mu phi composers meet the world in china...opera capriccio, reiterating these timeless aesthetic...

Mu Phi Composers Meet the World in ChinaMu Phi Composers Meet the World in China

IN THIS ISSUE: 2008 Musicological Research Abstracts

Volume 102, Issue 4 Winter 2009

Volume 102, Issue 4Winter 2009

Dear Mu Phi Members and Friends,

Quite some time ago one of our outstanding membersmade a profound remark about organizations andmembers: we have become a group-oriented society. Itbegins in preschool, when children play and learn togeth-er to socialize the young child. Often both parents workand grandparents are not near, so the school-age child attends abefore/after school program. Even very young children are on sports teams,continuing throughout school years and often beyond.

Mu Phi Epsilon is such a group. Typically, future members begin to study andlove music at an early age. In college they are invited to join our Mu Phi Epsilongroup, offering opportunities to associate with talented musicians of variedplans and ambitions.

After leaving school – when a career, perhaps marriage and family, become life’sfocus – Mu Phi Epsilon serves as a networking system. Many young graduateswould not think of going on in life without Fraternity contact.

At the other end of the spectrum are the dear, loyal Alumni. Until 1977 our fra-ternity was a sorority, so older alumni are mostly women – successful, comfort-able, quite often still performing, teaching and writing. They “work smart,” getthings done and do them well.

The vast majority of our members are somewhere in between, well past collegebut not yet near retirement, men and women established in careers. Many areselected to the honor of ACME membership and serve as mentors.

Young people are blessed with energy and enthusiasm; older people provideknowledge and experience. The most outstanding alumni chapters have discov-ered this secret to success. Perhaps one of the best examples of bridging genera-tions through a mutual interest and activity was last summer’s convention.Everyone there was appreciated, from the youngest collegiate to our oldestalumni delegate, who was ninety years old!

Music, Friendship and Harmony do not have a generation gap, and ourFraternity endures because of it. It is a beautiful inspiration to witness a talent-ed collegiate giving a perfect performance of a difficult composition. It is thehighest privilege to witness an elderly Mu Phi performing with technical masteryand tender interpretation for an audience totally immersed in the music. CanMusic, Friendship and Harmony offer any more beauty and happiness? Theconvention theme of Artistry and Action served us well. May you all continueon this lifelong path.

With Mu Phi love,

Frances Irwin, Ed.D.International President

2 THE TRIANGLE / muphiepsilon.org

President’s Message

Features4 Musicology Award Abstracts by Matthew Hoch

Verlaine’s “En Sourdine” InterpretedRole of the Piano in Krämerspiegel, Op. 66

6 Mu Phi Composers Meet the World in China10 Foundation Board 2008-201111 Lei Weng, 2007 International Competition Runner-Up13 Meet Sterling Patron Fritz Zschietzschmann13 Joyce Castle, New Foundation Honorary Board Member16 Ann Arbor Alumni Present American Composers Program17 Chapter Anniversaries

Departments8 International Corner9 Bookshelf12 Upon Listening14 Applause / Encore18 Final Notes20 District Directors with Chapter Listings23 International Executive Board &

Foundation Board

EDITORMelissa [email protected]

DESIGN & PRODUCTIONCorinne [email protected]

ADVERTISINGJan Scott, 314/[email protected]

C O N T R I B U TO R S

ACME Carolyn Hoover

BOOKSHELF Rona Commins

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 MuPhiEpsilon.Requests for return are accepted andmust be accompanied with a self-addressed stamped envelope. Electronictransmissions are preferred. Photos mustbe scanned in at a minimum of 300 dpi.

Deadlines for submissions:Spring — January 15Summer — March 1Fall — July 15Winter — October 15

Change of address, renewals, notice ofdeceased members, requests for extra copiesand subscription requests should be sent 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. Subscription price is $20.00per year. Single copies are $8.00. Periodicalspostage paid at Fresno, California and atadditional mailing offices. Printed in theUnited States of America.

Member, Professional Fraternity Association.

(ISSN 0041-2600)(Volume 102, Issue 4)

POSTMASTER: Send all changes of address to:Mu Phi Epsilon International Executive Office,4705 N. Sonora Avenue, Suite 114, Fresno, CA93722-3947

© 2009 Mu Phi Epsilon. All rights reserved.

THE TRIANGLE / Winter 2009 3

Volume 102, Issue 4 Winter 2009

Fraternity Mission Statement

Mu Phi Epsilon International Professional Music Fraternityis a coeducational fraternity whose aim is the advance-ment of music in the community, nation and worldthrough the promotion of musicianship, scholarship, andmusic education, with emphasis on service through music.

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AbstractAlthough widely neglected in scholarship and perform-ance, Richard Strauss’s song cycle Krämerspiegel is wor-thy of study primarily because of the unusual role of thepiano accompaniment. The piano part in this cycle isunique in many ways: it possesses unusually long solopassages; it determines the compositional structure ofboth individual songs and the cycle as a whole; it articu-lates virtually every important theme within the cycle;and it assumes several personas throughout the cycle, themost powerful of which is that of Strauss himself.

Strauss’s use of extended passages for solo piano clearlyreflects the influence of Robert Schumann. Indeed, thesolo passages for piano in Songs VIII and XII ofKrämerspiegel pay direct homage to Dichterliebe’spostludes in the eighth and twelfth songs of that cycle.The fact that the final postlude of Krämerspiegel is in D-flat – the same key as the final postlude to Dichterliebe –is certainly no coincidence. Nevertheless, this studydemonstrates that the piano takes on a far more promi-nent role in Krämerspiegel than in any of Schumann’ssong cycles; in fact, the piano now is more important thanthe voice. For this reason, Krämerspiegel assumes animportant place in the evolution of the lied accompani-ment.

The dissertation focuses in particular on the extendedpiano prelude to Song VIII and its varied return as thepostlude to Song XII. This highly expressive music (des-ignated as the Krämerspiegel theme in the dissertation)is clearly meant to evoke the sublime; as such, it contrastsstrikingly with the rest of the cycle, which is essentially asatirical attack on music publishers of Strauss’s time. Itwill be demonstrated that the Krämerspiegel themeembodies not only the struggle of the artist to overcomeadversity, but also the timeless purity of art and music.At the end of his life, Strauss reprised this theme in hisopera Capriccio, reiterating these timeless aesthetic prin-ciples.

Excerpt from DissertationWhere the postlude to Song XII departs from the originalKrämerspiegel theme is in the tonal and thematic com-plexity of the inner phrases of the passage. As was thecase in Song VIII, these interior phrases increase not onlyin length, but also in thematic and tonal complexity.

However, while the internal 32 measures of the originaltheme were divided into three phrases, the internal 32measures of the variation are divided into five shorterphrases. Tonally, the postlude also journeys into muchmore remote regions than the prelude.

In Song VIII, only one of the prelude’s five phrases(Phrase #2) cadences in a key other than the tonic A-flatmajor, and this cadence (E=F-flat major) maintained aflat submediant relationship with the tonic, joined by thecommon tone A-flat (G-sharp). In Song XII, three phras-es (Phrases 2–4) cadence in keys that are very distantfrom the tonic D-flat major: C minor (Phrase #2), Cmajor (Phrase #3), and B major (Phrase #4). Increaseduse of diminished-seventh and augmented-sixth chordsalso adds greater harmonic intensity and heightens thedrama of the fifth and sixth phrases.

The Structural and Dramatic Role of the Piano in Richard Strauss’s Krämerspiegel, Op. 66Abstract of winning paper, 2008 Musicological Research Award, Category II, DissertationsBy Matthew Ryan HochDissertation for the DMA in Vocal Performance, Dr. Roger Graybill, Faculty AdvisorNew England Conservatory, 2006


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AbstractBoth Gabriel Fauré and Claude Debussy set the same sixpoems by Paul Verlaine during a nine-year period from1882 to 1891. Although they both knew Verlaine person-ally and were certainly familiar with each other’s songs, itis interesting to note their different interpretations of thesame texts. This paper compares their respective settingsof Verlaine’s “En sourdine.” Both Fauré and Debussy usetheir unique compositional languages to foster an aura ofambiguity that perfectly supports the atmospheric moodof Verlaine’s poem.

In spite of the fact that their settings of “En sourdine”were composed in the same year, each composer wentabout accomplishing his goal through completely differ-ent means. Fauré relies almost entirely on harmonic fluc-tuation to paint his mood, while still preserving a tradi-tional melody, meter, and accompaniment pattern.Debussy pays less homage to the tradition of the Frenchsalon’s mélodie, and while “En sourdine” is still an earlywork of his, we observe that he is beginning to branch outinto new compositional directions. This is especiallyapparent in his layering of different melodic ideas and histreatment of the voice as being more recitative-like thanmelodic. A thorough examination of these two songseffectively demonstrates how these two French masters oftwo different generations both, in their own unique way,captured the essence of symbolism through their individ-ual approaches to text-setting.

Excerpt from Full PaperFauré’s postlude (bars 42–47) makes use of what onemight call a “hidden progression.” Essentially, the entirepostlude is simply an elaboration of the E-flat triad origi-nally heard at the beginning of the piece. Bars 42–27 arethen, in essence, a prolongation of the tonic. This prolon-gation is achieved through the chronic presence of all ofthe notes of the E-flat triad, and also the recurring E-flatin the bass at every downbeat, functioning as a pedal tonefor all of the notes above it. The E-flat triad is spelled outin its pure form in the first and fourth beats of bars 42and 44, and in the final two chords of the song (in bars46–47). The other harmonies present in the postludemay hint at a hidden progression imbedded under thistonic veil. The postlude is essentially a two-bar phrasethat is repeated and then proceeds to a final chord.

