behind the music stand - cdn.ymaws.com · acme mary au, arietha lockhart bookshelf elmamae...

Volume 105, Issue 4 Winter 2012

Behind the Music StandIt's all about preparation

Also: Sterling Patron Chen Yi

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EDITORMelissa [email protected]

DESIGN & PRODUCTIONCorinne [email protected]

C O N T R I B U T O R SACME Mary Au, Arietha Lockhart

BOOKSHELF ElmaMae Henderson

FINAL NOTES Wynona Lipsett

INTERNATIONAL CORNER Keith Ford

INTERVIEWS Marcus Wyche

UPON LISTENING Sherry Kloss

Send all material for publication to:Melissa Eddy, [email protected] 325/388-0914 or by mail to:P.O. Box 10042, Austin, TX 78766-1042.All materials submitted for publicationbecome the property of Mu Phi Epsilon.Requests for return are accepted and mustbe accompanied with a self-addressedstamped envelope. Electronic transmissionsare preferred. Photos must be scanned at aminimum of 300 dpi.

Deadlines for submissions:Spring — February 15Summer — May 1Fall — August 15Winter — December 1

Change of address, renewals, notice ofdeceased members, requests for extracopies and subscription requests should besent to:Mu Phi EpsilonInternational Executive Office4705 N. Sonora Avenue, Suite 114Fresno, CA 93722-3947toll free: 888- 259-1471fax: 559-277-2825email: [email protected]

The Triangle is published 4 times per year byMu Phi Epsilon, International ProfessionalMusic Fraternity.

Member, Professional Fraternity Association.(ISSN 0041-2600)(Volume 105, Issue 4)

Subscription price is $20.00 per year. Single copies are $8.00. Periodicals postage paid at Fresno, Californiaand at additional mailing offices. Printed inthe United States of America.

POSTMASTER: Send all changes ofaddress to: Mu Phi Epsilon InternationalExecutive Office, 4705 N. Sonora Avenue,Suite 114, Fresno, CA 93722-3947

© 2012 Mu Phi Epsilon. All rights reserved.

Volume 105, Issue 4 Winter 2012

International Corner . . . . . . .4by Keith FordOn music, poetry, and confidence.

Bookshelf . . . . . . . . . . . . . . . .5by ElmaMae HendersonMu Phi pianist's memoir is a panoramicview of a rich artistic life.

Feature: Sterling Patron — Chen Yi . . . . . . . . . . . . . . . . . .6by Marcus WychePassion and persistence fuel eminentcomposer's career across cultures.

Upon Listening . . . . . . . . . . .9by Sherry KlossConspirare brings African American spirituals to powerful new life in CD Sing Freedom.

Feature:Entering the InternationalCompetition . . . . . . . . . . . . .10By Gina GillieFirst-hand account by a 2011 finalist,from application to finals performance,and advice for future competitors.

ACME . . . . . . . . . . . . . . . . . .13by Arietha Lockhart & Mary AuNews from ACME honorees in the LosAngeles area

Foundation . . . . . . . . . . . . .14by Sandy WieseMeet new Foundation directors; newsabout grants & scholarships.

Applause / Encore . . . . . . .16News from members and chapters: win-ning alumni chapter projects.

Final Notes . . . . . . . . . . . . . .18

Member Remembered . . . .19

Alumni Presidents Directory . . . . . . . . . . . . . . .20

Alumni . . . . . . . . . . . . . . . . .21Lenita McCallum on chapter creativity.

District Directors Directory . . . . . . . . . . . . . . .22

Executive Officers Directory . . . . . . . . . . . . . . .23

Call for Entries . .Back CoverMu Phi Epsilon Musicological ResearchContest & Collaborative Pianist Award.

Fraternity Mission Statement: Mu Phi Epsilon International Professional MusicFraternity is a coeducational fraternity whose aim is the advancement of music inthe community, nation, and world through the promotion of musicianship,scholarship, and music education, with emphasis on service through music.

contents

On the cover: Music StandCredit line © Frenc | Dreamstime.com

As I write this, we are in the midst of another holidayseason filled with more concerts than we can

possibly attend. Each performance speaks to us indifferent ways through music. Many of us are theartists in these concerts, and it is a joy to performand share our talents during such a musically richseason. Whether listening or performing, we

appreciate and are grateful for the hours andhours of preparation behind the scenes that go into

each performance.

In this issue of The Triangle you will meet two extraordinary musicians –one a Mu Phi and the other a Sterling Patron – who are pursuing theircareers with dedication and commitment. They share special insights intothe planning, preparation, and persistence needed to accomplish their goals.

Often it’s similar planning and preparation that make an alumni or collegiatechapter strong and successful. It’s tempting to look at a chapter’saccomplishments and say, “They have it easy because they have so manymembers” or “They must have all the time in the world to put in so manySERV hours.” It’s easy to find an excuse for excellence. But thereality is that chapters offer spectacular performances whether theirmembership is large or small. They contribute countless hours of musicalservice, whatever their other obligations. They make it happen by planning,preparing, and doing all those little tasks that make an event successful.

“I don’t have time to volunteer.” “Someone else will do it.” We have allheard someone say this before, and maybe even been tempted to say itourselves. Maybe we thought what we had to offer was too small to be ofvalue to our chapter. Edmund Burke once said, “No one made a greatermistake than he who did nothing because he could only do a little.”

You have heard the saying “Every little bit helps,” and whether you arebuilding a career, organizing a concert, or reaching out to others throughmusic, your little bit may be just what we need. Plan, prepare, andcontribute what you can. Together we Mu Phis can make a difference!

Rosemary AmesInternational President

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President’s Message

visit us online @muphiepsilon.org

The Mu Phi Epsilonshield (above) is nowtrademarked. Look forthe small ®immediately to theright of the Greek word"Epsilon." Chaptersshould begin to usethis new version of ourFraternity logo as soonas possible in allchapter publicationsand correspondence.A .jpg file of the shieldwith trademark isavailable from theInternational ExecutiveOffice.

© Elena Elisseeva | Dreamstime.com Title:Violets

International Corner

4 The Triangle | Winter 2012

Last issue I wrote about the Mu Phiconvention in Rochester. It waswonderful to see old friends, makenew ones, and be reminded of ourhumble call to serve others throughour music. This is at the heart ofwhat Mu Phi is all about. Theinvitation to serve continues to be onmy mind. What does it mean? Howdo I serve others when I perform,when I teach, as I capture sounds, asI walk with others and in the waythat I speak?

I teach a group often pupils once aweek at a largepublic high schoolin West London.Seeing them is ahighlight of myweek. In additionto their keyboardlessons, we meetbefore school towrite poetry. Thispoetry club bringsus together,generatescomposing ideasfor lessons, andalways producesinterestingdiscussions. It isnot a class and Iam not the soleteacher; we sharethe responsibilityof teaching oneanother, and we take care inassigning homework assignments toeach another. It is a democraticstructure in which power is sharedand we seek to build each other upand hone our criticality of the world.

What is confidence?Last week in poetry club wediscussed the word “confidence.”

This is a big buzzword in schoolsand has been for a while. Everyonemust have it. But what does itmean? That’s what I wanted toknow from the pupils. One said it isthe ability to answer back tosomeone who insults you. Anothersaid it is the ability to stand up to abully, or say an answer in class. Andanother said it had to do with beingsure of one’s independence.

I put forward that confidence wasabout one’s ability to engage with

the “other” – thestranger, the personyou don’t like – tobegin some kind ofcontact with them.It was a markedcontrast to the firstopinion that had todo with strikingback at others. Fortheir homework, weall agreed to write apoem entitledConfidence.

Engaging the“other”I’m sure thediscussion will havean effect on theirwriting, theircomposing andplaying, and theway they presentthemselves in

concert. In 2012 we are organizing aseries of fifteen weekly concertswhere we will perform our poetryand play our music to a crowd ofpeers and teachers. Yes, we willperform – but we will also seek toengage those “others” – thoseaudience members, many of whomwill be strangers to us.

Performing is not only aboutproclaiming ourselves andpronouncing what we believe. Thereis an element of listening in theresomewhere. We wish to move theaudience to participate with us. Wewant them to enter into ourdiscussion. Perhaps acts ofconfidence and of performing havesimilar aims.

These weekly performances will beinformal, in order for the audienceto feel welcome enough to ask usquestions. There will be space forapplause and time for feedback andquery. We want to know what theythink. Does a piece ring true forthem? Does a poem speak to what isgoing on in their world? These aretwo questions that I hope will comeinto the conversation of each weeklyperformance.

Lowering the stageI’m not done thinking. For me theperformance question is a processthat involves lowering the frontstage so the performer can makecontact with the people. It’s abouttaking rows of chairs and makingthem into concentric circles whereall can sing to all. It’s all quiteexciting. Let’s keep encouragingeach other in this direction ofserving others through our music.

Keith Ford is a pianist and co-chairs theInternational Committee with conductorMarlon Daniel. Keith is the assistantmusical director at the American Churchin London, UK, and he and his wife havea one-year-old son. Email him [email protected] or post a comment athttp://www.muphiepsilon.org/chaptersmembers/intcorner.html

> International Committee Co-Chair

Keith FordAlpha Kappa, Allied

+44 [email protected]

Confidence & EngagementTo Serve Others with Music (Part 2)by Keith Ford

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Ralph Waldo Emerson, mid nineteenth-century American poet who led theTranscendentalist movement, is a hero toKeith Ford's poetry club.

