mu phi for lifemu phi for life -...

Volume 103, Issue 1 Spring 2009

Volume 103, Issue 1Spring 2009

Mu Phi for LifeMu Phi for Life

IN THIS ISSUE: 2008 Musicological Research Abstract

Dear Mu Phi Members and Friends,

This spring issue calls our attention to Mu Phi For Life. There areso many Mu Phis who exemplify this bond to our Fraternity, but theshining star of dedication was Orah Ashley Lamke, an enthusiasticmember for sixty-eight years.

These were the very earliest days, when Mu Phi Epsilon was a sororityfor female musicians. We were a long way from becoming an internationalfraternity for both men and women in the field of music. Orah Ashley was ini-tiated as one of ten charter members of Delta Chapter (Detroit Conservatory ofMusic) on March 3, 1905. This was the fourth chapter of an organization not yet two years old. Orah Ashley servedas president of Delta Chapter and wrote the pledge ceremony that was introduced at the 1907 convention in AnnArbor.

During her long years of active membership, Orah’s particular ambition focused on organizing alumnae into clubs.The Mu Phi Epsilon Alumnae Association was formed in 1914, and the first recorded alumnae delegates were at thethirteenth national convention in 1916. She remained a performer as well; the 1928 convention featured Orah AshleyLamke in a quartet that sang the first sorority song. In 1937 the growing National Alumnae Association awarded a$100 fellowship for study in music research – the forerunner of our present-day Musicological Research Contest.Alumnae clubs changed to chapters the next year (1938) and eventually were recognized as active chapters. Orah wasthe first president of the St. Louis Alumnae Chapter.

Orah Ashley Lamke held five national offices: National Alumnae Officer (two different times), National Editor,National Secretary, National Vice President, and National President 1928-1930. In recognition of her devoted serviceto the then-sorority and dedication to its alumni, the 1964 national convention in Lincoln initiated a new honor, theOrah Ashley Lamke Distinguished Alumna Award, and she was the first to receive it. Since then, her namesake awardis given each year to a longtime alumni member who has shown dedication and loyalty at the local level.

Orah probably still holds the record for convention attendance: she participated in twenty-eight national conventionsas a national officer, delegate, or visitor. Lincoln was the last one she attended, but even with a failing heart she con-tinued her avid support of Mu Phi Epsilon to the end of her days. She died on June 10, 1973.

Orah Ashley Lamke was a pivotal contributor to our fraternity’s history and an unexcelled model of Mu Phi for Life. Iinvite you to follow her example.

With Mu Phi love,

Frances Irwin, Ed.D.International President

2 THE TRIANGLE / muphiepsilon.org

President’s Message

Photo: Ora

hAsh

ley

Lam

ke, 1

905

Features4 Musicology Award Abstract by Lana Bode6 Mu Phi for Life

Ann Marie Obressa MillerLawrence JacobsonPaula Palotay

8 Mu Phi Membership is Valuable 9 Preserving Chapter History13 National Affiliations14 Foundation

Departments5 Upon Listening10 ACME12 Bookshelf13 International Corner16 Applause / Encore18 Final Notes20 Collegiate Chapter Presidents22 District Directors 23 International Executive Board & Foundation Board

EDITORMelissa [email protected]

DESIGN & PRODUCTIONCorinne [email protected]

ADVERTISINGJan Scott, 314/[email protected]

C O N T R I B U T O R S

ACME Carolyn Hoover

BOOKSHELF Rona Commins

FINAL NOTES Wynona Lipsett

INTERNATIONAL CORNER Keith Ford

INTERVIEWS Marcus Wyche

UPON LISTENING Sherry Kloss

Send all material for publication to:Melissa Eddy, [email protected] 325/388-0914 or by mail to:P.O. Box 10042, Austin, TX 78766-1042.All materials submitted for publicationbecome the property of MuPhiEpsilon.Requests for return are accepted andmust be accompanied with a self-addressed stamped envelope. Electronictransmissions are preferred. Photos mustbe scanned in at a minimum of 300 dpi.

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

Change of address, renewals, notice ofdeceased members, requests for extra copiesand subscription requests should be sent to:

Mu Phi EpsilonInternational Executive Office4705 N. Sonora Avenue, Suite 114Fresno, CA 93722-3947toll free: 888/259-1471fax: 559/277-2825email: [email protected]

The Triangle is published 4 times per year byMu Phi Epsilon, International ProfessionalMusic Fraternity. Subscription price is $20.00per year. Single copies are $8.00. Periodicalspostage paid at Fresno, California and atadditional mailing offices. Printed in theUnited States of America.

Member, Professional Fraternity Association.

(ISSN 0041-2600)(Volume 103, Issue 1)

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

© 2009 Mu Phi Epsilon. All rights reserved.

THE TRIANGLE / Spring 2009 3

Volume 103, Issue 1 Spring 2009

Fraternity Mission Statement

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

1122 181844 1616

F rançois Couperin was a leading harpsichord composer inearly eighteenth-century France. He was born into one of

the most famous musical families in Paris, yet his unique compo-sitional traits and expressive style set him apart from his contem-poraries and earned him the title “François Couperin le Grand.”While he composed for a variety of genres, he is best known forhis four books of Pièces de clavecin and for his harpsichord trea-tise, L’Art de toucher le clavecin. Couperin’s Pièces de clavecinhave been numbered among the most popular compositions forharpsichord, both in his own generation and throughout the sub-sequent centuries. Couperin firmly believed that the harpsi-chord was an instrument just as capable of expression as anyother and demanded harpsichordists to play expressively.Contrary to his predecessors, who left most interpretive decisionsup to the performer, Couperin used ornaments, other specifiedperformance techniques, and even witty compositional titlesspecifically to maximize the expressivity of the harpsichord.

In L’Art de toucher le clavecin, Couperin emphasized the expres-sive potential of ornaments as more than just displays of virtuosi-ty and demanded that harpsichordists consider ornaments a partof the musical line. To ensure the proper use of ornaments inhis Pièces de clavecin, Couperin notated them himself, includedprecise instructions for the realization of each type of ornament,and forbade harpsichordists from improvising their own orna-ments, as was customary in his day.

Aspirations and suspensions (articulation markings arising fromlute technique) illustrate a second aspect in which Couperindesired to make the harpsichord as expressive as possible. InL’art de toucher le clavecin, Couperin compared aspirations andsuspensions to techniques of vocal expression. He consideredthese articulation markings to have the expressive potential ofornaments and used them liberally in Les Agréments (TheOrnaments). The abundant usage of aspirations and suspen-sions created an eighteenth-century equivalent to rubatothroughout Couperin’s Pièces de clavecin.

In addition to using ornaments and articulations to enhanceexpressivity, Couperin gave meaningful titles to the compositionsin his Pièces de clavecin. He revealed that these titles were theinspirational force behind his compositions, illustrating theirimportance in the interpretive process. The titles fall into the fol-lowing categories: scenes from everyday life; musical portraits ofthe Parisian nobility; and references to French theatre and liter-ary art. Couperin’s titles served not only as a means to enhancethe expressivity of his pieces, but also as a precursor to the char-acter pieces and programmatic music of the nineteenth andtwentieth centuries.

Couperin’s Pièces de clavecin significantly contributed to thegenre of solo harpsichord music, and also influenced the future ofmusic composition, through Couperin’s emphasis on expressivi-ty, and his precise control over small details in order to reachexpressive heights. These qualities set Couperin apart from hiscontemporaries, and foreshadowed what composers wouldbecome in later eras. Couperin’s unique compositional stylegave him immense success in his own time, and cemented hisposition as one of the most revered French composers of theBaroque era. By utilizing ornaments, aspirations, suspensions,and programmatic titles, Couperin infused his music withexpressivity and established solo keyboard music as its own dis-tinctive genre.

A Revolution in French Keyboard Music: Expression and Imagerywithin François Couperin’s Pièces de ClavecinAbstract of winning paper, 2008 Musicological Research Award, Category IV, Undergraduate Research PaperBy Lana Bode, Epsilon Omicron


2008 Musicological Research Winner

Fran

çois

Cou

perin

, (16

68-1

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. Ano

nym

ous

artis

t, C

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Lana Bode is currently studying in theM.M. Performance and Research course

at the Royal Academy of Music inLondon. She obtained her B.M. magna

cum laude from Indiana University in2008, where she studied selections from Couperin's Pieces de Clavecin

with harpsichordist Elizabeth Wright.

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

THE TRIANGLE / Spring 2009 5THE TRIANGLE / 5

Clarinet Enchantments, featuring clar-inetist Diana Haskell (Mu Upsilon)with assisting musicians PeterHenderson, George Silfies and FrancesTietov, is an appealing collection ofeclectic repertoire. The music ofBartok, Ravel, Louis Cahuzac, VaughanWilliams, Piazzolla, Lutoslawski, Berg,Messiaen, Victor Babin, HeinrichBaermann, and Ponchielli is performedwith conviction and dash. The choiceof diverse repertoire demonstrates anappreciative interest in reviving musicthat deserves to be heard.

