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COLLABORATION
TRIANGLEVOLUME 112, ISSUE 1, SPRING 2018
INTERNATIONAL PROFESSIONAL FRATERNITY FOR THE ADVANCEMENT OF MUSIC IN THE COMMUNITY, NATION, AND WORLDTH
E
COLLABORATIONThe Art of
Collaborative Piano ABCs of concertplanning, Part 2
Eta Delta Chapter Installed
features 4 The Art of Collaborative Piano Often underappreciated, always in demand
6 Jeannine Wagner: Choral Leader and LegacyThoughts about her famous father and how he shaped her own work
12 ACMEABCs of concert planning, part 2
11 Goethe "Erlkönig" Settings by Schröter, Reichardtand Schubert
2016 Musicological Research winner
14 Open Position - International Editor Applications accepted through June 30
15 Chapter News Eta Delta installed; two chapters reactivated
17 Chapter Anniversaries
columns 8 International Corner: The Heart of Italy10 Collegiate Connection: Thoughts for Grads11 Alumni Corner: Year One
departments 3 President’s Message18 Applause / Encore20 Final Notes, Members Remembered22 District Directors Directory23 Executive Officers Directory
contentsSPRING 2018 | VOLUME 112, ISSUE 1
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:Fall — August 15Winter — December 1 Spring — February 15Summer — May 1
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 112, Issue 1)
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: Collaborative pianist Rebecca Sorley atwork. Photo courtesy of the artist.Page 10: © Bradcalkins | Dreamstime.com Graduation Cap PhotoPage 12: Vintage vegas show typography. ©Hobbitfoot | Dreamstime.com Page 13: Neon font text. Lamp sign. Alphabet . Vectorillustration © Hobbitfoot | Dreamstime.com Page 14: Office chair with a WANTED sign, ID26123524 © Yong Hian Lim | Dreamstime.com.Page 17: Violets, Credit line: © Captainzz |Dreamstime.comPage 18: Music, clef Credit line: © Christine Krahl |Dreamstime.com.Page 22: The musical notes with the G-clefCredit line: © Dannyphoto80 | Dreamstime.com.
Mu Phis know how to have fun! Photo by Paula Palotay.
SPRING 2018 | THE TRIANGLE 3
Mu Phi collaboration: onstage and beyond
Our fraternity runs on collaboration. No one person does everything;we have a team that works together to provide the most benefits forour members while continuing to serve our schools and communitiesthrough music. Why? Because we share the ideals upon which ourfraternity was founded: the advancement of music in the community,nation, and world through promotion of musicianship, scholarship,therapy, and education, with an emphasis on service through music.
Lately, I’ve noticed how the Mu Phi spirit of partnerships andcollaborations are at work at the local level. Take for example thecomposition major who was commissioned to write a piece for a localalumni guitarist. What an opportunity for the collegiate! And thenthere is the member living on the west coast who opened her home toan artist from the east coast for a recital. A collegiate coming to a newcity for an opera workshop, without housing, is offered a place to stayfor the length of the workshop through the local alumni chapter. Avisiting artist is housed with a fellow member for several monthsduring the rehearsal and performance of an opera. The list goes on andon.
What makes these and many other examples so special is they allinvolve Mu Phi members. We talk a lot to our new members about thenetworking opportunities available to them, forgetting sometimes thatthe smallest examples of assistance can be a big part of makingsomething work out just right. It’s so easy to help other members andso gratifying for everyone. Keep your ears and eyes open foropportunities to offer or ask.
A recent survey asked why people aren’t working together in music;53% reported they could not find anyone to work with and 33%reported they had no money to pay someone. The good news is that43% of respondents said they used connections and friends in theircollaboration efforts. With the various social networks available(YouTube, Google, LinkedIn for example), it’s easy for a Mu Phimember to contact other members across the country. Ourmembership overflows with brilliant musicians in all fields, and weshare with each other in so many ways. Never underestimate howmuch your simple gifts can support and assist another member.
Lane Velayo, new member and INEST, is always looking for ways forus to work together. The IEB annual meeting will be held inIndianapolis this summer, so we are partnering with the Indianapolisalumni chapter and two local collegiate chapters (Kappa and Beta Psi)and coordinating with the Foundation to present 2017 internationalcompetition winner Katsuya Yuasa in concert while we are there. Talkabout collaboration! That’s a lot of Mu Phis coming together to presentto the wider Indianapolis music community an artist who exemplifiesthe artistry and talent of a Mu Phi member.
Speaking of the IEO, many of you have had theopportunity to speak with Jess LaNore when you call.He is working with Lane and concentrating on MuPhi Epsilon. Those of you who have already workedwith Jess know that he will do what it takes to helpyou. We’re lucky to have him as part of our team.
Rosemary AmesInternational President
P R E S I D E N T ’ S M E S S A G EROSEMARY AMES | INTERNATIONAL PRESIDENT | [email protected]
Read aninteractive version
of this issue online at
muphiepsilon.org!
Triennial Theme: 20/20 Vision
20192018
22
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Pianists who excel incollaborations withother musicians areoften undervalued,but their skills arenumerous, goingbeyond excellentmusicianship andtechnique. A talentedcollaborative pianistcan highlight theperformance of asinger orinstrumentalist aswell as assist them
through memory, rhythm, and pitch issues. Often notappreciated unless something goes awry, the faithfulpianist is there to help encourage the soloist in bothmusical and emotional ways. While solo piano workis available, skill in collaboration with soloists andensembles creates many more opportunities for thepianist. Opera companies, high schools, anduniversities are often looking for pianists to workwith their performers and students, and beingprepared with the right skill set can provideimportant job prospects.
