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TRIANGLEVOLUME 111, ISSUE 4, WINTER 2018

INTERNATIONAL PROFESSIONAL FRATERNITY FOR THE ADVANCEMENT OF MUSIC IN THE COMMUNITY, NATION, AND WORLDTH

E

JAZZ EDUCATIONClassical

to jazz ABCs of concert

planning New alumni chapter

installed

contentsWINTER 2018 | VOLUME 111, ISSUE 4

Fraternity Mission Statement: Mu Phi Epsilon International ProfessionalMusic Fraternity is a coeducational fraternitywhose aim is the advancement of music inthe community, nation, and world throughthe promotion of musicianship, scholarship,and music education, with emphasis onservice through music.

EDITOR Melissa J. [email protected]

DESIGN & PRODUCTION Corinne [email protected]

PROOFREADER Doris Braun

Send all material for publication to:Melissa Eddy, [email protected] or by mail to 220 Link Drive, Kingsland, TX78639-5262

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 a minimum of300 dpi.

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

Change of address, renewals, notice ofdeceased members, requests for extra copiesand subscription requests should be sent to:Mu Phi EpsilonInternational Executive Office1611 County Road, B West, Suite 320St. Paul, MN 55113toll free: 888-259-1471fax: 888-855-8670email: [email protected]

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

Member, Professional Fraternity Association.(ISSN 0041-2600)(Volume 111, Issue 4)

Subscription price is $20.00 per year. Single copies are $8.00. Periodicals postage paid at St. Paul, MN andat additional mailing offices. Printed in theUnited States of America.

POSTMASTER: Send all changes of addressto: Mu Phi Epsilon, 1611 County Road, BWest, Suite 320,St. Paul, MN 55113.

© 2018 Mu Phi Epsilon. All rights reserved.

On the cover: Jazz musicians © Afroto |Dreamstime.comTop left: Zack Carlson conducts a 2017 conventionchoir rehearsal. Photo by Melissa Eddy. Page 4: Chalkboard background texture © Hanohiki |Dreamstime.comPage 5: Jazz art paper on blackboard © NatanaelAlfredo Nemanita Ginting | Dreamstime.comPage 7: Jazz Trio Musicians © Spart MediaSpartmedia | Dreamstime.comPage 8: Vintage vegas show typography. ©Hobbitfoot | Dreamstime.com Page 9: Neon font text. Lamp sign. Alphabet . Vectorillustration © Hobbitfoot | Dreamstime.com

features 4 Jazz Education Making the leap from classical to jazz education

6 Jazz PedagogyThe Lydian Chromatic Concept

8 ACMEABCs of concert planning

11 2017 Convention Award FollowupA message from Citation of Merit winner Rob Kapilow

14 Foundation Meet two 2017 scholarship winners

16 Chapter News Our oldest new member; Roanoke Valley Alumni chapter installed

columns10 Bookshelf: Piano music of John Cage arranged for guitar 12 Collegiate Connection: Near sight13 Alumni Corner: Encouragement

departments 3 President’s Message18 Applause / Encore20 Final Notes22 District Directors Directory23 Executive Officers Directory

Winter 2018 | THE TRIANGLE 3

I’m sure we have all had our vision tested at one time or another. We hopewith each test that our vision will be 20/20 or correctable to 20/20. As wegrow older, our vision might change, and our glasses or contacts need to beadjusted to get to that 20/20 outcome. We don’t take chances with ourvision. Checking it annually is a way to monitor our eyesight and maintainhealthy eyes.

Every three years at our triennial convention, Mu Phi Epsilon checks itsvision, makes adjustments, and plans on how we can keep it 20/20. It isespecially appropriate to begin thinking about our next exam now, since ournext convention will be in the year 2020: a perfect time to make sure ourfraternity’s vision is still 20/20.

Let’s take this first year of the triennium to check our near sight. What areour chapters doing for our schools in the name of music, and for ourfraternity? How can we reach out to unaffiliated members in our area? Howcan we strengthen our chapters? What new things could you try, and whattraditions do you cherish? How can we work together, collegiates andalumni, to build strong chapters while providing support for all ourmembers? Does your chapter have ideas that work? Are you looking forideas that work? Let’s make it a 2018 resolution to post those great ideas onour fraternity’s Facebook pages to share with each other. By making our corestronger, we’ll be equipped to move on to…

2018-19, when we can check our far vision by reaching out to our widercommunities. How is your chapter reaching out to local populations to sharethe gift of music? Are there ideas you would like to see happen, but youneed the support from all of us? Look farther to our politicians (local andnational) to encourage and ensure that continued support for the artsremains in their focus! Can you contribute to building stronger towns, cities,counties, and states through music? Then start getting ready, because 2019-20 will bring us to our 2020 convention (sooner than you think!). Will weperfect our vision of what it means to be a Mu Phi and to advance music inour communities, nation, and world?

It’s so exciting to know that music continues to inspire us and challenge us toreach for the stars. Let us know of your plans and successes this year so wecan all celebrate our near sight for Mu Phi Epsilon!

It’s that time of year when many of us think of new beginnings. Keeping ournear sight the focus, are there new things your chapters could try? Whattraditions do you want to continue? How can we improve on what we do,perhaps adjust our goals, or just keep on going? How can we reach towardperfection?

Rosemary AmesInternational President

PRES IDENT’S MESSAGEROSEMARY AMES | INTERNATIONAL PRESIDENT | [email protected]

Read aninteractive version

of this issue online at

muphiepsilon.org!

Triennial Theme: 20/20 Vision

See President's Messageand Collegiate Connections

for more about thetriennial theme.

20192018

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One of the most important aspects of my bass teachingjobs in several Southern California high schools andmiddle schools is trying to convince classically trainededucators that jazz is not a scary subject and is highlyrewarding to young musicians when approachedproperly. Some of the most competent music teachers Iknow recoil at the mention of jazz. This is not due toaversion or snobbishness, but to lack of experience inteaching it, not knowing where to start, and a sense thatjazz is unapproachable for classically trained teachers.Because of this recurring phenomenon, I haveput together some thoughts on how musiceducators can get started in jazz andsome tips for teaching beginning jazzstudents.

Listening is keyFirst, and most important, is theconcept of listening. Jazz is not anart form that can be taught from abook, lecture, or sheet music.Educators need to listen in order todevelop a working knowledge of jazzstylings in a practical rather thanacademic sense. For example, manyeducators rely on the often-taught idea that aswung eighth note is derived from eighth note triplets,with the middle triplet not being articulated. A directorwho has developed a knowledge of styles throughlistening will recognize that swung eighth notes cannotbe notated precisely because styling can changedrastically depending on any number of circumstances,including the influences of individual players. Thiscreates problems in explaining simply a deceptivelycomplex concept.