Looking closely at bars 42–43, one might detect animplied standard tonal progression: I–(IV)–Ger+6–V–(I).However, this progression is obscured as the E-flatremains present in everybeat of these two measures,and the G (also from the E-flat triad) is present in thefirst six of the eight beats inquestion. Thus, the listenerhears a sustained tonicthroughout the two meas-ures in spite of all the othernotes present. Two foreignnotes are inserted in m. 42:an A-natural and a D-flat.These notes fit into neither the E-flat triad nor theimplied harmonic progression. How, then, are they to beinterpreted? The A-natural can be explained linearly if

one accepts that it isresolved on the fourthbeat of the measure, mov-ing to B-flat (which is apart of the chord). The D-flat is a bit more difficultto explain, but I believethat it is simply one ofFauré’s wonderful har-monic ambiguities.Throughout the piece, hehas a predilection for the

use of seventh-chords, and here he has chosen to deepenthe veil of ambiguity through the use of a major-minorseventh sonority instead of a major triad.

An Analytical Comparison: Fauré’s and Debussy's Settings of Verlaine's "En Sourdine"Abstract of winning paper, 2008 Musicological Research Award, Category III, Graduate PaperBy Matthew Ryan HochTerm Paper for the DMA Seminar in Music Theory, Dr. Deborah Stein, Faculty AdvisorNew England Conservatory, 2005

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Dr. Matthew Hoch isAssistant Professor of Musicat Shorter College. He was

initiated into Lambda Chapterof Ithaca College, and

presently serves as the advi-sor for the Gamma Pi Chapter

of Shorter College. He is the1999 recipient of the

International SterlingAchievement Award.


Mu Phi Composers Meet the World in China

The Los Angeles Alumni Chapter received a Helen Haupt Chapter Grant from the Mu PhiEpsilon Foundation to support members’ travel to the April 2008 International Congressof Women in Music (ICWM) in Beijing. Participating chapter members were composer-performers Adrienne Albert (Phi Nu, ACME), Deon Nielsen Price (Gamma, ACME),Berkeley Price (Mu Upsilon), and project leader Carol Worthey (Phi Nu, ACME). Carolsubsequently sent a detailed report to the Foundation, which is excerpted here soTriangle readers may share in the adventure.

The Beijing Congress exemplified in every way the watchwords of our fra-ternity: Music, Friendship, and Harmony. Composers, performers, andeducator-scholars from twenty-four nations were in attendance, making it atruly international forum for greater understanding via the powerful mediumof music. The concerts, seminars, and activities were unforgettable. Imaginethe energy, brilliance, and understanding generated by:

• Four orchestral concerts in world-class venues like the gorgeous ForbiddenCity Concert Hall and the resplendent new National Center for thePerforming Arts in Tiananmen Square

• Five magnificent chamber music concerts, with a kaleidoscope of worldwidemusic, at the lovely Recital Hall at China Conservatory of Music

• A trip to the Great Wall, sponsored by the Beijing Women’s Federation• Seminar sessions delivered in English and Chinese, all with written

translations provided in both languages.The Beijing ICWM was jointly sponsored by International Alliance for Womenin Music and the China Conservatory of Music in Beijing. Deon NielsenPrice worked tirelessly with Congress host Li Yiding in Beijing and with theChina Conservatory on the extensive planning, and was an invaluable advisorfor the entire Congress. It is my great pleasure to “walk you through” the fiveextraordinary days.


Cover FCover Featureeature

Mu Phi Composers Meet the World in ChinaBy Carol Worthey, Phi Nu, Los Angeles Alumni, ACME

Arrival: Warm WelcomeWe were warmly greeted by our hosts atthe China Conservatory of Music withbanners, lovely accommodations, andEnglish-speaking personal assistants.We each received a satchel full of usefuland beautiful books, in which the entireprogram, composer and performerbiographies, and program notes for allworks were documented in bothEnglish and Chinese. A second bookcontained Chinese and English transla-tions of all seminar papers – impres-sively done with great care and hardwork. On the eve of the Congress, thePrice Duo (Deon and Berkeley) per-formed a recital with the Three ChaiTenors, a performance that promoted acongenial atmosphere as everyonebegan to become acquainted.

Day One: Magical Music by the LakeThe Congress began with an openingceremony at which Deon was thankedfor her role as advisor. After that weenjoyed a splendid Chinese chambermusic concert featuring performers inbeautiful traditional garb. The day’shighlight was the opening concert bythe China National Symphony at theNational Center for The PerformingArts, a glass-and-light hemisphereframed inside a huge reflecting lake.The program included the world pre-miere of Deon’s Yellow Jade Banquet,with Berkeley playing three differentsolo clarinets, to outstanding audienceresponse. (It is noteworthy that Deonfound patrons to fund all the orchestralconcerts of the Congress – a heroiceffort)

Day Two: Exotic Musical Rain-Making The next day we thrilled to severalchamber music concerts and a WorldInstrumental Music concert featuringworks from India, Argentina, Israel,Korea, Costa Rica, U.S. and NewZealand, with sitar, South Americandouble flute, carved plucked instru-ments, and other instruments exotic toAmericans. One performer utilizing

Carol Worthey by a Moon Gate on the wayto the Forbidden City Concert Hall.


Maori instruments must have invoked the raingod, as a cleansing rain happened the next day,clearing some of the city’s pollution.

Day Three: East Meets West The third day was important for me, as Idelivered my “East Meets West” seminar,enlightening about 85 participants abouthow to combine Chinese traditional andWestern instruments, including tips I hadreceived from several Chinese master instru-mentalists. My handout contained many ref-erences on how to research Chinese culture,history, art, music, and instruments.

Later that day, the Price Duo pulled off a tourde force, performing an entire concert of chal-lenging, beautiful chamber works for clarinetand piano in combinations with violin, cello,and soprano. They performed works by ourvery own Adrienne Albert (China premiereof Windswept), Deon’s Clariphonia, and anumber of other China premieres by otherinternational composers. That evening weenjoyed a string orchestra concert by the ChinaYouth Philharmonic Orchestra featuring sev-eral more world and China premieres.

Day Four: International Musicology, Exquisite Performance Deon and I attended a seminar presented inChinese (utilizing our handy English transla-tions) covering historical and theoreticalanalysis of music ranging from opera toPenderecki, Stravinsky, Chen Yi, and others.We also heard remarkable stories about therise of many outstanding women composersin modern China. The day included more

chamber music, with one concert focused on music by historicalwomen composers from many countries. The evening concert thrilledus with the extraordinarily beautiful sonorities of the silken-cladChinese National Orchestra. They performed on a multitude ofexquisitely carved traditional Chinese instruments at the ForbiddenCity Concert Hall, reached on foot through beautiful gardens.

Day Five: A “Worthey” World PremiereEnjoying more international musical fare, including an innovative elec-tronic music concert, I awaited the world premiere of my compositionJade Flute, written for dizu (bamboo flute), erhu (stringed instrument),pipa (plucked instrument), string quintet (quartet with double bass),piano, and percussion. My composition was honored by its position as thefinal chamber musicwork to be per-formed for theCongress. It was arousing success; manyof my new Chinesefriends approachedme afterward toexclaim that they wereamazed a Westernercould achieve such anauthentically Chineseflavor. Later, the finalconcert at ForbiddenCity Concert Hall fea-tured the world pre-miere of Song of theTaxi Driver, composed and sung by the Father-Sons Trio, and other dra-matic vocal/orchestral works performed by opera stars in spectaculargowns.

Bonds of UnderstandingThe Congress was a living example of the power of music to create bondsof understanding. All the visiting composers and performers bonded witheach other and with our hospitable Chinese hosts, and many new friend-ships were formed, proving that music truly is the international language.The trip was a chance-of-a-lifetime, enriching experience for our creativeand hardworking Los Angeles Alumni chapter members, who made majorcontributions to the rich tapestry of events.

Left to right: Berkeley Price, Deon Nielsen Price, the Three ChaiTenors (father Fei Chiao, sons Ping and James), and Cui Junzhi,

reviver of the konghou (Chinese harp).

Tian Yimiao (China, seminar presenter on Penderecki) and Carol Worthey

Composer/painter/writer Carol Worthey began composing at age three-and-a-half. Since then her deeply

moving compositions have been performed on three continents, gracing top venues from Carnegie Hall to

St. Martin-in-the-Fields. Among her mentors are Leonard Bernstein, Darius Milhaud, and Vincent Persichetti.

To learn more, visit www.carolworthey.com.


In writing Janos Starker, King ofCellists: The Making of anArtist, Joyce Geeting proposes herthesis, then convinces us of it: “JanosStarker is the cellist who has made thegreatest impact on the world of celloplaying and teaching in the twentiethcentury.” Geeting’s book is a fascinat-ing biography of the life and career ofa musical artist and teacher. It revealslessons of life learned – and taught –by Starker, applicable to anyone in anyprofession in today’s world.

As we read about Janos Starker’s earlylife, many intertwined stories unfold.What was education like in pre-warHungary? How was a musical childprodigy trained? In later life Starkeranswered: “Why do people becomecellists in the first place? Mostly bycoincidence. If the firstborn plays thepiano or violin, parental passion forvariety assigns a cello to the youngestone – which is usually the case, I’d goso far as to say.”

Janos began cello lessons at age six atthe Franz Liszt Academy of Music inBudapest. By age seven he was thestar pupil of his class. His two olderbrothers, not so musically gifted,ended up as fodder for the Nazi anti-Jewish pogroms of WW II. Geetingtells the story of how Starker and hisparents – as well as others – managedto survive.

Stamina and JoyAfter the war, Starker immigrated toAmerica: yet another story, this oneinvolving false papers, temporarypassports, and bribery of Russian sol-diers with dance music. Once in theUnited States, Starker was hired byFritz Reiner to play for theMetropolitan Opera. He performedthere over a thousand times, sevenoperas each week plus rehearsals. Ofthat time in his life Starker later said,“Playing in the Met orchestra is thebest method of contraception there is.You’re seldom at home, and when youare home, you have nothing left. It is

a job that requires the stamina of ahorse.”

Geeting relates another story fromStarker: conductor Fritz Reiner wasconsidered by many to be a tyrant, andeveryone knew he could not abidemistakes. When a young horn playerplayed a wrong note at a DieMeistersinger rehearsal, everyonewaited tensely for what would comenext. Reiner put up his glasses andasked, “What’s the matter?” “Sorry,Maestro, this is my first time playingDie Meistersinger.” Surely that wasthe worst thing he could say to Reiner;there was dead silence in the hall.After a few moments Reiner said, “Yousay you are playing Die Meistersingerfor the first time?” “Yes,” came thelad’s answer. “My God, what a joy itmust be to hear Die Meistersinger forthe very first time! Start at numberfourteen.” For Janos Starker, playingfor Reiner for nine years “was a stun-ning, memorable experience.”