Extraordinary facets of musicianshipTraining in collaborative piano includes many facetsof musicianship not ordinarily emphasized in theapplied lesson. Sight-reading is perhaps the mostimportant of these skills. Auditions for ensembles,operas, and musicals often require an accompanistwho can play at sight some very demandingrepertoire. Collaborative pianists who work withchoirs must be able to read open score and play anycombination of vocal parts. Taking an orchestralscore and making it a valid pianistic work is also avaluable skill. Orchestral reductions for voice orinstruments often include the majority of theorchestral parts without considering how they might
sound on the piano with just ten fingers. Thecollaborative pianist must therefore developknowledge of transposition and understandingtransposing instruments.
A good collaborator knows when to take the lead andwhen to follow the singer or instrumentalist. In allmusical collaborations, there are foreground andbackground moments for the pianist, and it is vital toknow which is which. Some accompanists are hesitantto take the limelight in a foreground moment, butbringing out solo lines in theaccompaniment partactually assists thesoloist and makesthem feel more likean ensembleparticipant.
SupportingidiosyncrasiesandinexperienceKnowing theidiosyncrasies ofvariousinstruments is alsoimportant. As thewife of a brass player, Iunderstand the need forthe instrumentalist to dump their“water” occasionally, and as an accompanist I havebeen known to increase the amount of ritardando toaccommodate this action. Knowledge of instrumentalranges is valuable to understand the dynamiclimitations of an instrument’s register and how toadapt the piano part accordingly.
Performing with an experienced soloist is alwayseasier than working with a novice. A less-experiencedsinger or instrumentalist may or may not follow
COVER FEATUREby rebecca sorley | 4th vp/music advisor | [email protected]
Skill incollaboration with
soloists andensembles creates
many moreopportunities for
the pianist
THE ART OFCOLLABORATIVE PIANO
composer suggestions, even those related to basicnotes and rhythms. The accompanist might need toemphasize certain pitches in a chord to help withintonation, bring out downbeats to help the soloistfeel the beat more strongly, or be prepared to skipbeats if the soloist loses count or gets anxious duringrests. In addition, helping the soloist feel confident byoffering emotional support and encouragement isoften a part of the collaborator’s role in achieving thebest possible performance. The pianist who can workwith beginning soloists and help them create asuccessful performance is a true gem.
Collaborative piano as gift, legacy, and artOn a personal note, I have served as a collaborativepianist since fourth grade. It was then that myelementary music teacher suggested that I played thepiano better than I sang and would be of more helpaccompanying the choir. At the time I took this as asnub of my singing, but I am now appreciative of theearly start I received in collaborating with othermusicians. Later, I began as a staff accompanist atthe University of Indianapolis, working with studentsof all levels and every instrument; now I am thecoordinator of staff accompanists.
The late Past International President Marian BowkerDavidson recognized the need to honor and supportcollaborative pianists when she established theannual fraternity award that bore her name. Since1993, the Marian Bowker Davidson CollaborativePiano Award helped many talented artists developtheir accompanying abilities. The award was meant to
help recipients refine their performance skills, pursuenon-academic study, or carry out a special project incollaborative piano. Mu Phi Epsilon has been able togive this award each year through Marian Davidson’sgenerous personal gifts to fund it.
Marian passed away earlier this year (see page 21)and, sadly, the fraternity is unable to offer the awardin her name this year. Mu Phi Epsilon wishes tohonor Marian Davidson – and the collaborativepianists she admired – through a “Continuing theLegacy” campaign to support the Davidson Award foryears to come. Please consider contributing to thiscampaign! You may send your gift to the IEO office ordonate securely online at muphiepsilon.org, withDavidson Award clearly designated.
A talented, well-prepared collaborative pianist canmake a soloist or ensemble sound their best.Confidence that the pianist will solidly support theensemble can help make the solo instrumentalist orpianist feel comfortable in a performance.Collaborative piano is truly an art to be developed inyoung pianists and valued by all.
SPRING 2018 | THE TRIANGLE 5
Collaborative pianist Allegra Sorley (Beta Psi) accompanies a singer.
Los Angeles native Jeannine Wagner (Phi Nu, Los Angeles Alumni) is founding conductor of The Wagner Ensemble,conductor of the Roger Wagner Chorale, and a church choir director. She was assistant director of the Los AngelesMaster Chorale for ten years, has been a guest conductor for numerous ensembles in the U.S. and abroad, and hastaught at several institutions. As a singer, she has toured the world withvarious ensembles and has performed or consulted in over eightymotion picture and television soundtracks.
You’re the daughter of legendary choral conductor RogerWagner. How has that relationship shaped your own career?My father was in charge of my music education. He arranged pianolessons for me at age three after he discovered I had perfect pitch. WhenI was a teenager, he encouraged me to take up a string instrument (Ichose viola) and he also sent me to a voice teacher. He sought ascholarship for me at Marymount College where he was teaching. Istarted singing with the chorale there and in his church choir at ageeighteen. He relied on me to be a substitute conductor at the churchand at the school when he had to be away. Eventually I also became hisassistant with the Roger Wagner Chorale and the Los Angeles MasterChorale.
I loved singing under his direction. His attention to the expression of the text,the nuances in his phrasing, the beautiful choral tone he achieved wereunmatched by any other conductor. Only once (very late in the process) did he ever sitdown with me to give me a formal lesson, but his example was always there. It took a long while for me to figure outhow to achieve that tone.
Several organizations bear your father’s name: Roger Wagner Chorale, Roger Wagner ChoralInstitute, and Roger Wagner Center for Choral Studies at Cal State Los Angeles. How are theyrelated?The Roger Wagner Center for Choral Studies was originally connected with the Roger Wagner Chorale but is now aseparate entity under the leadership of Dr. William Belan. It provides music scholarships and hosts an annual choralcomposition contest. The Institute, a nonprofit organization, was initially started to promote international touringbut has evolved to be mainly a host for my choir, the Wagner Ensemble. The Roger Wagner Chorale, founded by my
JEANNINE WAGNER: CHORAL LEADER AND LEGACY
COVER FEATUREby melissa eddy | INTERNATIONAL EDITOR | [email protected]
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“A conductor'swork is all
collaboration.P
hoto
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Ciri
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ia
father, continues to tour under my direction, mostly toJapan. It has been a sole proprietorship, but there areplans to put the Chorale and its archives under theInstitute’s purview.