I suggest beginning with the triplet explanation, butreinforce it with listening assignments that will informthe students’ ears. As the year progresses, use thelistening assignments during rehearsal as commonreferences to explain how the band should play specificphrases. Over time, the students will forget the overly-specific triplet concept and instead develop an innateunderstanding of what they are trying to imitate. Manyreadily available resources list classic jazz recordings

that will work well for this strategy. Picking recordingsin the same styles of a band’s repertoire is the

most effective way to create usefulreferences for both students and

educator.

Improvise to exploreMany classically trained educatorsfeel intimidated by the need to teachimprovisation and the bar ofproficiency set by students in high-

achieving jazz programs featured atfestivals and conferences. This

reluctance has more to do with theeducator’s ego than teaching ability. The

object of teaching improvisation is not todevelop jazz prodigies but to make students more

comfortable with taking chances musically and to helpthem further understand the art they are learning toperform. Don’t attempt to compare a student’simprovisation to that of jazz greats, or even to their moreadvanced peers. Instead encourage the student to try newthings, explore, and make it a fun process. A beginningimprovisation educator’s ability is not so muchdemonstrated by what his or her students can achieve asby what they are willing to try. The education of beginning

COVER FEATUREBY ANDREW MARTELL | BETA ALPHA | [email protected]

The object ofteaching

improvisation is tomake students

comfortable withtaking chances

musically

FROM CLASSICALTO JAZZ EDUCATION:

MAKING THE LEAP

improvisers must be focused on the value of the process,as there is no way to assign meaningful value to theresult.

Use your existing skillsWhen it comes to jazz, educators tend to undervaluethe skills they already have that they can apply totheir jazz program. Many basic musical concepts canbe overlooked if an educator feels overwhelmed by anunfamiliar subject. Pitch, rhythm, and ensemblelistening skills are all vital components in jazzeducation, just as they are in classical training. Whilethere are many nuances to jazz that separate it fromother traditions, these core concepts remain.Educators can still lean into their primary expertisewhile developing a jazz program. There are onlytwelve notes, after all, and they are the sameregardless of the style they are played in.

Many great resources are available to educatorsseeking a better understanding of jazz, and many ofthem are free. Just a little bit of research will uneartha plethora of opinions and strategies on how to teachjazz, and it is up to educators to choose what fits bestwith their students. Jazz is an incredibly rewardingart form for students who don’t always haveopportunities to be expressive, and it is easilyintegrated into pre-existing classical programs. All ittakes is an educator deciding to give it a try.

About the authorAndrew Martelle (Beta Alpha, right) is a SouthernCalifornia bassist and music educator. He specialized injazz performance at Fullerton College with Roger Shewbefore transferring to Cal State Fullerton where hestudied under Luther Hughes. While in school, Andrewperformed with notable and varied artists such as BobMintzer, George Cables, Francisco Torres, Justo Almario,Doc Severinsen, Doug Tornquist, Jean Ferrandis, andthe Talich String Quartet. Andrew has playedprofessionally with Bill Cunliffe and Freda Payne, and heis active in the Southern California jazz scene. Hemaintains a private bass studio in addition to teaching atlocal high schools and middle schools. Contact him [email protected].


It is rare to see an art form more devoured by conjecture, mysticism, and anecdotal pedagogy then the art form calledjazz. It is so muddled that a landmark publication from 1954, George Russell’s Lydian Chromatic Concept of TonalOrganization, is largely ignored or unknown, even though its prognostic ideals are so ingrained in jazz pedagogy that

they have become fundamental pillars of the art. TheLydian Chromatic Concept (LCC) not only offered a

new theory on harmonic motion in tonal harmony,but also stressed the conception of harmony as

both horizontal (each chord relating to thechords around it) and vertical (each chord

simultaneously functioning in multiplekeys and modes), allowing for greaterexpression when conceiving jazz solos.Russell’s theories on polymodality wereboth a result of earlier musical worksand the igniter of modal jazz. His theoryis now so prevalent in jazz that theoriginal work is often ignored.

One must first consider the timing inwhich Russell’s book was published. Inthe 1950s, jazz pedagogy as weunderstand it now was in its infancy. Areliance on more traditional verbal andapprenticeship styles of education wassufficient for most performers. As themusic became more complex and more

THE LYDIAN CHROMATIC CONCEPT:

A FOUNDATION OF JAZZ PEDAGOGY

COVER FEATUREBY BILLY GENE SANDERS | ALPHA DELTA, P1 DISTRICT DIRECTOR | [email protected]

About the authorBilly Gene Sanders (Alpha Delta) likes to say hecame to music the long way around, having spentmost of his adult life in other professional pursuits.He’s been a soldier, EMT, legal clerk, lab technician,truck driver, produce manager, and salesman for alarge musical instrument distributor. He has lived inEurope and Asia and traveled extensively. He is nowfulfilling his dream as a professional musicianthrough teaching, performing with various jazz andchamber groups, and as a pit musician playinganything with frets. He is completing a Bachelor ofMusic degree with an emphasis in jazz studies atCalifornia State University-Sacramento. Contact himat [email protected].

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popular during the post-war period, that system beganto change, and Russell arrived with the first book on jazztheory.

A new take on tonal theoryThe LCC was a new take on not only jazz conception buttonal theory of music in general. The LCC is based onthe idea of a chord scale relationship that isnow used in almost all jazz pedagogy. Theidea is that there is a scale whichsounds like any type of given chord.While that concept is easy tocomprehend with diatonicharmonies, where one can assumethat tonic scales of each key relateto all chords presented, in the LCCthis is not the case. The problem isone of superimposition, the ideathat one chord is related to its ownindividual scale and at the same timerelated to multiple other scales throughthe relationship of harmonic function. An Amajor chord could be the tonic of A major, thesubdominant of E major, or the dominant chord of Dmajor. While that was not necessarily a new concept,Russell’s Lydian conception was fresh and morecomplex.

LCC summarizedThe Lydian concept is as follows. The major scale iscomprised of two tetrachords; the first in C major is C DE F. According to the LCC, this depicts more accuratelythe F major scale because of the half step between E andF (or “ti do” in solfege). The second tetrachord is G A BC, now representing our initial tonic chord C. At thispoint the first tetrachord is less related to C major then

one would prefer. Now one must find a betterrelationship to define the C major chord more

accurately.

Since the G A B C tetrachord is the closest to the giventonic, one can observe the G A B C tetrachord as beingthe same tetrachord in both C major and in the scalerelating to the fifth of C, G major. That similarity allowsone to observe the second tetrachord of G major, D E F#G, which by ending on the fifth of C major becomes alogical choice for the second tetrachord with the best

relationship to C major. Thus, in Russell’s words,“With the major scale a fifth above a major

chord being accepted as its closest relatedscale in a vertical harmonic sense, it

follows that the Lydian Mode of themajor scale a fifth above a majorchord will even better suit thetonality of the major chord. Thus forinstance the Lydian mode of the Gmajor scale (C D E F# G A B) agrees

completely with the tonic and thetonality of C major chord and,

therefore, logically become the CLydian Scale.” In the most broad and

simple terms, the concept transfers theoriginal relationship of the Ionian mode to the

Lydian mode, so now all diatonic chord relations are inthe Lydian mode.

