The Triangle, publication of Mu Phi Epsilon music fraternity, Volume 114, Issue 4, Winter 2021

the

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

Triangle VOLUME 114

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ISSUE 4

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Why HeLeads

COMPOSER AND CONDUCTOR CHARLES DICKERSON III

Pianists and vocalists looking to add Nordic music to their repertoire would do well to explore the music of Agathe BäckerGrøndahl.

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FEATURES

8 Queen of Her Instrument

The contributions of pianist and composer Agathe Bäcker-Grøndahl

By Kristín Jónína Taylor with Shelby VanNordstrand 20 Why He Leads

Composer and conductor Charles Dickerson III

By Mary Au 12 Reimagining the Classroom

How to survive thrive as on online educator

By Nicole Laborte 16 Virtual Options

Which one is right for you?

By Mu Phi Epsilon contributors 19 Welcome Eta Zeta!

The new chapter is installed at University of North Georgia

COLUMNS 3 4 5

President’s Message: Keeping the Music Going by Rosemary Ames Alumni Corner: No Boundaries, No Limits by Marcus Wyche From the Foundation: Reasons to Smile by Sophia Tegart

DEPARTMENTS 30 32 34 35 2

Applause & Encore: Member and Chapter News Final Notes: Compiled by Ann Gibbens Davis and Ann Geiler District Directors Directory Executive Officers Directory

MuPhiEpsilon.org

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 Ellen Ritscher Sackett editor@muphiepsilon.org DESIGN & PRODUCTION Paul Wilson thetriangle@muphiepsilon.org Send all material for publication to: Ellen Ritscher Sackett, editor@muphiepsilon.org or by mail to 10921 River Road College Station, TX 77845 All materials submitted for publication become the property of Mu Phi Epsilon. Requests for return are accepted and must be accompanied with a self-addressed stamped envelope.

Electronic transmissions are preferred. Photos must be the original digital file and as high resolution as possible. Images copied from social media are not acceptable. Please include photographer’s credit information. All photographs are published courtesy of the contributor unless photographer credit is provided.

Deadlines for submissions: Fall — August 15 Winter — December 1 Spring — February 15 Summer — May 1 Change of address, renewals, notice of deceased members, requests for extra copies and subscription requests should be sent to: Mu Phi Epsilon International Executive Office 4011 N Pennsylvania St #100 Indianapolis, IN 46205 toll free: 888-259-1471 fax: 888-855-8670 email: executiveoffice@muphiepsilon.org The Triangle is published 4 times per year

by Mu Phi Epsilon, International Professional Music Fraternity.

Member, Professional Fraternity Association.

(ISSN 0041-2600) (Volume 114, Issue 4) Subscription price is $20.00 per year.

Single copies are $8.00.

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

POSTMASTER: Send all changes of address to: Mu Phi Epsilon, 1611 County Road, B West, Suite 320, St. Paul, MN 55113. © 2021 Mu Phi Epsilon. All rights reserved.

PRESIDENT’S M E S S A G E

ROSEM ARY AM ES, IN T ER N AT I O N A L P R E S I D E N T, O M E G A , B OSTO N A LU M N I P R ESI D ENT@ MU P H I E P S I LO N .O R G

KEEPING THE MUSIC GOING nd it goes on and on…. We thought by now, we would have some relief from our isolation and struggle to find some sense in dealing with this deadly virus. Alas, we find ourselves continuing to stay at home, wearing face masks when we do venture out, and constantly washing our hands. We miss hugging family and friends but are thankful for FaceTime and Zoom and other amazing applications that keep us in touch.

With much delight, the music goes on as well. Our music teachers have adapted to teaching rhythm, melody, instruments, and singing remotely. Bands and orchestras continue to perform, while choruses’ space themselves far from their fellow singers and continue to offer wonderful performances. I hear daily of Mu Phi members who are teaching and performing in new and exciting ways. The ingenuity and creativity demonstrated is amazing.

I often hear the phrase, “when things return to normal,” but I suspect that we will never return to “the way we did it before.”

We have opened ourselves to exploring new and exciting ways to keep the music going. Hopefully, we will return to those hugs we have been stockpiling, but perhaps the teaching and performing of music will encompass many of the innovations we have discovered, allowing musicians to reach ever expanding audiences to share the joy of music, offering harmony and peace to many.

We are still faced with many questions about the future, both personally and through Mu Phi. One big one that comes to mind is of course, will we again be compelled to rethink our 2021 convention. You may not have heard any updates, but never doubt that so many questions about the convention are always front and center in my mind. Will we be far enough along in the vaccine availability by July so members can safely travel to Dallas? Should we open the convention to a virtual audience? How would that work? Can we possibly offer members a convention remotely? Can we do any less when considering the safety of our members? So many questions that we think about every day. What we can tell you now is probably not satisfactory, but it is the best we have right now; we will let you know as soon as we know! Trust that we think about this daily (and sometimes in the middle of the night), searching for solutions to honor our members by providing a convention with stellar music, educa-

tional workshops, and see to the business of Mu Phi Epsilon.

It has been 117 years of growth for Mu Phi Epsilon. I am sure our founders never imagined we would be working our way through this pandemic with such grace and vision. Last year as we prepared for an in-person convention, I asked you to think of your vision for the future of Mu Phi Epsilon. I again ask you to do that, but I suspect our thinking might be much different now than last year. As we embrace all the electronic capabilities, will we gather more often than every three years? Already, District Directors have hosted virtual district meetings and gatherings with great success. Our rituals are being conducted with thought and meaning virtually and new members abound. Attendance at local meetings is up as members are not faced with driving after dark, distances between members, etc. SERV projects are continuing as our music expands to unusual, creative venues (outdoors, sidewalks, parks, homes). And the opportunity to share these experiences with other chapters and members is ours for the taking.

On July 21, 2021, we will gather for the 57th National and 21st International Convention, whether it be in person in Grapevine, Texas, at the Embassy Suites by Hilton DFW North or virtually in front of your screen, whether it be computer, TV, or iPad. We will continue the tradition of presenting top quality performers and presenters. Our dedicated convention web pages will be active again in January 2021 where we will keep you updated on the location and format for the convention. Be sure to check the Mu Phi Epsilon webpage in January: muphiepsilon. site-ym.com/page/Convention As always, each chapter is to be represented by an official business delegate, but our convention is for all members and that means you. I urge you to put July 21 to July 24, 2021 on your calendars now. We will be together in person or remotely and celebrate all things musical and Mu Phi Epsilon!

Until then, continue to stay safe and keep the music going!

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A LUM N I C O R N E R

BY MARCUS WYCH E, T HIR D V IC E P R ES I D E N T/A LU MN I A DV I S O R D E LTA D E LTA , WAS H I N GTO N DC ALUMNI A LUM NI A DV I S O R @ MU P H I E P S I LO N .O R G

s of this writing, Collegiate and Alumni presidents, chapter officers, district directors, and International Executive Board members have come together at least twice for online leadership meetings. Originally suggested by Portland Alumni Chapter President Lindsey Johnson and facilitated by Collegiate Advisor Jenny Smith and me, these virtual gatherings have been a forum for chapter and Fraternity leaders to share insights, updates, tips, news, and recommendations —and to see and hear how we are all faring in these still-difficult days.

After initially fretting how such a meeting would be conducted across different time zones, I was encouraged by, and enjoyed, the interaction among Mu Phis from different areas of the country. And while, in my position, I regrettably don’t interact with Collegiates nearly as much as Jenny, it was fascinating and instructive to hear about collegiate activities and problem-solving, and to know their concerns were not so different than those of Alumni.

One theme I believe emerged from these virtual meetings was the use of technology — ways of conducting chapter operations and performing music and service. But, going deeper, another theme for me emerged: how technology can make sharing possible and break down boundaries.

I would never wish this terrible pandemic on anyone, and hope and pray we are able to return to a sense of normalcy as soon as possible. And I do not believe technology is the endall-be-all of human interaction. But the technology we’ve been forced to use, flummoxing and tiresome as it sometimes can be, has enabled us to reach out to one another in ways not previously explored.

In the online leadership meetings, Alumni from the West Coast were able to share with collegiates in the Midwest. The Mid-Atlantic was able to connect with the Southeast. A techsavvy student could be given the awareness to assist a tech-challenged Alumni chapter 200 miles away. Ritual and ceremony performances could be compared across regions. Would this kind of long-distance communication and sharing have occurred otherwise?

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Illustration:Galina Ankudinova

NO BOUNDARIES, NO LIMITS

Even for an introvert like me, Mu Phi gatherings and fellowship are preferable in person. Barring that, we have 21st century tools at our disposal to stay connected (incidentally, “Connected” was the theme of our 2011 International Convention). In addition to teleconferencing, there is email, social media, online chat groups, tools for digital editing and file sharing, video conferencing, and live streaming. Our health and safety lockdowns can be isolating, but they can also provide opportunities to reach beyond traditional boundaries in untraditional ways as well as attract prospective members who bring a different skill set.

Districts, provinces, and the Fraternity and Foundation boards represent the jurisdictional frameworks of our Fraternity.

But I encourage everyone to not let these artificial distinctions keep you from becoming the best chapters and members you can be, and to seek assistance and fellowship beyond your zip code.

True, for music professionals the personal touch is best, and we know the needs and workings of our localities best. But extraordinary times can lead to innovative thinking outside the box… or your geographical area. As an international Fraternity heading into a convention where technology will be key, what could be more intriguing?

FROM THE

FOUNDATION DR. SO PH IA T EG ART, M U B E TA , P R E S I D E N T, M P E FO U N DATI O N ; ASSI STA N T P R OF ESSOR OF F LUT E, C A R E E R TR AC K WAS H I N GTO N STATE U N I V E R S I TY P R ESI D EN T@ MP E FO U N DATI O N .O R G

REASONS TO SMILE ello from the Mu Phi Epsilon Foundation! My name is Sophia Tegart, and as the new president of the Board of Directors, it is my pleasure to let you know about some wonderful changes we are making this year.

First, I want to highlight the many ways in which you can donate to the Fraternity and the Foundation.

The Foundation and Fraternity will now be sending out joint fundraising campaigns to reduce the number of times you receive requests from us. Additionally, we want to remind you that the Mu Phi Epsilon Foundation and the Fraternity are among the many charities you can donate to through Amazon.

Mu Phi Epsilon automatically receives a donation every time you make an Amazon purchase via AmazonSmile. Signing up for AmazonSmile is easy, especially through the Amazon phone app. You can also shop using AmazonSmile using your tablet; the process is similar to using a computer. Below are the steps you can take to activate AmazonSmile. Please don’t forget to renew your chosen charity twice a year.

Second, the Foundation is thrilled to announce that we have increased our scholarship amounts. We have also added several new scholarships and grants, including three grants specifically for music educators out in the field. Those of you teaching K-12 will be able to apply for a $2000 grant to help supplement your classroom. These grants can go to a variety of projects, from purchasing instruments to funding a specific event. The Foundation is also taking over the awards previously given out by the Fraternity. This includes the Musicological Research Contest, the Original Composition Contest, and the Nancy Brogden Booker Collaborative Pianist Award (previously known as the Marian Davidson award).

