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December 2012

How the 2012 National Convention Will Shape the Next Triennium Also Inside: page 6 A Conversation with Carlisle Floyd page 11 Dr. Karl Paulnack’s Keynote Address

The President’s Message Given at the 2012 National Convention

Brothers, In ancient times philosophers depicted the universe as a targetlike image, organized in concentric rings. They divided the cosmos into seven spheres, depicting the idea that there are multiple levels of existence ranging from the spiritual to the material. Likewise, man was considered to be a miniature universe, a microcosm, also existing on different levels, for example his physical life, mental life, emotional life, and spiritual life. I refer to this ancient principle because Sinfonia also exists on multiple planes, and when brothers grasp the full vision, it is like an epiphany that sparks a new Sinfonia spirit. So let us consider the different levels of our mission and what it means to be a Sinfonian. On the surface Phi Mu Alpha is a college music fraternity. It started in the fall of 1898 when thirteen conservatory students in Boston got together for the sake of sociability. Today, that most basic element of brotherhood based on shared devotion to music is still the most common reason that members join this Fraternity and remain active. Brothers develop friendships in the chapter that make real impacts on their lives, both during their college years and for a lifetime. We could stop right here, and Phi Mu Alpha would be a great college fraternity. But there’s far more to Sinfonia. Some brothers venture beyond the level of their own chapters to a province or national event, and many consider it a significant leap in awareness when they first experience what it means to be a national brotherhood. Sinfonia became national not for the sake of growth itself, but in response to a real need in the music world. At the end of the 1800s, when music in America was held back by intense rivalry and distrust, our Brotherhood promoted harmony among musicians. In 1902 The Philadelphia Press said that Sinfonia was “the first organization which has ever tried to promote and foster…fellowship among makers of melody” and that we had

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overcome tradition by eliminating the spirit of antagonism that was rampant among musicians. We could stop here and take great pride in knowing that Phi Mu Alpha had this impact, and still fills the music world with fraternal spirit as the oldest and largest national brotherhood of musicians in the world. In its most basic forms Sinfonia is both a music fraternity on the local campus and a national brotherhood in music, but there is more to it than developing fraternity among musicians. From Sinfonia’s earliest days, it has been our mission to advance music in America. In October 1900 when the first Sinfonians from Boston visited Philadelphia to start a chapter there, they told their hosts that their unwritten motto was “Gather to the Art for Americans, and American Art for the World.” At the beginning of the twentieth century Sinfonia was a rallying point for American music to take its rightful place on the world stage. This was not a group of men with casual interests in music, but in fact music’s leading figures. Our Fraternity’s first Supreme Presidents were the directors of the music conservatories in Boston, Philadelphia, Ithaca, and Cincinnati. The founders of the Boston, Chicago, and Cincinnati Symphony Orchestras were our brothers. Three of the men of the famous Boston six, the first composers of American classical music, were Sinfonians. Foremost among them was George Chadwick, who suggested our name “Sinfonia.” These men, as brothers, worked together to see American music on the programs of the greatest orchestras of both America and Europe. They wanted American music to uphold certain aesthetic values. They stood for sincerity in music, the idea that a musician should follow his own inspiration over the influences of commercialism and materialism. They upheld standards of artistic excellence. Since that time, and in every generation, Sinfonians have founded and led music ensembles, schools, and organizations of all kinds. Our membership includes many of the greatest talents who have ever lived, and who have transformed virtually every field and genre of music in America and the world. Some of them

have been with us at this very Convention. Just think about what it means that every one of these brothers dedicated himself to music upon the great obligation of Phi Mu Alpha. So on one level, Sinfonia is a music fraternity on the college campus. On another it is a brotherhood of musicians nationwide. On yet another we are an alliance for the cause of American music. All of this might be expected of a national music fraternity. However, there is another important and unique level of our mission: idealism. You might think idealism is not unique; every fraternity eventually adopts a set of principles and teaches them to its members. But, for Sinfonia the practice of discussing and meditating on high ideals goes back to our origins, before we became a national fraternity. Early Sinfonians said that our beginning was different than that of other fraternities. As they put it, it was “the product of a personality…the founder of the movement, Ossian E. Mills.” Mills created a place where musical students could contemplate things of a higher nature. He was inspired by the New Thought, a philosophical movement that had permeated the circles of New England intellectuals around the time of Sinfonia’s birth. It teaches that thoughts are real, that they have power, and that higher thoughts and ideals draw man onward and upward. Mills cited this influence when he encouraged brothers “to withdraw from the active, noisy, materialistic rush of the world…and in peaceful quiet meditate upon and consider together some of the deep things of life…” He used the key phrase of the movement referring to quiet contemplation when he asked brothers to go “into the silence” and consider each one of our Fraternity’s ideals. Take into account the influence of this movement and Father Mills, and you can gain a whole new level of appreciation for our ideals and the fact that we discuss them so actively in positive and meaningful fraternity education programs. As I have said, there are multiple levels to our mission. I have mentioned brotherhood, the cause of music in America, and the practice of idealism. Now I must add the progress of

humanity. One of the most inspiring things to realize about Sinfonia’s mission is that, from our earliest years, the word “Fraternity” has carried a much higher meaning than sociability or friendship alone. Our early leaders spoke of the Brotherhood of Mankind. This is the idea, as stated in an early Sinfonia publication, that “We are all members one of another…We are branches of the same tree, a family of one blood.” Supreme President Gilbert Combs said that he welcomed Sinfonia because the feeling of “the universal brotherhood of man” had never existed before among music students. Supreme President Percy Jewett Burrell asked if we catch the true meaning of the brotherhood of men, whether it gives us a spiritual insight and a broader vision. In the shadow of the first World War, Supreme President F. Otis Drayton said that “the great truth of the brotherhood of man is of inestimable value to the world,” and that the greatest value of the fraternity lies in teaching men the ideal of brotherly love so that they will carry it into their dealings with the outside world. This is not merely a lofty way of describing the ideal of Fraternity, or some artifact of the way people wrote at the turn of the last century. In an unprecedented age of industrial and technological revolution and great war like the world had never seen, those brothers believed that musicians must be part of the broader movement to bring harmony to mankind, and that we can actually can attain that seemingly impractical ideal through simple acts of loving kindness. The Brotherhood of Mankind is a high and noble ideal, but even this level does not fully capture the spirit of Sinfonia. As part of a movement to uplift mankind, what makes this Fraternity so unique and so powerful is that music has been the key component to human progress and enlightenment since the dawn of civilization. The oldest-known musical instruments demonstrate that there was already a well-established musical tradition when modern humans colonized Europe over 35,000 years ago. This means that 25,000 years before agriculture and 30,000 years before the earliest known writing systems, there was music. And those ancient instruments – flutes made from bone and ivory – are not mere whistles or noisemakers. They are capable of playing expressive melodies in the pentatonic scale. What’s more, they were found in the painted caves of the French Pyrenees, where the earliest known initiation rituals took place. As far as we know, these decorated Continued on page 2

Contents 5 2012 National Convention Highlights

15 Foundation Scholarships Awarded 18 Alumni Accent 24 Life Loyal 26 Campus Notes

31 Directory 32 Letters To The Editor

Volume LXI Issue 1 Phi Mu Alpha Sinfonia Fraternity National Headquarters 10600 Old State Road Evansville, Indiana 47711-1399 Toll-Free: (800) 473-2649 Fax: (812) 867-0633 Editor-in-Chief: Jeremy M. Evans

Managing Editor: Mark A. Wilson

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This issue printed on 10% post-consumer recycled paper using soy based inks. December 2012 The Sinfonian 1

President’s Message temple-caves are the very first evidence of man’s capacity to create beauty and of his higher aspiration. What was there? Music. Music was again used to awaken man to his higher nature in the Greek Mysteries. That ancient fraternity was founded by a poet and musician called Orpheus, and almost every great philosopher was an initiate. The Mysteries introduced western humanity for the first time to the concept of the soul, the notion that there is an invisible and immortal part of man, and they did it with music. Their rituals were dramatic reenactments of their myths, accompanied by beautiful poetry and music. At that time in human history, when nothing else like them existed, these elaborate productions were so aesthetically powerful that they produced in their participants the same indescribable feelings that we have when we are deeply moved by music. And when their initiates experienced those feelings, the movement of something invisible within them confirmed to them the existence of the soul. Aristotle noted that initiates attended the Mysteries not to learn something, but to experience something. Music provided the exalted experience. Music has long been considered so essential to the full expression of a human being that some of the greatest epochs in history have been marked by efforts to guard and use its emotive power. The Greek philosopher Plato said that the fall of the Athenians began when they abandoned ancient musical laws, and began to favor what appealed to mass consumption over true musical science. With the rise of the Roman Empire, followed by Barbarian invasions of Europe, the arts and sciences were destroyed, along with the temples where they were taught. Even the basic principles of harmony, which Pythagoras had derived from immutable laws of nature, were altered by those who would silence the powerful songs of Greece. But in that darkness of the Middle Ages, a band of brothers that we know as the Troubadours lifted carried humanity with music’s power. For three centuries their songs inspired mankind again with a spirit of chivalry and love. Then,

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the leading philosophers of the Renaissance, on their mission to promote human reason and self-awareness, revived principles of ancient Greek music that had been completely extinct for a thousand years. Their purpose was to create music of much greater expressiveness, to free man’s spirit, to restore the power of music. Throughout the ages great movements have revered and used music’s power to heal, elevate, and even enlighten humanity. Modern society, government and education do not value these goals; they are more concerned with the production and consumption of material things. We even play into this view and fall into their framing of the discussion when we cite the fact that music education improves skills in other subjects, for example, or that students in band and orchestra have the lowest rates of drug and alcohol use. Of course these are important findings, but music’s purpose is not to make better math and science students, or to teach teamwork and discipline. Music has its own intrinsic value. If we are really to defend music it depends on recognizing that its true value and very essence lie in an entirely different sphere of human experience – the invisible part of human life. Music expresses that part of man. It keeps his highest nature awake, inspired and alive. That is exactly why, since the dawn of mankind, music has played a key role in the greatest leaps forward in human consciousness and human freedom. One of the highest things a Sinfonian can know – and must know – is that the men who constructed our ceremonies and traditions so many years ago acknowledged clearly that this Order awakens again the spirit of those movements. It kindles anew the sacred flame of melody. Supreme President Combs called Sinfonia “a movement for the betterment of mankind.” An early issue of Musical America said that Sinfonia’s purpose is to bring the musician to the “full realization that service to music is not enough, but that service to mankind should be the essential thing of his life.” Supreme President Drayton wrote that “our fraternity has as its purpose and as its result the elevation, the

happiness and the betterment of mankind.” These are not mere words to make our Fraternity sound grand and impressive. They are clear declarations of our mission – an ancient one – which is now our duty to promote and preserve. I know that understanding the full depth of our Fraternity’s history and purpose has inspired many brothers with a greater sense of responsibility to our legacy, and more importantly has changed lives. So I hope that when you look beyond the lowest levels, a broader vision of Sinfonia’s mission gives you a high conception of what it means to be a Sinfonian, inspires you to be the most loving and generous person you can be to others, and renews you with strength to work ceaselessly with the power of music to bring light and harmony to mankind, one song at a time. Once again, brothers, I’m so grateful to every single one of you for making this the greatest gathering of Sinfonians ever, for giving me the extraordinary opportunity to serve as your National President, and for your utter devotion to our cause. Thank you, brothers, and Long Live Sinfonia!

John Mongiovi, National President

Sinfonia News NATIONAL CITATIONS AWARDED AT CONVENTION Phi Mu Alpha Sinfonia has awarded the National Citation since 1970 to any non-Sinfonian, or to a company, corporation, or other organization, that has significantly and lastingly contributed to the cause of music in America, either professionally, philanthropically or as an advocate. Past recipients have included Moses Hogan and the Moses Hogan Chorale, Ellis Marsalis, Robert Shaw, Col. John R. Bourgeois, Karel Husa, The Midwest Clinic, the International Association of Jazz Educators, Preservation Hall Jazz Band, the Grand Ole Opry, Walt Disney Company, the Music Teachers National Association and the National Academy of Recording Arts & Sciences. At the 2012 National Convention, two National Citations were awarded. The first was to Dr. John Benham. Benham’s methods as a music advocate are responsible for preventing over $72 million in budgetary cuts to music programs, leading to the restoration of over 2,000 > Tom Allen speaking to the brothers at > Dr. John Benham with his award. teaching positions and the continuation of music programs for over Convention. The second recipient was Tom Allen, founder of Operation Taps. The 500,000 students. In addition, he works as consultant with The Band and objective of Operation Taps is “to promote Taps bugler volunteerism Instrument Manufacturers Association. He is the author of Music Advocacy: among the civilian brass playing community, and to encourage music Moving from Survival to Vision and has been featured as a speaker at organizations to proactively connect with their communities to pay conferences throughout North America. He is a member of the advocacy tribute to America’s Military Heroes.” Thousands of veterans each year go committees of the American Choral Directors Association and the without a live Taps bugler at their funeral service, and Operation Taps American String Teachers Association, and a member of the National promotes awareness of this problem, and actively works to expand Association for Music Education’s Task Force on advocacy. His plan and connections between musicians and veteran organizations, in order to elements of his advocacy approach have also become a part of the alleviate the problem. National Association of Music Merchants’ advocacy kit for music.

SEF CONTINUES TO HELP BROTHERS MAKE MUSIC For the third time, the Sinfonia Educational Foundation has worked hand in hand with the Fraternity to continue to expand the musical opportunities at our National Conventions. This started in 2006, when the Sinfonia Winds performed under the baton of former SEF Trustee and Man of Music Colonel John Bourgeois, Zeta Pi ’56, Alpha Alpha ’00, for the over 400 attendees of the National Convention in Cleveland, Ohio. In addition to the direct support for the program, the Sinfonia Educational Foundation also provided travel grants to participants in the ensemble. The program expanded in 2009 as the Fraternity featured three all-Sinfonian ensembles in concert: Sinfonia Winds, the Men of Song Chorus, and the 1898 Jazz Orchestra. Over 100 Sinfonians took part in the opportunity as ensembles rehearsed each morning and were led by a renowned Sinfonian clinician. Public performances by each group before

a record crowd of over 600 were a highlight of the Convention. After this Convention, the SEF created a fund to directly support this program. At the 2012 National Convention, the SEF was again able to provide support for the various ensembles, which included a string ensemble for the first time, by providing $5,500 in travel grant money to 14 brothers. > A brother surveys the SEF booth alongside SEF Trustee Matt Kokes.

