Volume 1, Numbe r 4

Dear Members :In this issue o f the I W B C News-

letter you w i l l f i nd fou r articles; two arereprints f rom other publ icat ions. ?Sex-ism i n the Brass Section? by BarbaraJepson appeared in the J u l y7 , 1993 Wa l lStreet Joumal. Several quotes f r om thisarticle appearedi n t h e last W B C News-letter, but i t seemed necessary to reprinti t i n i t s entirety. The other repr int is f r omthe newsletter o f the new ly formed Or -ganizat ion o f Professional Women inMus i c (OPWIM) . The b i r t h o f O PW I Mis a signi f icant step f o r both women and

the American Federation of Musicians.There is a follow-up article on trombon-ist Abby Conant. Her past trials weredescribed in the first IWBC Newsletterand the Wail Street Journal Article thatreappears in this issue. The fourth articleis my personal account of the IWBCperformance at the White House.

IWBC?s Executive Director Re-?becca Staup resigned from her positionlast year. On behalf o f everyone on theBoard of Directors I would like to thankBecky for her invaluable work for the

I W B C and wish her we l l in her new jobas Execut ive D i rec to r o f the Women 'sPhi lharmonic.

I wou ld l i ke to remind the reader-ship that this Newslet ter is f o r you rben-ef i t and can be you r voice. I encouragea n d welcome yourcomments, crit icisms,in format ion or ideas f o r articles and in-terviews.Please ma i l any letters to: RebeccaBower ,1137 R i chmond St., Pit isburgh,PA 15218-1014,

Rebecca Bowe r , E d i t o r

IWBC takes ?Towe r? - i ng ?S tepp i ng S tones?to the Wh i t e Aouse

By Rebecca Bower

T h e I n t e r na t i o na l Women?s F o r um ({WF) M i s s ou r i Chap t e r a n dt h e K e r r F ounda t i o n toge the r sponso red the awa r d sJ o r the F i r s t I n t e r n a t i o n a l Women?s B r a s s Con fe rence composi t ion. contest . I n g r a t i t ude , t h e IWBC dec i d e d to offera f a n f a r e to b e p l a y e d a t the a n n u a l I W F con f e r ence . J o a n Tower , h o no r a r y b o a r d memb e r o f W B C vo lun tee red ana r r a n g emen t b y Dan i e l For lano, conduc t o r o f the M i l w a u k e e Ba l le t , f r o m he r ba l le t ?Stepping Stones?.

n September 30, 1993 I was oneo f fifteen female brass and per-cussion players to perform at the

White House. We were there to performJoan Tower's ?Celebration Fanfare?. Theperformance was one o f the opening eventsfor the annual International Women?s Fo-rum, a group o f high-level political and

b u s i n e s s leaders. Participants would includeF i rs t L a d y H i l l a r y Rodham C l i n t on , Secre-tary o f Health and Human Services DonnaShalala, and the Vice President?s wife, Tip-per Gore,

The afternoon of the 30th, I met theother performers at the East Wing securitypost. I had seen i t on TV, but being there isa different experience. Our instrumentspassed a dog-sniff search as we proceededthrough the magnetic security check. Wewere escorted to the grand f o ye r ?a largemarble vestibule decorated with portraits ofpast presidents?where we setup. AlthoughIwas aware that Mrs, Clinton wouldaddressthe Forum, I was not expecting her to strollby, inches from us, chatting with talk showhost Larry K ing under the glare o f television

cameras and l i gh t s in wha t appeared to be a

p re l im ina r y i n te r v i ew . The exc i temen t and

an t i c ipa t ion o f the group escalated as therea l i t y o fo u r pa r t i c i p a t i o n in th is event be-gan to s i n k in .

As we quietly warmed up our instru-menis, streams o f women from the Forumbegan entering the building. Directly in thepath of arrival, 1 could see their faces lightup, first with surprise, then with delight intheir recognition as they observed an all-

Continued Page 2

1

White House - (F rom Page 1)

female brass and percussion ensemble.On their way to the podium, the First

Lady and Mrs. Gore took time to stop andthank the brass and percussion ensemblepersonally. Mrs. Clinton addressed the Fo-rum eloquently about the proposed healthplan and its ramifications, spe-cif ical ly as it concerns women?shealth issues. I felt honored to bea part o f this new delegation ofwomen, who with their intelli-gence and courage are changingwomen?s lives here and abroad.

