the sinfonian - dec. 2013

December 2013

Also Inside:

page 5 Volunteers of the Yearpage 17 SEF Annual Reportpage 22 Alumni Updates

Composers’the

ISSUE

The Sinfonian December 2013

Volume LXII Issue 1Phi Mu Alpha Sinfonia Fraternity

National Headquarters10600 Old State RoadEvansville, Indiana 47711-1399Toll-Free: (800) 473-2649 Fax: (812) 867-0633www.sinfonia.org

Managing Editor: Mark A. Wilson

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21 Alumni Accent

26 Life Loyal

28 Campus Notes

31 Directory

32 Letters to the Editor

Creativity in Composition

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>> There’s additional content on Sinfonian composersthat we couldn’t fit into this issue! Check it out atwww.sinfonia.org/SinfonianSupplement

>> Phi Mu Alpha is a member of, supporter of, or affiliated with the following organizations:American Classical Music Hall of Fame, BarbershopHarmony Society, Drum Corps International,Fraternity Communications Association, NationalAssociation for Music Education (NAfME) Music Policy Roundtable, National Association of Music Merchants (NAMM) Support MusicCoalition, National Interfraternity Music Council

>> The Sinfonian is the official publication of Phi Mu Alpha Sinfonia Fraternity of America, Inc.Current months for publication are December andMay. First printed as the Sinfonia Year Book in 1901.

6SEF Annual Report

17Alumni Profile: Michael Rhoades

21

CONTENTS

Each October 6, Sinfonians mark Founder’sDay with a ceremony that was written manydecades ago, originally as a service presented in1928 when the Fraternity installed the headstoneat Ossian Mills’ grave. The ceremony states that“Those who continually uphold the beauty andpower of music… must have recourse to kindredsouls with whom in secret they can communeand renew their zeal,” and that it was Mills’ desireto make this communion easier for musicalstudents that led to our formation. What ismeant by these words, “kindred souls?” Yes, itmeans that we all have a common interest inmusic, but it also means much more than that. InPhi Mu Alpha we find others who understandwhat makes us tick—people who really knowwhat it means to devote one’s life to the art ofmusic. If we could explain why we love music somuch, and why we feel it so deeply, it mightprovide insight into the unique bond amongSinfonians. With this in mind, I’d like to sharesome findings that shed light on why we findsuch power and meaning in music.

Consider how the brain receives and processesmusic. When you listen to music there are highlycomplex and distinctive patterns of activity acrossmany areas of your brain. Pitch, interval, key,contour, rhythm and tempo are each handled asseparate tasks by different parts of the brain.When you hear changes in the pitches of amelody or play an instrument, it lights up thepart of the visual cortex called the “mind’s eye,”where images first occur to the imagination. The

brain uses an interior symbolic language, rootedin the imagination itself, to begin processing music.

That’s only the beginning. After the signal isprocessed in the outer portions of the brain,music has its most profound effect on the limbicsystem—the interior part that controls ouremotions. Music’s effect on the emotions is wellrecognized. We even tend to speak in terms ofemotional responses when we talk about music.For example, we may associate major keys withhappy emotions and minor keys with sademotions. It is true that some of these emotionalassociations are culturally learned, but studiesactually suggest that there are commonemotional responses to music across cultures.That’s because our emotional responses to musicare not the result of learned mental processes.When you feel an emotion from listening tomusic, it’s not because you have consciouslyworked out in your mind what emotion thecomposer was trying to convey, but because themusic reaches your limbic system, and your bodyresponds with the physiological responses ofthose emotions. “Happy” music increasesrespiration; “sad” music increases blood pressureand temperature, and decreases pulse and skinconductivity. The most fascinating thing is that,even in someone with the type of brain damagethat prevents them from distinguishing pitches,or in other words to hear them as music, theemotional response is still felt.

Surely, every Sinfonian can relate to changes inskin conductivity, or what we describe as “chills.”Consider this: the number of chills a person feels is correlated with the characteristic of‘agreeableness,’ meaning that people who are moredeeply moved by music are more pro-social,nurturing individuals. The type of person who isdrawn to music may be more apt to have, asSinfonia’s sixth Supreme President Percy Burrellput it, “the peculiar knack or the blessed power toshow more loving kindness, more fraternal spiritthan others.” Just think about what that says abouta Brotherhood of musicians!

Most researchers feel that for music to soprofoundly affect the limbic system and ouremotions, it must have a very ancient andimportant function. One of the oldestsuggestions, which came from Charles Darwin, is that music is a remnant of primitivecommunication, like the “high” screeches and“low” growls of an animal, or the call of a howl.In his book The Singing Neanderthals, StevenMithen speculates that Neanderthals had asystem of communication that was more musicalthan modern human language and pre-dated aseparation into language and music. There issome evidence to support this. Western music inparticular seems to mimic the emotional cues ofhuman speech, using the same melodic andrhythmic structures, and the frequencies ofmajor and minor modes are similar to those ofexcited and subdued speech. Because eachemotional state brings about differences in thequalities of the voice, music can evoke differentinternal emotional states.

The first time we equate music with emotionalstates is when we are in the womb. Before birth,the senses of sight, smell, taste, and touch arelimited, but the auditory system is formed by thesixth month of pregnancy, so the unborn childperceives sound through the ears and its entirebody. The child experiences the sounds of its own

President’s MessageDear Brothers,

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December 2013 The Sinfonian 1

1 Kristin Leutwyler. “Exploring the Musical Brain.” Scientific American (2009): Exploring the Musical Brain: Scientific American. Web. 11 Jan. 2001.2 “The Biology of Music.” The Economist 12-18 Feb. 2000.3 Kristin Leutwyler. “Exploring the Musical Brain.” Scientific American (2009): Exploring the Musical Brain: Scientific American. Web. 11 Jan. 2001.4 The theory of interval affect, put forth in the writings of music theorists Zarlino and Vincentino in the 1550s, holds that major harmonies should be used to express happiness or harshness, while minor harmonies should be used to express sadness or sweetness. (McKinney, 41.)

What’s So Special About a Music Fraternity?

2 The Sinfonian December 2013

body, of the mother’s body, and of the outsideworld. “It is through sound that the childdiscovers new things. There is a relationship withan invisible world through sound.” The childperceives the different tones, inflections, andrhythms associated with the mother’s voice in hervarious emotional states. Therefore, a humanbeing’s very first notion of meaning and emotionare perceived through sound. After being born, asthe child acquires language, this prenatalexperience of sound becomes integrated intodeeper levels of consciousness, but throughoutlife, sound remains related to the deepestmemories of one’s earliest conscious experiences,and conveys a level of meaning that cannot beexpressed in words or images. One scientist whoI will mention writes that “The human being isabove all a sonorous being and the dimension ofsound is for us the essential one; it includes thedeepest levels of consciousness, deeper than thoseof the sight.”

Sound also provides our first idea of space. The child in the womb hears pitches as high orlow in the mother’s body. “The higher sounds ofthe voice vibrate in the higher parts of the body(in the throat and lower part of the head), whilelower ones vibrate in the lower part of the body(in the chest and back).” So it is not merely a way of speaking when we refer to “high” and“low” pitches; it is a reality based on the body’sperception of sound. Aside from pitch, differentvowels and consonants also vibrate differently inthe body. Because of this, the relationship ofsound to movement and space is imprinted inour deepest levels of consciousness. Usually, weare not even aware of it when we speak or sing,but when we listen to music, we perceive it asmovement in an internal “sound space” that isindependent of the outward, physical space inwhich we exist.

We can also learn something about the feelings we get from music by looking at the firstappearance of musical instruments, in the famouscaves of southern Europe where the earliestknown initiation rites some 35,000 years agomarked the end of childhood and the beginningof adulthood. Iegor Reznikoff, an acoustics expert

at the University of Paris, analyzed the caveacoustics and discovered that “the density ofpictures in a location of a cave is proportional tothe quality of the resonance of this location: thepictures are found mostly in resonant areas.”Acoustic resonance inside the caves was used tocommunicate a sense of heightening power.Reznikoff found these correlations in more thanten caves across France. Remarkably, in galleriestoo narrow to paint, primitive humans noted thepoints of maximum resonance by marking themwith red dots.

The resonance is so strong that a simple lowhum at the right pitch is sufficient to help oneproceed in the darkness. Reznikoff writes, “Thewhole body co-vibrates with the gallery, it is likean identification, a deep communion with earth,stone and the mineral elements of Creation.” Herelates the experience to being in the mother’swomb, and the manner in which an unbornchild perceives the world primarily from sound.This matches with the well-founded idea that theinitiation rites which took place in these cavesregarded the cave as symbolic womb, in which a ritual rebirth marks an inner transformation.

The idea that music is related to internalmovement is not new. In the ancient Greek viewof music, the movement of the soul is afundamental concept. Plato wrote, “Music is themovement of sound to reach the soul for theeducation of its virtue.” It should not surprise usto find music in the earliest western philosophers’ideas about the universe and the soul. From its earliest-known appearance in prehistorictemple-caves, music has been inseparable fromthe world’s oldest rituals, spiritual traditions, andsacred writings. The Vedas, the oldest scripturesof Hinduism, contain hymns for sacrifice andpraise. Music was a great part of the religious ritesand processions of the Hebrews. In the goldenage of Hebrew music and poetry, the temple ofSolomon was the great school of music, and itwas the holy Tribe of Levi (those who carry outthe religious duties) who provided music for theprocession of the Ark of the Covenant. TheGreeks used music for many different purposes,but “the Greek thought above all of the music

and song associated with the public worship of the gods.” From the earliest recorded times weencounter the musician as priest in practicallyevery civilization, and we find that music plays acentral role in religious rites throughout the ages.

In summary, music can elicit the physical signsof emotional responses. We use the mostprimitive and survival-related portions of ourbrains to process music, even the part of the brainwhere thoughts first occur to the imagination.Music has meaning so deep that it is rooted in ourvery first perceptions of life when we were in thewomb, and it may be that we even recall musicinstinctively as a primitive language. Music hasmeaning so deeply ingrained in us as humansthat in every culture on earth it has been used tostrive for a connection with the Mystery that isbeyond ourselves. The power of music is not anopinion. It is a demonstrable fact and a truth.

Considering all these things, maybe the reasonwe have such an exceptional Fraternity is becauseof the special qualities of a person who feels musicdeeply, and because of the fact that by sharing ourlove of music we commune around the part ofourselves that is both the deepest and the mostexalted – the most human, and the most divine.

To have a place where we can share our liveswith others who truly understand our love ofmusic is a blessing we should never take forgranted. So as we go about our meetings, ourmusical activities, and our social gatherings, let usnever forget what it really means to be a musicFraternity. I hope that for each of you, your loveof music and a profound respect for the power ofa Brotherhood as extraordinary as ours willtranslate into activity in music, support of ourOrder, and a life that is fuller and richer for beinga Sinfonian.

Fraternally yours

In ΦΜΑ,

John MongioviNational President

5 Fritz, Thomas, Sebastian Jentschke, Nathalie Gosselin, Daniela Sammler, Isabelle Peretz, Robert Turner, Angela D. Friederici, and Stefan Koelsch. "Universal Recognition of Three Basic Emotions in Music."Current Biology 19.7 (2009): 573-576.

6 Daniel L. Bowling, Kamraan Gill, Jonathan D. Choi, Joseph Prinz, and Dale Purves. "Major and minor music compared to excited and subdued speech." J. Acoust. Soc. Am. 127.1 (2010): 491-503.

President’s Message


Sinfonia News

SINFONIAN PRESENCE IN INDIANAPOLIS A SUCCESS

For four days in early August, Phi Mu Alpha had its first ever official

presence at the Drum Corps International World Championships in

Indianapolis. There, National Staff members Mark Helmstetter, Theta

Upsilon (Delta State) ’03, Garrett Lefkowitz, Beta Iota (Albion) ’08, and

Mark Wilson, Delta Eta (Youngstown State) ’03, and Province Governor

Paul Lattan, Nu Omicron (Illinois State) ’04, attended the event to

represent Sinfonia. The occasion served as an opportunity to unveil the

new Sinfonian Drum Corps t-shirts, which were a huge hit, and to catch

up with thousands of brothers in attendance over the course of

Championships week.

“It’s a great opportunity for all involved,” says Wilson. “For years, we’ve

had a presence at various state and national music conferences that has

served to grow awareness for our Mission and inform our members of

developments within the Fraternity. DCI represents a largely untapped

demographic for this sort of outreach. Not only were we able to generate

excitement in Sinfonians who are in the various Corps, but we talked to

hundreds of alumni brothers and also family members who got to learn

about all that Sinfonia has to offer.”

In what promises to be a yearly presence, this represents an extension

of the partnership created with DCI nearly two years ago. “The various

partnerships we’ve been able to form in recent years are really indicative of

the push to become part of the music world like never before,” says

Wilson. “Some end up as more passive partnerships based on overlap in

membership and mutual goals and ideals. While others are more

proactive, like the NAfME Roundtable that we’ve had a seat at since the

2012 National Convention. But the net effect is always the same – greater

awareness of our Mission and Object both within the brotherhood and in

the much larger field of American Music in general. It’s incredibly

rewarding to see the positive response from brothers to these efforts, and

to look for ways to responsibly expand upon them.”

More information can be found on Sinfonia’s partners and affiliates at

www.sinfonia.org/affiliates.

It’s a great opportunityfor all involved


OUTSTANDING MUSICIAN AWARDS PRESENTED TO HIGH SCHOOL MUSICIANS

Phi Mu Alpha partners with numerous music camps around the

country to recognize outstanding high school musicians whose effort has

distinguished them at their respective camps. Below are some recent

recipients of the “Outstanding Musician Award” in the 2012/2013 year.

Please joining us in congratulating these outstanding students.

Camp: Curry Summer Music Camp at NAU

Director: Elliot Tackitt

Recipient: Darren Moore

Darren Moore is entering his sophomore

year at Flagstaff High School in Flagstaff,

Arizona. Darren studies privately with Cindy

Gould, principal trumpet with the Flagstaff

Symphony Orchestra. He started playing

violin at age three and picked up the trumpet in fifth grade. He hopes to

play in a professional orchestra one day. He has attended the Curry

Summer Music Camp at NAU for four years. Darren’s parents are both

musicians; his father, Kent, is the bassoon professor at Northern Arizona

University and his mother, Jeanette, is the assistant principal flute player

with the Flagstaff Symphony Orchestra.