Stories of a LifeIn Janos Starker, King of Cellists,Joyce Geeting treats us to many sto-ries: of a child prodigy, a musician’ssurvival of the war, the world of anopera and symphony musician,adventures of a traveling concertartist, and – of prime importance toStarker – life as a teacher. Of thetragedies of war suffered by Starker’sfamily and Hungary’s musical popula-tion, he says, “Those of us who stayedalive feel that this is more than just away of living … It is the duty of thosewho had learned music from thegiants of the world of music to see that… the line of influence continues.”

Janos Starker is a master teacher witha gift to analyze, and express verbally,physical aspects of musical perform-ance. To read his advice to musicians,including musicians other than cel-lists, is mind-opening. That insightfuladvice alone makes the purchase andreading of this book worthwhile.

Joyce Geeting, D.M.A. (Tau, Los AngelesAlumni) is a gifted artist and teacher.

She has concertized throughout theUnited States and Europe and teaches atCalifornia Lutheran University where sheis director of the Conservatory of Music.Her Doctorate of Musical Arts degree in

cello pedagogy and performance is from the University of Oregon and she is a

protégé of Janos Starker.

BookshelfRona Commins, Alpha Delta, Sacramento Alumni4331 Sierra Madre Drive, Sacramento, CA 95864 phone: 916/487-2137 email: [email protected]

Janos Starker, King of Cellists:The Making of an Artist

Joyce Geeting, 2008.Paperback, pp.178, $24.95.

ISBN 0-9754734-0-4

Includes: 33 b&w photos, appendix, list of recordings,

bibliography, chronology, index,and CD of cello solos (Jewish

music performed by cellist Joyce Geeting and pianist

Robert Sage).

Chamber Music Plus Publishing1409 Kuehner Drive, #4

Simi Valley, CA 93063-4478805/341-1249

fax 818/712-9587

L ondon is a sprawling city, a franticmetropolis crammed with people withpacked schedules and little time. It is one ofthe cultural beacons of the world, withdozens of concert halls, professional orches-tras, and a thriving amateur music scene,not to mention all the dance, drama and artprojects being created by independentmusicians and innovative arts organiza-tions. On one warm September afternoon, Iwent to meet one of London’s newestartists, pianist Lana Bode – a Mu Phi fromEpsilon Omicron in Bloomington, Indiana.

Lana finished her B.M. at IndianaUniversity last year and, strongly encour-aged by her teacher at IU, has come toLondon to do the Master ofMusic–Research & Performance pro-gramme at the Royal Academy of Music,studying with Patsy Toh. The Academy, asit is known in music circles here, was found-ed in 1822 and has produced a continuousline of interesting musicians like singerAnnie Lennox and conductor Sir SimonRattle.

Lana was animated when she spoke to meabout the Academy’s Research &Performance programme. She explainedthat the school offers its students a choice ofeight degree pathways. The faculty thenhelps all students to build a professionalportfolio during their studies to preparethem for the working world. During class,students and faculty discuss musical issuessuch as theory, music in the workplace, howto research, and how to perform. Everyoneis expected to participate.

Master classes are given frequently, andstudents regularly have tutelage from pro-fessors who are teachers of other instru-ments. Lana shared an example of how oneviolin teacher would play a bit of a pianist’spiece, then ask the student to play it like hedid. “You end up learning things different-ly in this environment,” she explained.

Musicians often bemoanthe division that canexist between those inacademic research andthose performing onstage. Lana articulatesthe dilemma as “thebrains and the fingers.”She is pleased to see howthe Academy faculty areboth academically rigor-ous and are giving con-certs regularly aroundthe world. The schooldoes not recognize thedivision and seeks tomentor musicians whoare brilliant both as aca-demics and performers.

Lana’s programme goes for two years, andshe hopes to build her contacts in order tostay in London after that. She is embracingthe cultural opportunities that this beaconof a city has to offer and is lookingforward to the study ahead. Youcan reach her [email protected]

Keith Ford is chairman of the International

Committee. He is a professional pianist and Allied member

living in London.

International CornerKeith Ford, Alpha Kappa, Allied79 Southdown Avenue, London, W72AE, United Kingdom +44 7792/863-867 [email protected]

The Brains and the Fingers


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Lana Bode and Keith Ford in London.

New Directors

Beverly Whitney Abegg, Phi

Upsilon, Boston Alumni, Vice

President/Concert Manager,

received BME and MM degrees

from Boston University and later

was awarded a business degree in

accounting from the University of

Massachusetts Lowell. Her

experience in both music and

business has led her to positions as

a private teacher in clarinet, flute,

saxophone and piano, plus tutoring

students in higher mathematics.

Beverly is a manager for a

regional philharmonic orchestra

and recently retired from her accountant position with an

investment firm. She is currently President of the Boston Alumni

Chapter and Atlantic 1 District Director.

Kathryn Habedank,

Epsilon Sigma, Tacoma

Alumni, harpsichordist.

Katherine received a BA

degree from Pacific

Lutheran University and

then earned her MM degree

at the New England

Conservatory of Music in

Boston. For the past 18

years she has been

instructor of harpsichord,

director of the Early Music

Concert Series, chamber

ensemble coach and faculty

advisor for Epsilon Sigma Chapter at PLU. Kathryn received the

International Mu Phi Epsilon Faculty Advisor Award in 2004,

has been president of the Tacoma Alumni Chapter and now

serves as the Foundation’s Recording Secretary.

Additional Directors

Marcus Wyche, Delta

Delta, Washington,

D.C. Alumni, has a

Bachelor of Music in

Composition and seeks

to further his musical

education in film and

television scoring.

Currently, he works as

an Administrative

Assistant in the

Educational Issues

Department of the

American Federation

of Teachers. Marcus

has been President of the Washington, D.C. Alumni Chapter of

Mu Phi Epsilon is the currently President of Mu Phi Epsilon

Foundation. He is also a member of the Kappa Kappa Psi

Honorary Band Service Fraternity and an Honorary Member of

the Tau Beta Sigma Honorary Band Service Sorority. Marcus

writes fiction stories and is a regular contributor of member

interviews to The Triangle. Marcus plays piano and French

Horn, and enjoys literary fiction, comic books, photography, and

movies of all genres.

Sandra Wiese, Zeta,

Treasurer, is a retired

math and piano

teacher. At DePauw

University her

instruments were voice

and piano. The

positions she has held

with the Fraternity and

Foundation includes:

President of the

Connecticut Valley

Alumni Chapter;

President and

Treasurer of the Cleveland Alumni Chapter; District Director of

EGL 3; and Chairman of the Friendship Corner (predecessor of

the Foundation Fare.)

Nancy Rutherford

Hawkins, Mu Mu, received

her undergraduate degree in

organ performance and a

master’s degree in

journalism from the

University of Kansas. She is

currently the Media

Supervisor for the Thomas

Gorton Music and Dance

Library at the University of

Kansas. She has been

president of her collegiate

chapter, the Lawrence (KS)

Alumni Chapter, District

Director, and is currently

the Chairman of Mu Phi Epsilon Foundation. Nancy is a

national volunteer for the American Cancer Society where she

serves on a research grant committee and is a life time member of

the Girl Scouts of America, on whose board she has served both

locally and nationally.

Beverly Hoch, soprano, is a past

winner of the Mu Phi Epsilon

International Competition and as a

member of the Foundation Board,

will coordinate the 2011

International Competition. She will

also serve as chair for the vocal

scholarships. Beverly is assistant

professor of voice at Texas

Woman’s University in Denton, TX,

and is an initiate of Epsilon Phi

Chapter at Friends University,

Wichita, KS. She is available for

recitals and masterclasses by

arrangement with her professional

manager, Matthew Sprizzo.

Dr. Fran Irwin, Epsilon Upsilon, St. Louis Alumni, International

Fraternity President. (Please see p.29 of the Fall Issue of The

Triangle, for picture and bio.)

Foundation

Profile: 2007 Mu Phi Epsilon International Competition Runner-Up

Lei WengAlpha Alpha, Allied

“Astonishing beauty and sensitivity.” –Claude Franck, internationally renowned pianist and pedagogue

Mr. Weng has performed with renowned musicians (such as Emmanuel Ax and Dawn Upshaw) and has been the recipient of numerous awards and prizes. He currently serves as

Assistant Professor of Piano Performance at the University of Northern Colorado in Greeley, Colorado.


Foundation

Lei Weng, in His Own Words“Being the only son of my parents and born ina gradually more stable time in China, I had apretty happy childhood. But, my parents stillcouldn’t afford to buy me even the smallestupright piano. So I was practicing at my ele-mentary school for six months. Luckily, mygrandparents supported my piano study verymuch and sponsored half [the cost of] thepiano (the smallest model). My family was ina mid-class range financial situation at thattime. But China’s economy was quite low

during those years, so middle class income pretty much just cov-ered all the basic living expenses.

“I was selected by the piano teacher to take lessons with her.Before meeting with her, I didn’t know much about piano at all.But I fell in love with it right away. I still remember the firstnight my piano came. I was too excited to sleep and couldn’tbelieve that I really had a piano for myself!

“When I was 12 years old, I was admitted as the top student tothe music middle school affiliated with Tianjin Conservatory. Itis a very music-oriented and concentrated middle school. Ireceived very solid training on piano, as well as all the musical-related courses: music theory and history, aural skills, sightreading, ear training, etc. My teacher in this school is excellent(one of the best in the country) and I practiced an average of 3-5hours a day. Studying at this school laid a solid foundation formy future piano and music study. I was there from ages 12-18,and participated and won several prizes at national piano com-petitions during my teenage years.

“When I was only 18 or 19 years old, I knew I would go to theWest to study the Western music, to study piano, because it is a

Western instrument. I knew back then clearly. And I do want toimprove myself, and I want to see my potential to grow as apianist.