As Mrs. Clinton finishedher speech, Joan Tower cuedu st obegin ?Celebration Fanfare? -

softlyand slowly, somewhatmys-teriously at first, building in vol-ume and intensity to a very pow-erful and dramatic close. The au-dience of women sifted in fromthe conference room, surround-ing us with rapt attention. Thesupport and admiration was palpable, theemotionaleffectcontagious. Ourexcitementand energy resulted in an unforgettable per-formance, Joan Tower dedicatedt h e piece toMrs. Clinton and presented her with anautographed copy o f the score,

Af ter the performance we joined themembers o f the Forum for tea and cakes inanother room o f theEast Wing. I was ablet ospeak with several [WF members and ex-press my appreciation for the collaborationbetween the IWF and the TWBC, and theyexpressedtheirgratitude for ourperformance.I wasalso able to spend more time getting to

( felt honored to be a part o fthis new delegation of women,

who with their intelligence and

courage are changing women?s

lives here and abroad.

know some o f the other brass players, noneof whom I had met before the day o f therehearsal.

As the only woman brass playerin the Pittsburgh Symphony, I rarely feelthe kind o f personal camaraderie and

support that I did working with this g r oup . "The event at the White House helpedmake up, in part for my having been.unable to attend the first InternationalWomen's Brass Conference last year. Thisexperience affirmed for me the importanceand impact o f the IWBC.

Avery special thanks toJanDugaforher contributions for this ar-ticle and to those who orga-nized and participated in theWhite House event. SusanSlaughter, Gayle Jackson,Joan B r i c ce t t i and Dr .Rebecca Staup were instru-mental f rom the beginning.Sylvia Alimena coordinateddates and details f o r the re-hearsal and performance.Joan Tower offeredher musicand time to conduct. The en-

semble comprised thefol low-ing performers: TRUMPETSTerry Alvey, Ginger Turner,Tammi Leverone,S a n d N

Quaschnick; HORNS Amy Horn, DeborahStephenson, Emily Gorl in, Carolyn Parks;TROMBONES Rebecca Bower, JaniceOwens, Cynthia Cash.; TUBA Jan Duga;PERCUSSION Shar i Rak, Ma r y AnnWilkinson; TIMPANI Donna DiStefano.

Sex i sm in the Brass Sec t ion

here I was, seated on the fringes ofa moderately sized practice roomin which 18 tubist and three eupho-

niu? players were sight-reading marchesand mood music, and I said t o myself,?What's wrong with this picture??

The problem was that 18 o f the 21musicians were women, and my brain, longaccustomed to the sight of exclusively malebrass sections in most symphony orchestras,was undergoing culture shock.

I felt that way even though I hadknown long in advance I wouldbe attending

By Barbara JepsonFrom the Wai l Street Journa l

the first International Women?s Brass Con-ference (TWBC) hereon the verdant campusof Washington University,

Open to brass enthusiasts o f bothsexes, the five-day event, organized by Su-san Slaughter, principal trumpet o f the S tLouis Symphony, attracted 248 female and48 male musicians, teachers and students o fall ages, sizes and hairdos. (Among thewomen, long, f lowing tresses and crew cutswere observedi n approximately equal num-bers, with the majority opting for somethingin between.)

Despi te i t s e x c l u s i o n a r yt i t l e , thecon-ference proved to be a convivial, largelycelebratory affair that avoided political po-lemics and all-out male bashing. The focuswas on useful musical - and medical -

Matters, ranging from free-lance trombon-ist Angela Wellman?s lively workshop injazz improvisation, which had participantsplaying a 12-bar blues by the end o f the,session, to a seminar explaining howb i c

feedback can help reduce preperformance.anxiety.

In the process, the W B C provided aforum for the discussion o f issues that haveso far gone unheeded by the establishedbrass-instrument conferences. Perhaps thisis not surprising, given that one o f them iscalled the Tubists Universal BrotherhoodA s s o c i a t i o nandanother ? the InternationalTrumpet Gui ld ? failed to present even a

token woman among the 15 soloist at its1993 event.

The St, Louis meeting jumped waybeyond tokenism to an agenda that includeda workshop on ?Pregnancy and Playing aBrass Instrument,? in which theleading topic was whether playingsustained loud, high notes duringthe last two months of pregnancycan cause dilation or prematurebirth. (Mahler's Third Symphonyand the offstage trumpet parts inthe Berlioz Requiem are appar-ently particularly hazardous.)

The IWBC also offered aprogress report on women in thes i c a l markeplace. The good

news is that there?s been a steadyinf lux of female brass musicians -

especially horn players - into theranks o f the major symphony or-chestras, and two women now hold sectionjobs in the Chicago Symphony and LosAngeles Philharmonic, respectively.

