895) composed for piano, violin and orchestra. His Opus 149 contains four books of concert études for piano. The third étude from book four requires a dexterous left hand to execute the large leaps in the 16th note passages. This etude feels stormy and agitated, ending with a vibrant coda. Ignacy Paderewski regarded Polish Jewish pianist Moritz Moszkowski (1854-1925) as the best composer for piano after Chopin. His etude Opus 72 pairs musical expression and technical challenges. Number 13 requires the soloist to move deftly through challenging double eighth-note passages. The contrasting middle section offers a tunefully Romantic reprieve from the technical challenges that bookend the piece. How many composers have you heard from this list? It was a pleasant surprise for me to research pieces that have not been performed regularly on the concert stage. I don’t know about you, but it makes me curious about which piano études would take us to the 21st century. Tell me what you think at 12

Taiwanese pianist Yi-Yang Chen (Omega Omega, Kansas City Alumni) is an assistant professor of piano at the University of Kansas. Chen shot onto the international stage with backto-back victories in Sussex (2018), Washington (2017) and the Waring (2017) International Piano Competition. As a winner of the 2012 MTNA National Young Artist Competition, Chen was awarded a Steinway piano and two concerts in Miami sponsored by the Chopin Foundation/USA. He has performed on four continents in acclaimed venues including Carnegie Hall, Lincoln Center in New York; Melbourne Recital Centre, National Concert Hall in Taipei; Banff Music Centre in Canada; and the Assembly Hall in Worthing, England; with such orchestras as the Worthing Symphony Orchestra, Brevard Music Center Orchestra, Avanti Orchestra, Eastman Philharmonic Orchestra, National Chinese Orchestra and the Thailand Philharmonic Orchestra. Chen is an active adjudicator and the recipient of piano pedagogy awards/ grants and has presented lectures, workshops and masterclasses in Europe, Australia, Asia and the United States.

Nominate a Philanthropic Organization to Receive Funding from MFE Foundation A P P L I C AT I O N S D U E A P R I L 1 5 The Mu Phi Epsilon Foundation is seeking nominations of philanthropies for its 2024 support. Any current dues-paying-member of Mu Phi Epsilon may nominate a philanthropic organization for funding. Not all nominations will be awarded. Nominations are due April 15, 2024. Please contact Matthew Hoch, philanthropies chair, at philanthropies@mpefoundation. org for any questions regarding the application. Nominations must include: • Organization name • Organization mission statement • Contact (email and phone) for executive director or president of board • Link to or hard copy of annual financial report • Names of active dues-paying members connected to Mu Phi Epsilon • Name of active dues-paying nominator To ensure the greatest impact, the organization must: • Have an operating budget of less than $250,000 • Demonstrate how its mission aligns with that of the Mu Phi Epsilon Foundation • Be involved primarily in music making whether that be schooling, lessons, camps or performances, etc. • Provide services for or support historically underrepresented and minoritized communities of music makers More information and an application may be found on the Mu Phi Epsilon Foundation website,


I the triangle 13

HARMONIZING SUCCESS A band director’s five tips for building a healthy culture in your music program



wenty-three years ago I survived my first year of directing a high school band program because survival was my only option. I was a 25 year-old second-year teacher who had taken on a beast that I was too young to understand and too ambitious to decline. It started in October of my second year directing beginner bands when I received a call from the principal at one of the high schools in my district, and he asked me to consider taking over the large, previously successful band program because the current director was making a sudden departure. We made an appointment to meet in person, and I did my research. I called a trusted colleague in the district and explained the situation. “I wouldn’t touch that job. It’s going to be a mess.” I called the former assistant band director. She sighed heavily, “Teaching there was the most stressful part of my career.” I took the job. I’m not sure how I didn’t know this before the age of 25, but not every kid who signs up for band loves band as much as I did. Not every kid who signs up for band possesses the life skills to function in a group or the perspective to find value in community. Not every kid who signs up for band walks in the door a “band kid,” but I truly believe that every kid who signs up for band deserves a chance to find a place to belong, the opportunity to discover a passion for making music and an experience that will require him or her to grow in ways that challenge and change them forever. The first year was brutal. The kids were angry and resentful and did not get along. Defiance was a common theme — kids were stealing equipment, stealing my lunch, getting their tongues pierced a week before our first contest. The boosters were nearly non-existent — as most had fled when the last director left —

and they had taken years of institutional knowledge with them. I was starting from ground zero with inventories, databases, events and traditions. I survived that first year because I had to. The second was better; we experienced some successes, and we started to laugh more. At some point during the third year, I recognized that the vibe felt good. I was the comfortable, confident and reasonably successful person I had hoped to be. By the end of my 21 years at that

school, I was directing the largest band program in the history of the district, and it had a reputation for fostering positive experiences that changed lives. The band had become a cornerstone of adolescent belonging in the community, and this is what I was most proud of. Although I fell into cultural success mostly through intuition and trial and error, there are a few things that were crucial in taking this program from one extreme to another.