“I applied to several [graduate] schools. I had been recruited byJuilliard, Manhattan School of Music, Cincinnati, and a fewother schools. The financial situation of my family kind of pro-hibited the possibility of going to Juilliard for a live audition[even though] the chairman of the piano department of Juilliardat that time, Jeremy Lowenthal, tried to recruit me to Juilliard.But I had to go there for a live audition; they wouldn’t take a CDor recording. So I didn’t consider it, even though he wanted meto go there. There was another professor from Manhattan whowas trying to recruit me, and I was interested in Manhattan, too.Manhattan offered me close to a full tuition waver. Cincinnatibasically offered me a full ride: tuition waver plus a stipend. Ichose Cincinnati; it’s an excellent, excellent school. And Ienjoyed studying there for my master’s and doctor’s degree. SoI always knew I would want to go to the West to study. And I’mglad I made the right choice.

“In Asia and China, there is now globalization, the growth ofmusic, and also the economy. China has become a musical cen-ter in the world; it’s a real high-profile place to perform. I do seea strong tie, both emotionally and with [my] connections there.I receive invitations all the time from China. They want me tocome back to give master classes and give them ideas to teachstudents—and some teachers, as well. And they want to learnWestern music and what is going on in the West. I’m very happyto do that, because I grew up in China, I had received very solidearly training in China, I had studied in the States for seven oreight years, and had been working and touring for two or threeyears. I think I’m very fortunate to go back and return all of thisknowledge and experience to the students and teachers inChina.”

The Onyx Circle

Membership in The Onyx Circle is open to donors who pledge the sum of $5,000 to theFoundation over a period of ten years or less. Once you complete your pledge, you will bepresented with this handsome glass memento designed by Jeffrey Hoover, PhD. Our goalfor this program is to raise at least $100,000 within the first five years.

Your donation to the Onyx Circle will make it possible for Mu Phi Epsilon Foundation to sup-port the works of the Fraternity, by providing unique educational opportunities, developed inconsultation with the Fraternity Board, and to provide for scholarships which are currentlyunder-funded. These goals will be met by establishing an endowment fund with the$100,000.

For more information,contact any Foundation Director listed in the back of The Triangle.

The Piano as Orchestra, musicfor two pianos performed by SusanDuehlmeier and Bonnie Gritton(both Epsilon Mu), is an entertain-ing and enticing program. It pro-vides a fresh, welcome addition tothe duo-partner literature in anidiom rarely heard. Sounds thatcomposers originally conceived forsymphonic and jazz orchestra – evenvirtuoso violin – realize full orches-tral timbre as performed by twopianists on two sets of 88 keys.

George Gershwin’s Fantasy onPorgy and Bess, arranged byAustralian-born pianist and compos-er Percy Grainger, is an array ofsongs from the folk opera including“Bess, You Is My Woman” and “ItAin’t Necessarily So.” As well as thebeloved melodies are performedhere, expressive limitations of thekeyboard fall short of the humanvoice. The piano just cannot wail andsob in vocal fashion. Nevertheless,hearing the performers joyfully ren-der this music inspires us to singalong in harmonious tribute toAmericana.

Midnight Jazz Suite for Two Pianosby Henry Wolking is a fabulousexcursion into waltz, blues, caprice,ballade, and tango. Each movementis dedicated to the art of well-knownjazz artists of the twentieth century,including Dave Brubeck (SterlingPatron 2003), Fats Waller, and oth-ers. The composer captures theirheart and soul with skillful mastery,and provides an inspiring musicallandscape which the performersembrace with stylistic acumen andswashbuckling abandon.

Camille Saint-Saens’ Introductionand Rondo Capriccioso, brilliantlywritten for virtuoso violin, wasarranged for two pianos by ClaudeDebussy. As a violinist, I championthe art of transcription; manyimportant “salon” pieces that enrichtoday’s recital programs arearrangements that have survived for

centuries. In this arrangementDebussy, master of musical impres-sionism, remains largely true to theoriginal. Yet I question whetherDebussy, who created palettes ofunlimited color and intimately knewthe tonal vocabulary of the stringinstruments, would have consideredthe piano version a success. Thepiano is capable of a variety ofsounds, articulations, timbres, anddynamics. But can the keyboardaesthetically match the “singing” ofthe violin? Playing with expressiveunderstanding here, pianistsDuehlmeier and Gritton allow thelistener to decide.

In their performance of Saint-Saens’descriptive arrangement of his sym-phonic poem Danse Macabre, thepianists depict all that the originalverse – and one’s imagination – caninspire. They capture the raucouscelebration, build tension withpianistic flair, attend to structuraldetail, and deliver an abundance ofhumor. Igor Stravinsky’s transcrip-tion of his “Three Movements fromPetrouchka” possesses all the charmand immediacy of the originalorchestral realization. Since thepiano plays a major role in the orig-inal, the transformation into a workfor duo-piano is highly successful.The pianists’ interpretation is per-formed with flashy aplomb, rich inpianistic flourishes.

The Piano as Orchestra is beautifullypackaged and contains well-written,informative program notes. Havingit in your listening library will bright-en your world without a trip to theperformance hall.


Upon ListeningSherry Kloss, Epsilon Upsilon, Muncie Alumni3510 West University Avenue, Muncie, IN 47303 phone: 765/287-8469 email: [email protected]

Ordering Information:The Piano as Orchestra

TROY872 - $16.99Albany Records

915 Broadway, Albany, NY 12207 518-436-8814

[email protected]

Contents:Camille Saint-Saëns, composer

Introduction & Rondo CapricciosoSusan Duehlmeier & Bonnie Gritton

pianists

Camille Saint-Saëns, composerDance Macabre Op. 40

Susan Duehlmeier & Bonnie Grittonpianists

George Gershwin, composerFantasy on Porgy and Bess

Susan Duehlmeier & Bonnie Grittonpianists

Henry Wolking, composerMidnight Jazz Suite for Two PianosSusan Duehlmeier & Bonnie Gritton

pianists

Igor Stravinsky, composerThree Movements from PetrouchkaSusan Duehlmeier & Bonnie Gritton

pianists

Susan Duehlmeier and Bonnie Gritton, both faculty members at the University of Utah, have performed and recorded as a duo throughout the

world. Their recording of Wolking’s Concerto for Two Pianos: LettingMidnight Out on Bail was nominated for a 2002 Grammy. Other recordings

with the Warsaw Philharmonic, Czech Radio Orchestra, and ArmenianPhilharmonic are available on Centaur, MMC, and Albany Records.

2008 STERLING PATRON

Mu Phi Epsilon Foundation history was made March 30,2008, at the University of Kansas Swarthout Recital Hallwhen Joyce Castle (Xi, Lawrence) was recognized as thenewest member of the Foundation’s Honorary Board ofDirectors. No other honorary board member had ever beenrecognized at the time of installation before this gala recitalevent was organized by Nancy Hawkins, Chair of theFoundation, with the help of the Lawrence Alumni and Xichapters. Participating in the event were: Lenita McCallum(Phi Iota, Palos Verdes Peninsula), Foundation President;Dr. Frances Irwin (Epsilon Upsilon), International FraternityPresident; Sandra Wiese (Zeta, Cleveland), FoundationTreasurer; Nancy Hawkins (Mu Mu, Lawrence); LynnBasow (Phi Pi, Lawrence), Lawrence Alumni President; andAlyssa Boone, Xi Chapter President. Also in attendance wereJoyce’s brother Dr. Neil Malicky, retired president ofBaldwin-Wallace College; Charlotte Brown (Alpha Kappa,Kansas City); C2 District Director, Beth Harrison (EpsilonOmicron, Lawrence); Kansas State President of the NationalFederation of Music Clubs; and Bea Kirkham (Xi, Wichita),former Metronome/Opus, a Tempo editor and a daughter ofLois Ayers Gordon, a founding member of the Foundation.

After Joyce was recognized for her service to Mu Phi Epsilonand the world of music, Lenita and Nancy presented her witha certificate and Fran recited the Mu Phi Epsilon Creed. Arecital followed that included Xi and Lawrence Alumni chap-ter members; several vocal students of Joyce’s colleagues atKU; and Lenita, who performed a song cycle about love. Areception was hosted afterward by the Lawrence Alumni.

Back row: Sandra Wiese, Charles Martinez, Joyce Castle, Katie Bieber (Xi), Andrea Garritano (Xi). Middle row: Fran Irwin,

Lynn Basow, Dee Blaser (Xi, Lawrence), Lenita McCallum, Nancy Hawkins. Front row: Holly White (Xi), Ashley Benes


MEET FRITZ ZSCHIETZSCHMANNOur 2008 Sterling Patron is truly an international patron ofthe arts. Friedrich Wilhelm “Fritz” Zschietzschmann wasborn in Giessen, Germany, where his father was an archaeologyprofessor. When Fritz was still a young child, his family wastorn apart by World War II and his home city was destroyed.After the war it became evident that the family would end up in

C o m m u n i s t -controlled EastGermany, sothey fled intoWest Germany.While hospital-ized at age tenFritz received apair of boots ina C.A.R.E. pack-age from theUnited States,and right thenthe young boy

decided he wanted to live there. This desire was furtherinspired when Fritz met the University of Giessen’s first foreignexchange student, a young man from Olathe, Kansas who wasstudying at Kansas State University.

Eventually Fritz made his way to the U.S. on a coal freighter. Heworked on the East Coast for a tire company, first changing tiresand then as a salesman. Later he moved to Kansas City wherehe began to attend the Country Club Christian Church. ThereFritz met Nancy Kinnamon, a talented pianist and former MissMissouri finalist. Nancy had joined Alpha Kappa in 1964 as astudent at the University of Missouri-Kansas City and has beenan active Mu Phi ever since. Fritz and Nancy married and nowhave three adult children, a grandson, and a granddaughter.

Fritz realized that success in America comes easier if one hashis own business. So with Nancy’s support, in 1975 he start-ed Z-International, a company that now has manufacturingplants in Kansas City, Germany, and China. Z-Internationalpioneered products such as laser and ink jet labels, colorednotepads in all shapes, and items made from recycled mate-rials. The Mu Phi Epsilon notepads in a grand piano shapethat were given at the 2008 convention were designed anddonated by Z-International.