What’s the most memorable choral work you’veperformed, and why?The Bach B Minor Mass, which I finally conducted lastyear for the Wagner Ensemble. I had prepared it severaltimes for other conductors and had sung it many times.I found out, to my amazement, that over half of mysingers had never before done thisimportant work! Other groups in LosAngeles used to perform the works ofBach regularly, but sadly, those groupshave gone out of existence. I am proudthat the Wagner Ensemble still is avibrant presence in Southern Californiaand brought the B Minor back to thearea.
What are your thoughts aboutcollaborative musicianship?A conductor’s work is ALLcollaboration. The conductor must workwith his or her singers and players(especially the concertmaster) toachieve good results. In some ways,rehearsing is the most joyful part of theprocess. Then there are the donors andstaff – also important collaborators whomake each concert possible.
How has Mu Phi Epsilon been part of your life asa musician? I came to Mu Phi Epsilon very late; my alma materMarymount College did not have a chapter. I joinedthanks to prodding by Carol Skinner and Ginger Curea,and I have been pleased to know the dynamic andtalented women in Mu Phi.
SPRING 2018 | THE TRIANGLE 7
Pho
to c
redi
t: C
irina
Cat
ania
Opposite: Jeannine Wagner. Below: Roger Wagner conducting.Bottom: Jeannine Wagner rehearses her ensemble.
Italia: a country full of culture, history, and life. I am lucky enough to study abroad in this amazing place and to beexposed to all that it has to offer. I am based in Milan, a bustling, modern city full of busy people; but there is one oldtradition that remains beloved, and that is opera.
OriginsMore than four hundred years ago, opera was born inFlorence, Italy. The Renaissance brought together agroup of artists, writers, and musicians known as theFlorentine Camerata who created the earliest versions ofwhat we now know as opera through reviving Greekdrama. Since then, Italian composers through the ageshave been leaders of the genre—even Mozart wrote someoperas in the Italian tongue. Gioachino Rossini, GiacomoPuccini, Gaetano Donizetti, Vincenzo Bellini, andGiuseppe Verdi are famous Italian operatic composersmuch beloved by Italians for creating works of art thatare appreciated to this day. Arturo Toscanini, one of themost acclaimed conductors of all time, called the La Scalatheatre his home.
A national treasureLa Scala Opera House, or Teatro alla Scala, in Milan is anational treasure. Inaugurated in August of 1778, LaScala has presented many of the finest singers andperformances from all over the world and is regarded asone of the world’s most prestigious opera and ballettheatres. Verdi himself had a special relationship with thetheatre and conducted his Requiem there in May 1874.La Scala is where the premieres of his last two operaswere held: Otello and Falstaff in 1887 and 1893,respectively. Despite being nearly destroyed by fires andlater bombings from World War II, the theatre standsstrong and beautiful.
Today, La Scala’s two thousand and thirty seats nearlysell out for each performance. When showtime is comingup, people can be seen on the streets outside streamingtoward the theatre from all directions, all in their bestclothes. It is still proper to dress your best when going tothe opera in Italy; this way, the elegance of theperformance and the gorgeous red velvet and gold hall isreflected in the audience, wearing their finest jewelry andgarments.
Accessible, elegant, relevant, costlyIn February, I attended a performance of Die Fledermaus(composed by Johann Strauss in 1874) at La Scala.Having never attended an opera in person before, I was
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THE HEART OF ITALY: MILAN, LA SCALA, AND OPERA
INTERNATIONAL CORNERBY HALEY STEVENSON | kAPPA | [email protected]
Above: Haley in the foreground, La Scala in the backgroundOpposite page, top right: The view from one of the box seatsinside the theatre. Center right: The program for DieFledermaus displayed on the outer wall of the theatre. Bottom right: The cast takes their final bows at the end of theperformance.
unsure what to expect. Thankfully, electronic displaysare installed in front of each seat so audience memberscan follow along reading the German libretto in eitherItalian or English, so even foreigners like me can feel athome. As soon as the orchestra began to play, I knew Iwas in for a treat.
An intricate ballet number began the performanceduring the overture, and the first act revealed amodernized set. It was clear to me that great care hadbeen taken to ensure that the costume and set designbrought the story to life. Contrary to manymisconceptions about opera, the story was quite easy to
follow and made sense in a modern context. Ithoroughly enjoyed myself and was amazed
by the talent and skill displayed by theperformers both on stage and in
the pit.
Although toAmericans theconvention ofattending the operamay seem to havefaded from itsformer glory, in Italyopera is still theheart of elegant lifeand leisure. Thethemes and topicsexplored in operaare actually quiterelevant to the
modern person. Opera can be sexist, messy, extravagant,or slow—but when done right, the dialogue can makeyou laugh until your stomach hurts while the arias makeyou cry your heart out.
I would like to attend another performance during mystay in Milan, but unfortunately tickets do not comecheap. Attending the opera is now a rather high classaffair, which people are willing to pay a lot of money tosee, understandably. I consider myself extremelyfortunate to have been able to experience such animportant element of the culture in Italy!
SPRING 2018 | THE TRIANGLE 9
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COLLEGIATE CONNECTIONBY JENNY SMITH | SECOND VICE PRESIDENT/COLLEGIATE ADVISOR
Greetings collegiates! In this column I especially want toconnect with members who are embarking on a newjourney: graduating and moving on from the wonderfulexperiences you’ve had in your collegiate chapters. Asyour chapter wraps up candidate initiations and activitiesfor the year, I invite you to reflect on the friendshipsyou’ve made, the growth you’ve experienced, and thespecial place Mu Phi Epsilon inhabits in your heart.