World flags isolated on black Credit line © Rawlex | Dreamstime.com

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Bookshelf

A comment by Professor Jonathan D.Bellman of Northern Colorado, justabout says it all: “The warmest ofafternoon reads.” Simply Madeleinereads equally well on an autumnevening, especially because authorMadeleine Forte is a distinguishedMu Phi Epsilon member. From herPrologue statement “To the uniqueone who reads me” to her Postlude’snostalgic words of reflection andremembrance, her courage, grace,faith, and love shine through. Thisreview offers just a few vignettesfrom a detailed memoir of anextraordinarily rich professional andpersonal life.

Early enrichmentMadeleine Forte’s middle classfamily consisted of an ambitiousfather who worked as a carpenter,served in WWII, studied law andeventually became a judge; hermother, a talented homemakerprotective of her kitchen; and anolder brother. Madeleine’s earlychildhood was enriched by her AuntSonia, piano teacher extraordinairewho also taught her reading, writing,drawing, and dance. Sonia had givenup an operatic career to stay with hermother, and later with Madeleine’sfamily as a dedicated teacher. Sheguided and encouraged Madeleine,starting at age three and a half, tobecome the exceptional artist she is.Madeleine enjoyed practicing thepiano, with daily lessons for manyyears; Aunt Sonia always encouragedher to play with expression. At agefive, Madeleine would announce, “Iam a pianist!”

A wartime experienceDuring the war under the Vichyregime, when the air raid sirens

would rend the air, Madeleine’smother, brother, and Aunt Soniawould run to the neighborhoodshelter where the adults would standshoulder to shoulder talking; thechildren were frightened and silent.The American soldiers treatedMadeleine as their mascot, callingher their “baby.” When the sirenssignaled again, the family wenthome, crawled under a blanket, andsecretly listened to a wireless radio.

Learner, teacher, performerWith support from grants,scholarships and odd jobs, as ayoung adult Madeleine continued hermusical studies in Paris and Warsaw.A competition in Rio de Janeiro wasa life-altering experience; she wonsilver, but more importantly,received many performanceopportunities. From there shemoved to New York to study at theJuilliard School with RosinaLhévinne.

After earning her master’s, shereceived several teaching offers andaccepted one at Boise StateUniversity, where she taught fortwenty-six years until retirement in1997. She performed all over theworld and earned a doctorate fromNew York University with adissertation about Olivier Messiaen,with whom she maintained a longcorrespondence. She was marriedthree times – the first difficult andshort-lived, the second better butultimately unsuccessful, and thethird to the love of her life – and hastwo sons. After her retirement, sheand third husband Allen Fortetraveled the world and gave lecture-recitals as a team for many years.

A brief review cannot adequatelyrelate the beauty of her descriptiveprose or the way the authorinterweaves her professional andpersonal experiences. Her Postluderemarks mention the joys andfailures of a remarkable artist’s lifeand loves. The book contains photosof Madeleine and many of the otherartists with whom she shared her lifeand career. It is a memoir of a mostcourageous, extraordinary woman.

> Bookshelf Contributor

ElmaMae HendersonTheta

Simply Madeleine: The Memoir of a PostWorld War II French Pianistby Madeleine Forte, Gamma Kappa, ACME

Review by ElmaMae Henderson, Theta

Publisher: AuthorHouse PublishingSeptember 21, 2011Language: EnglishISBN-10: 1463433840ISBN-13: 978-1463433840Paperback: 152 pagesAvailable in hardback, paperback,and Kindle editions.

Bookshelf Credit line : © Dmstudio | Dreamstime.com

Of the impressive generation of latter-twentieth-centuryChinese composers (Zhou Long, Bright Sheng, TanDun), Dr. Chen Yi* is among the most prolific andhonored. When it comes to musical achievement, hercareer and life have been marked by a steady and strongwork ethic, serious development of compositionaltechnique, and a unique musical voice that blends bothChinese and Western elements into her works.

A composer who uses a wide palette of timbres, tonecolors, and dynamic contrasts, Dr. Chen is currently theCravens/Millsap/Missouri Distinguished Professor atthe Conservatory of Music and Dance in the University

of Missouri-Kansas City. She has receivedfellowships from the GuggenheimFoundation and National Endowment for theArts, as well as the Lieberson Award from theAmerican Academy of Arts and Letters.Other honors include a first prize from theChinese National Composition Competition,the Lili Boulanger Award, NYU Sorel MedalAward, and ASCAP Concert Music Award.She holds honorary doctorates fromLawrence University, Baldwin-WallaceCollege, University of Portland, and The NewSchool University, has been composer-in-residence for the Women’s PhilharmonicOrchestra and Chanticleer, and her music hasbeen commissioned by the ClevelandOrchestra, Seattle Symphony, YehudiMenuhin, Emanuel Ax, Evelyn Glennie, andYo-Yo Ma. Perhaps most significantly, in2001 Dr. Chen was the recipient of theprestigious Charles Ives Living Award fromthe American Academy of Arts and Letters.

Behind all these imposing achievements,though, is a cheerful woman with an easy,energetic laugh and gracious manners who’sendeared to her students and enjoys theoccasional movie and shopping (that is, whenshe has time). And who, of course, enjoysdiscussing all aspects of music creation,whether it’s her musical influences(Stravinsky and Bartok, to name a couple),her general creative process (she matcheswritten descriptions and musical images to aspecific instrumentation), the application ofsoftware and technology (she uses Finale),advice for younger composers (“seek yourown voice; have an open mind; get stricttraining”) or upcoming works (Distance Can’tKeep Us Two Apart, commissioned by theAmerican Choral Directors AssociationEndowment).

Very thankful to be the Fraternity’s most recent SterlingPatron, Dr. Chen was introduced to Mu Phi Epsilonthrough two different avenues. “One of my [doctoral]students at UMKC Conservatory, Nick Omiccioli, toldme about this,” she says. “One day he said, ‘Hey, I havenominated you to this award.’ ” Before that, Dr. Chenhad observed Mu Phi artistry in action in 2009 when theUMKC Conservatory and its cello professor Carter


Cover FCover Featureeature

Sterling Patron ProfileComposer Chen Yi: Passion & Persistenceby Marcus Wyche, Foundation Board President, Delta Delta, Washington D.C. Alumni

*Chen is the family name, Yi is the personal name. Chen Yican be referred to as Dr. Chen, Prof. Chen, Ms. Chen, orChen Yi, but not Dr. Yi, Prof. Yi, or Ms. Yi.

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Enyeartpresented theMu Phi EpsilonConcert Artist,cellist RuslanBiryukov, withaccompanistMary Au. “Iwent to theirmaster class,also becauseMary Au isChinese,” Dr.Chen says. “Ihosted a dinnerfor the guests …At the dinnertable, local MuPhi memberCharlotteBrown askedme [if I knewabout Mu Phi

Epsilon] and introduced the organization to me.”

Early passion and persistenceMu Phi Epsilon prides itself on being an internationalfraternity, and Dr. Chen’s experience is a prime exampleof time zones crossed and exposure to different cultures.A native of Guangzhou, she was born in 1953, the Yearof the Snake. The daughter of medical doctors who wereclassical music lovers, Dr. Chen began studying piano atage three and started violin at four. “My mother playedpiano at a professional level, and my dad played violinwith great passion and sensitivity, at an intermediatelevel, and sang many European folk songs and titlesongs from Hollywood movies,” she said in a 2001interview in New Music Connoisseur. “They collectednumerous records of classical music, ranging from soloinstrumental and vocal pieces to orchestral works andoperas, and they played them at home every day duringand after dinner.”

In the 1960s, the Cultural Revolution overtook China,and Dr. Chen’s family, as intellectuals, “couldn’t escapefrom the suffering of having our home searched, ofbeing compelled to perform forced labor, of having toengage in public self-criticism, and of having to live ourlives under the persistent stress of political pressure.”Under this scrutiny, Dr. Chen quietly continued playingmusic, using a heavy metal mute on her violin andpracticing piano with a blanket between the hammersand steel frame. But her family was eventually brokenup, their possessions confiscated or destroyed, and herparents and siblings banished to separate areas of thecountry. Chen, a teenager, was sent into forced labor in

the countryside for two years, harvesting rice andcarrying hundred-pound loads of mud and rock up amountain with a stick and basket – as often as twenty-two times a day – to build military fortifications.