Fritz and Nancy still attend the church where they met, andsupport concerts there. Fritz is committed to the RotaryClub and its international activities, has supported severalforeign students, and continues donating to civic and artsorganizations. Mu Phi Epsilon is honored to be amongthem and to recognize Fritz as 2008 Sterling Patron.

NEW FOUNDATION HONORARY BOARD MEMBER

JOYCE CASTLE

Foundation

Fran Irwin contributed to this story. The Zschietzschmanns’ work for Mu Phi was also featured in the Summer/Fall 2005 Triangle.

Applause

Christine Brewer (Sterling Patron) performed withthe BBC Symphony and Chorus in a concert of Poulenc’sGloria in December 2006, conducted by Sir AndrewDavis and broadcast on BBC Radio 3. The concertrecording was recently released as a free CD on the frontof the November 2008 issue of BBC Music Magazine.

As winner of the MPE Foundation’s Faust Scholarship,conductor Marlon Daniel (Mu Xi) spent part of sum-mer 2008 study-ing in Europe,including a stintwith the BerlinPhilharmonicwhere he workedwith the greatmaestro SirSimon Rattle.

Sir Simon Rattle and Marlon Daniel

Flutist Cynthia Ellis (Beta Alpha) reports that herflute and string trio Les Amis Musicalles performed thepremiere of “Images Sonnantes,” by James Hopkins, inLaguna Beach, CA in November, supported in part bythe MPE Foundation’s Foncannon Scholarship. Thetrio has received first prize at the National FluteAssociation’s Chamber Music Competition and per-formed at NFA conventions in Columbus, Dallas andSan Diego. Cynthia has been solo piccoloist with thePacific Symphony Orchestra since 1979.

Jerilynn Harris (EpsilonSigma) has been appointedDistrict Director, PNW2. Acellist and May 2008 gradu-ate of Pacific LutheranUniversity, she teaches ele-mentary and junior highorchestra classes in theBethel (WA) School District.Jerilynn was Epsilon Sigmasecretary and enjoys Mu Phi’s

collegiality, opportunity for serving others throughmusic, and meeting new people with common interests.She looks forward to stirring things up in the PacificNorthwest 2 District.

Betty Austin Hensley (Epsilon Phi, Wichita Alumni)performed “Flutesong on the Kansas Prairie” in April atthe Spencer Museum of Art. In conjunction with the con-

cert, some of her flutes were displayed in the museum,which eventually will house her entire 400-piece collectionfrom over eighty world cultures. A member of theInternational Flute Orchestra, Betty was on tour in Chile inMay and played at the National Flute Association annualmeeting in Kansas City in July. Also in July, Betty receivedthe 2008 Kansas Musician Award at Kansas Federation ofMusic Clubs’ convention in Wichita.

Bonnie Kellert (Phi Psi, Washington D.C. Alumni)gave a recital in Bangkok, Thailand in December. Theperformance was an all-Chopin benefit concert for theCheshire Foundation, founded in 1964 under the royalpatronage of Her Majesty the Queen.

Composer Carol Worthey (Phi Nu, Los AngelesAlumni, ACME) writes that her Fanfare for The NewRenaissance received its second Italian performance inAugust at the Santa Fiora Music Festival, performed bybrass players from the N.Y. Philharmonic, ViennaPhilharmonic and Israel Philharmonic. The U.S. pre-miere is scheduled for March 2009 by the BemidjiSymphony in Minnesota, followed by an Alaskan pre-miere by Borealis Brass. Cellist Tess Remy-Schumacherand pianist Dr. Margaret Brisch performed Carol's Elegyin Oklahoma and the work received its Texas premierewith pianist Cheryl Cellon and cellist Sarah Kapps.More at www.carolworthey.com.

Encore

Zeta Eta Installed October 12International President Frances Irwin presided over theinstallation of Zeta Eta on October 12, 2008, atBinghamton University. Also in attendance to congratu-late the new chapter and its eleven initiates were facultyadvisor Prof. Georgetta Gatto Maiolo (Epsilon Upsilon),EGL1 District Director Signe Zale, past IEB memberMyrta Knox, and members of Lambda, Mu Upsilon, and

Applausenews from members

Front (l-r): Alexa Weinberg, Krystiana Resto, Adam Hess,Alexander Blitstein, Kirstie Cummings Back: Robert Operman,

Natasha Bobrowski-Khoury, Marc Silvagni, Matt Rek, TedTrembinski, Lee Vilinsky


Rochester Alumni. Zeta Eta chapter president Krystiana Resto writes, “We are all so excited to join the ranks of MuPhi Epsilon. We thank all those who came to help make this ceremony special. A special thanks to the Lambda chap-ter for their guidance during these initial stages.”

Zeta Zeta Installed November 5International President Frances Irwin presided over theinstallation of Zeta Zeta on November 5, 2008, at ElonUniversity in Elon, North Carolina. The ceremony fea-tured an unusual baritone saxophone duo performance byinitiates Kaitlyn Faye and Nathan Thomas, and was assist-ed by Marcus Wyche, representing Washington D.C.Alumni and the Mu Phi Epsilon Foundation, and mem-bers of Alpha Xi. From a total student population of5,600, the music department has approximately eightystudents majoring in general music, performance, musiceducation, or music technology. The Alpha class of ZetaZeta (pictured) consists of thirteen music educationmajors, four music performance majors, and two musicminors. Elon is proud that for the past five years their music education majors have had a 100% job placement.

Front (l-r): Chelsea Peabody, Laura Fraase, Susan Fetch, Margaret Dalton, Ashleigh Bauer. Middle: Nicole Veater, AmandaJoyner, Lisa Dettling, Gretchen Bruesehoff, Michael Blake, Lauren Chambers, Vanessa Buhrman, Kathryn Hatcher, Kaitlyn

Faye, Rachael Sauer, Michelle Eichel. Back: John Planisek, Nathan Thomas, Patrick Bachmann

Epsilon Omega ReactivatesFounder’s Day 2008 was extra special to mem-bers in districts P1 and P2. Epsilon Omegawas reactivated at San Francisco State Universityand held a joint initiation ceremony with Phi Muof San Jose State University. Many area chapterswere represented at this historic event: membersattended from Phi Mu, Epsilon Omega, Mu Eta,and the San Jose, San Francisco, Berkeley, PaloAlto, and Sacramento alumni chapters. DistrictDirectors Lestelle Manley (P1) and Kira Dixon(P2) and IEB representative Gloria Debatin werealso on hand for the festivities.

Lambda celebrated Founders’ Day 2008 with an annual benefit concert that raised more than $100 for the musicadvocacy organization Music For All. Lambda SERV chair Meaghan McTammany hosted the event and many othermembers assisted with the production. Performers included Five Cents Sharp, a popular brass quintet from IthacaCollege. Sophomore Jarrett Bastow performed next with the Ithaca College Cello Choir. Senior Melanie Wade andjuniors Laurel Stinson and Adrianne Fedorchuk then performed with Premium Blend, Ithaca College’s premierefemale a cappella group. A jazz combo took the stage next, led by senior Ben Russo and featuring vocals by sopho-more Michaela Bushey. Ithacappella, the college’s leading all-male a cappella group, performed three songs fromtheir fall concert. Lambda members performed last, singing an arrangement of the Mu Phi Epsilon creed by DeweyFleszar ’08. This event was a successful celebration of the power of music and a reminder of the power we all have tosupport it. (Submitted by Melanie Wade, Lambda)

Correction: In the fall 2008 issue, the Award of Distinction description was incorrect. The Award of Distinction is given "For a member's significant contribution to music or to the Fraternity.”


Encorenews from chapters

In April 2008 the Ann Arbor Alumni chapter presented apublic concert of organ works by American composers.Bethlehem United Church of Christ in Ann Arbor was thevenue, showcasing the church’s newly refurbished andexpanded three-manual Casavant organ. The performerswere chapter members, all church organists, whose musicalbackgrounds range from self-taught to Juilliard-trained.

Alice Van Wambeke (Epsilon Lambda) taught choralmusic in Ann Arbor public schools for thirty years. Shereceived a master’s degree in organ performance fromEastern Michigan University and a degree in harpsichordperformance from the University of Michigan, where she iscurrently a lecturer in the music education department.Alice performed music by Ernest Bloch, Frank Ferko, andGeorge Shearing. Bloch, a Jewish composer of instrumen-tal and choral works, served as director of the ClevelandInstitute and the San Francisco Conservatory. Ferko is afreelance composer, organist, and choral director who hasreceived national awards in composition, including annualASCAP awards since 1989. The congenitally blindShearing, best known for his jazz quintet in which he playedthe piano, was also a classical composer who recorded forMGM Studios.

Barbara Foster (Gamma) is a professor of business andfinance at Eastern Michigan University, where she alsostudied organ. Church organ playing has been a lifelong joyfor Barbara, who played an arrangement of “The OldRugged Cross” written by George Bennard while he lived inMichigan in 1912. She also performed “Blessed Assurance”for which Phoebe Knapp provided the tune and FannyCrosby (a blind composer of 8,000 hymns) wrote the words.Franklin Ritter, who has arranged hundreds of pieces fororgan and choral works, created the arrangement.Following the performance of each piece, Barbara led theaudience in singing the hymn.

Alan Knight (Gamma), music director of a large church inWestland, Michigan, earned a DMA degree at the Universityof Michigan. He is the sub-dean of the local chapter of theAmerican Guild of Organists. He recently lectured on andperformed the eleven-movement suite “A Quaker Reader”by Ned Rorem, from which he played one selection on theMu Phi program. Alan also played a work composed byclassmate Christopher Fisher-Lochhead. As undergradu-ates, he and Alan chose poems on which Fisher-Lochheadwould compose an organ piece. Alan read the poems aloudbefore performing each piece.