An interesting arrangement of “BartokDances,” from Rumanian Dances byEd Yadzinski, sets the mood for this lis-tening adventure. Taking full advan-tage of the clarinet’s inherent capabili-ties to fluidly “travel” with grace andease, the arpeggiated flourishes, effec-tive embellishments, and occasionaladditions to the original harmony suc-cessfully bring to life the joy and earthyexpression of the Rumanian people.Although there is no indication of whothe transcriber of Ravel’s “Piece enforme de Habanera” may be, this danceof Cuban origin has found a crediblehome with the clarinet. Its various reg-isters provide a spectrum of colors thatlend just the right touch of suavity tothe melody and underlying rhythmicpulsations in duple meter.

“Arlequin” by Louis Cahuzak is a fasci-nating solo dialogue which showcasesMs. Haskell’s masterful skills. As themusic develops, the listener is enticedto imagine the antics of this colorfulcharacter whose origin lies in theCommedia dell’Arte. With characteris-tics of continual action, we wonderwhat will happen next in the music andwith the Arlequin, as he switches fromone aspect to another. “Six Studies inEnglish Folk Song” by VaughanWilliams for cello (or clarinet), per-formed here as an arrangement withharp, is pleasing to the ear and sooth-ing to the spirit. The expressive harp’svibrating overtones serve as a perfectcompanion to the soulful clarinet tim-bre. Be prepared for a clever, unex-pected ending.

Piazzolla’s “Oblivion,” arranged by theartist, captures the brooding sentimentand sensual aura of the barrio life,although the addition of a bandoniummight bring more authentic realizationto the sound of this mighty tango band.The piano and clarinet conversations inLutoslawski’s “Dance Preludes” are per-formed with humor, mastery, and intel-ligent musical insight. This is a seriouscomposition of meaningful value.Intricate cross rhythms, hemiolas,polyphony, imitation, melody, and har-monic vigor propel the musical momen-tum of the writing and bespeak the fla-vor of the composer’s native Poland.

Alban Berg’s Vier Stucke (Four Pieces,op. 5) is a gem of creation. Althoughwritten in the twelve-tone idiom, theharmonic and lyrical language pro-duces sheer beauty. Interpreted with aprofound sense of drama, depth ofunderstanding, and abundant vocabu-lary of colors, this duo performanceprovides a meaningful and rewardingglimpse into Berg’s genius. The thirdmovement of Messiaen’s Quatuor pourle fin du temps, entitled “Abime desoiseaux,” features the clarinet in a solosoliloquy that explores the enchantingworld of the feathered masters of thesky. Ms. Haskell creates those magicalfleeting moments one experiences withbirds: stillness, caution, vibrancy, flut-ters, trills, silences, and flight, fulfillingthe composer’s sojourn into the mysti-cism of life.

Hilandale Waltzes, composed bypianist Victor Babin, have a Vienneseflair yet are identified in the French asValses: by turns elegant, passionate,somber, humorous, joyful. Indeedthese appealing and technically chal-lenging vignettes carry a charm and fla-vor all their own, marvelously per-formed here with wit and enchantingendearment. Toward the recording’send, Baermann’s “Adagio” provides afine vehicle to showcase the clarinet’seloquent tone. But it is Ponchielle’s “IlCongegno,” a very funny sojourn fortwo outrageously virtuoso clarinets intothe buffo operatic world, which trulybrings the house down.

Ordering Information:Clarinet EnchantmentsItem # 050104 - $14.99

AAM RECORDINGS540 North and South Road

Suite #404St. Louis, MO 63130aamrecordings.com

FeaturingDiana Haskell, Clarinet

George Silfies, Piano and ClarinetFrances Tietov, Harp

Peter Henderson, Piano

Production TeamThomas Drake, Producer

Paul Hennerich, Recording EngineerMatt Sims, Asst Recording Engineer

Diana Haskell is a graduate of theJuilliard and Eastman Schools ofMusic. She has held principal

positions with the Buffalo,Savannah, Charleston and

Milwaukee symphonies and theSanta Fe Opera. She currently holds the Wilfred and Ann LeeKonneker Assistant Principal

Clarinet Chair of the St. LouisSymphony Orchestra.

Her CD Clarinet Enchantments was recorded in St. Louis.

Ann Marie Obressa MillerEpsilon Phi (1959), Wichita Alumni

From The Triangle, October 1967:“Cast as husband and wife – Robert and Helen – inHindemith’s There and Back, a short chamber work,James Miller was requited to shoot Ann Marie Obressa.Some three years later, they became husband and wifein real life … During graduate study at the New EnglandConservatory, the young singers appeared in numerousroles as members of a repertoire group in Boston …During the summer of 1966, James and AnnMarie performed … [in a] production of [AlbertHerring by Britten], staged and directed bySarah Caldwell of the Boston Opera and thenewly formed National Touring Company …Mu Phi Epsilon is proud to be presenting AnnMarie … as one of the Sterling Staff Concertswinners for the 1966-68 biennium.”

Today Ann Marie andher husband live inWichita, Kansas, whereshe is associate profes-sor of voice at FriendsUniversity. She is activein Wichita Alumni, serv-ing as an advisor toEpsilon Phi and a meet-ing hostess.

She writes, “It was when I began teaching atFriends that I first heard of Mu Phi Epsilon.Encouraged by the wonderful and dear LoisGordon, president of the Memorial Foundationat that time, I soon found myself pledged andinitiated, applying and auditioning for, and then actuallywinning the Sterling Staff Concert Audition in 1966.Touring across the country under Mu Phi sponsorshipwas a truly remarkable experience. Not only did I enjoyenormous growth as a performer, but I was immersed ina community of talented and motivated musicians, allpassionate about their art. Over the years, I continue tofeel blessed by my association with the Mu Phi commu-nity. The professional integrity and commitment of itsmembers is an ongoing inspiration.”

Mu Phi for Life

What better way to illustrate Mu Phi for Life than to feature people who personify the con-cept? I hope you enjoy this “then and now” montage about several faithful members whocontinue to serve music and our fraternity. –Melissa Eddy, International Editor


Cover FCover Featureeature

Lawrence (Larry) JacobsonDelta Delta (1984)

From The Triangle, Fall 1986:Senior Achievement Award,Atlantic Province.A percussionist, Larry servedtwo terms (1984-86) as presi-dent of Delta Delta Universityof Maryland of which he was acharter member. The chapterreceived the Most OutstandingCollegiate Chapter award bothyears of his tenure. He went onto serve as EC3 district director(1986-89) and at age twenty-five was elected IEB Second Vice President/ CollegiateAdvisor (1989-92), the first male IEB officer since thefraternity became coeducational in 1977.

Larry subsequently made a careerchange from performance tomusic business. Today he is avice president for Universal MusicGroup, overseeing numerousfunctions for the company’s NorthAmerican recording labels andoperating companies. Althoughhis busy job precludes activealumni membership right now,

Larry contributes to Mu Phi Epsilon activities when hecan, most recently serving as a “Careers in Music” pan-elist at the 2008 international convention.

He writes of his favorite Mu Phi recollections, “I reallyenjoyed the music and professionalism of Mu Phi per-formances and competitions. The conventions were myfavorite because I met so many other musicians andvocalists from around the country and I enjoyed inter-acting with board members and alumni. It was a realhonor getting to run all the collegiate workshops at the1992 Salt Lake City Convention. Roberta WhiteO’Connell and Ann B. Davis will always be mentors ofmine in Mu Phi.”

Paula PalotayGamma Lambda (1974), Denver Alumni

From The Triangle, Winter 1980:“Have you thought of a year or soin Europe studying music andlanguages? That is preciselywhat Paula Palotay undertookfollowing her [college] gradua-tion … A Sterling AchievementAward winner in 1977, Paula wasa charter member of GammaLambda, becoming its second president in 1975. She[also] was for two years a member of the [college] year-book staff.” Thiswas the introduc-tion to a lengthyarticle by Paula,“Vienna – theTime of My Life,”about her two-year stay in thatmusicalEuropean city.She narratesmany adventuresthere, from work-ing as an au pairfor a local familyto her first skiingattempt, and of course special musical experiencesincluding piano studies and a traditional AustrianChristmas.

Today Paula is an active memberof Denver Alumni, where shepresently serves as Secretary andon several committees. She wasthe chapter’s delegate to the 2008international convention.