To apply for these awards, the new grants, and our newly increased scholarships and grants, please visit www.mpefoundation. org. The collegiate chapter with the most completed applications will win a free registration for their chapter representative to the convention. Apply, apply, apply! As always, you must have paid your dues by December 31, 2020, and submit your application by March 1, 2021.

Happy violet-blooming season!

Computer/Tablet 1. Visit smile.amazon.com and sign up for the service on your web browser.

2. Select Mu Phi Epsilon Foundation as your preferred charity.

3. Remember to shop using smile.amazon.com. You can bookmark the page to make this process easier for you.

Phones (iOS and Android) 1. Visit smile.amazon.com and sign up for the service on your computer. Then select Mu Phi Epsilon Foundation as your charity.

2. Open the Amazon app, then click on the menu button

3. Under “Settings” click on “AmazonSmile”

4. Search for and select the Mu Phi Epsilon Foundation as your preferred charity.

Renewing AmazonSmile – Two times a year 1. Go to your AmazonSmile under “Settings” then click on your phone tab to see the next renewal.

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DISTRICT

DIRECTOR NEWS ROSEM ARY AM ES, IN T ERN ATI O N A L P R E S I D E N T, O M E G A , B OSTO N A LU M N I P R E S I D E N T@ MU P H I E P S I LO N .O R G

IN GRATITUDE he continued success of Mu Phi Epsilon depends on many members who are willing to be part of our leadership team. One group of highly dedicated members is our District Directors. You probably only know the one who is your Director, but currently, a band of 22 Directors serve members across the country. They are highly organized and exceptional leaders who provide support, knowledge, and advice to all members. We are so fortunate to have Directors willing to serve the Fraternity, some for many years.

One such Director is Susan Bissiri, who is leaving her position as DD of the Great Lakes 1 District. In Susan’s words: “I am so grateful and honored to have had the opportunity to work for the past 14 years as Mu Phi Epsilon Great Lakes 1 District Director.”

She has served GL1 with enthusiasm and love for the members and used her service as an opportunity to give back to Mu Phi, grow her leadership skills, and share her love of Mu Phi Epsilon every day.

Here are some highlights from Susan’s tenure as DD over the past two years: • Participated in the Detroit Alumni chapter’s Care Center Song Book/CD Assembling Party • Attended the University of Toledo and Toledo Alumni chapters’ joint benefit concert to raise money for Collegiate scholarships.

• Attended the University of Toledo chapter and Eastern Michigan University chapter meetings • Performed piano for the Toledo Alumni chapter.

• Visited the Detroit Alumni chapter for the November Founder’s Day Concert and attended the Toledo Alumni Christmas Dinner and Canned Food Drive • Attended the initiation of the Phi Kappa faculty advisor and recital and luncheon with Detroit Alumni chapter members.

• Attended many meetings and recitals with her own Ann Arbor Alumni chapter

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Hosted her 14th District Conference as Director. Susan hosted a conference every year, with top-notch speakers and perform- ers, and attendance was always high as she brought together Mu Phis from the entire GL1 District.

Multiply her efforts by 22, and you will see how the Mu Phi Epsilon District Directors serve as the glue that holds our Fraternity together. Directors like Susan make Mu Phi Epsilon work, and for all that and more, we thank you, Susan, as you hand over the GL1 duties to a new Director. You are a shining example of a valued District Director and Mu Phi member.

NEW DISTRICT DIRECTORS ANNOUNCED

Welcome to our newest additions to the Mu Phi Epsilon leadership team, among Mu Phi Epsilon’s best and brightest musicians.

Ashley Bouras is the new District Director-at-Large, a position that has just been created last summer. In this role, she will assist all chapters — both Collegiate and Alumni — in districts without a current director. Formerly, Ashley was the South Central 2 Director.

Samantha Morgan, a recent graduate from Eastern Michigan University in Ypsilanti, Michigan, will assume the Great Lakes 1 Directorship. Samantha has been an active Mu Phi Epsilon member during her student years and has been a stellar leader of the Epsilon Lambda chapter. she is looking forward to working with outgoing Susan Bissiri and getting to know all the Mu Phis in the Great Lakes 1 District.

Adriana Ezekiel, K-5 elementary music and band teacher at Wylam Elementary School in Birmingham, Alabama, is taking over the Southeast 4 Directorship.

Adriana, a graduate of Delta State University in Cleveland, Mississippi (Gamma Zeta chapter) takes on a district that has not had a director for several years. She is looking forward to meeting everyone and will be available to all members in the Southeast 4 District.

Sam Melnick is following in the footsteps of Ashley Bouras, who has been the District Director for the South Central 2 District. Sam is a program administrator for Verdigris Ensemble and serves as Music Librarian at the Dallas Chamber Symphony. Ashley has been working with Sam this past year to help him transition into the position.

Jessica Nguyen is filling the position as Director for Pacific 1. She will work closely with Patrick Aguayo, District Director for Pacific 2, and will be ready to meet with the Mu Phis in the Pacific district. Jessica joined Mu Phi while a student at the University of the Pacific (Mu Eta) and was also active in the Phi Mu chapter at San Jose State University in California. Jessica is a music teacher at Morrill Middle School.

Openings are still available for District Directors in the Eastern Great Lakes 1 and 2 Districts, The Great Lakes 2 and South Eastern 3 Districts, the South Central 1 District and the West Central 1 District. Contact President Rosemary Ames to find out how to join the team at president@muphiepsilon.org.

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BY KRIST ÍN J Ó N ÍN A TAY LOR W I T H S HE L BY VA N N OR DST RA N D

OF HER

INSTRUMENT T H E C O N T R I BU T I O N S O F P I A N I S T A N D C O M P O S E R AG AT H E B ÄC K E R - G RØ N D A H L ( 1847 - 1907 )

The quality of 19th century Norwegian composer Agathe Bäcker-Grøndahl’s music makes it ripe for performance, analysis, and teaching purposes. Pianists and vocalists looking to add Nordic music to their repertoire, in addition compositions by Edvard Grieg, Jean Sibelius, Christian Sinding, and Selim Palmgren, would do well to explore her music.

EARLY LIFE Agathe Bäcker was born in Holmestrand, Norway, in Telemark County, south of Oslo. At age 10, she and her family moved to Christiania (now Oslo). She studied with Halfdan Kjerulf, Theodor Kullak, Hans von Bülow, and Franz Liszt, and earned the reputation as an exceptionally fine pianist and composer, as attested to by George Bernard Shaw, who declared her one of Europe’s greatest pianists. Her first teacher, Kjerulf, however, initially discouraged her from pursuing a life as a concert pianist, instead advising that she “follow the common road of women, if that is what God grants you to do….” In a letter dated January 1866, Agathe responded to her teacher that she had other plans: I do not understand how both you and my parents could object to the fact that I want to become what one calls a female artist [. . .] It seems to me that a beautiful, independent future for a woman can be found in the simple act of striving, if possible, to be able to present an enjoyable experience to people, especially if that future included a way to travel and to see a little of the world! But time will decide. I just feel that there is something in me that will never give me peace, and which constantly drives me onward [...] for I love art so much that the desire to master it is indescribable.

She was a contemporary and also good friend of composer and pianist Edvard Grieg. Her first public performance in Christiania was in 1868 with Grieg, who was still unknown at the time, as

conductor. The program included Beethoven’s Emperor Concerto with Agathe Bäcker as the soloist. Bäcker’s first songs were dedicated to and often performed by Nina Grieg, Edvard’s wife.

According to Cecilie Dahl, “In Agathe, Grieg had one of the most splendid interpreters of his concerto.” Camilla Hambro mentions that in a diary entry shortly before he died, Grieg wrote of her, “If a mimosa could sing, it would sound like her most beautiful, intimate tunes.”

In 1875, Bäcker married Olaus Andreas Grøndahl, a central figure in Norway’s choral movement. (She also took his name in addition to her own.) Both she and her husband were offered teaching posts at Peabody Conservatory of Music in Baltimore, but they both turned down the offers.

AS PIANIST Bäcker- Grøndahl performed all over Europe, including Berlin, Florence, Leipzig, Paris, and London. Karin Pendle remarks in her book on women and music that Bäcker “managed to combine a rich domestic life and a fulfilling musical career, a feat that would make her the envy of many a modern woman.”

Many anecdotes attest to Bäcker-Grøndahl’s ability as a pianist. Dahl mentions that in 1889, she performed Edvard Grieg’s Piano Concerto in A minor at the Paris Exposition universelle, for which she was deemed “a queen of her instrument,’ by a critic. In a performance of the Grieg concerto at the Philharmonic Society’s second concert of the season at St. James’ Hall in London, Hambro describes: …an extraordinary success was gained by her brilliant and artistic interpretation of what The Morning Post described as the “quaint and graceful work” (March 30, 1889). The reception was full of superlatives: The pianist whose reputation hardly had travelled WINTER 2021

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1898 Music festival in Bergen by Agnes Nyblin. Left to right: Christian Cappelen, Catharinus Elling, Ole Olsen, Gerhard Rosenkrone Schelderup, Iver Holter, Agathe Backer Grøndahl, Edvard Grieg, Christian Sinding, Johan Svendsen and Johan Halvorsen

beyond her native country was proposed as an instrumentalist of exceptional powers, a second Clara Schumann, with a superb technique that added to her rare brilliancy of style and a full, rich tone with a singularly delicate, sensitive touch.

AS COMPOSER Bäcker-Grøndahl’s piano works are typical of the time period, consisting of, “for the most part, descriptively titled lyric pieces in simple song forms or, less often, in larger fantasy-like forms,” according to Nils Grinde’s entry in Oxford Music Online.

Bäcker-Grøndahl’s compositions include six formidable yet audience-pleasing opuses of etudes, fantasy pieces, Norwegian folksongs and folks dances, idylles, morceaux, suites, dance pieces, and a set of skizzer (sketches). The skill level required to play these works varies widely. Some pieces are easily in the intermediate level, others are quite advanced. According to Pendle, the dance works “in various guises represents another feminine connection: women’s centrality in ballet, an art form then at its height, and in dance in general.”