The most famous use of the LCC was during the post-bopperiod in jazz. Many jazz artists were reacting to the yearsof bebop and hard bop and now were looking for otheroutlets and sources of musical conception. The albumKind of Blue by Miles Davis was emblematic of ideals ofthe LCC. The song “So What” is the proof of concept.

Suggested Reading:Lydian Chromatic Concept of Tonal Organization by GeorgeRussell, ISBN: 0970373902

The Jazz Theory Book by Mark LevineISBN: 1883217040

Improvising Jazz by Jerry CokerISBN: 9781451602708

The LydianChromatic Conceptwas not only a new

take on jazz conceptionbut on tonal theory of

music in general


The ABCs of planning and preparing for performances are based onmy experience as a professor, performing artist, and artisticdirector/curator of concerts and recitals. These ABCs are mostimportant when you are in the dual role of performer and concertorganizer; performers who have management or who perform onestablished concert series may not need to worry about all of them.Check with your manager or presenter to be sure.

If you're the concert organizer, develop a detailed action plan toinclude pre-concert planning, preparation, performance, and post-performance review. Pre-concert planning includes the followingsteps.

Concert date(s)Determine concert date(s). Search the internet to make sure thatyou do not select a date that conflicts with a competitor’s concert ora major event that could negatively affect the number of concertattendees. Knowing how much time you have to prepare for anupcoming concert will help you determine what you want toprogram, taking into consideration how quickly you learn and thedifficulty of the piece.

VenueIf you are performing on an established concert series, they will takecare of this. If you are putting on your own concert, you will need todetermine where to have the concert, bearing in mind the venuecost, availability, reception facilities, and publicity help. I keep a listof performance venues, their location, contact info, rental cost, boxoffice, pros and cons, and overall experience at each venue.

Collaborator(s)For collaborative concerts, determine who your collaborators arebefore you finalize your program. Work with musicians who are ajoy to collaborate with. Be clear about compensation arrangements.A written agreement is helpful to avoid any misunderstanding later.

ABCs OF CONCERT PLANNINGAND PREPARATIONPART I: PRE-CONCERT PLANNING

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ACMEARTISTS, COMPOSERS, MUSICOLOGISTS & EDUCATORS

MARY AU | MU NU, LOS ANGELES ALUMNI, ACME CO-CHAIR | [email protected]

RepertoireDetermine what kind of program you want to give. Forexample:

Themed concert (e.g. music from a certain part of•the world, music related to certain historical orcurrent events)Single period (e.g. all Baroque)•Multiple periods•Single composer (e.g. all Chopin)•Select pieces you are excited about practicing and•that you can master within the available preparationtime. Programming pieces that are your teacher’sspecialty only works if you genuinely love thosepieces and your technique and interpretationabilities are on a similar level as your teacher’s.

The availability of collaborators and the presenter’spreference and taste often dictate the concert program.For example, you may want to play an all Chopin recital,but it was done the prior year and the presenter doesnot want to repeat.

Personally, I prefer multi-genre multimedia programs,something that can attract as many attendees aspossible. For example, my Music Behind Barbed Wireconcert included original commissioned work, 40sstandards, a play, jazz bands, and swing dancers.Determine the program title after you have decided onthe pieces, e.g. East Meets West, Around the World in80 Minutes, Music Behind Barbed Wire, etc.

Program informationIf you’re putting together the printed program,especially if you’re writing your own program notes,allow plenty of time to write, design, and print. Be sureto factor in delays, which are almost inevitable.

An established series or other presenter will typicallyrequest your program information months in advance sothey can properly advertise. They will typically take careof writing program notes and producing the printedprogram.

ReceptionSome concerts include a post-concert Meet the Artist(s)reception. If you plan a reception by yourself or withhelp, make a detailed reception plan including budget,menu, and helpers for set up and serving.You may find it simpler to have a reception at arestaurant that is willing to donate a portion of theevening’s proceeds to benefit the concert series.

Other personnelBook other desired or needed personnel well in advance,e.g. photographer, videographer, sound/recordingengineer, piano tuner, and page turner.

PublicityDetermine how to promote the concert – print, internet,social media, radio or TV announcements, onlineconcert listings, university websites, etc. Some outletsare free, others you must pay for. You can get a lot ofmileage out of free media.

Start publicity at least two months before the concert.Repeat closer to the concert date.

Have high resolution photos available for print purposesand low-resolution ones for online postings.

Invitations (direct promotion)Determine whom to invite, by mail or via email, at leasttwo months prior to the performance. Consider sendingout Save the Date invites once you have the date set.

Email is most cost-effective if you have email addressesfor most of your invitees. Using an email service likeMail Chimp or Constant Contact to send out your inviteswill streamline the process. Some services are free ifyour list is small.

I keep a list of whom I have invited, their contact info(email addresses and phone numbers,) their pastattendance, and how I have notified them (mail, email,or social media.) Sort your invitees by location to avoidpromoting to people who live far from the concertvenue.

BudgetOnce the previous items are underway and you have agood idea of your concert expenses, make a budget. Thiswill enable you to set admission prices that arereasonable and still cover costs. If you anticipate thatadmission won’t cover costs, you will need to seek otherrevenue sources such as sponsorships.

Part II (next issue) will discuss shorter-term planning,preparation, performance day, and post-concert review.


Aaron Larget-Caplan (Beta, BostonAlumni, ACME) brings piano musicof John Cage to the guitar in hisnew book Cage – Piano MusicArranged for Guitar, published byEdition Peters in November 2017.This is the first collection of JohnCage’s piano music arrangedexclusively for solo classical guitar.

The pieces are organized inchronological order with theprecision of a skilled surgeon. Aarongives new life to Three Easy Pieces(Round, Duo, and Infinite Canon),A Room, Chess Piece, Dream, andIn a Landscape, giving us a littlehistory lesson in John Cage’s pianomusic.

The book begins with Three EasyPieces. These are not the type ofpieces one usually associates withCage, as they are tonal and have asimple contrapuntal manner and analmost 18th-century feel, minus theseven-measure phrase of Dou.These short pieces open the palateto the entrancing A Room. It has aneerie yet soothing feel played on theguitar, as the performer is directedto play the piece sul tasto. Thesepieces set the tone for the rest of thebook.