May 1967

Dear Collegiate,

I remember you … that

is, I remember when

I was you, proud and

excited with being

pledged

to Mu Xi Chapter at the America

n Conservatory of Mus

ic. Yes, I still re

member the initia-

tion ceremony – the m

oment when my pin was

pinned to me – the

new world that opened

up for

me when I became a M

u Phi. It soon beca

me an integral part

of my yearly schedule

. Yet as

happy as I was with

being part of the gro

up then, little did

I realize what that

membership

would mean to me in t

he years to come.

My story is just one

of many [members] wh

o come to New York t

o find our opportunit

y. I,

like those others, was

welcomed by the New

York Alumni Chapter.

I found the [members

] eager

to meet me, to put m

e on their programs,

to take me into thei

r chapter – and to h

and me a

towel when it was my

turn to play hostess.

At the same time, [

they] offered me thei

r

friendship … often we

found ourselves work

ing together on the s

ame concerts and perf

ormanc-

es. I learned to kno

w and to love them.

And when I went prof

essional, I was to fi

nd a kind

of devotion that was

organized to encourage

me, and those like

me, who were venturin

g into

new worlds.

From the beginning, w

hen I helped organize

a group called the

Lemonade Opera Company

, the

Mu Phis were to foll

ow alongside with the

ir good wishes and w

arm appreciation. At

my Times

Hall debut there was

a block of [members],

all sitting together

and cheering me on.

One of

them came backstage a

nd took pictures, the

only record that I

have today of that th

rilling

event.

From then on, these

Mu Phis followed me,

faithful beyond tellin

g. Other backstages,

other

performances … [they

were] always there in

letter or in person

. Last season when I

debuted

on Broadway, and step

ped in for Helen Tra

ubel (a Mu Phi herse

lf), there again appea

red Mu

Phis, all happy for

me.

This season something

even more gratifying

happened. When I sign

ed to go on the road

with

the first annual tour

of the NBC Opera Co

mpany, Gertrude Otto

(Theta) suggested that

we

send my itinerary ahe

ad. Little did I susp

ect that in that ten

-thousand-mile trip o

f one-

night stands, the Mu

Phis in this country

could so organize the

mselves that I was to

have

mail welcoming me to

communities … callers

backstage … invitatio

ns to [events] and v

arious

campuses. Why, in Des

Moines I was invited

to lecture to brigh

t-eyed Mu Phis on th

e Drake

campus.

Yes, that reception w

as exciting. And as I

began to meet the y

oung Mu Phis still i

n school,

I realized that soon

the tables were to be

turned. Some day so

on I shall be on the

giving

end – yes, to supply

the support and fai

th needed by your ne

w talents. Here it is

, a huge

circle to be complete

d. What has come to

me I shall be passi

ng on to you – gladl

y and

gratefully – knowing

that it will continue

on through you to g

enerations yet to com

e.

Well, that’s my story

to date. As you lo

ok ahead, my young f

riends, I hope you w

ill feel

certain that of the c

ontinuing threads in

your musical life, th

e Mu Phi Epsilon frie

ndships

and kinships are goin

g to stand out throu

gh the years as a un

ique kind of force a

nd

strength. I hope you

enjoy it to the ful

lest – as I am mine.

Loyally,

Ruth Kobart


Mu Phi Membership is Valuable in After-College YearsThis open letter to collegiates from mezzo-soprano Ruth Kahn Kobart (Mu Xi 1944) appeared in the May 1957Triangle. Written thirteen years after initiation and well into her professional career, Ruth’s words about her post-college experiences as a Mu Phi are as fresh today as when she set them to paper over fifty years ago. Ruth went onto a long, successful career and was an ACME honoree. She passed away in December 2002.

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National Affiliations

Mu Phi Epsilon represents you, our membership of music professionals, through affiliation with related organi-zations. Mu Phi officers attend meetings and maintain contact with peers in these organizations on your behalf.Depending on your particular musical interests, you may want to explore individual membership as well.

American Classical Music Hall of Fame www.americanclassicalmusic.org Honors distinguished individuals in classical music.

American Music Conference www.amc-music.comPromotes the benefits of music making and music education.

American Music Therapy Association (AMTA) www.musictherapy.org Advances public awareness of music therapy and increases access to quality music therapy services in a rapid-ly changing world

International Women’s Brass Conference www.iwbc-online.org Supports and promotes women brass musicians pursuing professional careers.

Music Teachers National Association (MTNA) www.mtna.org Advances the value of music education and promotes professionalism of music teachers.

National Association for Music Education (MENC) www.menc.org Promotes and addresses all aspects of music education.

National Association of Composers U.S.A. (NACUSA) www.music-use.org/nacusa Promotes performance of American concert hall music.

National Association of Schools of Music (NASM) http://nasm.arts-accredit.org Establishes national standards for undergraduate and graduate music degrees and forother credentials.

National Federation of Music Clubs (NFMC) www.nfmc-music.org Provides opportunity for music study and performance through 6,500 music-related clubsand organizations nationwide; finds and fosters young musical talent through festivals and com-petitions nationwide.

National Music Council (NMC) www.musiccouncil.org Promotes and supports music and music education as an integral part of curricula in the schools ofour nation, and in the lives of its citizens; represents the U.S. to the International MusicCouncil/UNESCO.

Professional Fraternity Association (PFA) www.profraternity.org Promotes cooperation and mutual benefit among professional fraternities to preserve high stan-dards on campus and in professional practice. Members are thirty-five national and internationalfraternities in eleven professions, representing over 1.5 million members.

National Interfraternity Music Council (NIMC) – subgroup of PFAComposed of the presidents of seven music fraternities: Delta Omicron, Kappa Kappa Psi, Mu PhiEpsilon, Phi Beta, Phi Mu Alpha Sinfonia, Sigma Alpha Iota, and Tau Beta Sigma. NIMC meets annuallyto discuss matters of mutual interest.

Society for American Music www.american-music.orgPromotes appreciation, performance, creation, and study of American music of all eras and in all its diversity.

ACME — ARTISTS, COMPOSERS, MUSICOLOGISTS & EDUCATORSCarolyn Hoover, Mu Pi, Tacoma Alumni, ACME Chairmanphone: 206/463-4605 email: [email protected]


Composer Dr. WilliamettaSpencer (Mu Nu, FullertonAlumni) hails from Ann Arbor,Michigan, where she studiedboth piano and clarinet at theUniversity of Michigan. Aftermoving to California, she earneda B.A. from Whittier Collegewith majors in piano and com-position. Later she received herM.M. in composition at the

University of Southern California, studying with ErnestKanitz, Halsey Stevens, Ingolf Dahl, and Pauline Alderman,and composing a string quartet for her master’s thesis.Williametta then received a Fulbright scholarship to studycomposition in Paris, France, with Tony Aubin, where shealso participated in the master class of Alfred Cortot. Shesubsequently earned the Ph.D. at the University of SouthernCalifornia, with a dissertation on Andre Caplet.

Dr. Spencer’s web site lists her many compositions in thefollowing genres: piano solo, wind instruments, windensemble, orchestra, voice, organ, strings, a dramatic work,solo flute, and many choral works. Many of the listed com-positions are published and available. She has receivedmany awards and commissions, and several of her record-ings and articles are available at her web site. Dr. Spencerhas also produced two videos, “The Harpsichord Music andMakers” and “The German Lied.”

She presently is artist in residence at California StateUniversity in Pomona and a visiting scholar in the School ofComparative Arts at Ohio University in Athens, Ohio. Anactive performer as well as composer, she is organist anddirector of music at Whittier Presbyterian Church and harp-sichordist for L’Antica Musica Consort.

Dr. Spencer is actively involved in Mu Phi Epsilon, theDominant Club of Los Angeles, American Guild ofOrganists, Music Teachers Association of California,National Guild of Piano Teachers, and is a member of theSociety of Composers, Inc. She has much to offer you soplease check out her web page at http://wspencer.com orcommunicate with her directly via e-mail [email protected].

Pianist Lenora Ford Brown(Epsilon Mu, Salt Lake City Alumni)is a concert and recording artist,composer, arranger, master teacher,and adjunct professor of music at theUniversity of Utah. She holds a B.M.degree in piano performance fromthe University of Utah and receivedextensive training at the Universityof Michigan with Theodore Lettvin,John Perry, Davis Burge, and

Leonard Shure. She has studied with John Browning andhas performed for Vladimir Ashkenazy.

Lenora has concertized extensively throughout the Far Eastand the U.S. and appeared in many performances with theUtah Symphony, Salt Lake Symphony, and others. Oncenamed one of the Top Ten New LDS Artists, she is a mem-ber of the distinguished international roster of SteinwayArtists and has recorded and marketed twenty-two CDs.She performs with several chamber ensembles including theBrown/England Piano Duo with Gaye England. She haswon numerous competitions, including MTNA state andregional piano competitions, and was the top pianist at theSterling Staff International Competition. In May 2008 shewas honored with Utah’s Best of State Award in the instru-mental category.