The bad news is that principal posi-tions in the best orchestras are sti l l hard tocome by , and offensive behavior by conduc-t o r s a n d c o l l e a g u e spersists. Insteado f mind-ing their Mozart during rehearsals, somemale musicians swap obscene jokes or as-sess the attributes o f female soloists in thepresence o f female colleagues.

F l a g r a n t d i s c r i m i n a t i o nexistsaswe l l .Abbie Conant endured more than a decadeo f sexual politics at the Munich Philhar-monic. Her career there began pleasantlyenough, when she was a 25-year-old t om -bon is t f rom Oklahoma and SergiuC e l i b i d a c h e ,thegeneralmusicdirector,h i redherin 1980.as oneo f two ?solo? trombonists.

@ : was only her second ful l - t ime orchestral

j ob after e a m i n ga master?s degree from TheJuil l iard School in New York, and Ms.Conant was elated. ?I fe l t I had a bright

future,? says this affable, down-to-earthwoman with frizzled reddish-brown hair.The trouble started in May 1981. Afterherformal probationary period had passedwithout incident, she was informed thatMr. Celibidache wanted to demote her tosecond trombone. Shocked because nowritten warnings had been provided asrequired by the German Musicians Union,Ms. Conant offered to repeat her proba-tionary year to resolve any problems withher playing.

Months later, she requested a meet-

?Keep you r focus on musi -

cal goals. Cont inue to as-

p i re to be the best mus i -

c i a n y o u c a n b e . ??tLaur ie Frink

ing with the eccentric Romanianmaestro,known for his extreme tempos and revela-tory performances. ?You know the prob-Jem,? Mr. Celibidache allegedly told her.?We need a man for solo trombone.? (Mr.Celibidachedeclined t o beinterviewed forthis article.)

Ms, Conant filed suit to regain hersolo-trombone status. The union agreed topay her legal costs, and litigation began inthe summer o f 1982. During the ensuingtrials and appeals, Ms. Conant was re-quired to solicit testimonials about herplaying from conductors and colleaguesand to undergo a test o f her breathingcapacity at a nearby lung clinic.

She was also fo rced to p l a y seven

demand ing passages f r om the repertoire

fo r a cour t -appo in ted r om b o n e special ist .H i s repor t inc luded the f o l l ow i n g observa-tions: ?She i s a w i n d p l aye r w i t h an ou t -

s t and i ng l y we l l - t r a i n ed embouchu re . . .

wh i ch gives her the op t ima l use o f he r

breath volume... her playing, even in themost di f f icul t passages, is superior andeasy... she has enormously solid nerves.?

Mr, Celibidache remained obdurate.Ms. Conant now believes that hedidn?t wantto hire her in the first place. The auditioninvitation sent to her by the orchestra wasaddressed to ?Herr Abbie Conat,? and thef i r s t o f t h r e eroundswashe l dbehindascreen,Despite its surprise that ?trombone 16? wasa woman, the orchestra committee voted tohire her. Mr. Celibidache, newly appointedhimself, did not vetot h edecision. Ms. Conant

theorizes that he did not want to riskoffending the orchestra or jeopar-dize his ongoing negotiations withthe city o f Munich, Since then, shesays, ho screeens have been used inthe Philharmonic?s auditions.In 1988, the judge rejected theo r c h e s t r a ?sappealo f anearl iercourtdecision in Ms. Conant?s favor andtuled that she be reinstated as co-principal trombone. The orchestracomplied but placed her in a Jowerpay category than any o f her malecolleagues holding principal posi-o n s in thewind section. That led to

a second suit that was finally re-solved in her favor in March. She wasawarded the back-pay differential owed herfrom 1988, (Under German law, economicsanctions in such cases are rare.)

B y that t ime , however , Ms , Conanth a dsecuredah ighe r -pay i ngpos i t i o na s t r om -

bone pro fessor w i t h a mus i c school nearStut tgart and negot iated a severance con-tract w i t h the orchestra. A s ked to comment

on thec o u r t dec i s i on , N o r b e r t Thomas, man-

ager o f the Ph i l ha rmon i c , wou l d on l y say:?We are happy that Ms . Conan t is n o longerw i t h us.?