Though a forced laborer, Dr. Chen was able to keep herviolin, and in her spare time played state-sanctionedRevolution songs to farmers and soldiers (sneaking in

Sample of Major WorksDuo Ye, piano solo (1984)As in a Dream (2 songs), soprano, violin and cello(1988)Sparkle, octet (1992)Ge xu (Antiphony), orchestra (1994)Chinese Myths Cantata, male chorus and orchestra(1996)Fiddle Suite, huqin (Chinese fiddles) and string quartet (1997)Qi, mixed quartet (1997)Momentum, orchestra (1998)Sound of the Five, cello and string quartet (1998)Chinese Poems, girls chorus (1999)Chinese Folk Dance Suite, violin and orchestra(2001)Ning, violin, cello and pipa (2001)Symphony No. 3, orchestra, (2004)Happy Rain in Spring Night, mixed quintet (2004)Suite from China West, wind symphony (2007)Early Spring, mixed choir and chamber ensemble(2011)

PublisherTheodore Presser Company

www.presser.com/Composers/info.cfm?Name=CHENYI

WebsitesUMKC Conservatory of Music and Dance

http://conservatory.umkc.edu/faculty-profile.cfm?id=27American Music Center

http://www.amc.net/ChenYiAmerican Composers Forum

http://www.composersforum.org/members/directory/chen-yiPytheas Center for Contemporary Music

www.pytheasmusic.org/chen_yi.htmlFacebook

www.facebook.com/ChenYi.ComposerMySpace

www.myspace.com/chenyicomposer

Selected DiscographyThe Music of Chen Yi, New Albion (1996)Sparkle, CRI (1999)Momentum, Bis (2003)Sound of the Five, Albany (2009)

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Chen Yi, 1956

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double stops and Paganini passage work). Though theoverall experience was exceedingly difficult, it gave her adeeper knowledge and appreciation for her people andculture. As she summed up in the Connoisseurinterview: “It was not until then that I found my roots,my motherland, andreally appreciated thesimple people on theearth and theimportance ofeducation andcivilization. I learnedto overcomehardship, to bearanger, fear andhumiliation under thepolitical pressure, toget close touneducated farmerson a personal andspiritual level, and toshare my feelings andthinking with them,to learn to hope, toforgive, to survive, and to live optimistically, stronglyand independently, and to work hard in order to benefitmore human beings in society.”

Education, love, careerAt seventeen, Dr. Chen returned to her home city andserved as concertmaster and composer with a Beijingopera troupe. In 1977, the Beijing Central Conservatoryreopened after being shut down during the Revolution,and Dr. Chen—among tens of thousands of applicants—successfully enrolled, earning her bachelor’s degree incomposition and in 1986 becoming the first woman inChina to receive a Master of Arts in composition.

It was also at the Conservatory where she met herhusband-to-be, Zhou Long (recently awarded thePulitzer Prize for his opera Madame White Snake). “Allour classmates, I think [were] either older or younger,”Dr. Chen says, “and only Zhou Long and I [were bornin] the same year. We are from very similar families.My parents are medical doctors, his parents areuniversity professors who are artists. Kind of similarexperiences, also—he was sent to the countryside towork as a farmer. We didn’t know each other until webecame classmates in 1978. We married when we were30 years old when we graduated from theConservatory.”

Husband and wife moved to New York City shortlythereafter and in 1993 earned their Doctor of MusicalArts degrees from Columbia University. New Yorkproved very stimulating (“When I first came, I was soexcited … going to Central Park for New YorkPhilharmonic concerts … and the subway system is so

scientifically designed, I was really impressed”), and Dr.Chen has referred to the Big Apple as her second home.Like most Americans, she was deeply affected by theSeptember 11 terrorist attacks, and her compositions ofthat period—Know You How Many Petals Falling forchorus, Burning for string quartet, as like a raging firefor mixed ensemble, and Tu for orchestra—reflect the

intensity of herfeelings. “I thought[9/11] was a very bigevent for us to lookback,” she says, “tolearn the history, tothink deeply how toavoid [future terrorevents], how toimprove understandingbetween people fromdifferent cultures, andhow to work for abetter future.”

Music ambassadorBeing steeped in twocultures, does Dr.Chen—who regularly

travels to China and the Conservatory as a visitingprofessor—see herself as a kind of music ambassador,bridging differences between East and West? Whenremarking on current U.S. concerns over China’sincreasing geopolitical presence, she approaches theissue with humor, saying, “[China] is not better, they arejust different. Each system has a different side. So it’sjust depending on which view, which importance istaken. I think that we should learn from each other.”

If sentiments about cultural diversity and workingtogether toward a shared future sound positivelyhumanist (and some music critics have sensed thiselement in her music), Dr. Chen—who says she is “notreligious,”—is fine with the label. “I just believe inhuman beings,” she says. “I just believe the thoughtsthat would make the world better.”

“I think that [I am a music ambassador to some degree],not only between Chinese, but between people fromdifferent cultures,” she says. “My students, they arefrom everywhere. Each year I give visits or lectures,master classes, and [participate in] festivals in otheruniversities where I have met other students andaudiences. They might be from different culturalbackgrounds. I think that to bridge Chinese culture withothers certainly is my hope and my practice. And itwould be easier for me to speak in this language in mymusic, to share with others. So that’s what I have beendoing.”


Chen Yi, continued from page 7

Chen Yi, 1973

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This collection of African Americanspirituals chronicles a legacy of a peo-ple whose souls cried out in song,whose chants provided communal for-titude, and whose utter jubilationinstantly captures the heart of today’slistener. These were untrained com-posers and songwriters, yet their pro-found work still overwhelms us. Overthe years many of the originals havebeen rewritten and re-arranged. Thisreview speaks to arrangements hereinby Craig Hella Johnson, LeonardDePaur, William L. Dawson, MosesHogan, David Lang, Michael Tippett,Wendell Whalum, AliceParker/Robert Shaw, Tarik O’Regan,and originals by Kirby Shaw andRobert Kyr.

“Motherless Child” features gloriousharmonization, emotional intensity,and masterful use of dynamics, epito-mizing the soulful cry. “A City CalledHeaven” has a soothing mood withinteresting, full voicing. The openingdissonant harmonies of ”Soon AhWill Be Done/I Wanna Die Easy” cre-ate dramatic foreboding of somethingto come. With emphasis on contrast-ing vocal ranges and choral punctua-tion, there is magnificence to the jour-ney and the destination (“I want tomeet my mother”). Repose returns inthe pianissimo introduction of “HardTrials,” with keyboard interlude, vocalunison, and soul-felt soprano solocommunicating a heart-breaking storyline with emotional resolution.

“Hold On” swings with incrediblerhythmic energy, telling a passionatestory with forceful verve and insis-tent repetition. The beginning of“Been in de Storm” sets a mezzo-soprano solo with a lush choralaccompaniment; echo effects, unisons,fermatas, and harmonic counterpointlead to a final request and vocal flour-ish. Silences between words are mosteffective in transmitting the messageof “Oh Graveyard” – we breathe alongwith the supplicants as their prayerslift them on the journey. “Ain’-a ThatGood News!” is joyful and it swings.

“Steal Away” expands from unison toharmony, with solo and choral workculminating in resolution. The jazzy,dotted rhythm of “Walk Together,Children” ends in augmentation andchromatic melisma in the basso, sim-ply a wonderful harmonic arrange-ment. “I Got a Home in-a Dat Rock”shows the resonant power of the humand then forceful group sonority. Thehymn-like anthem “Lily of the Valley”creates an angelic atmosphere, while“Plenty Good Room” is rich in catchydialogue, antiphonal voicing, handclaps, modulations and chromaticcolor. “My God is a Rock” uses per-cussion and the “call and response”shout to conjure heaviness, a rally,perhaps a march; one hears the soulof slaves. Drumbeats in “FreedomSong” are a call to freedom, and thepainful wail of slavery (“set me free”)builds to explosive levels. In “Swing

Low, Sweet Chariot” we hear a freshversion of the familiar traditional spir-itual, the words masterfully embeddedin a mesh of sound, each word elon-gated with humming against lyrics.

In this CD, conductor Craig HellaJohnson and his Company of Voices(35 singers, piano, and percussion)have given the world a powerful expe-rience not to be forgotten.

Upon Listening

Conspirare is an internationally acclaimed professional choir based in Austin, Texas, and comprised of talented singers fromacross the country. Its recordings have received five Grammy® nominations, the Netherlands’ Edison Award, and prestigious per-formance invitations including Carnegie Hall’s Weill Music Institute. Founding artistic director Dr. Craig Hella Johnson studied atSt. Olaf College, the Juilliard School, University of Illinois, Yale University, and with Helmuth Rilling in Germany. He has served aschoral director at the University of Texas-Austin, Chanticleer in San Francisco, Houston Masterworks Chorus, and as guest con-ductor with numerous choral and instrumental ensembles. He is an editor with G. Schirmer and his original and arranged worksare also published by Alliance Music Publications. Johnson received the Mu Phi Epsilon Citation of Merit in 2011.

> Upon Listening Contributor

Sherry KlossEpsilon Upsilon, Muncie Alumni

3510 West University AvenueMuncie, IN 47303 765-287-8469 [email protected]

Sing Freedom! African American SpiritualsPerformed by ConspirareCraig Hella Johnson, ConductorReviewed by Sherry Kloss

Audio CD (September 13, 2011)Label: Harmonia MundiASIN: B0057Q83ECSPARS Code: DDDNumber of Discs: 1Format: Hybrid SACD - DSD

Available from Harmonia Mundi,Amazon, iTunes, and Conspirare.org

Sound waves set. Credit line © Beholdereye | Dreamstime.com


I began my journey to the Mu Phi InternationalCompetition in 2003 when I attended the CentennialConvention as Epsilon Sigma’s collegiate delegate andpresident. I heard some of that year’s competition and wassincerely amazed by each musician’s performance. I wasinspired and thought, “Wow, someday I’m going to do that!”Several years passed. I went to graduate school and thencame back to teach at Pacific Lutheran University, my almamater. In early 2010, I read of the 2011 InternationalCompetition that would take place in Rochester andthought, “Now’s the time. I guess I’m ready to take this on.”