Are you ready to transition to the next step of Mu Phimembership? We’ve created a simple quiz (right) for youto test your readiness.
If you answer yes to one or more quiz items, I encourageyou to affiliate as an alumni or Allied member aftergraduation, serve our fraternity as an officer or committeemember, and/or continue to support collegiate chaptersby becoming an advisor.
Our alumni network is evolving to better serve you. Weare listening to what you need and what you want. We arelooking for ways to fully utilize the many tools at ourdisposal to make your membership in Mu Phi becomeeven more advantageous after graduation, while stillhonoring the traditions that make us who we are. This is awork in progress, and we want your ideas, input, andcontinued support. Mu Phi is a network of uniqueindividuals who bring their strengths together for theideals that unite us. Your continued involvement willfortify that network, benefiting both you and thefraternity.
Contact any IEB member, district director, or alumnichapter officer for information on how to stay connectedas an active alumni member. I wish you many blessingson your own path upward toward the stars.
Thoughts for graduating seniors Alumni Readiness QuizAsk yourself these simple questions:
Yes No Has being a part of Mu Phi Epsilonenriched my life?
Yes No Have I made friendships and connectionsthrough Mu Phi that I know will last alifetime?
Yes No Has being in Mu Phi somehow deepenedmy appreciation of music?
Yes No Do I see the advocacy and importance ofmusic continuing to play a key role in mylife?
Yes No Would I like to see future studentmusicians continue to have opportunitiesto serve their schools and communitieswith like-minded colleagues?
Yes No Do I want future collegiates to be able tohave the same opportunity I had, andshare many of the same joys I did, withMu Phi Epsilon?
Yes No Do you want continued networkingopportunities both in and out of yourspecific discipline of music?
Yes No Would you benefit from having a mentoras you begin your career?
Yes No Would you like additional opportunities toattend conferences and win grants?
Yes No Do you want to continue to develop yourleadership and professionalism skills?
Yes No Are you interested in continuing to findunique ways to serve your fellowmusicians and music community?
If you answered yes to any of these, I encourage you tojoin an alumni chapter or stay connected as an Affiliatedmember after graduation, and to serve our fraternity asan officer, committee member, and/or collegiate chapteradvisor. Visit muphiepsilon.org to find a local chapter inyour area or get more information on continuing activeparticipation as an Affiliated member.
During my first year serving as your Alumni Advisor, Ihave had the privilege to become better acquainted withthe loyal alumni chapters and remarkable alumnimembers of Mu Phi Epsilon. I have met many of you atconventions and from my time on the Mu Phi EpsilonFoundation, but as Third Vice President, I amcontinually educated, impressed, and inspired by ouralumni.
During my first year in office, under the invaluableguidance of Rosemary Ames, I have worked with alumnichapters to follow through on dues submissions andhave received reports and newsletters on chapter events,traditions, and district conferences. I have beensaddened by the passing of prominent and belovedalumni members (including from my own chapter) andhave had to come to terms with aging chapters andmembers that seek to become inactive.
Of course, I have been able to work with fellow IEBmembers in setting the goals and benchmarks for MuPhi Epsilon, as well as discussing issues of commonconcern affecting all levels of the Fraternity.
If there is an overall impression or takeaway from thisfirst year—aside from the continual learning curve—it isan even deeper appreciation for the gifted and loyalmembers of Mu Phi Epsilon. Unfortunately, thesemembers are dwindling as chapters age, but I amoptimistic the same spirit and innovation that createdand sustained these chapters will help us find anddevelop ways to strengthen the alumni ranks well intothe 21st century. For now, I salute you.
Wishing you the best as your 2017-2018 year comes to aclose. Please remember to submit your year-end chapterreports, officer rosters, and SERV hours, and contact mewith questions or feedback.
SPRING 2018 | THE TRIANGLE 11
ALUMNI CORNERBY MARCuS WYCHE | THIRD VP/ALuMNI ADVISOR | [email protected]
Year One: continual learning, deeper appreciation
Goethe’s works were a major source of inspiration forthe music, drama, and poetry of his time. “Erlkönig,” awork he wrote in 1782, inspired more than a dozennotable eighteenth and nineteenth century composers towrite music based on the poem. Although Goethe wasnot a trained musician, he was an aesthete, well culturedin literature. He endorsed simplicity and he believedstrophic settings would serve his poem just right, as wecan see in compositions from his friends Schröter,Reichardt and Zelter. However, around the 1800s, onecan see these boundaries being challenged, as thesettings started to evolve beyond simple structures andfolk song characteristics. One of the reasons for thischange was that Beethoven and Schubert brought lied tothe mainstream, leading to more musically complex andextreme musical language. The development of liederdemonstrated diverse genres, with examples rangingfrom strophic folk-like Volkslied, to through-composeddramatic ballads. Three settings by Corona Schröter(1782), Johann Friedrich Reichardt (1794), and FranzSchubert (1815) are roughly ten years apart. They eachdemonstrate a different compositional approach to thetext, structure, and harmony. Through these
comparisons, we can track the evolution of lied writingfrom Schröter, through Reichardt, to Schubert.
It was quite a journey within a twenty-three year gap.Schröter sets the text to fit to the play “DieFischerin.” She not only sang the role of thefisherwoman, but also composed incidental music forthe play, which includes the famous opening song“Der Erlkönig.” She set “Der Erlkönig” not as a dramaticballad, but in the simple strophic style that Goethefavored. Roughly ten years later, in Reichardt’s settingof “Erlkönig,” the length of the piece is extended inballad style. The monotone Erlkönig passage truly showsthoughtfulness in the text-to-music relationship.Schubert, on the other hand, pushes text painting to theextreme; through-composed writing enabled him tocreate more complex story lines. He successfully bringsout the excitement and at the same time shows thefaithfulness of text to music. It is a pity that we haveindulged ourselves only with Schubert’s setting and haveomitted the connection from the earlier settings.Knowing the origins and developments has given me anew view of those settings.
