OFFICIAL NEWSLETTER OF THE IWBC · 2019-02-03 · Thornton School of Music, An active freelance...

Happy New Year! As we recover from the holiday season, filled for many of us with brass playing, camaraderie, family, and late-night shopping, I’m reminded of our own conference, to be held at Arizona State University this coming May. Registration will open soon! Exhibitors and advertisers may register now on our website at http://myiwbc.org for ads and exhibit space. We thank everyone at our Baltimore and St. Louis Holiday Brass Concerts, from the army of volunteers to the musicians; you have outdone yourselves this year. Tickets are already selling for Holiday Brass 2019!

Do you make New Year’s Resolutions? For many, January is a time to determine anew to work on health and wellness, organization, and to make fresh goals for our lives. What else can we do? Consider mentoring a young student, volunteering with your local music and arts programs, and supporting your local musicians as they bring new music this upcoming season.

Stay connected with us by following us on Facebook, Twitter, and Instagram @IWBC_BRASS where I’m likely to appear in another silly video or two reminding you about conference happenings. We invite you to visit our website http://myiwbc.org for updates and to be sure your membership is up-to-date, and there you will find options for traditional paper or e-memberships available, as well as ways to donate.

I wish you the very best for 2019, and since it is an IWBC Conference year, we are sure to make it memorable. Plan on joining us in Arizona as we celebrate brass playing, music composition, encourage competition, seek out new ideas and viewpoints, and share our experiences. We are women and men. We are professional and amateur performers, students and teachers, brass players and beyond, from all walks

of life. Our mission is to educate, develop, support, and promote women brass musicians, and to inspire continued excellence and opportunities in the broader musical world.

Let’s make IWBC 2019 the best one yet! Stay tuned to our website for information on registration, housing, and more in the coming weeks. I look forward to seeing you there!

Best,

Dr. Joanna Ross HerseyPresident, International Women’s Brass Conference Associate Professor of Tuba and Euphonium: The University of North Carolina at PembrokeYamaha and Parker Mouthpiece [email protected], Twitter@JoannaHersey, Instagram@JoannaRossHersey, http://www.joannahersey.com

OFFICIAL NEWSLETTER OF THE IWBCwww.myiwbc.org Winter 2019 • Vol. 26, No. 1

From the President

In this IssueBrass In Balance #3 ............................3A Young Woman Trumpeter’s Perspective ...52018 Holiday Brass Concerts ................6Noteworthy News ..................................8Creating a Legacy ...............................11Spotlight on Yvonne Toll ......................12Remembering Joan Watson ................13 Facing Current Biases Against the Female Trumpet Player .......................14Remembering Rachel Duncan ............17IWBC Contributors...............................18

Yvonne Toll

Editors’ CornerJennifer Marotta - Editor Sandy Coffin - Assistant [email protected]

Articles and NoteWorthy News Submissions Please contact the editors for all potential article and NoteWorthy News submissions. The editors maintain final editorial rights over all materials. IWBC Website Address www.myiwbc.org

IWBC Online Membership Directory Membership directory is available on www.myiwbc.org. If you join online, you will be able to access this and other features when you sign in.

Membership Lauren Rudzinskas [email protected]

EditorialJennifer Marotta - Editor Sandy Coffin - Assistant Editor [email protected]

Website ManagerLana Lee [email protected]

Dues/Subscriptions Online: Go to myiwbc.org and go to “members” on the top bar. Click on “Join IWBC”. Or email:Lauren [email protected]

OFFICIAL NEWSLETTER OF THE IWBCIWBC PresidentJoanna Hersey is a native Vermonter. Joanna studied with Dan Perantoni at Arizona State University, received a Master of Music in Tuba Performance from the New England Conservatory of Music studying with Chester Schmitz, and earned her Doc-tor of Musical Arts in Tuba Performance from the Hartt School. As Principal Tuba with the United States Coast Guard Band, Joanna performed throughout the country as a soloist and clinician after winning the position at the age of nineteen. Joanna has played for three U.S. Presidents, performed at numerous state functions for visiting dignitaries, and has appeared on The Today Show and Good Morning America. In her freelance career, she has performed with artists including Placido Domingo, Roberta Flack, Marilyn Horne, Arlo Guthrie, Michael Bolton, Lee Greenwood, Arturo Sando-val and Jack Nicholson. Joanna is a founding member of the Athena Brass Band, a group first created for the 2003 International Women’s Brass Conference, which has since performed at the 2006, 2012, and 2014 IWBCs, and has been featured twice at the Great American Brass Band Festival in Danville, Kentucky. Joanna is currently Principal Tuba with the Carolina Philharmonic and the Carolina International Orchestra.

Editor Jennifer Marotta is an Assistant Professor of trumpet at the USC-Thornton School of Music, An active freelance musician based in Los Ange-les, she regularly performs with the Los Angeles Philharmonic, San Francisco Symphony, San Diego Symphony, Los Angeles Opera, Los Angeles Chamber Orchestra, L.A. Master Chorale, and the St. Louis Symphony. Marotta is currently a member of the Grand Teton Music Festival and the Music of the Baroque in Chicago. She was a member of “The President’s Own” United States Marine Band from 2001–2005. Originally from Naperville, Illinois, she earned her Bachelor of Music degree from Northwestern University and her Master of Music degree from DePaul University. Marotta was a visiting trumpet professor at UCLA in 2016, and was assistant professor of trumpet at Kennesaw State University from 2006-2012. She was also a visiting professor at Illinois State Univer-sity in 2006, and was an artist-in-residence at Emory University from 2006–2010.

Assistant Editor Sandy Coffin, trumpet, has performed throughout the US and Europe as a soloist, chamber musician, and orchestral player. She has presented recitals in 23 states, Spain, Italy, Austria, and Russia. She has pre-miered several works written for her, including Red Sky by Peri Mauer, A Cycle of Songs by Susan Kander, and Captivity by Lori Laitman. Sandy is a founding member of Prometheus Brass, a member of Gramercy Brass Orchestra, and an active freelancer in the Greater New York area. She also serves as Director of the British-style Brass Band at St. Hilda’s & St. Hugh’s School in New York City, and is currently working with the Scottish Brass Band Association on future collaborations. Sandy is the founder and Artistic Director of the “Music for Sum-mer Evenings” chamber music series at the landmark Grace Memorial Chapel on Lake George. Sandy has been the recipient of numerous awards, including a Watson Scholarship, an Aeiolian Fellowship from Oberlin College, and the John Clark Award for Excellence in Brass Performance from Manhattan School of Music. She earned a BA in Latin and a BMus in Trumpet Performance from Oberlin College / Conservatory, and an MM from the Manhattan School of Music.

Faye-Ellen Silverman Susan Slaughter Ginger Turner Kelly WatkinsHonorary Board of DirectorsClora BryantBarbara ButlerJoAnn FallettaLangston Fitzgerald, III Fred Irby, IIIJulie LandsmanEugene PokornyGerard SchwarzLeonard SlatkinGail Williams

Board of DirectorsVelvet Brown Daniel Burdick Amy Cherry Jan Z Duga Amy Gilreath Theresa Hanebury Nancy Joy Kana Madarame Natalie Mannix Jennifer Marotta Lynn Mostoller Laurel Ohlson Ava Ordman Gerry Pagano Marquita Reef Joanna Ross Hersey

OfficersJoanna Hersey, PresidentLaurel Ohlson, Vice-PresidentLynn Mostoller, Treasurer Amy Cherry, SecretaryGeneral Manager Lauren Rudzinskas [email protected] Director Amy Cherry Membership Lauren Rudzinskas [email protected]

Newsletter EditorsJennifer Marotta - EditorSandy Coffin - Assistant Editor [email protected] Design & ProductionDebra J. QuintonItsASnapDesign.comWeb Site: Website ManagerLana Lee [email protected] Site: Content ManagerSusan Rider [email protected]

Help IWBC GO GREEN!Go to myiwbc.org and sign up for the online version of the IWBC News- letter and help to save our planet.

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International Women’s Brass Conference

Brass In Balance #3Suggestions for better health

and balance in 2019By Amy Cherry

Welcome to the New Year-- that optimistic, overzealous time of making promises for the next twelve months. This edition of Brass in Balance presents reminders to attend to your individual well-being throughout the coming year. You will also find opportunities to promote better health and wellness in the broader musical community. My suggestions are offered in a calendar arrangement to line up with future or seasonal events, but any time is a good time to take care of yourself and support others around you. I hope the suggestions are helpful and, as always, I welcome your thoughts on topics we can discuss in this forum. Please send comments to [email protected].