Based on Cage’s ownpainting of a

chessboard withmusic writtenacross it, Chess

Piecesbecomes justthat. Droppingdown to Dtuning, themusic

becomes abit morechallenging

yet still captivating. Later one entersDream, still in D tuning but withthe addition of the 5th stringdropped to G. In this piece Aarongives us Cage’s direct instruction tolet the notes freely ring beyond theirwritten duration. Unlike the piano,which uses the pedal to make thenotes ring, the guitar has a naturalresonance, making it an idealinstrument for Cage’s piano music.Dream conveys a sense that one isliterally in a dream, as the ringing ofthe notes and the use of guitarharmonics lend the piece a twilightfeel, almost like when one is havinga lucid dream.

The book finishes with In aLandscape. Again we are instructedto let the notes ring, to create adreamy effect on the guitar. For thefirst time in the book, Aaron givesus fingerings for this passage, takingout a lot of guesswork. The previouspieces intentionally do not includefingerings or suggestions so theperformer can find his or her ownway, but any serious guitar studentand performer will have no problemworking out fingerings.

Aaron’s book adds to the growingnumber of works originallycomposed for other instruments butarranged for guitar. It’s a perfectunion, as the guitar carries itselfnicely to play the minimalistic yetcaptivating music. The collection isavailable internationally throughEditions Peters or local musicdealers. This masterful grouping ofcontemporary piano music arrangedfor solo guitar is a must-have book,an important addition to anyserious guitarist’s collection.

Visit Aaron Larget-Caplan (left)online at www.alcguitar.com.

About the ReviewerJulio J. Sequeira (Gamma Sigma,Palos Verdes/South Bay Alumni) isa guitarist and a public schoolinstrumental music teacher in LosAngeles, CA. He is also an MM inTeaching and Learning candidate atthe Flora L. Thornton School ofMusic at the University of SouthernCalifornia, where he plays in theThornton Guitar Orchestra underthe direction of William Kanengiser.

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Cage – Piano Music Arranged for GuitarBy Aaron Larget-Caplan

BOOKSHELFBY JULIO J. SEQUEIRA

Piano Music Arranged for Guitar

Item Number: EP68585Format: Sheet MusicNumber of Pages: 20

Format: 232 x 303Instrumentation: Solo Guitar

$22.95

Publisher: Edition PetersPublication Date: 20/10/2017

Barcode: 9790300759852ISMN: 9790300759852

Available from Edition Petershttp://edition-peters.com/


To the members of Mu Phi Epsilon,

First let me say how honored I am to be awarded yourCitation of Merit and how sorry I was not be able to bewith you [at the convention]. I would truly have loved tojoin all of you in Colorado, as your goals of advancingmusic in the community, nation, and the world, with anemphasis on service, are so closely aligned with my own.Ironically it is the launching of a brand-new, communityengagement project—turning one of Canada’s mostfamous sculptures (Louise Bourgeois’ “Maman”) intomusic—that [kept] me away. I would not have missedyour convention for anything less.

Shortly after the premiere of my setting of Dr. Seuss’sGreen Eggs and Ham, I became a G. Schirmercomposer, and I still remember my first meeting withSusan Feder, who at the time was G. Schirmer’spresident. She looked at my schedule for the season,which included conducting, composing, writing,accompanying, lecturing, and hosting a radio series onNPR, and said quizzically, “Now what is it that you do?”Living as we do in an extraordinarily specialized,“siloed” world, these activities all looked separate to her,but to me all they were all part of one mission. WaltWhitman said, “To have great poets, there must be greataudiences,” or in my version, “to have great music, theremust be great listeners.”

Creating a world of great listeners has always been mymission, whether I am speaking, composing, conducting,performing, or lecturing. Though at first, this missionwas solely focused on changing how people listened tomusic, in recent years, I have expanded the mission tofocus on listening in general. An enormous amount ofthe world’s problems—both person-to-person andnation-to-nation—are in many ways the result of aninability to listen. People, parties, and countries havebecome so polarized that communication across thedivides that separate us has become more and moredifficult.

When I was composing my symphony for the 200th

anniversary of the Louisiana Purchase, I came across aNative-American proverb that became the heart of thework: “As you go the way of life, you will see a greatchasm. Jump. It is not as wide as you think.” The chasmbetween classical music and the public may seem to beenormous, but if my career has taught me anything, it isthat if we can truly learn to listen—learn to jump—thechasm is not as wide as you think.

Thank you for this citation. All best,

Rob Kapilow

CONVENTION AWARD FOLLOWUP

On December 3, followinghis performance of “WhatMakes It Great - Symphony#40, Mozart,” the BostonAlumni chapter andmembers of the Betachapter presented RobKapilow with the 2017Citation of Merit recognitionfrom Mu Phi Epsilon.Members talked with Robabout what makes Mu PhiEpsilon so special. Thosein attendance were (left toright): Beverly Abegg(Boston Alumni), CarolineFrost (Boston Alumnipresident), Ian Wiese (Betapresident), Rob Kapilow,Rosemary Ames(International President),Devan Freebairn (Beta),Yanchen Ye (Beta), Yuh-Boh Feng (Beta). Notpictured: Seth Burkhart(Beta).

A Message from Rob Kapilow2017 Citation of Merit winner

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COLLEGIATE CONNECTIONBY JENNY SMITH | SECOND VICE PRESIDENT/COLLEGIATE ADVISOR

Dear Collegiates,

As we move forward in the Spring semester and on into 2018, I would like toaddress our theme for this year and the next three years, our triennium. Withthe theme “20/20,” we are meditating on our impact and purpose leading up toour next international convention. I hope you’ll read the President’s Message inthis issue for more details.

This year, we want you to focus on your chapter’s operation, morale, and yourimpact to the fraternity and your school. Are you doing everything you can tosupport your chapter’s activities and members? Are you organized andprofessional in your promotions and interactions? Have you identified theweaknesses in your chapter and developed a plan to address them? Have youidentified the strengths of your chapter and reinforced ways to maintain them?Are you actively seeking greater diversity in your chapter? Are you wiselymanaging your funds? Are you encouraging each other daily? Are your officersfollowing through on their obligations year after year? Are your recruitmentexercises fruitful, informative, fun, and professional? These are just some ofthe questions you can use to address the strength of your chapter.

You should also assess what more you can do to address needs of your musicschool and the students it supports. Since colleges and universities differ quitea bit, this will depend on your circumstances. For smaller schools, it mightinclude additional academic or logistical support activities, and ways to helpfaculty or school events. For larger schools, it might mean an opportunity tohost events, provide community service or outreach, plan service to honorfaculty and staff, and carry out recurring projects where needs are identified.

An important goal I have this year is to keep things simple, while making sureto be thorough. I encourage you all to do the same.

Don’t forget to stay in touch with your district director, local alumni, and ofcourse, keep track of everything your chapter is accomplishing, so you can tellme all about it in your annual reports.