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Sinfonia News NEW OFFICERS ELECTED AT CONVENTION At the 2012 National Convention, officer elections were held and our new national officers were installed. Entering their second term as President and Vice-President of the Fraternity, respectively, John A. Mongiovi, Upsilon Psi (South Florida) ’94, and Mark R. Lichtenberg, Delta Nu (Bradley) ’93, were reelected in their positions. The Province Governors’ Council reelected John Israel, Pi Zeta (Lindenwood) ’01, to serve as their chairman for the next three years. And the Collegiate Province Representatives elected Ian Shoulders, Kappa Zeta (West Virginia Wesleyan) ’07, as their chairman. Our new National Collegiate Representative is Erick Reid, Rho Mu (Norfolk State) ’08. And one of the two Committeeman-at-Large positions

was voted upon. Our new Committeeman-at-Large is Joe Ritchie, Zeta Tau (Indiana Uni. of Pennsylvania) ’87, who is the immediate past Province Governor of Province 13. The other Committeeman-at-Large, K. Dean Shatley II, Rho Tau (Appalachian State) ’93, is serving a 6-year term that ends in 2015, so his position was not voted upon at this Convention. The National Executive Committee acts as the guiding leadership for the Fraternity, and helps to steer the direction of our Fraternity and the national office. We wish these men every success as they enter the new triennium, as Sinfonia continues to grow ever stronger.

COMPOSITION INITIATIVES ANNOUNCED AT CONVENTION The Fraternity has a long history of commissioning new American music. Beginning in 1956 with composer Roy Harris, Sinfonia has commissioned 27 works from composers such as J. Clifton Williams, Arthur Kreutz, Lalo Shifrin, Gunther Shuller, Lou Marini, Jr., Martin Mailman, Robert Starer, Fisher Tull, William Francis McBeth, Lee Hoiby and Robert W. Smith. Thirteen of those pieces have been written specifically for National Conventions. At the 2015 National Convention, a major work by Brother David Holsinger, Beta Mu (Central Methodist) ’64, will be premiered by the Sinfonia Wind Ensemble. This will kick off a composition initiative that will see a new work at each National Convention following 2015. Another way Sinfonia has encouraged the composition of new American Music throughout our history has been through composition contests. The first national composition contest was in 1912, and Sinfonia continued this tradition through each decade until 1960. The Fraternity has now renewed this tradition, and is launching a composition contest with a Grand Prize of $5,000. Details on this competition will be released in the coming months.

> Brother Holsinger (center) flanked by Men of Music Sherrill Milnes and Carlisle Floyd.

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THE 2012 NATIONAL CONVENTION featured a plethora of performances, speeches, events, and announcements. It set the stage for an exciting triennium that has the potential to impact each and every Sinfonian. This issue’s articles–a keynote address, an exciting new partnership, an ambitious new endeavor, and a personal conversation with a legend–resemble not just the wide range of Convention speeches and programs, but the vitality and continued relevance of the Sinfonian vision itself.

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INTERVIEW WITH THE MAN OF MUSIC The Charles E. Lutton Man of Music Award is the highest award Phi Mu Alpha can bestow on its members. Throughout its history, some of the biggest names in American Music have received the award. Following last summer’s Convention, where brother Carlisle Floyd, Epsilon Iota ’57; Alpha Alpha ’12, received the award, The Sinfonian had a chance to talk with Floyd about his life and art. How was your National Convention experience in Orlando? My attending the National Convention in Orlando turned out to be a complete pleasure. I frankly went not knowing what to expect, but I found all the attendees so welcoming and friendly that the experience was totally positive. I came away with renewed respect for the organization as well as honored by Sinfonia’s recognition. When and how did you first know that you wanted to compose? I began composing in my late teens when I was a sophomore in college: I first wrote a group of songs, but started composing more seriously as a graduate student when I composed a one-act opera, my first venture into that field of composition. It enjoyed considerable success but nevertheless I didn’t begin composing seriously until my late twenties when I wrote my first full length opera, Susannah. After its successful professional New York premiere in 1956 my career as an opera composer was launched, and following that, I was fortunate enough to receive commissions for subsequent operas which, I am happy to say, has continued to the present. You’ve taught in a few different locales through your career – Florida State, the University of Houston and the Houston Opera Studio, among others. Do you consider yourself a teacher first, composer first, or are the two interconnected? If the latter, how does teaching aid your composing, or vice-versa? I would consider myself equally a composer and

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teacher but would have to say that, in probing into the art of music and performing that came with my teaching, teaching probably affected my composing more than the other way around. It’s been said that you helped to create an American idiom in opera, filling a musical void that hadn’t yet been filled. Was there ever a conscious drive on your part to blaze new territory in composing, or was it a more natural process that only later received the distinctly American label? That’s an excellent question. I wanted very consciously to be a part of movement in the mid 20th century to bring opera, consciously American in sound and content, to what we perceived to be a much wider audience than had been previously reached. Our perception turned out to be accurate, and, of all art forms, opera, arguably, has been the greatest beneficiary of that effort to create native art. When I began my career there were only a handful of professional opera companies in this country and now there are well over a hundred: needless to say, the audience for opera has expanded in proportion to that, and at this date it is probably the healthiest of all the public art forms – symphony, museums, theater, dance, and opera. I am always deeply complimented when I am referred to as “the father of American opera,” whether that designation is actually warranted or not. Let me put the same question to you: Aside from any labels or accolades that have been given to you, what do you feel your contribution to music has been?

I’d like to think that I was able to help verify that there was an audience for native opera which had until the middle of the 20th century been considered perhaps the most European of all our arts, and to contribute works for that audience which, after over fifty years, are still being performed. Speaking of the American aspect of your music, you like to draw from literature. Authors include Emily Bronte, Robert Louis Stevenson, and John Steinbeck. So I guess this is sort of a chicken or the egg question: which came first, the music or the literature? Did you fall in love with the novels, then set to work on the music? Or did you have themes, motifs, melodies, or general plot structure in mind, then found a work or literature that fit the bill? The libretto for an opera always comes first: it would be unthinkable to create a structure for something as complex as an opera and then find subject matter that could be adapted to it. The libretto always comes first and the necessary elements for an opera (plot lines, characters, settings, etc.) are contained in it: in setting the libretto to music a work is then created which is neither text nor music, but an alchemy of both which is greater than the sum of the parts. What are some other works of literature that you enjoy that perhaps haven’t been set to music? There are a number of works of American fiction that come to mind when I think of novels or plays that might be considered for conversion into opera: Look Homeward, Angel by Thomas Wolfe,

The Scarlet Letter by Hawthorne, The Heart is a Lonely Hunter by Carson McCullers, and Sister Carrie by Theodore Dreiser come to mind. Of your works based on popular literature, probably the most well-known book is Of Mice and Men. What was it that drew you to the novel for an opera? I was drawn to Of Mice and Men as an operatic subject because of a several things: vivid characters, a story line that was lean and direct, a distinct atmosphere, and, perhaps most of all, a profoundly human and heartbreaking story. Your most popular opera is probably Susannah. Is there any regret that the popularity of Susannah perhaps overshadows your other works? Yes, there is inevitably some disappointment that the success of Susannah has overshadowed other operas of mine that I feel are equally stage-worthy, but I think it is the inevitable consequence when the first work of any artist is a very conspicuous success and remains so over the years, and the artist becomes identified with that work. I would love to have Susannah’s success spread around to subsequent operas of mine that I personally feel are equally worthy of that kind of popular success but, for whatever reason (and I don’t know what that is) it hasn’t turned out that way. Do you have a personal favorite work of yours? I have seven favorite operas and it depends on which one I am seeing at any given time as to my current favorite! I honestly can’t say that I have a favorite but I can say that I don’t think I have written a better opera, or one that pleased me more, than Of Mice and Men ... that may also be because of its very prolonged birth: I was at work on it for almost four years! Many great artists are asked about their creative process, and I’m sure you’re no exception. When you were composing many of your works, did you have a routine to help you?

I always have a routine when I am writing an opera: it’s the composer’s equivalent of going to the office every day – I go to my studio and at regular hours. When I have begun a new opera I tell my friends and family that I am “going into training” since it requires that kind of discipline (and even sacrifice) for two to three years to complete a new work. That’s why it is imperative to have selected wisely in choosing a libretto whose characters and stories continue to interest and engage you, since you will spend many months of living very closely with them and their lives. Has inspiration ever struck you when it wasn’t convenient (i.e. you can’t compose right away)? How have you dealt with that, or hasn’t it been an issue? Yes, I’ve had thematic material come from my inner ear when it wasn’t convenient to work with it, but not often. When it has happened I have simply sketched out the musical idea on a piece of manuscript paper or whatever is at hand: once I put down a thematic idea I later used on a paper napkin in a restaurant while I was having dinner with my wife and mother-in-law! Is there any advice you’d give to an aspiring composer that has served you well through your years? If you possibly can force yourself to do it, ignore unfavorable critics unless they happen to belong to a very rare breed who are reasonably objective, and who address themselves to your work with an attitude of honest assessment rather than advancing their own ego needs or biases. Those are rare, but fortunately there were several who helped me in my early years by pointing out what they viewed as weaknesses: I felt they were right and profited from their observations. The most difficult thing for any of us in the arts to deal with is to remind ourselves that nothing really counts other than longevity... hoping that what we create will have pertinence and favorable responses from audiences several generations ahead of us. We can’t write consciously trying to create a work that

doesn’t date: all we can hope for is that a work that is honestly done and hasn’t capitulated to current fads will find responsive audiences in the future. In your acceptance speech for the Man of Music award, you talked about the importance of music in our lives. Do you see the power of music as something that gets lost in today’s world, or is the musical world stronger today than when you entered it? It is inconceivable that music will not continue to be omnipresent in the world from purely utilitarian functions to expressions of personal and private feelings. I don’t think the audience for so-called art music is as strong as it was when I began my career, but that may be due to the fact that audiences for music have changed, both for better and worse. However, I think the presence of music in society is far too essential to ever disappear: whatever that basic function is, it has been with us in one form or another since the beginning of recorded history, and I can’t imagine anything ever altering that.

> Floyd receiving his Signature Sinfonian medal from President Mongiovi.

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ROUNDTABLE PARTNERSHIP ANNOUNCED AT CONVENTION The National Association for Music Education (NAfME – formerly MENC) has strong ties to Sinfonia. Past President of Phi Mu Alpha Peter Dykema is the founder of NAfME, and helped structure its guiding principles. NAfME is among the world’s largest arts education organizations. They advocate at the local, state, and national levels; provide resources for teachers, parents, and administrators; host professional development events; and offer a variety of opportunities for students and teachers. The Association orchestrates success for millions of students nationwide and has supported music educators at all teaching levels since its inception. Shortly over a year ago, NAfME began a music advocacy roundtable. The idea was to join together like-minded musical organizations, in the hopes of speaking with one clear voice on national issues affecting music education. Bolstered by NAfME’s presence in local, state, and federal organizations, those concerned about music education in the country could work together for a set of common goals. Today, only a brief time later, the roundtable boasts numerous prominent organizations including Drum Corps International, the American String Teachers Association, the National Association of Music Merchants, American Choral Directors Association, and many more. Phi Mu Alpha is proud to lend our voice to this coalition. Last spring, representing the National Executive Committee, Vice President Mark R. Lichtenberg, Delta Nu (Bradley) ’93, attended a roundtable meeting in Baltimore, MD, where Phi Mu Alpha endorsed NAfME’s federal legislative agenda. These ideas go beyond political allegiances to something that we as Sinfonians know to be valuable to our country’s educators, musicians, and children.

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Roundtable Vision: A music education advocacy and public policy infrastructure of organizations dedicated to ensuring the presence and perseverance of school music programs operated by certified music educators teaching sequential, standards-based music education to students across the nation. Roundtable Mission: The unification of all music education advocacy organizations under a single policy apparatus, working in unison to achieve a consensus set of federal legislative goals, on behalf of the profession and all of those who stand to benefit from its contributions to the broader field of education. Roundtable Policy Mandate: To ensure that Congress maintains the status of the arts as a core academic subject in any reauthorization of the Elementary and Secondary Education Act (ESEA).