January – Time for a Check-upAlthough a trip to the doctor’s office may not be your favorite excursion, scheduling the necessary appointments is an important step in addressing individual health matters. Before you jump into whatever it is you have promised yourself you will do in 2019, get checked out. And as part of that process, take time in the New Year to re-evaluate what medicines/supplements you are taking. During my work on this column, I have come to learn of colleagues who have suffered debilitating setbacks to their brass playing after having been prescribed common drugs used for the treatment of depression and high cholesterol. Many conditions require medications that may bring their own challenges; be your own best advocate and make sure you go over potential side effects of prescriptions with your doctor.

February – New proposal from Sarah Schmalenberger of the Brass Bodies StudyThanks to many members of the IWBC, over 500 people participated in the survey for the Brass Bodies Study on female-identifying brass payers! The investigative team has now launched the interview and content analysis phase of the study. Sarah Schmalenberger, the Principal Investigator of the study, will soon seek the collective wisdom of the IWBC to guide a final stage of inquiry. She and colleagues will post a survey link on the study page to query how brass players modify their instruments, find gear that helps support them, or work with instrument repair technicians and manufacturers. Coming in March, please log on to the BBS website: https://www.stthomas.edu/artsandsciences/research/brass-bodies/ and be sure to fill out the questionnaire. The IWBC will post a more specific timeline for the final stage of the study on www.myiwbc.org.

March – Work smarter, not harderFollowing on the heels of the study by Sarah Schmalenberger of exploring modifications musicians use to support their music making, take this month to examine your level of physical effort in supporting the instrument you play. Specifically, consider whether you could benefit from a new or different apparatus to remove some of the strain of holding up or playing your instrument. A study

by Kevin Price and Alan H.D. Watson in the September 2018 edition of Medical Problems of Performing Artists (Vol. 33, No. 3) entitled “Effect of using Ergobrass Ergonomic Supports on Postural Muscles in Trumpet, Trombone, and French Horn Players” determined that “statistically significant reductions (typically 15-30%) were present in many of the muscles when using the supports, though in some players they were much larger.” Even if the Ergobrass (www.ergobrass.com) system might not be for you, consider tools that can make the physical act of playing easier. Laurel Ohlson mentioned two items in the last edition of Brass in Balance: a foot block and the Tush Cush. A newer device helps trumpet players like me with small hands gain more control over the third valve slide (www.trumpetgapper.com). Or check out the variety of trombone grip supports available. Be proactive in finding the best arrangement for your body.

April – Spring CleaningUse this month to address the cleanliness of the equipment that allows you to make such wonderful music. Help your students clean their instruments by hosting a spring-cleaning event in your school, studio, or other suitable environment. Keep equipment working well by reminding students to clean mouthpieces weekly and instruments every few months, depending on the amount of use. Also take the opportunity to clean out the stacks of music that may have accumulated in your studio, your car, and especially your briefcase/bag – and encourage students to do the same. We should all lighten the loads we carry around and protect our bodies from misuse.

May – IWBC 2019 Conference at Arizona State University May 21-25, registration for IWBC 2019 opens in January

If you haven’t yet planned to attend, make your reservations now for the 2019 IWBC conference! The weather will be nice and warm and the host of the conference, Deanna Swoboda, has many great offerings in store. A group of presenters will focus on topics related to the health and wellness of brass players, including:Judith Saxton - Boosting your Brain/Body Connection: Rediscover excellence, ease,

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NoteWorthy: Winter 2019

and efficiency while playing, practicing, and performing.

Brian McGoldrick - Mental Health in Higher Education Music Student Populations: Relevant Data and Suggestions for ApproachSarah Stoneback - Cognitive Therapy for Brass PlayersBrianne Borden - Yoga for Brass PlayersSarah Schmalenberger - Brass Bodies: Understanding the Distinctive Physicality of Female Brass PlayersChristine Jones - Personal Development: A Holistic Approach to Leverage Peak PerformanceKaren Koner - Musician’s Health Tips for the Brass PlayerMiranda George - Understanding Performance AnxietyÉmilie Fortin - The Performer’s Body

June – Summer Reading Suggestions (theme for the month – overall self-care) - The Musician’s Way: A Guide to Practice, Performance, and Wellness

by Gerald Klickstein. Oxford University Press, 2009. - www.musiciansway.com

July – Summer Reading Suggestions (theme for the month – hurting and healing) - Notes of Hope: Stories by Musicians Coping With Injuries

compiled by David Vining. Mountain Peak Music, 2014. - Musicians in Motion: 100 Exercises With and Without Instruments

by Alexandra Turk-Espitalier. Zimmermann, 2017. - www.musicianswell.com

August – Summer Reading Suggestions (theme for the month – mental health) - The Balanced Musician: Integrating Mind and Body for Peak Performance

by Lesley Sisterhen McAllister. Scarecrow Press, Inc., 2013. - www.bulletproofmusician.com

September – Aiding Student Musicians through Marching Band SeasonMany of us will have brass students performing in high school and college marching bands during this month; we can offer support and suggestions to help them cope with the physical demands of this season. From overuse injuries to the uncomfortable horn angles we all witness during the marching season, students will need frequent reminders to care for their bodies and maintain balance in their playing. For an excellent read on ways to support your marching band students, see Chapter 16 of Nancy Taylor’s book Teaching Healthy Musicianship: The Music Educator’s Guide to Injury Prevention and Wellness. Oxford University Press, 2016.

October – National Protect Your Hearing Month and National Breast Cancer Awareness Month

Use this month to focus on two specific areas of wellness. If you haven’t yet reached the age for getting a mammogram, talk to your moms, grandmothers, aunts, and your friends, and support them in their efforts to get checked. For opportunities to contribute to the broader movement through fundraising or other means, visit:

https://www.nationalbreastcancer.org/breast-cancer-awareness-month.

Hearing health is fortunately gaining more consideration and you could use this month to reflect on what you are doing to protect your hearing. Have your hearing tested, invest in new earplugs, make sure you have a set with you for those non-musical situations (sporting events, movie theatres, etc.), and read up on resources dedicated to hearing health: - Association for Adult Musicians with Hearing

Loss (AAMHL) www.aamhl.org - Chasin, Marshall. (2009) Hearing Loss and

Musicians. San Diego, California: Plural Publishing Company, www.pluralpublishing.com

November – Enroll in a CourseTake advantage of the many opportunities available and dive into a course of study devoted to your wellbeing. Whether it is Alexander Technique, Feldenkrais method, bodymapping, meditation, yoga, or an offering at a local gym – get yourself involved in an activity to benefit your overall health and impact your music making. - American Society for the Alexander Technique

– www.amsatonline.org - Feldenkrais Method – www.feldenkrais.com - Bodymapping – Andover Educators –

www.bodymap.org

December – Tis the Season for loads of work!During perhaps the busiest month of all for brass players, be sure to care for yourself! Massage is one great way to relieve the strain of the season. Too many hours commuting to gigs, the stress of preparing the students for the Winter Concert, the choir director who has programmed every holiday tune known to womankind (and yes, would like the descant on every verse), can take a heavy toll. Do your best to make time for proper nutrition, exercise, and relaxation – and, if you don’t already have a practitioner you like, find a good massage therapist and enjoy a few moments of stillness.

Here’s to 2019 - full of music, good health, and better balance.

Be well!

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A Young Woman Trumpeter’s PerspectiveBy Madeline KinsellaWomen supporting women is not a new concept, but in my opinion, it is one that remains underutilized. We know that professional and personal networks of women empowering, promoting, and supporting women can change the current culture. As one of six females out of sixteen students in the University of Texas at Austin trumpet studio, I celebrate the fact that I am part of a school that welcomes and accepts women brass players. I am a sophomore at UT and am one of three females of the undergraduate trumpet players. In middle and high school, I was the only female trumpet player in my band section, as well as in the entire jazz band. Jazz is a field of music that lacks female instrumentalists, specifically in the brass department. However, there is a huge potential for change. I celebrate the fact that our studio has six females who support each other.

The photo above was taken directly after Tamara’s wonderful DMA recital given at the Butler School of Music. An important acknowledgment to make from this photo is that two of the women, Tamara and Rebecca, were in a trio that won second place in the ensemble division at the last IWBC conference in 2017.