At age twelve, Karen Madsen (Epsilon Mu) taught herselfto play an electronic organ from a Hammond instruction

book in a Wyoming country church. She played for SundaySchool at age fourteen and for church services in her adultyears. She finally took organ lessons at age fifty, when shehad the opportunity to play a church pipe organ. For theMu Phi program, Karen performed a piece by the lateMichigan organist and composer William Albright, whomshe admires as a musical genius. Albright directed theUniversity of Michigan electronic music studio and waschair of the composition department.

Gail Jennings(Gamma) studiedpiano and compo-sition at Juilliard,where she won theprestigiousElizabeth SpragueCoolidge Award,and earned an MMin organ perform-ance at theUniversity ofAkron. Gail teach-es piano and organand is a sought-after accompanist.Earlier in the yearshe played a recitalat BethlehemUnited Church ofChrist to dedicatethe Casavantorgan. For the MuPhi program Gailperformed SamuelBarber’s famous“Adagio forStrings,” heard inthe films Platoon,The ElephantMan, El Norte,Amelie, andLorenzo’s Oil. Shealso played a mag-nificent arrange-ment of “Rejoice,the Lord is King,”(Marion) arrangedby organist AlbertL. Travis of FortWorth, TX.

CHAPTER SPOTLIGHT

Ann Arbor Alumni Present American Composers Program

By Karen Madsen, Epsilon Mu, Ann Arbor Alumni


CHAPTER SPOTLIGHT

105 YEARSGAMMAUniversity of MichiganMarch 20, 1904

95 YEARSAnn Arbor AlumniSeptember 22, 1913

Cincinnati AlumniApril 14, 1914

St. Louis Area AlumniApril 8, 1914

90 YEARSMU BETAWashington State UniversityFebruary 13, 1919

MU GAMMAUniv. of Nebraska-LincolnMarch 27, 1919

Los Angeles AlumniMarch 20, 1919

Portland AlumniSeptember 19, 1919

85 YEARSCleveland AlumniNovember 13, 1923

Seattle AlumniOctober 1924

80 YEARSPHI ZETAMorningside College, IANovember 9, 1929

San Francisco AlumniNovember 17, 1929

70 YEARSPHI XIBaylor University, TXMay 27, 1939

60 YEARSSpokane AlumniNovember 8, 1949

55 YEARSEPSILONUniversity of Toledo, OHMay 1, 1953

50 YEARSALPHA KAPPAUniversity of Missouri-KansasCity Conservatory of MusicNovember 13, 1959

ALPHA ZETARadford University, VAMarch 6, 1959

Kansas City Evening AlumniNovember 9, 1958

Atlanta AlumniMay 24, 1959

Austin AlumniDecember 14, 1959

Berkeley AlumniNovember 1, 1959

45 YEARS

Palos Verdes Peninsula AlumniOctober 18, 1964

40 YEARSBETA PSIUniversity of Indianapolis, INNovember 23, 1969

Muncie AlumniMay 18, 1969

35 YEARSGAMMA NUChicago State UniversityApril 21, 1974

30 YEARSGAMMA PSISt. Mary-of-the-Woods College, IN May 6, 1979

Terre Haute Area AlumniMay 6, 1979

25 YEARSDELTA EPSILONColumbus State University, GAJune 7, 1984

20 YEARSDELTA ETAUniversity of North FloridaApril 24, 1988

15 YEARSDELTA MUSlippery Rock University, PAMay 8, 1994

5 YEARSDELTA OMEGAOur Lady of the Lake Univ., TXMarch 27, 2004

Kansas City Alumni2004

1 YEARZETA DELTALaVerne University, CAMarch 3, 2007

ZETA ETABinghamton University, NYOctober 12, 2008

ZETA ZETAElon University, NCNovember 5, 2008

Mu Phi jewelry and accessories are available through Herff Jones Jewelers, www.herffjones.com.Go to College Items and look under the Greek Store and then Honorary and Professional.


Chapter Anniversaries

Helen Armstrong Epsilon Psi, 1971Died April 28, 2006Violinist, chamber musician, educator,ACME honoree. Virtuoso performer

with orchestrasincluding BostonPops, IndianapolisSymphony.Founder andartistic director,ArmstrongChamberConcerts, whoseuniqueStudents’ Music

Enrichment program hasreached over 100,000 students.

Margaret Spencer BeslerMu Omicron, January 18, 1936Died June 1, 2008

Margaret Irene BrowerBorcherdingPhi Zeta, November 7, 1932Died December 10, 2007Private piano teacher, clinician, publicschool educator in music, English, andband.

Eileen Coggin Daniels BrittonMu Eta, January 7, 1937Died January 19, 2008Keyboard artist, music educator, clini-cian. She specialized in organ music ofJohannes Brahms. An American Guildof Organists associate, she twice servedas Dean of the San Francisco AGO chap-ter.

Ella Gertrude Johnstone CrandellMu Mu, November 3, 1935Dallas AlumniDied December 16, 2005Pianist, music educator. Taught privatepiano for fifty years. As a collegiate,served two years as chapter president;later served as Dallas Alumni chapterpresident.

Lillian Margaret CurranPhi Xi, May 26, 1939Austin AlumniDied September 1, 2007Vocalist, music teacher. She was a char-ter member of Phi Xi at BaylorUniversity.

Elinor Wortley DotyGamma, April 26, 1930Austin AlumniDied November 29, 2007Church organist. Studied organ atUniversity of Michigan where she metfellow organist and husband Dr. EzraWilliam Doty, a founder of theUniversity of Texas College of Fine Arts.

Alice Wilma Tilton EiffertMu Eta, January 8, 1938 Albuquerque AlumniDied May 28, 2008Pianist, organist, church musician. AnAGO member, she was also an avidAlbuquerque Symphony supporter.

Mary Beeson EllisonMu Upsilon, December 6, 1939Died December 4, 2005Musicologist. She served as adjunct fac-ulty at Rollins College.

Virginia “Ginny” HaldersonFairchildMu Phi, December 14, 1936Died May 3, 2008Pianist, organist, elementary musicteacher. She performed, accompanied,and taught 26 years in Oberlin and sur-rounding communities.

Jean Van Deusen GerochMu Pi, May 28, 1932Died May 4, 2006Clarinetist, pianist, organist.

Ruth J. HayesMu Eta, April 30, 1937Died October 19, 2005Piano teacher.

Della M. Ericson HeidMu Tau, February 17, 1932Died May 20, 2006Professor of music, Dickinson StateCollege, North Dakota.

Roberta Hughett HeidenreichMu Zeta, December 14, 1937Died June 22, 2007Violinist, educator. Taught music andEnglish, performed in a quartet formany years while raising her family.

Olive Mabel German HoustonUpsilon, March 4, 1930Tulsa AlumniDied February 17, 2007Violinist, vocalist. Studied music in

Italy and Germany in the 1930s; fre-quent performer in the Tulsa area.

Mary Ellen Sturtevant JenkinsMu Epsilon, May 17, 1948Minneapolis-St. Paul AlumniDied June 28, 2007Vocalist, ACME honoree, accomplishedbusiness owner as well as musician.

Billie McCleary JonesTau, March 9, 1934Died July 14, 2008Pianist, educator. Private piano instruc-tor; faculty at Olympic College.National Mu Phi Epsilon magazinechairman 1973-1979.

Esther Lydia Saager JonesNu, January 5, 1930Died May 18, 2008Public school music and drama teacher.

Mari Ann Huebsch KintighMu Psi, January 18, 1935Died: January 3, 2008Public school music teacher.

Susan Beate KrauszPhi Omicron, May 8, 1955Died February 24, 2008Pianist, vocalist, composer, ACME hon-oree. A winner of the 1965 Mu PhiEpsilon Original Competition Contest,she taught piano many years at CaseWestern Reserve University and per-formed with the Cleveland Orchestra.

Mildred A. Monk KregerTau, May 12, 1939Died October 3, 2005Secondary school teacher.

Catherine Ann “Kitty”Bell Rutledge LoughKappa, November 15, 1938Indianapolis AlumniDied January 30, 2007Pianist, educator. Music professor at BallState University, pri-vate teacher. Performedwith many Indiana music organizationsincluding Muncie Symphony.

Nancy Gressitt McDonoughPhi Kappa, March 20, 1949Detroit AlumniDied August 2008Vocal music teacher in Detroit public schools.


Final NotesWynona Wieting Lipsett, Mu Chi, Immediate Past President148 LCR Cedar B-1, Mexia, TX, 76667 phone: 254/562-9397 email: [email protected]

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Margaret Cornely MacNabPsi, April 9, 1930Died September 19, 2006Seminary graduate, historian, Latinteacher.

Adele Page MansonMu Upsilon, January 11, 1937Died March 31, 2007Music cataloguer at Kent StateUniversity, published author.

Dorothy V. Anderson MarshallPhi Zeta, March 20, 1933Died July 3, 2007Music teacher.

Agatha Otto MautheSigma, June 13, 1935Died December 31, 2007Vocalist, pianist, public school musicteacher, performer with communitymusic and theater organizations.

Wilda Tinsley MoennigMu Upsilon, December 19, 1934Died October 13, 2007Violinist. She was one of the originalfaculty members at Blair School ofMusic, Vanderbilt University.

Jean Klussman MoreheadXi, November 8, 1939Died March 13, 1995Flutist, harpist, private music teacher.

Jean C. Pennington NayBeta Kappa, June 20, 1938Died July 10, 2006Church musician.

Arline Viola Nasby NeugartMu Epsilon, January 29, 1939Died July 7, 2008Pianist, public school teacher.

Victoria Toteff NolinGamma, April 28, 1934Died September 20, 2007Pianist, vocalist, coach, community the-atre music director.

Alta A. Turnbaugh ParretPhi Chi, November 3, 1945Fresno AlumniDied August 28, 2008Pianist, theatrical music director.Charter member and first chaplain ofPhi Chi. Longtime staff accompanistwith California StateUniversity/Fullerton.

Pauline Crawford RamseyMu Eta, January 8, 1939Died November 24, 2005Educator. Taught elementary throughadult age groups.

Rosalys “Rosie” McCrerey Rieger Xi, November 8, 1939Died November 10, 2007Pianist, organist, politician. Withdegrees in music and political science,Rosie was the first woman elected to theRiley County (Kansas) Commission.She was organist at several churchesand taught private piano.