This mission statement and mandate help to dictate the individual policy “asks” that will be presented to legislators. These policies include specifics on how music teachers are evaluated, and how that differs from other core subjects. It also includes specifics on access to music education for students, and the availability of funding, and also encourages funding into research that will ultimately improve music education by streamlining teaching methods and resources. As this roundtable partnership continues, it will create opportunities for Sinfonians to learn more about advocacy efforts on both the local and national levels. To see all that NAfME has to offer, including considerable resources to become an advocate in your own community, visit And to learn more about the Roundtable itself, visit

NAfME’s Leader Displays a Passion for Music Education Brother Michael Butera, Iota Lambda (Duquesne) ’65, is the Executive Director of the National Association for Music Education. With a lifetime of work in music, he works at the forefront of the roundtable’s efforts to affect change on a national scale. He brought the brothers at the National Convention to their feet with his impassioned plea for arts advocacy, and in doing so helped set the stage for Sinfonia’s growing involvement on the national stage. “The idea of advocacy started for me shortly after I got a teaching job,” Butera explains. “I was in Pennsylvania, and they were drastically reducing the number of school systems. The question of music programs and their survival was always very relevant. And this was in the 70’s, so this isn’t a new problem for our schools. That’s when I learned that working hard and loving your students isn’t always enough. There’s more that needs to be done.” Outside his teaching, Butera has served as President of the National Council of State Education Associations, chaired NEA’s Technology Compact Committee, Treasurer of the Great Lakes Center for Education Research and Practice, and as a member of the Board of Directors’ of the Member Benefits Corporation, a for-profit entity of the NEA. He also served in the U.S. Army as a Chief Warrant Officer 2. He also worked in various states as a consultant for not-for-profits, “always with connections to music and community organizing,” he explains. The issue of music education was never far from his mind, and he gets to act on it daily as Executive Director at NAfME. “The idea of the roundtable is focusing on programming that will fulfill our mission, which is to provide music education for all. And it fits neatly with a lot of the work that’s done here in Sinfonia. We’re

bringing together large groups of people who will actively support and fight for music education in our country.” When speaking about the roundtable, Butera is very hopeful for its potential. “We (NAfME) are a large organization; we have fulltime lobbyists, we can reach into individual states. And that’s part of what we bring to the table. We also have very a strong relationship we have with the National Association of Music Merchants (NAMM), and had laid the groundwork with our joint advocacy venture,” That website is still alive and well, and has a wealth of advocacy resources and advice. Along with the American String Teachers Association (ASTA), who was the first member of the roundtable along with NAfME, they set about searching for common goals. “We asked ourselves,” explains Butera, “is it possible to make a series of ‘asks’ that would make sense for all of us?” The answer to that question, with over 20 national and state organizations on board, is a resounding “yes.” With one voice, he’s confident that the roundtable can enact positive and lasting change for music students. “The research is pretty strong for us,” he says. “We know that music students tend to come to school more, stay in school, perform better on standardized tests, and graduate at higher rates. Testing is an obsession in America, but life and citizenship are more important than such things. Music brings the discipline of individual mastery and also the ability to work with a group to achieve something greater. It’s fundamental to the way we do work in any field. And we bring passion in a way that many subjects don’t,” he says, his eyes lighting up at this point. “I don’t want this to sound wrong to our friends in the ‘hard’ academic subjects, but I can’t imagine people

> Butera addressing national Convention attendees. having the same general excitement at a brilliant math professor at a chalkboard. Walk down any street. People are listening to music. It’s everywhere.” This, he says, is what the roundtable has to “sell.” “Not everyone knows the value of music,” he says. “We know it, Phi Mu Alpha knows it, but we need to share that passion.” The end result will be a sequential music program for all students, one that affects every musician, educator, and young child in the country. “Democracy is a participatory sport,” Butera intones, a line he delivers with the conviction of someone who has lived it. And he will continue to do so, now with Sinfonia by his side.

December 2012 The Sinfonian 9

OUR HOME AWAY FROM HOME – AND HOW TO SUPPORT IT “Can you imagine coming to Lyrecrest and it being more than a group of buildings; can you imagine an entire retreat experience? Think about this for a moment – you can take a walk through trails in the woods and meditate at a campsite, reflect on your experiences near the pond or amphitheater, look through our history in the archives, perform the Ritual in a new theatre, play foosball, and then take part in an amazing session in the new education and retreat center.” — K. Dean Shatley II, Rho Tau (Appalachian State) ’93 Lyrecrest has been the Sinfonian’s “home away from home” for over 40 years; and each year hundreds of brothers from across the country come together to share in a fraternal experience and to create memories that last a lifetime. As Past National President T. Jervis Underwood, Gamma Theta (North Texas) ’54, states in the Fraternity’s Centennial History, “Lyrecrest has become the physical and spiritual home of the Fraternity, the destination of many pilgrimages in search of the heart and meaning and the permanence of Phi Mu Alpha Sinfonia.” Located in a corner of Indiana, in a blue collar town, is one of our Fraternity’s greatest treasures – our beautiful ‘home.’ Over the course of a given year, over a thousand brothers from across the country travel to visit our home through the Retreat Program, volunteer training events, and

> A picture of the proposed development.

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(From his speech on the Sinfonia Education and Retreat Center at the 2012 National Convention)

brothers simply passing through. Through the Lyrecrest Fund, we’re hoping to increase that number, and to increase the programs we’re able to offer to our chapters and alumni. The Fraternity is seeking donations from all brothers to help build a brand new building, the Sinfonia Education and Retreat Center. This building will more than double the capacity of the Lyrecrest campus, and will provide brand new opportunities for learning, growth and powerful musical experiences. Committeeman-at-Large K. Dean Shatley II, Lyrecrest Fund Committee Chair, presented the Sinfonia Education and Retreat Center to a captivated audience of over 800 brothers at the 2012 National Convention. Over one hundred of the brothers present at the Convention chose to make an impact – we received over $130,000 in pledges in one day alone. All of these brothers agreed – there is nothing more worthwhile than improving the Sinfonian experience by providing an amazing opportunity when we come to our home away from home. When you come to Lyrecrest, you will have the opportunity to use this amazing facility. The

new building represents something important – a space that allows brothers to reflect on what it means to be a Sinfonian, a space that allows you the opportunity to meaningfully learn about our Fraternity’s ideas and principles. Even with that success, there’s still so much more work to do. We need your help to take the next step and offer brothers an enhanced Headquarters experience. Won’t you please show your support by making a commitment to support this new endeavor?

Want to HELP support the Sinfonia Education and Retreat Center? Visit to learn more, to see the plans for the Sinfonia Education and Retreat Center and, most importantly, to provide your financial support today. We can’t do it without you. Follow us on facebook at: for news and announcements on our progress. Watch the entirety of Brother Shatley’s inspiring speech at:

NATIONAL CONVENTION KEYNOTE ADDRESS At the 2012 National Convention, the keynote address was given by Dr. Karl Paulnack, Alpha Alpha (National Honorary) ’11. His message was that of the convention’s theme: The Power of Music. When expectant parents and doctors and nurses are gathered in the hospital delivery room awaiting the birth of a baby, there is a particular aspect of that event that everyone is waiting for. And no matter what visual evidence we have – the baby is out, all the monitors look ok, the baby’s heart is functioning normally, the baby’s reflexes are ok, the baby’s blood chemistry is within limits – despite that, there is one event alone that signals the completion of this event. People are practically holding their breath waiting for this one indicator, this one event. And when it happens, there’s often a kind of collapse; mothers and fathers often respond by bursting into tears. Some of you are thinking, yes, I get it, I can feel the tension you’re describing. We’re waiting for the baby to cry. No, I don’t think that’s it. We call it crying, and I suppose it is crying, but for most people, if we saw tears silently rolling down those little cheeks and I said to you, “ok, look, we’re good – he’s crying,” no, for most people, that wouldn’t do it. We are not merely waiting for the baby to lacrimate. We are waiting for the baby to take breath into its lungs and use pitch and rhythm to establish a connection with us, to communicate his experience. We are waiting for the baby to sing. Now some of you say, well, that’s not really singing. But to take breath into our lungs and to use pitch and rhythm in order to express our experience of reality – is that not what singing is? So let me list your protestations here. Some of you are thinking, no, singing involves text, so you would say that when Renee Fleming performs the Rachmaninoff vocalize, for which the entire text of the song is “ah,” that’s not really singing.

Wrong. Think again. Some of you might say, no, singing involves some sort of a tune. So, songs of Anton Webern, no; Arnold Schoenberg, no; Karlheinz Stockhausen, no no no no no! Before you wipe out fifteen percent of the standard vocal repertoire, let me suggest to you a working definition of singing: singing is taking breath into your belly, and, working at the limits of your linguistic and musical ability, using pitch and rhythm to communicate your experience. The baby is working at the absolute limit of his linguistic and musical ability; so is Renee Fleming. The guy who stands next to you in your church choir, the tone-deaf guy with the rhythmic precision of an overcooked lasagna noodle, that guy is working at the absolute limit of his musical ability; he IS singing. Perhaps what babies do can’t technically be categorized as music, but I propose to you that this isn’t merely crying, either. We sing ourselves into existence – a baby uses breath and vocalization to announce, “I am. I am here. I have arrived.” Within hours, mothers are singing back to their babies, singing songs that communicate “yes, you are here; I am here; you are safe; the cafeteria is now open; please go to sleep” and a huge repertoire of important communication-by-aria. Within a matter of weeks, parents can discern the difference between a hungry baby, a tired baby, and a baby that needs a diaper change all from the pattern of pitches and rhythms in the crying. A baby may not have text, but that doesn’t mean a baby doesn’t have the ability to use song to meaningfully communicate its experience. The “I need a bottle now aria” is one compelling piece, let me tell you.

A few years ago, I was at an opera program I conduct in Winnipeg, and one of our young singers had to leave for the weekend because a very close friend of hers became critically ill. She left on a Friday and came back Monday morning and we were all over her asking, “Theresa, how are things, how did it go, what happened?” And she described arriving in her friend’s hospital room as the bed was surrounded by close friends and family members, and people began to urge, “Theresa, you should speak to your friend – you should say something to her, there’s not much time left.” But Theresa, overwhelmed, thought to herself “My God I don’t know what to say. I can’t think of where to begin.” And then she thought, “I can’t speak, but I’m a singer – I can sing.” And so she sat by the bedside of her friend, and sang to her, and her friend passed away with Theresa having the feeling that she had communicated everything that needed to be said between them. We sing ourselves into this life and we sing each other out; we sing each other through virtually every major event, our weddings, our funerals, our inaugurations and coronations and graduations and initiations, our proudest moments as a nation, and our national tragedies. Those of us who are instrumentalists sing through our instruments, others sing using their voices, we sing alone, and we sing in groups. But we sing to express and carry the experience of coming into this world. The way in which we use music to carry our experience, from the very first breath, until the day we die, is one of the most powerful and least understood forces of our world.

December 2012 The Sinfonian 11

In Boston, there is a hospital called Beth Israel Deaconess Hospital; it’s the teaching hospital of Harvard University. If you’re ever in Boston and you don’t feel well, I recommend you go there. It’s full of very smart people. There is a department within Beth Israel called the department of “Music, Neuroimaging and Stroke Recovery.” In modern medicine, as far as stroke and brain injury are concerned, music is proving to be one of the most powerful tools we have. We used to believe that the adult brain was largely fixed; that new connections and new cells stop being formed once we reach adulthood, and that brain cells slowly die as you get older, or drink more, and that once brain cells die, that’s that. But in the past few years, with the help of very complicated imaging systems, we have been able to demonstrate that the adult brain does indeed have the ability to regrow itself after injury. The process is called neuroplasticity, the ability of the brain to generate new connections, new wiring, and music stimulates that process. Music is one of only four things proven to stimulate neuroplasticity. Why and how does music generate connections in the brain? Let me give you an experiment you can run yourself at home without any fancy neuroimaging equipment. Some of you have a special someone that you love or have loved, and there is a piece of music that you associate with that person – your special song. Watch carefully what happens the next time you hear that song. It is not that you remember that person or think of them in an intellectual, cognitive way. What actually happens when you hear that song is you feel the way you felt when you were with that person and heard that song together. Music doesn’t capture what is in your head so much as it captures what’s in your belly; it captures our visceral experience of something, not merely the memory of it. Perhaps for some of you it’s not a person, but it’s an era, a period of time, like “ninth grade” or “summer camp” or “freshman year.” Some of you will hear a song and react, “wow, that song is ninth

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grade.” It’s not that you’re remembering ninth grade, it’s that you’re feeling ninth grade, or more accurately, you’re feeling your ninth-grade self. Wherever your insides were at that moment, music has the power to capture that and reproduce it, almost like having a snapshot of the experience. (Don’t just believe me; try it and see. Watch for opportunities to test this out, and examine yourself inside to see what’s actually happening). What music captures is not merely memory; it captures experience. This distinction is critical. Memories are stored in specific parts of the brain. Language is also stored in a very specific part of the brain. If the brain is injured or deteriorates with age, we can lose memory or language stored in the damaged areas. But the phenomenon we’re talking about here with music – capturing the entire gestalt of an experience – this is something stored in several parts of the brain simultaneously. This is one of the reasons why people who have various brain injuries where they’ve lost memory, or language, or even motor skill, can still sing, can still make music, can still understand music. We see cases of brain trauma where people who cannot remember their own names can sing happy birthday from beginning to end. A man who can no longer even recognize his own wife will respond visibly to the song that they danced to at their wedding. And he can distinguish the song from their wedding night from other pieces of music; he knows that piece. Many people with brain injuries who can no longer speak can still sing. People whose brains work differently, such as people on the autism spectrum, may find spoken language difficult but can communicate powerfully, sometimes on the level of geniuses, using music. When you have life experiences where music has captured a piece of your past, it is not merely memory; it’s more powerful than that. Music has captured and held your experience of that moment, your internal state, the way a container holds a liquid. In ways we are still trying to understand, music somehow supports our capacity to carry experience, helping us to retain what we have experienced.