Best wishes to all for a productive and insightful 2018!

Jenny

NEAR SIGHT: FOCUS ONCHAPTER AND SCHOOL

At the 2017 convention, AllisonStickley (left) accepted BetaAlpha's award as the year's PSWOutstanding Collegiate Chapter.Jenny Smith made thepresentation.

Jenny congratulates SE1 DistrictDirector Marshall Pugh on hisaward as 2017 DD of the Year.

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ENCOURAGEMENTHello, Alumni! By the time you read this, we will be more than halfway throughthe 2017-18 Mu Phi year, past Founders Day celebrations, the winter Holidays…and, if you’re like me, trying to keep New Year’s resolutions!

In these past several months I have learned much about the many alumnichapters in our Mu Phi family, and have been impressed and inspired by youractivities in Music, Friendship, and Harmony. The Founders Day observances,performances at local retirement communities, assistance to collegiatechapters, and local music-based scholarship programs (to name a few)demonstrate your creativity and loyalty in Mu Phi Epsilon.

Whether it’s New Year’s resolutions or anything else, encouragement can help!I appreciate your encouragement in keeping me on task in your service. And aswe look forward to spring and beyond, I encourage you to:

Make membership-building a continuous priority, whether helping•facilitate collegiate transition to alumni membership, or through initiatingqualified candidates who are not members of a professional musicfraternity (what used to be called Special Election).Consider and develop a plan on how to market your chapter, based on your•local music scene and what you can uniquely offer a prospective member.(Re-) connect with other alumni chapters who would appreciate a quick•hello, e-mail, or copy of your chapter newsletter.(Re-) connect with local collegiate chapters. In addition to offering•wonderful ideas and advice, Jenny Smith’s “Collegiate Connection” columncan serve as a starting point on how alumni chapters can supplement anduplift collegiates in their efforts. And don’t be afraid to seek advice orexpertise from collegiates when it comes to creating and using online toolslike websites and social media!Apply for the Foundation’s Helen Haupt Alumni Chapter Project Grant.•Dues-paying members can also apply for individual grants andscholarships in a variety of musical categories. For more information, go tompefoundation.org (Deadline was March 1. If you didn't make this year'sdeadline, put it on your calendar now for next year.)Schedule a booking of the fraternity’s Concert Artist, clarinetist Katsya•Yuasa. Mind deadlines for reports and updates. In particular, I hope yousubmitted your revised chapter bylaws to Eligibility Advisor Terrel Kent byMarch 1.Contact International Executive Secretary-Treasurer Lane Velayo to help•resolve website access/functionality issues on the muphiepsilon.orgwebsite.

I continue to look forward to reading, hearing, and being encouraged by thework you all do for Mu Phi Epsilon!


ALUMNI CORNERBY MARCUS WYCHE | THIRD VP/ALUMNI ADVISOR | [email protected]

Charlotte Brown (right) presentedthe Outstanding Alumni Chapter ofthe Year award to the Minneapolis-St. Paul chapter, represented bySandy Saliny, at the 2017convention.

Delegates gathered for one ofseveral alumni chapter workshopsat the convention.

Recording music by Mu Phis and otherAmerican composersBy Rachel Evangeline Barham (Delta Nu,Washington DC Alumni)

Words cannot adequately express how grateful I amto the Foundation for choosing my project for theBrena Hazzard Voice Scholarship. I am delightedthat the Foundation agreed with me about theimportance of bringing to light some American musicthat has been neglected in the recorded realm.

I used the funds to make a commercially viablerecording of unrecorded and under-recorded songsby four great American song composers, two ofwhom are Mu Phi Epsilon members (WinifredHyson and the late Amy Beach). In particular,Winifred’s cycle Songs of Job’s Daughter has neverbeen recorded, despite the fact that (as quotedfrom the publisher) it was “a prize winner in the1971 Mu Phi Epsilon Composition Contest, and wasthe required selection for sopranos in the 1980 MuPhi Sterling Staff Competition.” Besides thesecredentials, they are simply good songs, full ofcolor and variety. Other songs are by VirgilThomson and Richard Hundley. I hope that thisrecording project will lead a wider audience todiscover these wonderful American songs.

Recording took place in August 2017. I was fortunate to secure the brilliant pianist Jeremy Filsell to collaborate withme (jeremyfilsell.com). We recorded in the lovely acoustics of Spencerville (Maryland) Seventh-Day Adventist Church,with Mark Willey as the recording engineer. These top professionals (and my friends) made the recording processboth efficient and pleasurable. Other friends are serving as producer and graphic designer. I used the scholarshipfunds for voice lessons, having one song transposed, getting recording rights, and production costs. We produced amaster to send to potential publishers late last year.

My own appreciation of this music and poetry deepened greatly as I practiced and did research for the CD liner notes.I think it is fitting that there is a small California tie-in to honor Brena Hazzard and the Los Angeles Alumni Chapter:Amy Beach’s song “Meadowlarks” is a setting of the poem by Ina Coolbrith, California’s first poet laureate.

I have had an active professional performing career as a solo and ensemble singer in the Washington, DC area foraround sixteen years. Much of what I do – what any musician does – involves time spent on scheduling, publicity,practicing, day jobs, administration, and all the work that goes into what is often a one-time performance. I thinkevery musician questions from time to time whether all that energy is worth it. This award from the Foundationaffirmed that what I am doing matters, and that I am not the only one who thinks this repertoire is good and needs tobe heard.

14 MuPhiEpsilon.org

FOUNDAT ION

TWO 2017 SCHOLARSHIP WINNERS ANDTHEIR PROJECTSThe articles on these two pages are excerpted and updated from the winners’ acknowledgment letters to the Mu PhiEpsilon Foundation.

Summer study in the land ofMozartBy Cordelia Brand (Phi Omicron)

Thank you to the Foundation for a generous 2017 summer studyscholarship. Funds from the scholarship went towards my flights to andfrom the festival I attended in Austria. I was excited to fly to Graz lastJuly to attend the American Institute of Musical Studies Orchestraprogram.

I have always wanted to study music in Europe surrounded by richcultural history. One example of many unique musical experiences Ihad last summer was a short train ride to Mozart’s house in Salzburg– it was inspiring. To learn about famous classical composers in thecity where they worked, and also to experience where they grew up,gave me a new perspective on classical music. Being immersed in aculture where classical music is highly appreciated and integratedwas incredible.

The musical training – working with high-level colleagues andrenowned European conductors – was invaluable. In the future, Imay audition for orchestras in Austria and Germany, so thisprogram provided me with the best resources, such as auditionseminars and German language classes, to start me on that track.


Top of page: Cordelia Brand. Counterclockwise from lower left, above: Concert at Stefaniensaal in Graz (photo by AIMS staff);viola section of orchestra (Cordelia at far right); Mariatrost church in Graz; Cordelia enjoying local cuisine.