I HAD A CLEAR VISION If you are not thinking beyond today, this week or even this school year, you have not invested enough brainspace to developing a guiding vision. What kind of program do you want? What are your strengths as a director? Where can you devote time and energy? What do you want kids to remember about their time with you? If you are like most band directors, you are the only director on staff. It is not sustainable for one person to lead competitive concert, marching, jazz and chamber programs at the same time they are directing the pit for the musical, running a winter drumline/guard and checking the community boxes of basketball band, parades and playing for the next store opening in town. Trying to do it all will come at the expense of your health and your family, and it will ensure you are constantly stressed and sleep deprived. Choose what fits your areas of strength, your passion, your community and be cognizant of the time, money and staffing resources that are available to you.


In addition to a vision of what you can sustain with the resources you have, you should also have an understanding of what it feels like to be a student in your program. One of the most vital pieces of advice I was given as a young teacher was to be myself and not to try to take on the personality of directors that I admired. I have had the immense good fortune of working with so many master teachers throughout my career that I found that it is very easy to become inspired by the way these directors command their own programs. I am a tiny woman with one leg, and humor is my superpower. Trying to be the 6-foot 2-inch man who engages with physical presence and an air of discipline simply does not work for me. However, I discovered that I can get the same results by chasing my own vision in the way that is comfortable for me, and as a bonus, I am received as genuine and passionate. SPRING 2024

I the triangle 15

EVERY YEAR I TRIED TO GET BETTER The pursuit and incremental achievement of success is a foundational component to building a tradition of positive culture. As a young director, I immediately started making cold calls to anyone who I thought could help me. I was fortunate to be the bullseye in the center of a geographical area that houses some of the top music education programs in the nation, and therefore, I had access to some of the brightest minds in our profession. I was new to the state, but I quickly created a network of university directors who were more than happy to spend a rehearsal with me. I took copious notes as they worked, and I picked their brains after each rehearsal. Also, I involved education students in sectionals for my orchestra, an area in which I had a limited bag of pedagogical tricks. I attended conferences and went to all the “young teacher” talks. During solo and ensemble season, I sat in rooms of my weaker instruments with a pen and paper and listened to a master teacher give feedback to 35 or 40 soloists. During festival season, I sat in the performance room and took notes on repertoire and picked the brains of directors and judges on the breaks. I read books. I listened to music. 16

As I gained experience, I started to mentor student teachers and take on leadership roles in my local professional organization. To this day, I have never thought that I was at the peak of my abilities, and this keeps me motivated and driven year after year.

I FOUND MY PEOPLE I could not have achieved any amount of musical or cultural success on an island. I am, by nature, an introvert who hates small talk, can’t relate to most teachers and dies inside every time there is a staff ice breaker, but, somehow, I can be instant BFFs with band directors. I believe that human connection is the greatest gift of life, which also happens to be why I believe so passionately in school music programs. But this connection doesn’t just apply to students, it applies to those of us who work 12- to 15-hour days for weeks on end for these students. If you don’t feel that you have people, you need to take the first step. Call someone, text someone, arrange a meet up for directors in your area. If you are geographically isolated you may have to connect over the internet, but you must connect. We don’t grow if we aren’t networked, and we certainly can’t feed our souls if we are isolated from others who have experienced what we are experiencing. SPRING 2024

I the triangle 17



My bands hold traditions that have grown from grassroots weirdness. In most cases, I am not the impetus for tradition, but I am the curator. It’s important that students have the opportunity to create an identity, as long as this identity is healthy, ethical and unifying. My previous students planned and implemented elaborate pranks at band camp. When these pranks evolved into overly messy or mean surprises, I quickly implemented new policies and the pranks turned into fun surprises like a “wedding” of the band mannequins or a pancake breakfast served by the boys. Had I not stepped in, a tradition that had been fun and creative would have turned toxic, embarrassing and damaging to the culture of the entire program. The ease in which student (or parent!) ownership can develop into a toxic identity should not be underestimated. I have noticed tugs in this direction at times when there is a sense of entitlement or when musical successes are processed as “wins.” However, helping students learn to navigate both triumphs and failures in healthy ways has been 18

one of the most rewarding experiences of my career. Staying ever-cognizant of the cultural temperature of the community and committed to curating a positive vision opens up space for life lessons that strengthen everyone.