Now beyond simply helping us express or retain our experience, there are times when music increases our capacity to engage experience. And I need to talk here about music as entertainment and music as NOT entertainment, because there are two very important functions of music and they are completely opposite in the way they work. So let me just differentiate entertainment for a moment before I go on, because some people think that ALL music is a form of entertainment and because of that they fail to understand the other half of the picture, the half that involves life and death. The etymology of the word “entertain” is a bit fascinating because the word came down from Latin but it landed in English in a completely different way than it landed in French. Entertain comes from enter, meaning in between, and tenire, the verb to hold. So it comes down from Latin meaning “to hold in between.” If I have a big dinner party and we serve dinner, but there’s twenty minutes in between dinner and dessert, where we clear the plates and set up for the next course, then that would be a perfect moment for some entertainment, some music to hold us in between, in this case, in between dinner and dessert. Entretien in French, however, is a word we would translate as “maintain,” like maintaining a car; holding something in place, supporting or keeping something. The word in French for “entertainment” comes instead from the verb divertir, to divert. And that’s the second function of entertainment – you notice in the example I gave you I’ve diverted your attention from the clearing of plates, the plating of dessert, the carrying of coffee cups and so forth. The function of entertainment is to hold us in between two things by diverting our attention from one thing and bringing it to another. If you’re depressed and you go to see a funny movie, then unless it was an unbelievably funny movie, at some point in the next hours or days you’re going to return to that feeling of being depressed, but the movie picked you up momentarily, lifted you up. It held you between

your two experiences, by diverting your attention. We send entertainers overseas for our armed forces so that in between the gruesome things they have to endure, in the breaks, in between battles, they can be lifted up. Entertainment holds us in between experiences. Entertainment is important and legitimate and essential for our lives. There’s a role for music as entertainment, but that’s only one half of what music does. Most non-musicians only understand that function of music. There is another function of music that is the exact opposite of entertainment; it actually allows us to go deeper into the experience we’re having, rather than taking us up out of it. The best way to describe it is to say that it is yogic; it allows us to engage our experience and to lean into it a little bit, to stretch into what is happening a bit further, to go deeper. This function of music holds the experience we are having right now, it deepens it, it communicates it. Babies aren’t trying to entertain you; they’re literally singing for their lives. They’re singing so

they don’t starve to death; they’re singing so they get picked up; they’re singing so they don’t die. The reason we so often feel we MUST have music at a wedding or a funeral or an inauguration or a graduation or any ceremony of great significance is NOT because we want entertainment; it’s because we instinctively recognize that having music will support our capacity to engage the experience more deeply. We can “hold” our experience a little better, a little more, if there’s some music to support us. We use music in film like this; if you know the Oliver Stone film Platoon which uses Barber’s Adagio for Strings, that music is there to help you engage, to help you stay with, that experience, it allows you to engage it more deeply. If you had to watch that same footage with no music behind it, it’d be really hard to do. Another example of that is something like Star Wars or Indiana Jones, during the fight scenes. If you watch for this role of music in carrying and supporting human experience, you will see it in places you never expect. You remember a few

years ago there was a terrible earthquake in Haiti and I got up the next morning and read about it first on the CNN webpage on my laptop during my morning coffee. The earthquake hit in early evening, and right after describing the damage, the last sentence in the third paragraph said: “People prayed and sang through the night.” Now, that was a horrible earthquake. Broken limbs and no sanitary drinking water and people trapped under buildings and virtually NO rescue in sight for a long time. Of all the things you need to do to recover from an earthquake like that, especially in the first few hours, why would you sing? When people are just trying to stay alive, just the basics, nothing fancy, just the essentials, just life, why do we sing? Well we sing because it supports our capacity to hold our experience; music has a way of helping us stay with what is happening, happy or sad, it keeps us in the game, and this happens every day and we don’t even notice it, or if we do notice it, we don’t understand it.

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I remember reading that CNN article thinking, “millions of people just read that sentence and no one will even notice it. They’ll read, ‘prayed and sang through the night,’ finish their coffee, drive to the board meeting this morning and cut the budget for the school music program because music isn’t essential. They think of music as entertainment.” I lived in Manhattan during the attacks of September 11, 2001, and some of you have read or heard me speak about the impact of that day. I want to talk a little more about that because it was quite possibly the single greatest moment of absolute clarity in my understanding of the power of music. I am still struck by where our priorities focused in my neighborhood and my apartment building. Everyone began late that morning by filling up their bathtubs with water because for some strange reason we were convinced that the water was going to go out. By evening, people were gathering around firehouses because so many firefighters had been lost, and they were doing three

14 The Sinfonian December 2012

things around the firehouse in my neighborhood: lighting candles, bringing food, and singing. If you were around a firehouse that night there were bunches of these tall candles in glasses that you can buy in any corner grocery store in NY. And there were casseroles and brownies and cookies; people just began to feed the firefighters as though we were going to feed the sadness right out of them. And people sang; we stood around singing songs that most of us hadn’t sung since third grade, America the Beautiful, God Bless America, songs like that. So look at those elements: food, water, fire, music. That’s it. Those were the things we thought were important; those were the things that we had to have within hours. Now, if you were to interview the average person on the street, and say, ok, we’re making a check-list, a preparation list, for the next national disaster, we want to make sure we have everything. Number one, would you need water? Yeah. Would you need food? Yes. How about fire? Yeah, you should probably be able to keep people warm

and have light and cook food. How about music? I can hear it...“Buddy, it’s a national emergency. What are you, some kind of nutcase? Music? How about an interior decorator too?” We had music within twelve hours of the first plane hitting the first tower, music on the street. The first major public event in New York City following the bombings of 9/11 was a performance by the New York Philharmonic of the Brahms Requiem nine days later; I remember it because security was so tight. There were no sports events, the stock exchange had not reopened, all of that waited until after we had music. We had music first. We had music to help us carry the experience, to help us hold it. We brought the orchestra back first, way before we brought the banks or the sports teams back. It wasn’t because we needed entertainment; no one was in any mood for entertainment. It was because we needed some extra help carrying our experience. The experience was hard. When we have music as a tool, we are able to stay present with experiences that would otherwise exceed our capacity to bear them. I’m going to say that again, but first, those of you who carry music to hospitals, those of you who make music in prisons and homeless shelters, those of you who carry music to hospices, those of you who sing and play for people who are very ill, or people in the process of dying, listen up. When we have music as a tool, we are able to stay present with experiences that would otherwise exceed our capacity to bear them. You are bringing something to people that helps them carry their lives. You are carrying them; not you, but the music that you carry in you is carrying them. If you can imagine some big firefighter picking you up carrying you through a burning building to safety, that’s what music does when we carry it to the people who need some help carry their experience. To read the rest of Brother Paulnack’s electrifying speech, and to see the accompanying interview with him on his Convention experience, visit

Sinfonia Educational Foundation

Foundation Scholarships Awarded For decades, the Sinfonia Educational Foundation has given thousands of dollars in scholarships each year to deserving collegiate Sinfonians. To date, over a half million dollars have been awarded to brothers as they work to complete their studies and become the next generation of leaders and supporters of music. Your generosity continues to make this program possible as we selected six excellent submissions from a record number 40+ applications this year: $5,000 SEF SCHOLARSHIP Paul Dengler, Rho Upsilon (Temple) ’09 “Since freshman year, Sinfonia has been an invaluable part of my college experience. The friendship shared between us brothers has been a blessing for which I will be always grateful. I am thrilled then knowing that Phi Mu Alpha has been able to support me financially just as it has personally. The money graciously provided by the Sinfonia Educational Foundation will be well spent as I continue my undergrad at Temple, working towards a degree in Music Education/Jazz Studies. Musicians and teachers alike know how much some extra money can help, and I could not be more appreciative of this scholarship. Thank you SEF for supporting music and the brothers of Phi Mu Alpha!”

$2,500 SEF SCHOLARSHIP John Fleming, Beta Iota (Albion) ’12 “As with many college students paying their way through school, the last few years have certainly not been easy. Any amount of money used to help continue an education, no matter the amount, is extremely helpful, and for that I am grateful to the Sinfonia Educational Foundation! I am also extremely grateful to all of those that contribute to the SEF, allowing it to enrich the lives of collegiate Sinfonians and advance music in America every year. I look forward to another year filled with brotherhood and music!”

$1,000 SEF SCHOLARSHIP Brad Rutledge, Gamma Pi (California State-Fresno) ’08 “When I started as a colony member in the Gamma Pi chapter of Phi Mu Alpha Sinfonia, I had no idea what to expect from the fraternal experience ahead of me. Though there were occasional hardships and struggles, Sinfonia has been one incredible surprise after another. I cannot describe in words the many opportunities I have been afforded by this fraternity, let alone how it has changed me to become the man I am today. To be awarded a scholarship from the Sinfonia Educational Foundation is beyond my expectations and I will forever be grateful for this sincere generosity.”

$1,000 PATRENOS SCHOLARSHIP Julian Crowhurst, Nu Psi (Shenandoah) ’10 “Sinfonia has improved my life in more ways than I can express. Perhaps one of the most notable effects is that it has helped me become a man and musician of stronger character and confidence. Phi Mu Alpha has granted me leadership opportunities that I could not have received elsewhere. I am scheduled to graduate in the Spring of 2013, and hope to go on to graduate school, where I will pursue a Master’s degree in music composition. As of now, I hope to obtain my doctorate and teach within a university system or compose film and media scores. To the generous donors of the Sinfonia Educational Foundation, thank you so much for supporting the Sinfonia Educational Foundation and in turn, the many collegiate Sinfonians who receive scholarships each year. This scholarship will assist me tremendously in achieving my goals and reaching my highest musical potential.”

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Sinfonia Educational Foundation

$1,000 LOWE SCHOLARSHIP William Weaver, Omicron Omega (Arkansas State) ’03 “Because of this scholarship I am able to continue to pursue an advanced degree that will allow me to continue my mission statement on the collegiate level. My plans are to complete an educational specialist degree in community college teaching with an emphasis in music education then move on to a PhD in either music education or ethnomusicology so that I am able to teach at the collegiate level and spend the rest of my life as a music educator and hopefully a leader in Sinfonia. I would like to thank the SEF for the assistance with reaching my goal so that I might better fulfill Sinfonia’s noble Object and my own personal mission statement.”

$500 DELTA IOTA SCHOLARSHIP John Patzlaff, Theta Nu (Northern State) ’09 “Sinfonia has been a part of the driving force that has propelled me through college. Through the membership in this Brotherhood, I discovered a deeper understanding of music’s power in our world. I am also proud to know many wonderful brothers throughout this great nation. I cannot express the amount of gratitude I feel for Phi Mu Alpha, and my continuation to be the best musician and person I can be will reap many benefits to all people around me.”

The Board of the Sinfonia Educational Foundation is committed to the growth of our scholarship and leadership programs. The following is a breakdown of program support this past fiscal year.



Scholarships Fraternity Leadership Programs Travel Grants Other

$11,000 52% $6,000 28% $1,156.87 5% $3,018.95 14% $21,175.82 100% Programs increased by 6% from FY11 to FY12 and the SEF has already committed to a 20% increase in FY13.

Programs Development General / Administrative


2012 COST PER $ RAISED 2012

Balance as of 5/31/2011 Balance as of 5/31/2012 Percentage increase

Total Raised Development Expenses Cost per $ Raised

$46,828.59 $48,487.42 4%

The endowment continued to grow despite uncertainty in the stock market.

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$21,175.82 $25,724.95 $26,934.51 $73,835.28

$75,752.97 $25,724.95 $0.34

29% 35% 36% 100%

2011 $60,111.78 $14,177.79 $0.24

This past fiscal year, we made an additional investment to acquire new donors, resulting in a 30% increase in support.

Donor Recognition The Board of the Sinfonia Educational Foundation and the collegiate brothers that our work serves would like to thank all of our donors and supporters for their generous support. MUSIC MAKER’S SOCIETY* ENCORE gifts of $2,500 and above Jeffrey Highland Edward Klint C. Jeffrey Lockhart CONCERTO gifts of $1,000-$2,499 James Alexander John Cereso Michael Cesario Derek Danilson John Doherty Mark Eutsler Justin Jacobs Thomas Morgan Karl Paulnack Calvin Van Niewaal

OVERTURE gifts of $500-$999 Michael Braz Stephen Brothers-McGrew Kevin Goebbert Matt Kokes James Niblock James Winn PRELUDE gifts of $200-$499 Kent Armbruster Ryan Beeler George Beverley Robert Bostick Deron Boyles Russell Brown Patrick Clancy

Lawrence Coonfare Richard Crosby James Daughtry David Davis DC Area Alumni Association John Dowda Enoch Frankhouser F. Ivan Frazier Kevin Giroux Herbert Hauenstein James Hinchliff John Israel Matthew Koperniak Jonathan Krauss Richard Lapinski Clifford Madsen Leland Marsh

Andrew Miller John Mongiovi A. Michael Moreau Raymond Newhouse Wiley Owen Vernon Park Wendell Parr Joseph Pinson Michael Sandler Frederick Schiff John Schmidt Edward Senechal K. Dean Shatley II Rolland Shaw Joshua Smialek Kenneth Tice T. Jervis Underwood Eldon Vaselaar

Keven Webb Alex Welk Andrew West Robert Whitmoyer John Whitney Charles Williams C. Thomas Work Zeta Chapter Xi Mu Chapter

* Members of the Music Maker’s Society gave $200 or more during the fiscal year.

The top 10 chapters in donations from this past year are as follows: No. of Donors 25 15 13 11 11 10 10 10 9 8

Chapter Iota Kappa Sigma Delta Iota Epsilon Lambda Gamma Theta Delta Xi Mu Zeta Psi Alpha Xi Epsilon

University Northwestern Univ. Valparaiso Univ. Western Michigan Univ. Univ. of Georgia Univ. of North Texas Ithaca College Univ. of Delaware East Carolina Univ. Univ. of Illinois Univ. of Michigan

Province 37 28 2 33 32 17 27 20 37 2

To view the full donor list from this past fiscal year, and to read the full Annual Report, visit

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Alumni Accent Alumni Association Contacts Atlanta – Aaron Angel Baltimore – Tarrence Hughes Central Florida – Thomas Hyder Central Ohio – Ryan Allen Chicago – Christopher Yung Coastal Georgia – Raymond Patricio Dallas/Ft.Worth – Jason Guidry Los Angeles – Christopher Thaxter Nashville – Nathaniel Hudson New York City – Kenneth Alston Northeast Alabama – Benjamin Cunningham Jr. Orange County (Calif.) – Breysi Garcia Pittsburgh – Jonathan Engel San Antonio – Isaac Chavez Tampa Bay – Steven Ulloa Washington, D.C. – John Paul Jones

Alumni Association Interest Group Contacts Alabama: Northern – Keynon Jones Florida: Miami – Miguel Savinon Las Vegas – Rich Legon Missouri: Central – Scott Pummill North Carolina: Fayetteville – David Crow North Carolina: Winston-Salem – Kendrick Smith Ohio: Northwest – Nick Kottman Tennessee: Clarksville – Christopher Monhollen Tennessee: Knoxville – Tyler Tallent Texas: Corpus Christi – Adam Lopez Wisconsin: Central – Eddie Brown Please contact the National Headquarters if you would like information on how to start an alumni association in your area.