Camp: Foster Music Camp

Director: Ben Walker

Recipient (2012): Roger Jordan

Roger Jordan currently resides in Harland

County, Kentucky, and will be a senior this fall

at Harlan Co. High School. Roger has played

tuba for the last five years and participates in

the Harland Co. marching, jazz, and concert

bands under the direction of Mike Sheppard and James Adams. He has

also participated in the KMEA solo and ensemble competition, all district

symphonic band, all regional symphonic band, and the Eastern Kentucky

University Honors band.

Camp: Foster Music Camp

Recipient (2013): Cameron Read

Cameron Read is a 17 year old percussionist

that is going into his senior year at Barren

County High School and is a four year

veteran of Foster Music Camp. At his high

school, Cameron is an active member of

the percussion ensemble, marching band, and

concert band. He has been in his districts honors band for three consecutive

years, the most recent of which he went on to become the third chair

percussionist in Kentucky's All-State Symphonic Band. Cameron annually

performs solos with his high school's percussion ensemble, one of which he

composed. He also performed his composition From Infinity to Nothing at

the 2012 Foster Camp Solo Honors Recital. Cameron also performed with

his high school band at Carnegie Hall in New York City. After Cameron

graduates high school he plans to attend college to major in either Music

Performance or Theory and Composition.

Camp: New England Music Camp

Director: John Wiggin

Recipient: Shane Coughlin

Shane is a trumpet player who attended

Longmeadow High School in Longmeadow,

Massachusetts, where he performed in the

high school’s jazz band, wind ensemble,

orchestra, and brass choir. He has participated

in numerous ensembles as first trumpet, including the All-Massachusetts

Band, All-Massachusetts Orchestra, All-Western Massachusetts

Orchestra, and the University of Massachusetts Honor Band. Shane

studies with Eric Berlin, who teaches at the University of Massachusetts

and is principal trumpet of the Albany Symphony and the Boston

Philharmonic. Shane intends to pursue a dual degree in trumpet

performance/science.

Sinfonian News

NEW SINFONIA STORE WEBSITE LAUNCHES

As part of the overhaul of the entire Sinfonia.org website, a taskcurrently being undertaken that includes numerous new and excitingfeatures, we’re pleased to unveil Phase I of this new website with acompletely revamped Sinfonia Store.

Accompanying this launch are several new items, many of which have been requested by members of the brotherhood. We hope tocontinue to expand on the store’s offerings in the coming months.

Check back frequently at www.sinfoniastore.org for new items,clearance items, and special offers, and check out our Sinfonia Store ad on the inside back cover of this issue of the Sinfonian.


2013 VOLUNTEERS OF THE YEAR 2013 T-SHIRT DESIGN CONTEST

Every year the National Fraternity recognizes

those who have gone above the call of their

station or office in order to further our mission.

These are our Volunteers of the Year. Nominees

are brought before the National Executive

Committee and chosen based on their service to

their chapters and provinces and, by extension,

to the entire Fraternity.

Phi Mu Alpha Sinfonia is pleased to recognize

three deserving individuals as the Fraternity’s

2013 Volunteers of the Year. They are:

• Province Governor VotY: Matthew

Koperniak, Epsilon Lambda (Georgia) 1999

• Faculty Advisor VotY: Bernard Dobroski,

Alpha Omega (Carnegie Mellon) 1965

• General VotY: Edward Charles Senechal,

Iota (Northwestern) 1980

Please join us in congratulating these brothers,

and in thanking them for their service to the

Fraternity!

PHI MU ALPHA COMPOSITION CONTEST

Announced at the 2012 National Convention, the Phi Mu Alpha

Composition Contest features a $5,000 top prize and a chance to see your

work premiered at the 2015 National Convention! Any interested

composer – even non-Sinfonians – are encouraged to enter.

The deadline for entries is July 1, 2014, a deadline that is fast

approaching. If you or someone you know wishes to enter the contest,

don’t delay!

For a complete listing of contest rules and stipulations, visit

www.sinfonia.org/compositioncontest, or refer to the May 2013 issue of

the Sinfonian.

In 2011, we launched the first

ever Phi Mu Alpha t-shirt design

contest. The winning entry debuted

at the 2012 National Convention,

and is currently one of the Sinfonia

Store’s best-selling items. The

winner received free registration to

the 2012 National Convention. We

are renewing the contest for the

2013/2014 school year.

Deadline:

All entries must be submitted by March 1, 2014.

Rules & Specifications:

Entries should represent Phi Mu Alpha in a positive manner. Failure to

do so will result in disqualification from the contest. Also, any entry that

includes copyrighted material (other than logos or symbols copyrighted

by the Fraternity itself) will be discarded.

In submitting a design entry, you allow Phi Mu Alpha Sinfonia

unlimited production rights on items that incorporate the design.

Entrants are expected to provide a high-quality file of the design. All

standard file types will be accepted (.jpg, .png, .tif, .pdf, .psd, .eps). If

possible, please include a manipulable .eps file of the design for easy

incorporation for t-shirt printers.

Prizes:

The winning designer will receive:

• Five t-shirts with the winning design, in any sizes available (S-5XL).

• Free registration to the 2014 Leadership Institute, and up to $200

in travel reimbursement. Or two registrations and up to $100 in

travel reimbursement.

• If the winner is unable to attend Leadership Institute, an equivalent

prize will be awarded at the discretion of the National Staff.

• Up to three runners-up will receive a $50 gift card to the Sinfonia Store.

To Submit:

Please direct all submissions and questions concerning this contest to

Director of Communications, Mark Wilson, at [email protected]


Sinfonia’s composing roots date back to itsorigins, and music has never been far from the forefrontof the Fraternity’s dealings. With the ongoingcomposition contest (see News – pg. 5), which renewsa tradition originally begun in 1912 with the firstSinfonian Composition Contest, we wanted torecognize the talent at every level of our organizationand in every period of our history.

Though no coverage of Sinfonian composers could everbe comprehensive, in this issue we highlight our latestNational Honorary and an icon in American Music, aPast National President whose journey into composinghas helped inspire numerous brothers, and an historicallook at some often-overlooked composers fromSinfonia’s past.

On a larger scale, we hope to continually celebrate themusic and creativity of the thousands of Sinfoniancomposers throughout the world.

Be sure to check out additional online-exclusivecontent related to this issue, including information onseveral prominent composers from Sinfonia’s history atwww.sinfonia.org/ SinfonianSupplement.

CREATIVITY INComposition


How Michael Colgrass Teaches Adults andChildren Alike on the Joys of Composing

As handouts were passed out to the attendees of Leadership Institute,brothers were greeted with the title “TEACHING CHILDREN TOCREATE MUSIC USING GRAPHIC NOTATION.” The brothers,excited to be in a breakout session with legendary composer MichaelColgrass, Alpha Alpha (National Honorary) 2013, looked curiously at theoutline. It begins, “Michael Colgrass has devised a system of creatingsounds and notating them with graphic markings with the intention ofintroducing young people to music composition. The system is simple indesign and execution, especially with regard to performance skill andmusic literacy knowledge.”

How would this be taught to a group made up of, largely, musiciansand future music educators? Brother Colgrass laid out the basics. The white board behind them was their canvas. No formal notation couldbe used.

The first volunteer stepped up tentatively to the board and drew ameandering black line. He was asked to sing it for the room. Hisinterpretation of the line was a low pitched “Beeee-rrooooop!” with aglissando into a high-pitched squeak. The others in the room laughed.

Another brother came up and drew his own squiggle. Then anotherwith a series of dashes. Then more and more, each with increasingly variedpatterns. Soon the board was awash in chaos. Brother Colgrass asked theroom to sing the entire board, left to right. A brother was recruited to“conduct” with an eraser by moving the eraser from left to right at varyingtempos so that everyone else would know what parts to sing and when. The first run-through was abject chaos, but delightfully so. Pops andsqueals and yells and rumbles mixed together to form a roughly20-second ode to Sinfonian scribbling. Subsequent read-throughs wereno less boisterous.

Next, Brother Colgrass had each brother in the room write their ownpiece. He asked each brother to think of a unifying idea. This might be amusical motif – think of Beethoven’s 5th for an obvious example – or amore programmatic theme like the rain or a storm, or a bird song. Afterroughly five minutes to allow for this, brothers presented their works onan overhead projector. A line formed of excited brothers wishing toshowcase their impromptu pieces. For many, this was the most elaborateworked they had ever “composed,” and they had done it with tools thatcould be taught to anyone in mere minutes.

Each brother at the projector could then conduct their piece after somesimple instructions. The results were entertaining to hear and oftenchallenging to sing. But the enthusiasm of those present was infectious,and the exercise had to be brought to a halt due to time constraints insteadof from a lack of interest.

On the last page of the original handout, which outlined the entireprocess, a “Guiding Principle” was listed. It read, “Wherever possiblethroughout the creativity and performance exercise, the students should

be allowed to discover the composing, performing and conductingprocesses on their own, without the intervention of the teacher. Theteacher’s job is like that of a rudder on an ocean liner, to help keep the shipon the student’s desired course.” True to this principle, Colgrass himselfwas silent for much of the session, allowing the natural excitement andcreativity of the brothers to take over and guide the flow of the session.

To culminate the exercise, Colgrass played a piece written bygrade-school children with no formal training in composition. The piecewas written and performed in a matter of days, and utilized the graphicnotation suggested at in the exercise. The piece written and performed bythe children, while raw in many respects, was a coherent work of musicwith clearly-defined sections and ideas.

The potential takeaways from such a session were many. Music can betaught intuitively even without musical training, and it taps into a rawcreative energy that is apparent to any who experience it. The universalityof what was demonstrated by Brother Colgrass, and the childlikeenthusiasm it sparked in brothers, even those with considerable musicaltraining, was inspiring and enlightening, and was displayed in a whollyorganic way. It is this kind of educational training, and the simple truth itencapsulates, that has brought Michael Colgrass fame beyond just hiscompositions and performance career.

“How many times have I been asked why I create music?” writesColgrass in his autobiographical memoir, “Adventures of an AmericanComposer.” “My answers vary – self-expression, spiritual exploration,reflecting on the age we live in. Classical composers were known to write,‘To the glory of God’ on scores. But I was never satisfied with suchanswers. Not that they were untrue, just incomplete.”

Colgrass didn’t receive his own answer to this question until he heardit from an old Irish man who, upon learning Colgrass was a composer,said “Ah, love-ly, love-ly, love-ly. For most of us life is so mundaaa-ne.”

“For the first time,” says Colgrass, “I heard a satisfactory answer to whyI compose: it is never boring. Of all the things I’ve done in my life I can’tthink of one as endlessly challenging. Aggravating, puzzling, frustrating,enervating, yes – but never mundane.

> Brothers collaborate during a breakout session.

You used to doodle famous jazz artists, and by yourown admission and others, the work was quitegood. Do you still draw, or is that something thatwas left in your youth?No, I don't still draw. Over the years I havedone a drawing or two as gifts for birthdays,etc., but my main impetus for drawingportraits was to meet band leaders when Iwas a teenager.

Your father helped you learn to memorize passagesusing trains. Was that a hobby of his, or just aclever analogy he used at the time? And do youhave any trains to this day?That was indeed a clever analogy of his. Themain trains we witnessed in those days wereat the crossing downtown in Brookfieldwhere we often had to wait for a long freighttrain to pass before we could drive on. It wasthrough my father’s analogy that I realizedthat the brain learns in chunks that connecttogether. That was his point and what hesaw in musical notation that relates tofreight trains.

Does that visual representation of music – traincars – have any resemblance to the professionaland educational work you’ve done with visualcomposing?No, no outright connection that I know of.But everything you learn becomes part ofthe way you think and do things.

You’ve spoken about the importance of music as acore subject in schools. This is actually very muchaligned with a lot of the advocacy efforts of theFraternity in recent years. I’d like to hear in yourown words what you see as the most importantvalues of a musical education.

I think one of the most important aspects ofmusic is the multi-level mental process itrequires. For example in playing aninstrument in a band a child must read the music, manipulate the keys on aninstrument, listen to and blend with others,playing in tune, and watch the conductor. (Imust admit though that kids often bypassthe last one.) And, most importantly, musicis the language of emotion, so music trainschildren to develop their emotions, what hasbeen called the EQ or Emotional Quotient.That's why I work hard to write pieces forchildren to play that emphasize a clear andstrong emotion instead of simply writing“educational music” designed to teach themhow to play their instruments.

Art is a metaphor for human creativity, and building a human being is the biggestcreation of all. That's what our educationsystem should be all about.

You’ve gone into schools to teach children how to compose, or perhaps more accurately how to be creative in a musical context. I know yourmethod was famously implemented in NovaScotia. Are there other places it has caught on? Andto what extent has it been a success where it hasbeen implemented?


Following Brother Colgrass’s initiation as the 2013 National Honorary at lastsummer’s Leadership Institute, National Staff member Mark Wilson, DeltaEta (Youngstown State) ’03, had a chance to talk with Brother Colgrassabout a variety of subjects, including the composer’s music, his work ineducation, and a variety of other subjects.

> Brother Colgrass speaks to the gathered brothers at the 2013 Leadership Institute banquet.



My method has enjoyed a strong successwith children, teachers and parents whereverI did it, but Nova Scotia is the only placethat has written it into the junior highschool curriculum for children to learn.

Like many, you’ve lamented the loss of many musicprograms nationally, and I know you’re quiteversed on the many reasons for keeping music inschools. What has been the biggest challenge ingetting that message heard? And how do you go about talking to educators – parents, teachers,administrators, possibly politicians – to get yourpoint across?The biggest challenge is dealing withadministrators who are not musicians andthink of music as mainly entertainment.Rarely do the music teachers get to set upthe teaching programs. When I talk to thepowers-that-be in education I ask them whywe don’t teach children to write music andwhy we don’t have programs in our teachers’colleges that train teachers some kind ofmusic creativity they can use with theirstudents. Then I show them my methodwhich requires no technical musical trainingas an example of what can be done.

I want to ask a few questions regarding NLP, orNeuro-Linguistic Programming. But it’s not a termall are familiar with. Could you put it in your ownwords, and how you apply it to your work?I use NLP mainly in my performanceworkshops to help musicians establishand maintain a state of concentration inperformance. And of course I have inculcatedNLP into my thinking so deeply that itcontinually affects the way I see, hear and feelthings, often at an unconscious level.