In May 2006 the Brown/England Piano Duo won first placein the prestigious New England Conservatory InternationalChamber Music Ensemble Competition, for which theyreceived a gold medal and a Carnegie Hall performance.Brown/England were also selected to the 2007-2008 UtahArts Council Performing Artist Tour and were the only U.S.pianists to be invited participants in the 2007 Web ConcertHall Ensemble Competition.

Lenora teaches at the university level and also in her privatestudio. Her students have won or placed in state andnational competitions and garnered many scholarships andawards. She is author of a teacher workshop and video,“Reaching for Repertoire,” and “Beginning Piano,” an inter-nationally marketed self-teaching course, and has givenworkshops in several states. She has served on the UtahMusic Teachers Certification Board and holds a permanentMusic Teachers National Association professional certifica-tion in piano. She is listed in several “Who’s Who” volumes.

Lenora would graciously receive questions and be willing toshare some of her life experiences, which may help you liveup to some of your own dreams. E-mail her at [email protected].

ACME

Pianist Gaye England (EpsilonMu, Salt Lake City Alumni)appeared in her first solo pianorecital at the tender age of eightand has enjoyed a full career asboth soloist and concerto per-former in Utah and surroundingstates. She holds a graduatediploma and an affiliate certifi-cate from the Sherwood MusicSchool in Chicago. In 1985 she

received her B.M. degree in piano pedagogy and 1991earned the M.M degree in piano performance, both fromthe University of Utah.

Gaye has served as guest soloist and artist with theSchubert Singers, Temple Square Concert Series,Brigham Young Historical “Concerts in the Park” series,and Steinway Concert Artists Series. Gaye has per-formed as a duo-piano artist for over twenty-five yearsand has recorded six CDs of two-piano music. She andLenora Brown make up the Brown/England Piano Duo,who performed on several occasions at the 2008 Mu Phiconvention. Before she began working with Lenora, shecollaborated with Susan Duehlmeier and SandraPeterson. She has also spent many hours as accompa-nist for artists including April Nash Greenon, ProMusica under John Marlow Neelson, Salt Lake OratorioSociety, and the University of Utah Opera Workshop.

She has numerous publications to her credit (seeTriangle Vol. 77, No. 4 and Triangle Vol. 76, No. 2 forexamples). Soon to be published are her arrangementsof several Christmas favorites in SATB with pianoaccompaniment. Also upcoming are her arrangementsof classical, light classical, Broadway and movie favoritesfor two-pianos/eight-hands, and an arrangement ofLiszt’s “Mephisto Waltz” for duo-piano which we heardat the convention this past August.

Gaye enjoys what she does – making music, entertainingthe public, educating an audience, and expanding herown horizons and those about her in the process. She isavailable to Mu Phi members to ask questions about thebusiness of making music. E-mail her at [email protected].

Preserving Chapter HistoryBy Wendy Sistrunk, Mu Mu

Mu Phi Epsilon’s music librarianand archivist Wendy Sistrunkoften receives questions fromchapters about how best to pre-serve paper materials like scrap-books, photos, and other chapterdocuments. Wendy gave a presen-tation at the 2008 convention onthe topic, and her accompanyinghandout is reprinted here.

Avoid• Laminate• Rolling or folding photos• Folding paper• Rubber cement, glue• Tape• Metal (staples, paper clips)• Acidic paper (newspaper, colored paper)• Cheap scrapbook albums• Magnetic photo albums• Ball-point pen• Ink-jet printers• Direct sunlight, fluorescent lights• Moisture or dryness (recommend no higher than 70

degrees F, humidity between 30% and 50%)• Vermin, insects

Solutions• Photocopy newspapers• Unfold letters, documents, etc.• Back up digital files with “analog” (print out)• Mildew amelioration• Remove any residual moisture by fans or airing out,

and leave overnight. Set books on their spine and fanopen pages.

• Place inside plastic receptacle (or bag or pan) andplace inside a larger plastic bag

• In smaller bag, dump several boxes of baking soda orpotpourri

• Seal larger bag and let stand enclosed for several days• Folders• Clear sleeves• Archival boxes• Picture mounting corners• Plastic storage bins

Sources• Gaylord Archival Products• Northeast Document Conservation Center

www.nedcc.org


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

12 THE TRIANGLE / muphiepsilon.org12 THE TRIANGLE / muphiepsilon.org

A half century ago, there were few musi-cians who did not know the name ofMischa Mischakoff. Now, despite a longcareer and many recordings, he is knownby relatively few, but the life of MischaMischakoff as performer and teacher leftan imprint on today’s orchestral world.This heartfelt, page-turning biographywas written by the violinist’s daughter,Anne Mischakoff Heiles.

Concertmaster at Age TenMikhail Isaakevich Fishberg (his namewas changed in 1923 at the suggestion ofa New York concert manager) was bornin Russia in 1895. He once said that hewas born “with a violin and bow in myhand. Our house was something like theone in Fiddler on the Roof. There wereno wooden floors, no electricity or water.And the roof was made of straw.” As achild, he “slept in a clutter” in one roomwith sixteen Fishberg children.

At ages eight and thirteen “Mischa” andhis older brother Yascha traveled alone,eight hundred miles by train, to enroll atthe St. Petersburg Conservatory, selectedbecause it did not restrict admittance ofJews like other music schools. Mischafirst became a concertmaster at age ten,in a Conservatory student orchestra con-ducted by fellow student Serge Prokofiev.At the Conservatory there was no set agefor graduation; students ranged in agefrom ten to thirty and were awarded adegree when their studies were finished.Mischa graduated just as he turned sev-enteen, winning both the gold medal forstrings and the Rubenstein prize of 1,200rubles as the most outstanding graduate.His teacher also gave him a special gift –his own violin. Until this time,Mischakoff had only played borrowedinstruments.

Land of OpportunityIn 1922 Mischakoff sailed to New York insteerage with his friend AndreKastelanetz. Upon arrival he was greetedand helped by Fishberg relatives, much incontrast to his and his brother’s earlierarrival into St. Petersburg completelyalone. Mischa wasted no time in takingadvantage of the land of opportunity. He

gave recitals in Carnegie Hall, Town Hall,and for the Metropolitan Sunday EveningConcerts. He won the New YorkPhilharmonic competition and was hiredas concertmaster for the New YorkSymphony Society. Anne MischakoffHeiles writes, “My father was glad for achance to be settled in America after theyears of war, riots, revolutions, andupheavals.”

His success in America was in stark con-trast to life back in Russia. A 1924 letterMischa received from a musician friendin Moscow painted a very different pic-ture: I work in two state technical col-leges as violin teacher … For this job Iget 60 rubles monthly, which is about$35 in your money. I also play in thecinema, accompanying the movies, fivetimes a week for three and a half hours aday, and get what is about $65 in yourmoney … I have a family of five people …The living conditions (our apartment)are horrible. We occupy only tworooms, the rest was taken away … Ingeneral, musicians here live half hungry… The unemployment office is over-crowded with unemployed musicians.Cinema is considered the best job.

Over the course of his career Mischakoffbecame concertmaster to Toscanini andto orchestras in St. Petersburg, Moscow,Warsaw, New York, Philadelphia,Chicago, and Detroit. At his eightiethbirthday celebration in Detroit,Mischakoff told a reporter that his lifejourney had ended well, saying, “I’m myown boss … I very often think how fortu-nate I am. I am still in demand. My wifeis the best wife. I have a fine family. Thisis the best country to live in. I have noregrets about leaving Russia and comingto the United States.”

Anne Mischakoff Heiles (Phi Kappa, Urbana-Champaign Alumni) has taught viola, string

pedagogy, and music history on the facultiesof University of the Pacific, Northwestern

University, California State University atFresno, and the University of Illinois at

Urbana-Champaign. Her degrees are B.A. inmusic history at Smith College, M.A. at the

University of Iowa, and D.M.A. at theUniversity of Illinois.

Mischa Mischakoff: Journeys of a Concertmaster

Anne Mischakoff Heiles, 2006.Paperback, pp. 288, $52.00.

ISBN 0-89990-131-X

Includes: 102 b&w photos, 4 appendices, index,

and CD of 14 violin solos

Also by Anne Mischakoff Heiles:America’s Concertmasters, 2007.

Paperback, 516 pages, $40.00.

ISBN 13:978-0-89990-191-8

Includes: 71 b&w photos, 2 appendices, bibliography,

and index.

Harmonie Park Press, Liberty Professional Center,

35675 Mound Road,Sterling Heights, MI 48310

(800) 422-4880

This is Rona Commins’s last column as Bookshelf editor.

Please see the back cover formore information.

