official newsletter of the iwbc · marilyn horne, arlo guthrie, michael bolton, lee greenwood,...

Summer is here! As we march in parades, attend festivals, or relax and watch the fireworks, it is the perfect time to reconnect with friends and family. I write to you from Belgium, where I am immersed in the world of the clarinet at the International Clarinet Festival. As a representative of all of us who love brass instruments, I am enjoying the camaraderie and I’m proud to share in all the new music that is being presented here. My thoughts turn to our own conference, which is a short ten months from now at Arizona State University, May 21-25, 2019, hosted by Deanna Swoboda.

Our Call for Proposals is now open! Please submit your application for a recital, masterclass, lecture, or presentation on any topic dealing with gender and diversity. Visit https://www.myiwbc.org/iwbc-2019-conference, where you can read the guidelines and submit your proposal. The application deadline is September 14th and conference registration will open soon.

We are people of all genders. We are professional and amateur performers, students, and teachers from all walks of life. We are from all around the globe. Our mission is to educate, develop, support, and promote women brass musicians, and to inspire continued excellence and opportunities in the broader musical world.

Stay connected by following us on Facebook, Twitter, and Instagram @IWBC_BRASS. We invite you to visit our website http://myiwbc.org for updates, to be sure your membership is up to date, and to find options for traditional paper or e-memberships, as well as ways to donate.

I wish you the very best this summer and I look forward to connecting with you as we count down together to IWBC 2019. If you have joined us for a conference in the past, we welcome your return. If you are new to our organization, we welcome everyone to our competitions, exhibits, presentations, recitals, and lectures, which are all presented with an amazing energy and connection in a space which celebrates our love of brass instruments. Our 2019 line-up is incredible and we hope to see you there!

Best,

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

OFFICIAL NEWSLETTER OF THE IWBCwww.myiwbc.org Summer 2018 • Vol. 25, No. 2

From the President

In this IssueBrass In Balance .............................3International Trumpet Guild Honors Marie Speziale ................. 4Trauma and Triumph: How Music Can Heal, Empower, and Inspire Change ...................... 6Penny Turner Young Artist Award ..... 7Noteworthy News ............................. 8Spotlight on Nancy Taylor ............... 13IWBC Contributors.......................... 14

Nancy Taylor

Co-Editors’ CornerSandy Coffin andJennifer Marotta [email protected]

Articles and NoteWorthy News Submissions Please contact the co-editors for all potential article and NoteWorthy News submissions. The co-editors maintain final editorial rights over all materials.

IWBC Website Address www.myiwbc.org

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

Changes in Contact Information Please send any changes to: Sue Fern [email protected]

EditorialSandy Coffin and Jennifer Marotta [email protected]

Website ManagerSue Fern [email protected]

Dues/Subscriptions Online: Go to myiwbc.com and click on “Join IWBC” on the top bar. By check, send to: IWBC Subscriptionsc/o Sharon Huff, IWBC Treasurer108 Cheltenham DriveNormal, Illinois [email protected]

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

Co-EditorsJennifer Marotta is an Assistant Professor of trumpet at the USC Thornton School of Music, An active freelance musician based in Los Angeles, she regu-larly performs with the Los Angeles Philharmonic, San Francisco Symphony, San Diego Symphony, Los Angeles Opera, Los Angeles Chamber Orchestra, L.A. Master Chorale, and the St. Louis Symphony. Marotta is currently a member of the Grand Teton Music Festival and the Music of the Baroque in Chicago. She was a member of “The President’s Own” United States Marine Band from 2001–2005. Originally from Naperville, Illinois, she earned her Bachelor of Music degree from Northwestern University and her

Master of Music degree from DePaul University. Marotta was a visiting trumpet professor at UCLA in 2016, and was assistant professor of trumpet at Kennesaw State University from 2006-2012. She was also a visiting professor at Illinois State Univer-sity in 2006, and was an artist-in-residence at Emory University from 2006–2010.

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

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

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

OfficersJoanna Hersey, PresidentLaurel Ohlson, Vice-PresidentSharon Huff, TreasurerGeneral Manager Sue Fern, CEO and Founder of Fern Management ServicesExecutive Director Amy Cherry Membership Sue Fern Management Services [email protected]

Newsletter EditorsSandy Coffin andJennifer Marotta [email protected] & ProductionDebra J. QuintonItsASnapDesign.comWeb Site: Website ManagerSue Fern Management [email protected] Site: Content ManagerSusan Rider [email protected]

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

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International Women’s Brass Conference

Brass In Balance:Working Toward Health

and WellnessBy Amy Cherry

CONTINUED ON PAGE 5

Laurel Bennert Ohlson, Associate Principal Horn of the National Symphony Orchestra since 1980, has appeared as a soloist with the NSO, the Eclipse Chamber Orchestra, and in numerous other solo engagements across the U.S. and South America. Ms. Ohlson has been an active performer and teacher through the NSO’s Youth Fellowship Program, Summer Music Institute, and American Residencies. She has been a member of the Eclipse Chamber Orchestra since 1992 and was a member of the Capitol Woodwind Quintet from 1986-2013. Ms. Ohlson premiered Truman Harris’ Concertino for Horn and Chamber Orchestra; it is featured in a Naxos recording to be released in March 2019.