As a freshman in the trumpet studio last year, the former professor of the UT trumpet studio, Professor Ray Sasaki, told me that “to be a successful female trumpet player, you have to be 30% better than your male colleague.” While Professor Sasaki did not like this reality, he used it as fuel to encourage and challenge me to be better and to be a successful female brass musician. I think trumpet is slowly becoming a more diverse field with more opportunities for women, but I believe we need to instill in young female musicians that all instruments can and should be

played by all people. I equate the stereotype of trumpet being male dominated to women in STEM careers. Society has been awakened to the fact that women can be computer programmers, engineers, and mathematicians, and this narrative is changing our culture. Women playing brass instruments is a similar situation. If we change the narrative that we give young musicians, we can change the male-dominated culture of brass musicians. Thriving female musicians such as UT’s Visiting Professor of Trumpet and former President of the IWBC, Marie Speziale, who was the first female trumpet player to play in a major symphony orchestra, serve as mentors, role models, and inspirations to females wanting to pursue their passion for music. Dr. Mary Ellen Poole, Director of the Butler School of Music, is another example of UT’s commitment to promoting women.As a young female, I am committed to building relationships and making connections with other women and men that support changing the current culture to one that welcomes women into the brass field, just as the University of Texas does.

From left to right: Madeline Kinsella (Sophomore), Jacey Rosengren (Freshman), Rebecca Ortiz (Senior), Rachel Spencer (Master), Chelsea Orr (Doctoral), Tamara Vaughan (Doctoral), and Marie Speziale.

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By Toni Stanley, Tuba The 27th annual Holiday Brass Concerts in St. Louis were held on the 3rd and 4th of December at the Manchester United Methodist Church, which seats 1,150 people. Once again, all four concerts were sold out. 4,600 people came as early as 75 minutes before the doors open, which is over an hour before the concert begins. These early arrivers were treated to a prelude of Christmas music performed by the Clayton High School Marimba Ensemble under the direction of Kim Shelley.

Musicians traveled from Kansas City, Missouri, Arkansas, Illinois, Kentucky, Maryland, Michigan, Ohio, and Washington, D.C. to participate in the concerts, which featured members of the Monarch Brass Tuba/Euphonium Ensemble, comprised of Angie Hunter and Gail Robertson on euphonium, and Stacy Baker, Velvet Brown, and Jan Duga on tuba. Some of the pieces performed were jazz treatments of traditional carols, arranged by Gail Robertson.

The program is made up of traditional sacred carols with Highland Cathedral as the one exception. This piece prominently features members of the Saint Louis Caledonian Pipe Band and is an audience favorite each year.

The year after year success of these concerts would not be possible without the 80 plus volunteers who set up/tear down several performing areas in various locations throughout the sanctuary, usher patrons to their seats, fill ticket orders, take tickets at the door, stuff programs...this list goes on and on...Thank you, volunteers!!!!!

This is the 16th year that I have had the privilege of performing in the Holiday Brass Concerts and it is truly my favorite job of the year. The music, the incredible musicianship, and the camaraderie is unparalleled.

I’ve been told by many audience members that attending the Holiday Brass Concert is key to helping get them into the Christmas spirit. I couldn’t agree more.

By Keely AbelnCommunity. Tradition. Joy. Pride. My 14-year old daughter, Kendal, and I were a part of the Holiday Brass Concert in St. Louis and these are the four words that sum up our incredible experience.

2018 Holiday Brass ConcertsSt. Louis Holiday Brass Concert

Community. From the start of the rehearsal to the last musician leaving, the sense of community amongst the musicians who came together to create this event was undeniable. Local St. Louis musicians as well as those who traveled from across the United States came together to create this special event. It is expected as a musician that you will pull together to create an experience for your audience, but this was more. The mutual respect and adoration amongst the musicians backstage and during breaks was part of the whole. Performers took time to strengthen old friendships and create new ones. They shared stories from past years at the Holiday Brass Concert, reminisced how they had met, and discussed family and future opportunities. The community of musicians was a reminder of the strength music has beyond notes.

Tradition. The Holiday Brass Concert is an annual event hosted by Susan Slaughter and her team. It draws in 11,000 concert-goers to the four-performance event. While lingering in the lobby for a bit to take it all in, I watched as families greeted one another before finding their seats, as well as old friends meeting to enjoy a concert that has become a tradition in their lives to begin celebrating the holidays through music and tradition.

Joy. Just sitting and absorbing the performances as groups popped up in

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by the brass, and Chris Schroeder on organ. Guest trumpet artist Nancy Taylor performed a beautiful set of Jewish songs with Thom King, cantor, and a duet on flugelhorn with Kelli Young. Nancy is Professor of Trumpet at the University of Texas at El Paso and a former member of “The President’s Own” US Marine Band.

Directing the players were Elizabeth Schulze, Music Director of the Maryland Symphony Orchestra ,and John Clanton, former director for the “Pershing’s Own” U.S. Army Band and Soldiers’ Chorus of the U.S. Army Field Band. and Soldiers’ Chorus of the U.S. Army Field Band. New this year was the appearance of the outstanding St. Paul’s Concert Chorale, under the direction of John Smedstad, and these young men were so loved that cries for their return in 2019 can already be heard. From a trumpet duet version of What Child is This arranged by Susan Slaughter, to music for tuba euphonium quartet and everything in-between, the programming was joyful and celebratory.

The beautiful Cathedral of Mary Our Queen was again our gracious host, and the team of volunteers who welcomed audience mem-bers, managed chairs and music stands, and organized the event’s many details deserve a

huge thanks. Event host and trumpeter Ginger Turner, newly retired from the United States Army Field Band, welcomed the audience with her thanks for their choice to share the beginning of the holiday season with the Holiday Brass. Thanks to the countless hours of work by the volunteers and the attendance of the loyal audience members, the 15th Holiday Brass rang out as always: strong, clear and bright. Plans for

next year are already underway, please visit https://www.myiwbc.org/upcoming-concerts for ticket information for 2019.

different areas of the sanctuary was joyful. It is a culmination of various mixtures of musicians who appear in the sanctuary, drawing the audience’s attention to a new musical moment. Listeners might experience a trumpet duet across the church by Susan Slaughter and Mary Weber, a brass choir at the front directed by Velvet Brown, or a rendition of Silent Night with musicians spaced around the entire church entering one at a time.

Pride. In the summer Susan Slaughter asked if Kendal and I would like to be part of this event. At the time I did not know anything about it, but I was pretty sure you don’t say no to an opportunity involving Susan Slaughter. On Dec. 2 we walked into the sounds and energy of an amazing group of musicians rehearsing. I was able to watch my daughter walk up on stage and take her seat next to Dr. Gail Robertson and Angie Hunter of the Monarch Brass. Our first real time playing together (other than the times in our kitchen) was with a choir of nearly 150, an ensemble of world class musicians, and being conducted by Susan Slaughter. And to bookend this amazing event, I watched as my daughter stood at the final concert with internationally known low brass musicians from the Monarch Brass. I felt pride for a daughter who herself was proud. I watched at that moment as my daughter caught a glimmer of what a life with music can be.

I am grateful for this unique opportunity and I am in awe of all the people and moving parts it takes to put such an event together. But most of all, I am thankful for the power of music giving me this moment with my daughter, and for the community, tradition, joy, and pride of which we played a small part.

Baltimore Holiday Brass Celebrates 15 YearsBy Joanna Ross HerseyThis past November the Baltimore Holiday Brass team of musicians and volunteer staff celebrated their 15th Anniversary Concert, opening the holiday season with voices in combination with brass, keyboard, percussion and bagpipes. This holiday tradition, begun in St. Louis by IWBC Founder Susan Slaughter, raises funds to provide scholarship and competition prize money, and to support projects such as educational initiatives with young musicians.