18 The Sinfonian December 2012

Membership Awards Our traditions and ceremonies mark important milestones, celebrate our fraternal bonds, and recognize brothers for their service. For example, we have the Ceremony for Graduating Brothers, and a Memorial Service. This triennium the National Executive Committee wanted to provide more opportunities for brothers to reconnect and celebrate with Sinfonia throughout their lives. For collegiate members, interaction with alumni helps to create the expectation of ongoing alumni engagement. With this in mind, the Alumni Engagement Committee was given the specific charge to develop a program to recognize Sinfonians who have passed the 10-, 25-, and 50-year anniversaries of their initiation. In October 2010 the National Executive Committee adopted the committee’s recommendations for the program and a ceremony; and in February 2012 they adopted the award design. They are circular lapel pins bearing various symbols of the Fraternity in black on a gold background. The 10-year pin features the Mystic Cat; the 25-year pin features the point-down triangle with the letters Phi Mu and Alpha; and the 50-year pin is a replica of the original membership pin. The National Executive Committee ordered that effective as of last summer’s Convention, any Sinfonian who has reached the 10, 25, or 50-year anniversary of his initiation date may receive the 10-, 25-, or 50-year Membership Award from his initiating chapter, an alumni association serving the region in which he resides, or at another chapter, alumni association, or province meeting selected by the Province Governor. An alumnus who has not received his award in his chapter, alumni association or province may receive it at a national event when the ceremony is being presented. The awards must be presented with the approved ceremony. This is something that is intended to be done at a regular or special meeting of a chapter, alumni association or province. And if, because of the infirmities of age or otherwise, an aged recipient cannot attend such an event, the presentation may be made at his home or elsewhere in the presence of his family and friends. Guidelines for obtaining the pins and holding the ceremony can be found in the Guide to Awards on the Fraternity’s website. This program would achieve its ideal intent if your chapter or alumni association gets into the habit of having an annual event that honors alumni and includes these ceremonies in its celebration, whatever form that takes. We hope that each one of you will return to your chapters or a national event when you reach your own 10-, 25- and 50- year anniversaries to celebrate that brotherhood in Phi Mu Alpha is for a lifetime.

Whalin Honored with Rogers Award The Robert J. Rogers Lifetime Service Award is awarded by the National Executive Committee to a Sinfonian who, through a lifetime of service to the Fraternity as an active member, advisor, province governor, or in any other way has greatly advanced the cause of Phi Mu Alpha. It is intended primarily to be awarded to men who, like the brother whose name it bears, have quietly devoted most of their adult years to Phi Mu Alpha at the local and regional levels and enriched the lives of generations of Sinfonians. Robert J. Rogers devoted almost half a century to Phi Mu Alpha. As advisor of that chapter he initiated and inspired hundreds of Sinfonians. He served as a province governor for eleven years. Appropriately, in 1990 he was the first recipient of the award. Previous Lifetime Service Award Recipients are: Robert J. Rogers (1990), Carl Doubleday (1997), Lavan R. Robinson (2000), James H. Patrenos (2003), Rolland H. Shaw (2006), and T. Jervis Underwood (2009). At the 2012 Convention, the award was presented to Dr. J. Robert Whalin, Gamma Tau (Indiana University) ’58, longtime Province Governor to province 9 in southern Texas. Whalin has been a mentor to countless chapters and brothers throughout his service, exemplifying the dedication that the award stands for. Brother Underwood, the award’s most recent recipient, was on-hand to present the award to > Whalin (center) with brothers Underwood and Mongiovi. Whalin for his years of dedicated service.

Signature Notes

> Eutsler with former Indiana State Police Superintendent John Shettle.

> McCully’s students in concert.

Mark Eutsler S, Gamma Omega (Indiana State) ’77, of Linden was recently elected Board Chair of the Operation Classroom, Inc., Indiana’s largest United Methodist-affiliated missions ministry engaging in upgrading secondary education, providing vocational education, delivering post-war trauma counseling, and improving medical care in Liberia and Sierra Leone. He succeeds former Indiana State Police Superintendent John Shettle who served as chair since the organization’s founding in 1987. Eutsler was also recently selected to participate in the upcoming FBI Citizens’ Academy at the Indianapolis Field Office. The academy provides firsthand experiences of how the FBI investigates crimes and threats to national security and about the various tools and techniques employed to carry out its mission. James K. McCully S, Mu Omicron (Ouachita Baptist) ’77, showcases his emerging artists tenor Stephen Lamar White, Alpha Gamma (Kentucky) ’84, and bass-baritone Kevin Wierzbicki, Zeta Beta (Augustana) ’02, in the greater metropolitan Washington DC area at the Music Center at Strathmore in a 1,976-seat concert hall that is warm, embracing and acoustically superb, designed by the sound consultant to Luciano Pavarotti, Beta Tau (Miami) ’78. As their master voice teacher, McCully serves as a guide to operatic excellence for his emerging artists via training, resources and critique.

December 2012 The Sinfonian 19

Alumni Accent

Alumni Updates

Seven Sinfonians recently graduated from the Army School of Music. They are (pictured, left to right) Christopher Cotton, Pi Upsilon ’07, Roberto Castro, Rho Omicron ’06, James Old, Zeta Psi, ’07, Paul Laches, Gamma Eta ’08, Jeffery Pethoud, Nu Pi, ’09, Andrew Neer, Nu Pi ’02, and Forest Newark, Gamma Eta ’08.

“The Spirit of Gambo – A Chicago Consort of Viols” performed a special mini-concert on September 6, a String Colloquium at Valparaiso University – in addition to a September 16 New Comma Baroque Concert at Valparaiso University & the premiere of Arnold Dolmetsch’s Concertino for Viola da Gamba and Small Orchestra with the South Shore Orchestra. These performances featured Dr. Phillip W. Serna, Kappa Sigma (Valparaiso) ’09 Hon., Valparaiso University’s Instructor of Double Bass & Viola da Gamba. Dr. Gordon Spice, Beta Xi (Ohio State) ’69, was recently honored by Washington and Lee university upon his retirement. Dr. Spice has been a member of the faculty there since 1973. He is a member of the American Choral Directors Association and the Music Educator’s National Conference. He is also past president of the Intercollegiate Men’s Choruses Inc. and the Virginia Chapter of the American Choral Directors Association. He has been appointed Professor of Music Emeritus.

20 The Sinfonian December 2012

During 2011-2012 school year, faculty Sinfonian Dr. James Miltenberger, Alpha Theta (Miami) ’57, served his 50th year on the music faculty at West Virginia University. Dr. Miltenberger serves as an instructor of piano, piano repertoire and jazz piano within the university’s School of Music. He continues to teach piano to a new generation of American musicians more than 50 years after his initiation. In recognition of his devotion to the musical arts, the brothers of the Epsilon Sigma chapter are in the process of awarding Dr. Miltenberger an Orpheus Award. Tom Ufert, Eta Upsilon (Centenary) ’84, has released a book, Adversity Builds Character, chronicling the story of a young man’s struggle to find his way through the trials and tribulations of family turmoil, self determination and personal judgment. To learn more, visit

Let us know what you’re up to. Send Alumni Updates to

Signature Sinfonians The Signature Sinfonian award is given to those brothers who have brought honor to Phi Mu Alpha through their musical, professional, or philanthropic endeavors. Historically, some of the most noted and accomplished Sinfonians in their fields have received the award, including Andy Griffith, Maynard Ferguson, Vic Firth, and Karl Paulnack. We’re proud to announce the 2012 class of Signature Sinfonians. Carlisle Floyd S, Epsilon Iota (Florida State) ’57 The recipient of the 2012 Man of Music award, Floyd helped to create an American idiom in opera with international operatic standards such as Susannah and Of Men and Men. He is one of the most respected operatic composers of our time, and among the most performed composers in American opera history. See page 6 of this issue for a recent interview with him. David R. Holsinger S, Beta Mu (Central Methodist) ’64 Brother Holsinger is a renowned composer, whose works have received international acclaim. With a unique rhythmic style to many of his compositions, he has carved out a lasting niche in American music. He has also been awarded the prestigious Ostwald Award from the American Bandmasters Association, and is an honorary member of Kappa Kappa Psi music fraternity. Along with Brother Floyd, he was a National Honorary initiate at the 2012 National Convention. Dr. Emanuel L. Lancaster S, Gamma Delta (Murray State) ’67 A musician, teacher, and businessman, Lancaster’s experience has served him well in a variety of roles. As Vice President of Alfred Publishing, Lancaster uses his music and teaching experience to direct the Alfred keyboard catalog. Before that, he taught for nearly two decades at the University of Oklahoma, where he established masters and doctoral programs in piano pedagogy. Among other positions, he has served as National Chairman of Group Piano, and National Chairman of MTNA. He has presented teaching workshops both nationally and internationally, has published numerous books and articles, and is a regular columnist for Clavier Companion magazine. Dr. A.G. “Mack” McGrannahan III S, Gamma Delta (Murray State) ’70 Brother McGrannahan has served on the music faculty of the University of Nevada since 1975. He was director of the Lake Tahoe Music Camp, one of the most popular summer music camps on the west coast, for thirty years. He has played professionally in several show bands in the Reno/Lake Tahoe area, performing with Sammy Davis Jr., Tony Bennett, Natalie Cole, Ben Vereen, Neil Sedaka, Henry Mancini, Jack Jones, Gladys Knight and the Pips, Debbie Reynolds, and others. In 2008, Dr. McGrannahan was elected to membership in the prestigious American Bandmasters Association. He is active as an adjudicator and guest conductor throughout the United States, and is a Past President of the Nevada Music Educators Association and the Western Division of the College Band Directors National Association. Dr. Larry R. Parsons S, Kappa Zeta (West Virginia Wesleyan) ’03 Brother Parsons has been teaching at West Virginia Wesleyan College since 1968 as Professor of Music and Director of Choral Activities. In 2004 he was named Vice President of Academic Affairs and Dean of the College. Among his other endeavors, he is the founder of the Larry Parsons Chorale, which has for decades helped to cultivate professional level choral singers. He is also the co-founder of Camerata Appalachia, a touring group that brings American-style choral singing to Europe. He has also commissioned numerous new choral works and is active philanthropically on the community level. J. Samuel (“Sam”) Pilafian S, Beta Tau (Miami) ’69 Brother Pilafian is an accomplished tubist, who is perhaps most well-known as the co-founder of the internationally renowned Empire Brass Quintet. He has also performed and recorded with the Boston Symphony, the New York Philharmonic, the Duke Ellington Orchestra, Pink Floyd, and numerous other world class groups. As a solo performing artist, he has also recorded 15 CDs. He continues to play and teach, has produced and written for several prominent orchestras, and is a best-selling author of instructional texts and videos on breathing and brass playing. John C. Whitney S, Delta (Ithaca) ’61 In addition to an extensive teaching career at various universities, Brother Whitney has presented workshops as a faculty member for American Symphony Orchestra League, and has taught conducting in Europe. He was also selected as the sole American winner of the International Competition for Conductors in Czechoslovakia. His orchestral arrangements have also been performed at the Carnegie Hall “Link-UP!” youth concerts, and more than 40 of his compositions and arrangements have been published. His own discography includes jazz recordings by The John Whitney Trio. Whitney has led numerous orchestras throughout the United States, and has performed with and/or conducted for a host of platinum artists, including Luciano Pavarotti, Clark Terry, Frank Foster, Tony Bennett, Ray Charles, Dave Samuels, Buddy DeFranco, Henry Mancini, Cab Calloway, Liberace, Doc Severinson, Phil Woods and The Irish Tenors. For more information on the Signature Sinfonian award, and to see past recipients, visit

December 2012 The Sinfonian 21

Alumni Accent

The Final Chord Angelo State University – Mu Gamma Kenneth R. Taylor ’85 – 12/21/01 Bradley University – Delta Nu Richard E. Barker ’60 – 04/30/12 Catholic University of America – Eta Theta Dr. Paul Traver ’55 – 03/27/11 Central Methodist University – Beta Mu James Turley ’55 Columbia University – Beta Gamma Dr. Nathan Carter Jr. ’66 – 07/14/04 Dr. William P. Foster ’53 – 08/28/10 Clyde E. Miller ’46 – 03/31/12 DePauw University – Lambda Dr. M. Vere DeVault ’41 – 12/09/10 Bennet R. Ludden ’37 – 04/16/12 Drake University – Alpha Beta William H. Stevens ’57 – 03/09/12 Emporia State University – Beta Upsilon Edwin R. Wortman ’47 Illinois University – Alpha Xi Albert Bottin ’40 – 05/08/12 Indiana State University – Gamma Omega Stephen W. Humphreys ’59 – 07/24/12 Lawrence University – Gamma Zeta Thomas H. Schleis ’69 Louisiana State University – Beta Omega James T. Bourdier ’66 – 09/05/12 Mansfield University – Beta Omicron Merle J. Flanders ’53

Missouri State University – Iota Rho Matthew H. Rice ’95 – 07/04/12 Murray State University – Gamma Delta William W. Hayden ’61 – 06/01/12 New York University – Beta Epsilon Robert E. Kersey ’50 North Carolina A&T State University – Iota Beta Charles L. Butler ’87 – 04/21/12 Northwestern State University – Gamma Rho Dr. Joseph B. Carlucci ’51 – 03/23/12 Ohio University – Alpha Kappa Robert D. Wendell ’38 Oklahoma City University – Delta Zeta Dr. James M. Burk ’50 – 06/04/12 Sam Houston State University – Zeta Mu Roy H. Berryhill ’68 – 12/03/11 Reggie E. Goebel ’68 – 01/21/12 John P. Wagstaff ’87 – 07/30/12 San Jose State University – Beta Eta Thomas E. Eagan ’29 – 01/11/12 South Carolina State University – Nu Iota Ronald J. Sarjeant ’84 – 07/22/12 Texas Tech University – Zeta Sigma Stephen R. Bankston ’78 – 11/10/11 University of Cincinnati – Eta-Omicron Dr. Elmer R. Thomas ’69 – 06/13/12 University of Dayton – Phi Omega Michael A. Fitzpatric ’70

Roy H. Berryhill, Zeta Mu (Sam Houston) ’68. Berryhill taught band and choir for many years, and was minister of music at several churches throughout his life. He also served in the Navy for a time, including four years in the US Navy Band. Berryhill played a variety of instruments, including guitar, bass, harmonica, musical saw, and various brass instruments. Albert Bottin, Alpha Xi (Illinois) ’40. Bottin served in WWII as a German and Italian interpreter, before embarking on a successful career in business. A dedicated musician, Bottin participated in the Pekin Municipal Band for more than 30 years while playing the French horn. He was also a lifelong member of the American Federation of Musicians. Dr. James M. Burk, Delta Zeta (Oklahoma City) ’50. Burk served in the 60th Army Band and enjoyed a long career as music educator at various levels, notably 30 years at the University of Missouri at Columbia. Burk was also a contributor to The New Grove’s Dictionary of Music and Musicians, The New Grove Dictionary of American Music, The American Biographical Dictionary, and other professional publications. He compiled and edited A Charles Ives Omnibus (Pendragon Press, 2008), a large listing of research and reference materials regarding the great American composer. Dr. Joseph B. Carlucci, Gamma Rho (Northwestern State) ’51. Dr. Carlucci taught music theory, woodwinds, and clarinet over a 40-year teaching career at several schools. He was the founder of the Natchitoches-Northwestern Symphony Orchestra, and conducted or coordinated many groups, including serving as Coordinator of the Blossom Music Festival School, a summer program for young musicians sponsored by Kent State and the Cleveland Orchestra. He is a graduate of the Yale University School of Music, where, among other endeavors, he studied for three and a half years with noted composer Paul Hindemith.