For the second installment of Brass in Balance, Laurel Ohlson graciously agreed to speak with me about her approach to health and wellness in music and in life.

Have you had a wellness regimen/routine that you have used throughout your career?Laurel emphasized the importance of caring for ourselves both physically and mentally, and shared that if there has been a common thread throughout her health and wellness journey, it has been yoga. She started with a yoga class in college and has continued to this day. She believes all teachers should encourage their students to improve their physical fitness and she finds yoga to be a great activity for strength, flexibility, and stress reduction. Laurel has also found Pilates to be valuable for developing core strength.

Laurel’s stress reduction tip: arrive early! Once a “last-minute-Larry,” she acknowledges early arrival helps her prepare better and feel more confident walking on stage.

On positive thinking: while playing, Laurel tries to catch herself if she hears her thoughts becoming negative and replaces the negative with positive. She recommends having an awareness of unhelpful thoughts and catching them early to cast them away.

On knowing your body and how to make the best use of it: Laurel mentioned an audition she took in the Netherlands early in her career, commenting that the chairs at the audition were very tall and she was quite uncomfortable. She says: “As a short person, ergonomics is always a priority. You need to make yourself comfortable.” She has always used a homemade board or a foot block – she sometimes rests the horn on her knee and the knee needs to be up higher. She sits on the front part of her chair and uses the foot block under the right foot. She has 2”, 3”, and 4” blocks depending on the height of the chair she encounters.

Laurel has been fortunate and has never had any back problems. However,

many of her colleagues in the National Symphony use the Tush Cush and other similar products. These seat cushions with the cutout in the back allow for the suspension of the tailbone that can alleviate discomfort from prolonged sitting.

On food consumption and the importance of what we put into ourselves: over the years, Laurel has found it helpful to limit her intake of caffeine, salt, and sugar. She adheres to a whole-food, plant-based diet and avoids caffeine, salt, and sugar especially before she plays. Eating whole foods can be helpful for brass playing because highly refined foods burn off quickly which can lead to low blood sugar and shaking; slow burning foods maintain a more consistent level of blood sugar. Laurel drinks a lot of water, consuming 100 ounces a day, and highly recommends it. She uses a 27-ounce Camelback and goes through four of those a day: she tries to drink the first 50 ounces before 1:00pm (one bottle on the way to morning rehearsal and one on the way home). She’s very careful about salt consumption because it can affect her lips.

Hearing protection: can you offer advice or share what you have done throughout your career on this issue?“Orchestras are playing a lot more pops concerts than ever before. These concerts usually have amplification on stage and into the hall, and can be extremely loud. We need constant diligence to keep the sound levels on stage reasonable.” Laurel noted that even with diligence, sound levels can’t always be controlled. “It is our responsibility to protect ourselves. Custom made, form-fitted

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NoteWorthy: Summer 2018

The International Trumpet Guild presented its highest honor, the ITG Honorary Award, to Marie Speziale on June 2, 2018, at the closing concert of the 43rd Annual ITG Conference in San Antonio, Texas. This award “is given to individuals who have made extraordinary contributions to the art of trumpet playing through performance, teaching, publishing, research, and/or composition.” ITG President Cathy Leach presented the award, and featured soloist Pacho Flores dedicated a special encore (Piazzolla’s Oblivion) to Speziale at the end of the concert.

Speziale was the first woman to earn a trumpet position in a major symphony orchestra when she joined the Cincinnati Symphony as Assistant Principal Trumpet in 1964. She performed and recorded with the symphony and the Cincinnati Pops for 32 years until her retirement in 1996. Also known for her teaching, Speziale taught trumpet at the University of Cincinnati College-Conservatory of Music (1964-1973 and 1979-2003), Indiana University (1999-2002), and the Shepherd School of Music at Rice University (2001-2013), where she also served as head of the brass department. Among her many other distinctions, Speziale has served as president of the International Women’s Brass Conference, conducted and performed with the Monarch Brass Ensemble, and presented master classes throughout the world.

Earlier during the conference, a retrospective of Speziale’s career took place on May 30, 2018, during which Wendy Matthews interviewed Speziale and presented a slideshow that included photos, audio clips, and video from Speziale’s career. Speziale also conducted a large trumpet ensemble comprised of former students and colleagues in a performance of Eric Ewazen’s Concert Fanfare and Arthur Gottschalk’s 220 S. Michigan Ave. Notable highlights of the retrospective included an audio clip of Speziale performing La Virgen de la Macarena at the age of 14, a video clip of her performing Java (on a TV show in 1965), and various works with the Cincinnati Symphony. From her debut with her father’s dance band at the age of eleven to tributes from her accomplished students affectionately referring to her as “Mama Bear,” the audience was treated to an entertaining display of Speziale’s versatility, warm personality, and joyful musicianship. Those participating in the tribute included Jason Aylward, Stephen Campbell, Amy Cherry, Matthew Daigle, Lauren Eberhart, Ryan Gardner, Lacey Hays, Caden Holmes, Brad Hogarth, Logan Kavanaugh, Raquel Rodriquez, Judith Saxton, Dennis Schreffler, Alan Siebert, Nairam Simoes, Stacy Simpson, David Sterrett, and Ginger Turner.