It’s important to acknowledge that some communities will be more malleable than others. I have only directed two high school band programs, and both have been in working class urban communities, so this is my lens. But over the years, I have experienced an extreme spectrum of administrative efficacy and support as well as a myriad of feeder program variations, class schedule evolutions and staff changes that have impacted my program in tangible ways. It can be difficult to separate your professional self from the emotional sense of loyalty to your students and your community, but maintaining a modicum of distance can help you to accurately differentiate temporary issues from deeper systemic educational change and understand when it’s time to move on. Providing opportunities to grow and maintain positive culture isn’t just important for the students, school and community — it’s a necessary component of our own professional satisfaction. As directors we invest so much of ourselves into what we do, that coming to school each day to teach students who are functional and happy helps us avoid burnout. There are plenty of fires surrounding education, and the ability to shut the door and just enjoy being with our kids is the gift we receive when we invest in culture.

Elizabeth Hering (Phi Lambda) has been the director of bands at McNary High School in Keizer, Oregon, since 2021. Prior to that, she was the director of bands at Livonia Churchill High School in Metro Detroit for 21 years. She earned her Bachelor of Music from Willamette University and her Master of Music from Northwestern University. Hering is a national finalist for the Grammy Music Educator Award, having been in the top 10 in 2019, 2020 and 2021. She was a 2022 Grammy quarterfinalist but withdrew from the competition upon moving to Oregon. She has been a four time Michigan School Band and Orchestra Association (MSBOA) D12 Director of the Year, an Michigan Music Conference clinician, a guest lecturer at many universities and she served on the MSBOA district and state boards for 15 years. Hering lives in Salem, Oregon, with her three children, Teagan, Gabriel, and Kai, and her husband, Kirk, who is a reformed percussionist turned organic chemist who (remotely) leads an R&D group in Ann Arbor.


I the triangle 19


After Austin Alumni met in September, several members visited the home of Lee Clements Meyer (Phi Xi, Austin Alumni), past international president and lifetime chapter member, to present her with a certificate recognizing 75 years of Mu Phi membership. From left: Rebecca Kyriakides (Nu, Austin Alumni), Melissa Eddy (Mu Theta, Austin Alumni), Lee Meyer and Martha MacDonald (Phi Xi, Austin Alumni).

Saxophonist Jessica Dodge- Overstreet (Phi Tau) released her debut solo album, Root, with Ravello Records in September. The project, funded in part by a Mu Phi Epsilon Foundation grant, features four transcriptions of violin/piano music for soprano saxophone/piano to bolster the diversity of the instrument’s transcription repertoire.

Karen Leonard (Phi Upsilon, Boston Alumni), artistic director of the Merrimack Valley Ringers, directed the ensemble during many holiday concerts held throughout New England, including the Worcester Art Museum in Worcester, Massachusetts.


Katherine Doepke (Phi Beta, Minneapolis Alumni), was featured on Minnesota Public Radio KSJN on December 8. She was a guest host with MPR personality Steve Staruch who asked Doepke questions about her life and had her name the requests going out on air.

Bella Montemore (Phi Omicron), chapter president, shared that Phi Omicron at the Cleveland Institute of Music and Case Western Reserve University held a Mario Kart videogame party in the fall.

Vonda Rogers-Cooper (Beta Zeta, Baton Rouge Alumni) was recognized by the Baton Rouge, Louisiana, organization Kids’ Orchestra with a teaching artist spotlight in November. Rogers-Cooper teaches KO foundations classes at Baton Rouge Foreign Language Academic Immersion Magnet and McKinley Elementary. She is the organization’s longest-serving teacher.

Ian Wiese’s (Lambda, Boston Alumni) composition Crossings, written for the Worcester Polytechnic Institute Concert Band won second place in The American Prize competition for the wind ensemble/band division — college/university level.

The Atlanta Alumni chapter recognized LaNelle Nash (Epsilon Gamma, Atlanta Alumni) for 70 years of membership in Mu Phi Epsilon with an Amethyst Triangle certificate.