As a good introduction to Bäcker-Grøndahl’s piano works for intermediate pianists, it is best to start with the Små Fantasistykker (Small Fantasy Pieces), op. 55. These 12 works in two books contain many colorful depictions, including a march, two Hungarian works, a little waltz, a goodbye (likely an ode to Beethoven’s Sonata No. 26 in Eb Major, Op. 81a), a Spanish piece, an Austrian Ländler, a Grandmother’s Minuet (probably a nod to Grieg’s own composition with this title), a romance, a barcarole, a Polish composition, and a Norwegian springdans (folk dance). The effort to be international in scope should be noted, especially the compositions using exoticism. Of these, the most often performed is No. 5, “Spanish.” It makes use of the Hungarian minor, or double harmonic minor scale, although it waxes and wanes within this tonality. The piece does sound like a Norwegian writing within their own impression of what Spanish music sounds like. Also of interest is the Springdans at the end of the opus. This traditional triple-meter Norwegian dance, of which Grieg also wrote several, is a couples dance that makes use of the 10 MuPhiEpsilon.org

traditional Hardanger fiddle playing in fifths for harmonies along with the ornamented melodic line. It’s a bit of a leaping dance, which we can see demonstrated in the left hand skipping around various octaves.

The études, which make up many of Bäcker-Grøndahl’s solo piano works, are fantastic alternatives to Chopin or Liszt. Her first set of études pose typical challenges of the day with many of them being reminiscent of challenges in Liszt’s own études: No. 1 in B-flat minor is fast and chordal; No. 2 in D-flat Major focuses on melodic voicing challenges; No. 3 in G minor has many awkward leaps and large chords; No. 4 in B-flat major is a left hand étude and requires special attention to hand balance; No. 5 in E-flat Major is a repeated chord hand balance exercise; and No. 6 in A Major is an arpeggio étude for the left-hand with the right-hand melody in octaves.

Bäcker-Grøndahl’s solo vocal music is lesser known and under-appreciated. While left out of many music history textbooks, her influence, artistry, and compositions are an integral part of Norway’s musical past. Her songs reflects her Norwegian heritage, setting poems by Wilhelm Krag, John Paulsen, Hans Reynolds, Andreas Jynge, and C. Hauch, among others. From time to time, she would also set the texts of Danish poets, such as Ernst v.d.

Recke and Otto Borchsenius.

Her vocal works are very accessible to the singer at an intermediate level and beyond. Her tuneful song melodies sit in very comfortable tessituras. It is evident that she understood discrepancies in range preferences between voice types, and some opuses’ cover pages are clearly labeled “For Baritone, For Mezzo,” for example. Her harmonic language shows influence from other European contemporary composers, especially those from Germany, where she studied for a time. One also notices moments of mutual influence between Backer-Grøndahl and Edvard Grieg, who were both living and composing in Norway during the same time. Her tasteful use of chromaticism adds much expression to her songs, both in the vocal and piano lines. The piano accompaniments are supportive of the vocal line without losing their independence. The piano texture and range can be quite varied

from song to song, with well-utilized moments of silence ranging to virtuosic bombasticity.

Her song oeuvre includes both art song and folk melodies. She set texts featuring themes of nature, including Nordic landscape imagery, and stages of life, with a focus on childhood and motherhood. Perhaps most importantly, her song settings are interesting and draw in the listener. The ultimate joys of the art song repertoire are experienced in her music when one stops to notice, “Why did she write this chord on this word of the text?” or “Why does the melody suddenly leap at this point?”

The challenge to the non-Norwegian singer is familiarizing oneself with Norwegian diction, and the use of bokmål (official written standard for the Norwegian language), Dano-Norwegian, and Danish in Backer-Grøndahl’s song text settings. Luckily, there are good resources available for those who wish to learn. One recommended resource is “Scandinavian Song” by Anna Hersey.

The need to address two recognized forms of the Norwegian language and the Danish language is born from Norway’s history as a colonized land by Danish rule from approximately 1300 to 1814.

Through sharing her own voice, Backer-Grøndahl’s songs give us a glimpse into her view and expression of her own country and experiences.

Bäcker-Grøndahl’s Op. 52, Mor synger (Mother Sings), is a set of eight songs with poems by Andreas Jynge, a Norwegian civil servant and writer. All of the works have references to nature, some with the addition of motherhood or love. Every part of these songs is carefully and expertly crafted, from the gorgeous harmonic progressions filled to the brim with secondary dominants, to the tuneful melodies which sometimes sound like folk songs on steroids!

Bäcker-Grøndahl truly created a clever interaction between singer and pianist as there are many moments of stop-and-go, requiring intense collaboration between the performers.

CONCLUSION At the end of her life, Bäcker-Grøndahl was suffering in health.

She required a surgery which led to nerve problems. She also suffered from tinnitus and was going deaf, so she focused more on teaching at this point, although she composed through until the end of her life. Dahl remarks, “For Agathe herself, it was probably never a matter of a fight to establish herself as a composer. But on the other hand, she did not cross the line set down for women composers. By confining herself to songs and piano pieces she placed herself in a particular tradition, and in this respect, she confirmed the opinion that women and the lesser forms go together.” She did write bigger works, including a piano concerto and some early larger orchestral works. But mastery does not need to be confined only to large grand forms, as Bäcker-Grøndahl’s compositions clearly demonstrate. Her accomplishments deserve to be celebrated.

Dr. Kristín Jónína Taylor (Alpha Kappa) is an Icelandic-American pianist who has been enthusiastically received for her performances of Nordic piano works. She has performed widely in the U.S. as well as in Iceland, France, the Czech Republic, Belgium, Sweden, Austria, Serbia, and Lithuania.

Dr. Taylor received a Doctorate of Musical Arts degree in piano performance at the University of Cincinnati College-Conservatory of Music. She was the grand prize winner of the Naftzger Young Artist Competition and a national finalist in the Music Teacher’s National Association Young Chang Collegiate Competition. She was the recipient of two Fulbright grants. Her debut CD recording The Well-Tempered Pianist: The solo piano works of Thorkell Sigurbjörnsson was released by the Iceland Music Information Centre in November 2010. Her second album, which is self-titled, was released by Pólarfónía Records in March 2011.

Her third album, Thorkell Sigurbjörnsson: Short Stories for Flute and Piano, was released by Smekkleysa Records in November 2014.

Her most recent album, Gone but not Forgotten, released by MarkMasters, was a collaboration with trumpeter Dr. Marc Reed and pianist Dr. Bryan Stanley on rarely-performed music for trumpet and piano. Kristín frequently collaborates with her husband, Dr. Bryan Stanley, in the Atlantic Piano Duo. Dr. Taylor also serves as editor-in-chief for Homo ludens Publishing. Dr. Taylor is assistant professor and piano and keyboard area coordinator at the University of Nebraska at Omaha. She serves on the Mu Phi Epsilon Professional Music Fraternity Foundation Board and is its scholarship and grant coordinator. Kristín Jónína Taylor is a Steinway Artist.

For more information, visit kristinjoninataylor.com.

Shelby VanNordstrand is an associate professor at the University of Nebraska Omaha where she serves as Voice Area Coordinator and Director of Opera Theatre. Soprano Shelby VanNordstrand has appeared as a soloist with a wide range of ensembles and companies; including Lorin Maazel’s Castleton Festival, New York Lyric Opera Theatre, Opera Omaha, Omaha Symphony, Cedar Rapids Opera Theatre, and the Simon Estes Young Artist Program. Her voice students have been named winners of the National Association of Teachers of Singing Student Auditions at the state, regional, and national levels and winners of the National Opera Association’s Collegiate Opera Scenes Competition. As a clinician, she has presented at the National Collegiate Music Society Conference, the National Opera Association Conference, and other state and regional conferences.

She is a frequent guest clinician for high school and collegiate musicians. VanNordstrand holds a Bachelor of Music in music education from Iowa State University, and a Master of Music in vocal performance from Michigan State University. For more information, visit shelbyvannordstrand.com.

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BY N I COL E L A BOR T E

RE-IMAGINING the .CLASSROOM

H OW TO S U RV I V E T H R I V E A S O N O N L I N E E D U C ATO R

or many, myself included, the end of the calendar year marks a period of reflection before we celebrate and transition into a time of rebirth and begin again. I’m sure I’m also not alone in saying that 2020 was the year that none of us expected or even imagined was possible in our lifetimes.

While challenging, I have been fortunate to have been in the metaphorical “right place at the right time.” As a proud millennial, technology is something that has always been present and relevant in my life as a student and as an educator. I have been fortunate to teach in a district where 1:1 devices and connectivity have been in place for the past few years, and have had access to wonderful professional development that sparked my interest to dive deeper.

In May, I completed my Master of Science in learning technologies degree, with a focus in teaching and learning technology, from the University of North Texas. When I selected this pathway two years ago, I did so because I had a desire to learn how to implement technology in my classroom in a way that was engaging and impactful. I did not anticipate my degree work and knowledge to be suddenly extremely relevant in this pandemic global apocalypse hellscape that we have found ourselves living and enduring for the past nine months.

Like thousands of other educators, I went from teaching in person full time to being told we would be fully remote for three weeks to prevent community spread of COVID-19. Somewhere during this nebulous March/April time frame, our governor announces that schools will remain closed until the end of the academic year. I distinctly remember developing an even stronger aversion to any and all “emergency” staff meetings because it meant something was going to change, yet again.

Last spring was crisis mode for the majority of us. For the most part, we were trying to survive navigating the shift online with varied levels of preparedness for rollout and implementation, all while also being also on the frontlines to ensure our students were as okay as they could be in this scenario that even us adults were 12 MuPhiEpsilon.org

struggling to cope with. Every day was triage — we constantly were inundated with a barrage of new information, guidelines, and fires to put out.

In an effort to preserve some semblance of mental health and attempt to alleviate that awful burned-out feeling, I used the time in between then and now to radically shift my mindset. I was tired of simply surviving week by week with lots of existential dread over whether my profession and artform would make it through this time in which we are all struggling and fighting our way through. Instead of allowing myself to dwell in that negative headspace, I decided I would acknowledge it as simply different.

Really different. And different was okay. I decided to take what I had learned over the course of master’s degree work and this past spring’s trial by fire, and go from surviving into thriving.

Life Lessons with Laborte In my first year of teaching, my students adopted what they call “Life Lessons with Laborte,” including the hashtag, #LifeLessonswithLaborte. Basically, anytime I say something particularly real — not necessarily music-related, but more related toward an overall better human being — it ended up being a #LifeLessonswithLaborte example.

These #LifeLessonswithLaborte have radically shifted my mindset towards teaching in online spaces and provided me with some much-needed reminders to allow me to be grounded both in my professional and personal life. I hope that at least one or perhaps a few will resonate with you in your own life and current professional situation.

Life Lesson #1: It’s all in the delivery.

And the delivery should be consistent.

How you choose to interact with your audience in the online space you create depends on your purpose. Whenever I create online content, I ask myself these two questions:

1. What am I hoping to accomplish?

2. Who am I hoping will take part in

watching or attending?

In most of my teaching situations, I hope to introduce or review new learning concepts, and provide feedback for my students that will improve their knowledge base and clarify any misunderstandings.

Other times I seek to build relationship and foster connection in my (online) classroom environment, to encourage discourse and conceptual understanding of the content.

The first question is to establish the “why” in my sequencing and scaffolding.

The second question, — “Who am I hoping will take part in watching or attending?” — drives the “how.” What delivery method, asynchronous (pre-recorded instruction) or synchronous (real time conferencing), is best suited for my purpose?