The 2018 line up of artists included some former favorites welcomed again, such as soprano Kelli Young and the Catonsville High School Steel Drum Band under the direction of Jim Wharton. One of the most anticipated parts of the program was the performance of Jean Gould and Laura Neville on bagpipes, accompanied

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Mississippi University for Women is pleased to announce its third annual Music by Women Festival on March 7-9, 2019, to be held in historic Poindexter Hall on the campus of the Mississippi University for Women in Columbus, Mississippi. The beautiful and circular Kossen Auditorium in Poindexter Hall dates to 1905 and is listed on the National Register of Historic Places. The festival will include papers,

presentations, lecture recitals, and performances all relating to the subject of music composed, taught, and performed by women. The festival will feature concerts of new and historic music written by women composers. Applications are made in advance through the submission of video, and the works presented feature all instrument and voice combinations, from tuba to clarinet, toy piano to tympani. Festival Director and pianist Julia Mortyakova welcomed her colleagues to her campus for the first time in 2017, and the festival grew by leaps and bounds during the second year; this third year promises to be the largest yet. IWBC President Joanna Hersey will be presenting the premiere of the tuba version of Elizabeth Raum’s Flights of Fancy, originally scored for clarinet, trombone, and piano. Registration for the entire three-day festival is $50. Join the excitement by visiting https://www.muw.edu/musicbywomen to view the schedule of events and for registration information.

NOTE- WORTHY

NEWS

IWBC WOMEN AT THE 2018 UNIVERSITY OF KENTUCKY SUMMER TRUMPET INSTITUTE

In mid-June, more than 65 trumpet players of all ages gathered in Lexington, Kentucky for the 2018 University of Kentucky Summer Trumpet Institute. Organized by

University of Kentucky trumpet professor, Jason Dovel, this annual four-day event highlighted a significant number of female trumpet players as faculty and staff, many of whom have IWBC connections. One featured faculty member was Marie Speziale, Professor Emeritus at Rice University and former IWBC President. Ms. Speziale led several hours of masterclass sessions throughout the week, guiding participants through orchestral excerpts, solo repertoire, rehearsal etiquette, practice tips, and more. Also on faculty was Dr. Raquel Rodriquez, host of IWBC’s 2014 conference at Northern Kentucky University and newly appointed Assistant Professor at the University of North Texas. Dr. Rodriquez led several masterclasses, conducted a trumpet ensemble, and performed Rodion Shchedrin’s In the Style of Albéniz and Astor Piazzolla’s Oblivion on a faculty recital. In staff leadership roles, Jenna Veverka, winner of the 2017 IWBC Mock Military Band Audition, served as on-site event staff and resident counselor, while University of Kentucky student Abby Temple and recent graduate Marisa Youngs assisted with the coordination of the institute. Of the participants, 15 women attended from various high school, undergraduate, and graduate school programs, representing nine different states. Participants took part in a number of classes and performed in the exciting final concert, featuring seven different trumpet ensembles which rehearsed throughout the week. The 2018 University of Kentucky Summer Trumpet Institute proved to be not only educational, but a truly inspiring event for all.

Women of the 2018 UK Summer Trumpet Institute. Source: Marisa Youngs Adjunct Professor of Trumpet, Winthrop University

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NOTE- WORTHY NEWS

By Abby Lannan The INTERNATIONAL EUPHONIUM AND TUBA FESTIVAL concluded its 2018 event and15th year with a record number of participants and artists from around the world. The annual week-long festival takes place at Emory University in Atlanta, Georgia. With 128 participants and 18 staff, artists, and teachers, the 2018 festival featured some of the most inspirational, hardworking, and passionate people that the tuba and euphonium world has to offer. Each year, the participants rave about being able to work closely with prominent tuba and euphonium players. Participants have the opportunity to take lessons, participate in masterclasses, perform in ensembles, and in competition. Each day is jam packed with amazing playing and learning opportunities. Participants get the chance to meet and collaborate with students from around the world, share meals with guest artists, and enjoy the scenic Emory campus.

The 2018 festival hosted students from around the world, including performers from Colombia, Brazil, South Africa, Japan, Canada, Thailand, and the Dominican Republic. IWBC President Joanna Ross Hersey was a featured tuba artist, performing Pete Meechan’s Land of the Living Skies with the Georgia Brass Band. In addition, host Adam Frey brought Øystein Baadsvik, Brian Bowman, Zach Collins, Richard Demy, Tormod Flaten, James Gourlay, Jukka Myllys, Thomas Rüedi, Aaron Tyndal, and David Thornton as featured artists.

In order to help fund attendance at the IET Festival, participants can apply for the Earle Louder Fellowship, a scholarship established in 2016 and supported by individual donors through the registered nonprofit, The Euphonium Foundation, to recognize Earle Louder’s accomplishments to further education. Participants apply with a personal statement, resume, video interview, audition and a statement of how they plan to share their new knowledge in their respective countries. Awards can vary

from $200 to $1,000. This year, six students were awarded the fellowship; of those, three were women from the Dominican Republic, Japan, and South Africa. Interested supporters can find more information at www.euphoniumfoundation.org and also make donations which help to continue to expand the number and quality of the scholarships.

The 2019 Festival dates are June 16-22, 2019, and it will again feature artists, private lessons, competition, ensemble performances, and low brass camaraderie.

IWBC President Joanna Ross Hersey performing Pete Meechan’s Land of the Living Skies with the Georgia Brass Band at the 2018 IET Festival.

Send your NoteWorthy News items to Jennifer Marotta and Sandy Coffin at [email protected]

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Launched on International Women’s Day 2018, the ongoing project aiming to champion women composers’ equality is a new destination platform for information and content spotlighting brilliant composers, past and present.

DONNE’s dedicated website features an online database of more than 4,000 women composers on the Big List page, providing further information for anyone who would like to learn a bit more.

Throughout the year, the website celebrates the women who are currently making their mark in society in the online series Composers of Today. DONNE also features the fascinating stories of so many forgotten women composers of the past with short video introductions on the Historical Composers page.

DONNE’s dedicated CD Collection will release 5 albums featuring only music by women in 2018-1019, extending the equality initiative to the recording market as well.

DONNE, Women in MusicGabrielle Di Laccio, Founder and Curator

MONARCH BRASS

A central part of the IWBC Mission is to assist and support young people as they strive toward a musical career. Perhaps because brass instruments are loud and declarative, they are a category of

instruments traditionally thought of as masculine. Many people expect a classical brass soloist to look a certain way, but perceptions can be changed. Monarch Brass, an ensemble made up of top female brass performers from across the world, was founded by Susan Slaughter to show what was possible. Twenty-five years later the women of Monarch are still bringing joy to audiences and working as educators across the nation.

The Monarch Brass was an honored guest for a very special performance at Montclair State University in Montclair, New Jersey. Members of Monarch joined student performers of the MSU Wind Symphony for the 2018 Beatrice Crawford Memorial Concert, thanks to funding from the Keating Crawford Foundation. The foundation brings performances to Montclair in memory of Beatrice Crawford, a Montclair musician and music director. MSU’s Alexander Kasser Theater hosted the event on December 9, 2018, featuring Monarch Brass, who opened the concert by performing the first half.

Leading the Monarch Brass was Sylvia Alimena, a horn player and Music Director of Brass of Peace, a high caliber student ensemble based in Alexandria, Virginia. Monarch performed Ascent to the Summit by Tara Islas, Phil Snedecor’s arrangement of Bring a Torch, Jeanette

NOTE- WORTHY

NEWSCombined trumpet section: Monarch Brass and Montclair Wind Symphony.

Isabella, then Ravel, Bach, and Wagner’s Götterdammerung. The finale of the first half was Christopher Mowat’s arrangement of The Christmas Song, featuring Amy Cherry and Ava Ordman. For the second half, Monarch members joined students in the Wind Symphony performing side by side, directed by Dr. Thomas McCauley, Director of Bands at Montclair. The combined group performed music of Turrin, Arnold, and Gorb, concluding the evening with the Alfred Reed classic, Russian Christmas Music.

Monarch next moves to Arizona State University to present the finale concert of the IWBC 2019 conference, hosted by Deanna Swoboda. The conference opens Wednesday, May 22 and concludes Saturday, May 25, and will feature exhibits, competitions, performances, panel discussions, composer forums, brass group reading sessions, and much more.

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After 21 years as a middle school music educator, I can definitely say it takes a village to create a musician. Directors find videos and recordings to show students where all of the beginning band wrong notes and repetition can lead. We tell stories of what is possible if they continue to lug their instruments back and forth every day. We model a rousing rendition of Hot Cross Buns on any instrument we can get our hands on to impress eager beginning band students. As crucial as these things are to the development of a musician, none of these extra resources compares to having a musician stand in front of your students performing music and sharing knowledge.