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


The United Kingdom is growing a lot ofnew musicians, thanks to a tide of newfunding coming into schools. Recently theBritish government rolled out a new pro-gram to give every child the chance to playa musical instrument. The program, calledWider Opportunities, is for elementaryschoolchildren ages 7 to 11. Music lessonsare taught in a similar manner to history ormath, in that a child is learning an instru-ment with 25 or more other children at thesame time. If you were ever put off by hav-ing to share your lesson time with a part-ner, or even a small group (oh, dread!) –stop reading now, or go make yourself acup of tea and come back.

The initiative has been a great success, giv-ing many children who could never affordprivate tuition the opportunity to experi-ence an instrument and musical perform-ance. Schools decide what instrumentsthey would like to be taught, and there aremany to choose from: violin, cello, sambadrums, keyboard – even ukulele.

Chaos to Harmony with Mr. Ford Truck

This year I have been leading WiderOpportunities keyboard lessons at an ele-mentary school in my neighborhood. I goin once a week for an hour, with anotherprofessional musician. We set up the key-boards in the cafeteria – there are fifteenthat need to be plugged in. Curious chil-dren poke their noses around the door toask when they can come and play. Thenthe first class of Year Threes comes march-ing in. There are grins on their faces; theywhisper to me and giggle at each other.“Hello, Mr. Ford Truck … can I play a piecein today’s lesson?”

My teaching partner and I get the children ina circle and we start snapping our fingers. Wesay our names to the pulse, then put melodiesto our names. We sing a South African song,we have a jam with percussion instruments.Finally we go to the keyboards where dozensof hands squiggle about silent keys.

It can be chaotic. Ihave no curriculumbook. I didn’t take“How to Teach ThirtyChildren Keyboard 101”at conservatory. Myorganizational skills arebeing tested and mycreative juices are com-ing to a boil. Thesekids have a red-hotimagination and energy to power a spaceship. How do I collect it all and make amusical hour where we are dancing andsinging together – in harmony?

Kids Help Teach Kids

I have concluded that we have to focus ondeveloping and grasping the GroupDynamic. I tell the children that I cannotteach them all on my own; they have tohelp each other in order for us to move for-ward. The children have been put in pairs:those who can read music are placed withthose who cannot. Teams have beenorganized at the cafeteria tables. “TheMusic Sharks” are vicious. The “WhereAre My Shoes” show off their socks beforeperforming their five-finger pattern togeth-er.

I’ve been researching El Systema fromVenezuela, which includes picking out thereally good players in order for them tolead the class. The teams play together.We apply ourselves to getting into theprocess of music, trying to get processesstarted. Fellow Mu Phis across the world,what would you do if you had to teach 25+children, in a group, to play your instru-ment or sing your song? I would love tohear from you.

Keith Ford is chairman of theInternational Committee. He is a profes-sional pianist and Allied member living inLondon: [email protected]

Everyone Can Be a Musician

Keith Ford and students.

Foundation

Jorge Ávila Omega Omega, New York City Alumni

2001 Winner of the Mu Phi Epsilon International Competition

This is an amazing story, considering that Honduras still has neither a symphony orchestra nor an arts program. A recipient of numerous awards and honors, Jorge was the first Honduran to receive his resident status in the United States under the “extraordinary talent” category.

Jorge Ávila was born in San Pedro Sula, Honduras. Since he was very good in math and science, his goal was to become a doctor. But at age ten, Jorge started studying piano and learned most of Bach’s Well-Tempered Clavier, Beethoven’s Concerto No.2, pieces by Mozart, many sonatas, and many other numbers. He loved music and wanted to become a pianist.

A violinist who had come to Honduras from Uruguay started teaching Jorge to play the violin at age fourteen. At first Jorge was disappointed not to be playing the piano, but soon he became totally absorbed in the violin. During his studies in Honduras, he received first prize in the La Botonia competition. He also toured the United States twice, appeared as a soloist in The Four Seasons by Vivaldi, and was first violinist of the Honduran Youth Quartet and concertmaster of the Victoriano Lopez Chamber Orchestra.

When Jorge was sixteen, a string quartet visited from the University of Georgia. His teacher, Jose Chain-Barbot, arranged for Jorge – his extremely talented student who had only been studying violin for two years – to play for them. They immediately offered Jorge a full scholarship to the University of Georgia, where he became the concertmaster of the college orchestra.

Jorge’s parents were supportive of his going to Georgia because Jorge would be able to learn English, of which he knew none, and learn more about the United States. They assumed that after a year or so, he would return to Honduras and become a doctor. But after a year at Georgia, he was advised to go to New York City if he really wanted to become

a professional violinist. That was where the most opportunities were.

Jorge was accepted into Juilliard, Manhattan School of Music, and Mannes College of Music. Since college was very expensive, Jorge’s parents could not afford to pay for his schooling. Their combined salaries as accountants would not even pay for his tuition, and foreign students cannot take out U.S. student loans. Therefore Jorge selected Mannes, which offered him a full scholarship. He worked various jobs while there: answering phones, in the library, and in the “listen” program for the prep department. By the time he was twenty, he was fortunate enough to find paying violin jobs.

Jorge participated in many summer festivals such as The Quartet Program and Musicorda. For three summers (1992-1994), he attended Tanglewood. It was this outstanding experience that created Jorge’s love of new music. The Contemporary Music Festival was the perfect venue.

Currently an active freelance performer and teacher in the New York area, Jorge is a founding member of the Chalfonte Quartet. He performs as a chamber musician with the Abaca String Band, Positive Music, Prism Ensemble, and Musicians’ Accord. Jorge has also appeared as concertmaster with numerous groups, including St. Patrick’s Cathedral Orchestra, José Limón Dance Company, Bachanalia, Philharmonia Virtuosi, Greenwich Symphony, and Grace Church Orchestra. Jorge also frequently appeared as the onstage violinist in The Music Man on Broadway, and has played in the orchestras of other Broadway shows such as The Scarlet

Pimpernel, Aida, Annie Get Your Gun, and The

Producers.

Considered one of today’s leading young Latin American violinists, Jorge has performed as a soloist with orchestras in Europe, Asia and both Central and South America. In the New York City area, he has been a featured soloist with the Riverside Orchestra, Hofstra Symphony, New Amsterdam Symphony, City Island Chamber Orchestra and The Bronx Arts Ensemble. He has appeared as concertmaster and soloist with the New York Chamber Orchestra at Carnegie Hall.

Foundation

NEW FOUNDATION FARE CHAIRMAN

Ellen Davis

(Epsilon Kappa, St.

Louis Alumni) was

born in Chelsea,

Massachusetts. She

served in the

Women’s Army

Corps from

September 1965 to

June 1967 as a

medical technician

specializing in eye,

ear, nose and throat.

She was stationed at West Point Military Academy.

After the death of Ellen’s first husband, she took her

young son and attended school at Southern Illinois

University where she joined Epsilon Kappa as a

music minor in 1978.

She held all offices at the collegiate level and built

the chapter up with the help of its advisor, Dr

Catherine McHugh. Ellen served as District Director

after she joined the St Louis Area Alumni Chapter.

She is currently the Chapter Advisor of Epsilon

Kappa, which has recently been reactivated.

Ellen’s music specialties were music therapy and

voice. She was a soprano until her vocal bands

were damaged as a side effect of gastric bypass

surgery in April 2005. After the surgery, she did

music therapy with other patients in the nursing

home where she was recuperating.

Mu Phi Epsilon Foundation welcomes Ellen,

who spent endless hours tending the Foundation

Fare exhibit at the recent International

Convention in Jacksonville, Florida. Ellen has

added many new items to the offerings of

Foundation Fare. She is even willing to do

special orders for members.

Be sure to see what is available to buy from

Foundation Fare by visiting the

Mu Phi Epsilon Foundation website at:

www.mpefoundation.org. Click on Foundation Fare.

Or contact Ellen by email at:

[email protected].

Eleanor Hale Wilson Endowment for Community School Programs

The Mu Phi Epsilon

Foundation gratefully

acknowledges receipt of

a generous donation

from the estate of

Eleanor Hale Wilson.

Eleanor was Past

President of Mu Phi

Epsilon Fraternity and

Finance Chairman of

both the Fraternity and

Mu Phi Epsilon Foundation for many years. She

spent much time obtaining funding from such

corporations as Battelle for young underprivileged

students.

Because of Eleanor’s passion for such programs,

Mu Phi Epsilon Foundation is pleased to announce

a new endowment fund in her name. The

investment income from this endowment will be

used specifically for community school program

philanthropies.

With the economy in such dire straits, it will be

increasingly hard for the Foundation to continue

supporting these institutions. If you would like to

add to the Eleanor Hale Wilson Endowment, please

send your donation to: Sandra Wiese, Treasurer

Mu Phi Epsilon Foundation

9099 Regency Woods Drive

Kirtland, OH 44094-9380

Help Still Needed!!!!