CONTACT: Elisa KoehlerMember, Board of Directors, International Trumpet [email protected] / 443-257-9989

International Trumpet Guild Honors Marie SpezialeBaltimore, Maryland – June 15, 2018Written by Elisa KoehlerMember, Board of Directors, International Trumpet [email protected]

ITG President Cathy Leach (left) pres-ents the 2018 ITG Honorary Award to Marie Speziale.

Trumpet soloist Pacho Flores and Marie Speziale backstage after the concert and award.

Marie Speziale (center) conducting a trumpet ensemble comprised of her students and colleagues.

Marie Speziale enjoying happy memories with Wendy Matthews (right), who led a retrospective of Speziale’s career at the ITG Conference.

Photos courtesy of the International Trumpet Guild

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earplugs are very helpful. Even though we might not enjoy it, sometimes we must use earplugs during rehearsals and concerts.”

Laurel spoke about how easy it is for musicians to accept a little bit of tinnitus/hearing loss as inevitable. She shared stories of musician colleagues whose minor tinnitus/hearing loss moved quickly and unexpectedly to more severe hearing damage, which hindered their performance ability. Her concern about the noisy world that we live in - and her awareness that damage to the ears can be life changing and torturous - has moved her to take preventative measures. She carries earplugs with her all the time for use at movies, ball-games, airports, or any environment that might be mechanically amplified or exceptionally noisy.

She has worked with and recommends Heather Malyuk, an audiologist and musician who works with Sensaphonics Hearing Conservation, Inc., in Chicago. Heather has visited the National Symphony Orchestra and other orchestras to give PowerPoint lectures about sound exposure and hearing protection. (www.sensaphonics.com)

As an orchestral player, are there issues you have faced with volume production/playing in large halls and do you have any words of advice for other players facing such challenges?“Large halls are not a problem as long as they have good acoustics. Inefficient or stuffy halls of any size can be dangerous for brass players because we struggle to sound loud enough and can end up with a facial injury.” Laurel noted the importance of taking care of ourselves. She shared that when she played for Rostropovich, it seemed as if the brass could never be loud enough; she ended up switching to a horn that projected better.

Are there health/wellness challenges you see students or young players facing in today’s musical environment?“One of the biggest changes in the past few decades is the prevalence of computers; we all tend to sit more hours per day. This makes movement even more important. Yoga is great as it opens up our front bodies and combats the hunched-over posture. Resting on a rolled up blanket placed lengthwise along the spine, with the head and sacrum supported, is great for brass players – it brings the shoulders back, opens up the rib cage, and feels wonderful!”

Laurel’s overarching theme is to keep moving. “Try to do something everyday.” Currently, she and her husband alternate a one-hour trail walk 3-4 times a week with weight machines at the rec center. She feels it is especially important for women to strike a balance between cardio exercise and strength training.

In talking about the pressures of being a musician in today’s society, the conversation frequently turned to mental health.“There is no shame in seeing a psychologist or mental health practitioner. This is much more accepted today, and should be considered another tool in your medical tool kit. In the past, men in particular were not encouraged to seek out mental health help. Thank goodness this has changed. Mental health is part of our overall health – part of being human.”

“What we do is very stressful – we’re aiming for perfection all the time. Today’s public is accustomed to hearing recordings that have been spliced and edited to perfection. We have to accept that we are human and there will be challenges, but human is always better than a synthesizer. Live performances are usually not perfect, but they have the benefit of spontaneous musical artistry and inspiration.”

Are there books/resources related to the health/wellness of musicians you have found helpful during your career?“Any of the books by Don Greene – on performance success and coping with the body’s nervous response – are great. His philosophies and techniques are very helpful regarding auditions and performance anxiety.”

Laurel spoke of another important resource: her colleagues. “Watching and talking with colleagues is a great way to learn, and knowing you have their moral support onstage is priceless.”

On taking care of her embouchure:“I’ve never really abused my face, I’ve never blasted or played in a way that wrenches the embouchure. I think that’s a natural self-preservation. No matter what I’m playing - rehearsal or concert, pops or classical - I’ve always tried to play with a good sound. In a nutshell, that keeps you from forcing or overdoing it – if you’re producing a good sound then physically things are working well.”

Laurel’s closing thoughts:“I am religious about dental care: I use dental floss every day, and brush in the morning, at night and always before I play my horn.”

“Drink lots of water, minimize caffeine, salt, and sugar, and avoid highly processed foods.”

“Playing louder than is really necessary is a mental health issue as well as a physical one. Women brass players have come a long way, thanks to better awareness, but sometimes we still have a subconscious feeling that we have to prove that we are strong.”

“Keeping balance in your life is essential – having friends, having other things you do that you love, and physical activity are all good for keeping a mental balance.”

“If the conductor criticizes your playing, don’t take it personally – you are both working toward the same goal.”

“Having a circle of friends, having good colleagues, and being a good colleague are ways to keep your head on straight.”

CONTINUED FROM PAGE 3

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Music serves many roles for people throughout their lives. For some, it’s a form of entertainment or escape. For others, it’s a purpose or a passion. Throughout my life, it has served as a comforter, a healer, a motivator, and a medium through which I affect change in the world. Below, you will find my story

of how music carried me through some of the darkest times in my life and ultimately how I used music to tell my story on my terms. I want to issue a trigger warning before reading onward, as my story is about sexual assault, and I know that not everyone will be in a place where reading this is what’s best.