A competition like Mu Phi Epsilon’s, where a variety ofinstruments and voices all compete within the same pool, ishighly complex. Judges look for a performer who grabsthem musically, artistically, expressively, emotionally, andeven visually, and for a certain level of artistry thattranscends the instrument. While some things are objective– like intonation, consistency, rhythm and accuracy – manyother things are subjective. With this in mind, a performerneeds to develop a stage presence that goes beyond theinstrument and speaks to a diverse audience.

In such an all-inclusive competition the musicians cannotrely on judges who know the challenges and strengths of aparticular instrument and its repertoire, and compare

competitors who all play that instrument. Instead,performers compete against completely different soundsand repertoire. It is therefore important for performers tohighlight their unique, compelling skills and theirinstrument’s specific attributes.

Choosing repertoireOne of the first steps in entering a competition is choosingrepertoire. Usually a list of required selections is provided,representing a wide range of styles, periods, genres, andskills so the judges may assess a wide scope of ability andexpression. For the Mu Phi competition, a performer isrequired to prepare about 75 minutes of music drawn fromseveral choices of specific repertoire, as well as a modernpiece composed within the last thirty years.

My strategy was to select music that I was familiar with, hadperformed recently, and highlighted the strengths of myplaying. This was motivated in part by the fact that I wouldneed to memorize a majority of the music, and starting withunfamiliar pieces would have taken even more preparationtime. My advice to anyone planning to participate in acompetition is, as much as possible, choose music thatmakes you sound good. If an optional piece on the list isflashy but contains something you don’t do well, don’t playit. If there is a piece you really like but you don’t have

enough time to get it ready,choose something else youalready know or can prepare morequickly.

My approach to selectingcompetition repertoire differeddramatically from planning arecital, in that I did not follow astructure based on a coherentcentral idea. My selections werean eclectic bunch, pieces thatshowed a great deal of contrast,but which I would never programtogether on one recital. From thelist for horn, I chose Bozza’s EnForet, Mozart’s Concerto No. 4,Hindemith’s Sonate for Horn andPiano, and Persichetti’s Parable.For my modern piece, I selectedEric Ewazen’s Sonata for Hornand Piano.


It's All About Preparation

Entering the International CompetitionBy Gina Gillie, Epsilon Sigma, Tacoma AlumniFinalist, 2011 Mu Phi Epsilon International Competition

Gina Gillie (left), with Foundation officials Kathryn Habedank and Beverly Abegg, beforeannouncement of the competition winner.

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Recording performance samplesI needed to make a 30-minute, unedited recording ofmusic from the repertoire to submit with my application. Ichose selections from my list that were already well-prepared and displayed a wide range of style and ability. Ihired an accompanist, gave him the scores, and scheduledrecording dates far enough in advance of the Februarysubmission deadline to feel comfortable. I startedpracticing the repertoire in September 2010 and recordedmy application CD in December and January.

For the recording, I used my own personal portable Sonydigital device and transferred the sound files onto mycomputer to burn onto a disc. Some musicians prefer tohire recording engineers or use recording studios. For apreliminary competition round, the most important thingis that the sound quality is a good representation of yourtrue work. I find that this is possible to achieve with a highquality digital recorder and an appropriate naturalacoustic.

Apply and waitThe application was one of the most rigorous I haveundertaken. (However, this was the first internationalcompetition I had ever entered, so it may be right on parwith others.) The complete packet included a currentperformance resumé, concert and recital portfolio withprograms, competition repertoire list, CD, original scorefor the modern composition, professional headshot, tworecommendations, $50 registration fee, and completedapplication form. Preparationof the materials followedspecific parameters and anydeviation could result indisqualification. Thus it isimperative to read theinstructions carefully, reviewthem multiple times, andcheck the list again before yousend things out to make surethat everything is in order. Itwould be terriblydisappointing to be winnowedout of the selection poolsimply because you didn’tread well.

After submitting myapplication by the February2011 deadline, all I could dowas wait, but since thecompetition requiredmemorization, I needed tocontinue working on themusic. With a full-timeteaching job and other

obligations I found it difficult to motivate myself withoutknowing the results of the preliminaries.

Memorization challengesIn April 2011 I heard that I was one of five finalists. Nowthat I knew I would be performing, memorization had tobegin in earnest. In the horn world, we are not frequentlyasked to memorize complete programs, so committing awhole recital’s worth of music to memory was a newventure. The Mozart was easiest to memorize since it madeso much harmonic sense, and I was so familiar with it. TheBozza was challenging because it is a flashy piece with lotsof fast finger work and various effects like stopped horn,mutes, glissandos and natural horn. The unaccompaniedPersichetti piece went quite well since I didn’t have toworry about accompaniment, but the Hindemith Sonatewas giving me fits. I found it a challenge to motivate myselfto make progress during the spring months.

At one point in early June I re-read the competition rulesand discovered that sonatas did not need to be memorized!I contacted competition organizer Beverly Hoch to ask forclarification, and she affirmed that I could use music forthe Hindemith and Ewazen sonatas. This saved me a vastamount of time and let me focus on musical ideas.

I spent the summer months practicing and mentallypreparing. I practiced about 3-4 hours a day, and when Iwasn’t playing I listened to recordings of the repertoire. Istudied the scores to learn the piano part, and even used


Finals performance! From left: Gina Gillie, Bill Shaffer, Beverly Hoch. Photo by Michelle Shaffer

Fixed Do solfege to create “lyrics” that would help meremember specific pitches in harmonically ambiguouspassages. I found that memorizing music on horn wasmuch more difficult than memorizing vocal music. Being asinger as well, vocal music has always been easy for me tomemorize, but I found that with the absence of lyrics andthe presence of specific finger combinations, I had to learnthe music on a much deeper level, both harmonically andstructurally. The most useful technique was visualizing thepage in my mind and then becoming so used to playingeach phrase that it became muscle memory as well.

Working toward perfectionMost of the memorization finally came together in July. Iworked towards perfection by playing every piece, everyday, sometimes with a recording to hold myselfaccountable to intonation, rhythm, and uninterruptedperformance. I tasked my husband with randomlychoosing selections from the list so that I would get used tojumping quickly from style to style, as would happen in thecompetition. The entire process required so muchconcentration that I emotionally withdrew inside myselffor most of the summer, and my mind was consumed withthe music even when I wasn’t practicing.

It was frustrating and alarming that I had not played anyof my pieces perfectly from memory until two weeks beforethe competition. I felt that this was not enough time for meto have lived with the pieces memorized before playingthem for the judges, but I didn’t have much choice at thatpoint. If I should enter another competition in the future, Iwould set a more rigorous practice schedule and have mymusic fully ready at least a month in advance. I would alsoschedule recital performances so that the competition isnot the first time I play the pieces from memory for anaudience.

Competition timeIn August I traveled to Rochester. There I had just tworehearsals, two hours each, with competition accompanistBill Shaffer. It was exciting and fun to work with Bill, whohad only recently learned all the music for fourcontestants. He had a great sense of musicianship and wasprepared, upbeat, and professional, which made for apositive experience. The first rehearsal was spent settlingon tempi, pace, and other ensemble issues. The next dayallowed for deeper expressive exploration, but overall, theprocess was quite brief, and we relied on musical skill andexperience since extended rehearsal time was unavailable.Interactions between the Mu Phi competitors were friendlyand collegial; all of us were close to or in our 30s withextensive teaching and performance experience, so we hadmuch in common. Many times at other competitions,participants will not interact, or even actively avoid eachother. But in this case, we all were amicable, which madethe experience more enjoyable and less awkward.

On competition day I made sure to be rested, fed, andwell-hydrated. I had planned my wardrobe carefully to becomfortable and look professional. I kept mostly to myselfand focused on the performance. During my forty minutesonstage, I began with a piece of my choice and was thenasked to play whole movements or portions of other piecesas the judges called them out. I did not find it difficult toquickly change between styles and genres since I hadpracticed this format. I maintained a relatively poised andstoic stage presence during my performance, and I playedthe best I could, which is all anyone can do in aperformance. I missed more notes than I would have liked,but this motivates me to practice more in the future.

Yukiko Sekino, piano, was deservedly named thecompetition winner, and Jonathan Young, organ, namedalternate. For rest of us, it had been an honor toparticipate and to gain the experience.

Feedback for the futureI was able to speak with one of the judges, Dr. Keith Bohm,and received some insightful comments. One was that thejudges were looking for a stage presence that commandedtheir attention and engagement. I was reminded that Icould perhaps let more of my gregarious nature show fromthe stage, and that performing is not just about musicalexpression, but also extra-musical communication.Vocalists practice this early on, but sometimesinstrumentalists hide much of their personality behindtheir instruments. Another comment had to do with toomany missed high notes, which reinforced the fact that theaudience wants to hear a seamless and jolt-freeperformance, no matter the difficulty.