Mu Phi Epsilon Foundation still desperately needs a talented

lover of websites to help create a new, expanded web page for

all the information we need to post there. We are very grateful

for the time that has been given by Keith Bohm, past Director

(holding many positions), past International Competition

Coordinator, Concert Manager, etc. The list of Keith’s

contributions goes on and on, and now he needs someone to

take over the website.

We also need someone to write Foundation material for The

Triangle, Newsletter, etc. These have been done by Sandra

Wiese, Treasurer. If you are interested in helping with either of

these positions please contact

Sandra at [email protected] or Foundation

President Marcus Wyche at: [email protected]

Applausenews from members


Applause

Jacquelyn Dillon (Phi Pi, Wichita Alumni) was namedKansas Professor of the Year by the CarnegieFoundation in November and was the subject of a fea-ture article in the Wichita newspaper. A cellist by origi-nal training, she is professor of music at Wichita StateUniversity, director of the Wichita Youth Symphony, co-founder and director of the Youth Chamber Players, anda recognized writer and expert on designing and teach-ing school string programs. (Item submitted by LorettaBarger, Wichita Alumni)

In late January, Maria Jaque (Mu Nu, Palos VerdesPeninsula Alumni) gave a flute recital at El CaminoCollege, performing works by Bach, Mozart, Lobato,Muczynski and Walton She was accompanied byLorenzo Sanches, piano.

Cindi Kelly (Phi Kappa, Detroit Alumni) recently fin-ished writing a musical entitled The Key, which will pre-miere in spring 2010.

Pianist Frances Renzi (Phi Tau, Toledo Alumni) per-formed a November recital at the Women’s City Club,Ann Arbor, Michigan. Frances is professor emerita atthe University of Toledo, where she concluded an out-standing 27-year university career for which shereceived a commendation from the Ohio Senate. Alsoan active recitalist, orchestral soloist, chamber musician,and collaborative artist, she was the subject of a majorfeature article in the Toledo Blade in July 2008. Seehttp://www.toledoblade.com/apps/pbcs.dll/article?AID=/20080706/ART10/683070391.

In September 2008 Mary Louise VanDyke (Kappa)directed the fourth biennial Northern Ohio HymnFestival in Oberlin College's Finney Chapel. Fifty guestchoirs and a capacity audience filled the chapel withover 1100 people on the hundredth anniversary (withinone day) of the first assembly ever held there.Environmentalist David Orr was the festival narrator,and Mary Louise planned a program of choral responses- hymns or anthems - to each of his reflections.

A fall 2008 concert by the Oregon chamber musicensemble Salem Camerata Musica was a tribute to itslate co-founder, violinist Lydia H. Woods (Phi Mu),who died in January 2008 (see Final Notes, Spring2008 Triangle). In addition to a long and active per-forming career, she and co-founder Miriam Bednarz(Phi Lambda) were members of Salem Alumni for manyyears, where Lydia held several offices. Miriam contin-ues to be active with Camerata Musica, serving as vicepresident, member of the program selection committee,and patron.

Tenor Kurt-Alexander Zeller (Mu Chi, AtlantaAlumni, ACME) gave a recital with pianist MichikoOtaki in late February, performing Robert Schumann’sDichterliebe and two song cycles by John Ireland onpoems by A.E. Housman. Kurt’s new book, What EverySinger Needs to Know About the Body, was published inMarch. One of the book’s two co-authors, MaryJeanAllen, is also a Mu Phi. Kurt says, “In fact, we wereboth initiated into Mu Chi chapter when we were class-mates at SMU in the voice studio of ACME memberBarbara Hill Moore, so there are some fun Mu Phi con-nections for you.” Look for a review of the book in afuture Triangle.

The Triangle welcomes news about members’ and chapters’ activities and accomplishments, to be considered forinclusion in “Applause & Encore.” We also appreciate photos (color, high resolution) to go with your item.Electronic transmittal is preferred; email to [email protected]. Hard copy and photo prints are acceptable;send to Triangle Editor, P.O. Box 10042, Austin, Texas 78766.

Free Trial – Musician Opportunities DatabaseNew England Conservatory (home of Beta chapter)is offering musicians a free trial of its BridgeWorldwide Music Connection online database serv-ice. Bridge has over 3000 listings of current audi-tions, festivals, competitions, and grants, plusteaching and arts administration job listings. Toaccess the free trial subscription, visitwww.newenglandconservatory.edu/career andenter the user name TrialBridge and passwordMedia09. Offer is good through June 30, 2009.

Conductor Marlon Daniel (Mu Xi, New York CityAlumni) visited St. Louis in February, where he wasan invited guest artist in the three-day Festival ofAfrican and African-American Music(http://fesaam.org). He conducted the festival’smajor concluding concert, which was performedtwice and featured works by Alston, Okoye,Onovwerosuoke and Perrault. Marlon directed amassive performing force that consisted of two largechoruses – the St. Louis Children’s Choir and theKirkwood Community Choir of Cedar Rapids, Iowa– and the New Horizons Orchestra.International President Fran Irwin, TriangleadvertisingrepresentativeJan Scott,and otherlocal Mu PhiswelcomedMarlon to St.Louis at a pri-vate, informalbreakfast,where they learned more about his conductingactivities with Ensemble du Monde in New York(www.ensembledumonde.com) and PragueSinfonietta in the Czech Republic, among many oth-ers. Later they were in the concert audience andreported that the performance was truly excellent.Marlon has already been invited back to conduct atthe 2010 festival.

Coincidentally, soprano Christine Brewer(Sterling Patron and 2008 conventionpresenter/performer) was in St. Louis the sameweekend to perform as featured soloist in Verdi’sRequiem. Marlon was able to attend her perform-ance and to meet her backstage afterward.

Marlon has joined Artist World ConcertPromotions, and his bio may be found atwww.artistworld.org.


Encore

Gamma Sigma CSUDominguez Hills presi-dent LaVerne McCoysent photos of recentchapter activities. Checkout those bright purpleMu Phi t-shirts sportedby members who hostedthe chapter’s openhouse. (That's Laverne,lower left.) The otherphoto features newmembers who were initi-ated in November 2008.

The Los Angeles Alumni newsletter recently sentfigurative red roses and chocolates to recognize mem-bers’ latest accomplishments. Among them wereAdrienne Albert*, Mary Lou Newmark*,Berkeley Price, Deon Neilsen Price*, and AlexShapiro*, whose compositions and performanceswere featured in a recent issue of the journal of theInternational Alliance of Women in Music(www.iawm.org). The issue also included a reviewwritten by District Director Jamie Caridi. JeannineWagner* and her Wagner Ensemble (www.wag-nerensemble.com) were recognized for a concert sea-son spanning six centuries of music, Renaissance topresent, and Tom Peters got kudos for a stunningarray of concerts all over the Los Angeles basin, featur-ing contemporary literature for acoustic bass.

*ACME members.

Encorenews from chapters

CORRECTION: Phi Tau at the University of NorthTexas was incorrectly designated as inactive in the"District Directors with Chapters" listing in theWinter 2009 issue. In fact, Phi Tau reactivated inspring 2008 and was represented at last summer'sconvention. Its twenty-nine active members recentlyheld a successful rush event and expect to add a num-ber of new members soon.

Elsa Lunt Erickson BrandtAlpha Eta, June 11, 1975Washington D.C. AlumniDied January 15, 2008Violinist, music educator.Performed with the Hartford, Conn.and New Orleans symphony orches-tras; freelanced in the Washington,D.C. area. She was professor ofmusic at Howard University for 22years, founded the Maggini StringQuartet, and maintained a privateteaching studio. Member and pastpresident of the Maryland-D.C.chapter, American String TeachersAssociation; lifetime member of theCollege Music Society; and solomember of the Friday MorningMusic Club.

Joanne Hart Stanford BuckAlpha Alpha, February 16, 1969Dayton AlumniDied January 13, 2009Editor, music teacher, organist.Joanne was church organist fortwenty-five years at FairmountPresbyterian Church in Kettering,Ohio.

Glenda J. Fanning Cadill CaseyEpsilon Pi, April 13, 1967Died September 14, 2008Choral director, educator, clinician,adjudicator. Taught thirty years inTexas public schools. Held severaloffices in the Texas Choral DirectorsAssociation including president;received TCDA’s first ChoralExcellence Award in 2005.

Ethel Marie Mountain ClarkOmega, March 21, 1937 Ann Arbor AlumniDied October 2, 2008Flutist. Instructor at University ofMichigan, private studio; performerwith several orchestras. Performedby invitation at 1940 Mu PhiEpsilon convention; sponsored asimilar collegiate recital at 2003Centennial Convention, one of sev-eral convention programs she andher husband underwrote. During

World War II she was one of thefirst women to serve as a pilot forthe U.S. Air Force.