Throughout my childhood, I struggled with anxiety and depression, though I did not have the luxury of having those terms to describe it. I was told I was “dramatic” and “moody,” but really, something deeper was going on. In the midst of my own internal chaos, I turned to a 19-year-old friend of my older sister, confiding in him and sharing my thoughts with him. Eventually, I believed that I was in love, and he manipulated me into believing he felt the same way. When I was 13 years old, I was sexually assaulted by this person twice.

In the aftermath of the assaults, I felt lost, confused, heartbroken, and ashamed. I desperately clung to the horn like a life boat. I practiced hours every day because it provided relief from the pain. It allowed me to release my feelings into the world without having to articulate what those feelings meant or where they originated. The horn freed me to emote and express, and it was my saving grace.

Eventually, my mind managed to completely repress my memory of the assault. The event was simply too traumatic for my teenage self to handle. The repression left behind emotional symptoms that went unexplained for years: perfectionism, increased anxiety and depression, and a deep sense of shame and self-hatred. I always felt like I had to make up for something and that nothing I did was good enough.

For eleven years, I lived in this constant state of denial.I graduated high school, completed a Bachelors and Masters at Virginia Tech, and I was accepted into the Jacobs School of Music at Indiana University to begin my Masters in Horn Performance in the Fall of 2014. Despite the mental health concerns, it appeared like I was on the right track.

I arrived at Bloomington in 2014 and won my very first professional audition as second horn in the Columbus Indiana Philharmonic. I placed well in

Trauma and Triumph: How Music Can Heal, Empower, and Inspire ChangeBy Kristen Friend (Fowler)

school orchestra auditions, and I did well on my placement exams. It seemed like I was setting myself up to have a wonderful experience at IU. However, all this success happened over a backdrop of a prolonged, severe depressive episode that left me feeling worthless and made me question my purpose in this life. I had to seek professional help. I entered therapy in September of 2014 with the most incredible therapist at the campus counseling center. We worked through family, life events, emotions, patterns of thought, and feelings of self-worth. After months of hard work, my life was starting to make sense to me. I felt better. I felt healthy. I felt worthy.

That’s when it hit me. In March of 2015, I was driving home from Wind Ensemble rehearsal listening to NPR’s show, “All Things Considered.” The topic was childhood trauma, and when they said the words, “childhood sexual assault,” little flashes of memories lit up my thoughts. I thought to myself, “no, that’s not what that was!” I kept driving, memories flooding in, until I had to pull over. I just couldn’t lie to myself anymore. I knew this was my story.

Fortunately, I had therapy the very next day. We started down the path of recovering from my trauma, a process that I had put on hold

for eleven years. It felt like opening up a time capsule, and I began to work through the details of my assault. This included telling family and friends, and it included sending a letter to my perpetrator. One of my dearest friends, who is also a survivor of sexual assault, told me a

I just couldn’t lie to myself anymore. I knew

this was my story.“ ”

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piece of advice that she had been given. She said, “one day, you’ll make this horrible thing into something positive.” That quote stuck with me, and I wondered how in the world that advice would ever come to fruition.

One day, in the fall of 2015, the idea hit me. I needed to fulfill my Masters Recital requirement, and I wanted to turn it into a special project with a theme. That’s when “Trauma and Triumph” was born. After hours and hours of brainstorming over several weeks, I came up with the idea of creating and performing a recital tour during Sexual Assault Awareness Month that told my own story of being sexually assaulted through original spoken word and the works of female composers. I knew that my professor, Jeff Nelsen, had to approve of the idea, so I decided to share my project during my next lesson.

I entered Jeff’s office, apprehensive to share my truth with another person. As I shared my story, he responded with an abundance of compassion and empathy, and when I told him my recital plans, he was nothing but supportive. He even introduced me to one piece I ended up using to open my recital.

In collaboration with two amazing pianists, Daniel Inamorato in Bloomington and Nancy Harder in Blacksburg, I presented “Trauma and Triumph” at both Virginia Tech and Indiana University in April of 2016. As a part of the event, local and on-campus organizations at both schools came out to the recital and set up information tables with resources. Attendees collected pamphlets, information cards, and stickers. When I came out of the recital hall after my IU recital, my studio mates cheered, proudly wearing teal ribbon stickers. I also decided to live-stream both events, and I received several touching Facebook messages from strangers who had watched the recital from across the country and who were touched by its message.

In June of 2017, I shared my story, “Trauma and Triumph” at the International Women’s Brass Conference with the amazing Dr. Laurel Black on piano. It was a truly remarkable experience to have such a large platform to share my story and advocate for survivors, and the response was nothing but warm and grateful.

It is my mission to continue to share my story with the purpose of empowering others. I want to encourage you all to consider what story you have in you that needs to be shared. Our instruments are not only vehicles for musical expression, but also vehicles to create change. What do you want to say with your horn, and how do you want it to impact your audience?

If you have any questions or thoughts, please feel free to email me at [email protected] to further discuss what you’ve read. Thank you so much for reading my story.

First ever IWBC Penny Turner Young Artist Award selected!Earlier this spring applications were accepted for the first annual Penny Turner Young Artist Award, a scholarship competition created by IWBC Board Member Ginger Turner in honor of her late mother, Penny Turner. The competition is open to all female brass players between the ages of 12-18; their music teachers or private instructors may nominate competitors. After review of the applicants by a select committee, Brigit Johnson, a euphonium player from Santa Fe, New Mexico was selected as the winner.