Karin Lopez (Gamma Sigma), a band director at Rancho Dominguez Preparatory School in Long Beach, California, was invited to march with the Band Directors Marching Band in the 2023 Macy’s Thanksgiving Day Parade as part of the Saluting America’s Band Directors project.

Delta Tau members from Mercer University in Macon, Georgia, performed holiday music for a local retirement home in December.

The Portland Alumni chapter held a holiday social in December. Members shared treats, played music and enjoyed fellowship together.

Colorado Springs Alumni celebrated 60 years of Mu Phi membership with Frances Honea (Mu Rho, Colorado Springs Alumni) and Margaret Reiber (Alpha Rho, Colorado Springs Alumni) during the chapter’s September meeting. Deb Yagmin (Phi Theta, Colorado Springs Alumni), chapter president, presented both women with certificates.


I the triangle 21


FOUND ERS DAY CELEB RATIO NS Below: Kansas City Alumni celebrated the Fraternity’s 120th anniversary in the home of Shulin Guo (Alpha Kappa, Kansas City Alumni), chapter president.

The Sacramento Alumni chapter held its Founders Day celebration alongside Mu Eta.

Left: The Minneapolis-St. Paul Alumni chapter’s Founders Day celebration included the presentation of anniversary certificates. Two of the five awardees were present. Pictured are (at left) Katherine Doepke (Phi Beta, Minneapolis Alumni), former international president, with her 80-year certificate and Narissa Strong Bach (Epsilon Micron, Minneapolis Alumni) with her 50-year certificate.

Right: Zeta Omega held a Founders Day concert at Illinois College in Jacksonville, Illinois, featuring all chapter members.

Left: Palos Verdes/South Bay Alumni gathered with members and friends from Gamma Sigma, Beta Alpha, Eta Theta, Los Angeles Alumni and Fullerton Alumni in celebration of Founders Day.






These Mu Phi Epsilon chapters celebrate milestone anniversaries in 2024.

These Mu Phi Epsilon chapters celebrated milestone anniversaries in 2023.

115 YEARS Lambda, Ithaca College, Ithaca, NY . . . . . . . . . . . . . . . . . . . . . . Feb. 19, 1909

110 YEARS Ann Arbor Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sept. 22, 1913

110 YEARS St. Louis Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Apr. 8, 1914 Cincinnati Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Apr. 14, 1914

100 YEARS Mu Nu, University of Southern California, . . . . . . . . . . . . . . . . Jan. 5, 1923 Los Angeles, CA Lincoln (Nebraska) Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Feb. 1, 1923 Mu Pi, Ohio Wesleyan University, Delaware, OH . . . . . . . . . . May 30, 1923 Cleveland Area Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nov. 13, 1923

105 YEARS Mu Beta, Washington State University, Pullman, WA . . . . . .Feb. 13, 1919 Los Angeles Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mar. 20, 1919 Mu Gamma, University of Nebraska, Lincoln, NE . . . . . . . . . Mar. 27, 1919 Portland Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sept. 1, 1919

95 YEARS Washington, DC Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Feb. 1, 1928

95 YEARS San Francisco Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nov. 17, 1929

90 YEARS Alliance (Ohio) Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jun. 22, 1933

65 YEARS Atlanta Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . May 24, 1959 Berkeley (California) Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nov. 1, 1959 Alpha Kappa, University of Missouri, Kansas City, MO . . . . Nov. 13, 1959 Austin (Texas) Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dec. 14, 1959

85 YEARS Phi Lambda, Willamette University, Salem, OR . . . . . . . . . . . Apr. 5, 1938 Phi Mu, San Jose State University, San Jose, CA . . . . . . . . . . Apr. 9, 1938

60 YEARS Palos Verdes/South Bay (California) Alumni . . . . . . . . . . . . . Oct. 18, 1964 55 YEARS Beta Psi, University of Indianapolis, Indianapolis, IN . . . . . . Nov. 23, 1969 45 YEARS Gamma Psi, St. Mary-of-the-Woods College, . . . . . . . . . . . . . May 6, 1979 St.-Mary-of-the-Woods, Indiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Terre Haute (Indiana) Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . May 6, 1979 30 YEARS Delta Mu, Slippery Rock University, Slippery Rock, PA . . . . May 8, 1994 15 YEARS Zeta Theta, University of Lynchburg, Lynchburg, VA . . . . . . Apr. 28, 2009 Zeta Epsilon, Randolph-Macon College, Ashland, VA . . . . . Apr. 28, 2009 5 YEARS Eta Eta, Oglethorpe University, Atlanta, GA . . . . . . . . . . . . . . Sept. 22, 2019