Mary Helena Purky SchranzMu Upsilon, February 20, 1939Muncie AlumniDied March 14, 2008Pianist. She was a piano instructoremerita at Ball State University.

Janavie Fink SheldonXi, April 24, 1937Portland Alumni Died March 20, 2008Organist, pianist, violinist, handbellartist, teacher. Taught high schoolmusic, English, and math, but preferredthe “innocent age” of kindergartenwhich she taught eighteen years.

Vera Jean Douthat SinkPhi Theta, November 12, 1939Kansas City AlumniDied June 6, 2008Vocalist. She appeared frequently inconcert, including as soprano soloist inHandel’s Messiah with the Kansas CitySymphony.

Lilburne Elizabeth SlaterMu Chi, November 22, 1932Died January 13, 2001

Alice Poot SmithTau, December 14, 1930Died December 15, 1995

Margaret R. Simpson SwainMu Kappa, May 31, 1933Died July 22, 1991

Gertrude Gretta Roberts ThomsonPhi Kappa, January 9, 1938; AlliedDied March 3, 2008Public school kindergarten teacher.

Carolyn Butin TraversMu Delta, February 9, 1937Died May 29, 2002

Meta Edith Grim WalshNu, February 20, 1931Died July 9, 2008Church organist.

Vivian Cutler WeatherlyMu, April 22, 1933Died August 13, 2007Educator. She was active in the MelodyMakers Club, NFMC affiliate.

Lou Ann WernliMu Zeta, November 11, 1954Berkeley AlumniDied June 23, 2008Piano teacher.

Evelyn Merritt WheldenPhi Kappa, January 9, 1938Died August 3, 2003Piano teacher.

Helen I. WrotenMu Mu, March 6, 1938Died January 21, 2008

Irene Evelyn Jackson ZalzneckMu Phi, June 11, 1930Died October 16, 2006

Anne Roberts ZecchinoMu Upsilon, January 11, 1934Died January 29, 2008

Final Notes


ATLANTICDISTRICT A1Beverly Whitney Abegg 8 Phillips DriveWestford MA 01886-3409978/[email protected]

*BETA-New England Conservatory,MA*PHI UPSILON – Boston University, MA*EPSILON PSI-The Juilliard School, NY*GAMMA OMEGA-RI College, RIBOSTONNEW YORK CITY*PRINCETON

DISTRICT A2Elizabeth White3158 Gracefield Rd.Silver Spring, MD 20904877/[email protected]

PHI GAMMA-Peabody Conserv, MDPHI PSI-Mary Washington Univ, VA*DELTA DELTA-Univ of Maryland, MD*DELTA OMICRON-Salisbury State, MDPHILADELPHIAWASHINGTON D.C.

EASTERN GREAT LAKESDISTRICT EGL1Signe Zale709 Whittier RoadSpencerport, NY 14559-9785585/[email protected]

LAMBDA-Ithaca College, NYMU UPSILON-Eastman School, NY*DELTA UPSILON-SUNY Geneseo, NY*DELTA IOTA-Univ of Western OntarioZETA ETA. Binghamton University, NY*ITHACA AREAROCHESTER

DISTRICT EGL2Shannon Engle447 Millbridge Dr.Lebanon, PA 17042717/[email protected]

PHI OMEGA-Westminster College, PA*EPSILON NU-WV University, WVEPSILON UPSILON-Duquesne Univ, PA*ALPHA THETA-Pennsylvania StateDELTA MU-Slippery Rock Univ, PA*PITTSBURGH

DISTRICT EGL3Nancy Jane Gray3070 Orchard RdSilver Lake Village, OH 44224-3126330/[email protected]

PHI-Mount Union College, OHMU PHI-Baldwin-Wallace College, OHPHI OMICRON-Cleveland Institute,OHGAMMA PHI-Cleveland State, OHALLIANCECLEVELANDCLEVELAND HEIGHTS

GREAT LAKESDISTRICT GL1 & GL2Susan Owen-Bissiri2828 Hawks Ave.Ann Arbor, MI 48108734/[email protected]

GL1GAMMA-University of Michigan, MI*PHI KAPPA-Wayne State Univ, MIEPSILON LAMBDA-Eastern Mich, MI*DELTA GAMMA-Grand Valley State,MIANN ARBORDETROIT

GL2EPSILON-University of Toledo, OHTOLEDO

DISTRICT GL3Rosemary Schroeder3020 Majestic Oaks LnSt. Charles, IL 60174630/[email protected]

*MU XI-American Conserv of Music,IL*PHI SIGMA-DePaul University, IL*EPSILON XI-Univ of IllinoisGAMMA NU-Chicago State Univ, IL*CHICAGO SOUTHWESTGREATER CHICAGOURBANA-CHAMPAIGN

EAST CENTRALDISTRICT EC1Marva Rasmussen5520 Homecrest LnMason, OH 45040513/[email protected]

ALPHA ALPHA-College Conserv-Cincinnati

GAMMA ETA-Central State, OHMU PI-Ohio Wesleyan University, OHCINCINNATIDAYTON

DISTRICT EC2Barbara Medlicott9191 Garrison Drive, Apt. 201 AIndianapolis, IN 46240317/[email protected]

KAPPA-Butler University, INBETA THETA-Tennessee Tech, TNBETA PSI-Univ of Indianapolis, IN*BETA OMEGA-Ball State Univ, IN*DELTA KAPPA-Cumberland College, KYINDIANAPOLISMUNCIE

DISTRICT EC3Drs. Jo Ann & Ed Domb287 S. Downey Ave.Indianapolis, IN 46219317/352-0194317/690-4810 (cell)[email protected]

*ZETA-DePauw University, INEPSILON OMICRON-Indiana Univ, INGAMMA PSI-St Mary of the Woods,INBLOOMINGTONTERRE HAUTE AREA

SOUTHEASTDISTRICT SE1Beth Hurley608 Charleston Road, Apt. 1LRaleigh, NC 27606919/235-0511 [email protected]

ALPHA ZETA-Radford University, VAALPHA XI-Univ of No Carolina, NC*ALPHA UPSILON-Furman Univ, SC*GAMMA RHO-NC A&TDELTA PHI-Averett College, VAZETA ZETA-Elon Univ., Elon, NC

DISTRICT SE2Director: TBA

*MU-Brenau College, GAGAMMA PI-Shorter College, GADELTA EPSILON-Columbus St Univ, GADELTA ZETA-Emory University, GADELTA TAU-Mercer University, GADELTA PSI-Clayton State Univ, GAZETA GAMMA – Augusta St. UnivATLANTA


District Directors with Chapters 2008—2009* Inactive Chapters

NEW

DISTRICT SE3Melissa Voshell14582 Millhopper Rd.Jacksonville, FL 32258904/[email protected]

BETA BETA-Jacksonville Univ, FLDELTA ETA-Univ of No Florida, FL

DISTRICT SE4 & SE5Kimberlee Gross16334 Mockingbird LaneBaton Rouge, LA 70819225/[email protected]

SE4*EPSILON GAMMA-Belhaven Coll, MS*ALPHA GAMMA-Univ of So. MS, MS*BETA GAMMA-Univ of Alabama, ALGAMMA ZETA-Delta State Univ, MS*DELTA NU-Millsaps College, MS*JACKSON

SE5BETA ZETA-Southern University, LA*DELTA CHI-McNeese State Univ, LA

SOUTH CENTRALDISTRICT SC1aJediah Spurlock6408 Starstruck DriveAustin, TX 78745512/743-7894 (cell)[email protected]

MU THETA-Univ of Texas at Austin,TXPHI XI-Baylor University, TXDELTA OMEGA – Our Lady of the Lake, TXAUSTINHOUSTON

DISTRICT SC1bElda Garcia500 E. Stassney Ln., #611Austin, TX 78745512/[email protected]

ALPHA PI-Southwest Texas State, TXBETA KAPPA-Trinity University, TX*GAMMA DELTA-U of TC-PanAmericanGAMMA TAU-Univ of St Thomas, TXSAN ANTONIO

DISTRICT SC2aJenny Smith411 E. Buckingham #1713Richardson, TX 75081214/[email protected] OMEGA-Stephen F Austin St, TXDELTA PI-Tarleton State, TXBETA MU-TX A&M Univ-Commerce, TXMU CHI-Southern Methodist Univ, TX*PHI TAU-Univ of North Texas, TXEPSILON EPSILON-TX Christian UnivDALLAS (co-DD)DENTON (co-DD)*FORT WORTH

DISTRICT SC3Julie Heller8217 Avenue U, Apt. 6201Lubbock, Texas 79423817/[email protected]

EPSILON PI-Texas Tech University*ALPHA IOTA-Midwestern State, TX*ALPHA NU-West Texas A&M UnivALPHA SIGMA-Abilene Christian Univ, TXZETA BETA-Cameron Univ, OK*LUBBOCK*WICHITA FALLS

CENTRALDISTRICT C1Cathy Woelbling Paul 11852 Gold Leaf DriveSt. Louis, MO 63146-4813314/[email protected]

EPSILON KAPPA-Southern IL Univ-Carbondale*EPSILON TAU-St Louis, MO*BETA IOTA-Southern IL Univ-EdwardsvilleBETA OMICRON-Western IL Univ, ILZETA ALPHA-Williams Bapt.College, ARST LOUIS AREA

DISTRICT C2Charlotte Brown12578 Barkley St.Overland Park, KS 66209913/[email protected]

XI-University of Kansas, KS*MU MU-Manhattan, KSALPHA KAPPA-Univ of MO ConservALPHA MU-SW Missouri State, MO

*GAMMA ALPHA-Evangel College, MOKANSAS CITYLAWRENCESPRINGFIELD

NORTH CENTRALDISTRICT NC1Director: TBA

*OMEGA-Drake University, IAMU ALPHA-Simpson College, IAMU PSI-Coe College, IA*CEDAR RAPIDSDES MOINES

DISTRICT NC2Narissa Bach5021 Oliver Ave SMinneapolis, MN 55419-1030612/[email protected]