A s f o r the t rombon is t , a f ter she ini-

t i a l l y won the f i na l appea l she fe l t ?extremej oy and a sense o f v ind ica t ion .? Bu t , she

adds, ?when y o u ' v e fough t f o r someth ingf o r a l o n g t ime, y o u b u i l d certa in defenses...

that you don?t even k n ow are there. N ow

t h e y ? restar t ingt o r e l a x , ? sheobserves, paus-ing to g lance at a 23-page, f oomo ted docu-

ContinuedPage4a

3

Sex i sm - ( F r o m Page 3)

ment she provided for this article. ?I wasproofreading this a few days ago, and Ithought, all this actually happened to me.And I wept."

M s . C o n a n t ? ss tory was v e r ymuchonthe minds of those who gathered for thepacked IWBC session ?Working Wi th andfor the Opposite Sex.? However,the types ofdiscrimination described by the panelistswere less blatant, Betty Glover, a retiredtrombonist with the Cincinnati Symphony,suggested that women ?deal with innuen-does as they happen.? She added, ?Don' tshow you're upset; some men wi l l persistmore.?

Others preached forbearance i n theface o f human imper fec t ions o r hope f o r the

future. ?M o s t o f m y s t u d e n t s at(TheEastmanSchool o f M u s i c )a r e men,? no ted t rumpete rBarbara But le r , a membe r o f the Eastman

Brass Quin te t , ? a n dI can?t t h i n k o f a bet te r

way t o af fec t their a t t i tudes than by be ingthe i r teacher.?

Perhaps the best advice came fromNew York free-lancer Laurie Frink, a 20-year veteran o fBroadway pitorchestras whoplayed lead trumpet with big bands such asDizzy Gillespie's. ?Keepa sense o f humor,?

she said. ?Keep your focus on musicalgoals.Continue to aspire to be the best musi-cian you can be.?

Indeed, the most impressive part ofthe conference was the musicmaking.Heather Buchman, the youngpr incipal t om -bonist o f the San Diego Symphony, per-formed Kathryn Alexander?s ?Dance theOrange,? a witty tour de force for tromboneinspired by a Rilke poem. The work givesthe instrument the chance to speak in differ-ent ?tongues? via the use of five mutes andhumorous avant-garde techniques, such asemitting tiny squeals into the mouthpiece. I fthe symphonic marketplace is asbias-free asitclaims, San Diego wi l l not be able to keepMs. Buchman much longer.

For her part, Ms. Conant gave themeeting its most poignant musical moment:part I of ?Miriam,? a harrowing music-theater piece inspired by her own emotionaltraumawith the Munich Philharmonic. Onadarkened stage, she portrayed a female asy-lum inmate confinedi n a chair outfitted withwrist cuffs that periodically snapped shut oropen. Slipping in and out o f hallucinatoryStates, she spoke, sang and played the trom-bonea g a i n s tthe backdrop of ascoref o r com-puter-controlled digital piano written by Wil-liam Osbome, Ms. Conant?s husband.

There was also the high-caliber: phy.ing o f such featured artists as Ms, Slaughterand thetrombone quartetPrismaand homistsKristin Thelander. Jazz trombonists Angela?Wellmanand Audrey Morrison starred in an

opening-night tribute tothe retired jazz trom-bonist Melba Liston, formerly a composerand arranger with Dizzy Gillespie?s band.Ms. Liston, now confined to a wheelchair,came onstage to accept a gi f t that surprisedand touched her: the first published score ofone of her arrangements.

But the most valuable aspecto f theIWBC, whichis tentatively slated torecurin1996, was that i t counteracted the sense ofdifferentness or isolation felt by many lonefemale players in brass sections. Sai¢ 21-year-old Amie Campbell, a trombone stu-dent at the Cincinnati Conservatory of Mu-sic: ?Even though1?ve studied wi thawoman,she?s retired, and I saw her successs as theexception to the rule, But at this conference,T?ve seen so many women whoa re making i t

as brass players right now. It 's changed " i ?sense o f imminent doom about my career t _one o f imminent success.?

Ms. Jepson isa j o u r n a l i s t i nNew YorkCity.Reprinted with permission o f the authorf r om theW a l lS t ree t Journa l ?Leisure &Arts,? Ju ly 7, 1993,

Update: The Tria ls of Abb ie ConantIn 1982 Abbie Conant was demoted

from her position as principal trombone o fthe Munich Philharmonic after the GeneralMusicDirector, Sergiu Celibidache told her,?You know theproblem. We needa man forthe principal trombone position.? Abbie wasincourt for eleven years in o r d e rt o retainherposition and obtain the equivalent pay ashermale colleagues.