The nomination letter from Brigit’s private instructor, Laura Eberhardt, details her dedication to music:

“Brigit has consistently received superior and excellent ratings at the District Solo and Ensemble Festival, beginning her 6th grade year after playing for 6 months. The last two years she received the “Best in Room” plaque, performing college level repertoire.

As well, Brigit has made numerous honor bands including District 4 Honor Band, New Mexico All-State, Southwest Honor Band, the Fort Lewis College Select Band Clinic, and the NAfME National Honor Band. This year she placed first chair in the New Mexico All-State Symphonic Band.

Brigit is also a committed member of the community music scene. She plays trombone in the Santa Fe Youth Symphony, euphonium in the Santa Fe Concert Band, and in the High Desert Winds. The Concert Band and High Desert Winds are both primarily comprised of adults, and I am always impressed with Brigit’s poise and maturity when playing with them. Even at a young age, she understands that music can blossom into a lifelong pursuit.”

Brigit has received a $400 gift certificate from Dillon Music and a one-year membership to the International Women’s Brass Conference.

Congratulations Brigit – we wish you continued success and hope to see you at our 2019 conference in Arizona!

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JOANN LAMOLINO won the position of Associate Principal/Second Trumpet of the Hawaii Symphony Orchestra following a national audition in February, 2018. Prior to this, JoAnn has served three consecutive one-year positions within the trumpet section.

LAUREN BERNOFSKY’S Trio for Brass was performed at the National Youth Orchestra of Canada’s chamber concert on July 3. The piece was also performed by the PRIZM Ensemble on June 14 in Memphis. A new band arrangement of her Heart of Fire has been performed this summer at six concerts in venues across London by the Lambeth Wind Orchestra, under the direction of John Holland.

In other news, there are now several databases for large ensemble directors to locate music for their ensemble written by women. Composer Alex Shapiro lists them on her website here: https://www.alexshapiro.org/ProgrammingResources.html

Lauren states, “While women’s music is obviously greatly underrepresented on the concert stage, I am definitely seeing an improvement, at least in the efforts to make the music known and to increase awareness of the problem. More women are looking to program works by women. I’m hearing about men looking specifically to include at least one work by a woman on their concert, even if it means more work for them. For

instance, the composer Jim Stephenson contacted me to ask if I had anything he could use for an all-district band he was conducting, and he mentioned that he wanted to make sure there was a work by a woman on his concert. I didn’t have anything appropriate, so I arranged a string orchestra piece for him -- he made suggestions for improving the orchestration, and he then premiered it. Soon after, a band director from London, John Holland, contacted me about a work he could use with his own band. Rob Deemer created a Composer Diversity Database which, soon after its creation, was already being put to use by musicians programming concerts.”

Author PATRICIA BACKHAUS, new book release: Concert Band Mysteries

Vashti Smith was a French horn soloist in the all-female band led by Helen May Butler: The Female Sousa. They were both real people and consummate musicians.

The Last Rose of Summer is a quirky concert band mystery (with recipes) that imagines Vashti’s life before her career touring with Helen May Butler. It is imagined because we know nothing about Vashti.

Author Patricia Backhaus has created a mystery that is based around concert bands in Philadelphia circa 1898. While the story is imaginary, many of the performers are real. Band music plays an important role in moving the

NOTE- WORTHY

NEWS

SARAH SCHMALENBERGER, hornist and musicologist at the University of St. Thomas, is launching a national research project entitled “Brass Bodies: Exploring the Distinctive Physicality of Female Brass Payers” to describe and understand the unique experiences of female brass players.

The first phase of the research will be quantitative with an online survey that will query whether various life-cycle events affect playing a brass instrument. The life-cycle events include experiences unique to female bodies (menstruation, childbirth, menopause) as well as additional experiences with injuries and illness. The second phase of the research will be qualitative with survey respondents volunteering to provide additional information via a telephone interview. Contact information will

be omitted after the data collection to protect the identities of study participants.

Schmalenberger plans to launch the survey at a designated website in September 2018. Pending funding, she will place ads in various music sites and newsletters to direct participants to enroll in the study. Interested participants may also contact her at [email protected] ahead of time to be notified when the study is open to enrollment.

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NOTE- WORTHY NEWS

College Prep for Musicians: A Comprehensive Guide for Students, Parents, Teachers, and Counselors by ANNIE BOSLER, DMA; DON GREENE, PhD; and KATHLEEN TESAR, EdD is the ultimate resource for successfully navigating the complicated process of applying—and being accepted—to music schools and conservatories.

This book introduces powerful strategies and tools for high school students to use during the audition process, uncovers the intricacies of the admissions world, and provides a very organized and proven system for parents and students to approach this crucial endeavor. College Prep for Musicians will help young musicians pursue their dreams.

College Prep for Musicians is the only book of its kind that provides vital information from three experts, each one a master in their own field of study, including top conservatory admissions, teaching and performing, and elite audition preparation.

Capitol 4th CelebrationBy Julie Angelis Boehler

A “Once in a lifetime” gig is how I would describe my experience as a member of the all-women drumline that backed up country singer Lauren Alaina at the 2018 “A Capitol Fourth” celebration. From the moment we all met, there was definite kinetic energy. We literally were on a rollercoaster and we collectively raised each other up in a way I don’t usually experience in my career, one in which I’m almost always the only woman in the percussion section.