Almost all of the time, the answer to the second question is that I want all of my students to watch it. And because of that, 99% of the content that I rollout each week is asynchronous, meaning designed to be viewed and watched whenever and wherever the student is logging in to learn. Unlike synchronous methods (such as video conferencing), asynchronous content is designed by default to allow equal and equitable access to all of my students, assuming they have consistent access to the internet. And yes, that assumption is a huge one — if anything, this pandemic experience has taught us how fundamental reliable and relatively fast internet access is for all of our students and further highlights the access inequities and barriers within our systems.

That being said, regardless of what method you choose, how you deliver it must be consistent. Depending on how your district has chosen to rollout online or hybrid, it is fundamental for students to have a suggested structured online routine to work from as a baseline that you communicate and reenforce to both them and the close proximity adults that are guiding them through this shift. One of the biggest benefits of online learning is that it allows the learner more freedom and flexibility of when they want to learn. However, this is also its biggest potential downfall if the learner is unfamiliar with how they best find success and work without relying on direct instruction to tell them what to do.

We often think of remote learning as this brand-new, scary beast to take on, especially if we are not super tech savvy; instead, we must remind ourselves that many of our normal structures are

needed here too, just adjusted to fit the digital environment that we are creating. With each of my new classes — in some cases with kids I’ve never met in person— I spend the first weeks doing what I would do if they were physically in front of me: I explain and demonstrate our daily routines so they can work asynchronous or synchronous content. I show them how to navigate through the learning modules, how to submit and record videos, and how to find and organize their Google Drive so it is not overwhelming.

Any and all tools I expect kids to use, I first learn to use myself.

For example, FlipGrid is a platform used to receive media for assessments and virtual performance editing. I have never needed it before because I relied on face-to-face ensemble time to accomplish those tasks. I spent some time playing with the different features and setting options to see if it was a viable option for my instructional purpose. I now routinely use it as a way for them to record to meet their peers, explain and demonstrate their growth throughout the quarter, and to capture and export the content that I then take and edit into our virtual concert.

Most importantly, I teach them to advocate for themselves. In online models, I cannot rely on direct instruction to reach every single child because there is not enough time for me to do so. I am simply a facilitator guiding them through their own learning WINTER 2021

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journey and providing clarification along the way. This requires me to release more responsibility to them while still maintaining a slightly omnipotent presence through my daily announcements and direct messages to let them know they are not alone.

Life Lesson #2: Engagement is not compliance.

Every single time I create and post a new assignment or task for my students, I remind myself of Life Lesson #2. In education, so much of the time we are not really asking our students to engage, even if we perceive it that way, we are simply asking them to comply. Examples that immediately come to mind of systemic compliance include: • Rewards-based systems • Required participation • Not causing a disruption • Answers only when asked directly • Work completion without the personalization • Lack of questioning the credibility or validity of the information We are all guilty of wanting compliance, because it makes the work’s administrivia easier. And yet, we chose our professions because at some point in our educational pathways we were authentically engaged in our content medium, that is, someone developed our interest, our passions, our innate curiosity to go beyond surface level compliance to understanding. We choose to share our knowledge with others because of that initial authentic engagement to learn and experience something that we truly love deeply.

Life Lesson #3: There is power in allowing choice.

One of my favorite questions for my students (or adult learners if I’m providing professional development to my colleagues) is “What are you interested in that is related to what we are currently doing?”

I often use this as a starting place when I begin to create content for them to explore. As music educators, we have a wide variety of music-related topics and genres to choose from; why not capitalize on providing the opportunity for each individual to delve deeper into a subject that has already piqued their innate curiosity?

The choices can be as simple or as complex as you want it to be. Perhaps allow students to dig deeper into the history of film 14 MuPhiEpsilon.org

score while they learn a soundtrack arrangement alongside it.

Maybe your students want to become better technical players, and now, for once, they have more time to practice since they are at home with minimal external activities. Or perhaps you have the kid who just wants to get through this time with their sanity semi-intact and just do the thing and feel okay about it.

For example, for our students who suffer from performance and recording anxiety, what if we allowed them to decide whether they want to share their face in a video recording (like FlipGrid), submit audio only (using a browser-based recorder like VirtualSpeech.com), or write a paragraph explaining the techniques they worked during the week? I have experimented with allowing choice in this way for the dreaded playing tests, and lo and behold!

I had more students willing to try instead of immediately shutting down because they struggle with being videotaped.

The beauty of choice is that it allows students to pick what works for them with where they are at right now — something we should capitalize on more now than ever. We talk often about differentiation and scaffolding instruction to meet the needs of all learners, and technology can be the means to that end, as it naturally provides so many options for us to demonstrate understanding. Choice is by far the greatest opportunity to provide that to allow every student to find their version of success.

Life Lesson #4: Less is more — work smarter, not harder.

Humans, especially educators, have a bad habit of being complete control freaks and as a result of our unwillingness to let go, we often make things much more difficult than they need to be. Each quarter, I make a list of what skills I want my students to work on over the course of these 10-week cycles. Within that list, I star or highlight the ones I consider to be my non-negotiables, meaning, the ones that I have a specific sequence or approach that I want students to receive directly from me in the structure and way I teach it.

Those non-negotiables become the asynchronous content I usually end up creating over the course of the quarter; these videos hold the content that is specific to my developed structure and pedagogical approach, such as my sight-reading strategies for all grade levels, skill building demonstrations that I am focusing on within our current repertoire, or topics that I get very nitpicky on for ensemble uniformity and sound production.

Anything that is not starred or highlighted on the list become my opportunities for outsourcing. Outsourcing involves curating asynchronous instructional content from other educators, with topics and skills that are taught universally similar to how I would if I created it myself.

When outsourcing, I check my ego at the door. I acknowledge my own areas of weaknesses (like teaching bass – YIKES!) and find the experts to provide and share the highest quality of instruction for my students. The beauty of video streaming and platforms like YouTube is that most of the time I can find an expert on pretty much any topic. I also have learned how to select the content faster (1.5x playback speed is a game changer) to ensure that I am giving them useful information.

Best of all, we already have shifted as learners so that watching and learning from a stranger is not weird — it’s normal.

We already google to find solutions to our problems, and we know where to look to find it. Not once have my students even thought about the fact that I am not the one in front of them, because in this digital age, everyone is an instructor.

You can also utilize your social media use to outsource. There are many fantastic Facebook groups for music educators to chat, share, problem-solve, and ask for help when it comes to teaching with technology. I highly recommend checking out “Music Educators Creating Online Learning,” if you have not already done so. By outsourcing, I free up a lot of my time to focus on tasks that often get put to the side as we balance our workload.

I have more time to reach out directly to students, to answer emails asking for help or guidance, and to provide feedback on their submitted work, instead of making just another video among thousands that already exist and are just as good (if not better) about topics such as beginning bow hold.

Life Lesson #5: The job doesn’t love you back.

I take zero credit for Life Lesson #5. This one is passed down to me by my first music department chair, a high school choir director named Paul Scott. This is also is the hardest life lesson for me to adhere to because so much of my own identity and life purpose is attached to my identity as a teacher, and I love my job and the work that I do with kids so much.

But I can pour and pour my heart into the job, and the job will never love me back. Yes, it is rewarding to know and acknowledge the impact that I leave behind each day, but that does not provide balance for the rest of my life when I go home.

The last few months have been especially challenging for those in the education field because we, unfortunately, are continually reminded that our work is still just a job at the end of the day.

Many of us are working twice our usual workload (which already was hefty) and are somehow managing to stay afloat; others finally hit their limit and stepped away to protect themselves and those they love. And yet we continue to be inundated with messages from others that we are not doing enough and that we are failing.

Every day I remind myself that there is more to life than my job, no matter how much love and energy and time I put into it. I intentionally set aside time each day to remind myself of that which can and does love me back — my family, my friends, my colleagues — and to give myself the strength to continue and endure. As humans, we are remarkably resilient and capable of enduring, thriving and continuing to create through the darkness — we can, and we will get through this together.

Nicole Laborte, Epsilon Sigma teaches introductory and advanced choir and orchestra ensembles at Enumclaw Middle School and serves as the orchestra director at Enumclaw High School in Washington state. She has a bachelor’s degree in music education from Pacific Lutheran University in Tacoma, Washington, and a Master of Science in educational technology from the University of North Texas in Denton. In February 2021, she will present her second professional session, “What the Tech?! Surviving and Thriving as an Online Educator,” at the National Association for Music Educators (NafME) All-Northwest Virtual Conference. Her primary instruments are voice and violin, and she also plays piano, ukulele, and clarinet.

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BY M U P HI E P S I LON CON T R I BUTOR S

VIRTUAL OPTIONS Which one is right for you?

For many since the start of the pandemic last year, online education and virtual meetings have become the norm. It’s how we learn and stay connected from afar. For musicians, the sound delays have been problematic, although some technologies seem to work better than others, depending on one’s goals. Here are a few platforms that Mu Phi members have used with good results. This is by no means a comprehensive list; be on the lookout for additional resources, improvements to existing platforms, and new ways to address this ongoing challenge. Word to the wise: Always check the specifications for your devices when looking at all of these options.

“About 13 to 14 years ago, I had a private student who was starting to make real progress. Her stepfather got a job in Idaho, so they moved. I did some research to find an excellent teacher, but she really did not connect with anyone. So we decided to see if we could make lessons work on Skype.

Immediately, I discovered some important things about teaching in a distance learning situation. First, I made sure that I had a copy of her music, and we both agreed to number the measures in each of our copies. She was required to keep a pencil at the ready to mark in anything on which I commented. She was studious and an eager student, so she definitely complied. I knew that I would have to change my teaching style so that I could be very specific about where we were in the score. We also had to always keep in mind the time difference, which meant we were clear about that lessons were at 4 p.m. Central Time, 3 p.m. Mountain Time. Phrases such as, “In measure 5 (pause), on the and-of-3 (pause), the right-hand top voice is an A, not an A-flat,” became quite common. Next, I absolutely never could play together with this student due to latency, so rhythm was a very big challenge. Rhythm was a major challenge for this student, but ironically, this was an ideal situation because it made her count more accurately instead of relying on hearing what I 16 MuPhiEpsilon.org

was demonstrating. Additionally, I realized quickly that the student would need to overdo anything, whether that was articulation, dynamics, or phrasing. Again, Skype was ideal because it made the student really differentiate any musicality so that it would come through the internet. Unfortunately, she had to quit taking lessons due to some circumstances, but I was happy that we could continue her studies for a while longer than she would have otherwise.

I continued to use Skype on a number of other occasions, such as when I went to Iceland for half of a year on a Fulbright Scholar grant. It meant that I could continue lessons with a number of my students. Ironically, the winter weather in the U.S .on the student end tended to be more of a factor for internet reliability than from the Icelandic side. All the same problems existed as they had a few years earlier with the first Skype student.