My participation in the competition was an educationaland positive experience, one that will strengthen my futureperformances and my teaching. I encourage any who areeligible to consider participating in the Mu PhiInternational Competition, keeping in mind that theprocess takes more than a year of planning andpreparation. The musicians who participate are of highcaliber, and the networking that can occur is wonderful forestablishing connections for future performances andcollaboration.

Dr. Gina Gillie is Assistant Professor of Music atPacific Lutheran University, Assistant Principalwith the Tacoma Symphony Orchestra, and amember of the Lyric Brass Quintet and CamasWind Quintet, faculty ensembles at PLU. Shereceived both her MM and DMA degrees fromthe University of Wisconsin-Madison, where shestudied with Douglas Hill, and her BM degree

from Pacific Lutheran University where she studied with KathleenVaught Farner. She is a past winner of the fraternity's SterlingSenior Achievement Award and currently is faculty advisor forEpsilon Sigma. This article is adapted from a speech given byDr. Gillie to the Tacoma Alumni chapter for Founders Day 2011.

International Competition, continued from page 11


Los Angeles ACMEHonoree Newsby Arietha Lockhart and Mary Au

Ten Mu Phi Epsilon members and a Sterling Patron joinforces in New York on March 26 for a recital “Faces ofEve,” a program dedicated to women composers. Fiveare ACME honorees, four of whom are members of theLos Angeles Alumni Chapter. Read about them andother L.A. chapter honorees below.

Composer Adrienne Albert’s (Phi Nu) chamber musicCD Musescapes will be released in April and hercomposition Americana for flute and strings will have itsEast Coast premiere in New York on April 24. L.A.chapter members Lydia Busler-Blais, horn, and Mary Au,piano, will premiere Adrienne’s work Wind Tides forhorn and piano in New York in March. Three more CDsof Adrienne’s music for bassoon, baritone saxophone,and trombone will be released in the spring, and otherchamber works will be featured in eight concertsthroughout the United States through the end of April.adriennealbert.com

Pianist Mary Au (Mu Nu) presents theme-based musicperformances including “Tai Chi, Piano, and the DoubleBass” and “East Meets West.” As an advocate ofcontemporary music, Mary will perform premieres andold favorites on “Faces of Eve.” Recent memorableperformances include collaborations with TchaikovskyCompetition laureate cellist Boris Andrianov and MPELoeb/Louviere Young Artist Competition winner cellistXian Zhuo. aumary.com

Electric violinist, composer, and poet Mary LouNewmark (Mu Chi) has created Breath of Trees, a newmultidisciplinary work exploring the connection (andoften disconnection) between modern man and nature. Itreceived two workshop performances in SouthernCalifornia last November. Mary Lou also was one of thecomposers for Overlay, a new dance work createdthrough a collaboration of L.A.’s Pennington DanceGroup and Yorke Dance Project of London, performedmultiple times in December. greenangelmusic.com

Alex Shapiro (Phi Nu) received the 2011 MPE Award ofMerit (see The Triangle, Fall 2011, page 5). Shefrequently composes commissioned works for electro-acoustic symphonic band, in which a wind bandperforms with a prerecorded track. alexshapiro.org

Members of the New York and Vienna Philharmonicsperformed composer, painter, and writer Carol

Worthey’s (Phi Nu) Fanfare for The New Renaissanceduring Italian Brass Week. Carol’s piece A Simple Dittywas premiered by pianist Mary Au with flutist AleksandrHaskin and again with bassist Tony Grosso. In 2011Carol completed her book Turning Life into Art: How aComposer Works; composed A Choral Calendar, twelvechoral portraits based on her poems; and welcomed abeautiful grandson. CarolWorthey.com

Send ACME honoree news, or nominations of prospectivehonorees, to Arietha and Mary. We want to hear from you!

> ACME Contributors

Arietha Lockhart, Beta Gamma, Atlanta Alumni,ACME Chair, 404-291-5162, [email protected]

Mary Au, Mu Nu, Los Angeles Alumni, ACME Co-Chair, 323-666-2603, [email protected]

While in China, Deon Price (right) congratulates violinist LuoPeng on his performance of her music.

In 2011 Dr. Deon Nielsen Price (Gamma) –pianist, composer, author, and contemporary musicadvocate – received the MPE Golden Triangle awardfor 50 years of membership, as well as an ASCAP Plusaward. As president of the L.A. chapter of NationalAssociation of Composers USA (NACUSA), Deonproduces concerts featuring contemporary Americancomposers. Her CD Dancing on the Brink of theWorld is receiving critical acclaim and one of herarrangements was included in a compilation albumHow Sweet the Sound (Albany CD TR1244).Supported by a MPE Foundation scholarship, Deonperformed in September at the Chinese WomanComposer’s Association Two-Piano Festival in Beijing.Deon and her son Dr. Berkeley Price perform regularlyas the Price Duo. culvercrest.com

Fuzzbones | Dreamstime.com Title: Pencils

MuPhiEpsilon.org 13

ACME — ARTISTS, COMPOSERS, MUSICOLOGISTS & EDUCATORS


Mu Phi Epsilon FMu Phi Epsilon Foundation oundation

Mu Phi Epsilon Foundation Announces New Directors

Eileen Butler

Kennedy, Beta Zeta,

Allied, is a retired

college director of

special programs. She earned her B.S.

degree Cum Laude in

Music Education from Southern

University/Baton

Rouge, LA with

applied music studies in piano. She

received the MMEd degree from Louisiana State

University with minor studies in Music History. Upon graduation, Eileen taught elementary

music and directed high school choirs in the

Louisiana parish school systems before moving into college administration.

In retirement, Eileen continues her role as

accompanist, church music

director/pianist/organist and is expanding her role as a community/music advocate through her

participation in community choral societies and

membership on church and music foundation boards. She is board chairman of the United

Methodist Church's Wesley Foundation at

Southern University and A & M College and board member of the local DeBose Foundation,

Incorporated Fine Arts Festival Series and

National Piano Competition.

Eileen is currently Secretary of the Mu Phi Epsilon Foundation Board and she serves on the

Publicity Committee.

Eileen has two sons who are teaching music and are performing musicians, clarinet and

trombone, respectively, in the Dallas and

Oklahoma City areas.

Rosemary Ames, President of Mu Phi Epsilon

International Fraternity (see p.24 of the Fall

Issue of The Triangle for picture and bio.)

Dawn Phelps Neal, Phi Nu, Los Angeles,

is a seasoned violin

artist and is well-

known locally for her many appearances on

distinguished recital

series, such as Community Concerts,

University Series, and

County Museum

broadcasts. She is in constant demand as a Clinician and Adjudicator,

as well as a popular seminar speaker. While

attending L.A. City College, UCLA and the Los Angeles Conservatory many years ago her

emphasis was in gaining performance skills.

While attending UCLA, she headed the distinguished UCLA String Quartet, and also did

some assistant coaching in Chamber Music.

Dawn is recently retired as a String Specialist,

teaching an in-school program she designed and introduced for Elementary and Secondary string

class instruction. Currently she maintains two

studios for private violin students in the Los Angeles and Ventura areas. She was a recipient

of the Bronze Halo Award from the Southern

California Motion Picture Council for "outstanding contribution to the Entertainment

Industry in the field of Classical Music".

Dawn is the mother of the famous Phelps Family

Musicians, all five of whom perform here and abroad. Their gold album is in the Library of

Congress. Dawn performs on her valuable

Guarnerius violin made in 1722.

Dawn has been President of the Los Angeles

Alumni Chapter of Mu Phi Epsilon twice and a

past Mu Phi Epsilon Foundation Director in

charge of Scholarships and Grants. She was the General Chairman for the Fraternity's 2003

Centennial Convention held in Cincinnati, Ohio.

For more information about the Mu Phi Epsilon Foundation go to:

www.mpefoundation.org

MuPhiEpsilon.org 15

Mu Phi Epsilon FMu Phi Epsilon Foundation oundation

News about 2012 Scholarships and Grants offered by

Mu Phi Epsilon Foundation

Eleanor Hale

Wilson, Tau, Seattle

Alumni, cellist,

accompanist, was

First Vice President

1950-1954 and

President (1954-

1958) of Mu Phi

Epsilon Sorority, as it was named at that

time. For ten years

after her presidency

Eleanor was national

finance chairman for

both the Fraternity

and the Foundation. Throughout her life, she was

extremely supportive, both verbally and financially,

of Mu Phi Epsilon Foundation and its projects.

In December of 2010, Mu Phi Epsilon Foundation

received a very large gift from the Eleanor Hale Wilson Charitable Trust. The money is to be used for

scholarships.

Because of the generosity of the Eleanor Hale Wilson

Charitable Trust, the minimum amount for all grants

and scholarships has been increased to $1,000.

March 1 is the deadline for all but the Summer

Scholarships, which have a deadline of April 15.

Forty scholarships and grants totaling just under

$80,000 are being offered this year.