22 The Sinfonian December 2012

University of Denver – Epsilon Zeta Dr. William J. Craig ’53 – 07/10/11 University of Evansville – Epsilon Upsilon John A. Bennett ’67 – 07/22/12 University of Hartford – Zeta Omega Dr. Francis P. Dilion ’56 – 06/12/12 University of Missouri – Zeta Frederick K. Edwards ’63 – 01/31/12 Dr. George E. Muns Jr. ’42 – 11/27/10 University of Nebraska – Upsilon Ernest R. Ulmer ’41 – 02/25/12 University of Southern Mississippi – Eta Phi Vernon Hooker ’57 University of Texas-Pan American – Kappa Theta Ciro L. Trevino ’75 – 03/20/07 University of Toledo – Epsilon Alpha Anthony D. Sherk ’72 – 01/10/99 University of Tulsa – Alpha Chi Danny F. Fisk ’50 – 08/13/10 Washington State University – Chi Walter O. Carsten ’48 William D. Watt Jr. ’49 – 03/08/12 Wayne State University – Gamma Omicron Richard A. Huebner ’55 – 03/28/12 Western Illinois University – Kappa Psi Brandon S. Sparrow ’00

Dr. M. Vere DeVault, Lambda (DePauw) ’41. Brother DeVault served in the US Army during WWII. In his career, DeVault was active in both Mathematics and Elementary Education. Dr. Francis Paul Dilion, Zeta Omega (University of Hartford) ’56. Dr. Dilion was a teacher and musician who performed and conducted with many academic and church organizations. He was also a radio programmer and producer, and hosted an early music radio program for several years near his home in Connecticut. Reggie Earl Goebel, Zeta Mu (Sam Houston State) ’68. Goebel was known and respected for his versatility as a professional trombonist. He also taught many musicians in the Houston area during his career. Bennet R. Ludden, Lambda (DePauw Uni.) ’37. Ludden was a lifetime music librarian who worked at, among other universities, the Julliard School for over two decades. He also taught for several years at Willamette, Columbia, and Kent State Universities, and was an avid collector of antique ceramics. Clyde E. Miller, Beta Gamma (Columbia) ’46. Miller was a lifelong musician and music educator, most recently at the University of North Texas. Among many other engagements, he performed with the Metropolitan Opera, and as the principle horn of the Dallas Symphony. He served in the army during WWII, where he spent most of the war stationed at Ft. Meyer, Virginia. As part of his service to his country, he performed at FDR’s funeral service. He was also a member of Phi Eta Sigma, Pi Kappa, the International Horn Society, and was active both as a musician and churchgoer at the First Presbyterian Church of Denton, Texas.

The Final Chord Anthony D. Sherk, Epsilon Alpha (Toledo) ’72. Sherk was the fine arts department chairman at Phoenix Central High School. He was a member of the Music Educators National Conference and the Arizona Choral Directors Association. He served on the Arizona Board of Education for the School for the Blind and Deaf. He was also a 4-H leader and a youth softball coach. He was a member of Laveen Baptist Church.

Dr. Paul Traver, Eta Theta (Catholic University of America) ’55. Dr. Traver was the founding director of the University of Maryland Chorus, artistic director of the Maryland Handel Festival, and conducted several orchestras of national prominence throughout his career. For his service to education, he received the Chancellor’s Medal from the University of Maryland, the highest honor the university awards.

Brandon S. Sparrow, Kappa Psi (Western Illinois) ’00. Sparrow was an apprentice pilot who died in a plane crash. He was piloting for a group of skydivers when his aircraft had mechanical issues. All skydivers jumped to safety while Brandon dumped his fuel and ultimately guided his plane down away from houses, ensuring that no others were harmed.

Ciro L. Trevino, Kappa Theta (University of Texas-Pan American) ’75. Trevino was a music educator for 30 years, most recently as Director of Fine Arts at his high school alma mater. He was also a member of Phi Kappa Theta Fraternity, the Texas Music Educators’ Association, and the Texas Band Masters Association.

Dr. Elmer R. Thomas, Eta-Omicron (Concinnati) ’69. Thomas was the founder of the conducting program at the College-Conservatory of Music.

Signature Sinfonian and pioneer in music therapy Don Campbell S, Gamma Theta (North Texas) ’65, was the best-selling author of 23 books, most famously The Mozart Effect, which has been translated into 24 languages and has become an international best-seller. He died on June 2, 2012, from pancreatic cancer. Campbell’s work combined modern science with the world of music, to elucidate how sound and music can be used responsibly to enhance all aspects of our lives. In a recent interview for The Sinfonian magazine, Campbell said of his Sinfonian experience, “Being a Sinfonian at North Texas was a great privilege and an amazing experience. I had just come from four years in Europe while in high school. I had no background in jazz until I started singing with the Sinfonian chorus and meeting brothers who were jazz players in the famous “Lab Bands” at the university. I made lifelong friends not only with other Sinfonians but a dozen different styles of music.” In Campbell’s most recent book, Healing at the Speed of Sound, he writes “Beauty, expression, and harmony are timeless. As we move forward in the twenty-first century, let us hear the mathematical structure of music underlying the chaos and cacophony of our cities. Let us counter the war songs with transcendent chant and song. Let us open our ears to tunes sung in the darkness of the night, and celebrate the radiant sounds of the ancient hymns, chants, and ballads. Whoever we are, in whatever city or nation in the world, each of us has a unique song to sing, a voice with which to express the joy we experience in our lives. With music, we can join with others and, together, bring harmony and health to this world.” These words echo many that are expressed in the philosophy and goals of Sinfonia. Phi Mu Alpha extends condolences to the family and friends of Campbell, as we celebrate his life and advancement of music and harmony. Thomas E. Eagan, Beta Eta (San Jose State) ’29. Eagan studied music education at SJSU and received his masters at Stanford. He was a music professor at SJSU for 45 years. In addition to his membership in Sinfonia, Eagan was a member of the Bohemian Club, Theta Xi Fraternity, Scottish Rite, Masons, and he was inducted into the California Music Educators Association Hall of Fame. Initiated in 1929, he had the unique start of playing a part in his own Ritual. He was later appointed Province Governor of California, Nevada, Arizona, and part of Colorado by National President Norval Church and served from 1938 to 1975. He started chapters at Stockton, Fresno, UCLA, Pepperdine, San Diego State, Los Angeles State, Redlands, Hayward, Sacramento State and San Francisco State, and Uni. of Arizona and presided over their installation Rituals. He was a friend of Rollin Pease, the “Father of the Ritual” and an outspoken opponent of Ritual revision in 1947 and 1960. His letters in defense of the Ritual were inspirational in the restoration of the Ritual in 2009. Brother Andy Griffith S, Alpha Rho (North Carolina-Chapel Hill) ’45, was an award winning actor, producer, writer, director and musician best known for his starring roles on The Andy Griffith Show and Matlock. He debuted on Broadway in No Time for Sergeants in 1955, for which he was nominated for a Tony Award. He passed away on July 3, 2012. Since 1958, he has released 15 albums and received a Grammy Award for his 1997 release, I Love To Tell The Story. In 1999, he was inducted into the Country Gospel Music Hall

Ernest R. Ulmer, Upsilon (Nebraska) ’41. Ulmer served in WWII, was stationed in several countries, and landed on Normandy Beach mere days after D-Day. Stateside, he taught for 34 years at the Manhattan School of Music, where he also debuted numerous notable works for piano.

of Fame. In 2005, he received the Presidential Medal of Freedom. In 2007, he was named a Signature Sinfonian by the Fraternity, an award that recognizes those who have furthered and embodied the ideals of the Fraternity through their personal and professional endeavors. His contributions to the arts as a man, musician, and actor will be missed. Brother Lavan Robinson, Beta Omega (Louisiana State) ’48, passed away on Monday, June 4, 2012, at the age of 93. Dr. Robinson served the Fraternity for years, notably as the inaugural Province Governor of province 36, a post he held with distinction from 1985-2001. Robinson continued to serve the Fraternity following his retirement as PG-36 as a mentor to numerous chapters, particularly the Zeta Gamma chapter at Valdosta State University, which has a scholarship named in his honor. In recognition of his service and dedication to the Fraternity, Robinson was once named Sinfonia’s Governor Emeritus, and at the 2000 National Convention he was awarded the Rogers Award for lifetime service to Sinfonia. Brother Robinson was also an active church musician and conductor, leading a number of religious groups throughout his life, including choirs at a number of Episcopal churches near his home in Georgia. He was Head of the Voice Department for many years at Valdosta State University before his retirement in 1982, and remained active at the school for years afterward. In World War II, Robinson served with the 86th Infantry Division following officer training at Fort Benning. Brother Robinson approached his military responsibilities with many of the principles he would later emphasize to brothers of Phi Mu Alpha. Diverted to supplement Allied Forces in Europe following the Battle of the Bulge, Robinson led his platoon from France into Germany and Austria. The men who served under him spoke most proudly of a particularly difficult assault. Following the death of his company commander, Robinson was tasked with taking out an enemy machine gun battery on the far side of the Bigge River. He led his men safely under fire across the icy waters and established a forward position, eventually securing the area for safe crossing. In the final months of his service in Europe, Robinson was assigned to the Dachau concentration camp to assist in the clean-up of the camp and the slow rehabilitation of the survivors to health. He served as supply officer, securing the food required to feed the survivors, German prisoners of war, and allied military personnel at Dachau. He spoke of having to guard the trash cans to prevent the starving survivors from gorging themselves on the contents, which would bring death. It was an experience which would impact him deeply, but he refused to allow the stark examples of inhumanity and degradation he witnessed to temper his faith in the potential for good in all men. Robinson was an outspoken opponent of bigotry and oppression for the remainder of his life. Lavan married Janet Rohrbach on March 29, 1958 while teaching at Susquehanna University. Janet was working as the secretary for the President of the University and was an active church organist and pianist. They celebrated 54 years of marriage earlier this year. Brothers who were privileged to know and work with Robinson speak most often of his cheerful sense of humor and the way he exemplified brotherhood with warmth and humility. He never asked more of his brothers than he expected of himself, and always encouraged brothers to achieve their highest potential, not only as musicians, but also as men of character and responsibility. Brother Robinson was truly a manly musician and a musicianly man. His life was one of service to his country, his family, his art, and his brothers in Sinfonia. He will be remembered and truly missed.

December 2012 The Sinfonian 23

Life Loyal Sinfonian

Reasons to be LIFE LOYAL

#586 Since its inception, every member who becomes a Life Loyal Sinfonian

has done so for his own reason. Some enjoy the lifetime subscription to The Sinfonian. For others, there is a sense of pride in displaying the lapel pin, while others are just proud to support our Fraternity.

Phi Mu Alpha Sinfonia no longer has just a few reasons to be a Life Loyal Sinfonian, but nearly 900 reasons. Each Sinfonian who enrolls becomes a new reason. Your support goes right back into programming for alumni Sinfonians, benefitting not just you, but the Fraternity as a whole.


Become a Life Loyal Sinfonian to support your

Fraternity, and guarantee your lifetime subscription to The Sinfonian.

24 The Sinfonian December 2012

Reason #586

Norman L. Keller, Chi Omega (Northeastern Illinois) ’69

“When you play and perform music, you are exercising your mind in a unique way. The mystical values of music are undeniable. We need to keep music in our schools.”