75 YEARS Epsilon Epsilon, Texas Christian University, . . . . . . . . . . . . . . . May 21, 1948 Fort Worth, TX 70 YEARS Epsilon Sigma, Pacific Lutheran University, . . . . . . . . . . . . . . Feb. 7, 1953 Tacoma, WA Epsilon Upsilon, Duquesne University, Pittsburgh, PA . . . . . May 23, 1953 Epsilon Phi, Friends University, Wichita, KS . . . . . . . . . . . . . . May 30, 1953, 65 YEARS Dayton (Ohio) Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mar. 2, 1958 Alpha Delta, California State University, Sacramento, CA . May 4, 1958 50 YEARS Fullerton (California) Alumni . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sept. 27, 1963 55 YEARS Beta Omicron, Western Illinois University, Macomb, IL . . . . Feb. 16, 1968 Beta Pi, Nebraska Wesleyan University, Lincoln, NE . . . . . . . Feb. 18, 1968 25 YEARS Delta Nu, Millsaps College, Jackson, MS . . . . . . . . . . . . . . . . . . Feb. 7, 1998 Delta Pi, Tarelton State University, Stephenville, TX . . . . . . . May 14, 1998 20 YEARS Delta Psi, Clayton State University, Morrow, GA . . . . . . . . . . Apr. 26, 2003 15 YEARS Zeta Zeta, Elon University, Elon, NC . . . . . . . . . . . . . . . . . . . . . .Nov. 5, 2008 Zeta Eta, Binghamton University, Binghamton, NY . . . . . . . Nov.12, 2008 10 YEARS Zeta Rho, University of Minnesota, Duluth, MN . . . . . . . . . . . Mar. 9, 2013 Baton Rouge (Louisiana) Alumni . . . . . . . . . . . . . . . . . . . . . . . . Aug. 28, 2013 5 YEARS Eta Delta, Ripon College, Ripon, WI . . . . . . . . . . . . . . . . . . . . . Apr. 20, 2018


I the triangle 23



Eta Theta, California State University, Long Beach

Alpha Pi, Texas State University in San Marcos, Texas

Delta Psi, Clayton State University in Morrow, Georgia

Alpha Kappa, University of Missouri, Kansas City

Kappa, Butler University in Indianapolis, Indiana

Phi Omega, Westminster College in New Wilmington, Pennsylvania

Beta Pi, Nebraska Wesleyan University in Lincoln, Nebraska



Darlene Lou (Maher) Evers Omega, May 12, 1948 Died January 16, 2023

Virginia Lee (Lull) Boehme Phi Rho, November 10, 1946 Died March 25, 2023

Lenore (McNabb) Horsman Epsilon Omicron, April 29, 1954 Died April 14, 2023

Vocalist. Darlene attended Drake University in Des Moines, Iowa, where she earned her Bachelor of Music. She then earned her master’s degree at the University of New Mexico. She began her professional career as an alto soloist and performed throughout the country. For 13 years, she was an assistant professor of voice in the music department at the University of Texas at El Paso. Darlene had a lengthy career as a vocalist and soloist and was sought out by composer John Rutter. She taught, mentored, and encouraged hundreds of vocalists and many have gone on to have their own professional music careers.

Pianist, Vocalist. Virginia joined Mu Phi Epsilon at the Minneapolis College of Music where she earned her degree in music. She was an excellent pianist and singer who performed on WCO radio and off-Broadway with Ethel Merman in Annie Get Your Gun.

Pianist, Vocalist. As a young woman, Lenore became a first-class pianist and studied at the Eastman School of Music. But after moving to Indiana University, she changed her musical emphasis and began a lifetime devotion to the study of voice. Lenore performed in a variety of productions at the Skylight Theater in Milwaukee. In 1976, she won a scholarship to Florence, Italy, to study voice with Tito Gobbi, one of the world’s finest baritones. Gobbi recommended her to the famous voice teacher Ettore Campogalliani who she also studied with. Lenore enjoyed a 33-year career of performing in America and Europe.