Eleanor G. DaniellsSigma, March 12, 1944Died March 31, 2008Keyboard artist, music educator.Taught piano, music education, andsupervised student teachers atCulver-Stockton College. Afterstudying international education inEl Salvador, she became professorof music education at EastTennessee State University. Achurch organist, she also enjoyedplaying viola da gamba, violin, andpiano.

Marian E. Stange DowlerPhi Kappa, February 2, 1940Detroit AlumniDied September 12, 2008Pianist, vocalist, church musician.Taught vocal music in Detroit publicschools, sang in church choir.

Ruth Thompson EvansAlpha Kappa, November 13, 1966Kansas City AlumniDied January 12, 2009Pianist, music educator, coach.Ruth was a staff accompanist andcollaborative pianist at theUniversity of Missouri-Kansas CityConservatory of Music. She passedaway on her 93rd birthday.

Marilyn Marie Schill FosdickGamma, January 21, 1945Ann Arbor AlumniDied November 13, 2008Pianist, organist, church musician.Provided music therapy for manyyears to patients in a V.A. hospitaland taught hymns to mentally chal-lenged adults.

Anne Fahrquar HamerGamma, March 17, 1935Died October 16, 2008Pianist, cellist, educator. Chairmanof music department at MaryWashington College (nowUniversity); founder and facultyadvisor, Phi Psi. NamedFredericksburg “Woman of theYear” 1993.

Alda May Horner Heywood Alpha Alpha, February 16, 1969Dayton AlumniDied November 25, 2008Music educator. A public schoolmusic teacher more than 25 years,Alda contributed much to the musi-cal life of Dayton. She served aspresident of Dayton Alumni 1974-1976 and was District Director inthe East Central Province 1976-1978.

Evamarie Moritz LanningPhi Nu, November 13, 1941Died January 10, 2009Public school teacher. Evamariewas a native of Berlin, Germany.

Bettye L. Kraemer McMahonZeta, March 31, 1946Died August 24, 2006Music educator, church musician.Bettye had the distinction of beingthe first music teacher in theNoblesville, IN elementary schools.She was a church musician, playingin the bell choir, directing the youthchoir, and accompanying musicals.

Peggy Ann RamstadPhi Rho, October 27, 1945Died August 19, 2008The majority of Dr. Ramstad’scareer was spent at Ball StateUniversity as a professor of educa-tion.


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

Mary Katherine Lotz SchreiberPhi Tau, December 7, 1945Died December 29, 2008Church musician, music educator.Mary Katherine taught publicschool music until age 75, themajority of those years with kinder-gartners.

Gertrude “Gretta” I. RobertsThomsonPhi Kappa, January 9, 1938Died March 3, 2008Public school teacher.

Sara Elizabeth MarksTrinkhausGamma, April 18, 1972Ann Arbor AlumniDied January 8, 2009Pianist. Active in the 1940s avant-garde music scene in New York City,Sara provided musical accompani-ment to a number of dance troupesincluding Martha Graham. Shecontinued her lifelong vocation as apiano teacher until age 87.

Janet Hagen UlmerTheta, November 11, 1946St. Louis Area AlumniDied December 29, 2008Soprano. Janet was a soloist withthe St. Louis PhilharmonicOrchestra as well as various church-es. She once sang for President andMrs. Eisenhower and on radio andtelevision.

Final NotesFinal Notes


The Collaborative Pianist: A Tribute to Ruth EvansBy Jan Neubert Smith, Mu Delta, Kansas City Alumni

Collaborative pianist is the termthat is used in today’s world forthe role of one who accompanies aperformer, giving both artistsequal credit for the performance.“Accompanist” simply isn’t ade-quate – especially in the case ofmy friend Ruth.

Ruth Evans (Alpha Kappa, KansasCity Alumni) spent most of herninety-three years at the piano. It was a gift she discoveredearly in life. She was much sought after at the University ofMissouri at Kansas City where she played for students’ lessons.Later, it was Metropolitan Opera tryouts, many recitals andcontests – Ruth covered them all. She always gave her best tohelp the featured performer along. She took a backgroundseat, allowing the performer to soar, while she provided theunderpinning and foundation of the work. Skillfully, she savedmany performers who skipped a few lines or even a wholepage; she knew exactly where they were and could jump to thatspot, thus averting a disaster. She had a wonderful intuitivestreak that could identify what a performer was going to doeven before the performer knew. How safe it was to have herat one’s side.

Ruth and I worked together for many years, I as a singer andshe at the piano. The hours would fly by while we rehearsed aprogram. She and I loved to work up something funny, such asmy holding a high C at the end of a piece for a long periodwhile she would get out her nail file and pretend to file hernails. We would end our fun by coming together in a resound-ing finale. How I will miss my collaborative pianist!

Thinking of her life, I can see that her personality was born forthe job. All through her life she was an accompanist. In mar-riage to her beloved Jim, she was always lovingly there to sup-port his endeavors. She was an encouragement to all the stu-dents. She supported many musical events in our city andspent many summers in Aspen, where she attended all the con-certs and provided many a picnic for student performers

Ruth was my mentor. I have always wanted to be like Ruth,my collaborative pianist. But that will never be, since I ammerely a performer.


Alpha AlphaUniv of Cincinnati Conserv,Cincinnati, OHAlbert Muhlbockalbert_muehlboeck_music

@yahoo.de

Alpha KappaUMKC Conservatory ofMusic, Kansas City, MOLinda [email protected]

Alpha MuMissouri State University,Springfield, MOLauren Stuckeystuckey2710

@missouristate.edu

Alpha OmegaStephen F. AustinUniversity, Nacogodoches, TXAmanda [email protected]

Alpha PiTX State Univ,San Marcos, TXCatherine [email protected]

Alpha SigmaAbilene Christian Univ,Abilene, TXBethany [email protected]

Alpha XiUniv of North Carolina,Greensboro, NCJay [email protected]

Alpha ZetaRadford Univ, Radford, VARyan [email protected]

Beta AlphaCSU Fullerton, CABrittany [email protected]

Beta BetaJacksonville Univ,Jacksonville, FLClaire [email protected]

Beta KappaTrinity Univ, San Antonio, TXLibby Wardlaw & CandaceHawkinsCandace.Hawkins

@Trinity.edu

Beta MuTX A&M Univ, Commerce, TXKayli Daviskdavis4

@leo.tamu-commerce.edu

Beta OmicronWestern IL Univ, Macomb, ILSarah [email protected]

Beta PiNebraska Wesleyan Univ,Lincoln, NEOwen [email protected]

Beta PsiUniversity of Indianapolis,INMary [email protected]

Beta ThetaTN Tech Univ, Cookeville, TNBenjamin [email protected]

Beta ZetaSouthern Univ and A&MCollege, Baton Rouge, LAShandrika [email protected]

Delta EtaUniv of North Florida,Jacksonville, FLChristopher [email protected]

Delta MuSlippery Rock University,Slippery Rock, PADrew [email protected]

Delta OmegaOur Lady of the LakeUniv, San Antonio, TXIsabel Del La [email protected]

Delta PiTarleton State Univ,Stephenville, TXCody [email protected]

Delta PsiClayton State Univ,Morrow, GAMartin Hardinmhardin3

@student.clayton.edu

Delta RhoUniversity of Colorado atBoulderAmanda [email protected]

Delta TauMercer University,Macon, GAJulie [email protected]

Delta ZetaEmory University, Atlanta, GAPeter [email protected]

EpsilonUniv of Toledo, Toledo, OHCarolyn [email protected]

Epsilon AlphaCollege of St. Catherine,St. Paul, MNMolly [email protected]

Epsilon EpsilonTexas Christian Univ, Ft. Worth, TXTanner J. [email protected]

Epsilon KappaSo. Illinois University,Carbondale, ILJamie [email protected]

Epsilon LambdaEastern Michigan Univ,Ypsilanti, MIBrian P. [email protected]

Epsilon OmegaSan Francisco State Univ,San Francisco, CAMadelyn [email protected]

Epsilon OmicronIndiana Univ,Bloomington, INKrysta [email protected]

Epsilon PhiFriends Univ, Wichita, KSDanielle [email protected]

Epsilon PiTexas Tech University,Lubbock, TXSarah [email protected]

Epsilon SigmaPacific LutheranUniversity, Tacoma, WAChristine [email protected]

Epsilon UpsilonDuquesne Univ,Pittsburgh, PARobert [email protected]

Collegiate Chapter Presidents 2008—2009


GammaUniversity of Michigan,Ann Arbor, MIKathryn [email protected]

Gamma EtaCentral State University,Wilberforce, OHJoy [email protected]