After initial introductions, we drummed together, ate together, laughed together, and helped to bring to life a song that I would describe as an anthem for all women who have ever felt alienated, ostracized, or bullied. For those girls who think they are not skinny enough or not popular enough, I point out that Road Less Travelled is not just another country tune. My favorite verse is, “Don’t follow anyone, march to the beat of a different drum. Why do they analyze, break down, and criticize the crazy ones? You won’t make yourself a name if you follow the rules. History gets made when you’re acting a fool. So don’t hold it back and just run it, show what you got and just own it. No, they can’t tear you apart.”

That feeling of truly belonging without second-guessing oneself is so incredibly important for survival in our highly competitive field.

Aside from this amazing experience, a few of my memories of women empowering women that stand out are the Monarch percussion section that premiered Alice Gomez’ work at IWBC in Toronto- 2010, the kinship felt when we performed recently at Julliard for the International Trombone Symposium, and decades ago when I was embraced as a young graduate student/enthusiastic sub by the almost all-women percussion section of The Houston Ballet Orchestra. Experiences like these are so incredibly important. I’m grateful that PBS captured this one on video and that young women drummers across the globe can take heed, follow their rebel hearts, and have the strength to take the road less travelled.

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eGALitarianWe are eGALitarian, a NYC-based ensemble of women brass musicians focusing on music by women composers.

This group was co-founded by Kate Amrine and Kaitlyn Resler. We each had our own pre-existing groups (Kate’s quintet and Kaitlyn’s trio). We originally met for coffee with the idea of both groups performing for a joint concert. After meeting, we quickly realized that our impact on the women’s brass community would be even more powerful as a large brass ensemble, so we decided to combine forces and move in that direction. We had our first rehearsal in early March and have had several meetings since then.

Our instrumentation is a bit flexible depending on the repertoire but as of now we are 3 trumpets, 3 horns, 2 bones, and a tuba. We love performing as a full brass ensemble but often break down into a quintet or a trio, depending on the circumstances. Members of the ensemble are alumni and current students at many of the major NYC conservatories: Juilliard, Manhattan School of Music, NYU, and SUNY Stony Brook.

The group plans to perform outside in NYC throughout the summer as part of a series of informal pop-up concerts. Follow us on Facebook and instagram @ProjecteGALitarian to stay in the loop about upcoming events!

Our debut concert is currently scheduled for September 21st at 7:30 pm at St. Sebastian’s of Woodside Queens as part of the

church’s concert series. We are in the process of planning other shows as well, and look forward to premiering new pieces.

We are so inspired and honored to be among many other female-led brass groups in the music world, but we feel that as musicians in New York City, we have the opportunity to make a difference beyond simply performing concerts. As a collective, we are working together to inspire and improve the lives of women in the community. We plan to donate a portion of the proceeds of the first concert to a specific organization for women and children in need, and we aim to prioritize collaborating with different organizations for future concerts. We all believe in the mission and the potential of this group to make a difference in the lives of women, and we are so excited to come together and make it happen.

NOTE- WORTHY

NEWS

story forward, somewhat like Wagner creating leitmotives in his operas. In addition to a great story, you will learn a lot about band music history, women’s history, band instruments, and recipes.

Follow Vashti Smith and her band friends from the Betsy Ross All-lady Silver Cornet Band as they solve the mystery of who murdered their leader, Margaret Blackthorne. Want to read it? Visit Amazon.com and do an author search for Patricia Backhaus. If you enjoy this book, look for the second in the Petite Vashti mystery series entitled Royal Pageant. A mystery ensues when the ladies’ band is invited to play a center ring concert when the circus comes to town. Due out in September.

On August 21, CATHERINE SCHULE will be performing the European premiere of Gilbert Woody’s Concerto for Trombone. The performance will take place at the Suoni Dal Golfo festival at the San Giovanni Church La Serra, (Lerici, Italy), accompanied by Orchestra Excellence.

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NOTE- WORTHY NEWS

CALLIOPE BRASS announces that their new K-5 program “What’s Your Story?” is now booking for 2018-2019 performances.

“What’s Your Story?” is a cross-curricular program that incorporates topics from both music and ELA. The one-hour interactive performance is narrated by Calliope, a childlike dragon-fairy puppet who excitedly leads young audience members through an exploration of the power of storytelling through music.

Calliope is an original character created for and by Calliope Brass with the help of Sesame Street puppeteers Leslie Carrara-Rudolph (Abby Cadabby) and Haley Jenkins (Zari).

For more information, please visit www.calliopebrass.com

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

Ursula Jones will host the inaugural Philip Jones International Brass Ensemble Competition at the Royal Northern College of Music, Manchester, UK on July 15-20, 2019. Members of the jury include Barbara Butler (trumpet) and Frøydis Ree Werke (horn).

Applications for this competition will be accepted through October 31, 2018. It is anticipated that 16 groups will be chosen to come to Manchester. Selection will be from submitted video-recordings and based on the criteria of musical qualities, enterprise, and presentation. Full details of the competition including application procedures, timelines, competition regulations, details of the jury, and specific requirements, are available at www.pjbe.org.