New: ELEANOR HALE WILSON CELLO

SCHOLARSHIP: $2,000 for undergraduate or

graduate music ed, music therapy, or performance

majors whose primary instrument is cello. Chairman:

Catherine Schroth

New: WIESE-ABEGG COLLEGIATE

CHAPTER PROJECT GRANTS: A maximum of

$1,000 to help support one or more special projects

undertaken by collegiate chapters. Chairman:

Beverly Abegg

For additional information please go to the

website: www.mpefoundation.org where complete information on all grants and

scholarships including contact information and

an application form can be found.

Mu Phi Epsilon Artist Concerts

Yukiko Sekino, pianist, winner of the 2011 Mu Phi

Epsilon International Competition held at Eastman

College in Rochester, New York, will tour as a Mu

Phi Epsilon Concert Artist, giving recital and

concerto performances through the 2012-1013

concert season.

According to Melissa Eddy, Editor of The Triangle

re: Yokiko’s concert at Eastman: “Although her focus

was intimately concentrated on her instrument – with

which it seemed she became as one – she engaged the

audience through the sheer joy of her playing. In fact,

it seemed that the faster and more difficult a passage,

the more fun she was having, as in the last

programmed piece, a virtuoso spectacular by Liszt. It

was almost, dare we say, as if Sekino were making

love to the piano and the audience got to watch.

Chapters should be rushing to book Sekino for an appearance, to bring this great talent and

representative of Mu Phi Epsilon to your own

communities.”

Has your chapter hosted an artist concert? If not, you

should plan now to present Yukiko Sekino, pianist.

All you have to do is fill out an “Official Booking

Form” and send it with a check for $250 made out to

Mu Phi Epsilon Foundation to the Artist Concert

Manager listed below.

The Foundation pays all travel expenses to and from each concert. Your responsibility while the artist is in

your city is to provide housing, meals, and

transportation to and from the airport and within the

city. Your chapter is also responsible for booking the

hall, having the piano tuned, printing the programs,

and making sure that there is enough advance

publicity to have an audience of at least 75. The

Foundation will provide you with a photo of the

artist, program information, and biographical material

to use for publicity.

Beverly W. Abegg, Artist Concert Manager

8 Phillips Dr.

Westford, MA 01886 978-692-7353

[email protected]

Foundation pages prepared by Sandy Wiese

In late December, vocalist Rachel Barham (Delta Nu,Washington DC Alumni) traveled to Hawaii to give arecital entitled “Out with the Old.” See the program atrachelbarham.com/hawaii2011.php. Rachel has also co-authored an article with Maurice Saylor about thehistoric music of Catholic University. The articleappeared in the university’s alumni magazine and can beread at cuamagazine.cua.edu.

The November 2011 edition of the music magazineGramophone included a review of Phoenix Forever, anew CD performed by the Praga Sinfonietta andconducted by Marlon Daniel (Mu Xi, New YorkAlumni, International Committee co-chair).

Carolyn Hoover (Mu Pi, Tacoma Alumni, ACME) gavea solo piano recital in late January. She is happy to bemaking more music now that her long, dedicated serviceas ACME chair has concluded.

The 2011 Citation of Merit was presented to choralconductor Craig Hella Johnson (above, left) following aDecember performance in Austin by his ensembleConspirare. International Editor Melissa Eddy (center)and District Director SC1 Elda Garcia-Gomez (farright) made the presentation.

Joyce Jones (Mu Theta,Allied, ACME), pictured atfar left, was honored at aNovember reception atBaylor University Schoolof Music, from which sheis retiring after 43 years ofteaching organ. Joycereceived the MPE Awardof Merit at the 1998convention in Tacoma,

where she performed at the opening gala. (Read a profileof Joyce in the Fall 2006 Triangle.) MarthaMacDonald (Phi Xi, Fourth Vice President/MusicAdvisor, ACME) attended the reception.

Many thanks to Second Vice President/CollegiateAdvisor Sandra McMillan (Alpha Nu), who has made a$1,000 donation to underwrite enhancements to thefraternity’s website. We are also excited to announce a$5,000 bequest from an anonymous member, which willbe used as seed money for a special event at the 2014convention.

TracyRichardson(Gamma Psi,Terre HauteAlumni) hasbeen electedto a six-yearterm as presi-dent of theGreat LakesRegion of theAmericanMusicTherapyAssociation,with signifi-cant responsi-bilities cover-ing a six-statearea. Tracy isalso head ofthe musictherapy pro-grams at SaintMary-of-the-Woods College, the Maple Center, and the oncology unitat Union Hospital. “Music therapy is a fantastic field,”said Richardson. “I want to do my part to make sure theprofession moves forward.”

On March 26, ACME co-chairs Arietha Lockhart(Beta Gamma, Atlanta Alumni) and Mary Au (Mu Nu,Los Angeles Alumni), joined by Lydia Busler-Blais(Omega Omega, L.A. Alumni) and Sheryl Cohen(Gamma), will perform in “Faces of Eve,” a recital thatcelebrates contemporary American women composers.The program includes five world premieres and threeNew York premieres. Composers are Adrienne Albert(Phi Nu, L.A. Alumni), Lera Auerbach, Mary LynnPlace Badarak (Beta Lambda), Mary M. Boyle(Omega Omega, Atlanta Alumni), Lydia Busler-Blais,Sharon Farber, Chen Yi (Sterling Patron), JenniferHigdon, Winifred Hyson (Alpha Eta, L.A. Alumni),Rebecca Oswald, Deon Nielsen Price (Gamma, L.A.Alumni), Sharon J. Willis, and Carol Worthey (PhiNu, L.A. Alumni).

Applause news from members


Alpha Pi (above) celebrated its 50th anniversary in lateOctober with a variety production “Making Music Throughthe Years” that showcased all the wonderful aspects of thechapter and its history at Texas State University.

Epsilon Lambda (Eastern Michigan University)submitted a fall progress report with literally dozens ofactivities and projects listed, from fundraising forvarious causes to creating and granting a newscholarship for EMU freshman music majors. (Wewonder when chapter members find time to study, muchless sleep.)

2011 Alumni Chapter Award Winners

CORRECTION: The winner of the Katherine DoepkeAward for Creative Programming was incorrectly shownin the Fall 2011 Triangle. The Denver Alumni andWichita Alumni chapters were dual winners of the2011 Doepke award. We regret the error andcongratulate the Denver and Wichita members on theirimaginative ideas.

Denver won for the year-long theme “Connections:Maestros Past, Present, and Ever After,” with programswherein members shared – through talk andperformance – thoughts about the teachers and mentorswho influenced their careers. Wichita’s winningannual theme was “Music is All Around Us and All YouHave To Do is Listen” from the movie August Rush,with individual meetings themed around the planets(example: Music: The Bringer of Jollity – Jupiter).

Dallas Alumni received the 2011 OutstandingCommunity Service Project award for their weeklyDallas Public Library Concerts series which are free andopen to the public. Remarkably, the series hascontinued uninterrupted since 1937. Details atmuphiepsilondallas.org/concert_series.htm.

The 2011 Outstanding Noteworthy Project award wentto Minneapolis/St. Paul Alumni. In addition to itsfundraising projects for public school music programsand performances in senior residences, the chapterembarked on a rigorous, two-year self-examinationproject called “Are We Coming or Going?” The projectis designed to examine pluses and minuses of thechapter’s past, present, and future, with goals ofaddressing issues and ultimately re-invigorating thechapter.

Encore news from chapters

MuPhiEpsilon.org 17

The following people are inthis photo of Alpha Pi:

Celeste AlexandriaMorales, KimberlySandoval, Joseph Alcocer,Deanna, Errizuriz,Kimberly Nicole Morales,Hayden Dooley, DwaylanAkeem, Barber-Applewhite,Melissa Serrano, BethanyRae Cowan, Bo Sicking,Kylee Lynch, Luis Corpus,Katie Hines, BrittanyMichaelsen, Ashley,Hughes, VeronicaElizabeth Molina, ReyesRodriguez III, DeniseCampos, Maribel Ryburn,Mackenzie Powell,Christina Labbe, ElizabethBongat, SavannahCervantez, Jasmine Bell-Stephens, and KaylaPendergraft.

Photos courtesy of Elda Garcia-Gomez

Lincoln Alums just want to have fun!

Cynthia E. Aguirre-SerranoBeta Alpha, May 17, 1994Died August 29, 2011Flutist. Cynthia was an adjunctfaculty member and appliedinstrumental instructor atNortheastern Illinois University.

Ruth Marian BurkholderAshtonMu Gamma, December 10, 1932Died August 8, 2011Educator. Ruth was active in AAUWand retired teacher groups.

Marjorie Kirts BernardPhi Omicron, February 16, 1945Kansas City AlumniDied September 28, 2011Pianist, church musician. Active innumerous school, educational, andcivic groups, Marjorie served aspresident of the Philharmonic (nowSymphony) League, was a member ofthe Symphony Women’s Association,and volunteered for 30 years at theNelson-Atkins Museum of Art.

Carolyn Bailey BernekingXi, November 11, 1935Lawrence AlumniDied August 11, 2011Music educator, librarian,preservation historian. Active innumerous historical organizations,Carolyn received the 2008 Award forExcellence from the Kansas City AreaArchivists for contributions tohistorical research and architecturalpreservation. In retirement, sheperformed with a piano team knownas the Joking Duo.