Performance anxiety is epidemic in the musicalworld. I’ve encountered NLP techniques as a way toincrease social confidence, though not necessarily in amusical context, so I’ve seen some of its effectsfirsthand. Based on your autobiography, it seemedlike you were outgoing and assertive as a child andteenager. Not exactly the type that would need a book’sworth of practice and performance strategies. Were theNLP techniques something you still needed to achieveperforming confidence?I personally didn’t need NLP to achieveperforming confidence. I always had it. ButNLP showed me many techniques for teachingothers how to deal with performance anxiety.

Sticking with this theme, you’ve talked aboutapplying NLP to ethics. Traditionally, NLP helps tomodel behavior, but in very tangible ways withpractical applications. This idea fascinates me,because it seems like uncharted territory. This mightbe putting you on the spot, but what might an NLPexercise look like that helps to train a certain ethic?Actually, ethics is a personal matter. NLPteaches you how to train your senses moreeffectively—how to learn, unlearn and relearn.How you use what you learn is up to you.You’re right that NLP teaches many tangibleand practical applications of life skills, andthose can certainly help a person to define anddevelop ethical standards as well.

Our National President, John Mongiovi, is a hypnotist who works frequently with musicians.Your background in psychological approaches toperforming is rather extensive. Have you experiencedhypnosis as a form of managing these struggles?Many NLP techniques are hypnosis based,because they deal with control of the senses,though they often do not use formalhypnosis in the process. Actually hypnosisis simply paying exquisite attention to onesingle thing only, so it's a technique for

Moving his finger along the block of notes, he [his dad] said, “Maybe the first thing you play could be the engine, the

second the coal car, the third the oil car, then the freight car and the cattle car.” That made sense to me. But then what?

“Well, when you get to the caboose you know you’re finished.”

That painted a clear picture in my mind. I started reading the music and visualizing my little solo as a long train – like

the freight cars that rumbled across Grand Boulevard [near his childhood Chicago home]. In fact, my little fantasy train

made reading music easier and more fun. I could just watch the cars going by and hear my rhythms as if they were wheels

clacking along the tracks.

…I think my confidence came from the way I’d learned the piece. The technique of breaking it down into little

components would stick with me through my career as a percussionist, when I often had to learn music on the spot.

And I have my father’s train to thank for that.

– Michael Colgrass, “Adventures of an American Composer,” Pg. 16


intense concentration. Many NLP techniquesautomatically create a hypnotic statebecause they enhance focus and increaseconcentration.

You got into music idolizing jazz musicians of the40’s and 50’s, but many of your compositions bearlittle resemblance to that era and style. Are thoseinfluences still hiding in your compositions for thetrained ear? Or did your music simply expand toinclude new styles and influences?My music did expand to include many newstyles and influences, but the trained ear willhear many traces of jazz in my writing. Jazzis not a technique, it's a feeling, and thatfeeling runs deep in my musical nature.Some work of mine will show jazz elementsoutright, as in Déjà vu for percussionquartet and orchestra or Urban Requiem forfour saxophones and wind ensemble. Manyof my works will show a more hidden effect,like a bluesy feeling in some of the themesfor my more symphonically oriented slowmovements.

Who’s the Demon?The Demon is my creative side, so calledbecause it requires special attention and cango wild if not controlled. The name firstcame up when I was modeled for creativityby NLP developers. During the modeling Italked about this monster who demands myattention and will nag at me ruthlessly untilit’s satisfied. Since they name their models inNLP, mine was called the “Demon Model.”Actually the dictionary will tell you thatorigin of the word demon is “daemon,” anddefines the elemental creative forces of life.

Has the Demon called you to anything recently? Tostate it more directly, are you working on anythingcurrently?I’m always in the middle of a newcommission. Right now it’s a piece forclarinet, cello, piano and wind ensemble.The Demon is stimulated by the offer towrite a new piece which usually comes froman interested performer or conductor.

You’ve studied or practiced a number of other artforms: improvisational acting, directing, mime,dancing, and I can definitely see its influence in a lotof your works. How were you able to apply thesepractices to your music?They apply themselves to my music withoutmy consciously thinking about it because I’veabsorbed them strongly and built them “intothe muscle,” you might say. Even the way Iwalk is influenced by my studies in dance andmime. My musical structures have beenstrongly influenced by the forms and plots ofnovels and plays and even movies.

The rift between composer and audience, orperformer and audience, is one you touch on in alot of your work. You experienced this with jazzmusic early on – when the virtuosity of some jazzmusic was foreign to those who wished to dance toless intense big band music, and later as acomposer whose work was often foreign to some


> Brother Colgrass accepting his Signature Sinfonian award from President Mongiovi.

So he [composer Ben Weiber] went home and made a pact withhimself: every day he would gostraight to the piano and write at leastsix full score pages before eating ordressing. He wouldn’t even allowhimself to sit down.

Whenever I struggle with adeadline, I recall my mental image ofrotund Ben standing naked at thekeyboard, composing furiously andrefusing to give up.– Michael Colgrass, “Adventures ofan American Composer,” Pg. 135

> Michael Colgrass, with the the communal composition board from his breakout session in the background.

((the story about Joseph Heller, where Heller wasconfused by your system of notation and methodfor understanding music.) How do you try tobridge this gap as a composer? Is it, at times,insurmountable?I write articles, give talks and take time totalk with individuals who might be confusedby new music. I often explain my piecesfrom the stage before they are performedand give a lot of thought to how I can createanalogies between music and everydaythings that non musicians can easily relateto. I take this kind of public communicationvery seriously, partly because I come from an uncultured background and know whatit’s like to be confused by the complexity ofthe arts.

I know you love coats and research your purchasesextensively. What’s your favorite coat right now?You’re referring to the story in my memoir,“Adventures of an American Composer,”where I talk about buying a new coat oneday in New York using what I refer to asGreenburg’s law, which is to buy qualitythings that may cost more but will lastlonger. My main winter coat is a thickhooded affair designed for the coldestweather. It’s big enough to sleep in. butotherwise my coats are standard stuff(though always high quality).

You had a chance to say a few words at thepodium at Leadership Institute after you wereinitiated into Phi Mu Alpha. Is there anythingyou’d like to add to your experience there that willbe seen by the general brotherhood?The one thought that comes to mind is the strong feeling of kindness andcamaraderie I felt from all the Brothersthere. The Phi Mu Alpha members are thecounter example of the selfish, violent malewe read all too much about today. I feltproud to become a part of that.

Colgrass on composing:Composing is finding what you are musically and being it. It takes time to

find it in yourself, a lot of work goes into that, a lot of living as well as

writing. Once you get a finger on what really makes you different from

others you start really composing for the first time. The feeling is immensely

satisfying. I think it is the deepest fulfillment an artist can have. What this

means is that you've taken on what e. e. Cummings calls “the awful

responsibility of being yourself.”



Sinfonian composers have imprintedthemselves on the legacy of American music,both in modern American music and in ourpast. Below, National Historian Dr. BruceGbur, Beta Phi (Baldwin-Wallace) ’74, recountsthe legacy of two such composers who are intheir centennial year. While not householdnames, they are excellent examples of the depthof the Sinfonian musical tradition.

2013 marks the centennial year of twoSinfonian composers who each madesignificant contributions to musical life in theUnited States. Alvin Etler, Alpha Xi (Illinois)’48, (1913-1973), and Clare Grundman, BetaXi (Ohio State) ’31, (1913-1996), do not enjoythe same name-recognition among the generalpublic as someone like Aaron Copland, but arerecognized by musicians as masters of theircraft. Etler worked first as a professionalperformer and then in academia teachingmusic theory and composition; Grundmanwas lucky enough to spend his careercomposing and arranging, almost always oncommission. Both men composed in severalmedia, but are best known for certaingenres—Etler for chamber music andGrundman for band pieces.

Alvin Etler began his musical career in high school, where he developed proficiency on all the woodwind instruments beforeconcentrating his talents on the oboe. Hestudied briefly at the University of Illinoisbefore moving to Cleveland, Ohio. He stayedthere for five years, studying oboe at theCleveland Institute of Music with members of the Cleveland Orchestra [Bert Gassman(1911-2004) and Philip Kirchner (1890-1970)]and composition at Case Western ReserveUniversity with Arthur Shepherd (1880-1958).He joined the Indianapolis SymphonyOrchestra as a member of the oboe section in1938, remaining there for two seasons. Etlertoured extensively as the oboist of the NorthAmerican Wind Quintet until 1942, when heaccepted a position at Yale University asconductor of the university band and instructorof woodwind instruments. While at Yale hestudied composition for two years with PaulHindemith (1895-1963). Etler left Yale in1946, spending one year teaching at Cornelland two years at the University of Illinois. It waswhile teaching at Illinois that Etler was initiatedinto the Alpha Xi Chapter on 4/4/48. Hejoined the faculty of Smith College inNorthampton, Massachusetts, in 1949,remaining there for the rest of his career. Heonce explained his attitude toward compositionby stating: “A composer creates music because

it is a function of the whole person similar toother spiritual and physical functions.”

Etler composed many orchestra pieces,including a Concerto for Orchestracommissioned by the Cleveland Orchestra, butit is his chamber music that has made himfamous among performers. His Brass Quintetand two Woodwind Quintets are staples ofthose ensembles’ repertoires. In the field of sololiterature he wrote an Introduction and Allegrofor oboe and piano and two Clarinet Sonatas.

HISTORIAN'S SPOTLIGHT: TWO SINFONIANCOMPOSERS

> Marjorie and Alvin Etler.

“A composer creates music because it is afunction of the whole person similar to otherspiritual and physical functions.”– Alvin Etler

Celebrate Centennial 2013



His Sonata for Bassoon and Piano is the mostfrequently recorded piece for that combinationby an American composer. Etler also wrote alarge number of works combining winds andstrings, often a combination of woodwinds andviola. These include the Duo for Oboe andViola; Sonata for Clarinet, Viola, and Cello;Quartet for Oboe, Clarinet, Viola, andBassoon; and a Sextet for Oboe, Clarinet,Bassoon, Violin, Viola, and Cello. There arealso two compositions that he wrote and reserved for himself, performing them with colleagues at new music festivals andcomposers’ conferences—Five Speeds Forward,scored for flute, oboe, viola, and bassoon; andSix from Ohio, a quartet for oboe and string trio.

Etler was married four times (twice to thesame woman) and is survived by a daughter,grandson, and his most recent wife.

Clare Grundmanreceived the majority ofhis musical training inhis native Ohio. Hisprimary instrument in high school and college was the clarinet,although he also playedseveral other woodwind

instruments. He attended The Ohio StateUniversity, earning a Bachelor’s degree in MusicEducation in 1934. After teaching in the publicschool systems in Ohio and KentuckyGrundman returned to OSU, graduating witha Master’s degree in 1940. While a graduatestudent he taught arranging, some appliedlessons, and conducted in the band program.After completing his Master’s he moved to NewYork where he found work composing,arranging, and conducting. Grundmancontinued his musical training by studying

composition with PaulHindemith at theBerkshire Music Festival.During World War II he served as a militarymusician with the CoastGuard. Grundmancomposed in a variety of media but is bestknown for his works forwind band, whichnumber over forty-five.

Many of Grundman’sband works are rhapsodiesor fantasies on folk-tunesfrom different countries.Most people who haveplayed in a high schoolband will have performedAn Irish Rhapsody, but he also drew inspirationfrom England, Finland, Japan, Norway, andScotland, in addition to four numberedAmerican Folk Rhapsodies. Grundman didnot neglect the area of soloists and band,producing solo pieces for alto saxophone, harp,and tuba, and works for multiple flutes andtrumpets with band accompaniment. Whenthe firm of Boosey & Hawkes approachedcomposer Leonard Bernstein about creating aband transcription of his Overture to Candide,Bernstein chose Clare Grundman for the task,so impressed was he with Grundman’scommand of the wind band medium.Grundman did not compose a great deal ofchamber music, but there are works forunaccompanied bassoon, unaccompaniedEnglish horn, unaccompanied flute, a clarinetquartet, a Scherzo for Six B-flat Clarinets, anda set of three short duets for two horns.

Grundman was gay and was in a committedlong-term relationship. After his death in 1996, his partner survived him for sixteenyears. Grundman had many interests outside of music and one hobby led to a bit

of notoriety—he is the co-author of theoriginal 1974 “New York Times CrosswordPuzzle Dictionary.

Alvin Etler never composed anythingspecifically for Phi Mu Alpha Sinfonia, but the fraternity commissioned Clare Grundmanto compose a work for the 1964 NationalConvention. The result was the ChessboardSuite, which unfortunately has not beenperformed at a National Convention since its premiere.

Discography and Videography—At thepresent time there are fifteen commercialrecordings of Etler’s music, but only two orthree representations of Grundman’s pieces.The popular website YouTube yields a veryinverse result, with only one or two of Etler’spieces available, but well over 1,000 videos ofperformances of Grundman’s music. AllSinfonians should take the time to familiarizethemselves with some of the marvelous workscreated by these two brothers whose centennialwe celebrate this year!

> Clare Grundman

Visit www.sinfonia.org/SinfonianSupplement for more content on composers from our history.


Past National President Dr. RichardCrosby, Eta-Omicron (Cincinnati) ’75, led abreakout session at the 2013 Leadership Institutefor aspiring composers. In it, he chronicled hisown journey through its struggles and triumphs,weaving the Fraternity’s ideals into the concept ofcomposition. Below is an adaptation of this story,which helped to inspire those in attendance, andmay help any aspiring Sinfonian composer beginhis own journey.

I thought I was going to start by saying, “Icame to composing in the most unusual way,”and then, thinking better of it, I decided thereis no “usual” way. I teach music history, inaddition to teaching piano, and as I talk aboutthe major composers and what their careerplans had been it is clear to me that every storyis unique. In the Middle Ages and Renaissancemany were clerics; in the Baroque, manystudied the law. Each era has composers whomay have done something else, includingperforming, and yet turned to composing. Forsome, physical infirmity played a role.Beethoven and Schumann are two: Beethovenhad always composed, but turned to itexclusively due to his increasing deafness;Schumann injured his hand and switched tocomposition. Whatever their reason, we are thebetter for it. And those two composersprovided direct inspiration to me.