At her home in Concord, Massachusetts, ShirleyShapiro realized a sixty-nine-year dream when she wasinitiated into Mu Phi Epsilon on November 2, 2017.International President Rosemary Ames and BostonAlumni President Carolyn Frost presided whilechapter members assisted. “This is something I wantedto do ever since I declined membership so long ago. Iwanted to be welcomed and today I have what I wishedfor,” Shirley Shapiro told her new fraternity sisters afterher initiation.

Unfulfilled dreamIn 1948 at Boston University, piano performance majorShirley Prusky was invited to join Phi Upsilon. However,when she learned that the chapter would not inviteAfrican American student musicians, some of whomwere her friends, she took a stand and rejected herinvitation. Shortly after graduation, Shirley marriedJacob (Jack) Shapiro and set her piano playing aside tosupport her husband’s career in nuclear physics and toraise a family.

In the1950s, thefamilyrelocated toRochester,New York,and Shirley once again tried to join Mu Phi at theEastman School of Music. She recalls being told that hercandidacy would be reviewed, but she would need togive another senior recital. Shirley felt that it would beimpossible to prepare for a recital with the obligations ofher family and household. She later settled into asatisfying career teaching second and fourth grades inthe Boston city schools.

Welcomed at lastLast year, ninety-year-old Shirley shared her story andher continued longing to join Mu Phi Epsilon with hernephew Mark Shapiro, a music director, conductor, andprofessor in the New York City area. He promptlycontacted the fraternity’s International Executive Officeand was referred to the Boston Alumni chapter, whichresponded immediately and arranged for Shirley’sinitiation. The chapter was thrilled to welcome her andmake her dream come true.

International President Rosemary Ames researchedfraternity documents of the twentieth century and foundno evidence of discrimination. However, given the civilrights issues of the times, it is possible some chaptersinappropriately restricted their membership. Today, MuPhi Epsilon is proud of the fraternity’s diversity,inclusiveness, and welcoming spirit.

Top: Shirley Shapiro after graduation from Boston University.Left: Shirley with Boston Alumni members after her initiation.From left: Rosemary Ames, Pat Callan, Maria-Pia Antonelli,Shirley Shapiro, Beverly Abegg, Carolyn Frost.

Shirley PruskyShapiro initiated69 years afterfirst invitationSubmitted by Carolyn Frost, Beta Epsilon, Boston Alumni President

16 MuPhiEpsilon.org

CHAPTER NEWS


The first snow of the season and International PresidentRosemary Ames arrived simultaneously in Roanoke,Virginia, for the early December installation of theRoanoke Valley Alumni chapter. Rosemary’s chauffeurfor the day was charter member Liza Moles.Everything but the road was snow-covered and the citysparkled in holiday lights, lending a festive vibe to theevent.

There are twelve charter members in the Roanoke Valleychapter, but due to the weather, only half of them couldattend the ritual. The remaining members were to signthe charter at their next gathering, hopefully not onanother snowy day. The group gathered for the lateafternoon installation at the Thrasher Memorial UnitedMethodist Church in Vinton, Virginia, a Roanokesuburb. Several Alpha Zeta collegiates from RadfordUniversity were honored to assist with the ritual; theyalso participated in the recital and enjoyed thereception. Most of the new alumni chapter members areAlpha Zeta graduates, and both groups are excited tocontinue a great collaboration.

To open the ceremony, the Alpha Zetas led the group insinging “Ode to Joy” with Mu Phi words. Everyone alsosang “The Creed” and “Our Triangle” during the ritual.Alpha Zeta members Alex Lyons (president), ZoeJones, and Maya Johnson served as ritual assistants.Alumni chapter officers were installed immediately afterthe chapter installation. After photos andcongratulations, all present enjoyed an inspiringmusicale followed by a tasty reception.

Adam McAllister (Alpha Zeta) is the new alumnichapter’s first president. International President Amessays, “With the combined talent and graciousness fromthe Roanoke Valley Alumni and the Alpha Zeta chapterat Radford University, I am sure these members willremain an active, vital part of Mu Phi Epsilon. Iencourage them to reach out to other Mu Phis in thearea, of whom there are many.” Welcome, RoanokeValley Alumni Chapter!

Roanoke Valley AlumniChapter InstalledDecember 9, 2017

APPLAUSE | NEWS FROM MEMBERS

Music educator andclarinetist Ashley Bouras(Phi Tau, Dallas AlumniPresident, District DirectorSC2) co-directed aMcKinnney YouthOrchestra Youth Theatreproduction of “Heathersthe Musical: H.S. Edition”in January (photos aboveand left). Ashley is musicdirector of MYO, acommunity performingarts organization for youthin Plano, Texas. Ashley hasanother production inprocess at press time, asshe and her husband awaitthe birth of their first child.

Music educator and artsadvocate Mila Gibson(Alpha Nu) was namedOutstanding FemaleCitizen of 2017 by the cityof Sweetwater, Texas,where she resides. Shewas recognized for hervolunteer work to create ayearly, multi-genreconcert series for thecommunity, among othermusical activities. Milapreviously receivedsimilar awards in Amarillowhere she lived for manyyears, taught music at theuniversity level, andfounded the AmarilloOpera. A passionate arts

advocate, Mila is serving her second appointed term as acommissioner on the Texas Commission on the Arts.

Vocalist and educator Elma Mae Henderson (Theta,International First Vice President 1998-2003) wasrecently honored with the Albert Nelson MarquisLifetime Achievement Award, bestowed upon MarquisWho’s Who biographees who have demonstratedleadership, excellence and longevity in their fields. Shehas been listed since 2006. Elma Mae lives in southernCaliforna, where she sings with local ensemble PrimeTime Choraliers. She was profiled in Not BornYesterday magazine in November and celebrated herninetieth birthday in January.

Pianist and singer-songwriter AngelaParrish (Phi Pi)performed inWichita inNovember, andWichita Alumnichapter membersturned out tosupport her concert“From Kansas to LaLa Land,” a mix ofroots, Americana,blues, and jazz. Anative Kansan,Angela now lives,writes, and performs in Los Angeles, where she is activein film and on stage. Her voice is featured in the song“Another Day of Sun” from the 2016 Oscar-winningmovie La La Land, and she released her debut LPFaithful and Tall in 2015. angelaparrish.com

Pianist Nicholas Susi(Xi, Affiliated) has wonthe American Prize inPiano, 2017-18. The prizewas announced inJanuary. His LP“Scarlatti Now” was alsoawarded a SpecialJudges Citation for bestconcept album. TheAmerican Prize, foundedin 2009, is a series ofnonprofit competitionsfor U.S. performingartists, ensembles, andcomposers, based onsubmitted recordings. Nicholas also was the 2015-17National Federation of Music Clubs Young Artist, firstrunner-up in the 2014 Mu Phi Epsilon InternationalCompetition, and winner of the international 2013Klavierfestival Rösrath competition. An activeperformer, clinician, adjudicator, and speaker, Nicholasrecently completed his doctorate in piano performanceat the University of Michigan. nicholas-susi.com

18 MuPhiEpsilon.org

APPLAUSE & ENCORE

An Announcementfrom the EditorServing Mu Phi Epsilon as International Editor formore than twelve years has been a fantasticexperience. I’ve learned deeply about our fraternity,interviewed fascinating members, made countlessmusical friends, and put my writing and editingabilities to their highest use. Editing The Trianglehas been a highlight of my career.