On December 5th after a busy three days of rehearsals and performances for Susan Slaughter and the Holiday Brass Concert in St. Louis, Missouri, three musicians became a part of many young musicians’ musical paths. Dr. Stacy Baker, Judith Saxton and Dr. Gail Robertson took the time to give a masterclass with students from three different schools in the St. Louis and St. Charles areas. Dr. Baker and Ms. Saxton went to Parkway South Middle School to work with low and high brass students from two area middle schools. Both worked with two groups for one hour each. Dr. Gail Robertson gave a two-hour master class at Francis Howell High School.

Dr. Baker performed a tuba piece that involved polyphonic sounds and a recorded accompaniment called Aboriginal Voices by Neal Corwell. She provided visualizers to all of the students and modeled proper embouchures. She discussed things to look for when playing and how to fix possible bad habits. Dr. Baker created an environment where students felt open to try new techniques. Days later a euphonium student who struggles with practice and goal setting was excited to produce the visualizer and tell his class about how he used it at home.

Ms. Saxton presented the importance of having a balance between your body and mind when you play. Director of Parkway Southwest Middle School Drew Davis said, “I was impressed with how Ms. Saxton engaged the students with the mental/emotional aspects of playing right from the start.” He went on to say how she stressed using the term “wind” rather than “air” because wind implies movement. The young musicians were excited with the hope of more master classes in their future.

Dr. Robertson worked with the high and low brass students, focusing on buzzing, wind-patterns, and articulation. Sophomore trombone, Chris Martin, and freshman euphonium, Kendal Abeln, performed solos for Dr. Robertson, who was able to work with them with a complete understanding of how to instruct and critique young players in an encouraging way. Kendal Abeln stated, “Dr. Robertson gave me suggestions on a better way to hold my euphonium. She complimented me on my tone, but suggested I practice more with a metronome. We were able to go more in depth about things for low brass that we never get to go over in class.”

As educators we will probably never fully realize the impact we make on students. There is no way to know what each student will hang onto and draw upon, but what we can do is share our talent, our experiences and our musical passion. Each opportunity we have to step in front of young musicians is a chance to have an impact on future players. It is an opportunity to influence our future instrumentalists. Thank you to these three musicians for their time, talent, and energy in creating a legacy.

Creating a LegacyKeely Abeln

www.drama-musica.com/Donne.html

This initiative has attracted the attention of many influential music institutions like the Royal College of Music, Royal Academy of Music, King’s College of London, City University of London, University of São Paulo, Oxford University, etc. It will continue the to grow the collaboration opportunities for the project and future recordings.

The project was featured extensively on the international media in 2018 since their latest research about inequality in music.

On the 1st January 2019, DONNE started a new venture called: Donne 365, and for 365 days this year (and hopefully for the next years to come), they will be featuring two women composers every day with links to their website and where to find their music.

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Professional Positions: • Principal Trumpet: The Atlanta

Opera Orchestra • Freelance Musician: Regular

sub with the Atlanta Symphony Orchestra and the Atlanta Ballet Orchestra.

• Previous positions include Instructor of Trumpet at GA State University, Emory University, Clayton State University, and Columbus State University.

Hometown: Altadena, CA

Education: • BM and BME: North Park University, Chicago, IL

• MM: Eastman School of Music, Rochester, NY

Biggest Influences: Luther Didrickson, William Scarlett, Barbara Butler, Charles Geyer

Most Memorable Musical Moment: As an undergrad: when I performed Verdi and Brahms Requiems in large cathedrals, Handel’s Messiah (David Thorburn, conductor), and soloed on the Arutunian with a local orchestra.

As a grad student: touring with the Eastman Wind Ensemble and Wynton Marsalis. Wynton gave me one of his gold- plated Schilke piccolo trumpets during our rehearsal in Carnegie Hall.

As a pro: there are several instances where a performance has been “magical”…moments where I have been touched to my core, beyond words, and many around me experienced the same. For me, these memorable moments have occurred

most often in church settings: sometimes during a trumpet and organ piece, in worship services/concerts working with conductor Ed Schneider and his choral groups (including a Tour to the Middle East -Jordan, Israel, and Palestine), as well as with Eric Nelson and his choral groups.

Several years ago I performed Mahler’s 2nd Symphony with the Atlanta Symphony Orchestra and conductor Donald Runnicles. When we were finished, many orchestra members left the stage “in awe” and I heard someone exclaim “this is why we studied music in school…these magical moments are far too rare, but tonight we experienced something special!”

Favorite Pieces of Music:

Mahler #1, Handel’s Trumpet Shall Sound, Beethoven #9, Bach b minor Mass, Brahms Requiem, Arutunian Trumpet Concerto.

Greatest Accomplishments: I feel blessed to have a career as a professional musician and private instructor. Performing a variety of music in different ensembles and venues is fun! The students I teach (4th grade-adult) inspire me regularly, and their joy/excitement when there is an “aha” moment…or a new high note, is contagious. Watching them experience success (big and small), and hearing of their growth into adulthood is fulfilling.

In 2015, I completed Ironman Chattanooga after training 9 months with a 48-person team, which raised $253,000 for the Leukemia/Lymphoma Society through Team-In-Training.

Words of Wisdom:

Work hard, live a life of integrity, take time to have fun, embrace your strengths AND your weaknesses, laugh at yourself, treat others with kindness, stay open and willing to learn from others, forgive others, forgive yourself, smile and laugh often, stay physically active, and treasure relationships with those who are most important to you.

Spotlight on…Yvonne Toll

Keeping in Touch at the IWBC Web SiteDo you have any professional news you would like to share? Would you like to list a job announcement? Please let us know, and we can put it on the web site (contact Susan Rider at [email protected]). The IWBC is here to serve, educate, and support you. Thank you for your continued membership!

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I attended my first IWBC symposium last summer and it was a fantastic experience. The concerts were top-notch and the range of lecture topics and activities kept me engaged from morning to night. I was particularly moved by the exhibit honoring our female brass pioneers, but there was one more name that I wanted to see among them, so I’d like to offer a personal remembrance of Joan Thelma Watson.

My first memories of Joan are of her as a brass class teacher when I was a starry-eyed undergrad at the University of Toronto. She led the class through many memorable (and hilarious) exercises, but one in particular sticks out. She asked everyone in the class to go around introducing themselves to each other by enthusiastically saying, “Hi! My name is ______, and I don’t give a $%^# what you think. Have a nice day!” If Joan and the rest of the class weren’t convinced by your efforts, you had to go back and do it again until they were. At that point in my life, I was pretty reserved and maybe a little too polite, and I remember my mild horror at having to say that to my colleagues. Looking back, I see the value in it. The point was not to be rude, but to develop a thick skin – to let go of our need for the approval of others, and to assert ourselves courageously. Joan trailblazed her own career path, finding success at every turn, and she inoculated us with what we needed to do the same.

Later on, after graduating with my master’s degree, I was undergoing some serious career anxiety. Joan had recently developed her Higher Notes career coaching program, so I decided to go for it. The course was very beneficial – she had students carefully examine all aspects of their lives and to create a clear vision for where they saw themselves in 5 years. It wasn’t enough to say “I want a job” – clarity of intention was

Joan Watson (1953-2015)By Marina Krickler

paramount. The highlight was being able to study with Joan intensively at her home over 5 days. She didn’t believe in one-off lessons, saying that she wanted to invest in each of her students in a lasting way. Joan and her husband Scott gave me hours of musical training and mentorship, while treating me as a fully professional musician. The impact on my playing and my mindset was enormous.

Joan Thelma Watson was one of Canada’s foremost horn soloists, principal players, and educators. She has been highly regarded as a consummate musician and skilled virtuoso. She served as Principal Horn of the Canadian Opera Orchestra, a founding member of the True North Brass Quintet, Associate Principal Horn of the Toronto Symphony Orchestra, and Principal Horn of the Esprit Orchestra, the Victoria Symphony Orchestra, the Pacific Opera, and Vancouver Opera orchestras. In 2010, she hosted the International Women’s Brass Conference in Toronto at Humber College. Joan lived with her partner-in-crime, J. Scott Irvine, in Owen Sound, Ontario, and passed away at the age of 61.

Joan touched the lives of so many men and women. In that spirit, I’d like to leave you with these three quotes of hers:

• “Personal alignment comes as a surprise to most people, but especially women. We seem to be trained to put others

CONTINUED ON PAGE 17

Remembering...