Robin Lynnette Howard Gamma Rho, April 9, 1988 Died March 18, 2023 Flutist, Vocalist. Robin graduated from North Carolina Agricultural & Technical State University where she joined Mu Phi Epsilon. She loved playing flute in the marching band and played in the A&T alumni band. Robin earned bachelor’s and master’s degrees in computer science at A&T and used those skills to help with the alumni band and faculty-staff choir. She enjoyed singing in her church choir and conducted the children’s programs at Christmas and Easter. She also played with Temple Brass, a highly talented ensemble of amateur musicians in Greensboro, North Carolina.

Sharon Ann Singletary Kraus Phi Tau, January 18, 1997 Died April 2, 2023 Pianist, Vocalist. Sharon graduated from North Texas State University with a degree in music education and went on to earn a master’s degree in school counseling. She was a teacher and school counselor for the Dallas County School District for more than 47 years. Sharon enjoyed playing piano and singing at senior facilities as well as at her church. She belonged to the Community Chorus and the Starlite Girls Chorus group. Sharon belonged to the Dallas Summer Musical Guild and was a member of the Board of Directors for a time. Sharon was a member and former officer of the Dallas Alumni chapter.

Ruby Sumrall Fudge Epsilon Gamma, May 7, 1947 Died April 21, 2023 Pianist. Ruby earned her degree from Belhaven College in Jackson, Mississippi, where she was a member of Mu Phi Epsilon. Following college, she taught at Shaw High School in Shaw, Mississippi. Ruby played the organ for the church choir for many years and was active behind the scenes for the Symphony of the Mountains in Kingsport, Tennessee. She was known for hosting guest opera singers and musicians at her home.


I the triangle 25


Loyette Frances Swanson Phi Pi, April 26, 1950 Died April 25, 2023 Educator, Pianist, Vocalist. Loyette attended University of Kansas and Wichita State receiving her bachelor’s degree in music education. She earned her master’s degree from Drury University in Springfield, Missouri. Loyette taught in the Springfield Public Schools District for 28 years. She was a church choir director, an accomplished pianist and a member of the Mid-America Singers for 25 years. She was an active member of the Springfield Regional Opera Guild (now Ozarks Lyric Opera) and the Springfield Symphony Guild. Her volunteer work included delivering Meals on Wheels and singing and playing piano for the residents of area nursing homes. Loyette was a member of St John’s Chapel United Church of Christ and sang in their choir until age 89. Annette Long Bills Lawrie Mu Xi, January 18, 1948 Died May 22, 2023 Organist, Pianist. Annette studied piano and organ as a child. For 60 years, she was the organist at First Presbyterian Church in Lewisburg, Tennessee. She attended Maryville College in Maryville, Tennessee, and graduated from the American Conservatory of Music in Chicago with a Bachelor of Music in organ. She enjoyed sharing stories of her time in Chicago and being at the conservatory, such as her orchestration class under Leo Sowerby, who won the Pulitzer Prize in 26

music in 1946 and was often referred to as the “dean of American church music.” Annette taught piano and organ to countless children and played numerous weddings, funerals, MCHS graduations and cantatas, many of which were directed by her husband, Howard Martin Lawrie, whom she met at the conservatory. She was also a church organist and accompanied choirs, school choruses, community choirs and soloists. Ruth E. (Burckel) Healey Phi Upsilon, May 9, 1947 Died June 4, 2023 Pianist, Organist, Vocalist. Ruth graduated from Boston University School of Fine Arts where she joined Mu Phi Epsilon. She was a member of the marching band and had the opportunity to perform several times on the historic pipe organ at Searles Castle in Windham, New Hampshire. Ruth was a dedicated teacher of music and English at the Bancroft School in Worcester, Massachusetts. After her vocal career was cut short with complications of thyroid surgery, she had an impressive career as an organist at St. Paul’s Episcopal Church in Natick, Massachusetts, and as a pianist, including accompanying the Boston Ballet. Ruth was an active volunteer at local hospitals and extended care facilities. She also supported programs that helped people with stuttering.

Marvell Greenwood Hamm Mu Eta, October 27, 1990 Died July 2023 Organist, Pianist, Choir Director. Marvell was a music teacher to over 1,000 adults and children through her private studio and at St. Anselm’s School in San Anselmo, California. She put on many recitals of both piano and voice for her students over the course of three decades. She started as an organist and choir director for Star of the Sea Church in Sausalito, California. She also ran a radio talk show in Sacramento promoting women and equal rights. Marvell sang at Carnegie Hall in New York City and throughout many of the great cathedrals in Europe. She was also an accomplished artist. She was proud of her long memberships in the World Affairs Council, Mu Phi Epsilon and the Commonwealth and Winifred Baker Chorale. Carmen M. (Greenstreet) Hagman Mu Zeta, May 29, 1949 Died July 26, 2023 Educator, Vocalist. Carmen graduated from Whitman College in 1950. She was a soloist and member at Central United Methodist for many years and taught kindergarten at Medical Lake Elementary School in Medical Lake, Washington. Carmen was a member of Alpha Chi Omega, Mu Phi Epsilon and Daughters of the American Revolution.

