OFFICIAL NEWSLETTER OF THE IWBC

www.myiwbc.org Winter 2019 • Vol. 26, No. 1 From the President Happy New Year! As we recover from the holiday of life. Our mission is to season, filled for many of us with brass playing, educate, develop, support, camaraderie, family, and late-night shopping, I’m and promote women brass reminded of our own conference, to be held at Arizona musicians, and to inspire State University this coming May. Registration will continued excellence and open soon! Exhibitors and advertisers may register opportunities in the broader now on our website at http://myiwbc.org for ads and musical world. exhibit space. We thank everyone at our Baltimore and St. Louis Holiday Brass Concerts, from the army Let’s make IWBC 2019 the of volunteers to the musicians; you have outdone best one yet! Stay tuned to our website for information yourselves this year. Tickets are already selling for on registration, housing, and more in the coming weeks. Holiday Brass 2019! I look forward to seeing you there! Do you make New Year’s Resolutions? For many, Best, January is a time to determine anew to work on health and wellness, organization, and to make fresh goals for our lives. What else can we do? Consider mentoring a young student, volunteering with your local music and Dr. Joanna Ross Hersey arts programs, and supporting your local musicians as President, International Women’s Brass Conference Associate Professor of and : The they bring new music this upcoming season. University of North Carolina at Pembroke Stay connected with us by following us on Facebook, Yamaha and Parker Mouthpiece Artist Twitter, and Instagram @IWBC_BRASS where I’m [email protected] likely to appear in another silly video or two reminding Facebook, Twitter@JoannaHersey, Instagram@ JoannaRossHersey, http://www.joannahersey.com you about conference happenings. We invite you to visit our website http://myiwbc.org for updates and to be sure your membership is up-to-date, and there you In this Issue will find options for traditional paper or e-memberships Brass In Balance #3...... 3 available, as well as ways to donate. A Young Woman Trumpeter’s Perspective....5 I wish you the very best for 2019, and since it is 2018 Holiday Brass Concerts...... 6 an IWBC Conference year, we are sure to make it Noteworthy News...... 8 memorable. Plan on joining us in Arizona as we Creating a Legacy...... 11 celebrate brass playing, music composition, encourage Spotlight on Yvonne Toll...... 12 competition, seek out new ideas and viewpoints, and Remembering Joan Watson...... 13 Facing Current Biases Against the share our experiences. We are women and men. We Yvonne Toll Female Player...... 14 are professional and amateur performers, students and Remembering Rachel Duncan...... 17 teachers, brass players and beyond, from all walks IWBC Contributors...... 18

Editors’ Corner OFFICIAL NEWSLETTER OF THE IWBC Jennifer Marotta - Editor Sandy Coffin - Assistant Editor IWBC President Joanna Hersey is a native Vermonter. Joanna studied with Dan Perantoni at Arizona [email protected] State University, received a Master of Music in Tuba Performance from the New England Conservatory of Music studying with Chester Schmitz, and earned her Doc- Articles and NoteWorthy tor of Musical Arts in Tuba Performance from the Hartt School. As Principal Tuba News Submissions with the Coast Guard Band, Joanna performed throughout the country Please contact the editors for all as a soloist and clinician after winning the position at the age of nineteen. Joanna has played for three U.S. Presidents, performed at numerous state functions for visiting potential article and NoteWorthy dignitaries, and has appeared on The Today Show and Good Morning America. In her News submissions. The editors freelance career, she has performed with artists including Placido Domingo, Roberta maintain final editorial rights Flack, Marilyn Horne, Arlo Guthrie, Michael Bolton, Lee Greenwood, Arturo Sando- over all materials. val and Jack Nicholson. Joanna is a founding member of the Athena , a group first created for the 2003 International Women’s Brass Conference, which has since performed at the 2006, 2012, and 2014 IWBC Website Address IWBCs, and has been featured twice at the Great American Brass Band Festival in Danville, Kentucky. Joanna is currently Principal Tuba with the Carolina Philharmonic and the Carolina International . www.myiwbc.org