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Von Hoff and Schmid: Facing Current Biases Against the Female Trumpet Player

By Sarah Palmer

It isn’t common in current ensembles to find female trumpet players. Outliers such as the St. Louis Symphony have employed women as the Principal Trumpet of their orchestra, so clearly it is not as if women are not up to the task. This has been the case since the invention of the trumpet, and before the sixteenth-century, scientific beliefs discouraged women from creating any music, much less playing the trumpet. Even when society and science told women they should not play, there were two women, Johanna Von Hoff, and Elisabetha Schmid, who were paid to perform on the trumpet in the 1600s and 1700s respectively. These women are the start to a necessary education for the evolution of our society into one that does not discriminate trumpet performers based on their gender.

To analyze why women were not allowed to play music, one must consider previous medical science beliefs, as well as the social roles and expected societal behaviors women were meant to enact. Before 1543, when the Belgian, Andreas Vesalius, first started dissecting humans, the science of anatomy was mostly theoretical.1 Because the anatomy of women could not be seen, the medical science surrounding this topic was particularly speculative. The female sexual organs were thought to be the inverse of the male anatomy.2 Even slightly past the point where scientific discovery led to a more accurate depiction of the workings of the human body, moods and actions were still thought to be controlled by what Galen termed the four humours.3 These consisted of blood, phlegm, choler, and melancholy.4 If a man was acting weak for instance, he would be considered phlegmatic or melancholic. These symptoms were thought to be able to be caused by listening to too much music or spending too much time around women.5 It stands to pre-eighteenth-century reason then, that women performing music would have made the temperament of a man completely unbalanced. Thought of as the weaker sex, it would not have been permitted for women to have had the power to exert this sort of emotional control over men.

Another explanation for why women were not allowed to play was because at this time, a woman’s only societal role was to be a wife and mother.6 Anything that detracted from these roles was seen as preventing a woman from her duties to society. Additionally, women were meant to behave in a quiet, appropriate manner and were not meant to put strain on their delicate bodies.7 The trumpet directly contradicts this social norm. To play a loud instrument would have meant acting in a masculine manner. Requiring a woman to alter the shape of her face to produce an embouchure would have been seen as exerting too much work on her fragile body.8 To play trumpet at this time, women would have had to be in defiance of what was deemed acceptable by society as well as what was believed by the medical science of the time.

To get a better understanding of why these two women were allowed to play, one must delve into the changing political climate of the courts with which they were employed. Johanna Von Hoff was paid 20 gulden to play at the court of Emperor Leopold I in 1655,9 which was part of the Hapsburg lands in Austria. This was an area where several wealthy families elected a ruler as a sort of oligarchy.10 These families competed for attention and, therefore, were willing to fund extravagant musical productions in order to

1 Charles O’Malley, Andreas Vesalius of Brussels, 1514-1564 (Berkeley: University of California Press, 1964).2 Merry E. Wiesner, “The Female Life Cycle,” Women in Early Modern Europe, 2nd ed. (New York: Cambridge University Press, 2000), 60-1.3 “Four Humours,” A Dictionary of Philosophy, Macmillan, 3rd ed. (Basingstoke: Macmillan Publishers Ltd., 2002).4 Ibid.5 Kirsten Gibson, “Age, Masculinity and Music in Early Modern England,” Gender, Age and Musical Creativity (Surrey: Routledge, 2015), 49.6 Weisner.7 Leslie Ellen Aboud. “Playing like a girl: An analysis of the role of gender in trumpet performance,” (University Honors with Distinction thesis, University of Northern

Iowa, 2010).8 Stevie Fliciano, “Women Composers: From the Middle Ages to Present,” New York Public Library, June 27, 2013, accessed May 9, 2018, https://www.nypl.org/

blog/2013/06/27/woman-composers-middle-ages-present.9 Jean Bérenger, “The Austrian Lands: Habsburg Absolutism under Leopold I,” Absolutism in Seventeenth-Century Europe (London: Palgrave, 1990), 157-74.10 Ibid.

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do so. This would lead rulers such as Emperor Leopold I to employ bigger orchestras and hire a wider range of musicians to play for his court, such as Johanna Von Hoff. 70 years later in Württemberg, the orchestra hired Elisabetha Schmid in 1722, as well as several other female musicians.11 The Duke of Württemberg, Eberhard Louis, fought to gain the office of Archbishop even though it was not meant to be for him, so he could be harsher to his Catholic incomers.12 Because of this lack of religious tolerance, the Catholic instrumentalists who lived in the Württemberg court often traveled to a different court to attend religious services.13 This meant that many of the male musicians the Württemberg court’s Protestant cathedral would have needed for performances were not present. In their place, female musicians were hired.

It remains to be seen why these two women specifically were chosen. In the case of Elisabetha Schmid, she was the daughter of trumpeter Johann Christoph Schmid.14 She and her father were employed at the same time and paid 150 gulden each.15 One critique exists of her playing,

Schmid’s daughter…was graciously taken into service at the same time as her father. With her father or brother, who is in the Guard, [she] can play quite a few pieces on the trumpet; however, she understands very little in general about music. 16

Clearly, the fact that she was the daughter and sister of trumpeters in the court orchestra helped in her employment in 1722. A common theme surrounding female musicians in history is a critique stating their ignorance of musical education. This seems hardly fair considering the previously stated restrictions on women playing music, as well as the exclusion of women from receiving a music education.17 Conservatories did not accept women into their institutions until 1795, and so for a woman to receive a musical education, it would have to

come from home, hence the relation of women in music throughout history to their musical, male counterparts.18

Johanna Von Hoff seemingly goes against all of this. The only information written about her is that she was paid 20 gulden to play by herself for Emperor Leopold I of the Hapsburg court.19 It is interesting to note that she played a solo and not with an ensemble.20 This means she was specifically hired, rather than filling in for other instrumentalists. No information exists as to who she was related to and how she was given access to this opportunity.

The prevention of women from playing trumpet, and the lack of detailed records of those that did play, led to the stereotype

11 Ibid.12 Ibid.13 Owens, “Professional Women Musicians,” 33.14 Owens, “Professional Women Musicians,” 46.15 Ibid, 45-6.16 Ibid, 45.17 Karolina Kizinska, “Women Composers – as Emerging from the Shadows,” Meakultura, August 25, 2012, accessed May 9, 2018, http://meakultura.pl/publikacje/

women-composers-as-emerging-from-the-shadows-310.18 Ibid.19 Owens, “Professional Women Musicians,” 46.20 Ibid.

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that women did not play the trumpet. Typically, even in beginning band classes, girls are nudged toward instruments such as the flute and oboe, whereas boys are pushed towards instruments such as percussion and brass instruments.21 This extends to the professional symphony world now.

Only three percent of trumpet players in all major orchestras are female. The fact that women were excluded from orchestras purely based on their gender is evident in the introduction of blind auditions, which pushed the number of female musicians up from 10% to 35%. Yet still, only 35% of major orchestras are female. Music educators can help to change this percentage.

To do this, we must change how we educate music students in the future. While the current student will learn about male trumpet performers such as Bud Herseth and Chris Martin, they will not likely learn about female trumpet performers in the same positions such as Marie Speziale, Susan Slaughter, Karin Bliznik, and Amy McCabe.22 Teaching future trumpet students about these women will instill the realization that women are just as competent at the instrument. This, in turn, will create a society that no longer discriminates against trumpet performers based on their gender. Female composers and musicians are less often mentioned than men in the same roles. Educating students about these women changes future generation’s minds about who can be a musician, regardless of gender. Johanna Von Hoff and Elisabetha Schmid are the first in a long line of women who have performed on trumpet professionally, and they can be used as proof to change stereotypes.

Bibliography

Aboud, Leslie Ellen. “Playing like a girl: An analysis of the role of gender in trumpet performance.” University Honors with Distinction thesis, University of Northern Iowa, 2010.

Bérenger, Jean. “The Austrian Lands: Habsburg Absolutism under Leopold I.” Absolutism in Seventeenth-Century Europe. London: Palgrave, 1990.

157-174.Cusick, Susanne G. “Figiuola del celebratissimo Giulio Romano.” Francesca Caccini at the Medici Court: Music and the Circulation of Power.

Chicago: University of Chicago Press, 2010.Fliciano, Stevie. “Women Composers: From the Middle Ages to Present.” New York Public Library. Last modified June 27, 2013. Accessed May

9, 2018. https://www.nypl.org/blog/2013/06/27/woman-composers-middle-ages-present.