I had wanted to be a composer since I was ayoung teenager. I turned out some not terriblyoriginal juvinalia, but it was frustrating. I wasinsecure and constantly doubted that I hadanything worthwhile to say. I tried doing somerandom art songs in my 20s and a weddingmarch for my sister, but it wasn’t until the late1990s that, due to increasing physical

problems, I turned again to composing. Whenyou are trained as a performer and then youcannot perform it does terrible things to thepsyche. I found myself thinking, “I need a newoutlet…why not try composing again?” Andthus it began. And it began with several artsongs on poems by Edgar Allan Poe. I found, tomy surprise, that while I’d taken all those yearsaway from composing I’d deepened andmatured as a human being and now felt that Ihad something to say. Each new compositionwas a confidence-building exercise. “Trysomething that has no words; try somethingthat has multiple movements; try a large-scaleensemble piece; try and even larger-scaleensemble piece and include chorus; try aconcerto.” And thus it went. I got bolder andmore confident with each success.

Looking back on the journey that broughtme to this point, I consider myself the luckiest of men to have not formally studiedcomposition. When I was in college I wouldhave had to write avant-garde music, which wasnot to my liking. Things are better now, andthere are many talented teachers out there whoknow the rules and have analyzed how the greatmusic from all ages is put together and do notforce their students to compose a certain way.But I came to the realization that, if you wantto be a composer— start composing! It really is that simple. I haven’t written a Beethoven’s9th yet, and probably never will, but that’s noexcuse not to get started. I can hear all the little“voices of doubt” in your heads right now—“Ican’t do this: I need someone to show me howfirst.” No, you don’t. “I’ll never be a greatcomposer.” How do you know that if youhaven’t gotten started? I feel confident in sayingthat none of the great composers would havewritten the music that we love if they had let

those two thoughts stop them. You simplystart. You listen to great music, find things youlike here and there, perhaps imitate it and even put your own touches to it, and eventuallyyou might find your own style. And I hope that you will get it out of your minds that you need someone’s permission or someone’sblessing to be a composer. Why? (I love thatword, “why”—it knocks down all sorts of sillybarriers and assumptions.) You do not needanyone’s permission, you don’t need them totell you how good you are, althoughencouragement is something we all can use,and you don’t need a degree in composition todo it. Just do it. If you have a musicbackground and know either by ear or byanalysis how what you’re hearing is heldtogether, then you’re equipped with what youneed to get started. For me, playing piano andlearning to read vertical sonorities has beeninvaluable. And yes, the theory we all learn incollege is useful! But it’s a tool. It’s not whatmakes you into a composer.

The idea of a composer having a collegedegree/diploma from a conservatory didn’treally set in until the Romantic period. Andsome very fine composers have come through

THE SECRET TO COMPOSING?

Start Composing.



them. But do you have any concept of thenumbers that did not make it? Somethingabout the successful ones set them apart fromall the forgotten ones. What was it? I wouldsuggest it was a mixture of things, the mostimportant being a strong desire to composethat would not accept “no” for an answer. Haveyou been told “no, you’re not going to be acomposer?” Why on earth would you acceptthat, if that is your burning desire? Don’t letanyone steal your dream. Follow your bliss.

The one thing we cannot control is whetheror not the world will like our music. Of coursewe would be ecstatic if it did. But what if itdoesn’t? The answer is that you must write foryourself, and then let the chips fall where theymay. That is sometimes hard to swallow, butthat’s the way life is. Write what music youwill...and if you’re convinced you’re on tosomething, I suspect others will notice. Writethe music YOU want to write. Don’t try to besomeone else—each of us is a unique tapestryof life experiences. As you live you will havemore and more of those experiences show up inyour music. Therefore, if you keep at it nomatter what, and keep living life to its fullest,with all its joy and sadness, I suspect you’ll bewriting music years from now that you neverdreamed of. We are each the sum total of a vastarray of life experiences. Those experiences willmake you a better composer—even a betterman—if you don’t quit.

I say all this having just completed myVariations Op. 13 for piano solo, which will be

premiered on October 20th when I return tothe concert stage after some tendon grafts thathave given me some precious time back at thekeyboard. As I wrote the last measure last night(9/1/13) I was just thinking about all the thingsI’ve outlined here, and looking at my newcreation and smiling. This piece would havebeen unthinkable just 14 years ago when Istarted composing seriously. And now here Iam, a composer with a number of publishedworks. The future seems bright indeed. But youknow, I think my way of looking at life as “aglass that’s half full,” or perhaps more correctly“demanding that the glass be half full,” has madeall the difference. If you want to compose,compose. Don’t let anyone discourage you. Theonly way to fail for sure is to not do it. Anddeep down, I believe that we are all creative. Weall were as children, and then it was either lostor discouraged. But it’s still within all of us to becreative. We should all remember to be kind toourselves as we explore that creativity. Beethovendid not start with his 9th Symphony—that washis greatest achievement after a lifetime of hardwork. Start simple, be honest with yourselvesabout the strengths/weaknesses you see andhear, and keep at it. If your ego is strongenough, ask for comment from others whomyou respect. If you are willing to put forth theeffort to grow with each new effort, there is notelling how far you could go.

If you want to see what that attitude hasdone for me, go to YouTube and listen to myTrumpet Concerto (string orchestra or band

version), a Walt Whitman Portrait for bandand chorus, “By The Waters of Memory” forcello and piano, and Appalachian Variations forband. As you listen, realize that none of thatmusic would have been written if I had notfaced terrible physical adversity and was yetdetermined to succeed.

Listen to great music. Compose. Get betterwith each effort you make. Never give up. Youmight just give the world something to listen to.

I see the composer as a person not separate from life and community but indigenous to it. How to bridge the gap that hasdeveloped between the artist and people is the biggest challenge I know, but I find that the more I reach out to people the lessindifferent they are to the artistic experience. So the responsibility to overcome indifference is mine, too, and is a way to keepme from becoming indifferent, which is the deepest guilt an artist can feel.

Therefore, I don't believe it's an accident of fate that separates one composer from another, but an act of will. You decidewhat you want and need and then set out after it, do or die.– Michael Colgrass


PHI MU ALPHA COMPOSITIONS – A RICH HISTORY OFSUPPORTING American Music


In the 101 years since Sinfonia held its firstcomposition contest, there have been 28winners in 16 iterations of the contest, rangingfrom 1912 to 1960.

With the re-launch of our composition contestat the 2012 National Convention, we hope to seethis tradition renewed for the next generation ofAmerican music-makers.

Below are some excerpts from A CentennialHistory, written by Past National President T. Jervis Underwood, Gamma Theta (NorthTexas) ’54, which chronicles the competitionfrom its origins:

The rules [in 1912] for the competition, called fora piece of chamber music for a trio of piano andstrings by a male American citizen, established theprocedures of anonymity until the judging wasfinished, identified the judges (George W.Chadwick, Alpha; Harold Randolph, Kappa;and Albert Augustus Stanley, Epsilon), andannounced the prize of a gold medallion. Thetwenty-five-dollar cost of the medallion was to comefrom the Alumni Loyalty Fund. The medallion ispictured, both obverse and reverse, in the 1913 PhiMu Alpha Annual, along with a picture and a shortbiographical sketch of Gustav Mehner, the winner ofthe competition.

The competition was repeated in 1913, with theprize augmented by one hundred dollars in cash inaddition to the gold medallion. The contest was for a

string quartet, with the rest of the rules remaining thesame as the previous year.

Subsequent years saw multiple prizes offered,such as in 1915 when two prizes were offered, one for a composition and another for an essay. And the instrumentation of the requestedpiece continued to vary, helping to keep thecompetition fresh.

The first considerable gap in the competition,explains the excerpt below, occurred after 1914,when another was not held until 1926.

The first indication of interest in resuming acontest to stimulate composition is found in the IotaChapter letter in the December, 1925 Sinfonian.Bruce S. Parkhill, Iota secretary-treasurer andhistorian, reported that the chapter was making plansto propose to the next convention an ongoingcompetition to determine the finest instrumental orvocal composition by an undergraduate Sinfonian.The prize, a “traveling” cup, would be presented ateach convention to the chapter represented by thewinning composer. The 1926 Sinfonian outlined therules of the contest, gave ten classifications or categoriesin which the composition might be entered, andprovided for judging. The prize (later identified as aRussian samovar) was to be called the IotaComposition Trophy. The entries in the firstcompetition were judged at the 1926 Conventionand the winner turned out to be Bruce S. Parkhillhimself, with a composition entitled “Theme,Variations and Finale.”

The competition would be held in somewhatregular intervals for several decades after, with theonly other noticeable gap occurring duringWWII. This era also saw a large variance in thenumber and types of compositions written. In

1946, for example, five prizes were awarded, eachin a different “class.” The excerpt below expoundsupon this trend:

The composition contest was resumed at the 1946Convention, using the rules and procedures that hadpertained before the war. Although a special divisionhad been established for Sinfonians in the militaryduring the war, no award was ever given in thatdivision. The different classes were eliminated in1952, and only one prize was awarded in thegraduate and undergraduate divisions. Although noaward was given in the undergraduate division in1954, a first prize of $150 and a second prize of$100 were awarded in the graduate division. In1962 the winners were announced and the prizeswere awarded, but the winning compositions werenot performed at the Convention. The reason givenwas that neither winner could be present at theconvention. The Executive Committee went on to saythat the composition contest would be superseded by aplan for commissioning more works for concert bandand for chorus.

While Sinfonian composers have thrived inany era of American music, the contest ended in1960 until its resurrection at last year’sConvention (2012). A full list of winners can befound in Appendix H of A Centennial History,along with additional details surrounding thewinners, judges, and musical pieces themselves.But whether in this or any other era, Sinfoniansshould be proud of the support shown on achapter, province, and national level for Americanmusic. “There’s no greater example of being at theforefront of American music,” said currentNational President John Mongiovi, in apost-Convention interview, “than actuallycreating new American music.”

> Pictured: Gustav Mehner winnerof the first Sinfonia CompositionCompetition, 1912, along withthe gold medallion that he was awarded.

Visit www.sinfonia.org/SinfonianSupplement for more content on composers fromour history.


Sinfonia Educational Foundation

Dear Brothers,

We have had a fantastic year thanks to your generous support. We started off by celebrating the Power of Musicat the largest National Convention in our history. The music throughout the week was inspiring and many of ourbrothers were able to participate in the Convention Ensembles program thanks to the increase in travel grants. In conjunction with the Fraternity’s effort to honor those that have served our country, the SEF also announcedthe addition of a scholarship to honor the memory of one of our fallen brothers, Chris Patterson. We’vecommitted to annually fund this scholarship until it is fully endowed.

We continue to look for ways to help our brothers in need. One recent example was when the SEF created a temporary fund to collect gifts for the School of Music at University of Southern Mississippi after a stormresulted in the loss of music, instruments and one of the buildings used for performances was destroyed. We morethan matched the gifts received as we sent a grant to help the school recover from this disaster.

Our existing programs are growing as a record number of brothers applied for scholarships this past year. As thecost of education rises, we need to do more to help young Sinfonians prepare for their future careers as musicperformers, educators, and supporters. In addition to the travel grants provided at this past summer’s LeadershipInstitute, the SEF also subsidized the additional expenses for brothers in the Men of Song Chorus. I had the honorof attending their concert and was blown away by the quality of the program.

However, the new development that I am the most excited about is the grant we just presented to TheMusicianShip. This organization represents everything that Sinfonia is about as they work to provide musicenrichment programs to at-risk youth. Currently based in Washington DC, the MusicianShip came to the SEFlooking for a partner in its expansion efforts. I am so proud that we can be part of a program that is making such aprofound impact.

The SEF continues to focus on enriching lives and advancing music. The growth in our programs and newdevelopments are only possible with the contributions from you and the rest of our brotherhood. The Board iscommitted to stewarding your gifts to assist as many brothers as possible. Sinfonia will make a difference in theworld of music so long as you join us in our efforts. I thank you all for everything you have done, and continue todo to support our endeavors.

Fraternally,

Derek J. DanilsonPresident, Sinfonia Educational Foundation


Sinfonian Educational Foundation

SEF Support at Leadership Institute 2013Over the course of the past thirty years,

summer leadership programs—formerly known as Leadership One andLeadership Conclave and more recently incarnated as LeadershipInstitute—have brought Sinfonians together for motivation, inspiration,and brotherhood. Participants leave Evansville ready to make a difference inadvancing brotherhood within their chapters and provinces, advancingmusic in their communities, and making a difference on their respectivecampuses. The vision of Leadership Institute is to develop leadership, andinspire and motivate members of our brotherhood through educational andmusical experiences in a meaningful and enriching fraternal environment.

A highlight of this year’s Institute, held on the campus of the Universityof Southern Indiana in Evansville, was the initiation of Pulitzer Prizewinning composer Michael Colgrass as a member of the Fraternity’snational honorary Alpha Alpha Chapter—joining the ranks of otherAmerican music greats such as Van Cliburn, William Dawson, PeterDykema, and Howard Hanson. Another special presenter at this year’sInstitute was Captain Winston Scott S, Epsilon Iota 1970, former NASAastronaut who currently serves as Dean of the College of Aeronautics atFlorida Institute of Technology in Melbourne, Florida. In addition tohearing presentations by National President John Mongiovi, Upsilon Psi1994, and Vice-President Mark Lichtenberg, Delta Nu 1993, attendeesalso had the opportunity to hear from Past National President Richard A.Crosby, Eta-Omicron 1975, Interim Executive Director Edward A. Klint,Alpha Xi 1978, and former National Vice-President Brian A. Stratton,Delta Omega 1979, Alpha Alpha 2010. During their collegiate years, thesethree brothers actively advocated for enhanced collegiate engagement at thenational level, and their example and commitment continue to inspire andencourage young Sinfonians today.

The Sinfonia Educational Foundation is proud to help make LeadershipInstitute a success. This year, the Foundation provided $2500 in travelgrants to over 90% of the participants. By supporting events such asLeadership Institute, alumni can help ensure the continued development ofleadership among the next generations of Sinfonians.

> Brother Stratton leading the Men of Song Chorus at Leadership Institute.

> Captain Winston Scott presenting at Leadership Institute.


2012-2013 Financial ReportWe are pleased to be able to report on the financial conditionof the Foundation for the past fiscal year. As a whole, theFoundation is in a strong cash position due to the continuedhard work of the trustees, a record breaking giving year, andtight financial controls that have been implemented over thepast several years.