Abstract: Goethe “Erlkönig” settings by Schröter, Reichardt & SchubertBy Yi-Yang Chen, Winner, 2016 Musicological Research Contest, Div. III, Other Graduate Research
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, here are the rest of the steps in yourdetailed action plan. See the winter 2018 Triangle for previoussteps.
Photographer, videographer, recording engineerBook your desired photographer, videographer, and recordingengineer well in advance of the concert. Be sure that thephotographer and videographer know what specific shots you wantcaptured. Videographers who can read music will also know to zoomin on the fingers during virtuosic passages, so point those out.
Ask the recording engineer how much time is needed for load-in, setup and sound check. Post-show tear down and packing should beplanned as well. Advise the engineer of open hours at the venue.Typically, the larger the performing ensemble, the more time isneeded for mic set up and sound check; likewise if the programincludes pieces with frequent stage and instrumentation changes.Give the detailed program and timing to the engineer to ensureadequate computer memory for the recording. If your concert is tobe live streamed, e.g. Facebook Live, SKYPE, other live streamservices, plan to do a test run in advance to try out the live streamservice in the hall.
Equipment listPrepare a list of needed equipment for the concert (e.g.microphones, speakers, music stands, stand lights), sheet music,and instruments (percussion, keyboards, guitar, mallets). Plan whowill bring which gear. Share the list with your team so those who arebringing gear to the venue will give themselves plenty of time forload-in and parking.
ABCs OF CONCERT PLANNINGAND PREPARATIONPART II: PREPARATION, PERFORMANCE,POST-CONCERT
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ACMEARTISTS, COMPOSERS, MUSICOLOGISTS & EDUCATORS
MARY AU | MU NU, LOS ANGELES ALUMNI, ACME CO-CHAIR | [email protected]
Stage plotDraw a schematic diagram (stage plot) of whereeverything will be placed on stage, includinginstruments, concert equipment, sound and lightingequipment, etc. Deliver stage plot to the stage managerseveral days before the concert.
LightingDetermine lighting needs. Some venues are very dark ordo not have strategically placed lighting for themusicians. Others have lighting positions that castshadows on the music. Be prepared to use stand lightsas needed.
RehearsalsSet up rehearsal dates and times, including dressrehearsal, in consultation with your collaborators. It iscrucial for pianists to have a chance to practice on thepiano they will perform on since all pianos are different;ask if your pianist wants individual time. On-stagerehearsals help make sure that soloists aren’t covered upby collaborators (e.g. pianist with a heavy touch,drummers who don’t play softly, guitarists with ampstuned too loudly).
Page turning, piano tuningBook your preferred page-turner and piano tuner early;good ones are hard to come by. It is especially importantfor a pianist’s contract to specify that piano will be tunedon or before the day of the performance. Coordinatewith the venue so the pianist will have a chance topractice on the piano after it is tuned, and make sure thetuning time does not infringe on rehearsal time.
Concert day: sound check, backup person, To Do listDetermine in advance how long you will need for soundcheck on performance day. This is especially importantfor performances involving ensembles. Concerts withmultiple ensembles require more time. Sound check isfor the performers and sound engineer to determinesound levels, especially if singers are performing withinstruments that are amped. It is so easy for theseinstruments to cover the singers or unamplifiedinstruments, even piano. As a pianist, I also like time inthe hall to determine where the sweet spot for the pianois. Always allow more time than you think you need, soyou are able to react to the unexpected.
If you are the primary concert organizer, arrange for atrusted backup person to take over just before andduring the concert so you can focus on performing.Advise that person about any anticipated snafus.Prepare in advance a personal To Do list for concert day;this will help decrease your stress level. Plan for a nap,hair styling, and other needs. It is not possible to give ahigh-quality performance if you are not well rested. Sobe sure to get enough sleep the night before andschedule a nap on performance day. Don’t overbookyour day and rush from teaching to recital. Scheduleadequate time to drive to the concert venue. Beware ofrush hour traffic.
During the concertAll the planning and organizing is finished and yourbackup person has taken over, so concentrate on yourperformance. Do not allow random thoughts that popinto your head during the concert to distract you.Refrain from obsessing about mistakes lest you bedistracted and start making mistakes.
Post-concert reviewPost-concert review will help you with future concertplanning. Go over what you thought about during yourperformance, how your collaborators performed, concertsurrounding, audience reaction, and reception to yourprogram selection. Think about what behind-the-scenesoperations worked well and what could have gone moresmoothly. Note who was in the audience. Don’t bediscouraged if things did not go as planned! Persevereand look forward to the next time. The best is yet tocome.
SPRING 2018 | THE TRIANGLE 13
A note from the ACME co-chairs: Nominate adeserving member for ACME honors
The ACME honor highlights the strengths of our mostaccomplished Mu Phi artists, composers, musicologistsand educators. It’s a peer-to-peer recognition;candidates are nominated by other members, and anymember can suggest a deserving ACME nominee at anytime. We encourage you to nominate currentlyaffiliated (dues-paying) candidates who have achievedacclaim in their musical endeavors.
Please visit muphiepsilon.org (click About, Honors &Awards, ACME) for procedures on nominating ACMEcandidates. We look forward to hearing from you.