The 2019 Competition will be for brass quintet (two trumpets, one horn, trombone, tuba) and will be eligible for players aged between 16 and 30. The average age of any group at 20th July 2019 should not be more than 28 years.

Several prominent music festivals and venues have expressed interest in the outcome of the competition, and three major prizes will be awarded during the event: The Philip Jones Prize (£10,000), The Marah Mahlowe Prize (£7,500), and The Founder’s Prize (£5,000).

The aim of this competition is to bring together young brass quintets and to showcase excellence and enterprise in brass chamber music performance, building on the legacy of Philip Jones CBE (1928-2000).

This will provide a platform for a new generation of brass players who will benefit both from a distinguished international panel and through peer-learning.

PHILIP JONES INTERNATIONAL BRASS ENSEMBLE COMPETITION – JULY 2019

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How Hot Cocoa is Teaching my Students TO BREATHEBy Lauren Eisenreich

For years, I have tried every trick in the book to help students who are struggling to produce relaxed tones on trombone and euphonium. Whether infrequent and shallow nose-breaths create an unsupported sound, or a strained and pinched embouchure makes it impossible to play in the upper register, it seems to me that the universal enemy of resonance is tension. No matter the struggle, correcting a flawed air stream always yields positive results. Yes, of course fixing a mistake will make a student better. That is obvious. What is more interesting is the way my students are finally able to correct their mistakes.

For as long as I can remember, the trend in brass teaching has always been “big air” and “more air.” When I first began teaching, I used to tell my superhero-fan students to imagine they were the Incredible Hulk. “Hulk is a huge, crime fighting superhero. Do you think he takes tiny little breaths? No! Imagine you’re the Hulk and get as much air in as he would!” I’ve used the hot air balloon visualization, yawn concept, and explained the respiratory system, but even those that seemed to make a difference turned out to be short lived. As soon as students focused on taking a deep breath, they became tense. This tension resulted in numerous performance issues including a strained tone, rigidity in the high register, and decreased flexibility. The tension that caused them to clamp down also permeated the way they articulated, and it stifled musicality because without a sense of ease, it was hard for students to relax enough to allow their creative musical intuition to flow.

For this reason (and after much research of the anatomy of breathing), I decided that bigger was not better. Instead of focusing on the inhale, I had to change the way my students thought about the exhale. When they are using their air efficiently, the body naturally makes up for deficiencies. Since what goes out must come in, their focus on relaxed exhalation generated an autonomic inhale that was deep and relaxed.

This is where the hot cocoa comes in. Aside from saying “relax!” (which in reality does the opposite of its intended purpose), finding a way for students to internalize the concept of a relaxed inhalation seemed to be the natural next step. Therefore, I have students imagine

themselves on a cold, winter day (which is easy to do since I teach in Rochester, NY) holding a steaming cup of cocoa. I then ask them what would happen if they blew as hard as they could into the cup. Usually, they humorously respond something like “ouch, the cocoa splattered all over me!” So instead, we demonstrate the gentle, cooling breaths that comes so naturally to students because they have been cooling down food and drink in that manner for their whole life. By translating a concept so easy for them to grasp to their instrument, the leap from imagination to execution becomes effortless.

The results have spoken for themselves. Without fail, the students who have tried this visualization concept create a rounder and more focused air stream. Students who lacked air support changed to a steady stream of air. Those whose tension created issues with tonal clarity and flexibility discovered that the relaxed stream made a noticeable difference. Many high register problems were instantly solved. I always told my students that there was no extra credit in the high range. If you work too hard, the note won’t speak. Suddenly, they understood what I meant on a physical level and could relax their air stream so that the notes sounded. Over and over, this method has really worked.

A special note of thanks to my teacher Larry Zalkind whose instruction is at the core of my philosophy.

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Professional Positions: Currently the trumpet professor at the University of Texas at El Paso and Co-principal of the El Paso Symphony Orchestra. I previously taught at Wright State University in Dayton, Ohio and am a former member (and first female member of the trumpet/cornet section) of “The President’s Own” US Marine Band.

Hometown: El Paso, Texas. After high school I moved away for 25 years. Now I’m back in El Paso and living 2 miles from my high school.

Education: • Bachelor of Music in Performance – Arizona State

University • Master of Music in Performance – Indiana University • Master of Occupational Therapy – University of Texas

at El Paso

Biggest Influences: My influences are constantly changing. In my early days it was Bud Herseth and Wynton Marsalis’ classical playing. These days it’s Tine-Thing Helseth and Joe Burgstaller. I just recently met Marie Speziale and that was tremendously inspiring to me as a teacher. And Vince diMartino always.

Most Memorable Musical Moment: I’ll always remember the first time playing a march as a member of the Marine Band – I almost fell off my chair

– it was something I’d never heard before. The rhythmic precision was astounding.

My most recent memorable musical moment was just a few months ago when I performed the Arutunian Trumpet Concerto with the UTEP Symphony Orchestra. I was in my office preparing for the performance, and fifteen minutes before concert time I put on my fabulous off-the-shoulder red and black gown with a full skirt. I felt like a million bucks. I picked up my horn and played the opening fanfare and riiiip – the zipper of my gown split open. Stem to stern. There was no repairing this with safety pins, it was almost showtime! So I put down my horn, re-dressed in my capri pants and blazer that I’d worn all day, stepped back into my diva high heels and played the show. It was the easiest and all-encompassing performance of my life and I had a blast. I think the shock, anger, and distraction of the wardrobe malfunction set me up for a great performance.