A t the final hearing on March 10th,1993 i t wasestablished thatin 1987 ali of thesolo wind players were placed in theorchestra?s highest pay and seniority group,except Abbie. Being the only woman, shewas granted no raise. I t was the court?srul ing that she henceforth be paid equitablyin addition to retroactive compensation.

Af ter the court ruling Abbie was sum-

moned to a meet ing at w h i c h both c i t y andorchestra o f f i c i a l s threatened her w i t h re-

pr isals and dismissa l i f she were to per -f o r m o u t s i d e e n g a g e m e n t sa n d / o rr e f u s et op lay non -p r i n c i pa l pos i t ions in the Ph i l -

ha rmon ic . Shewas f i na l l y o f fe red a sever-ance contract a f ter her l awye r i n f o rmedthem that the i r threats we re i l l ega l andtherefore useless. She has since recovered

over $100 ,000 , wh i ch was in large part thesalary w i t hhe l d du r ing he r thi r teen yca rtenure.

The German constitution does callfor equal treatment for all people regard-less o f race or gender. This unfortunatelydoesnotinsurewomens? rights. I f a womancan prove that she was not hired or pro-moted due to gender discrimination she

can only receive up to threemonths damagesat the salary o f that job. There is obviouslylitt le incentive to pursue ?equality?. I t isthese kinds o f laws and their underlyingattitudes that make i t possible for the BerlinPhilharmonic in 1994, to have only fourwomen out o f 121 musicians,

AbbieConanthassince leftthe MunichPhilharmonic for the prestigious position o ffu l l professor at the Trosssingen Conserva-tory . She is st i l l act ively per forming?Miriam?t h r o u g h o u tEuropeand t h eUn i tedStates. She hopes in sharing her experience,she w i l l raise the public awareness o f thflagrant discrimination and harassment ex-perienced by many women today in profes-sional orchestras.

The Or ig i ns o f the Organ i za t i on o fP ro fess i ona l Women in Mus i c

From the f i rst Newsletter o f the Organization o f Professional Women in Mus ic

he evolution o f the Organizationo f Professional Women in Music(OPWIM) arose from the evident

need for the women officers of the AFM todevelop a network in which there could befree and open discussionabout communication andleadership skills, the insuf-

to assign them to committees, hire them as

organizers, and elect them to office,?The consensus of the women at the

1993 meeting in Las Vegas was that theywant to be kept up-to-date on legislation

toconduct ef fect ive meetings, developcom-munication skills, formulate efficient com-mittees, establish guidelines on sexual ha-rassment, report on non-traditional roleswithin the music industry, and more, Hope-

fully, we wi l l not only re-ceive requests from youfor topics to cover, butar-

f icient representation o fwomen within the Federa-tion, and health and legis-lative issues which too of-ten are dismissed or over-looked.

A t the 1991 A FMconvention, out o f 623 del-egates, on l y 42 werewomen. This was a time to

meet, exchange experi-ences and begin to form alobby which would de-velop a voice and demandaccountability.

By 1993, the 56

I f we , t h e c u r r e n t o f f i c e r s ,

ca r e e n o u g h a b o u t t h e m u s i cbu s i n e s s and w a n t t o be

i n v o l v e d i n t h e p rocess o fk e e p i n g o u r bu s i n e s s a l i ve ,t h e n we m u s t s t a y i n t u n e

w i t h today?s issues .

ticles written and ready to

publish.Our union needs new

members, The primarygoal o f this effort is toincrease the AFM. I f we,the current officers, careenough about the musicbusiness and want to be

involved in the process ofkeeping ou r businessalive, thenwe must stay intune with today?s issues.Hopefully, through thisNewsletter, we wi l l keepin touch, remain united in

women delegates to theA FM convent ion alsowanted to identify successful methods toencouragemore women to join theAFM and.

develop their abil i ty to take a more activeTole as representatives o f the labor force o fthe future. I f we accept the reports from theDepartment of Labor that by the year 2000,two out o f every three new union memberswil l be women, we must have a union withqualified women in office to set examplesfor these new members to emulate, demon-strating that the union respects them enough

before Congress dealing with the liberaliza-tion of labor laws and improvements in thedefinitiono f reasonable standards for womenemployees. They want to receive informa-tion on available resources enabling them tooffer seminars in their locals on pertinentissues such as dual career problems, stressmanagement, and career counseling.

Through this quarterly Newsletter,we hope to share this type o f informationwith you. We intend to provide tips on how

our collective goals, andbe visible and responsive

not only to the working conditions but alsoto the social issues which wi l l keep ourunion alive and encourage new and contin-ued associations with the AFM.