When the pandemic hit, I tried Zoom, but immediately I found I was quite unhappy with the reliability of the application. Skype tended to be more reliable both for video as well as sound. Latency continued to be an issue, but I started combining Skype with another program, called CleanFeed, where Skype would serve as the video, and CleanFeed would provide the audio. This helped lift up the spirits of my students who otherwise found themselves feeling quite sad at the lack of good technology. When Zoom’s audio improved, I decided to start using it instead of FaceTime or Skype. My husband continues to use FaceTime in his private lessons with good results.”

Dr. Kristin Jonina Taylor, Alpha Kappa, Lincoln Alumni, board member, Mu Phi Epsilon

“I had a marvelous experience using FreeConferenceCall.com with my virtual District Director visit. In preparation for the meeting, I looked for a way to connect easily with my Alumni chapter for our visit. I was familiar with Zoom and had used it before for Collegiate visits because most of them were using it for classes, but I knew there were a few extra steps, so went with FreeConferenceCall’s ease of joining the call. I knew software downloads were best avoided. I was pleased to see that it was simple.

Users dial in a normal nine-digit phone number, then enter a seven-digit PIN and the pound sign. Most of the members were able to join the meeting because it was super easy to dial in. Also, if the President and I needed to share docs on screen sharing, she could download the app, and we could video chat online. I also recommend FreeConferenceCall.com because we don’t know how long Zoom Basic will be free. I joined with a pay-what-you-can membership of $3 per month. This feature is the most important one for my Atlanta Alumni chapter members who are mostly retired with 50 or more years of Mu Phi membership.

I found that FreeConferenceCall is a good platform with clear HD video capture and clear sound. Its dashboard is comparable to Zoom and includes host controls to mute, invite guests, and a chat for written responses.

Being able to use the telephone call-in number with an access code made connecting with the meeting very easy.

The Atlanta Alumni visit was fun and all members were successful in dialing in with the code to join the meeting.

Also, another plus: it would have been possible to play music through the phone or computer audio for an added element of an in-person meeting, and a recorded video or a live performance can be shared via the computer camera.”

Arietha Lockhart, Beta Gamma, Atlanta Alumni, ACME, DD SE 2 and co-chair of ACME

“The Alpha Zeta chapter’s experiences with Zoom are unlimited. As a chapter, we use it for our regularly scheduled meetings, and it allows us to screenshare the PowerPoint we use to present our topics. The co-host feature is often used throughout the meeting to allow other members to use their own documents for the screenshare, as well. Within the committees, committee heads host their meetings with their group via Zoom, and socially distant social events, such as movie nights and game nights, often take place over Zoom as well.”

Matthew Rhoten, president, Alpha Zeta chapter at Radford University

“Zoom has been a fun and reliable way to connect with the chapter. It is easy to connect and use. There are also capabilities to connect members who have only landlines to the call to increase the opportunities to connect. Zoom is all around the best way to connect!”

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“You can bet your bottom dollar that Beta Alpha has had their share of socializing this year! How has Beta Alpha avoided Zoom fatigue? We’ve done it through the use of Discord, a platform with instant messaging, voice and video chat, and the ability to create communities.

Discord has been primarily known in the past for gaming and includes the ability to create groups called “servers” to communicate with your selected community of people. What makes Discord different from Zoom? It allows users to go from room to room without an administrator moving them around. It also has the functionality to create “channels” or chat rooms with a given topic.

Discord is free to download and a great place to host virtual events.

Beta Alpha has primarily used Discord for recruitment and socials. We have been able to host a variety of games simultaneously within our server and our unofficial school server. From Jackbox games to Cards Against Humanity, our members and potential pledges have been able to join us and socialize with one another in a way that mimics how a social event would feel in person.

Aside from our planned socials, it also gives Beta Alpha a place to socialize with one another when members are individually gaming with settings that allow other users to see what you are playing. The bonus is that Discord functions for us as a place for fun, mentally categorized away from Zoom and its association with work. Overall, Beta Alpha has fostered a great sense of community with members and others despite the ongoing pandemic, and Discord has played a huge part in this achievement.”

Shania Carden, president, Beta Alpha chapter at California State University, Fullerton

“Over the past few months, I’ve had the opportunity of primarily using Google Meet to reactivate the Zeta Zeta chapter of Mu Phi Epsilon at Elon University. It is extremely easy to use, with features like presenting and group chatting. I have yet to run into any issues with quality of sound and video as well. Also, you do not have to have an active Google account to be granted access to meetings through this platform, which means anyone has the ability to join with the permission of the host of the meeting. Lastly, anyone who has an active Google account has the ability to set up a video meeting on this platform, there is no current limit to the length of the meeting, and the current limit for the number of people admitted to the meeting is upwards of 100 people. All in all, if you are looking for a platform that is easy to access, easy to use, and free, I would definitely suggest giving Google Meet a shot!”

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Marshall Pugh, Alpha Xi, District Director Southeast 1

ETA ZETA! “JamKazam is a platform for those looking for better sound quality for singing or playing instruments together.

JamKazam is free; however, if you want to do a lot of recording, there is a monthly cost. According to the website, in order to play with others, you’ll need the JamKazam application, plus the following: · A computer running either Windows 10 or Mac OS X 10.8 or higher, connected to your home router using an Ethernet cable (WiFi doesn’t work well). The cost is approximately $18.00. · An audio interface (UM2), which is a hardware accessory that lets your computer process your vocal and/or instrumental audio (Available at Sweetwater.com for $48.00). · A microphone (only required for singing or acoustic instruments) with an XLR cable to connect the mic to the audio interface ($22.00 to $500.00). I got a Blue Yeti for $129.00. To find out more, visit JamKazam. com.”

Ruth Koenig, Epsilon Omega, president, San Francisco Alumni chapter

Another option for high-quality sound is Jack Trip. According to the website, this opensource software application reduces audio latency that is common in many other online solutions and preserves the original sound quality. It was developed by a professor from Stanford University has been in use since the early 2000s. For more information, visit jacktrip.org.

Mu Phi Epsilon welcomes its newest chapter, Eta Zeta, installed at the University of North Georgia on Nov. 19, 2020. Eta Zeta’s home will be on the campus of Dahlonega, Georgia, which is one of five of the university’s locations. The Mu Phi Epsilon charter will be displayed at the future Dahlonega School of Music.

International President Rosemary Ames (Omega) presided over the Fraternity’s first virtual installation, which took place over Zoom with the help of Mu Phi members from Kansas to Florida. Representatives in attendance included SE2 District Director Arietha Lockhart (Beta Gamma), District Director for New Chapters Ann Geiler (Phi Theta), International Executive Board member Julia Scherer (Alpha Kappa), and Collegiate members from Mercer University (Delta Tau) and Oglethorpe University (Eta Eta).

Ten new members were initiated into the Fraternity, followed by the Eta Zeta chapter installation and the installation of the chapter officers, all via Zoom. All participants read their parts with reverence, which made the ritual meaningful for the new members, and each member recited the oath of membership individually.

“The Eta Zeta chapter has been waiting a long time to be installed so it was a joyous time for everyone to see it finally happen,” Ames says. “Eta Zeta will have excellent faculty support, and enthusiasm throughout the school.

The new members are anxious to introduce Mu Phi to their fellow students. They are busy students but their commitment to being Mu Phi members is solid. It was my pleasure and honor to conduct the installation of Eta Zeta.”

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hy HeLeads

BY MARY AU

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Charles Dickerson transforms young people’s lives through music the most vulnerable to police brutality.” In 2012, in response to Charles “Chuck” Dickerson III wears the not-guilty verdict of Trayvon Martin’s killer, one of the young many musical hats. Conductor, composmen in ICYOLA called him up on the phone and said, “Mr. er, singer, educator, and mentor — he is Dickerson, we need to do something about this. Let’s put on equally respected for his work on the concert hoodies and play a concert at the courthouse.” Instead, they gave stage as in the classroom. The former lawyer a concert the next evening at Holman United Methodist Church and city attorney for city of Inglewood, California, in L.A., and every year since, the group has performed annual began his conducting career more than 45 years ago tribute concerts to memorialize the victims of gun violence, both and has directed performances of orchestral and choral young and old, including the mass shootings in Las Vegas and works throughout the United States, Africa, Asia, and South Carolina.

Europe. In December 2019, Musical America recognized him as “Colin Kaepernick became quite famous for taking a knee one of the Top 30 Professionals of the Year. when the national anthem was being played, and he was being The titles of which Dickerson is most proud, however, is as denounced by Mr. Trump,” says Dickerson. “I founder, executive director, and conductor of thought, That is not right. We kneel because the Inner City Youth Orchestra of the blood of young Black men flowing in of Los Angeles (ICYOLA). He laughs easily the streets of America; the scene plays time and and is clearly in his element, smiling broadly ICYOLA is the again: Black men killed in from the podium, surrounded by the student largest free America.” musicians to whom he respectfully refers as and primarily Dickerson remembers when he was an assis“young people.”

“ICYOLA is the largest free and primarily African-American tant city attorney in Los Angeles and Inglewood. “I represented a young man of 17 or 18 African-American symphony orchestra in the symphony who was charged and convicted with murder. country with a regular season,” Dickerson says. orchestra in the Though we avoided the death penalty, he is Formed in 2009, ICYOLA is “something I now in prison for life,” Dickerson recalls. “That created, so you know it’s my first child,” he says. country with a impacted me a lot. I remember thinking how he ICYOLA has affiliated orchestras that include regular season. never had a chance. He was born and raised in the South Side Chicago Youth Orchestra a broken family and got involved with people (SSCYO) and the Youth Orchestra of Tsakane, whom he thought would care for him.”

South Africa. “They are my babies,” he beams.

Dickerson wondered, “What if that young man had a different upbringing? He might not This is Why We Kneel have hung around the wrong crowd and did the wrong thing.”

Dickerson’s powerful work, “This is Why We Kneel,” was “More than a conductor, I consider myself a father to my composed in 2018 in tribute to Colin Kaepernick, the former students,” Dickerson says. He wants them to acquire the quarterback of the San Francisco 49ers, who famously began the discipline of self-confidence and self-esteem through the pursuit practice of kneeling during the National Anthem in protest of of musical excellence. He says he hopes those qualities “will racial injustice. ICYOLA and the ICYOLA Men’s Chorus become inculcated as values in their lives,” and that his students recorded the piece, and video was added last year to include will become “very well disciplined to always pursue something images depicting racial injustice, pain and protests. “Our message of great promise and great dignity.” is to implore people to stop the killing in America … in response Dickerson recognizes that times have changed for people to a political situation, an important social issue in our country,” of color. “When I was starting out, most African Americans Dickerson explains. would be church musicians or teachers. It was rare to see them as “My orchestra is comprised primarily of African American classical musicians on the concert stage, opera houses, and major young people — quite a few young boys and men from middle American orchestras,” he says. “There are many more opportuschool through college age,” Dickerson says. “I feel that they are

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nities for African Americans in classical music I Have a Dream One of the nowadays.” started playing the piano at the elements of African ageDickerson “One of the elements of African American 3 and played the trumpet from fifth grade cultures is that we were always taught that American cultures through high school. He also sang in the high you have to be able to play three or four times school choir and started composing. “I penned is that we were better than anybody else, just to make the first piece, a fantasy on a chorale, on staff always taught that my team,” Dickerson says. “And if you’re not ready paper,” he says. “Many of Bach’s Chorales are to do that yet,” he tells his students, “then you you have to be able really hymns.” At age 21, while in law school, need to go and practice because the only way to to play three or four he conducted his first choir, following in the standout is to demonstrate that you are worthy of his father, a church choir conductor. times better than footsteps and that you are better than others.”