Favorite Pieces of Music:

I love marches, especially when played well. I’m also a big fan of Prokoffiev, Mahler, and Stravinsky. And almost any opera makes me swoon.

Greatest Accomplishments: Integrating my knowledge of both music and occupational therapy, and having my book, Teaching Healthy Musicianship: The music educator’s guide to injury prevention and wellness published by Oxford University Press.

Words of Wisdom: If it comes down to being right or being kind, always be kind.

Spotlight on…Nancy Taylor

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

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Bravo Circle $1000+ Anonymous In Memory of Adelaide Cherbonnier Dr. and Mrs. Grady Hallman International Trombone Association Dr. Ann Johanson Carole Klein Julie Landsman Barbara Liberman Maurine Magliocco Allen Myers Puffin Foundation Ltd. Carole Dawn Reinhart Richard and Mary Ann Shaw* Susan Slaughter Julia Studebaker David Takach

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

Ginger Turner Ensemble Competitions and in honor of her retirement)

Phyllis Tirmenstein* Ginger Turner James Wilt

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

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

Emily BorraKatie BossJanelle BradshawJoan BriccettiZach BridgesRae BridgmanMargaret BriscoeJulia Broome-RobinsonCentria BrownCynthia BrownBlaine BrubakerSteven BryantMary BurroughsBonnie CallahanStephen CannistraciLauraine CarpenterMaurice CarrettaElizabeth CarvellMichelle CaudillChristina CavittLigia Chaves-RasasYi-Ching ChenSandra ChesnutMeagan ChristyBrenda ClarkAnita Cocker-HuntSandy CoffinMichela CompareyLanette ComptonBeth CooperEdmund CordRachel CoreMarybeth Coscia-WeissKathryn CoxKatie CoxAl & Marilyn CoxonLorna CraftonJustin CroushoreMargit CsökmeiAshley CummingLauren CurranSara CyrusPamela CzekayDavid DashHayley DaubDeAunn DavisJean DavisJo Dee DavisWhitney DavisBrooke DeArmanCecilia DeFurianniNatalie DeJongArden DelaceyJulia DennisLorenzo DiazDerek DillmanAdrienne DoctorMichael DoratoBryan DoughtyMary Jo DouglassJoan DowlinRose DoylemasonErica DrakeMr. & Mrs. Derick DriemeyerFrances DuffyChasse DuplantisLauren EberhartJo Anne EdwardsArlie & Laverne Ehlmann

Lauren EisenreichJoan Marie EngelRebecca Epstein-BoleyJennifer EspinozaJoan EssenJustin FelicianoAmanda FiccaDanielle FisherSusan FleetJoshua FlemingM. Elizabeth FlemingKelley FletcherRyanne FlynnLin FoulkKristen FowlerJennifer Fox OliverioJustin FraserMeredith FullerJoseph FuttnerLisa GalvinMarrianne GarbuttJena GardnerReese GardnerMary GarzaNichole GatesMirella GauldinFrank GazdaGE FoundationSarah GillespieGina GillieCasey GoldmanBetsy GowanWendy GrasdahlPeggy GravesDavid GreenwoodJoAnn HahnKellyn HaleyValerie HamburgMargaret HamiltonDarcy HamlinLauren HarrisCharity HarterSaya HashinoSarah HaylettLacey HaysClayton HeathBrittany HendricksEric HensonJacqueline HerbeinFiona HerbertSarah HerbertJoanna HerseyCarl & Jan HermannBrandon HessBetty HilbrantLaurel HinkleTiffany HofferPamela HoffertCecily HoffinsMaureen HoganMichele HowardSharon HuffBarbara HullLauren HuntAngie HunterBarbara HunterBeatrice HuskeyLauren HustingSoley Hyman (In Gratitude Toward

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Susan Slaughter)Bente IllevoldTara IslasErika IzaguirreNaomi JarvisJennifer JesterAngela JohnsonBetsy JonesKatie JordanJeanette JosephJulie JosephsonMike and Leslie JuengerBrighin Kane-GradeKenkichi KawadaSarah KeckAaron KeisterTeralyn KeithDiane KelchnerJane KellyDavid KennedyJudith KennedySusan KilmartinPriscilla KingJen KirbyMerrie KlazekBrittany KleverSheila KlotzElisa KoehlerAdrianna KoreyHoward and Dale KormanCatherine KozubMarina KricklerGreg KuhnSusan LaFeverLori LaidlawSamantha LakeCarina LamFrancesca LarsonBrittany LaschAmy LassiterMichelle LatoufIsabelle LavoieAna LeachJane LeachJeanie LeeNelda LeeJessica LeightonCharlotte LeonardGail LewisK. Michelle LewisSara LewisKarenann LibbyKirsten Lies-WarfieldPreston LightSheryl Linch-ParkerJeannie LittleBobbie LockeJackie LordoCheryl LovinskyJoseph LovinskyBrenda LuchsingerMargaret LudewigErik LundquistAdam MalarichAbigayle ManciniNatalie MannixErica MarianniJeremy MarksZachary Marley

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

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

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

*Denotes Board Member

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