ARIETHA LOCKHART, BETA GAMMA, ATLANTA ALUMNI
[email protected] AU, MU NU, LOS ANGELES ALUMNI
APPLICATIONS OPEN FOR INTERNATIONAL EDITOR
FRATERNITY NEWS
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Mu Phi Epsilon is now accepting applications for the position of International Editor. (See Melissa Eddy’s articlein the Winter 2018 Triangle, page 19.) The International Executive Board appoints the Editor and the position iscompensated. The board invites interested and qualified persons to send a resumé and statement of interest toInternational President Rosemary Ames, [email protected]. Application deadline is June 30, 2018.
The International Bylaws state in Article 5, Section 4-B:The International Editor shall1. be the editor of the Fraternity journal; 2. attend all meetings of the International Executive Board.
The Standing Rules further state, “the IEB shall make every effort to recruit qualified candidates who aremembers of Mu Phi Epsilon.” Additional requirements are:
Skills and ExperienceFamiliarity with Mu Phi Epsilon Fraternity and the world of music•Professional writing, editing, and proofreading, with background in English or journalism•Strong computer and internet skills•Art direction skills with experience in magazine or journal design•Organizational skills, experience in budgeting time and meeting deadlines•Knowledge of printing process and mailing regulations and experience working with a commercial printer•helpfulPhotography skills helpful•Social media skills helpful•
Equipment and FacilitiesComputer and printer, or daily access to one•Daily access to internet and email•Work from own home or office•
DutiesAccept and solicit material for The Triangle, the quarterly journal of Mu Phi Epsilon•Find and publish articles and newsworthy items about members•Write news items and features when necessary•Coordinate with the IEB, IEO, contributing writers, members, design/production contractor, and printer to•produce an appropriate magazine at a reasonable cost.Coordinate with design/production contractor for the printing and mailing of The Triangle•Carry out all above functions for triennial convention program book•Correspond with officers, committee chairs, and members as needed•Maintain files and archives•Serve in an advisory capacity (ex officio) on the IEB•Attend the annual IEB meeting at the Fraternity’s expense•Attend the triennial convention; recruit/hire the convention•photographer and coordinate his/her workAssist with other Fraternity publications as requested (brochures,•manuals, etc.)Monitor and participate in Fraternity social media•
SPRING 2018 | THE TRIANGLE 15
Eta Delta installedRipon College, April 20, 2018
CHAPTER NEWS
When International President Rosemary Ames arrivedon the lovely campus of Ripon College in Ripon,Wisconsin, the sun was bright and the air felt like springbut snow remained. The prospective Eta Delta memberstook it all in stride. Faculty advisor Dr. John Hughesmet with Rosemary and gave her a tour of the musicbuilding. Although small, the music school is wellequipped, and the new Mu Phi presence was alreadyevident with flyers posted throughout. Nearly everymusic student joined as part of the charter class, andalthough most are double majors, their commitment toMu Phi is solid.
After lunch together, the candidates gathered for theinitiation. Because no other members were able to joinRosemary for the installation, she adjusted the ritual soshe could do all the parts, initiating twelve newmembers in groups of four. It went smoothly and shewas able to provide a meaningful initiation for all. Afterthe initiations, she installed the Eta Delta chapter andits first officers. (Since the ritual was a bit out of the
ordinary, Rosemary and the new members laterreviewed the normal ritual so they understand how to doit with up to eight members participating. Theyappreciated that our ritual can be flexible without losingmeaning or tradition.) All members then participated inthe chapter recital with friends and family present,followed by a celebratory dinner at a local restaurant.
The college hosted Rosemary in a guest room right oncampus, and the next morning she met with the newchapter’s executive board to discuss chapter growth andhow to use the Mu Phi website. The group has severalfundraising and SERV ideas, and they have alreadyreserved table space at the school’s September activitiesday to kick off their fall semester. The chapter willreceive excellent faculty support and enthusiasmthroughout the school. Welcome, Eta Delta!
Delta Zeta, Mu Phi reactivatecongratulations to these reactivated chapters and all the new members!
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CHAPTER NEWS
Delta Zeta at EmoryUniversityreactivated on April20 with initiation oftwenty-three newmembers, includingthe faculty andchapter advisors.SE2 District DirectorArietha Lockhart andAtlanta Alumnipresident JuliaTorbert led theinitiation and officerinstallation rituals.Remi Levinson is thenew president ofDelta Zeta.
Mu Phi at BaldwinWallace Universityreactivated inDecember withinitiation of twenty-two new members.Another twentywere initiated in thespring semester,bringing Mu Phi to agrand total of 42members.
SPRING 2018 | THE TRIANGLE 17SPRING 2018 | THE TRIANGLE 17
2018 Chapter AnniversariesCongratulations to these chapters on their milestone anniversaries of Music, Friendship, and Harmony.