His musical family includes his mother, who Music is a lifetime pursuit, Dickerson says. anybody else, just to was a singer, and one of his older brothers is a “It’s not a thing that you can pick up today jazz pianist. make the team. and say ‘OK, I have mastered that. Now let “Choral music is in my blood,” Dickerson me move on to the next thing.’” For those who says. “My parents always had classical music on want a career in music, Dickerson asks: “Do the record player, and it was always choir music.” you have first-hand knowledge of a musician’s But after going on 20 years of practicing law, he life? Do you know any musicians? Do you was offered the opportunity to conduct. “I jumped at the chance,” know what it means to be a musician? How much practice do he says. you put in a day? Can you commit yourself to this profession?

Dickerson’s best-known work is “I Have A Dream,” a setting Because this is a lifetime experience.” of Dr. Martin Luther King Jr.’s landmark speech for SATB choir He hopes that his students’ experience in ICYOLA gives and orchestra, which was written to commemorate the civil rights them the musical knowledge and technical skills to prepare them leader. “I couldn’t embellish or do better by putting my text or if they do want a career in music. “That would be fantastic!” he someone else’s text to it,” Dickerson says. When choosing lyrics, says. he says he often borrows texts from other sources, such as the

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ble, and rehearsals are held on Sunday nights. bible or gospel songs, and only writes his own King’s words, in String students are offered free lessons given by lyrics when inspired to say something. “King’s my opinion, are students from the Colburn School in Los Anwords, in my opinion, are among the most geles. ICYOLA programs are funded by various famous and powerful words of any orator — in among the most corporate and government grants as well as its at least the 20th century — worldwide, and famous and annual fundraiser at Disney Hall since 2012. particularly in America.” powerful words “This whole experience of being in ICYOLA In 2011, he conducted ICYOLA and the Morgan State University Chorus in a perforof any orator — in at should be fun,” he says. “The students look forward to coming into rehearsal, they look mance of “I Have a Dream” for the unveiling least the 20th forward to going home and getting it right for ceremonies of the Martin Luther King Jr. century — worldwide, next week when they come back, sitting with Memorial next to the National Mall in their teacher and with their contemporaries. I Washington D.C. In 2013, ICYOLA and the and particularly think that’s part of it too. They’re playing with ICYOLA Chorus performed the piece at the in America. other kids.”

Walt Disney Concert Hall in L.A. for Los ICYOLA partners with the L.A. Chamber Angeles County’s official celebration of the Orchestra and the University of Southern 50th Anniversary of the speech, and on April California, to train emerging professionals from 4, 2018, ICYOLA Chorus and the Gay Men’s historically underrepresented communities to Chorus of Los Angeles performed the work take and win auditions with American orchestras. ICYOLA’s at the Dorothy Chandler Pavilion to commemorate the life and L.A. Orchestra Fellowship program is funded by The Andrew W. legacy of Dr. King on the 50th anniversary of his death. “The Mellon Foundation and enables four top-tier string players to Washington performance put ICYOLA on the map,” he says. play alongside the group’s young members. “The fellows increase Inner City Symphony the quality of our playing,” Dickerson says. “All of the young The nonprofit orchestra’s members include young players people in our string sections aspire to play as well as the fellows.” from all skill levels and experienced musicians who act as menICYOLA also partners with After School Matters in Chicago. tors and teachers. Auditions are not needed to join the ensem-

”

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will write and produce the movie, which will be produced under the TaylorMade Productions banner by Disney’s Jungle Book and Lady and the Tramp producer Brigham Taylor. The live-action movie will be called “Inner City Symphony.”

“My mantra is that there needs to be an inner-city youth orchestra wherever there’s an NFL team,” Dickerson says. “Only by having an orchestra in the heart of the Black community and serving the people there can we hope to promote diversity in classical music.”

The students have had opportunities to perform in several film production soundtracks. ICYOLA recorded the film score composed by Timo Chen for CAP, an HBO short film about the destruction that gun violence leaves behind, and for a Converse Campaign with performances by ICYOLA members. They also performed “Beautiful Dreamer” in “If Anything Happens, I Love You,” a 12-minute short animated movie on Netflix.

“I did the orchestration for the song, and an ensemble from our orchestra performed the orchestral background to this song,” Dickerson says. “Our part lasts only about 45 seconds. But it is us!”

Prior to the pandemic, ICYOLA performed 8 to 10 symphonic concerts each year, and smaller groups performed in community events practically every weekend. “Zoom does not support synchronous playing,” Dickerson explains, although many of the orchestra’s members take advantage of the free weekly Zoom lessons from students at Colburn School. “Despite a successful virtual recital of solo performances by members of ICYOLA during the pandemic, we have decided to wait until the lockdown is lifted before resuming any in-person rehearsals,” he says. “I get calls or emails just about every day asking me, ‘Mr. Dickerson, when is this thing going to be over so we can get back together?’ Sadly, I have to tell them, ‘Not yet.’ We are a close-knit family. It is hard to be apart.”

Since last March, Dickerson has focused much of his time to composing. His two new pieces are entitled “Psalm 91” and “The Storm is Passing Over.”

“Once the pandemic is over, I will record these compositions,” he says. “I have just composed a song in tribute to President-Elect Biden and Vice-President Elect Harris entitled “A New Day in America.”

While COVID-19 has curbed what Dickerson and ICYOLA can do in person, plans for a Disney+ film that will tell the story of the orchestra, its members, and its founder, are in early development now. Bobby Smith Jr., who produced Jason’s Lyric, 26 MuPhiEpsilon.org

Charles “Chuck” Dickerson III (Omega, Omega, Palos Verdes/South Bay Alumni, ACME) is a conductor and composer of orchestral and choral music. In addition to his roles as executive director and conductor of the Inner City Youth Orchestra of Los Angeles (ICYOLA) and the South Side Chicago Youth Orchestra (SSCYO), he is director of music at Rolling Hills United Methodist Church in Rolling Hills Estates, California, director of the Leo Baeck Temple Chorus in Los Angeles, California, and is professor of conducting and orchestral studies at California State University, Dominguez Hills.

Dickerson serves on the board of directors of the League of American Orchestras. Throughout his multi-faceted career, Dickerson has conducted performances of many of the greatest orchestral and choral works throughout the United States, Europe, Asia, and Africa. A vocalist himself, Dickerson has prepared choruses for concerts with the Los Angeles Philharmonic and the Hollywood Bowl Orchestras, including performances of the Mahler Eighth Symphony and Beethoven’s Ninth Symphony with Maestro Gustavo Dudamel, conductor.

Dickerson also holds important compositional and arranging credits. His best-known work is “I Have A Dream,” a choral and orchestral setting of Dr. Martin Luther King Jr.’s landmark speech. He has also arranged and conducted orchestral performances of the music of Duke Ellington, Stevie Wonder, Motown, and others.

In 2018, he composed “This is Why We Kneel,” scored for orchestra and male chorus, which can be heard at https://youtu.be/PuxPSekKJk8 Dickerson holds a Master of Music degree with a focus on conducting from California State University, Los Angeles, and degrees from Howard University (B.S.) and American University (J.D.). He has studied with esteemed conductors Gustav Meier, Daniel Lewis, and Kenneth Kiesler. Dickerson formerly served as music director and conductor of the Southeast Symphony (2004-2011). He has held important public and civic leadership positions in Washington D.C. and Los Angeles.

Dickerson is married, has two adult children, is a proud grandfather, and is an avid baseball fan.

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A P P L AUSE & ENCOR E: MEMBER AND CHAPTER NEWS

Mu Phi makes it to Namibe, Angola!

On Dec. 9, 2020, the Zeta Omega chapter at Illinois College in Jacksonville, Illinois, initiated Rosalinda Manata into Mu Phi Epsilon. Chapter President Hope Quarles and District Director Ann Geiler initiated Rosalinda over Zoom, as Illinois College went to online learning after Thanksgiving, and Rosalinda went home to Namibe, Angola, in Africa. Rosalinda is an international studies and music major at Illinois College and is blind.

She has done an amazing job navigating the campus and her studies at IC. Rosalinda is so excited about becoming a member of Mu Phi psilon and will be a great addition to the Zeta Omega chapter. Welcome to Mu Phi Epsilon, Rosalinda!

—Contributed by Ann Geiler

Composer, poet, and musician Carla Noel Sedlacek (Gamma Sigma, Palos Verdes/South Bay Alumni) has released a new recording entitled Birdsong in a Greenwood Tree on the Birdsong Records label. The CD and MP3 is available for purchase via Amazon.com or can be streamed via the Amazon app.

Please send your Applause & Encore news items with photo to: editor@muphiepsilon.org.

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Madeline Ross

Joellen Sweeney

Lindsey Rae Johnson Director Joellen Sweeney (Phi Lambda), Producer Madeline Ross (Phi Lambda) who played the role of President Flavia Tito, and Lindsey Rae Johnson (Phi Tau), who played Secretary of State Victoria Booth, collaborated on The Secret Diaries of Pennsylvania Avenue, a virtual opera-pastiche with music by W. A. Mozart, launched by Renegade Opera on Oct. 23, 2020. Mu Phi Epsilon members can view the production https://www. renegadeopera.org/secretdiaries. The website is free and best visited on a laptop or desktop computer.

On Oct. 24, 2020, Julio Sequeira (Gamma Sigma, Palos Verdes/South Bay Alumni) presented his research on Music Education and the Immigrant Student at the Pacific Southwest California Music Educators Association. It was a virtual conference. He presented findings from the field with his work with students from Latin America, particularly Mexico, Guatemala, Honduras, and El Salvador at the middle school and high school level. “Students often come with some musical training, particularly in percussion, trumpet, and trombone. Very few know how to read music. I found that students from El Salvador had a deep formal understanding of written music notation. I also found that many of the students that can play would not join the music program because they either were focusing on learning English and/or working a full-time job after school. Only a handful of students at the high school level continued on to join one of the performing ensembles,” Sequiera says.