2013 Breakdown of ProgramsThe SEF provided an additional 30% in program supportover the past fiscal year.

Scholarships$12,000Travel Grants$ 5,200Internal Grants$ 1,200External Grants$6,000Other Program Support$3,300

2013 Breakdown of ExpensesPrograms continue to increase while General &Administrative expenses decreased this past fiscal year.

General & Administrative $17,100 23%

Programs $27,700 37%

Development $30,000 40%

Cost Per $ RaisedWe continued to make an investment to increase thenumber of donors which resulted in the significantincrease in support this past fiscal year.

Total Raised $94,618Development Expenses $30,000Cost Per $ Raised $ 0.32

2013 Endowment GrowthBalance on May 31, 2012 $48,487.42

Balance on May 31, 2013 $56,394.14

Increase since 2011/2012 16%


Sinfonian Educational Foundation

Donor RecognitionThe Board of the Sinfonia Educational Foundation and the collegiate brothers that our work serveswould like to thank the following brothers and individuals for their generous support.

ENCOREGifts of $2500 and aboveJeffrey HighlandEdward KlintC. Jeffrey Lockhart

CONCERTOGifts of $1000-$2499James AlexanderJohn CeresoMichael CesarioDerek DanilsonJohn DohertyMark EutslerJustin JacobsThomas MorganKarl PaulnackCalvin Van Niewaal

OVERTUREGifts of $500 - $999Michael BrazStephen Brothers-McGrewKevin GoebbertMatt KokesJames NiblockJames Winn

PRELUDEGifts of $200-$499Kent ArmbrusterRyan BeelerGeorge BeverleyRobert BostickDeron BoylesRussell BrownPatrick ClancyLawrence CoonfareRichard CrosbyJames Daughtry

David DavisJohn DowdaEnoch FrankhouserF. Ivan FrazierKevin GirouxHerbert HauensteinJames HinchliffJohn IsraelMatthew KoperniakJonathan KraussRichard LapinskiClifford MadsenLeland MarshAndrew MillerJohn MongioviA. Michael MoreauRaymond NewhouseWiley OwenVernon ParkWendell ParrJoseph PinsonMichael SandlerFrederick SchiffJohn SchmidtEdward SenechalK. Dean Shatley IIRolland ShawJoshua SmialekKenneth TiceT. Jervis UnderwoodEldon VaselaarKeven WebbAlex WelkAndrew WestRobert WhitmoyerJohn WhitneyCharles WilliamsC. Thomas WorkZeta ChapterXi Mu Chapter

To view the rest of the 2012/2013 SEF Annual Report, includingall of our donors, please visit www.sinfonia.org/sef/annualreport


Alumni Association ContactsAtlanta Area – Aaron Angel

[email protected] Area – Marcus Neal

[email protected] Arkansas – Matthew Farr

[email protected] Florida – James Rode

[email protected] Ohio – Bradley Vrooman

[email protected] Area – Jonathan Nicolosi

[email protected]/Ft. Worth – Kevin McNerney

[email protected] Mississippi – Joe Raymond

[email protected] Angeles Area – Christopher Thaxter

[email protected] – Miguel Savinon

[email protected] Area – David Moran

[email protected] York City – Kenneth Alston

[email protected] Alabama – Donald Monroe

[email protected] County – Breysi Garcia

[email protected] Area – Jonathan Engel

[email protected] Antonio Area – Eric Contreras

[email protected] Bay – Steven Ulloa

[email protected] DC – Nathan St. Pierre

[email protected]

Alumni Association Interest Group ContactsAlabama: Northern – Keynon Jones

[email protected]: Las Vegas – Rich Legon

[email protected]: Central – Scott Pummill

[email protected] Carolina: Fayetteville – David Crow

[email protected] Carolina: Winstom-Salem – Kendrick Smith

[email protected]: Northwest – Nick Kottman

[email protected]: Clarksville – Christopher Monhollen

[email protected]: Knoxville – Tyler Tallent

[email protected]: Corpus Christi – Adam Lopez

[email protected]: Central – Eddie Brown

[email protected]

Please contact the National Headquarters if youwould like information on how to start an alumniassociation in your area.

Most recently, Brother Rhoades has become afixture at the Fraternity’s National Conventions.Having attended in 2006, 2009, and 2012, hehas performed on the piano at each of the threeevents, providing background music forreceptions, informal gatherings, and meals.“The guys always seem to enjoy it, and of courseI love it too,” he says.

Brother Rhoades taught for 27 years in theHarlandale school system in Texas. “I taughteverything at some point,” he says, “not justmusic. But once the other teachers started tofind out I was a musician, they got me to do allkinds of things.” Rhoades not only ended upteaching music in general, but provided musicfor school programs and pageants. “There was a3rd grade program, How the Witch StoleHalloween, that I wrote both the music anddialogue for.”

Brother Rhoades, who plays the accordionand sings in addition to playing the piano, is alsoa world traveler. “I’ve been to 72 counties,” hesays. “And I have something around 6,500 slidesof 54 countries that I’ve put together into aslideshow.” He found an outlet for both theslideshows and his music when he started todisplay them at nursing homes and retirementcommunities. “I did it for free originally,” hesays. “It was just a nice thing to do. But thenpeople started asking more and more for me tocome and play or show the slides, and now Ihave a small business out of it.” In what may bereminiscent of our own Mills Music Missions,this practice is a source of great joy for Rhoades,who gets to showcase his experience and talentswhile providing a valuable service to retirees.

Another frequent outlet for his musicaltalents is as a Minister of Music at a local SanAntonio church. “My people think I can singwell – and I can still hold my own – but I just

do the best I can, and I’ll keep doing it until theybury me,” he says with a laugh.

The varied ways in which Rhoades continues tofind creative and philanthropic uses for his talentsare a keen example of the musical and idealisticqualities we aspire to as Sinfonians. “Whatevertalent I have,” he says, “I don’t take it for granted.But it’s never really work – I enjoy it.”

“I still have my shingle on the wall,” says Brother MichaelRhoades, Gamma Iota (Baylor), whose 1960 initiation is now morethan 50 years past. It’s said with a note of pride, from one who hasremained involved with music for a lifetime. It’s a lifetime that hasseen him live the Fraternity’s ideals in numerous ways.

Alumni Accent


Alumni Accent

Alumni Updates

ALUMNI ASSOCIATION UPDATESOn January 25, 2013, the

Central Florida AlumniAssociation (CFAA) heldtheir annual Wine andCheese Philanthropy Night.This event brings alumnibrothers and guests from theCentral Florida area togetherto socialize and raise moneyfor a cause. In the past, the CFAA has raised money for scholarships to helpsend active Phi Mu Alpha brothers in Province 13 to national events suchas Leadership Institutes and National Conventions. This year, the CFAAhas partnered with A Gift for Music as this year’s recipient. A Gift for Musicis a program that brings music education to more than 450 Orange County(FL) third, fourth, and fifth graders, whose music programs have been cut,and cannot afford the opportunities on their own. Eric Smith, Director ofA Gift for Music, was at the CFAA event and spoke to the more than 40guests that evening. Their efforts raised over $800 in donations. The CFAAlooks forward to a long partnership with A Gift for Music and supportingmusic education in Central Florida.

In June, the Chicago AreaAlumni Association (CAAA)sang the National Anthem forthe Schaumburg Boomersbaseball team of the FrontierLeague. This was theassociation’s first opportunityto perform at a sports event,having been selected after creating their audition tape over a year ago. Twelvemembers of the association rehearsed the version in Sinfonia Songs twice toprepare for the event, and the effort was a success. Despite the small crowddue to the Blackhawks playing for the Stanley Cup that evening, those inattendance were impressed with the performance. The CAAA has alreadybeen welcomed back for next year’s season.

The Columbus Area Alumni Association (COAA) was proud to assistcollegiate members financially this past year through funding to bothColumbus-based chapters to assist them with their alumni events. Theyhave also made annual donations to the Province to help with statewideprogramming. The COAA’s most significant financial contribution was ascholarship given to a local collegiate member to attend the most recent

Sinfonia National Convention. In addition to assisting collegiate membersfor the last three years, the COAA has also reached out the local musiccommunity. Over the past year, they have served several local communitybands during their performances, from ushering concerts, recordingperformances, and selling merchandise for the organizations.

ALUMNI UPDATESIn June, the National Endowment for the Arts announced the 2014

NEA Jazz Masters. Among them is Man of Music Jamey Aebersold S,

Gamma Omega (Indiana State) ’76, Alpha Alpha (National Honorary) ’09,whose enormous contributions to the world of jazz make him a deservingrecipient of this honor.

On Sunday September 15, Zach Allyn, Delta (Ithaca) ’07, performed atthe airport homecoming of Honor Flight Rochester as over 40 WWII andKorean War vets returned home from a two day “trip of a lifetime” inWashington, DC. Zach performed with Rochester’s Prime Time Brass,which played songs such as “When the Saints Go Marching In,” “AmericaThe Beautiful,” and an Armed Forces Salute as the veterans made their waythrough a roaring hometown crowd. Honor Flight Rochester is part of thenationwide Honor Flight Network which flies veterans, at no cost to them,to Washington to visit the memorials built in their honor. The flights areopen to all veterans, starting with the eldest among us. Many of the veteransare in their 90s and are selected from a waiting list, but many are moved tothe front of the line at the request of doctors and hospice care professionals.

Former State Senator and Secretary of State Jim Bennett, Epsilon Nu(Jacksonville State) ’58, will fill out the remainder of Beth Chapman’s termas Alabama’s Secretary of State. Chapman announced that she was steppingdown as of August 1 to enter private business.


Past National President William B. Dederer,Rho Chi (Fredonia State) ’67,was recently appointed Artistic Director of the Charlotte Chorale, a chorusof around 70 members that presents three major concerts between Octoberand April, annually. He also performs frequently and has a studio of privatetrumpet students in Florida that he continues to teach through the summerby virtue of Skype. His wife, Julie, remains active in her field of EarlyChildhood Education by teaching for the Center for Guided MontessoriStudies, through which she teaches teachers online around the world.

Indianapolis Motor Speedway and INDYCAR Acting President & CEOJeff Belskus congratulates Citizens’ Speedway Committee Member and SEF Trustee Mark Eutsler Mark Eutsler S, Gamma Omega (Indiana State)’77, during the group’s annual luncheon in the Pagoda. Including the$100,000 posted this year, the annual lap prize fund, inaugurated in 1920,

has been responsible for $4,513,610 in specialincentive awards. Eutsler, who is also a co-chair of theIPL 500 Festival Parade and a member of theINDYCAR Ministry Executive Committee, will beattending his 49th consecutive Indy 500 on May 26.

Thomas Holliday has written the authorized biography of Man of Music Carlisle Floyd S, Epsilon Iota (Florida State) ’57, Alpha Alpha(National Honorary) 2012, titled “Falling Up: The Days and Nights ofCarlisle Floyd.” The book will appeal to anyone who has an interest in thecomposer’s life and works. Additionally, it offers in-depth looks at thecontext surrounding Floyd’s life, and the inner workings of his operas, givingit more universal appeal to musicologists and historians alike.

Phillip San Gabriel, Zeta Iota (Howard) ’05, is one of only six awardeesto receive a $2,500 grant from The Wolf Trap Foundation for the PerformingArts for the 2012-13 school year. He was nominated from the Washington,DC Region for his outstanding contributions and dedication in promotingachievement in the classroom. The grant will be used to enhance curriculumand enrich classroom learning. He is currently teaching in the District ofColumbia Public Schools at H.D. Woodson Senior High School.

Mark Grauer, Xi Pi (Wisconsin-Whitewater) ’76, hasbeen selected to the Bandworld Legion of Honor. TheLegion of Honor was established in 1989 to honor, overthe course of a year, eight of the finest band directors in ourbusiness. Recipients have taught for at least fifteen years,

have maintained a very high quality concert band program, and havecontributed significantly to the profession through dedication to bands andband music. Each is honored at the annual Sousa Foundation awardsceremony during the Midwest Band Clinic in Chicago, Illinois.

Clayton Ivey, Pi Omicron (North Alabama) ’11, member of thelegendary Muscle Shoals Rhythm Section, was invited to Nashville, TN for the reopening of the Musician’s Hall of Fame and Museum, into which he was inducted in 2008.

National Vice President Mark Lichtenberg, Delta Nu (Bradley) ’93,has been elected the President of the Evansville Teachers Association in Evansville, Indiana.

Brother John Oelrich, Sigma Psi (Tennessee-Martin) ’13, conducted thenewly formed community band in Martin, Tennessee. On Thursday, June13th over 50 participants came out for the ensemble’s 2nd performance ofthe summer, “Circus Life,” in the middle of the historic downtown districtof Martin, Tennessee. Brother Oelrich is the University of Tennessee atMartin Director of Bands. The band is comprised of many middle, highschool, and college level students, as well as University Faculty, communitymembers, and local band directors.

C. Thomas Work, Delta (Ithaca) ’71, was honored with the ThunAward for a lifetime of civic service in Berks County this month at a privateaward ceremony at the Berkshire Country Club. Work received the awardprimarily for his work with the Reading Musical Foundation, where hesubstantially increased merit and need-based scholarships in music forpre-college children and inaugurated a summer music camp program thatsends over 50 area children to summer music camp each year. As of last year,

the Reading MusicalFoundation had awardedover $1 million in musicscholarships over thelifetime of its scholarshipprograms begun in 1971.

Let us know what you’re up to. Send Alumni Updates to [email protected]


Alumni Accent

Begun in 2006, the Signature Sinfonian program was created as a way to honor those whose professional or philanthropic contributionshave brought honor to them as Sinfonians, and thus to the Fraternity as a whole. The official description of the award follows:

Any Sinfonian who has exhibited a high standard of accomplishment in the profession or a commitment to service may be nominated as aSignature Sinfonian. Service or contributions to the Fraternity will not be considered. All nominees must be an alumnus in good standing. NationalHonorary members and Man of Music recipients are recognized as Signature Sinfonians without nomination.

Brothers who are nominated need not be musicians or educators, but can hail from any field in which their accomplishments areconsidered exemplary. We’re proud to present the 2013 class of Signature Sinfonians, whose inclusion will add to the legacy of this prestigiousaward. Each of these brothers will be presented with a framed certificate, medallion, and pin signifying their award.