“Four Humours.” A Dictionary of Philosophy. Macmillan.3rd Ed Basingstoke: Macmillan Publishers Ltd., 2002.

Gérard de Rayneval, Joseph-Mathias. Institutions au Droit Public d’Allemagne. Strasbourg:

Bauer & Cie, 1771.Gibson, Kirsten. “Age, Masculinity and Music in Early Modern England.” Gender, Age and

Musical Creativity. Surrey: Routledge, 2015.

Haynes, Bruce. The Eloquent Oboe: A History of the Hautboy 1640-1760. London:

Oxford University Press, 2001. 277.Kendrick, Robert. “Monastic Musical Traditions.” Celestial Sirens: Nuns and Their Music In Early Modern Milan. Cotswolds: Clarendon Press, 1996. 128-136.Kizinska, Karolina. “Women Composers – as Emerging from the Shadows.” Meakultura.

Last modified August 25, 2012. Accessed May 9, 2018. http://meakultura.pl/publikacje/women-composers-as-emerging-from-the-shadows-310.

Marines. “Gunnery Sergeant Amy McCabe.” The President’s Own United States Marine

Band. Accessed May 9, http://www.marineband.marines.mil/Members/Musicians/Brass/Trumpet-and-Cornet/.

Miller, Sarah. “Long run is Ending for SLSO’s top trumpet Susan Slaughter has been a

Pioneer.” Last modified September 20, 2009. Accessed May 9. https://stltoday.co m/entertainment/long-run-is-ending-for-slso-s-top-trumpet-susan/article_c554c6e2-32b7-53a7-9e1b-7f39070bf10d.html.

O’Malley, Charles. Andreas Vesalius of Brussels, 1514-1564. Berkeley: University of

California Press, 1964.Owens, Samantha. “Professional Women Musicians in Early Eighteenth-Century

Württemberg.”Music & Letters. Vol 28. No 1. London: Oxford University Press, 2001.

Owens, Samantha Kim. “The Wurttemberg Hofkapelle c. 1680-1721.” PhD diss., New

Zealand School of Music, 1995. Ryan, Holli. “Shepherd School of Music bids farewell to retiring professor Marie

Speziale.” International Trumpet Guild. http://trumpetguild.org/content/itg news/264-shepherd-school-of-music-bidsfarewell-to-retiring-professor-marie speziale.

Wiesner, Merry E. “The Female Life Cycle.” Women in Early Modern Europe. 2nd ed.

New York: Cambridge University Press, 2000.

Youngson, R. M. “humours”. The Royal Society of Medicine Health Encyclopedia. 2nd ed.

London: Bloomsbury, 2000.

21 Aboud, 1.22 Aboud, 4.

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first (perhaps it is in our DNA). It takes courage and conviction to keep ourselves aligned and daily focus. Please be kind to yourself and start NOW. Agreements we make with ourselves are actually the most important ones to keep. You will develop a trust and confidence in yourself that will be very rewarding.”

• “Why would someone want to hire you over anyone else? What strengths can you now bring to relationships, orchestras, team members, coaching clients, and students? Emotions are what connect people. We are all attracted to passionate, happy people.

Remembering Joan Watson

I will always remember the day we met when moving into our shared apartment in Evanston at the beginning of my junior year and the start of Rachel’s master’s degree at Northwestern University. We had never met each other, so before move-in day, I naturally did some research (Facebook stalking) and was immediately intimidated. The first thing I noticed was how beautiful she was. Literally every

picture of her was gorgeous - her fiery red hair, beautiful brown eyes, and beaming smile took over every photo. She was also clearly a very accomplished trumpet player, having just completed her time at the Curtis Institute and just about to begin studies at NU. So on move-in day, I was pretty nervous to meet her. It took me all of 2 seconds to learn that, while all of those things I concluded from my Facebook research were true, she was also kind, approachable, easy to talk to, silly beyond all heck, and that she was going to be a great roommate and friend.

As a musician, Rachel was a star. Her sound on the trumpet was unlike anyone’s I had ever heard - warm, lyrical, comforting, personal, like it was coming from the deepest parts of her soul. Music was a part of her in such a natural and unique way, a way that can’t really be described in words. As a colleague, Rachel was the best there is. She was a natural

You can be one of those people no matter where you are. You will lift up the energy level wherever you go. Musically, personally, and financially.”

• “The only thing you have control over is your level of satisfaction. That way, no matter what, you come away with a sense of accomplishment and contribution. Your success is inevitable!”

leader in a quiet and respectful way, but also always a collaborator and wanted everyone’s ideas to be heard, all while managing to bring positivity and joy to everyone’s experience. When she was creating music, whether as a teacher or as a performer, you knew that was where she was meant to be.

Losing Rachel has been such a tremendous loss for so many people. Personally, I lost one of my very best friends and favorite people. I will be forever grateful for our time together and the memories we shared - long talks in our pajamas on our kitchen floor, pizza and wine nights, our mutual love for dogs, our time playing music together, being a part of her gorgeous wedding, and having her there to hold my hand at my wedding. Those are memories I will always cherish. She had such a beautiful way of connecting with people that was so personal and honest, and all of us who have known her, either as a colleague, mentor, friend, or even a passing acquaintance, are better people because of her. The world lost one of its brightest lights when Rachel left us. We love you, Rachel. Rest in peace.

CONTINUED FROM PAGE 13

Remembering Rachel DuncanBy Anna Spina

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Bravo Circle $1000+ Anonymous In Memory of Adelaide Cherbonnier Dr. and Mrs. Grady Hallman International Trombone Association Dr. Ann Johanson Carole Klein Julie Landsman Barbara Liberman Maurine Magliocco Allen Myers Puffin Foundation Ltd. Carole Dawn Reinhart Richard and Mary Ann Shaw* Susan Slaughter Julia Studebaker David Takach Ms. Phyllis R. Tirmenstein, Roland Quest Memorial Fund of the St. Louis Community Foundation

Benefactor’s/Patron’s Circle $200-999 Anonymous Stephane Beaulac Katelyn Benedict Amy Bowers* Velvet Brown* Daniel Burdick Stephen Chenette Amy Cherry Abbie Conant Ryan Darke* Jan Duga Steven Duncan Joan Fann* Langston Fitzgerald III* Amy Gilreath Major Betty Glover* Theresa Hanebury Jason Harris Christine Hayes* Joanna Hersey Thomas Hooten Maureen Horgan* Fred Irby III* Nancy Joy Robert Lischer* Kana Madarame* Jennifer Marotta Arthur & Barbara McDonnell Malcolm McNab James Miller Beth Mitchell Kristy Morrell* Lynn Mostoller Jeffrey & Nancy Neville Laurel Ohlson* Ava Ordman Jan Owens* Marquita Reef Rob Schaer* Faye-Ellen Silverman Marie Speziale Phyllis Tirmenstein* Ginger Turner James Wilt

Supporter’s Circle $100-199 Charline Bambauer Cliff and Bunny Blackburn Mary Bowden Karen Caffee Chapter IF P.E.O. Sisterhood Robert Coil Robert Feller Shannon Gunn Steven Hendrickson Jan Holland Anna Jacobson David LaMont John Leipprandt Jean Leonhardt Laura Lineberger Morris Northcutt Ross & Donna Osiek Lydia Reinebach Susan Rider Julia Rose Douglas Rosenthal Judith Saxton Gail Smith St. Louis Low Brass Collective Jeffrey Strong Tom Swietlik* Kelly Watkins Dorothea and Lawrence Weeks

Donor’s Circle Up to $99 Nicole Abissi Saeed Abuwi Cynthia Allen Tracey Allison Katy Ambrose Annie Amen Kate Amrine Brielan Andersen Andrew Anderson Carlos Aragon Joy Archer Bravin Marcelyn Atwood Chantal Aubin Lilly Aycud Noreen Baer Ann Baldwin Hinote Susan Banks Austin Barney Susan Bartlett Morgan Bates Craig Beavers Lauren Becker Samantha Beemer Lisa Bergman David & Pat Berner (In Honor of Susan Slaughter) Lauren Bernofsky James Bicigo Philip Biggs David Binder Carrie Blosser Siana Bobst Peggy Bode Rebecca Boehm Shaffer Victoria Boell Mr. Lynn Bogovich James Boldin