Carolyn Mulcahy Beta Iota, January 7, 1967 St. Louis Alumni Chapter Died August 28, 2023

Fern (Sewell) Black Epsilon Tau, May 15, 1968 St. Louis Alumni Chapter Died October 27, 2023

significant grants and bequests and helped to modernize its investment strategy, as well as creating the Onyx Circle of donors.

Bassoonist, Educator. Carolyn received her bachelor’s degree from Texas Christian University where she majored in citizenship and minored in psychology. She went on to earn a music degree at Southern Illinois University Edwardsville. Carolyn was a respected teacher and bassoonist in the St. Louis area. Carolyn played in many community orchestras including the Alton Symphony Orchestra and the Webster Symphony Orchestra. Carolyn also subbed in the St. Louis Symphony and played in the Gateway Festival Orchestra, both professional orchestras in St. Louis. She was an active member of the St. Louis Alumni chapter and held a variety of offices throughout the years.

Organist, Choir Director. Beginning as a teenager, Fern served 10 years as organist in several Minneapolis churches, transitioning to her first organist/ choir director position in 1954. She retired from her last organist position in 2018 at the age of 88. Fern earned her Bachelor of Arts from Washington University, was active in the American Guild of Organists for 75 years and Mu Phi Epsilon for 55 years. Fern was an active member of the St. Louis Alumni chapter and throughout the years has held a variety of offices. She was also an excellent baker. No one was ever a stranger. Her home was full of people, music, thoughtful conversation and an abundance of delicious food.

Joan M. Reist Mu Gamma, April 25, 1954 Lincoln Alumni Chapter Died November 4, 2023

Dorothy Fahlman Nu, November 13, 1951 Died October 3, 2023

Sandra (Major) Wiese Zeta, January 13, 1960 Cleveland Area Alumni Died October 31, 2023

Pianist. Dorothy graduated from the University of Oregon with a degree in piano performance. She was professionally certified through the Music Teachers National Association, and taught an estimated 1,200 students over a span of 60 years. Dorothy was also a script writer, director and puppeteer in the Oregon guild of Puppeteers of America. She was the co-author of the children’s musical Wee Sing Together as well as several children’s musical story books. She was actively involved in the Oregon Music Teachers Association, the Oregon Symphony and Portland Piano International.

Vocalist, Pianist. Sandy graduated from DePauw University, where she majored in math and music. She went on to be a high school math teacher and piano teacher for many years. Sandy was involved with numerous music groups, including Fortnightly, Three Arts Club of Lakewood and Mu Phi Epsilon. She served in various roles including treasurer of the Mu Phi Epsilon Foundation for a very long time and was a tireless advocate for increasing the foundation’s revenues. Sandy procured several of the foundation’s most

Educator, Pianist. Joan enjoyed a long a distinguished career in music education in Nebraska and at the national level. She earned a bachelor’s degree in music education and a master’s degree from the University of Nebraska–Lincoln. She began her teaching career in rural public schools, but it was her decision to open a piano studio in 1960 that set her on a path that would define her professional life. Over the next 33 years, she taught countless piano students. In 1973 she joined the University of Nebraska, where she retired as associate professor emerita. Joan was a member of the International Piano Teaching Foundation, Lincoln Music Teachers Association, the Nebraska Music Teachers Association and the Music Teachers National Association. She was a member of Mu Phi Epsilon for over 60 years and an active member of Lincoln Alumni.