*PHI IOTA-Concordia College, MNEPSILON ALPHA-College of St Catherine,MN*DELTA LAMBDA-Augsburg College, MN*FARGOMINNEAPOLIS –ST. PAUL

DISTRICT NC3Director: TBA

MU GAMMA-Univ of Nebraska*MU TAU-Univ of South DakotaPHI ZETA-Morningside College, IA*BETA NU-Dickinson State College,NDBETA PI-Nebraska Wesleyan, NE*DICKINSONLINCOLN

WEST CENTRALDISTRICT WC1Director: TBA

PHI PI-Wichita State Univ, KSEPSILON PHI-Friends University, KS*ALPHA CHI-Southwestern College,KS*MU KAPPA-Univ of Oklahoma, OKGAMMA GAMMA-SW Okla State, OKGAMMA EPSILON-Oral Roberts Univ,OKCENTRAL OKLAHOMATULSAWICHITA



DISTRICT WC2Kirsten Forbes7755 S. Duquesne WayAurora, CO 80016-1345720/[email protected]

*EPSILON MU-Univ of UtahDELTA RHO-Univ of Colorado*ALBUQUERQUEDENVERSALT LAKE CITY

PACIFIC NORTHWESTDISTRICT PNW1Sharon Straub206 W High Dr.Spokane, WA 99203-1521509/[email protected]

MU BETA–Washington State Univ, WA*MU ZETA-Whitman College, WA*EPSILON IOTA-E Washington Univ*EPSILON RHO-Univ of Montana*ALPHA PSI-Whitworth College, WA*GAMMA KAPPA-Boise State Univ, ID*PULLMANSPOKANE

DISTRICT PNW2Jerilynn Harris12724 – 104th Ave. Ct. E, Apt. 202Puyallup, WA 98374360/[email protected]

*TAU-University of WashingtonEPSILON SIGMA-Pacific Lutheran, WA*BETA PHI-Seattle Pacific Univ, WASEATTLETACOMA

DISTRICT PNW3Dorothy Stewart1443 Southwood Ct SESalem, OR 97306-9555503/[email protected]

PHI LAMBDA-Willamette Univ, OR*BETA SIGMA-Western OR Univ, OR*EPSILON DELTA-Lewis & Clark, OR*EPSILON THETA-Linfield College,OR*ALPHA LAMBDA-Portland State, ORNU – Univ of OregonPORTLANDEUGENESALEM

PACIFICDISTRICT P1Lestelle Manley4812 Alexon WayCarmichael, CA 95608916/[email protected]

MU ETA- Univ of the Pacific, CAPHI CHI-Cal State-Fresno, CA*ALPHA DELTA-CSU-Sacramento, CA*BETA LAMBDA-CSU-Chico, CA*DELTA ALPHA, CSU, CAFRESNOSACRAMENTO*SAN JOAQUIN VALLEY

DISTRICT P2Kira Dixon2223 Foxworthy AveSan Jose, CA 95624408/[email protected]

PHI MU-San Jose State, CAEPSILON OMEGA-San Francisco State*ALPHA EPSILON-Holy Names College,CA*BETA ETA-CSU-Hayward, CABERKELEYPALO ALTOSAN FRANCISCOSAN JOSE

PACIFIC SOUTHWESTDISTRICT PSW1Jamie Caridi1541 Wedgewood WayUpland, CA 91786909/[email protected]*MU NU-USC, Los Angeles, CA*PHI NU-UCLA, Los Angeles, CA*BETA DELTA-UCSB, Santa BarbaraBEVERLY HILLSLOS ANGELES

DISTRICT PSW2Ann Nicholson611 Forest Lake DrBrea, CA 92821-2849562/[email protected]

BETA ALPHA-CSU-Fullerton, CAGAMMA SIGMA-CSU Dominguez Hills*GAMMA CHI-CS Tech-Pomona, CA*DELTA SIGMA-UC Irving, CA*DELTA XI-Arizona State Univ, AZZETA DELTA, University of LaVerne, CA

FULLERTONSAN DIEGOPHOENIXPALOS VERDES PENINSULA

PHILIPPINESDISTRICT PL1Director: TBA

Philippines*ALPHA TAU – Philippines*BETA XI-Quezon City

District Director At-LargeDale D. Griffa187 Flax Hill Rd. #B4Norwalk, CT 06854203/[email protected]



NEW

International President Dr. Frances IrwinEpsilon Upsilon6464 Rhodes AvenueSt. Louis, MO 63109-2849 314/752-2585 Fax: 314/353-8388 [email protected]

First Vice President, Extension OfficerDoris BraunAlpha Kappa12897 Prospect Kansas City, MO 64146816/942-5533extensionofficer@

muphiepsilon.org

Second Vice President, Collegiate AdvisorSandra Chaney McMillenAlpha Nu, Dallas Alumni306 Shorewood DrDuncanville, TX 75116972/298-5910collegiateadvisor@

muphiepsilon.org

Third Vice President, Alumni AdvisorGerri L. FlynnEpsilon Xi12200 Valley View St, Apt 247Garden Grove, CA 92845714/891-8186alumniadvisor@

muphiepsilon.org

Fourth Vice President, Music AdvisorJeff ZeidersPhi Psi1042 N. Calvert St, Apt. 2ABaltimore, MD 21202musicadvisor@

muphiepsilon.org

Fifth Vice President, Eligibility AdvisorBeverly FernaldMu Rho, Denver Alumni2615 Oak Drive #2Lakewood, CO 80215-7182303/237-4875 eligibilityadvisor@

muphiepsilon.org

International EditorMelissa EddyMu Theta, Austin AlumniP.O. Box 10042Austin, TX 78766-1042512/217-1264 [email protected]

Executive Secretary-TreasurerGloria DebatinPhi ChiInternational Executive Office 4705 N. Sonora, Ste. 114Fresno, CA 93722-3947559/277-1898Toll Free: 888 /259-1471Fax: 559/277-2825 executiveoffice@

muphiepsilon.org

ACME Carolyn (Lyn) HooverMu Pi7618 SW 259th StreetVashon Island, WA 98070206/[email protected]

BylawsCatherine van der Salm Phi Lambda3707 100th CircleVancouver, WA 98686360/[email protected]

FinanceKirsten ForbesBeta Sigma7755 S. Duquesne WayAurora, CO 1345720/[email protected]

International Keith FordAllied 79 Southdown AvenueLondon W7 2AEUnited Kingdom44 7792 863 [email protected]

MembershipVerna WagnerEpsilon Iota1114 W Rosewood PI., Spokane, WA 99208 509/325-3641membershipchair@

muphiepsilon.org

Music Librarian & Archives Wendy SistrunkMu Mu1504 S. AshIndependence, MO 64062816/836-9961sistrunk@@umkc.edu

SERVAnnette AlbrightTheta53 Elm StreetLake Placid, NY 12946518/[email protected]

Standing RulesDr. Kurt-Alexander ZellerMu Chi, Atlanta Alumni1872 Central Park Loop Morrow, GA 30260-1291 770/961-4400 (H)678/466-4759 (W)standingrules@

muphiepsilon.org


Directory of Executive Officers2008-2011 INTERNATIONAL EXECUTIVE BOARD INTERNATIONAL

CHAIRMEN FOUNDATION BOARD

President, Marcus Wyche2729 Nicholson St., Apt 103Hyattsville, MD 20782301/484-3652 (H)202/393-6342 (W)[email protected]

Vice President, Concert ManagerBeverly Whitney Abegg8 Phillips Dr.Westford, MA 01886978/[email protected]

Treasurer, Sandra Wiese9099 Regency Woods DriveKirtland, OH 44094440/256-5212 [email protected]

Recording SecretaryKathryn Habedank1017 Minor Ave #304Seattle, WA 98104206 /[email protected]

ChairmanNancy Rutherford Hawkins1405A Lawrence Ave.Lawrence, KS 66049785/[email protected]

Vice Chairman, InternationalCompetition CoordinatorBeverly Hoch3819 Monte Carlo LaneDenton, TX 76210-1413940/[email protected]

International PresidentDr. Frances Irwin314/752-2585 [email protected]

NON-BOARDSCHOLARSHIP CHAIRMEN

Marie Brown (Ginger) Curea310/459-5150 or 310/[email protected]

Dr. Jeffrey Hoover309/694-5113 Fax: 309/[email protected]

Marilyn Sandness937 /434-2636Fax: 937/[email protected]

Dr. Kristin Jonina Taylor641/[email protected]

Honorary Advisory BoardKatherine Guldberg DoepkePhi Beta8300 Golden Valley Rd. #329Golden Valley, MN 55427763/[email protected]

Wynona Wieting LipsettMu Chi148 LCR Cedar B-1Mexia, TX 76667254/[email protected]

Lee Clements MeyerPhi Xi8101 Club Court CircleAustin, TX 78759512/345-5072

Active wear available through Regent Promotions866/858-3725 or www.regentpromotions.com/mpe

Note NewAddress

CALL FOR SCORES

Mu Phi Epsilon is proud to announce the 2009Original Composition Contest. All activeundergraduate, graduate and alumni membersare encouraged to participate.

Prizes range from $250-$400.

All applications due March 1, 2009.

See www.muphiepsilon.org/announcements for details, or contact

Jeff [email protected]

Great Orchestra Careers Start Here!

Orchestra Management Fellowship ProgramJune 2009 – June 2010

This year-long fellowship program provides five Fellows with the chance to fast-track an executive career in orchestra management.

Fellows are selected through a highly competitive application and interview process. They divide their time over one year at three different orchestras plus the Aspen Music Festival and School where they will attend professional development seminars on leadership, finance, HR, career building, and networking with industry experts.

Learn by doing, not just watching. Hands-on participation in projects, mentoring, networking, leadership training, and access to leaders of the field are only some ofthe many benefits of this fellowship.

Recommended for those who aspire to senior level positions.

APPLICATION DEADLINE: February 2, 2009Details & application: americanorchestras.org

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

[email protected]

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

Member Medallion Available through Ken Jernigan800/478-3728 or [email protected]

mu phi composers meet the world in china...opera capriccio, reiterating these timeless aesthetic...

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