Amanda BolgerJulie BoltzLisa BontragerEmily BorraKatie BossJanelle BradshawJoan BriccettiZach BridgesRae BridgmanMargaret BriscoeJulia Broome-RobinsonCentria BrownCynthia BrownBlaine BrubakerSteven BryantMary BurroughsBonnie CallahanStephen CannistraciDouglas CarlsenLauraine CarpenterMaurice CarrettaElizabeth CarvellMichelle CaudillChristina CavittLigia Chaves-RasasYi-Ching ChenSandra ChesnutCindy CholeMeagan ChristyEdwarf & Judith ClevelandBrenda ClarkAnita Cocker-HuntSandy CoffinMichela CompareyLanette ComptonBeth CooperEdmund CordRachel CoreMarybeth Coscia-WeissKathryn CoxKatie CoxAl & Marilyn CoxonLorna CraftonJustin CroushoreMargit CsökmeiAshley CummingLauren CurranSara CyrusPamela CzekayDavid DashHayley DaubDeAunn DavisJean DavisJo Dee DavisWhitney DavisBrooke DeArmanCecilia DeFurianniNatalie DeJongArden DelaceyJulia DennisLorenzo DiazDerek DillmanAdrienne DoctorMichael DoratoBryan DoughtyMary Jo DouglassJoan DowlinRose DoylemasonErica DrakeMr. & Mrs. Derick DriemeyerFrances Duffy

Chasse DuplantisLauren EberhartJo Anne EdwardsArlie & Laverne EhlmannLauren EisenreichJoan Marie EngelRebecca Epstein-BoleyJennifer EspinozaJoan EssenJustin FelicianoAmanda FiccaDanielle FisherSusan FleetJoshua FlemingM. Elizabeth FlemingKelley FletcherRyanne FlynnLin FoulkKristen FowlerJennifer Fox OliverioJustin FraserMeredith FullerJoseph FuttnerLisa GalvinMarrianne GarbuttJena GardnerReese GardnerMary GarzaNichole GatesMirella GauldinFrank GazdaGE FoundationSarah GillespieGina GillieCasey GoldmanBetsy GowanWendy GrasdahlPeggy GravesDavid GreenwoodJoAnn HahnKellyn HaleyValerie HamburgMargaret HamiltonDarcy HamlinLauren HarrisCharity HarterSaya HashinoSarah HaylettLacey HaysClayton HeathBrittany HendricksEric HensonJacqueline HerbeinFiona HerbertSarah HerbertCarl & Jan HermannBrandon HessBetty HilbrantLaurel HinkleTiffany HofferPamela HoffertCecily HoffinsAnne HouserMichele HowardSharon HuffBarbara HullLauren HuntAngie HunterBarbara HunterBeatrice HuskeyLauren Husting

Contributors

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Soley Hyman (In Gratitude Toward Susan Slaughter)Bente IllevoldTara IslasErika IzaguirreMarge JardonNaomi JarvisJennifer JesterAngela JohnsonBetsy JonesKatie JordanJeanette JosephJulie JosephsonMike and Leslie JuengerBrighin Kane-GradeKenkichi KawadaSarah KeckAaron KeisterTeralyn KeithDiane KelchnerJane KellyDavid KennedyJudith KennedySusan KilmartinPriscilla KingJen KirbyMerrie KlazekBrittany KleverSheila KlotzElisa KoehlerAdrianna KoreyHoward and Dale KormanCatherine KozubMarina KricklerGreg KuhnSusan LaFeverLori LaidlawSamantha LakeCarina LamJoyce LangguthFrancesca LarsonBrittany LaschAmy LassiterMichelle LatoufIsabelle LavoieAna LeachJane LeachJeanie LeeNelda LeeJessica LeightonCharlotte LeonardGail LewisK. Michelle LewisSara LewisKarenann LibbyKirsten Lies-WarfieldPreston LightSheryl Linch-ParkerJeannie LittleBobbie LockeSharon LoganJackie LordoCheryl LovinskyJoseph LovinskyBrenda LuchsingerMargaret LudewigErik LundquistAdam MalarichAbigayle ManciniNatalie MannixErica Marianni

Jeremy MarksZachary MarleyNancy MartiCasey MartinMayeli MartinezRyan MasottiWendy MatthewsMary MauleTheresa MayAmy McCabeClaire McCallAnn McCandlessSandra Anne McCauslandCourtney McCombAudrey McConnellKyam McCormackBeth McDonaldHeather McDonaldEmily McGinnisKathleen McGowanJulia McIntyreCaiti Beth McKinneyTamara McLaughlinAnne McNamaraVelva McPhersonMisa MeadMarilyn MeadowsLisa MehringerJoan MellNoah MennengaMarilyn MermoudCody MessersmithDon & Vivian MeyerStacie MickensBenjamin MilesKarna MillenNoa MillerSamuel MinkerMargaret MoranRuth MorrisSarah MorrisDonald MortonGabrielle (Gabe) MuellerNicole MuffittTyler MurrayBeth NataliAmy NelsonDeanna NelsonDenise NelsonKayla NelsonAndrea Neumann RodriguezMary NewbauerFlora NewberrySarah NietupskiMahasin Nor-PomaricoCarole NowickeJoy O’DayYukari OguriBarbara OldinRebecca OrtizChris OstendorfAbigail PackRebecca PalmerLucy PankhurstMichael ParkerDonna ParkesErin PaulSarah PerkinsMilton PerkoAmy Peterson-StoutTom Pfotenhauer

Bruce PhillipsMorganne PiestrakNicholas PietuszkaJulia PilantSally PodrebaracRebecca PolgarJennifer PresarHollie PritchardKate PritchettZachary ProwseBarbara PrughJustin PughChristine PurdueMary Ann QuarryJacquelyn RahmMichelle RakersVictoria RakusJane RandStacy RapachLeila RasasMary RassieurMargaret RennekampKaitlyn ReslerCarrie RexroatRachel RichardsAustin RichardsonDoug RiggsJacinda RipleyLeroy RobertsGail RobertsonKat RobinsonJulie RochusRaquel RodriquezJohn & Kathleen RorrisRichard RosenbergerMichael RossCarol Ross-BaumannDaniel RowlandPhyllis RussellLouis RussoBrianna RzucidloJessica SawallAnne ScharerAmy SchendelBruce & Betty SchermenLauren SchiffSarah SchmalenbergerLinda SchneiderKatherine SchultzAmy Schumaker BlissLucas SchurmanSuzanne ScottAlexander SerioMaria SerkinCharles ShafferAlison ShaimanRahat SharifLaura Shea-ClarkJudith ShellenbergerAlice ShieldsKelsey ShieldsStacy SimpsonSally SkillmanAlexis SmithGail SmithJanet Carol SmithJanice SmithStephanie SmithPamela SmitterJessica SneeringerEllie Snyder

Michelle SonmorCora SowerRebecca SpadeMary Jo SparrowHaley SperryRachel SpidellTheresa StaerkerDawn StephensShulamit SterninCecelia StevensShannon StewartSarah StonebackDonald & Helen StreettApril StrongMoriah SultesJoy SulzerMegan SzypulaAmanda TaborVictoria TamburroMaddy TarantelliDebra TaylorNancy TaylorSamantha TerryKatie ThigpenRachel ThomasMary ThompsonMary ThorntonCarolyn TillstromLouise TitlowRebecca TopperJulia TownerIrene TravisAnthony TriplettJulia Tsuchiya-MayhewLori TurnerEricka Tyner GrodrianNatalie UptonThomas UrichDebra ValdesElisabeth VanneboTamara VaughnMelody VelleuerSandy VernerJenna VeverkaJulie VishSidonie WadeAlicia WaiteAlexander WaldenErin WehrPatricia WellsJane WenzelSharon WeyserJennifer WhartonEmily WhittakerDorothy WilkesMelissa WilliamsDawn WilsonEmily WilsonLyndsie WilsonAaron WitekKate WohlmanCathie WolfeBarbara WolfertTami WoodMyra WottowaMorgan WynnJames ZimmermannKimberly Zoeller

*Denotes Board Member

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PAIDSaint Louis, MOPermit No. 2631OFFICIAL NEWSLETTER OF THE IWBC

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OFFICIAL NEWSLETTER OF THE IWBC · 2019-02-03 · Thornton School of Music, An active freelance...

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