Alan Bergman S, Alpha Rho (North Carolina) 1943 - One of the world’s most distinguished lyricists, Brother Bergman’s works includenumerous TV and film credits, many in collaboration with his wife Marilyn. His TV credits include theme songs for Maude, Good Times,Alice, Brooklyn Bridge, and In the Heat of the Night. The duo were the first lyricists ever to be nominated for three Academy Awards forBest Song (out of five nominated). He and his wife are recipients of the Academy Award for Best Song, and have been nominated severaltimes for their work. They are also recipients of four Emmy Awards. In addition to his frequent collaborations with his wife, Bergman has

worked with several renowned film composers such as Dave Grusin, Beta Chi (Colorado) ’53, John Williams, and Henry Mancini. Among his many otherawards, he was inducted into the Songwriters’ Hall of Fame in 1980.

Michael Colgrass S, Alpha Alpha (National Honorary) 2013 - Brother Colgrass won 1978 Pulitzer Prize for Music for Déjà vu, which wascommissioned and premiered by the New York Philharmonic. In addition, he received an Emmy Award in 1982 for a PBS documentary“Soundings: The Music of Michael Colgrass.” He has been awarded two Guggenheim Fellowships, A Rockefeller Grant, First Prize in theBarlow and Sudler International Wind Ensemble Competitions, and the 1988 Jules Leger Prize for Chamber Music. Among many otherpopular works, his Winds of Nagual has become a standard in the repertoire and won the National Band Association’s William D. Revelli

Memorial Composition Contest and the Sudler International Composition Competition. He has also created a method of teaching children – and teachers– how to write music, which was adopted by the Nova Scotia education system for inclusion in the junior high curriculum. These accomplishmentshighlight a career that has spanned decades, and has included extensive performances with many of the world’s greatest musicians and ensembles. BrotherColgrass is in demand as a speaker and presenter, both on his music teaching methods and as an inspiring instructor on creativity and performance.

John Locke S, Iota Psi (Southeast Missouri State) 1976 - Since 1982, Brother Locke has served on the University of North Carolina-Greensboro (UNCG) School of Music Faculty as Director of Bands, Director of Summer Music Camps, conductor of the Wind Ensemble,and conducting teacher. He is Past-President of the North Carolina Music Educators Association and of the Southern Division of CollegeBand Directors National Association. In 2002, Locke was nominated for the O. Max Gardner Award, the highest award in the 16-campusUNC system. In 2005, Locke was elected President of the American Bandmasters Association and also received the Albert Austin Harding

Award from the American School Band Directors Association. In 2009, Brother Locke became Editor of the Journal of Band Research. At UNCG, Lockeis the founder and director of the Summer Music Camp program, now the largest university music camp in America, enrolling over 1,700 students annuallyand served by a staff of 150 professionals. He is also the founder of the Carolina Band Festival and Conductors Conference at UNCG.

George Irving Shirley S, Gamma Omicron (Wayne State) 1953 - Brother Shirley is a Grammy award winning, internationally acclaimed singerand lecturer. After teaching in the Detroit Public School System early in his career, he became the first African-American singer in the UnitedStates Army Chorus. After being discharged, he began a career with the Metropolitan Opera in New York, where he was the first everAfrican-American tenor to sing for the Met. He also toured with several other internationally acclaimed opera houses. His performance andrecording career has spanned the globe, and included his 1968 Grammy award for his role (Ferrando) in the RCA recording of Mozart’s Cosi fan

tutte. Brother Shirley currently holds the title of Joseph Edgar Maddy Distinguished University Professor of Music at the University of Michigan, in Ann Arbor.

NominationsMembers may nominate brothers to become Signature Sinfonians at any time during the year by completing the application (available in the Guide toAwards on Sinfonia’s website) and forwarding it to the National Headquarters. The annual deadline is April 1. The Awards Committee will review thenominations and recommend their recipient choices to the National Executive Committee for final approval.

For more information on the Signature Sinfonian award, and to see past recipients, visit www.sinfonia.org/signature.

Signature Sinfonians


Baldwin-Wallace College - Beta PhiBruce R. Giles ’60 - 7/2010

Ball State University - Delta LambdaLevon C. Noel ’54 - 8/10/2012

Bucknell University - Alpha PiHarold E. Cook Jr. ’38 - 5/16/2011

Central Methodist University - Beta MuRobert H. Bray ’64 - 10/9/2013

William Holman ’95 - 9/12/2012

Clark Atlanta University - Omicron KappaCecil Houston II ’97 - 12/30/2012

Davidson College - Gamma KappaAndrew J. Owens ’44

Delta State University - Theta UpsilonThomas Williams Carson ’76 - 5/21/2013

Drake University - Alpha BetaRobert W. Schneider ’51

East Carolina University - Zeta PsiCasey Kane ’09 - 7/25/2013

Eastern New Mexico University - Theta PhiCharles L. Tipton ’82 - 7/20/2013

Eastman School of Music - Alpha NuRonald T. Bishop ’54 - 7/25/2013Dr. Fredric Lieberman ’59 - 5/4/2013

Florida State University - Epsilon IotaDr. John M. Cooksey ’61 - 10/30/2012Dr. Webster W. Teague Jr. ’56 - 7/9/2013

George Peabody College - Gamma PsiWilliam G. Oxendine ’53

Hardin-Simmons University - Theta LambdaWarren G. Thaxton ’68 - 8/14/2013

Indiana State University - Gamma OmegaStephen Humphreys ’59 - 7/24/2012

Indiana University - Gamma TauJohn T. Rehm ’58 - 2/9/2013E. Morry Reynolds ’52 - 5/7/2013

Mansfield University - Beta OmicronDouglas M. Crowder ’07 - 6/15/2013

Marshall University - Zeta EtaRobert M. Leighty ’57 - 8/14/2013

McNeese State University - Zeta ChiWilliam D. Kushner ’83

Millikin University - Beta ThetaGeorge W. Rutherford ’48

Murray State University - Gamma DeltaCarl G. Harris ’05Daniel Milam ’10 - 4/6/2013Robert E. Singleton ’39

Sam Houston State University - Zeta MuJimmy R. Jones ’61 - 3/23/2013

Southern University - Mu PsiLouis A. Nabors Jr. ’65

Syracuse University - ThetaDr. Paul F. Abel ’39 - 1/19/2012Murray Bernthal ’31Lynn H. Prichard ’38 - 1/3/2010

University of Georgia - Epsilon LambdaRonald L. Waln ’66 - 7/20/2013

University of Illinois - Alpha XiRalph B. Clark ’42

University of Kentucky - Alpha GammaAlbert H. Frey ’42 - 4/10/2013

University of North Texas - Gamma ThetaHarold R. Gore ’52 - 6/22/2013Arthur W. Mills III ’12 - 4/3/2013George W. Robinson ’44 - 3/27/2013

University of North Texas - Gamma DeltaRobert J. Rogers ’40 - 5/14/2013

University of Puget Sound - Epsilon EtaDr. John R. Howell ’55 - 5/3/2013

West Virginia University - Epsilon SigmaDr. David A. Milburn ’60 - 5/4/2013

Ronald T. Bishop, Alpha Nu (Eastman School of Music) ’54. Known as one of the mostinfluential and respected tuba performers in the world, Bishop performed as principletuba and soloist with the world-renowned Cleveland Orchestra for 38 years.

Dr. Fredric Lieberman, Alpha Nu (Eastman School of Music) ’59. Lieberman was anAmerican ethnomusicologist, composer, educator, and author, whose research andwritings notably included works about and with members of the Grateful Dead andtheir music, as well as East Asian music traditions.

Robert H. Bray, Beta Mu (Central Methodist) ’64. Robert “Bob” Bray served theFraternity is numerous capacities during his long service. He was on the Fraternity’s firstCommission on Awards, appointed in 1968. Bob participated in the introduction ofthe chapter citation program, the design of the National Citation and Man of Musicawards, and the establishment of the Orpheus Award and Presidential Citation. He was appointed in 1976 to serve as Deputy Province Governor of Province 19, servingfor four years. In 1983, he was appointed as Province Governor in 19, a post he wouldhold for the next 13 years. He served as Chairman of the Commission on Standardsfrom 1985-1987, and was later appointed to a second term as Commissioner from 1991-1994. And from 1994-2000 he served on the Fraternity’s Alumni AffairsCommittee. In recognition of his generous contributions to the Lyrecrest Fund, theFraternity dedicated the “Robert H. Bray Cottage” at the National Headquarters onNew Year’s Day, 1991, a facility which continues to provide comfortable beds andfacilities suitable to house 22 brothers. Outside of Sinfonia, he was a former director ofthe Fayette Housing Authority and earlier was executive secretary of the CentralMethodist University Alumni Association.

William G. Oxendine, Gamma Psi (George Peabody College) ’53. He was the chapterPresident of Gamma Psi Chapter at George Peabody University in Nashville, TN in1954 and earned the Orpheus Award from the Lambda Sigma Chapter at EastTennessee State University in 1982. He was a lifelong musician and instrumental in thedevelopment of all types of music groups in the East Tennessee area.

Warren G. Thaxton, Theta Lambda (Hardin-Simmons University) ’68. In 2000,Thaxton was inducted into the Texas Bandmasters Hall of Fame. The award, one ofmany Thaxter received, highlighted his lifelong devotion to music education.

John T. Rehm, Gamma Tau (Indiana University) ’58. In addition to working at a musicpublisher’s house for much of his career, Rehm traveled throughout the US as atrombonist in a travelling ballet troupe. Brother Rehm was also a professor of MusicTheory who taught at East Carolina University from 1964-67 and from 69-1995 atIllinois State University. Brother Rehm died on February 9, 2013.

Arthur W. Mills III, Gamma Theta (University of North Texas) ’12. Arthur was thegreat-grandson of Sinfonia’s founder, Ossian E. Mills. Born in Wellesley, Massachusetts,Arthur graduated from Wellesley High School in 1973 and received a B.S., ElectricalEngineering, from Northeastern University. He loved his work as a systems engineer atElectronic Data Systems/Hewlett-Packard for 35 years. Arthur was a loving husbandand father who devoted his free time and energy to his family and home. In 2012,Arthur was diagnosed with ALS. He faced the devastating disease with courage andhumility. He leaves behind a large family: Leila, his wife of 30 years and their sixchildren; sons Warren and Eric, daughters Carrie, Alison, Wendy, and Grace, five sisters,and his parents, Arthur Warren and Anna Elizabeth Mills of Wellesley, MA.

Robert J. Rogers, Gamma Delta (University of North Texas) ’40. Robert J. “Bob” Rogerspassed away May 14, 2013 at the age of 91. He was a charter member of Gamma ThetaChapter in 1940. He served as faculty advisor of the chapter for many years; and wasalso governor of Province 32 from 1974 to 1982, and again in 1988. He was thenamesake of the Robert J. Rogers Lifetime Service Award, which was suggested by PastNational Vice President Brother Irving and presented to him by Irving and PastNational President T. Jervis Underwood in January of 1990. The headline of the newsarticle about his passing in the Denton, Texas newspaper referred to him as the ‘pianoman;’ he was greatly loved and respected by the people of Denton, where he was theperennial pianist for community events. For an extended bio of Rogers, please visitwww.sinfonia.org/rogers.

Dr. John R. Howell, Epsilon Eta (University of Puget Sound) ’55. With extensiveexperience in classical, commercial, and early music, Howell was an educator, performer,conductor, and arranger. He performed on five continents and in all 50 states, andperformed for a number of television and commercial programs during the 1960’s. Hispublished works include several educational articles, and his arrangement sold over20,000 copies worldwide.

Dr. David A. Milburn, Epsilon Sigma (West Virginia University) ’60. “Slide,” as he wasaffectionately known by his earlier students, began his professorship at West VirginiaWesleyan College in 1966, teaching various music courses, giving private musicinstruction, and directing the bands for 38 years. More than that, he was a positive rolemodel, mentor, and second father to hundreds of WVWC students. In 1982, Davidearned his Doctorate in Instrumental Conducting from Catholic University inWashington, DC, where he instructed and conducted several ensembles. “Doc,” as hewas known by later generations of students, became Music Department Chair in 1984until his retirement in 2004.

The Final Chord


Life Loyal Sinfonian

Since its inception, every member who becomes a Life LoyalSinfonian has done so for his own reason. Some enjoy the lifetime subscriptionto The Sinfonian. For others, there is a sense of pride in displaying the lapel pin,while others are just proud to support our Fraternity.

Phi Mu Alpha Sinfonia no longer has just a few reasons to be a Life LoyalSinfonian, but nearly 900 reasons. Each Sinfonian who enrolls becomes a newreason. Your support goes right back into programming for alumni Sinfonians,benefitting not just you, but the Fraternity as a whole.

WE WANT YOU. WE NEED YOU. Become a Life Loyal Sinfonian to supportyour Fraternity, and guarantee your lifetime subscription to The Sinfonian.www.sinfonia.org/lifeloyal

Reasons to be

LIFE LOYAL>>


Life Loyal Sinfonian STATISTICS

The chapters with the highest enrollment are:

• Gamma Theta – University of North Texas: 24• Nu Psi – Shenandoah University: 15• Xi Pi – University of Wisconsin-Whitewater: 13• Epsilon Lambda – University of Georgia: 11• Alpha Zeta – Penn State University: 10• Alpha Lambda – Illinois Wesleyan University: 10 • Kappa Zeta – West Virginia Wesleyan University: 10Of the 445 chapters chartered by the Fraternity,58.7% of them (263 chapters) have at least onemember enrolled as a Life Loyal Sinfonian.

“Eight short years ago, I met two of the most amazingmen who would soon be a major influence on my life:Dr. Lavan Robinson and Mr. Chris Carter. Dr. Robinsontook me under his wing as the granddaughter he neverhad; and Chris Carter became the big brother that Ialways wanted. Both men were brothers in fraternity.Over the next few years, Chris and I grew to be veryclose friends. Dr. Robinson, however, knew that therewas more to our relationship and continued toencourage us to become more than just friends. Whenwe did finally realize this for ourselves, Dr. Robinson wasso excited for us. Unfortunately, shortly after this, Dr.Robinson passed away. This is when I realized howimportant it was for him and Chris to belong to thisbrotherhood of men. The brothers of Phi Mu Alpha area loving, comforting, and encouraging group of musicalmen. In October of 2012, Chris proposed with theentire Zeta Gamma chapter and many alumni singingthe Serenade to a Girl. With the Fraternity being such ahuge part of our lives, when it came to choosing awedding gift, there was no question at what I wanted formy husband. Now he is part of this Fraternity forever as aLife Loyal Sinfonian.”