THANK YOU TO LIFE LOYAL SINFONIANS #819-863. Albany State University - Rho Delta Dominique B. Lane ’06 (832) Angelo State University - Mu Gamma Austin G. Reynerson ’10 (849) Arkansas Tech University - Kappa Eta Shane Keith ’00 (825) Ball State University - Delta Lambda Brent A. Cunningham ’04 (851) Benjamin Luttrull ’07 (835) Benedict College - Xi Beta Adrian J. Adams ’11 (862) California St. Univ-Fullerton - Omicron Pi Evan C. Mooney ’96 (857) Delta State University - Theta Upsilon J. Andrew Owen ’06 (838) East Tennessee St. Univ - Lambda Sigma Jeffrey P. Kleiber ’02 (836) Eastern Illinois University - Xi Upsilon Benjamin S. Light ’06 (859) Fisk University - Zeta Rho Uwem N. Umontuen ’07 (821) Florida Southern College - Theta Sigma Joseph A. Sipiora ’09 (852) Hartwick College - Epsilon Pi J. Michael Spencer ’01 (847) Howard University - Zeta Iota Walter C. Riley ’98 (839) Illinois Wesleyan University - Alpha Lambda Timothy R. Braun ’86 (829) Indiana Univ-Purdue Univ Fort Wayne - Sigma Epsilon Bobby A. Rue-Wilder ’12 (861) Jacksonville State University - Epsilon Nu John A. Boyd ’94 (827) David C. Poarch ’03 (823)

Morehead State University - Theta Pi Jason A. Sparks ’98 (841) Muskingum University - Beta Lambda Christopher R. Bowles ’07 (824) Andrew S. Wichterman ’05 (843) Nicholls State University - Omicron Beta Dusty P. Foret ’06 (822) Northern Illinois University - Epsilon Rho Matt J. Kokes ’01 (830) Oklahoma State University - Delta Tau Timothy P. Cox, Jr. ’99 (840) Sam Houston State University - Zeta Mu Casey S. Salinas ’08 (855) Christopher L. Walker ’11 (820) Stetson University - Xi Nu Carl A. Shafer ’08 (833) Shane Christopher Thomas ’08 (819) Southeastern Louisiana Univ - Delta Omega Kevin S. Estoque ’02 (860) Catlin J. Kallies ’10 (856) Tennessee Tech University - Xi Chi Aaron L. Angel ’88 (848) Texas Christian University - Delta Mu Juan A. Martinez ’10 (834) University of Central Florida - Mu Eta J. Bryan Pittard ’95 (842) University of Georgia - Epsilon Lambda Michael K. Myers ’92 (828) University of Idaho - Beta Sigma Young J. Rylee ’04 (853) University of Kansas - Xi Brian S. Duerksen ’09 (854) University of North Texas - Gamma Theta Matthew C. Diharce ’04 (844)

University of the Pacific - Beta Pi David J. Kinkennon ’03 (850) University of South Florida - Upsilon Psi Jared Allen ’09 (831) University of Toledo - Epsilon Alpha Bradley A. Wilson ’09 (846) Univ of Wisconsin-Stevens Point - Xi Omicron Jesse L. Salcido ’06 (863) West Chester University - Rho Sigma Matthew E. South ’07 (826) West Virginia Wesleyan College - Kappa Zeta Nathaniel D. Boone ’09 (858) West Texas A & M University - Iota Pi Timothy F. Rivera ’08 (845) Winthrop University - Nu Kappa Eric P. Gaston ’12 (837)

Life Loyal Sinfonian STATISTICS The chapters with the highest enrollment are: • Gamma Theta – University of North Texas: 24 • Nu Psi – Shenandoah University: 15 • Alpha Zeta – Penn State University: 10 • Xi Pi – University of Wisconsin-Whitewater: 10 • Alpha Lambda – Illinois Wesleyan University: 10 • Epsilon Lambda – University of Georgia: 10

December 2012 The Sinfonian 25

Campus Notes

> Pi Eta brothers in red and black formal attire. Alabama A&M University – Omicron Delta The chapter has started out its first year with the fervor of being manly men advancing music in America. Since our inception, we have developed the mentality that it is the duty of every Sinfonian to consciously leave a footprint of music in all their travels. During the spring semester, the chapter hosted a recital to raise funds for the National Convention. Then, at the Convention the chapter was awarded the President’s Award for our achievements and continued growth as a chapter. Along with national recognitions and awards, we’ve won awards from Province 34 for our hard work and cooperation with the Province Governor and other province leaders. Other recognitions have come from local publications and broadcast media supporting the chapter’s undertakings and informing the community on our progress and future that the chapter has before them.

like these, we truly reflect on what it means to be a Sinfonian. It is when the colors of red, black, and gold shine and reveal our inner selves to our brothers.

Augustana College – Zeta Beta The 2011-2012 school year for the chapter has been quite an eventful time for all of us. Perhaps our fondest of memories of the past school year surround something we like to call Mystic Cat Night. On these nights, our chapter gets together and sits down and hears each brother’s story of a particular song that has had an enormous influence on his life. Whether it was a song of rock, classical, or jazz music, within every note these particular songs changed our brothers in ways that only they can truly feel. It is a blessing to hear the songs of our brothers. On nights

Morgan State University – Pi Eta We at Morgan State have shifted our focus to spreading the light of Sinfonia outside of our fine arts department. This past spring semester we implemented our L.Y.R.E (Leading Youth, Raising Education) Initiative. This program pairs one of our brothers with a student to act as a mentor. We have also begun to increase the number of events that we hold in conjunction with other organizations. This upcoming semester is also about giving back to the people who have given us so much, our music faculty. We have allocated an entire week dedicated to showing our appreciation to them.

26 The Sinfonian December 2012

Morehead State University – Theta Pi This past year we had the privilege to initiate 18 new brothers into our chapter. The highlight of this year for the chapter was that we raised funds to bring in an American Composer to be featured at our Contemporary Music Festival for 2013. That composer we have contacted for this event is National Honorary Sinfonian, Dr. Frank Ticheli, Alpha Alpha ’09. He will be in residence with us at Morehead State April 15-18, 2013. Theta Pi will be working very diligently to bring a lot of attention to this event, as we feel it is a necessity to bring exposure to such talented composers of our time.

> Zeta Mu brothers at a baseball game where they performed the National Anthem. Finally, the 3rd major focus of what of what the Pi Eta chapter is hoping to accomplish this year is rebranding the entire chapter to reflect a more businesslike approach to our organization. We hope that this emphasis will take the chapter to another level. Northwestern University – Iota This past spring, the chapter has been busy both socially and philanthropically. For the second consecutive year, we held HarmonyFest, a benefit concert featuring Northwestern student groups and performers. This year, we raised money for the Evanston Township High > The Iota Chapter performs a Mills Music Mission. School Fine Arts department to fund a scholarship for a needy music student. On this same day, Iota celebrated its 102nd Chapter Day at Northwestern University. We also provided musical joy and healing to the Mather Pavilion Retirement Community with a Mills Music Mission. To end the year, we hosted a Memorial Day barbeque featuring the Northwestern University Community Jazz Program, a program sponsored by the chapter. The Iota chapter graduated 16 seniors who we wish the best of luck as they enter into the outer world and promote music in their daily lives. Pennsylvania State University – Alpha Zeta Despite the challenges that both our Alma Mater and chapter have suffered, we as Sinfonians have begun a new era in our outreach and efforts to fellow brothers and our community. We in Alpha Zeta have been challenged to be ever stronger as Sinfonians and Nittany Lions. Much has been said about our university in recent months, and many actions were taken. We are not idly griping about the wrong or right, fair or unjust. Through the Object of this Fraternity, we have pledged ourselves to both the ideals and morals of Phi Mu Alpha and the honor and pride of Pennsylvania State University.

Alpha Zeta brothers are pivotal in the maintenance of Penn State pride. Three quarters of our collegiate brothers are out on the football field every game day supporting our team and university as members of the Blue Band or cheerleading squad, and > Penn State brothers in their letters. our president is a member of the Homecoming parade committee. This has been the case for much of our history, but now more than ever are we needed to stand. Our devotion to our Fraternity and our Alma Mater are truly one in the same, as we stand together as brothers. Sam Houston State University – Zeta Mu This past summer has been an exciting time for the brothers of the chapter. Just as the spring semester came to a close, the Zeta Mu Chapter was given the privilege to sing the National Anthem in Bryan, Texas, home to the collegiate summer baseball team the Brazos Valley Bombers. We successfully assembled and rehearsed a good majority of the chapter in preparation for the three games in which we were to sing the National Anthem. Overall, the entire process of rehearsing, driving to and from Bryan, Texas, was nothing compared to the time spent with a great group of brothers who were willing to sacrifice a little bit of their summer to sing the National Anthem and enjoy some time together as brothers. Samford University – Pi Sigma This past semester the chapter has been very active. The main focus of the brothers was working hard on moving past reorganization status, and because of this, there was no incoming class this semester. Instead, brothers participated in many fundraisers, including a brother auction to benefit Scrollworks, a music studio that gives lessons to underprivileged youth. The chapter also held many social events, including a joint formal with Delta Omicron that was open to the school of the arts. The formal was well attended, as was our spring recital. The recital included performances from all the brothers, and a saxophone quartet. The brothers are expecting a fruitful fall semester and a large incoming class.

December 2012 The Sinfonian 27

Campus Notes

> The men of Zeta Omega together following their spring initiation. SUNY Potsdam-Crane School of Music – Theta Iota This spring we initiated six new brothers into the Delta Rho class. We are extremely happy with the six men who we can now call brothers. Also in the spring we continued to strive for excellence as a 5-Star Chapter in the college’s All-Greek Council on campus. As a chapter, we undertook several community service projects, cleaning one of the parks in the town, as well as hosting our monthly community dinners. We were also active in fundraising for the chapter, as well as for Relay for Life, VH1 Save the Music, and we started a 3v3 Basketball Tournament for a Crane Youth Music Scholarship. We had a very successful musicale with our campus’s Sigma Alpha Iota chapter, performing a wide variety of Sinfonian Songs, SAI songs and American repertoire. University of Delaware – Xi Mu Cameron Miller, a graduate of the Xi Mu chapter at the University of Delaware, joins the national staff at Lyrecrest as the Retreat Coordinator and Programs Associate for the 2012-2013 school year. He graduated with degrees in communications and psychology in May. Miller served as secretary of the Xi Mu chapter from 2009-2010 and as president from 2010-2011. He worked closely with the National Staff and the National Executive Committee to plan and execute the Sinfonia

28 The Sinfonian December 2012

Fireside Conference: Northeast, which was held at the University of Delaware in November of 2010. He also co-founded the Sinfonia Concert Band Festival, which brings local high school and middle school bands together to perform on campus. Clinicians adjudicate each performance and meet with every group to improve their work afterwards. The Xi Mu chapter is very proud of our brother, and we cannot wait to see him at Lyrecrest this year. University of Hartford – Zeta Omega Zeta Omega’s fundraisers for the spring semester included organizing a school-wide game of pay-to-play Assassins, hosting a Disco Ball, and the Upsilon probationary member class sponsoring a bacon & cheese hotdog sale. In the entirety of the 2011-2012 school year, Zeta Omega initiated eleven new members, and lost seven active seniors. University of Illinois – Alpha Xi This past semester was a very productive one for the chapter. We enhanced the brotherhood through more social events such as “Manly Movie Nights” and through working together to encourage our chapter do more around campus. We also raised over $500 through Singing Valentines. We advertised it a lot and it opened up avenues to more

> Alpha Xi brothers arriving at the National Convention. singing performances for the chapter. And we arranged some Disney Music for our Mills Music Mission at Carle Hospital, and used the Mills Music Mission Songbook as well, making it a successful outing. We also met with our Province Governor and worked with him to improve our chapter operations. His insight and suggestions were beneficial as we work to restructure the efficiency of meetings. Over the summer, we had nine brothers (including two alumni) from our chapter at the National Convention! Talking with alumni brothers helped inspire us to make next year incredible! Overall, it was truly incredible to experience such brotherhood on a national level and to meet Sinfonians from around the country. University of Miami – Beta Tau During the spring semester, we celebrated our chapter’s 75th anniversary. Over 30 alumni plus other members from active chapters

in Province 13 came. It started with an informal reception at a local barbecue restaurant on Friday, a commemorative concert in the afternoon, a Ritual for both collegians and alumni Saturday night, and a game of football on Sunday. Dr. Kenneth Fuchs, Beta Tau ’75, debuted “Ascent of Sinfonia” at the concert, sung by the active members. Other performances included the PMA wind ensemble, several small jazz/rock combos, a chamber group, and an alumni saxophone sextet. Later in the semester we also had a concert with the Sigma Alpha Iota and Tau Beta Sigma chapters. For our Mills Music Mission, we sang Valentine’s Day songs in a retired citizens’ home. Our Singing Valentines fundraiser was also very successful. We initiated three new brothers, as well as opera faculty member Alan Johnson as an honorary member. University of North Texas – Gamma Theta This last semester the chapter had a successful Mills Music Mission, a “Fraternal Twins” recital with our Sigma Alpha Iota Chapter, and two additional recitals. We participated in the “Big Event,” a day of service with hundreds of students working in the community around our campus and “Adopt a Block,” cleaning the area around our college of music. We initiated our Zeta Alpha Probationary class, adding 13 new brothers to our chapter. At National Convention we had 13 collegiate brothers and 7 Alumni, including 3 players in the Sinfonia Winds. We are also very proud of our flute duet that was a finalist in the small ensemble competition at the Convention.

> Beta Tau brothers perform at their 75th anniversary concert. December 2012 The Sinfonian 29

Valparaiso University – Kappa Sigma Several recent events had an impact on our chapter. The first was the return to the Valparaiso University Songfest competition. After quite a few years of not competing, our Chapter decided to return to the music competition. We ended up winning “Most Musical,” showing that Phi Mu Alpha was back and ready to compete in coming years. We also helped initiate the Kappa Sigma Chapter at Indiana University-Purdue University-Fort Wayne. Our chapter, along with the rest of Province 28, helped set up and perform the Ritual. It was an experience that won’t be forgotten. We also held an end of the year Coffee House fundraiser. The chapter hosted a Coffee House during finals week for students to take a break from studying and come listen to some live music, spoken word, comedy sketches, and look at art. We also had a bake sale with all the proceeds going to Mr. Holland’s Opus. It was a very fun night! The last event that was really special for some members of our chapter was the Valparaiso University Chorale’s recent trip to Germany. Eight brothers traveled to Germany and performed in concerts around the country. One of the highlights of the trip was singing a Bach Cantata in J.S. Bach’s home church in Leipzig, Germany.

Where is my chapter? Space is limited—preference is given to submissions about creative, unique or interesting chapter and colony events. To read submissions from other chapters, visit Submission by chapters of news and photos for Campus Notes are due by the deadlines listed on page 32. The next deadline is February 15, 2013. Articles are limited to 250 words.