115 YearsBeta, New EnglandConservatory, Boston, MADecember 13, 1903
105 YearsAnn Arbor Alumni,Ann Arbor, MISeptember 22, 1913
95 YearsMu Nu, USC, Los Angeles, CAJanuary 5, 1923
Alpha Omicron,American Conservatoryof Music at Roosevelt,Chicago, ILJanuary 20, 1923
Lincoln Alumni, Lincoln, NEFebruary 1, 1923
Mu Pi, Ohio WesleyanUniversity, Delaware, OHMay 30, 1923
Cleveland Area Alumni,Cleveland, OHNovember 13, 1923
90 YearsWashington DC Alumni,Washington, DCFebruary 1, 1928
85 YearsAlliance Alumni, Alliance, OHJune 22, 1933
80 YearsPhi Nu, UCLA, Los Angeles, CAApril 12, 1938
Phi Lambda, WillametteUniversity, Salem, ORMay 5, 1938
Phi Mu, San Jose StateU, San Jose, CAMay 9, 1938
70 YearsEpsilon Epsilon, Texas Christian University, Fort Worth, TXMay 21, 1948
Central OklahomaAlumniJune 5, 1948
65 YearsEpsilon Sigma, PacificLutheran, Tacoma, WAFebruary 7, 1953
Epsilon Tau, WashingtonUniversity, St Louis, MOApril 25, 1953
Epsilon Upsilon,Duquesne University,Pittsburgh, PAMay 23, 1953
Epsilon Phi, FriendsUniversity, Wichita, KSMay 30, 1953
60 YearsDayton Alumni, Dayton, OHMarch 2, 1958
Alpha Delta, CSU atSacramento, CAMay 4, 1958
55 YearsFullerton Alumni,Fullerton, CASeptember 27, 1963
50 YearsBeta Omicron, WesternIL University, Macomb, ILFebruary 16, 1968
Beta Pi, NebraskaWesleyan U, Lincoln, NEFebruary 18, 1968
20 YearsDelta Nu, MillsapsCollege, Jackson, MSFebruary 7, 1998
Delta Pi, Tarleton StateU, Stephenville, TXMay 14, 1998
15 YearsDelta Chi, McNeeseState University, Lake Charles, LAMarch 28, 2003
Delta Psi, Clayton StateUniversity, Morrow, GAApril 26, 2003
10 YearsZeta Zeta, ElonUniversity, Elon, NCNovember 5, 2008
Zeta Eta, Binghamton University, Binghamton, NYNovember 12, 2008
5 YearsZeta Rho, University ofMN, Duluth. MNMarch 9, 2013
Zeta Sigma, High Point University, High Point, NCApril 7, 2013
Baton Rouge Alumni,Baton Rouge, LAAugust 28, 2013
1 YearEta Gamma, VAWesleyan University,Norfolk, VAMay 2, 2017
Roanoke Valley Alumni,Roanoke, VADecember 9, 2017
A P P L A u S E | N E W S F R O M M E M B E R SThe LonghornBand ofUniversity ofTexas at Austinhas appointedflutist JessicaMartinez (MuTheta) as its2018-2019drum major.Jessicapreviouslyserved as asection leaderof the piccolos.She will be thefourth femaledrum major inthe band’shistory, with 54predecessorsdating back to1902.
Soprano Arietha Lockhart (Beta Gamma, AtlantaAlumni, District Director SE2) was interviewed in Marchfor the Atlanta Symphony Orchestra’s ongoing Facebookseries #ATLsymphonystories. As a member of theAtlanta Symphony Chorus for thirty-four seasons, shesang for the great maestro Robert Shaw, and she sharedsome of herexperiencesunder his baton.Among them:“Mr. Shaw wasalways careful tohonor thecomposer’swishes … heknew exactlywhat to do to getwhat he wanted.”“One of hisfamous phrases[to the chorus]was that we mustalways make ourtone stay within the sleeve of the sound.” “The chorus isan instrument, and that’s the way he thought of it.” Seethe interview at https://bit.ly/2K41RiR.
The Alumni Boardof Hixson-LiedCollege of Fine andPerforming Arts atUniversity ofNebraska-Lincolnawarded vocalistLiana Sandin(Beta Pi, LincolnAlumni) its annualAward of Merit inApril. The award isone of several thatrecognizeoutstanding alumniachievement andprofessionalexcellence. Lianawas honoredespecially for herwork as presidentof The PearleFrancis FiniganFoundation, where she selects and manages grants formusic and the arts to local educational, humanitarian andreligious institutions. Recently funded projects includeendowed music scholarships, a commissioned chamberwork, stained glass installations, and the new tigerenclosure at the Lincoln Children’s Zoo, as well as supportto the university’s graduate program in piano and relatedperformances.
Liana is vice president of the Mu Phi EpsilonFoundation and concert manager for the current Mu Phi
Epsilon Concert Artist. She also sits on the boards ofthe Nebraska Chamber Players, Lincoln Friends ofChamber Music, Friends of Opera, and CalvaryCemetery. She is active in local music groups and hashelped facilitate the merger of two performance clubs,each with more than 100 years of history, and was thefirst president of the resulting, newly formed MusicalArts Review. She has sung with the Lincoln ChoralArtists and has been a church musician for more thanthirty years. Liana is also an expert seamstress whogives classes and trunk shows featuring Italiandesigns to both local and national audiences.
18 MuPhiEpsilon.org
A P P L A u S E & E N C O R E
SPRING 2018 | THE TRIANGLE 19
E N C O R E | N E W S F R O M C H A P T E R S
Austin Alumni co-hosted an Aprilbenefit for Texas-based nonprofitAmerican Voices (americanvoices.org),an organization dedicated to supportingthe arts in difficult places through cross-cultural musical engagement incountries in transition. Its founder andexecutive director, pianist JohnFerguson (Mu Theta), was present forthe benefit, where he reconnected withclarinetist Martha MacDonald (PhiXi) and vocalist Rebecca Kyriakides(Nu), both Austin Alumni members.The three reminisced about recitals theyperformed together in the 1980s (inVictorian costume) after they firstconnected at an Austin Alumni meeting.
Chapters of South Central 2 (below) gathered on March 24 in Denton, TX, for their annual district conference,hosted by Phi Tau. Nearly 100 attendees came from Beta Mu, Phi Xi, Epsilon Epsilon, Delta Pi, Phi Tau, and DallasAlumni. The conference included breakout sessions with panelists and presenters – among them members JennySmith, Dakota Reynolds and David Falterman – and a concluding recital with a music delegate from each chapterand singing of “The Creed.”
F I N A L N O T E S
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ANN GIBBENS DAVIS | PHI LAMBDA, WASHINGTON DC ALUMNI | [email protected]
Sophie Soeffker AlbrechtMu Phi, February 13, 1944Died September 14, 2017Pianist, organist, choir director.Sophie taught at the Baldwin WallaceConservatory for a time and was alifelong church musician as organist,choir and handbell choir director. She
served on the board of Lyric Opera Cleveland and as anofficer in several music clubs.