– Allison Carter, wife of Brother Christopher Carter,Zeta Gamma (Valdosta State) 2002

www.sinfonia.org/lifeloyal

THANK YOU TO LIFE LOYAL SINFONIANS #888-920.

Alabama State University - Delta BetaTyree R. Rivers, ’99 (901)Bradley University - Delta NuJustin M. Koszarek, ’02 (896)Alexander D. Moore, ’09 (910)California State University-Fresno - Gamma PiMichael Zuniga, ’12 (899)Capital University - Epsilon PhiRyan P. Allen, ’00 (907)East Carolina University - Zeta PsiJohn A. Davis, ’08 (911)Eastern Illinois University - Xi UpsilonBrandon Ward, ’03 (909)Florida A & M University - Omicron GammaDarrien D. Simmons, ’95 (913) Edwin Sylvain, ’95 (892)Florida International University - Rho EtaChristopher D. Richardson, ’11 (905)Frostburg State University - Xi OmegaR. T. Powell, ’66 (908)Grambling State University - Omicron LambdaKentun D. Haynes, ’97 (894)Kenneth Jones, ’00 (893)Tavell L. Kindall, ’96 (912)Kansas State University - TauRoland T. Craddolph, ’02 (919)Langston University - Pi KappaSteven C. Watkins, ’12 (904)Mississippi State University - Lambda PhiChase O. Hamilton, ’07 (898)Morehead State University - Theta PiJason A. Sparks, ’98 (918)Murray State University - Gamma DeltaDavid A. Moss, ’97 (906)Norfolk State University - Rho MuHerman J. Brooks II, ’08 (888)Sam Houston State University - Zeta MuChase R. Giddings, ’10 (914)

South Carolina State University - Nu IotaDanzell Smith, ’11 (920)Tennessee State University - Eta XiCharles E.K. Parris, ’02 (900)Texas State University-San Marcos - Gamma PhiMichael L. Brehm, ’10 (890)University of Georgia - Epsilon LambdaJames F. Borden, Jr, ’80 (895)University of North Carolina - Alpha RhoJay O. Lambeth, ’58 (903)University of Wisconsin-Whitewater - Xi PiScott R. Elsner, ’03 (897)Matthew Uebelacker, ’08 (902)Valdosta State University - Zeta GammaChristopher A. Carter, ’02 (891)West Virginia Wesleyan College - Kappa ZetaChad M. Minnick, ’05 (916)Robert C. Quarles, ’07 (915)Western Kentucky University - Iota MuChristopher G. Francis, ’97 (889)

Reason #891Christopher Carter, Zeta Gamma(Valdosta State) 2002

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Campus Notes

Central Michigan University - Nu PiSince the chapter’s founding in 1965, the Nu Pi chapter of Phi Mu

Alpha has been through many twists and turns. Within the mid-2000s,Nu Pi hit its lowest point; scrapping for members, lack of provincecitations, and even holding a delinquent status briefly. However, that hasbeen changing, and within the past two years we have grown in bothnumber and service to our university and province.

One event that we held together with the other music organizationson campus was a Thanksgiving dinner. We also had a “Date Auction”with the ladies of Sigma Alpha Iota, where a number of volunteeringpeople from both sides offer to go on dates with the highest bidder! Oncampus, we sang a barbershop version of our school fight song topromote our football team going to the Little Caesar’s Pizza Bowl. Weeven sang for University President George Ross and serenaded his wife.

Edinboro University of Pennsylvania - Lambda GammaThe thought of losing a loved one is often hard to comprehend. For the

President of our chapter, this struggle has been all too real. His mother hasfought and survived breast cancer previously and is now battling threebrain tumors and one in her abdomen. When the president told his little,they immediately shaved their heads as a tribute to her. The next day heannounced in in their chapter meeting. That night four more brothersjoined the tribute. The next day more brothers joined, and eventuallymost of the chapter. This simple act of shaving head lifted the spirits of allof us. Through this, Lambda Gamma has done what it can to help abrother in a dark time in his life. Many Greeks and non-Greeks alike onEdinboro’s campus have sent her well wishes in hopes of recovery. Thissmall act is one way that we’re living our brotherhood.

Hillsdale College - Nu UpsilonLast semester, we conducted our first charity fundraiser in recent

memory: a Wiffle Ball Tournament to benefit the Hillsdale HumaneSociety. The HHS was in dire need of funding after losing its tax-exemptstatus, so the chapter was able to get the campus involved and raise somemoney to help out the struggling shelter.The semester culminated in a wildly successful American Music Concertthat featured original compositions and arrangements from severalmembers. The wide variety of music appealed to the record audiencewhich came to show its support.

Morehouse College - Xi EtaOn March 1, 2013, the “Great and Grand” Xi Eta chapter along with

the “Irresistible” Iota Rho chapter of Tau Beta Sigma National HonoraryBand Sorority, Inc. hosted the 1st annual AUC Greek Stroll Off, afundraiser for the Atlanta March for Music, an organization with a goalsimilar to the Object. The Atlanta University Center (AUC) iscomprised of Clark Atlanta University, Morehouse College, andSpelman College and the stroll off involved every chartered Greekorganization from the various institutions. The event was held onMorehouse’s campus, in Archer Hall, where each organizationperformed different routines involving combinations of dancing andstepping—strolling, a Historically Black College and University(HBCU) tradition. Like dancing, strolling is more often than not donewith musical accompaniment. As music advances more rapidly every dayin what is perceived to be the “wrong direction,” Sinfonians must thenadvance it to positivity, turning the dissonance into harmony andspreading it to anyone possible. The turn-out of the event wasphenomenal, with more than 800 people in attendance. The aim of theevent was to promote Greek unity, and the Xi Eta brothers believe theirgoal was reached and surpassed, raising over $1100 for the cause. In theAUC, it is rare to see the brothers and sisters of the Greek organizationsworking past their dissonance, and although this was a competition,everything was done in good spirit and provided an opportunity forfellowship among what is truly a harmonious family.

The Ohio State University - Beta XiThe new year has brought about a busy life for brothers at the Beta Xi

chapter, the highlight being the honor to host the inaugural School ofMusic Prom (SoM Prom) during spring semester. As the name suggests,we organized a formal dance in the spring to bring together The OhioState University School of Music. Brothers worked continuously up to thepoint when the doors opened and the dance floor became alive withaction. Throughout the evening the Dan White Sextet jazz comboproviding the perfect atmosphere. The night was filled with live music,fellowship, and dancing. Our chapter donated the $930.00 we raised toour SEF Chapter Fund. SoM Prom was such a success that we arebeginning the planning process to host the event again this coming spring.

University of Houston - Omicron UpsilonThe chapter is currently 25 members strong, and is functioning well

with signs of further improvement and growth. Our previous two pledgeclasses were fairly large, 8 and 9 members for the fall and spring semestersrespectively, and have brought positive energy and fresh insight to thechapter. In the recent past we have done multiple Mills Music Missions,including ones at Memorial Herman Hospital, and a retirement home inBaytown. We have had superb turnouts for our American Music Recitals,and we take our singing quite seriously to ensure it stays that way. In thespring 2013 semester we were the big brother chapter of the astonishinglyfast paced Texas Southern University colony, now the Omicron Zetachapter, and are continuing to maintain relations and build strongerbonds with them. Omicron Upsilon also had multiple members attendthe recent Leadership Institute and the Province Workshop.

> Nu Upsilon following a spring concert.


University of Missouri-St. Louis - Rho LambdaAmong the things we participated in was Mirthday, the Birthday of

our school, where we had a booth from which we sang songs to all whocame our way! We also participated in a Relay for Life; we proudly sangour National Anthem in the opening ceremony to kick off the event andhad great feedback from it. We also had a very successful MMM atRanken Jordan Children’s hospital, and a wonderful American MusicRecital in which we had many performers ranging from barbershopquartets to trumpet solos to trombone duets and saxophone trios. Thispast semester also marked the five year anniversary of our chapter, andwe are very proud of that. To celebrate, we had a wonderful banquetfilled with our alumni, actives, and probationary members.

University of North Texas - Gamma ThetaThe chapter – 93 members strong – had both a progressive and

productive semester in the spring of 2013. We initiated 10 new brothersinto our chapter. In our efforts to advance music in America, weperformed three music recitals, sang for the College of Music twice at the“Music at Noon” event, and volunteered our musical abilities to a Dallashospital volunteers’ banquet and a local nursing home. Gamma Thetawas able to create a variety of ensembles including a polka band, bigband, wind ensemble, brass ensemble, vocal ensemble, recorderensemble, and many more. In late spring we implemented a new idea toour chapter known as “Brotherhood Performances” – featuring a varietyof performances during weekly meetings.

Making use of our large numbers, we participated in several serviceopportunities around the community. Helping our university, weparticipated in school wide events such as the “Big Event” and thecanned food drive. We also helped run the College of Music auditionsand participated in the “Adopt a Block” waste management project.Helping our local community, we helped to restore local parks and evenhelped run the operations of a local school’s musical production.

University of South Florida - Upsilon PsiDuring the spring 2013 semester the chapter performed our Mills

Music Mission at Rosewood Retirement Home. We also took part inRelay for Life on campus. To raise money for the cause, we asked for onedollar donations in exchange for a serenade. Our chapter also sang theNational Anthem at a Tampa Bay Thunder game. Last semester we spenta lot of time volunteering for the USF School of Music, including theABA Convention and Solo and Ensemble Competitions. We are mostproud of being able to visit other chapters inside and outside ourprovince, Province 13. We attended many different color activities andrituals as well. Lastly, half of our chapter was able to go to Sigma Eta’schartering to support them.

University of Tennessee-Martin - Sigma PsiOn March 15, 2013, the Probationary Members of the chapter and

the Members in Training of the Epsilon Iota chapter of Sigma Alpha Iotajoined together to enrich the lives of children through the joy of music.Dr. Julie Hill of the University of Tennessee-Martin’s Percussion studiograciously allowed the group to borrow a variety of percussion

instruments for a drum circle. Our Probationary Members and theMembers in Training gathered at the Martin, Tennessee HousingAuthority for an afternoon of fun-filled teaching. After a bit ofinstruction, the children were able to choose an instrument andparticipate in a full-blown musical experience. The excitement on thefaces of both the children and musicians alike provided an up-close lookat the impact that music can have. This was a true reminder of whatdraws each of us to the ideals of Sinfonia!

University of Texas-San Antonio - Nu EtaThe chapter had an active spring semester in 2013. In March, we had

a spur of the moment Mills Music Mission during spring break withsome visiting brothers from Omicron Zeta. In April, Nu Eta had its ownMills Music Mission along with a Joint Musicale with the Theta GammaChapter of Sigma Alpha Iota. In May, in an effort to promotebrotherhood and unity amongst musical students, we and ThetaGamma (SAI) spearheaded a BBQ in the park social. We invitedmembers of ΦΜΑ, ΣΑΙ, ΚΚΨ, and ΤΒΣ, and it turned out to be a greatway to get to know other musicians outside of our fraternity andindividual ensembles such as choir and orchestra.

University of Tulsa - Alpha ChiThe Alpha Chi Chapter is strong and healthy. As of May 2013 we

had 45 collegiate members, as well as many active alumni who live in the area.

We regularly performs Mills Music Missions in the Tulsa area. Werecently sang at a local elementary school after-school program toencourage young kids to continue in music. Prior to Red Night last fall, the chapter sang at an Alzheimer’s care center, and on Valentine’sDay we renewed our annual tradition of singing love songs at a batteredwomen’s shelter.

In March, Alpha Chi hosted a philanthropy event on the Tulsacampus to raise money for the VH1 Save the Music Foundation, whichhelps fund instrumental music programs in elementary schools. Ourprimary fundraiser was a Chipotle-catered dinner, which was attendedby almost 300 people. Later in the week, we held a recital to showcasethe chapter’s musical talents. Videos of the recital can be found onYouTube; search for AlphaChiSinfonia. Overall, the chapter raised over$1400 for the Save the Music Foundation.

> Alpha Chi after one of their color night ceremonies.


Campus Notes

Colony Information

Valparaiso University - Kappa SigmaDuring the spring 2013 semester, the chapter held a very successful

music festival to honor our fallen brother Christopher Patterson. Theevent took place on Saturday, April 27th in the Central Park Plaza indowntown Valparaiso, Indiana and included many performances bymusical groups from around Valparaiso, as well as from chapter brothers.The proceeds of the event went towards the Christopher PattersonScholarship fund. The event effort, led by our philanthropy chair, was ahuge success and raised $3,712.53.

VanderCook College of Music - Xi KappaWe successfully accomplished our third MMM since 2012. The

MMM included a trip to St. Paul’s House, a retirement home on

Chicago’s northwest side. A number of us performed in a jazz combo andwe offered Serenades to some of the older women at the home. We alllook forward to returning this semester as well to bring joy through ourmusic.

Although we were unable to host a spring American Music Recital dueto scheduling conflicts for Junior and Senior recitals, we will be hostingone this semester. Last but not least, we added two new members to ourFraternity last spring. Since joining, they’ve grown in character andmaturity and will undoubtedly continue to do so while they’re here.

> The Kappa Sigma Chapter on stage after their fundraiser for the Christopher Patterson Scholarship.

Space is limited—preference is given tosubmissions about creative, unique or interestingchapter and colony events. To read submissions fromother chapters, visit www.sinfonia.org/campusnotes.

Submission by chapters of news and photos forCampus Notes are due by the deadlines listed onpage 32. The next deadline is February 15, 2014.Articles are limited to 250 words.

Where is my chapter?