Editor Jennifer Marotta is an Assistant Professor of trumpet at the USC- IWBC Online Thornton School of Music, An active freelance musician based in Los Ange- Membership Directory les, she regularly performs with the Philharmonic, San Francisco Membership directory is available Symphony, San Diego Symphony, Los Angeles Opera, Los Angeles Chamber on www.myiwbc.org. Orchestra, L.A. Master Chorale, and the St. Louis Symphony. Marotta is currently a member of the Grand Teton Music Festival and the Music If you join online, you will be of the Baroque in Chicago. She was a member of “The President’s Own” United able to access this and other States Marine Band from 2001–2005. Originally from Naperville, Illinois, she features when you sign in. earned her Bachelor of Music degree from Northwestern University and her Master of Music degree from DePaul University. Membership Marotta was a visiting trumpet professor at UCLA in 2016, and was assistant professor of trumpet at Lauren Rudzinskas Kennesaw State University from 2006-2012. She was also a visiting professor at Illinois State Univer- sity in 2006, and was an artist-in-residence at Emory University from 2006–2010. [email protected] Assistant Editor Sandy Coffin, trumpet, has performed throughout Editorial the US and Europe as a soloist, chamber musician, and orchestral player. She Jennifer Marotta - Editor has presented recitals in 23 states, Spain, Italy, Austria, and Russia. She has pre- miered several works written for her, including Red Sky by Peri Mauer, A Cycle Sandy Coffin - Assistant Editor of Songs by Susan Kander, and Captivity by Lori Laitman. Sandy is a founding [email protected] member of Prometheus Brass, a member of Gramercy Brass Orchestra, and an active freelancer in the Greater New York area. She also serves as Director of the Website Manager British-style Brass Band at St. Hilda’s & St. Hugh’s School in New York City, Lana Lee and is currently working with the Scottish Brass Band Association on future collaborations. Sandy is the founder and Artistic Director of the “Music for Sum- [email protected] mer Evenings” chamber music series at the landmark Grace Memorial Chapel on Lake George. Sandy has been the recipient of numerous awards, including a Watson Scholarship, an Aeiolian Fellowship Dues/Subscriptions from Oberlin College, and the John Clark Award for Excellence in Brass Performance from Manhattan Online: Go to myiwbc.org and School of Music. She earned a BA in Latin and a BMus in Trumpet Performance from Oberlin College go to “members” on the top bar. / Conservatory, and an MM from the Manhattan School of Music. Click on “Join IWBC”. Board of Directors Faye-Ellen Silverman Officers Newsletter Editors Or email: Velvet Brown Susan Slaughter Joanna Hersey, President Jennifer Marotta - Editor Lauren Rudzinskas Daniel Burdick Ginger Turner Laurel Ohlson, Sandy Coffin - Assistant Editor [email protected] Amy Cherry Kelly Watkins Vice-President [email protected] Jan Z Duga Lynn Mostoller, Treasurer Honorary Board Design & Production Amy Gilreath Amy Cherry, Secretary of Directors Debra J. Quinton Theresa Hanebury Clora Bryant General Manager ItsASnapDesign.com Nancy Joy Barbara Butler Lauren Rudzinskas Kana Madarame JoAnn Falletta Web Site: [email protected] Website Manager Natalie Mannix Langston Fitzgerald, III Jennifer Marotta Executive Director Lana Lee Help IWBC GO GREEN! Fred Irby, III Amy Cherry Lynn Mostoller Julie Landsman [email protected] Laurel Ohlson Eugene Pokorny Membership Web Site: Content Manager Go to myiwbc.org and sign up for Ava Ordman Gerard Schwarz Lauren Rudzinskas Susan Rider the online version of the IWBC News- Gerry Pagano Leonard Slatkin [email protected] [email protected] letter and help to save our planet. Marquita Reef Gail Williams Joanna Ross Hersey International Women’s Brass Conference