But as the saying goes, all good things come to anend someday. I feel the pull of retirement and amaware that my enthusiasm for starting each issue isnot what it used to be, and should be. It’s time fornew energy, fresh perspective, and different creativeideas. Therefore, I’ve informed the InternationalExecutive Board that I will retire from the Editorposition within the next two years. I will continueuntil a successor is selected or through the end of2019, whichever comes first.

So now the search is on. The IEB seeks candidateswith excellent writing, editing, planning, andorganizational skills. Experience with otherpublications (chapter newsletters count!) is a plus,self-direction is a must, and passion for all thingsMu Phi is a given. The International Editor jobdescription will be updated soon and posted on thewebsite. International Editor is a compensatedposition.

Could you or someone you know be a candidate?Start spreading the word! Interested but wonderingwhat the job entails? For the spring Triangle I planto write a candid, detailed, and hopefullyentertaining article from “behind the scenes.”Meantime, I will gladly answer questions about theposition; just email [email protected]. Want togive it a trial run? Consider becoming an assistantwriter/editor; I will train and mentor. Email me ifyou’re intrigued.

Now back to editing …

In music, friendship, and harmony,

Melissa J. EddyInternational Editor


Conductor Jeannine Wagner (Phi Nu, Los AngelesAlumni) led a 23-member choral-orchestral ensemblefrom the Roger Wagner Choral Institute on a LegacyTour to Japan and South Korea in November andDecember. The tour honored Jeannine’s father, thelate renowned choral conductor Roger Wagner.Watch for more about Jeannine in a future Triangle.

ENCORE | NEWS FROM CHAPTERS

Congratulations to Beta Eta (below), which reactivatedon December 3, 2017. Under the leadership of chapterpresident Sam Troxell and chapter advisor DannyHowdeshell, six new members were initiated. All areofficers: vice president Jamie Piazza, treasurerBrandon Garcia, recording secretary PaulineGuerzon, alumni secretary Georgia Friend, andchorister Toran Davenport. The chapter looksforward to bringing in additional members during itsFebruary rush.

At its November meeting, Wichita Alumni celebrateda triple header: Founders Day, the chapter’s 70th

anniversary, and member Ruth Scheer’s 70th year as aMu Phi. Ruth was honored with the fraternity’s 2017Orah Ashley Lamke award, and since she wasn’t at theconvention to receive it, the chapter presented herframed award certificate at the meeting. Then Ruthreturned the favor by providing entertainment for thefestivities, performing (from memory) a completeprogram of music she had composed, including hymns,lullabies, and longer works. Chapter favorites were“Kansas Southwind People,” an operetta performed inpart by Ruth’s daughter Laurie Little (Epsilon Phi), anda morality spoof entitled “Devil of Temptation, Giant ofSelfishness, and Witch of Hate,” starring her daughtersDana DeKalb (Phi Pi), Allison Peterson (Alpha Kappa),and Valerie Sullivan (Phi Pi).

Melissa

FINAL NOTES

20 MuPhiEpsilon.org

ANN GIBBENS DAVIS | PHI LAMBDA, WASHINGTON DC ALUMNI | [email protected]

MEMBERREMEMBERED Helen Ruth Brisco CucciaGamma Sigma, October 1, 1998Palos Verdes/South Bay AlumniDied September 9, 2017Pianist, vocalist. An accomplished pianist and soprano,Ruth taught piano and voice in her large private studiofor over thirty years and at the Holy Trinity School. Shesang professionally with the Pacific Chorale, performingwith them at Disney Hall, Carnegie Hall, and venuesthroughout Europe. She was also a church musician. Anactive Mu Phi, Ruth served in several chapter offices, asDistrict Director PSW, and as Third VicePresident/Alumni Advisor (2014-17).

A remembrance of Ruth CucciaBy International President Rosemary AmesRuth never missed an opportunity to sing, whether atchurch, in recitals, or with fellow Mu Phis in her chapteror at conventions. Ever since joining Mu Phi Epsilon,Ruth was an active, involved member, both locally andnationally. She served Palos Verdes/South Bay Alumnias president and in many other offices, and she was thePSW District Director for eight years. She was justcompleting her first three-year term as Third VicePresident/Alumni Advisor on the InternationalExecutive Board when we lost her to brain cancer, muchtoo soon.

I will miss Ruth’s calm demeanor, humor, and gentle,guiding spirit that contributed to productive business

meetings. She often pulled us back from boarddiscussions to remember what is important and whatmakes us unique – a collection of diverse, music-lovingpeople who share friendships and music with ease.Ruth’s family always came first with her, and sheconsidered her Mu Phi family right up there with herhusband John, two sons, and grandchildren. Ruth was adedicated Mu Phi and a friend to many. Her spiritcontinues to guide me, and I will miss her wise,thoughtful counsel.

Ruth at the 2014 convention.


Yvonne Marie AllenGamma, April 12, 1995Ann Arbor AlumniDied August 2, 2017Music educator,vocalist, pianist,composer.Yvonne was alongtime memberof the Ann ArborSociety forMusical Arts andan activevolunteer musician in hercommunity.

Helen Nadine GrahamFreebornSigma, November 1, 1949Palos Verdes/South Bay AlumniDied November 24, 2017Cellist, musiceducator. Helentaught inelementary andhigh schools inWestminster,California.

Mary Jane Kessen HaneyMu Omicron, March 17, 1946CincinnatiAlumni Died June 1, 2017Choir director.Mary directedchoir at St.AntoninusCatholic Church.

Betty J. Barkis HoustonXi, April 23, 1947Indianapolis AlumniDied September 29, 2016Music educator,choir director.Betty taughtmiddle schoolmusic for thirty-three years. Shewas a churchmusician and wasactive in the localwoodworking guild.

Frances Courtney Snow UhdenMu Beta, April 21, 1940Spokane AlumniDied May 30, 2017 Flutist. Francesplayed flute in theorchestra andband and wasactive in manyother musicalactivities. She wasa past president ofher Mu Phichapter.