Chapters Installed/Reactivated inSpring 2013> Delaware State University – Sigma Kappa

(Installed 04/28/13)Contact: Marcel Sawyer [email protected] Mu Alpha Sinfonia FraternitySigma Kappa Chapter – Delaware State University1200 N Dupont Hwy Dover, DE 19901

> The University of Mary Hardin-Baylor – Sigma Iota(Installed 04/21/13)Contact: Cameron Roucloux [email protected] Mu Alpha Sinfonia FraternitySigma Iota Chapter – The University of

Mary Hardin-Baylor900 College St., UMHB Box 8012Attn: Matt CrosbyBelton, TX 76513

> University of New Mexico – Iota Phi(Reactivated 04/27/13)Contact: David Hobbs - [email protected] Mu Alpha Sinfonia FraternityIota Phi Colony – University of New MexicoThe Department of MusicCFA, MSC 04 2570, 1 The University of

New MexicoAlbuquerque, NM 87131

> Texas Southern University – Sigma Theta(Installed 04/13/13)Contact: Darius Jermaine Harris [email protected] Mu Alpha Sinfonia FraternitySigma Theta Chapter – Texas Southern University3100 Cleburne St. Houston, TX 77004

Current Colony ActivityPhase 11> Bethel University – Xi Sigma

E-mail: [email protected]

> University of Arizona – Alpha UpsilonE-mail: [email protected]

Phase 1

> Edward Waters College – Florida IotaE-mail: [email protected]

> Hartwick College – Epsilon PiE-mail: [email protected]

> Moravian College – Pennsylvania GammaE-mail: [email protected]

> University of Alabama-Birmingham – Alabama EpsilonE-mail: [email protected]

> Washburn University – Kappa RhoE-mail: [email protected]

> Wright State University – Theta EtaE-mail: [email protected]


This directory information is provided for the convenienceof Sinfonians so that they may establish contact with theFraternity’s volunteers for the sole purpose of conductingFraternity business; it may not be used for commercial orother non-Fraternity related purposes.

For contact information for all province officers (provincegovernors, collegiate province representatives, and provincealumni coordinators), please visit www.sinfonia.org/directory.

All information is current as of September 30, 2013.

National Executive Committee | [email protected]

John Mongiovi, National President, 132 Buena Vista Rd.,Evansville, IN 47710. (812) 760-7011. [email protected]

Mark R. Lichtenberg, National Vice President, 4730 BoardwalkDrive, Evansville, IN 47725. (812) 626-0725. [email protected]

Joe Ritchie, Committeeman-At-Large, 4233 Llewellyn Ave. Apt107 Norfolk, VA 23504. (407) [email protected]

K. Dean Shatley II, Committeeman-At-Large, Campbell ShatleyPLLC, 674 Merrimon Place, Suite 210, Asheville, NC 28804.(828) 378-0062. [email protected]

Erick J. Reid, National Collegiate Representative, 406 Piping RockRoad, Norfolk, VA 23502. (757) 462-6301. [email protected]

John M. Israel, Chair, PGs’ Council, 631 Oregon Trail Ct., St.Charles, MO 63304. (636) 244-1586. [email protected]

Ian M. Shoulders, Chair, CPRs’ Council, 100 Weeping Willow WayBuckhannon, WV 26201. (304) 517-3737. [email protected]

Other OfficersDr. Bruce E. Gbur, National Historian, 514 N Juliette Ave,Manhattan, KS 66502. (785) 776-9424. [email protected]

Past National PresidentsDr. Richard A. Crosby (1994-97; 2003-09), 212 Delmar Dr.,Richmond, KY 40475. (859) 624-9946. [email protected]

Dr. Darhyl Sterling Ramsey (2000-03), 2500 Potomac Pkwy.,Denton, TX 76210. (940) 566-3170. [email protected]

Terry L. Blair (1997-2000), 902 East Gaslight Drive,Springfield, MO 65810. (417) 887-1207.

Dr. T. Jervis Underwood (1988-91), 930 Crystal Cove, OakPoint, TX 75068. (972) 292-2393. [email protected]

Dr. William B. Dederer (1985-88), 55 Cathedral Rock Dr, Unit38, Sedona, AZ 86351. (614) 864-4654. [email protected]

Emile H. Serposs (1979-82), 26 Oliver St. Apt. 4D, Brooklyn,NY 11209. (718) 238-8456.

Dr. Lucien P. Stark (1976-79), 425 Greenbriar Rd., Lexington,KY 40503. (859) 276-4681.

Mr. J. Eugene Duncan (1973-76), 727 N. Wilson Ave.,Morehead, KY 40351. (606) 784-5711. [email protected]

National Staff10600 Old State Rd., Evansville, IN 47711-1399Toll-Free: (800) 473-2649 Local: (812) 867-2433Fax: (812) 867-0633 [email protected]

Edward A. Klint, Interim Executive Director, ext. [email protected]

Mark D. Helmstetter, Director of Programs, [email protected]

Mark A. Wilson, Director of Communications, [email protected]

Garrett A. Lefkowitz, Retreat Coordinator and ProgramAssociate, ext. 103, [email protected]

Mary J. Carie, Controller, ext. 105, [email protected]

Kimberly J. Daily, Administrative Coordinator, [email protected]

Elizabeth A. Rader, Administrative Assistant, ext. [email protected]

Sinfonia Educational FoundationBoard of Trustees | [email protected]

Mr. Derek John Danilson, President, SEF, 80 Lancaster Ave.,Devon, PA 19333. (610) 964-4097. [email protected] F. West, Vice-PresidentDr. Kevin H. Goebbert, Secretary

John E. Cereso, TreasurerStephen Brothers-McGrewLawrence E. Coonfare, Jr.Dr. Richard A. CrosbyJohn M. DohertyMark L. EutslerJohn B. HeathMatthew J. KokesDr. A.G. “Mack” McGrannahan IIIJohn Alan MongioviDr. John C. SchmidtK. Dean Shatley IIIan M. ShouldersCalvin R. Van Niewaal

Province Officers In the directory of province officers,the following abbreviations are used: “PG” for Province Govenor,and “CPR” for Collegiate Province Representative.

Province 1: New York, New Jersey, Massachusetts, ConnecticutPG: Eric Englehardt, [email protected]: Maxwell Cicchino, [email protected]

Province 2: Michigan, Northern OhioPG: Kyle E. Koehs, [email protected]: John W. Fleming, [email protected]

Province 3: OhioPG: Ryan Beeler, [email protected]: James T. Cordle, [email protected]

Province 4: ArkansasPG: Dr. Louis G. Young, [email protected]: Jacob S. Richardson, [email protected]

Province 5: Southern Illinois, Southeastern Missouri,Southwestern IndianaPG: Benjamin Luttrull, [email protected]: Daniel J. Wright, [email protected]

Province 6: Nebraska, Western IowaPG: Brett A. Lyon, [email protected]: Kyle E. Cartwright, [email protected]

Province 7: Kansas, ColoradoPG: Paden J. Town, [email protected]: Brian S. Duerksen, [email protected]

Province 8: OklahomaPG: Clint W. Williams, [email protected]: Andrew W. McCoy, [email protected]

Province 9: Southern TexasPG: Matthew Trevino, [email protected]: Robert M. Nowicki, [email protected]

Province 11: Northern California and Northern NevadaPG: Dr. A. G. McGrannahan III, [email protected]: Rene A. Ponce, [email protected]

Province 12: Eastern TennesseePG: Ashley E. Glenn, [email protected]: Jairus C. Sarten, [email protected]

Province 13: Southern and Central FloridaPG: J. Bryan Pittard, [email protected]: Jonathon W. Norato, [email protected]

Province 14: LouisianaPG: Brian M. Stratton, [email protected]: Joshua J. Charpentier, [email protected]

Province 15: Middle, West Tennessee and Western KentuckyPG: Dr. Philip E. Autry, [email protected]: William F. VanDelinder, [email protected]

Province 16: Northern Minnesota, Montana, North Dakota,Northern South DakotaPG: Dr. Alan D. LaFave, [email protected]: John T. Patzlaff, [email protected]

Province 17: Upstate New YorkPG: Dr. Karl Paulnack, [email protected]: Dylan M. Rocke, [email protected]

Province 18: VirginiaPG: David L. Davis, [email protected]: Nicholas L. Snead, [email protected]

Province 19: MissouriPG: John M. Israel, [email protected]: Joshua D. Atkins, [email protected]

Province 20: North CarolinaPG: Patrick S. Clancy, [email protected]: Jeremy J. Lea, [email protected]

Province 21: Central and Eastern PennsylvaniaPG: Robert N. Whitmoyer, [email protected]: Edward J. Richet Jr., [email protected]

Province 22: Southern California and Southern NevadaPG: Bincins C. Garcia, [email protected]: Robert S. Marshall, [email protected]

Province 23: Northwestern Texas, Eastern New MexicoPG: Brian C. Odom, [email protected]: Aaron S. Beaver, [email protected]

Province 24: MississippiPG: David W. Garraway, [email protected]: Nathan E. Lewis, [email protected]

Province 25: Central and Eastern Kentucky, and Western West VirginiaPG: Dr. Richard A. Crosby, [email protected]: Charles P. Booth, [email protected]

Province 26: Iowa, Northwestern Illinois, Southern MinnesotaPG: Calvin R. Van Niewaal, [email protected]: Jordan L. Leckband, [email protected]

Province 27: Northern Virginia, Eastern West Virginia, EasternMaryland, Delaware, District of ColumbiaPG: Jeffrey D. Hoffman, [email protected]: Edward G. Haver, [email protected]

Province 28: Northern and Central IndianaPG: David E. Fidler II, [email protected]: Nicholas M. Ianigro, [email protected]

Province 29: Southeastern Minnesota, Wisconsin, Northern MichiganPG: Matthew A. Blasinski, [email protected]: Nicholas J. Morrical, [email protected]

Province 30: South Carolina, Eastern GeorgiaPG: Kyle C. Coleman, [email protected]: Clarence E. Ferrell, [email protected]

Province 32: North Central, Northeast TexasPG: Kevin L. McNerney, [email protected]: Joshua D. Stover, [email protected]

Province 33: Northern and Central GeorgiaPG: Matthew R. Koperniak, [email protected]: Adrian A. Barnes, [email protected]

Province 34: AlabamaPG: Tony Cowan, [email protected]: Stephen P. Krietemeyer, [email protected]

Province 35: Arizona, New Mexico, Extreme West TexasPG: Karl Schosser, [email protected]: Luis H. Alarcon, [email protected]

Province 36: Northern Florida, Southern GeorgiaPG: Wesley K. Babcock, [email protected]: Ryan P. Sullivan, [email protected]

Province 37: Northern and Central IllinoisPG: Paul E. Lattan, [email protected]: Jason S. Lederman, [email protected]

Province 38: Idaho, Oregon, WashingtonPG: Douglas A. Evans, [email protected]: R. J. Gassner, [email protected]

Province 39: Central West Virginia, Southwest Pennsylvania,Western MarylandPG: Stephen Brothers-McGrew, [email protected]: Stephen N. Boone, [email protected]

Province 40: Southeastern TexasPG: George T. Beverley, [email protected]: Devin D. Adams, [email protected]

Phi Mu Alpha Sinfonia Directory

Directory

>Tell Us What You ThinkWe want to know what you think of this issue. Send us your thoughtsand comments by mail or to [email protected].

One lucky respondent will win a $50 gift card to the Sinfonia storeif your comments are published in the “Letters to the Editor.”

To the Editor I was both impressed and exhilarated by the breadth and depth of the content [from the

May 2013 issue]. From President Mongiovi’s opening message to the campus notes, I was

moved by the personal and chapter-specific expressions of the educational and

self-motivating values of the Lyrecrest, fraternal, musical and social experiences which

were related. I was so excited that I stated on the reverse of my recent SEF pledge card:

“I will match $ for $, up to $100 each, for each of the 10 other Xi Pi Life Loyal members,

who pledge to the Sinfonia Education and Retreat Center. (Maximum: $1,000)”

— JIM SNYDER, XI PI (UNIVERSITY OF WISCONSIN-WHITEWATER) ’68

LIFE LOYAL MEMBER #733

Editor: You hear that, Xi Pi guys? Get moving!

The Lyrecrest Issue May 2013

LYRECREST

Also Inside:page 10 History of the Headquarters

page 19 Music from Tragedy in Joplin, Missouri

Sinfonia’s National Home

THEIssue:

Revered FounderOssian Everett Mills (1856-1920)

Charter MembersRobert T. Bayley

Frederick W. Briggs George A. Burdich

Henry P. Dreyer George S. Dunham Archie M. Gardner

John F. Hartwell

William C. Holcomb Albert J. Stephens Frank Leslie Stone

Shirley F. Stupp William E. Tanner

Delbert L. Webster

The Sinfonian Submission Guidelines:Who may submit:Alumni and chapters are strongly urged to send articles and pictures.

What to submit:Original, clear photographs—either black and white or color—and articles that are typed clearly.

When to submit:May Issue—February 15 annually; December Issue—September 15 annually

Where and how to submit:Written material: via USPS to the National Headquarters, Attn: Managing Editor, OR via e-mail in Word format to: [email protected].

Photos and Graphics: via e-mail to [email protected] as a .tif file or a high-resolution .jpg file.

The Sinfonian reserves the right to edit all submissions for length and content.

Phi Mu Alpha Sinfonia was founded October 6, 1898, at the New EnglandConservatory in Boston, Massachusetts. Phi Mu Alpha Sinfonia has initiated140,000 members since 1898.

The Object of this Fraternity shall be for the development of the best and truestfraternal spirit; the mutual welfare and brotherhood of musical students; theadvancement of music in America and a loyalty to the Alma Mater.


Upside Down Triangle Medallion

5 String Lyre Medallion

Coat of Arms

Wooden Pen

The Sinfonia Store is pleased to offer custom engraved items by Brother Benjamin Kosberg, Xi Tau (Southern Illinois University-Edwardsville). Theseitems, which will include medallions, wooden pens, and a coat-of-arms shields, areindividually hand-crafted by a Sinfonian, for Sinfonians.

To see more of what the new Sinfonia Store has to offer, visit www.sinfoniastore.org.

Gift Certificates are also available, and make great gift items for the holidays!

Phi Mu Alpha Sinfonia Fraternity of America10600 Old State RoadEvansville, IN 47711-1399

RETURN SERVICE REQUESTED

NONPROFIT ORGUS POSTAGE

PAIDNASHVILLE, TN

PERMIT NO. 4398

The Sinfonia Educational Foundation is proud to support theMusicianship with a $5,000 grant. The MusicianShip is acharitable non-profit organization that facilitates music lessons,experiences and opportunities for primarily at-risk youth.

To learn more about the SEF’s aid and what the Musicianship has to offer, visit www.sinfonia.org/sef/musicianship.

the sinfonian - dec. 2013

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