I the triangle 27


ATLANTIC DISTRICT A1 Stephanie Berry 574.596.8285 DISTRICT A2 Susan Todenhoft 703.323.4772 H 703.509.0224 C EASTERN GREAT LAKES DISTRICTS EGL1 & EGL2 Hannah Flowers 814.897.6531 DISTRICT EGL3 Nancy Jane Gray 330.688.7990 GREAT LAKES DISTRICT GL1 Pat Butler 734.751.9069 DISTRICT GL2 Linda McNair 314.494.7472 EAST CENTRAL DISTRICTS EC1 Herbert Jackson 678.577.3637 DISTRICTS EC2 & EC3 Brandon Barnett 317.557.3443


SOUTHEAST DISTRICT SE1 Lauren Moseley DISTRICTS SE2 Wanda Yang Temko 404.217.9712 DISTRICTS SE3 Arietha Lockhart 404.284.7811 DISTRICT SE4 Marcus Wyche 301.484.3652 SOUTH CENTRAL DISTRICTS SC1, SC3 & SC4 Isabel De La Cerda 210.204.6425 DISTRICT SC2 Kaitlyn Swaim 281.757.9746 CENTRAL DISTRICT C1 Linda McNair 314.494.7472 DISTRICT C2 Paula Patterson 417.773.1176 NORTH CENTRAL DISTRICT NC Carmen Chavez 952.460.0708

WEST CENTRAL DISTRICT WC1 Ashley Roever 580.822.5682 DISTRICT WC2 Kirsten Forbes 720.232.6450 PACIFIC NORTHWEST DISTRICT PNW1 Sophia Tegart 509.991.4906 DISTRICTS PNW2 & PNW3 Michael Lasfetto 971.275.3800 PACIFIC DISTRICT P1 Jessica Dodge Overstreet 775.720.2135 DISTRICT P2 Kirsten Forbes 720.232.6450 PACIFIC SOUTHWEST DISTRICT PSW Ayanna Lewis 310.970.4462


2023-2026 INTERNATIONAL EXECUTIVE BOARD Dr. Kurt-Alexander Zeller, Mu Chi Atlanta Alumni International President 770.961.4400 Liana Sandin, Beta Pi, Lincoln Alumni 1st VP/Extension Officer 402.560.7126 Ashley Bouras, Phi Tau, Dallas Alumni 2nd VP/Collegiate Advisor 972.765.3252 Ann Geiler, Phi Theta, St. Louis Alumni 3rd VP/Alumni Advisor 314.691.7648 Marshall Pugh, Alpha Xi Roanoke Valley Alumni 4th VP/Music Advisor 252.599.2492 Tanner Wilson, Beta Alpha Fullerton Alumni 5th VP/Eligibility Advisor 951.515.9680 Jess LaNore, Beta Psi Indianapolis Alumni Executive Secretary-Treasurer 888.259.1471 Kat Braz International Editor Haley Stevenson, Kappa Indianapolis Alumni Social Media Manager

HONORARY ADVISORY BOARD Rosemary Ames, Omega Boston Alumni 508.498.4669 Katherine Doepke, Phi Beta Minneapolis Alumni 763.513.0381 Lee Clements Meyer, Phi Xi Austin Alumni 512.345.5072

MUSIC LIBRARIAN & ARCHIVES Wendy Sistrunk, Mu Mu Kansas City Alumni 816.836.9961

INTERNATIONAL CHAIRMEN ACME Arietha Lockhart (Chair) Beta Gamma, Atlanta Alumni 404.284.7811 Mary Au (Co-Chair), Mu Nu Los Angeles Alumni 323.666.2603

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

FINANCE Evelyn Archer, Omega Omega St. Louis Area Alumni 458.562.9177

INTERNATIONAL Marlon Daniel, Mu Xi New York City Alumni 212.641.0305

2022-2023 FOUNDATION BOARD Kira Dixon, President Phi Mu, Palo Alto Alumni Sean Kilgore, Esq., Vice President Kappa Dr. Katsuya Yuasa, Secretary Phi Mu Isabela De La Cerda, Treasurer Delta Omega, San Antonio Alumni Dr. Matthew Hoch, Philanthropies Coordinator Lambda Dr. Danielle Kuntz, Artist Concert Manager Grants and Scholarship Chairman Mu Phi, Cleveland Area Alumni Dr. Hannah Porter Occeña, Alpha Kappa Dr. Kurt-Alexander Zeller Mu Chi, Atlanta Alumni


I the triangle 29

Mu Phi Epsilon Professional Music Fraternity 6510 Telecom Drive, Suite 200 Indianapolis, IN 46278 888-259-1471

PROTECTING OUR VALUES. SUPPORTING OUR PROGRAMMING. PROVIDING QUALITY PRODUCTS. When you purchase from a licensed vendor, you are assured a quality product at a competitive price — with a portion of the proceeds directly benefiting the programming and guidance offered by Mu Phi Epsilon. For Mu Phi Epsilon merchandise, visit

Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.