Members who want more informa-tion on OPWIM may contact Patricia L.Majors, Co-Chair, (412) 728-4898. Youmaywrite to OPWIM at Mainland ProfessionalPlaza, Ti l ton Road No. 513, Northfield, N I08225.

C o m m e n t a r y

Dear Editor:

I?ve been meaning to writesince I received the last W B CNewsletter, but have put it o f funtil now because it has taken meseveral months to articulate whatit was that made me so emotionalafter reading some of the letters tothe editor. There seems to be anon-going debateamong the WBCmembers concerning the name o f the conference, specifically re-garding the W-word. I t is truly amazing that we women are souncomfortablewi th that word, especially in professional situations.Apparently, some of us are ashamed and embarassed about beingwomen.I, for one, would hate to see the International Women?s BrassConference renamed. I think we should call it l ike we see it, and wecertainly are women brass players ? something to be proud of, andsomething to supportin the face of adversity. I think, further,that we

Rebecca Bower

address and home phon

Letters to the Edi tor should be addressed to:

1137 Richmond StreetPittsburgh, PA 15218-1014

Let ters s hou l d i n c l u de wr i t e r ' s f u l l name,

for purposes o f c lar i ty or space.

shouldbe less c o n c e m e d a b o u twha tmen might think about i t , and moreconcernedabouthow to reach moreof the women brass players outthere. I f indeed some men areupsetabout the name, perhaps they areunaware of why some o f us feel theneed to use the W-word. This is a

good opportunity for them to be-come educated and sensitized tothe problems facing women brass

players, should they be so inclined. Bu t we as a group cannot beprimarily concerned with what some men (and women) may think,Our missioni s t o support, educateand promote womenbrassplayersi na world that has failed to do so thus far.The IWBC has beena very uplifting organization for many of thewomen who attended last May. Let?s not be intimidated by whatsome people feel the need to apologize for, namely being female.Let?s celebrate it, and continue the valuable work that has begun.

S i n ce re l y ,

Ellen Seeling

ie and may be edited.

Ma r g a r e t B r o uwe r (composer)Rt. 1, B o x 175ARockbridge Baths, V A 24473(703)348-1508

Velvet B r own (tuba)4612 N. Bal l Ave.Muncie, I N 47304(317)289-0273

C lo ra B r y a n t (trumpet)2009 E. Flor ida St.Long Beach, C A 90814

*Pa t r i c i a J. Devine1500 Elcadore Circle #3Anchorage, A K 99507

Q i k a r e n Fame ra (horn)475 Washington Ave.Lindenhurst, N Y 11757

*Ka t h l een Vaugh t Fa r ne r (horn)Pacif ic Lutheran Univers i tyDepartment o f MusicTacoma, WA 98447

Ramona Galey (trumpet)14 Island V i ew Dr.Bay Point, C A 94565(510)436-7816

*Ma r g a r e t Ga rma t z (trumpet)10016 HarwichSt. Louis, MO 63126

Ba rba ra Hu tch i ns (horn)62 Rte de Florissant, Apt . 811206 Geneva, Switzerland

* Ind ica tes New Membe r

D i r e c t o r y U p d a t e

Apri l 1994

OFFICERS.* ?Susan Slaughter

© ?Dyesident

Roger Oyster (trombone)718 N. Grand Blvd.St. Louis, MO 63103(314) 533-2500

Eugene Poko rny (tuba)411 N. Forest Ave.Oak Park, I L 60302(708)445-8822

Miche l le Rakers (trumpet)402 S. Fourth Ave. #202Ann Arbor, M I 48104(313)995-4187

M a r y Sue Rosenthal (trumpet)7543 Harter Ave.St. Louis, MO 63117(314)781-8535

*Ka t e Schul tz (trumpet)172 Dale Ave.Holl ister, M O 65672

Jud i t h Saxton (trumpet)9001 Murphy Ln.Skokie, I L 60076(708)329-1464

*B r i g i t t e Slep icka (horn)Berghaussiedlg 78670 Uneglsch, Austr ia

*Renate Slepicka (trombone)Berghaussiedlg 78670 Uneglsch, Austr ia

The New Y o r k Pub l ic L i b r a r y111 Amsterdam Ave.Music Div is ionThe Research LibrariesNew York, N Y 10023

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Copies o f the D i rec to r y are ava i l ab le f o r $5.00 f r om IWBC.See membersh ip f o r m on page 8 to order.