Joyce Hansen ColottiMu Epsilon, November 15, 1949 Minneapolis-St. Paul AlumniDied January 29, 2018Pianist, vocalist. Joyce taught pianoand voice and was a vocal performerof the St. Paul Schubert Club. Shewas an active member of MinnesotaMusic Teachers Association and theThursday Morning Artist Series.
Betty Jane Barkis HoustonXi, May 23, 1947Indianapolis AlumniDied September 29, 2016Educator. Betty Jane taught for 33years in the Southport Middle Schoolin Indianapolis.
Eleanore R. Samuel KaneGamma, November 15, 1942Los Angeles AlumniDied February 2, 2018Music educator, pianist, flutist.Eleanor taught music in New Jersey,Michigan, and California publicschools. She wrote an essay for TheTriangle, Summer 2008.
Bonnie Josephine LakePhi Omicron, May 3, 1953Died February 21, 2018Flutist, educator. Bonnie performedwith the Baltimore SymphonyOrchestra for 47 years and was a solorecitalist in the U.S. and Europe. Shetaught at Goucher College, JordanCollege of Music, and OberlinConservatory of Music. She was amember of MTNA, Women in the
Arts, American Federation of Music, National FluteAssociation and Pi Kappa Lambda.
Hazel Farwell O’DonnellMu Upsilon, April 9, 1950Boston AlumniDied February 8, 2018Vocalist, pianist, educator. Hazeltaught voice at Wellesley College forover 30 years. She was a sopranowith the Cantata Singers and theEmanuel Church choir in Boston.
Viola M. Olds PeponisPhi Kappa, December 22, 1949Detroit AlumniDied February 03, 2018Pianist, organist. Viola taught pianoand organ for many years.
Eleanor Marcia PollockPhi Psi, June 11, 1955Died February 14, 2018Vocalist, educator. Eleanor taughtelementary school in Virginia andwas a member of Alpha Delta KappaInternational Honorary Organizationfor Women Educators, in which sheheld several local offices. She was asinger, educator, and music directorfor her church.
Joan Metcalf SchaeferEpsilon, November 17, 1945Died September 3, 2017Educator. Joan was a musicsupervisor in Ohio schools beforebeginning her work in the studentpersonnel field. She served as Deanof Women at Carnegie Institute ofTechnology and for 35 years at theUniversity of Southern California,where there is an endowed
scholarship in her name. She was active in numerousprofessional organizations.
Elaine M. ShakleyPhi Omicron, April 18, 1961Died December 5. 2017Organist, educator. Elaine taught music in severalCleveland-area school systems and was adjunct facultyat Cleveland State University. She started the stringprogram in the Chagrin Falls schools and was the firsteducational television teacher in the City of Cleveland;
Marian Faye Bowker DavidsonMu Beta, November 14, 1942Los Angeles AlumniDied January 25, 2018Pianist. Marian specialized in collaborative piano, playingwith vocal and instrumental soloists, for ballet productionsat the Pueblo Symphony Orchestra, in public school musicteaching, and as staff pianist at radio and TV stations. Sheand her husband Mel collaborated in lecture/performancesabout selected composers and history of the piano. She alsotaught privately as a certified private piano teacher, servedas a church musician, and was a PEO member. A true MuPhi for life, Marian's greatest achievement as NationalPresident was guiding the fraternity through Title IX tobecome coeducational in 1977In 1983 she established theFraternity’s annual Marian Bowker Davidson CollaborativePiano Award and personally funded it until this year.Chapter President, Mu Beta, Los Angeles Alumni (variousyears)District 9 Director, 1964-68North Central Province Governor, 1968-70First Vice President/Extension Advisor, 1970-74National President, 1974-80
Henry Mancini was the first guest on her program“Songs, Sounds and Symbols.” Also a church musician,she played organ and directed a handbell choir. Sheserved as chair of the Musical Club and the ChagrinValley Piano Competition. She received the AlumniExcellence award from Heidelberg University.
Susan Hilbers TalevichBeta Alpha, April 10, 1965Died March 2, 2016Pianist, organist, educator. Susan taught piano atCalifornia State University, Cypress College, CerritosCollege, EL Camino College, and in her private studio.She was organist for her church for 47 years, outlastingnumerous ministers and choir directors.
M E M B E R S R E M E M B E R E D
Sister Martha SteidlGamma Psi, April 29, 1982Terre Haute AlumniDied March 12, 2018Music educator, organist. Sister Martha entered the Sisters ofProvidence at age 20, earned three degrees, and taught music inIndiana, Illinois, and Washington, D.C. schools. She later joinedthe faculty at her alma mater, Saint Mary-of-The-Woods College,where she became a Mu Phi and served as music departmentchair. She was longtime organist at her church. An avid Mu Philocally and internationally, she served the Fraternity as Fifth VicePresident/Eligibility Advisor 2003-2008.
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 Ashley [email protected] 822 5682
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
SPRING 2018 | THE TRIANGLE 23
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, LA 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
BETA PI 50TH ANNIVERSARY
Beta Pi celebrated itsfiftieth anniversary inFebruary with a partyhosted by Liana Sandin.Several Beta Pi chartermembers attended as wellas original faculty advisorRuth Stephenson,current faculty advisor JeanHenderson, incomingfaculty advisor TaleaBloch, and chapter advisorKristina Hanson. In all,seven Beta Pi members, onerushee, and ten LincolnAlumni members were thereto celebrate.
On the floor: Susie Cook,Chase Crispin, Cameron Victor.Stairs row 1: Wanda Mandigo,Ruth Stephenson. Row 2:Kristina Hanson, Liana Sandin,Janis Brown. Row 3: TaleaBloch, Dillon Holsteen, JeanHenderson, Stephanie Catton.Row 4: Alex Heinz, LaurenBoyer. Row 5: Carol Meyer,Emma Bauerle, Hayley Heath
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