Gamma GammaSouthwestern OklahomaState Univ, Weatherford, OKPaige Hagermanhagermanp

@student.swosu.edu

Gamma PhiCleveland State Univ,Cleveland, OHKathleen Cooper [email protected]

Gamma PiShorter College, Rome, GAJennifer Tripijennifer.tripi

@students.shorter.edu

Gamma PsiSt. Mary of the Woods,Terre Haute, INSarah [email protected]

Gamma SigmaCA State Univ DominguezHills, Carson, CALaVerne M. [email protected]

Gamma TauUniversity of St. Thomas,Houston, TXMichelle D [email protected]

Gamma ZetaDelta State Univ,Cleveland, MSMandi [email protected]

KappaButler Univ, Indianapolis, INDane [email protected]

LambdaIthaca College, NYWilliam [email protected]

Mu AlphaSimpson College,Indianola, IAJeanette Stogdilljeanette.stogdill

@simpson.edu

Mu BetaWashington State Univ,Pullman, WAJordyn Day [email protected]

Mu ChiSouthern Methodist Univ,Dallas, TXJordan [email protected]

Mu EtaUniv of the Pacific,Stockton, CACristina de [email protected]

Mu GammaUniv of Nebraska, Lincoln, NEAnn [email protected]

Mu PhiBaldwin-Wallace College,Berea, OHJennifer [email protected]

Mu PiOhio Wesleyan University,Delaware, OHEvaCecillia [email protected]

Mu PsiCoe College, Cedar Rapids, IAAllison [email protected]

Mu ThetaUniv of Texas, Austin, TXLou [email protected]

Mu UpsilonEastman School of Music,Rochester, NYAshlee [email protected]

NuUniversity of Oregon,Eugene, ORKimberly [email protected]

PhiMt. Union College,Alliance, OHMaria [email protected]

Phi LambdaWillamette Univ, Salem, ORBenjamin [email protected]

Phi MuSan Jose State, San Jose, CAMichelle [email protected]

Phi OmegaWestminster College, New Wilmington, PAStephanie [email protected]

Phi OmicronCleveland Institute ofMusic, Cleveland, OHOscar [email protected]

Phi PiWichita State Univ, KSMeghan [email protected]

Phi PsiUniv of Mary Washington,Fredericksburg, VAEmily Forsyth [email protected]

Phi TauUniv of North Texas,Denton, TXCasey [email protected]

Phi XiBaylor Univ, Waco, TXBrittany [email protected]

Phi ZetaMorningside College,Sioux City, IAHeidi [email protected]

XiUniv of Kansas, Lawrence, KSNicholas [email protected]

Zeta AlphaWilliams Baptist College,Walnut Ridge, ARMichael [email protected]

Zeta DeltaUniv of La Verne, La Verne, CASarrie [email protected]

Zeta Eta Binghamton UnivBinghamton, NYKrystiana [email protected]

Zeta GammaAugusta State Univ,Augusta, GASarah [email protected]

Zeta Zeta Elon University, Elon, NCLaura [email protected]

Collegiate Chapter Presidents 2008—2009

ATLANTICDISTRICT A1Beverly Whitney Abegg 8 Phillips DriveWestford MA 01886 978/[email protected]

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

EASTERN GREATLAKESDISTRICT EGL1Signe Zale709 Whittier RoadSpencerport, NY 14559 585/[email protected]

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

DISTRICT EGL3Nancy Jane Gray3070 Orchard RdSilver Lake Village, OH 44224330/[email protected]

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

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

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

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

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

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

DISTRICT SE2Director: TBA

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

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

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

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

DISTRICT SC2aJenny Smith9046 Forest Hills Blvd.Dallas TX 75218214/[email protected]

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

CENTRALDISTRICT C1Cathy Woelbling Paul 11852 Gold Leaf DriveSt. Louis, MO 63146 314/[email protected]

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

NORTH CENTRALDISTRICT NC1Director: TBA

DISTRICT NC2Narissa Bach5021 Oliver Ave SMinneapolis, MN 55419 612/[email protected]

DISTRICT NC3Director: TBA

WEST CENTRALDISTRICT WC1Director: TBA

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

PACIFIC NORTHWESTDISTRICT PNW1Sharon Straub206 W High Dr.Spokane, WA 99203 509/[email protected]

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

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

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

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

PACIFIC SOUTHWESTDISTRICT PSW1Jamie Caridi1541 Wedgewood WayUpland, CA 91786909/[email protected]

DISTRICT PSW2Ann Nicholson611 Forest Lake DrBrea, CA 92821 562/[email protected]

PHILIPPINESDISTRICT PL1Director: TBA

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


District Directors 2008—2009

International Executive Office in full bloom! Photo by Gloria Debatin (Fresno, CA.)

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

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

muphiepsilon.org

Second Vice President, Collegiate AdvisorSandra Chaney McMillenAlpha Nu 306 Shorewood DrDuncanville, TX 75116972/298-5910collegiateadvisor@

muphiepsilon.org

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

muphiepsilon.org

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

muphiepsilon.org

Fifth Vice President, Eligibility AdvisorBeverly FernaldMu Rho 2615 Oak Drive #2Lakewood, CO 80215-7182303/237-4875 eligibilityadvisor@

muphiepsilon.org

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

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

muphiepsilon.org

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

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

FinanceKirsten ForbesBeta Sigma7755 S. Duquesne WayAurora, CO 80016720/[email protected]

International Keith FordAlpha Kappa, Allied 79 Southdown AvenueLondon W7 2AEUnited Kingdom44 7792 863 [email protected]

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

muphiepsilon.org

Music Librarian & Archives Wendy SistrunkMu Mu1504 S. AshIndependence, MO 64062816/[email protected]

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

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

muphiepsilon.org


Directory of Executive Officers2008-2011 INTERNATIONAL EXECUTIVE BOARD INTERNATIONAL

CHAIRMEN FOUNDATION BOARD

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

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

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

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

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

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

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

NON-BOARDSCHOLARSHIP CHAIRMEN

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

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

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

Dr. Kristin Jonina Taylor641/[email protected]

Addresses are available at:mpefoundation.org

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

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

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

Mu Phi Epsilon

[email protected]

International Executive Office4705 N. Sonora Ave., Suite 114

Fresno, CA 93722-3947

ADDRESS SERVICE REQUESTED

Not ice of Change of Address or NameClick on Alumni Update Form at www.MuPhiEpsilon.org

Applications Open Through May 15

Music Institute for theDevelopment of Personal StylePittsburgh, Pennsylvania, June 14-22, 2009

“Dedicated to the tradition of great masters whosedistinct musical personalities were instantly recog-nizable trademarks.”

A performer’s personal style is comprised of thosespecial qualities that distinguish one artist fromanother. The development of an individual sound,palette of colors, depth of interpretation, and otheringredients combine to define a unique musicalartist. This annual summer institute for violin,piano, and chamber music, founded and directed byviolinist Sherry Kloss in memory of her mentorJascha Heifetz, is devoted to this deep level of musi-cal understanding There are openings for activeparticipants and auditor/observers. More informa-tion, including eligibility and registration, atwww.Klossclassics.com (click on Music Institute).Application deadline May 15.

Violinist Sherry Kloss (Epsilon Upsilon, MuncieAlumni, ACME) is a recording artist, author, activeperformer, and former master teaching associate ofJascha Heifetz. She writes “Upon Listening” for theTriangle.

Position Open: Bookshelf WriterAfter many years of reviewing books for theTriangle, Bookshelf writer Rona Commins hasdecided to step down. The review in this issue(page 12) is her last one. The Triangle and theFraternity are grateful for Rona’s insightful reviewsand excellent writing.

The position of Bookshelf writer is now open, andwe would like to have one or more new reviewersselected in time to write for the fall 2009 issue. (Itwould be possible for several people to share the jobon a rotating basis.) This is a volunteer position. Ifyou like to read books about music and musicians,and like to write, consider applying! Please e-mail aletter of interest with your qualifications toInternational Editor Melissa Eddy,[email protected].

Now Available OnlineUse your credit card to make a donation to theFraternity, pay your Allied dues, or purchase a Mu Phi banner, History Book, or Composers andAuthors Book.

Annual Chapter Reports Due Collegiate chapter reports are due by May 31 andalumni chapter reports by June 15. Timely comple-tion is vital to be considered for annual chapter andmember awards. Questions? Contact your districtdirector or IEB advisor.

Give to the Harmony CampaignIf it is to be, it is up to me.The 2008-2011 International Executive Board hasvoted to continue the Harmony Campaign as anannual giving program to fund ventures that are notin the Fraternity’s operating budget. In October2008, you received an annual appeal letter but it isnever too late to contribute and no amount is toosmall. You may donate through our website.

mu phi for lifemu phi for life -...

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