Chapters Installed/Reactivated in Spring 2012

Current Colony Activity

> Old Dominion University – Iota Tau (Reactivated: 04/14/12) Send letter of congratulations to: Phi Mu Alpha Sinfonia Fraternity, Iota Tau Colony Old Dominion University 5115 Hampton Blvd. Norfolk, VA 23529 > Indiana University/Purdue University-Fort Wayne – Sigma Epsilon (Installed: 4/14/2012) Send letters of congratulations to: Phi Mu Alpha Sinfonia Fraternity, Sigma Epsilon Indiana/Purdue-Fort Wayne Rhinehart Music Center 2101 E. Coliseum Blvd. Fort Wayne, IN 46805 > University of California-Los Angeles – Beta Psi (Reactivated: 04/15/12) Send letters of congratulations to: Phi Mu Alpha Sinfonia Fraternity, Beta Psi Uni. Of California-Los Angeles 1041 Glendon Ave. Apt. 2188 Los Angeles, CA 90024 > Langston University – Pi Kappa (Reactivated: 04/28/12) Send letters of congratulations to: Phi Mu Alpha Sinfonia Fraternity, Pi Kappa Langston University HWY 33 P.O. Box 1500 Langston, OK 73050 > University of Louisiana at Monroe – Eta Iota (Reactivated: 04/28/12) Send letters of congratulations to: Phi Mu Alpha Sinfonia Fraternity, Eta Iota Uni. Of Louisiana at Monroe 700 University Ave VAPA School of Music Monroe, LA 71209

Phase 11 > Jackson State University – Pi Nu E-mail: > Virginia Commonwealth University – Rho Omega E-mail: > Virginia State University – Virginia Epsilon E-mail: > Rollins College – Florida Theta E-mail: > University of Southern Mississippi – Eta Phi E-mail: Phase 1 > Bethel University – Xi Sigma E-mail: > Delaware State University – Delaware Beta E-mail: > Edward Waters College – Florida Iota E-mail: > Texas Southern University – Texas Theta E-mail: > University of Mary Hardin-Baylor – Texas Eta E-mail: > University of New Mexico – Iota Phi E-mail:

30 The Sinfonian December 2012

Phi Mu Alpha Sinfonia Directory Sinfonia Educational Foundation

Directory This directory information is provided for the convenience of Sinfonians so that they may establish contact with the Fraternity’s volunteers for the sole purpose of conducting Fraternity business; it may not be used for commercial or other non-Fraternity related purposes. For contact information for all province officers (province governors, collegiate province representatives, and province alumni coordinators), please visit All information is current as of September 1, 2012.

National Executive Committee | John Alan Mongiovi, National President, 132 Buena Vista Rd., Evansville, IN 47710. (812) 760-7011. Mark R. Lichtenberg, National Vice President, 4730 Boardwalk Drive, Evansville, IN 47725. (812) 626-0725. Joe Ritchie, Committeeman-At-Large, 220 Vanette Drive, Chesapeake, VA 23322 (407) 823-5245. K. Dean Shatley II, Committeeman-At-Large, Campbell Shatley PLLC, 674 Merrimon Place, Suite 210, Asheville, NC 28804. (828) 378-0062. Erick J. Reid, National Collegiate Representative, 406 Piping Rock Road, Norfolk, VA 23502. (757) 462-6301. John M. Israel, Chair, PGs’ Council, 631 Oregon Trail Ct., St. Charles, MO 63304. (636) 244-1586. Ian M. Shoulders, Chair, CPRs’ Council, 100 Weeping Willow Way Buckhannon, WV 26201. (304) 517-3737.

Other Officers Dr. Bruce E. Gbur, National Historian, 514 N Juliette Ave, Manhattan, KS 66502. (785) 776-9424.

Past National Presidents Dr. Richard A. Crosby (1994-97; 2003-09), 212 Delmar Dr., Richmond, KY 40475. (859) 624-9946. Dr. Darhyl Sterling Ramsey (2000-03), 2500 Potomac Pkwy., Denton, TX 76210. (940) 566-3170. Terry L. Blair (1997-2000), 902 East Gaslight Drive, Springfield, MO 65810. (417) 887-1207. Dr. T. Jervis Underwood (1988-91), 930 Crystal Cove, Oak Point, TX 75068. (972) 292-2393. Dr. William B. Dederer (1985-88), 55 Cathedral Rock Dr, Unit 38, Sedona, AZ 86351. (614) 864-4654. Emile H. Serposs (1979-82), 26 Oliver St. Apt. 4D, Brooklyn, NY 11209. (718) 238-8456. Dr. Lucien P. Stark (1976-79), 425 Greenbriar Rd., Lexington, KY 40503. (859) 276-4681. Mr. J. Eugene Duncan (1973-76), 727 N. Wilson Ave., Morehead, KY 40351. (606) 784-5711.

National Staff 10600 Old State Rd., Evansville, IN 47711-1399 Toll-Free: (800) 473-2649 Local: (812) 867-2433 Fax: (812) 867-0633 Jeremy M. Evans, Chief Operating Officer, ext.108. William C. Lambert, Director of Programs, ext.102. Mark A. Wilson, Director of Communications, ext.104. Cameron C. Miller, Retreat Coordinator and Program Associate, ext. 103, Mary J. Carie, Controller, ext. 105, Kimberly J. Daily, Administrative Coordinator, ext.100. Elizabeth A. Rader, Administrative Assistant, ext. 107.

Board of Trustees | Mr. Derek John Danilson, President, SEF, 80 Lancaster Ave., Devon, PA 19333. (610) 964-4097. Andrew F. West, Vice-President Dr. Kevin H. Goebbert, Secretary John E. Cereso, Treasurer Stephen Brothers-McGrew Lawrence E. Coonfare, Jr. Dr. Richard A. Crosby John M. Doherty Mark L. Eutsler John B. Heath Matt J. Kokes Dr. A.G. “Mack” McGrannahan III John Alan Mongiovi Walter C. Riley John Schmidt K. Dean Shatley II Calvin R. Van Niewaal

Province Officers

In the directory of province officers, the following abbreviations are used: “PG” for Province Govenor, and “CPR” for Collegiate Province Representative.

Province 18: Virginia PG: David L. Davis, CPR: Nicholas L. Snead, Province 19: Missouri PG: John M. Israel, CPR: Michael D. Nay, Province 20: North Carolina PG: Patrick S. Clancy, CPR: Michael E. Jenkins, Province 21: Northeast Ohio, Central and Western Pennsylvania PG: Robert N. Whitmoyer, CPR: Christopher M. Orlando, Province 22: Southern California and Southern Nevada PG: Bincins C. Garcia, CPR: Rodolfo Picanco, Province 23: Northwestern Texas, Eastern New Mexico PG: Brian C. Odom, CPR: Timothy F. Rivera, Province 24: Mississippi PG: David W. Garraway, CPR: Nathan E. Lewis,

Province 1: New York, New Jersey, Massachusetts, Connecticut PG: Eric Englehardt, CPR: Daniel R. Fleury,

Province 25: Central and Eastern Kentucky, and Western West Virginia PG: Dr. Richard A. Crosby, CPR: Daniel J. Nelson,

Province 2: Michigan, Northern Ohio PG: Kyle E. Koehs, CPR: Joseph M. Linke,

Province 26: Iowa, Northwestern Illinois, Southern Minnesota PG: Calvin R. Van Niewaal, CPR: Dustin B. Davis,

Province 3: Central and Southern Ohio PG: Matthew Burgio, CPR: James T. Cordle,

Province 27: Northern Virginia, Eastern West Virginia, Southeast Pennsylvania, Eastern Maryland, Delaware, District of Columbia PG: Jeffrey D. Hoffman, CPR: Edward G. Haver,

Province 4: Arkansas PG: Dr. Louis G. Young, CPR: Ricky A. Rebollar, Province 5: Southern Illinois, Southeastern Missouri, Southwestern Indiana PG: Benjamin Luttrull, CPR: Ben Kosberg, Province 6: Nebraska, Western Iowa PG: Brett A. Lyon, CPR: Benjamin J. Koch, Province 7: Kansas, Colorado PG: Paden J. Town, CPR: Brian S. Duerksen, Province 8: Oklahoma PG: Colby E. Dick, CPR: Mark W. Billy, Province 9: Southern Texas PG: Dr. J. Robert Whalin, CPR: Colin B. Varville, Province 11: Northern California and Northern Nevada PG: Dr. A. G. McGrannahan III, CPR: Michael F. Gutierrez, Province 12: Eastern Tennessee PG: Ashley E. Glenn, CPR: T. Christopher S. Porter, Province 13: Southern and Central Florida PG: J. Bryan Pittard, CPR: Jonathon W. Norato, Province 14: Louisiana PG: Brian M. Stratton, CPR: Gerard J. Hohensee, Province 15: Middle, West Tennessee and Western Kentucky PG: Jeremy D. Quave, CPR: Charles L. Price, Province 16: Northern Minnesota, Montana, North Dakota, Northern South Dakota PG: Dr. Alan D. LaFave, CPR: John T. Patzlaff, Province 17: Upstate New York PG: Samuel P. Jividen, CPR: Mark P. Harrienger,

Province 28: Northern and Central Indiana PG: David E. Fidler II, CPR: Nicholas M. Ankenbruck, Province 29: Southeastern Minnesota, Wisconsin, Northern Michigan PG: Matthew A. Blasinski, CPR: Jacob W. Ineichen, Province 30: South Carolina, Eastern Georgia PG: Kyle C. Coleman, CPR: Rashad Anderson, Province 32: North Central, Northeast Texas PG: Kevin L. McNerney, CPR: Joshua D. Stover, Province 33: Northern and Central Georgia PG: Matthew R. Koperniak, CPR: Adrian A. Barnes, Province 34: Alabama PG: Tony Cowan, CPR: William J. Cole, Province 35: Arizona, New Mexico, Extreme West Texas PG: Karl Schosser, CPR: Luis H. Alarcon, Province 36: Northern Florida, Southern Georgia PG: T. C. Goodson, CPR: Aaron James Young, Province 37: Northern and Central Illinois PG: Paul E. Lattan, CPR: Jason S. Lederman, Province 38: Idaho, Oregon, Washington PG: Douglas A. Evans, CPR: Ryan J. Hutten, Province 39: Central West Virginia, Southwest Pennsylvania, Western Maryland PG: Stephen Brothers-McGrew, CPR: Stephen N. Boone, Province 40: Southeastern Texas PG: George T. Beverley, CPR: Andrew W. Kier,

December 2012 The Sinfonian 31

To the Editor The 2012 National Convention I have been involved for 34 years now, and I have to tell you that the latest Sinfonian was the best preConvention issue produced to date. “The Power of Music” 54th triennial National Convention It’s jam-packed with quality content, and presents a vibrant and alive Fraternity. The letter to the editor from the Alpha Epsilon brother (USC, no less) moved me to tears. There can be no greater confirmation of the effectiveness of our restoration efforts than the recognition on the part of Once-in-a-lifetime Event older brothers that we are truly “back where we belong.” I have one minor issue to suggest, and I know that we struggle with this, so please don’t take it as criticism. The magazine touts Orlando 2012 as “The 54th Triennial National Convention.” This is confusing for older and younger brothers alike. 2012 marks the 54th National Convention, which is also the 16th Triennial National Assembly. The change from biennial to triennial conventions was ratified at the 1964 National Convention, along with a change to one elected collegiate representative to replace the direct chapter representation which had been the norm. 1967 was the first “National Delegate Representative Assembly (NDRA),” which later became commonly referred to as the “Triennial National May 2012

Orlando, Florida Sinfonians Once-in-a-lifetime Event Music advocate Dr. John Benham Man of Music recipient Carlisle Floyd Accomplished musician and yoga instructor Iffet Cochran Share the knowledge Support music Renew focus Inspiration Four major ensembles Operation Taps National leaders Dr. Karl Paulnack Ritual National Citation

Orlando, Florida “The Power of Music” 54th triennial National Convention Sinfonians Renew focus Music advocate Dr. John Benham Man of Music recipient Carlisle Floyd 54th triennial National Convention Accomplished musician and yoga instructor Iffet Cochran Share the knowledge Support music Inspiration Four major ensembles Operation Taps National leaders Dr. Karl Paulnack Ritual National Citation

The Sinfonian Submission Guidelines: Who may submit: Alumni and chapters are strongly urged to send articles and pictures. What to submit: Original, clear photographs—either black and white or color—and articles that are typed clearly. When to submit: May Issue—February 15 annually; December Issue—September 15 annually Where and how to submit: Written material: via USPS to the National Headquarters, Attn: Managing Editor, OR via e-mail in Word format to: Photos and Graphics: via e-mail to as a .tif file or a high-resolution .jpg file.

The Sinfonian reserves the right to edit all submissions for length and content. 32 The Sinfonian December 2012

Assembly.” If I am not mistaken, the Constitution still refers to the “National Assembly.” I'm sure you're aware of all this, but just in case, I wanted to provide some background for future usage. Thank you for the commitment to quality you bring to this vital area of our fraternal operations. I look forward to your future issues with anticipation. Fraternally yours, In Phi Mu Alpha, Ed Klint

Editor’s Note: Brother Klint is correct. This summer’s Convention was the 54th National Convention, but Conventions have not always been triennial. We apologize for any confusion this may have caused.

>Tell Us What You Think We want to know what you think of this issue. Send us your thoughts and comments by mail or to One lucky respondent will win a $50 gift card to the Sinfonia store if your comments are published in the “Letters to the Editor.”

Revered Founder Ossian Everett Mills (1856-1920)

Charter Members Robert T. Bayley Frederick W. Briggs George A. Burdich Henry P. Dreyer George S. Dunham Archie M. Gardner John F. Hartwell

William C. Holcomb Albert J. Stephens Frank Leslie Stone Shirley F. Stupp William E. Tanner Delbert L. Webster

Phi Mu Alpha Sinfonia was founded October 6, 1898, at the New England Conservatory in Boston, Massachusetts. Phi Mu Alpha Sinfonia has initiated 140,000 members since 1898. The Object of this Fraternity shall be for the development of the best and truest fraternal spirit; the mutual welfare and brotherhood of musical students; the advancement of music in America and a loyalty to the Alma Mater.


LIFE LOYAL play your part!

Reason #586 Norman L. Keller, Chi Omega (Northeastern Illinois) ’69 Brother Keller was a charter member of the Chi Omega chapter, which saw its membership decimated by the Vietnam War draft in just its first year. Keller is currently a member of the Chicago Area Alumni Association, and has been the CAAA’s representative at the Sinfonia booth at the Midwest Band & Orchestra Clinic for several years. Outside of his Sinfonian service, he works as a payroll specialist for performers and musicians in commercials. Visit to see a full list of Life Loyal brothers, learn about discounts available to Life Loyal members, and to become one yourself!



10600 Old State Road Evansville, IN 47711-1399


Return Service Requested

SINFONIA EDUCATION AND RETREAT CENTER Supporting Our Future See page 10 for details on how you can support this project, and what it will mean for the brotherhood to have this facility.

Sinfonian - December 2012  

The December 2012 issue of the Sinfonian magazine, published by Phi Mu Alpha Sinfonia Fraternity.

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