Congratulations to the Mu Gamma chapter at the University of Nebraska, which was reactivated on Dec. 27, 2020. Three new members, Jacob Denton and Taylor Sullivan, were virtually initiated in the Fraternity along with Alfanzo Meza, not pictured. Performing the initiation were members from the Lincoln Alumni chapter and Beta Pi. Two Mu Gamma initiates, Wanda Mandigo and Jane Sonneland, helped with the ceremony.

This photo was taken following the initiation ceremony. Top row (left to right): Wanda Mandigo, Emma Bauerle (Mu Gamma chapter advisor), Liana Sandin (District Director); 2nd row (left to right): Rachel Tvrdy (Beta Pi), Alisa Belflower (Mu Gamma faculty advisor), Kristina Hanson; 3rd row (left to right): Ruth Stephenson, Jean Henderson, Talea Blocha; 4th row (left to right): Jane Sonneland, Jacob Denton, Taylor Sullivan.

On Oct. 22, 2020, Ashley Bouras (Phi Tau, Dallas Alumni) was named a Richardson ISD Super Teacher. The deputy superintendent, Tabitha Branum, came to her virtual staff meeting and presented Ashley with the annual award, much to her surprise!

Congratulations Ashley!

Aaron Larget-Caplan (Beta, Boston Alumni) recently released a new recording, Nights Transfigured, and an anthology by the same name, published by the American Composers Alliance (ACA). The CD is his second release as part of his New Lullaby Project, comprised of 21st century compositions for guitar. The anthology is the first of a multi-volume endeavor that explores more than 60 compositions written for the New Lullaby Project since 2006. Says Larget-Caplan, “These compositions assert that the sonic boundaries of the guitar are only limited by the composer’s imagination and physical abilities of the player. Whether a student, amateur, or professional there is a lullaby for you.”

Recordings of the works within the anthology are featured on his 2010 New Lullaby CD and the just-released album, Nights Transfigured. A third album and second volume of scores will be issued in early 2021. For more information, visit alcguitar.bandcamp.com.

Mu Phi Epsilon is proud to announce the installation of the Eta Zeta Collegiate Chapter at the University of North Georgia Dahlonega, Georgia November 19, 2020 Send congratulations to: Attn: Simon Miller, Mu Phi Epsilon University of North Georgia SJMILL8540@ung.edu or Dr. Benjamin Schoening Benjamin.Schoening@ung.edu WINTER 2021

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FINAL NOTES ANN G IB B EN S DAVIS, P H I LAM B DA , WAS H I N TO N D.C . A LU M N I DAV I S MU S E C @ CO MC AST.NET AN N G EIL ER, P H I T H ETA , ST. LO U I S A LU M N I STL A LU MN I M P E @ G MA I L .CO M

Thank you!

Many thanks to Ann Gibbens Davis, who has tirelessly compiled the Final Notes since the Summer 2015 issue of The Triangle. We are indebted to you for your service.

Please welcome Ann Geiler as the new Final Notes contributor.

Ann is currently District Director C1 and the president of the St. Louis Alumni chapter.

Nancy Belle (Philbin) Adsit Gamma, February 17, 1952 Died November 24, 2020 Pianist, educator. Nancy enjoyed a lifelong passion for piano performance and teaching around the world. She began studying piano with Mrs. Breakey of Ann Arbor and after high school, she went on to receive a Bachelor’s and Master’s degree from the University of Michigan School of Music. Nancy taught at Grand Forks School of music in North Dakota and pursued advanced studios at The Juilliard School in New York. In 1959, she served with the Army Special Services Section (entertainment). Nancy continued studying piano with Professor Randolph Hokanson at the University of Washington and was a member of the Washington State Music Teachers Association. Nancy’s student, Charlie Albright, renowned classical pianist, composer, and improviser, began formal piano training with Nancy when he was seven and continued through high school.

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Helen Louise (Lamphear) Brainard Mu Nu, April 25, 1947 San Jose Alumni Died June 28, 2020 Vocalist. Helen sang in Cortland United Methodist Church for over 50 years.

Eva K. (Michalson) Brundin Mu Epsilon, November 10, 1946 Sedona, AZ Died February 1, 2020 Pianist and vocalist. Eva was an active member of Mu Phi Epsilon and was National Past Alumni Advisor from 1970-1977.

Irene (Ashenfelter) Canon Phi Tau, November 21, 1948 Died June 30, 2020 Organist, pianist, educator.

Irene graduated from the University of North Texas with degrees in organ and music education. She was a pianist, an organist, and sang in church choirs throughout her life. Irene was also a member of the Arlington Master Chorale.

She was a member of the Fort Worth Symphony League and a retired teacher of 23 years.

Judith Belle (Percy) Golden Phi Zeta, May 31, 1963 Died March 6, 2020 Educator, oboist. Judith won a music scholarship to Morningside College in Sioux City, Iowa. She joined the Sioux City

Symphonic Orchestra. In 1962, she joined the Grandview Park Sioux City Municipal Band She was Vice President of her Mu Phi Epsilon chapter. She graduated from Morningside College with a bachelor’s degree in Music Education and was voted the Most Outstanding Senior of the Year in Mu Phi Epsilon. Judith taught music in Lake View with the Auburn School System, and in Wall Lake, Iowa. She taught music privately in California and became vice president of Lowrey Organ Center, Inc. In 1988, she was recognized as the Teacher of the Year and was honored seven separate years with the Who’s Who Among America’s Teacher award.

Julia Hoppes Phi Pi, January 12, 1951 Wichita Kansas Alumni Died October 20, 2020 Violinist, vocalist. Julia was a violinist and served as president of Wichita State University Music Associates for one year following her tenure on the organization’s Board of Directors. She taught music at Haysville and Wichita State University. She enjoyed playing violin, opera, and sang in her church choir for most of her life. She served as treasurer for Mu Phi Epsilon for many years.

Marian Kay (Patterson) Hedges Mu Mu, May 20, 1951 Died July 13, 2020 Vocalist, educator. Marian graduated from Kansas State University with bachelor’s and master’s degrees in music. A lifelong music educator, she taught in Phillipsburg and Colby, Kansas, and Oklahoma City Public Schools for over 20 years. She conducted in-service

workshops to teachers and visited elementary school classrooms as a vocal music consultant. Kay was a member and leader of many music organizations including Mu Phi Epsilon, the McDowell Music Club, and the Ladies Music Club. She was a member of All Souls’ Episcopal Church choir and a singer in Canterbury Choral Society and B’nai Israel Temple for many years.

Merrie Elizabeth Kendrick Epsilon, June 9, 1988 Toledo Alumni Died August 18, 2020 Pianist, educator. Merrie “Lib” served in the United States Army as a dietician during WW II. She studied piano since childhood and taught lessons privately beginning in the 1960s.

She earned a second bachelor’s degree in music from Mary Manse College in Toledo and continued teaching for the next 46 years. She went back to school in 1992 and pursued a master’s degree in music performamce from the University of Toledo. She received that degree in 1994 at age 72. She was a member of various music organizations for which she held offices, including the Ohio Music Teacher’s Association, the Euterpean Club of Toledo, as well as Mu Phi Epsilon.

Nellie Jeannette (Scruggs) Lipford Alpha Sigma, May 1, 1951 Died September 22, 2020 Vocalist, educator.

Jeannette graduated from Abilene Christian University in 1949 with a B.A. in education. She studied voice at Baylor University and Lipscomb University before

earning an M.A. in education from ACU in 1987. She did graduate work in music at Southern Methodist University and The Juilliard School. Jeannette served as a music coordinator for the elementary division and taught second grade at Wylie Elementary School in Abilene; she also taught music for second graders in the Ozona (Texas) ISD. She taught kindergarten music at Otter Creek Christian Schools in Nashville, Tennessee. For 24 years, Jeannette taught voice to approximately 2,000 students in music and theatre. She retired in 1992 as assistant professor emerita of voice yet continued to teach voice lessons.

Her students went on to become Broadway stars, studio musicians, recording artists, music teachers and vocal coaches. Among them was Grammy Award winner Amy Grant. The Jeannette and Harold Lipford Music/Theatre Scholarship Endowment was established at ACU in 1994. In 2000, Sing Song established the Lipford Award in her name. Jeannette was honored at ACU’s 2020 May Commencement with the annual Dale and Rita Brown Outlive Your Life Award. Even in her late 80s and age 90, she still performed on stage in musicals.

Charlotte Fay Marsh Beta Kappa, May 17, 1969 Died June 10, 2020 Vocal soloist, choir director and leader, pianist, music educator. Charlotte graduated from Trinity University with a Bachelor of Music degree and from University of Texas San Antonio with a Masters of Arts degree. For 30 years, she taught in the San Antonio ISD. She devoted over 35 years to the music program at Lackland Air Force Base as a soloist, pianist, music leader, and choir director. Charlotte was the soloist and soprano leader for Alamo Heights Pres-

byterian Church for four years. For over 10 years, she was a singer in the Chant d’ Amour performing at many venues in San Antonio. For the last several years, she was the pianist at the Marcelina Baptist Church and then a choir director at Northview Baptist Church in Floresville, Texas.

Elise (Stefan) Marshall Kappa, November 13, 1946 Indianapolis Alumni Died June 14, 2020 Pianist, vocalist, choral conductor. Elise was an accomplished pianist and a mezzo soprano. She attended Butler University where she studied music education, then transferred to the University of Michigan, on a full scholarship where she completed her B.A. in music education. She began her teaching career in choral music at the Tech High School and the Park Tudor School in Indianapolis. She also taught music education, voice performance, choirs and singing groups at Indiana Central College, now the University of Indianapolis. She and her husband Ken conducted European choral music education trips with various students. In 1972, she formed the Indianapolis Chorale Arts, and in her capacity as director, she worked with renowned composers Aaron Copland and Norman Luboff. In 2006 Elise was awarded the Distinguished Alumna Award in recognition of her work as founder and director of the Indianapolis Chorale Arts.

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Marion Renesford (Noonan) Norris Beta, May 29, 1951 Died June 10, 2020 Vocalist, educator. Marian attended the College of St. Rose in Albany and graduated from New England Conservatory of Music in 1955. She sang with the New England Opera Theater and gave concerts and recitals in New England and New York state.

She enrolled in the University of Houston, Texas, where she obtained her teaching certificate. Marian had a lengthy career with the Houston ISD beginning in 1967 teaching music and as a bilingual Spanish teacher. She was principal at James A. Berry Elementary. She earned her master’s degree in education from TSU. She retired from HISD in 1997. She was a mezzo soprano and sang with the choir and was a member of St. Augustine Catholic Church where she was also ma lector and cantor. She also sang at Our Lady of Walsingham Catholic Church sang at Our Lady of Walsingham Catholic Church, was a member of the Houston Tuesday Musical Club, Tuesday Musical Club Chorus and the Treble Clef Club of Houston. She was still performing and attended rehearsals and recitals until the Coronavirus suspended all activities.