Esther Ritz CollyerZeta, October 15, 1926Bloomington Alumni Died August 26, 2011Church musician, educator. Esthertaught and later became Director ofMusic and Art in the Fort Waynepublic school system. She was anational chairman of the MusicEducators National Conference, firstfemale president of Northern IndianaBandmasters, board member and

interim director of the Ft. WayneMuseum of Art, and on the boards ofother area music institutions. Alifetime arts achievement award atIndiana University was named in herhonor.

Martha Amy Langstaff CrockettPhi Nu, November 14, 1939Died November 8, 2009Professional pianist, music supervisorfor Santa Ana schools.

Emily Beatrice Chan FongNu, November 5, 1939Los Angeles AlumniDied September 29, 2011Music educator. A piano teacher,Emily served as president of the WestLos Angeles branch of the MusicTeachers Association of California.Active in Los Angeles Alumni, shewas elected president on threedifferent occasions.

Barbara Cronise Piper FosheimSigma, November 13, 1931Died July 21, 2010Teacher.

Ruth Schieber GreenbergMu Pi, November 8, 1942Died October 7, 2011Music educator, social worker.Among her many social serviceactivities, Ruth served in the RedCross in the Philippines during WorldWar II and later taught a class ofdelinquent eighth-grade boys inHell’s Kitchen in New York.

Louise Lazarus KaufmanPhi Chi, January 10, 1951Berkeley AlumniDied October 13, 2011Violinist. Louise played in achamber music group, established inthe 1990s at the Center for BeamPhysics in Berkeley to combinemusic, art, and science.

Virginia Wideroe LudwickPhi, June 24, 1948Palos Verdes/South Bay AlumniDied October 22, 2011Pianist, music educator.

Joan Menetrey LynchGamma Theta, March 3, 1973Philadelphia AlumniDied July 11, 2011Keyboard artist, church musician.Joan was a member of the MusicalCoterie of Wayne, PA, and sang inseveral choruses. The harpsichord ather church was dedicated to her. Onher travels, she enjoyed evensongrecitals at many cathedrals inEngland and France.

Rita Therese McGreevyGamma Sigma, November 6, 1999Los Angeles AlumniDied December 17, 2011Elementary teacher. Rita sang in anumber of choirs.

Margaret Alice McNamaraMu Omicron, January 28, 1945Cincinnati AlumniDied September 6, 2011Music educator, church musician.Margaret taught piano 46 years at theCollege of Music (CollegeConservatory of Music) in Cincinnati,and was a church organist.

Solveig Dorothy Lunde MadsenEpsilon Mu, June 5, 1979Salt Lake City AlumniDied June 13, 2011Pianist. Solveig’s teacher OlgaSamaroff-Stokowski forecast abrilliant career for her, one thatbegan with a critically acclaimeddebut at NYC’s Town Hall in 1944.She performed internationally, taughtat the University of Utah (where sheestablished a scholarship) andBrigham Young University,maintained a private studio, and wasa sought-after lecturer andadjudicator.


Final NotesFinal NotesWynona Wieting Lipsett, Mu Chi, Dallas Alumni148 LCR Cedar B-1, Mexia, TX, 76667 phone: 254/562-9397 email: [email protected]

Marianne Matousek MasticsPhi Omicron, March 6, 1958Cleveland Heights AlumniDied September 16, 2011Pianist, music educator. Mariannereceived the Artist Diploma from theCleveland Institute of Music, whereshe served on the piano facultybeginning in 1943. A frequent soloistwith the Cleveland Orchestra, shealso performed at informal eventswhere she joked between pieces andcould play requests in any genre.Active in the local arts community,she was past president of the ThreeArtists Club, named for the threemuses.

Mary Lynne Leachman NeffPhi Xi, May 26, 1947Died August 16, 2011Pianist, vocalist. Mary Lynne taughtpiano and voice at Baylor Universitywhile pursuing advanced degrees.

EdithHersethPfautschPhi Iota,November16, 1942DallasAlumniDied October24, 2011Vocalist.Early in her career, Edie and herhusband Lloyd sang under ArturoToscanini in the NBC RadioSymphony Chorus in New York.Later Edie was active as asinger/soloist with the Dallas CivicChorus and the Musical Arts Club.She served Dallas Alumni in manypositions, including chapterpresident, and headed the chapter’saward-winning Dallas LibraryConcert Series for many years. Ediewas South Central Province Governor(1966-1972) and received the OrahAshley Lamke Award in 1999. Hermusician husband, a chapter patron,received the Fraternity’s 1998Citation of Merit.

Sylvia Lou Newton ShepherdMu Beta, January 7, 1947San Diego AlumniDied December 20, 2010Pianist, music educator. Sylviataught music in San Diego schools,was president of the San Diego MusicEducators Association, and served onmany musical organizations’ boards.A contemporary music advocate, sheestablished the ShepherdDistinguished Composer of the YearAward of the Music TeachersNational Association. She wascharter president of Riverside Alumniand later served as president of SanDiego Alumni.

Elsie Marie Williams StarrMu Chi, November 20, 1936Died April 5, 2009Pianist, music educator. Elsieappeared many times as a youthsoloist with the Dallas SymphonyOrchestra and was a longtime pianoteacher.

Marlene Joan StratemeyerPhi Gamma, May 25, 1952Baltimore AlumniDied August 9, 2011Pianist, music educator. Marlenetaught classical piano and was aworld traveler and arts patron.

Wanda G. TurkMu Beta, January 14, 1934Died March 29, 2011

Final NotesFinal NotesContinued

Member RememberedBettye Maxwell KrolickEpsilon Xi, May 10, 1957Denver Alumni, ACMEDied August 5, 2011Violist, violinist. Bettye began hermusical career with the San AntonioSymphony and later performed with theMemphis Symphony and regionalorchestras in Illinois and Colorado. Atmidlife, Bettye learned to transcribemusic into Braille, volunteer work thateventually became a second career.She mentored public school musicteachers on working with blind studentmusicians, authored the first International Braille Music Dictionary for theLibrary of Congress, wrote a book How to Read Braille Music, andfacilitated an Internet chat room about music Braille. She served on theBraille Music Subcommittee for the World Blind Union and as presidentof the National Braille Association. Bettye was a 2001 recipient of theMu Phi Epsilon Elizabeth Mathias Award.

MuPhiEpsilon.org 19

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ALLIANCE, OHRussell [email protected]

ANN ARBOR, MINancy [email protected]

ATLANTA, GAArietha [email protected]

AUSTIN, TXContact: Elda [email protected]

BERKELEY, CASusan [email protected]

BLOOMINGTON, INJane [email protected]

BOSTON, MABeverly [email protected]

CINCINNATI, OHChristine “Tina” [email protected]

CLEVELAND, OHMargaret [email protected]

CLEVELANDHEIGHTS, OHKaren Holtkamp [email protected]

DALLAS, TXJenny [email protected]

DAYTON, OHChristina [email protected]

DENTON, TXPeggy [email protected]

DENVER, COJanet [email protected]

GREATER DES MOINES, IAJanet [email protected]

DETROIT, MITuesday [email protected]

FRESNO, CAGayane [email protected]

FULLERTON, CABarbara [email protected]

INDIANAPOLIS, INElizabeth [email protected]

KANSAS CITY, MOJulia [email protected]

LAWRENCE, KSLynn [email protected]

LINCOLN, NEJoyce [email protected]

LOS ANGELES, CAMarilyn [email protected]

MINNEAPOLIS-ST. PAULJim [email protected]

MUNCIE, INContact: [email protected]

NEW YORK CITYMonica [email protected]

CENTRAL OKLAHOMAEleanor [email protected]

PALOS VERDES/SOUTH BAY, CADarlene [email protected]

PHILADELPHIA, PALinda [email protected]

PHOENIX AREA, AZMary [email protected]

PORTLAND, ORPatti [email protected]

ROCHESTER, NYB. Jean [email protected]

SACRAMENTO, CASara [email protected]

SALT LAKE CITY, UTAnnette Horman [email protected]

SAN ANTONIO, TXJulie Cantu(210) [email protected]

Alumni Presidents Directory


SAN DIEGO, CACarolyn [email protected]

SAN FRANCISCO, CADonna [email protected]

SAN JOSE, CAEmily [email protected]

SPOKANE, WASharon [email protected]

SPRINGFIELD, MODavid [email protected]

ST. LOUIS AREA, MOCarolyn Mulcahy [email protected]

TACOMA, WAKaren [email protected]

TERRE HAUTE AREA, INKaren [email protected]

TOLEDO, OHBarbara [email protected]

URBANA-CHAMPAIGN, ILDeborah [email protected]

WASHINGTON D.C.Alice [email protected]

WICHITA, KSMarjorie [email protected]

MuPhiEpsilon.org 21

AlumniAlumni

I’m not entirely satisfied with my dictionary’sdefinition of the word “create.” 1. To originate 2.To produce 3. To constitute, form, make, generate,and finally, invent. It seems there are lots of aspectsto this idea of creativity requiring a lot of explanatorywords, each of which carries some of the meaning.But how does one capture the essence of creativity?Is it possible to teach it? How is it possible to modelit?