Carolyn Combs YagerOmega, May 21, 1950St. Louis AlumniDied November 8, 2017Music educator, choral musician.Carolyn taught elementary schoolvocal music and was a well-knownprivate instructor of violin andpiano using the Suzuki method. Shesang with the St. Louis SymphonyChorus for thirteen years and was amember of the Bel Canto Chorus.

FINAL NOTES

Send Final Notes to: Ann Gibbens Davis, 7200 3rd Avenue C-134, Sykesville, MD, 21784 | 410-795-9437 | [email protected]

Alumni at 2017 Convention

22 MuPhiEpsilon.org

ATLANTICDISTRICT A1 Stephanie Berry574 596 [email protected]

DISTRICT A2Susan Todenhoft703 323 4772 H 703 509 0224 [email protected]

EASTERN GREAT LAKESDISTRICT EGL1Danielle Stoner585 217 [email protected]

DISTRICT EGL2Eric Westray571 239 1809 [email protected]

DISTRICT EGL3Nancy Jane Gray330 688 [email protected]

GREAT LAKESDISTRICT GL1 Susan Owen-Bissiri734 971 [email protected]

DISTRICT GL2 — OPEN

EAST CENTRALDISTRICTS EC1Herbert Jackson678 577 [email protected]

DISTRICTS EC2 & EC3Sean Kilgore317 750 [email protected]

SOUTHEASTDISTRICT SE1Marshall Pugh252 599 [email protected]

DISTRICT SE2Arietha Lockhart404 284 7811 [email protected]

DISTRICT SE3Stephanie Sandritter407 538 [email protected]

DISTRICT SE4 — OPEN

SOUTH CENTRALDistrict SC1Rachel Reynolds512 944 [email protected]

DISTRICT SC2Ashley Bouras972 765 [email protected]

DISTRICT SC3 — OPEN

DISTRICT SC4Isabel De La Cerda210 204 [email protected]

CENTRALDISTRICT C1Ann Geiler314 691 [email protected]

DISTRICT C2Paula Patterson417 773 [email protected]

NORTH CENTRALDISTRICT NC1Zack Carlson218 201 [email protected]

DISTRICT NC2Liana Sandin402 483 4657, 402 560 [email protected]

WEST CENTRALDISTRICT WC1 Chrisalyne Hagood580 383 [email protected]

Kathleen Jung580 822 [email protected]

DISTRICT WC2 Kiley Wilson405 625 [email protected]

PACIFIC NORTHWESTDISTRICT PNW1 Sophia Tegart509 991 [email protected]

DISTRICT PNW2 & PNW3Michael Lasfetto971 275 [email protected]

PACIFICDISTRICT P1Billy Sanders209 552 [email protected]

DISTRICT P2Kira Dixon408 439 [email protected]

PACIFIC SOUTHWESTDISTRICT PSW1 Amanda Salmen818 384 [email protected]

Tanner Wilson951 515 [email protected]

D I S T R I C T D I R E C T O R S


Rosemary Ames, International President13 Travis Dr, Framingham, MA 01702508 872 5818, [email protected]

Julia Scherer, 1st VP/Extension Officer15220 Dearborn St, Overland Park, KS 66223816 225 [email protected]

Jenny Smith, 2nd VP/Collegiate Advisor1913 Dana Ct, Irving, TX 75060214 662 [email protected]

Marcus Wyche, 3rd VP/Alumni Advisor2729 Nicholson St, #103, Hyattsville, MD 20782301 484 [email protected]

Rebecca Sorley, 4th VP/Music Advisor7295 W Road 350 N, Bargersville, IN 46106317 885 [email protected]

Terrel Kent, 5th VP/Eligibility Advisor2606 Galvez Street, Baton Rouge, Louisiana 70805225 772 [email protected]

Lane Velayo Executive Secretary-TreasurerInternational Executive Office1611 County Road B, West, #320St. Paul, MN 55113888 259 1471 Fax: 888 855 [email protected]

Melissa Eddy, International Editor 220 Link Drive, Kingsland, TX 78639512 217 1264, [email protected]

HONORARY ADVISORY BOARDKatherine Doepke, Phi Beta825 Summit Ave., Apt 606Minneapolis, MN 55403612 377 2043, [email protected]

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

ACME Arietha Lockhart (Chair)Beta Gamma, Atlanta Alumni3159 Springside CrossingDecatur, GA 30034404 284 [email protected]

Mary Au (Co-Chair)Mu Nu, Los Angeles Alumni2363 W Silver Lake Dr.Los Angeles, CA 90039323 666 [email protected]

BYLAWS & STANDING RULESKurt-Alexander ZellerMu Chi, Atlanta Alumni1872 Central Park LoopMorrow, GA 30260770 961 [email protected]

FINANCEEvelyn Archer, Omega OmegaSt. Louis Area Alumni5312 Sutherland Ave.St. Louis, MO 63109314 481 [email protected]

INTERNATIONALMarlon Daniel, Mu XiNew York Alumni45 Tiemann Place, Apt 5FNew York, NY 10027-3327212 641 [email protected]

MUSIC LIBRARIAN & ARCHIVESWendy Sistrunk, Mu Mu Kansas City Alumni1504 S. Ash Ave.Independence, MO 64052816 836 [email protected]

Linda Florjancic, President7959 Wright RoadBroadview Heights, OH 44147216 219 [email protected]

Liana Sandin, Vice President6321 A StreetLincoln, NE 68510402 560 [email protected]

Dr. Sophia Tegart, Secretary225 SW Mountain View St. Apt. BPullman, WA [email protected]

Craig Young, Treasurer2656 Bluebird CircleDuluth GA [email protected]

Zachariah Carlson405 River Street South #12 Delano MN, [email protected]

Dr. Kristín Jónína Taylor18926 Ontario StreetOmaha NE 68130641 590 [email protected]

Rosemary Ames13 Travis Drive Framingham, MA 01702508 872 [email protected]

Liana Sandin, Artist Concert Manager6321 A StreetLincoln, NE 68510402 560 [email protected]

INTERNATIONAL CHAIRMEN

2017-2018FOUNDATION BOARD

2017-2020INTERNATIONAL EXECUTIVE BOARD

D I R E C T O R Y O F E XE CU T I V E O F F I C E R S

NOTICE OF CHANGE OF ADDRESS OR NAMEUpdate online at www.muphiepsilon.org

International Executive Office1611 County Rd B, West, #320St Paul, MN [email protected] 259 1471

MORE 2017 CONVENTION PHOTOS

Clockwise from above:Lacinda Blaswell, AnnDavis, and SherryLegler enjoy lunch;Isabel De La Cerdaand Wednesday Ball inpurple; a sign we allwish we had; baritoneMatthew Hochperforms at the HonorsLuncheon; MelissaEddy and Lane Velayohard at work.

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