Dr. Mary K. Philips Epsilon Eta, November 13, 1948 San Diego Alumni Theorist, musicologist, music educator. Mary was 5th Vice President of Mu Phi Epsilon and Parliamentarian from 1995-2003. Mary was dean of the School for Performing and Visual Arts, San Diego, and was dean and professor emeritus at the University of California, San Diego, Calfornia.

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Tricia Rene Shallin (Lawder) Phi Gamma, January 11, 1965 Died November 15, 2020 Tricia was a school counselor in Abita Springs, Jefferson Parish, New Orleans, Louisiana.

Lahonda Sue (Cordell) Sharp Epsilon Epsilon, May 14, 1968 Died August 23, 2020 Music educator, music director, vocalist. Lahonda earned her bachelor’s degree in music education from Texas Christian University in 1971 and was president of the Epsilon Epsilon chapter of Mu Phi Epsilon. She was a principal dance soloist in the Wichita Falls Ballet Company in Wichita Falls, Texas, during the 1960s.

In 1976, she began her teaching career at the Advent Episcopal School where she taught for 16 years and served as a music director in the Methodist Church for over 35 years. Lahonda was a widely respected musician as she shared her musical talents around the world. She conducted at Carnegie Hall on three occasions, led her adult choirs at various international festivals, and sang in world-renowned cathedrals and concert halls.

Lois Ruth (Baum) Vidt Phi Omega, November 19, 1949 Died November 9, 2020 Educator. Lois graduated from Westminster College in New Wilmington, Pennsylvania, with a degree in music education. She earned a master’s degree in music education from Edinboro State College in Pennsylvania in 1972. She taught elementary and secondary music in McKean and Edinboro before moving to San Jose, California, in 1969. Lois taught vocal music at Lynbrook

High School for 16 years before retiring in 1990. She was an active member of Mu Phi Epsilon, American Choral Directors Association, and the California Music Educators Association.

Joan (von Berg) Waugh Mu Eta, May 30, 1950 Died October 18, 2018 Pianist, vocalist. Joan began studying piano at age 4. When she was 17, she performed the Liszt Piano Concerto No. 1 in E-flat major with the Stockton Symphony Orchestra in Stockton, California. Joan attended Stockton College where she majored in music. She also attended the College of the Pacific in Stockton, California. She accompanied many instrumental and vocal soloists, as well as many choirs, through her life. She sang in the Stockton Chorale and the Central United Methodist Church Choir.

Patricia (Baumgarten) Webster Gamma, February 15, 1947 Died October 11, 2020 Organist, accompanist, theorist. Patricia attended the University of Michigan and earned a Master of Music degree in organ and theory.

Pat was an organist for various churches including Ladue Chapel in Ladue, Missouri, and the accompanist for the St. Louis County Community Chorus for several years. She was accomplished on the organ and an amazing sight-reader, which made her the first choice when a church or choir needed an accompanist at the last minute. Pat was a regular accompanist and performer for the Birmingham Musicale in Birmingham, Michigan. She loved the Carillon Bells at Kirk of the Hills Presbyterian Church in Bloomfield, Michigan, and was a regular substitute organist at the church.

HAPPY ANNIVERSARY!

These Mu Phi Epsilon chapters celebrated birthdays in 2020.

YEARS CHAPTER

DATE

115

Dec 9, 1905 Dec. 9, 1905

Epsilon, University of Toledo, Toledo, OH Zeta, DePauw University, Greencastle, IN

105 Phi, University of Mount Union, Alliance OH May 15, 1915

Toledo Alumni 1915

100 Mu Eta, University of the Pacific, Stockton CA Nov. 13, 1920

Mu Theta, University of Texas, Austin TX Nov. 27, 1920

Boston Alumni Jan. 7, 1920

95 Mu Upsilon, Eastman School of Music, Rochester, NY Feb. 28, 1925

85 Phi Kappa, Wayne State University, Detroit, MI Nov. 17, 1935

75 Phi Tau, University of North Texas, Denton TX Mar. 22, 1945

70

Epsilon Lambda, Eastern Michigan University, Ypsilanti, MI

Apr. 23, 1950

65

Palo Alto Alumni

Sep. 26, 1955

60 Alpha Mu, Missouri State University, Springfield, MO Apr. 24, 1960

Alpha Nu, West Texas A&M University, Canyon TX Apr. 24, 1960

55

Alpha Omega, Stephen F Austin State University, Nacogdoches TX Beta Alpha, California State University, Fullerton CA

Apr. 4, 1965 Apr. 19, 1965

45

Gamma Pi, Shorter University, Rome GA

Feb. 1, 1975

20

Delta Rho, University of Colorado, Boulder, CO Delta Sigma, University of California, Irving CA San Antonio Alumni

Feb. 27, 2000 Jun. 3, 2000 May 18, 2000

15

Zeta Alpha, Williams Baptist University, Walnut Ridge, AR Zeta Beta, Cameron University, Lawton OK

Apr. 5, 2005 Apr. 23, 2005

1 Eta Eta, Oglethorpe College, Atlanta GA

Sep. 22, 2019

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DISTR ICT DIRECTORY

ATLANTIC DISTRICT A1 Stephanie Berry 574.596.8285 bmpenguin69@hotmail.com

SOUTHEAST DISTRICT SE1 Marshall Pugh 252.599.2492 se1dd@muphiepsilon.org

WEST CENTRAL DISTRICT WC1 Ashley Roever 580.822.5682 amroever@hotmail.com

DISTRICT A2 Susan Todenhoft 703.323.4772 H 703.509.0224 C todenhoft@gmail.com

DISTRICT SE2 Arietha Lockhart 404.284.7811 ariethal@hotmail.com

DISTRICT WC2 Ashley Bouras 972.765.3252 ashley.kimmel12@gmail.com

DISTRICT SE3 Ashley Bouras 972.765.3252 ashley.kimmel12@gmail.com

PACIFIC NORTHWEST DISTRICT PNW1 Sophia Tegart 509.991.4906 sophia.tegart@gmail.com

EASTERN GREAT LAKES DISTRICT EGL1 Ashley Bouras 972.765.3252 ashley.kimmel12@gmail.com DISTRICT EGL2 Ashley Bouras 972.765.3252 ashley.kimmel12@gmail.com DISTRICT EGL3 Nancy Jane Gray 330.688.7990 bobgrayz@aol.com GREAT LAKES DISTRICT GL1 Samantha Morgan 734-790-6974 samanthamorgan014@gmail.com DISTRICT GL2 Ashley Bouras 972.765.3252 ashley.kimmel12@gmail.com EAST CENTRAL DISTRICTS EC1 Herbert Jackson 678.577.3637 herbertjackson5@gmail.com DISTRICTS EC2 & EC3 Sean Kilgore 317.750.3206 smk193@gmail.com

DISTRICT SE4 Adriana Ezekiel 256.443.5339 adrianalezekiel@gmail.com SOUTH CENTRAL DISTRICT SC1 — OPEN DISTRICT SC2 Sam Melnick 512.673.3822 samelnicomposer@gmail.com DISTRICT SC3 Anissa Martinez 806.217.4445 anissa.martinez@wheelerschools. net DISTRICT SC4 Isabel De La Cerda 210.204.6425 idelacerda@hotmail.com CENTRAL DISTRICT C1 Ann Geiler 314.691.7648 celloanng@centurytel.net DISTRICT C2 Paula Patterson 417.773.1176 paulapatterson@missouristate.edu NORTH CENTRAL DISTRICT NC1 Zack Carlson 218.201.1437 zachariah.davin@gmail.com DISTRICT NC2 Liana Sandin 402.483.4657, 402.560.7126 Liana.Sandin@gmail.com

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DISTRICT PNW2 & PNW3 Michael Lasfetto 971.275.3800 pnw3dd@muphiepsilon.org PACIFIC DISTRICT P1 Jessica Nguyen 858-231-5545 jttnmusic@gmail.com DISTRICT P2 Patrick Aguayo 408.991.4011 patrickanthony551@gmail.com PACIFIC SOUTHWEST DISTRICT PSW1 Tanner Wilson 951.515.9680 tannerwilson263@gmail.com

OF F ICERS DIRECTORY

2017-2021 INTERNATIONAL EXECUTIVE BOARD

INTERNATIONAL CHAIRMEN

2020-2021 FOUNDATION BOARD

Rosemary Ames, Omega International President 508.498.4669 president@muphiepsilon.org

ACME Arietha Lockhart (Chair) Beta Gamma, Atlanta Alumni 404.284.7811 ariethal@hotmail.com

Dr. Sophia Tegart, President Mu Beta 509.991.4906 president@mpefoundation.org

Julia Scherer, Alpha Kappa 1st VP/Extension Officer 816.225.2987 extensionofficer@muphiepsilon.org

Mary Au (Co-Chair), Mu Nu Los Angeles Alumni 323.666.2603 auhaus@gmail.com

Jenny Smith, Phi Xi 2nd VP/Collegiate Advisor 214.662.5087 collegiateadvisor@muphiepsilon.org Marcus Wyche, Delta Delta 3rd VP/Alumni Advisor 301.484.3652 alumniadvisor@muphiepsilon.org

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

Rebecca Sorley, Kappa 4th VP/Music Advisor 317.885.1103 musicadvisor@muphiepsilon.org Terrel Kent, Beta Zeta 5th VP/Eligibility Advisor 225.772.7384 eligibilityadvisor@muphiepsilon.org Jess LaNore Executive Secretary-Treasurer 888.259.1471 executiveoffice@muphiepsilon.org Ellen Ritscher Sackett Phi Tau, Denton Alumni International Editor 940.395.1300 editor@muphiepsilon.org

Evelyn Archer Omega Omega, St. Louis Area Alumni 314.481.2361 archerbe@sbcglobal.net INTERNATIONAL Marlon Daniel, Mu Xi New York City Alumni 212.641.0305 marlondanielnyc@gmail.com

Megan Carfa, Vice-President Phi Tau 817 673 7341 vicepresident@mpefoundation.org Dr. Kristín Jónína Taylor, Secretary Alpha Kappa 641.590.0547 secretary@mpefoundation.org Liana Sandin, Treasurer Beta Pi, Lincoln Alumni 402.560.7126 treasurer@mpefoundation.org Zachariah Carlson Zeta Lambda 218.201.1437 admin@mpefoundation.org Kira Dixon, Artist Concert Manager Grants and Scholarship Chairman Phi Mu 408.439.6076 grants@mpefoundation.org Rosemary Ames Omega 508.498.4669 president@muphiepsilon.org

MUSIC LIBRARIAN & ARCHIVES Wendy Sistrunk, Mu Mu Kansas City Alumni 816.836.9961 SistrunkW@umkc.edu

HONORARY ADVISORY BOARD Katherine Doepke, Phi Beta 612.377.2043 katdoepke@gmail.com Lee Clements Meyer, Phi Xi 512.345.5072

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International Executive Office 4011 N Pennsylvania St #100 Indianapolis, IN 46205 executiveoffice@muphiepsilon.org 888 259 1471

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

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

greeklicensing.com 36 MuPhiEpsilon.org