It helps me to think that creativity is somehowcreating + activity. So if I’m in the act of originating,producing, constituting, inventing, then maybe I alsohave the opportunity to be creative. Sometimes I seethis happening as I review the activities of our alumnichapters. While many aspects of those activities areprescribed, others are worked out with imaginationand flair. (For a brief list, see my December letterthat was emailed to alumni chapter presidents.)Cumulatively, creativity is in evidence, but I suspectthere are also instances where it could be moreusefully employed.

Winter would seem to be a good time to think aboutcreativity. The earth goes to sleep briefly until it’sready to burst into activity in that season we call“spring.” Likewise, before the pressure of planningnext year’s chapter programs and activities is toostrong, take some time to reflect on how you might bemore creative.

Here’s a challenge for you: What is one thing youbelieve needs changing in your alumni chapter’s wayof doing things? What isn’t working? You may notwant to change it for this year, but as you plunge intoplanning for 2012-2013, creative thinking could payoff handsomely. Perhaps some of the ideas thatfloated around at convention caught your attentionand are worth trying.

We humans are creatures of habit (translation: doingthings the same way again and again) but we are alsoenergized by new ideas, well thought out and wellexecuted with a bit of inspiration thrown in. Bythinking creatively, you will bring new life to yourchapter and the entire fraternity, and for that wethank you. I look forward to seeing the results ofyour creativity in next year’s yearbooks andnewsletters.

Chapters & CreativityBy Lenita McCallum, Fourth Vice-President/Alumni Advisor

ATLANTICDISTRICT A1Nichole [email protected]

DISTRICT A2Susan Todenhoft703-323-4772H [email protected]

EASTERN GREAT LAKESDISTRICT EGL1Signe [email protected]

DISTRICT EGL2Kathleen CameronSlippery Rock [email protected]

DISTRICT EGL3Nancy Jane [email protected]

GREAT LAKESDISTRICT GL1 & GL2Susan [email protected]

DISTRICT GL3OPEN

EAST CENTRALDISTRICT EC1Marilyn [email protected]

DISTRICT EC2Stephanie [email protected]

DISTRICT EC3OPEN

SOUTHEASTDISTRICT SE1Marshall [email protected]

DISTRICT SE2Matthew [email protected]

DISTRICT SE3Anne [email protected]

DISTRICT SE4OPEN

DISTRICT SE5Kimberlee [email protected]

SOUTH CENTRALDISTRICT SC1Jediah [email protected]

DISTRICT SC2Jenny Smith [email protected]

DISTRICT SC3OPEN

DISTRICT SC4Elda [email protected]

CENTRALDISTRICT C1Cathy Woelbling [email protected]

DISTRICT C2Linda [email protected]

NORTH CENTRALDISTRICT NC1OPEN

DISTRICT NC2Teresa [email protected]

DISTRICT NC3Liana [email protected]

WEST CENTRALDISTRICT WC1OPEN

DISTRICT WC2OPEN

PACIFIC NORTHWESTDISTRICT PNW1OPEN

DISTRICT PNW2Kathryn [email protected]

DISTRICT PNW3Brandon [email protected]

PACIFICDISTRICT P1Lestelle [email protected]

DISTRICT P2Kira [email protected]

PACIFIC SOUTHWESTDISTRICT PSW1 & PSW2Ruth Cuccia [email protected]


District Directors

muphiepmuphiepsilon.orgsilon.org

To view updates to this directoryTo view updates to this directoryand a list of chapters withinand a list of chapters withineach District, visiteach District, visithttp://muphiepsilon.org/http://muphiepsilon.org/aboutmpe/officers/dds.htmlaboutmpe/officers/dds.html

Mu Phi jewelry and accessories areavailable through Herff Jones

Jewelers, www.herffjones.com. Go toCollege Items, under Greek Store and

then Honorary and Professional.

2011-2014INTERNATIONAL EXECUTIVE BOARD

Rosemary Ames, International President13 Travis Dr., Framingham, MA [email protected]

Charlotte Brown, 1st VP/Extension Officer12578 Barkley St., Overland Park, KS [email protected]

Sandra McMillen, 2nd VP/Collegiate Advisor306 Shorewood Dr, Duncanville, TX [email protected]

Lenita McCallum, 3rd VP/Alumni Advisor933 Via Rincon, Palos Verdes Est., CA [email protected]

Martha MacDonald, 4th VP/Music Advisor8909 Wildridge Drive, Austin, TX [email protected]

Dr. Kurt-Alexander Zeller, 5th VP/Eligibility Advisor1872 Central Park Loop, Morrow, GA [email protected]

Melissa Eddy, EditorP.O. Box 10042, Austin, TX 78766512-217-1264 Fax: [email protected]

Gloria Debatin, Executive Secretary-TreasurerInternational Executive Office4705 N. Sonora Ave., Suite 114, Fresno, CA 93722888-259-1471 Fax: 559-277-2825Local: [email protected]

HONORARY ADVISORY BOARDDr. Frances Irwin, Epsilon Upsilon6464 Rhodes Ave., St. Louis, MO [email protected]

Wynona Wieting Lipsett, Mu Chi148 LCR Cedar B-1, Mexia, TX [email protected]

Lee Clements Meyer, Phi Xi8101 Club Court Circle, Austin, TX 78759512-345-5072

Directory of Executive Officers

MuPhiEpsilon.org 23

ACME Arietha Lockhart (Chair)Beta Gamma, Atlanta Alumni3159 Springside CrossingDecatur, GA [email protected]

Mary Au (Co-Chair), Mu Nu, LosAngeles Alumni2363 W Silver Lake Dr.Los Angeles, CA [email protected]

BYLAWSKathleen Earl, Alpha Delta,Sacramento Alumni8009 Beethoven CourtCitrus Heights, CA [email protected]

FINANCEEvelyn Archer, Omega Omega, St.Louis Area Alumni5312 Sutherland Ave.St. Louis, MO [email protected]

INTERNATIONALKeith Ford, Alpha Kappa, Allied20 Lynmouth RoadPerivale, UB6 7HPUnited Kingdom44 7792 863 [email protected]

Marlon Daniel (Co-Chair)Mu Xi, New York Alumni45 Tiemann Place, Apt 5FNew York, NY 10027-3327212-641-0305

MUSIC LIBRARIAN &ARCHIVESWendy Sistrunk, Mu Mu, KansasCity Alumni1504 S. Ash Ave.Independence, MO [email protected]

STANDING RULESOpen

WEBSITEDavid Champion, Gamma Sigma,Palos Verdes/South Bay Alumni229 15th St.Manhattan Beach, CA [email protected]

PresidentMarcus Wyche2729 Nicholson St., Apt. 103Hyattsville, MD [email protected]

Vice PresidentDawn Phelps Neal3072 Solimar Beach DriveVentura, CA [email protected]

TreasurerBeverly W. Abegg8 Phillips Dr.Westford, MA [email protected]

SecretaryEileen Butler-Kennedy2875 77th AvenueBaton Rouge, LA [email protected]

ChairmanDale Griffa187 Flax Hill, #B4Norwalk, CT [email protected]

Vice ChairmanCatherine Schroth4230 White Pines St.Avon, OH [email protected]

President of Mu Phi EpsilonInternational FraternityRosemary Ames13 Travis Drive Framingham, MA [email protected]

INTERNATIONALCHAIRMEN

2011-2012FOUNDATION BOARD

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Mu Phi Epsilon Call for EntriesDeadlines March 1, 2012

MPE Musicological Research ContestThe Musicological Research Contest was established byMu Phi Epsilon to promote interest and growth inmusic research among its members. Contestants mustbe currently affiliated members of Mu Phi Epsilon(annual international dues paid). Submitted materialshall be of a research nature and shall exhibit creativeability. Participant may not submit the same thesis orpaper in more than one contest, but may submit arevision or further development of a subject alreadypresented. Bibliography must be adequate, withsources properly cited and proper footnote technique.Text shall be typewritten or computer generated,double-spaced, and on quality bond paper. Photocopiesare acceptable.

Marian Bowker Davidson CollaborativePianist Award(previously known as the MBD Accompanying Award)Currently affiliated members may apply for this$1,000 award, given to support a project for acollaborative pianist (piano, organ or other keyboardinstrument), to develop performance skills, to allowfurther non-academic study, or to facilitate somespecial project. The award is not limited by age,financial need, or projects in the United States.

For details and entry forms, visithttp://muphiepsilon.org/grantsscholarships/mpefraternitycontestsawards.html

Notice of Change of Address or NameClick on Alumni Update Form at www.MuPhiEpsilon.org

Mu Phi EpsilonInternational Executive Office4705 N. Sonora Ave., Suite 114Fresno, CA 93722-3947

[email protected]

Music, Friends, and Harmony

For a limited time, Dr. Ann Gray (Omega Omega,San Diego Alumni) is offering Mu Phi members asubstantial discount on her landmark book The Worldof Women in Classical Music. See review in the Fall2007 Triangle. Ann received the 2008 ElizabethMathis Award to recognize her achievement in writingthe book. Through March 31, Mu Phis may purchasethe book for just $35 (a 36% discount from the regularprice) plus $5 shipping. Order online atwomeninclassicalmusic.com (look for the special Mu Phipurchase button) or send a $40 check to Ann Gray, POBox 90309, San Diego, CA 92169.

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