by Kevin Price and Alan H.D. Watson in the Brass In Balance #3 September 2018 edition of Medical Problems of Performing Artists (Vol. 33, No. 3) entitled “Effect Suggestions for better health of using Ergobrass Ergonomic Supports on Postural Muscles in Trumpet, , and and balance in 2019 Players” determined that “statistically significant By Amy Cherry reductions (typically 15-30%) were present in many of the muscles when using the supports, though in Welcome to the New Year-- that optimistic, overzealous time of making promises some players they were much larger.” Even if the for the next twelve months. This edition of Brass in Balance presents reminders Ergobrass (www.ergobrass.com) system might not to attend to your individual well-being throughout the coming year. You will also be for you, consider tools that can make the physical find opportunities to promote better health and wellness in the broader musical act of playing easier. Laurel Ohlson mentioned community. My suggestions are offered in a calendar arrangement to line up with two items in the last edition of Brass in Balance: future or seasonal events, but any time is a good time to take care of yourself a foot block and the Tush Cush. A newer device and support others around you. I hope the suggestions are helpful and, as always, helps trumpet players like me with small hands I welcome your thoughts on topics we can discuss in this forum. Please send gain more control over the third valve slide (www. comments to [email protected]. trumpetgapper.com). Or check out the variety of trombone grip supports available. Be proactive in January – Time for a Check-up finding the best arrangement for your body. Although a trip to the doctor’s office may not be your favorite excursion, scheduling the necessary appointments is an important step in addressing individual health April – Spring Cleaning matters. Before you jump into whatever it is you have promised yourself you will Use this month to address the cleanliness of the do in 2019, get checked out. And as part of that process, take time in the New Year equipment that allows you to make such wonderful to re-evaluate what medicines/supplements you are taking. During my work on this music. Help your students clean their instruments column, I have come to learn of colleagues who have suffered debilitating setbacks by hosting a spring-cleaning event in your school, to their brass playing after having been prescribed common drugs used for the studio, or other suitable environment. Keep treatment of depression and high cholesterol. Many conditions require medications equipment working well by reminding students to that may bring their own challenges; be your own best advocate and make sure you clean mouthpieces weekly and instruments every go over potential side effects of prescriptions with your doctor. few months, depending on the amount of use. Also take the opportunity to clean out the stacks of music February – New proposal from Sarah Schmalenberger of the Brass Bodies Study that may have accumulated in your studio, your Thanks to many members of the IWBC, over 500 people participated in the survey car, and especially your briefcase/bag – and for the Brass Bodies Study on female-identifying brass payers! The investigative encourage students to do the same. We should all team has now launched the interview and content analysis phase of the study. lighten the loads we carry around and protect our Sarah Schmalenberger, the Principal Investigator of the study, will soon seek the bodies from misuse. collective wisdom of the IWBC to guide a final stage of inquiry. She and colleagues will post a survey link on the study page to query how brass players modify their May – IWBC 2019 Conference at Arizona State instruments, find gear that helps support them, or work with instrument repair University May 21-25, registration for technicians and manufacturers. Coming in March, please log on to the BBS website: IWBC 2019 opens in January https://www.stthomas.edu/artsandsciences/research/brass-bodies/ and be sure to If you haven’t yet planned to attend, make your fill out the questionnaire. The IWBC will post a more specific timeline for the final reservations now for the 2019 IWBC conference! stage of the study on www.myiwbc.org. The weather will be nice and warm and the host of the conference, Deanna Swoboda, has many great March – Work smarter, not harder offerings in store. A group of presenters will focus Following on the heels of the study by Sarah Schmalenberger of exploring on topics related to the health and wellness of brass modifications musicians use to support their music making, take this month to players, including: examine your level of physical effort in supporting the instrument you play. Judith Saxton - Boosting your Brain/Body Specifically, consider whether you could benefit from a new or different apparatus Connection: Rediscover excellence, ease, to remove some of the strain of holding up or playing your instrument. A study CONTINUED ON PAGE 4

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CONTINUED FROM PAGE 3

and efficiency while playing, practicing, https://www.nationalbreastcancer.org/breast-cancer- and performing. awareness-month.

Brian McGoldrick - Mental Health in Higher Education Music Student Populations: Relevant Data and Suggestions for Approach Hearing health is fortunately gaining more Sarah Stoneback - Cognitive Therapy for Brass Players consideration and you could use this month to reflect on what you are doing to protect your hearing. Have Brianne Borden - Yoga for Brass Players your hearing tested, invest in new earplugs, make Sarah Schmalenberger - Brass Bodies: Understanding the Distinctive sure you have a set with you for those non-musical Physicality of Female Brass Players situations (sporting events, movie theatres, etc.), and Christine Jones - Personal Development: A Holistic Approach to Leverage read up on resources dedicated to hearing health: Peak Performance - Association for Adult Musicians with Hearing Karen Koner - Musician’s Health Tips for the Brass Player Loss (AAMHL) www.aamhl.org Miranda George - Understanding Performance Anxiety - Chasin, Marshall. (2009) Hearing Loss and Musicians. San Diego, : Plural Émilie Fortin - The Performer’s Body Publishing Company, www.pluralpublishing.com June – Summer Reading Suggestions (theme for the month – overall self-care) November – Enroll in a Course - The Musician’s Way: A Guide to Practice, Performance, and Wellness Take advantage of the many opportunities available by Gerald Klickstein. Oxford University Press, 2009. and dive into a course of study devoted to your - www.musiciansway.com wellbeing. Whether it is Alexander Technique, Feldenkrais method, bodymapping, meditation, July – Summer Reading Suggestions (theme for the month – hurting and healing) yoga, or an offering at a local gym – get yourself - Notes of Hope: Stories by Musicians Coping With Injuries involved in an activity to benefit your overall health compiled by David Vining. Mountain Peak Music, 2014. and impact your music making. - Musicians in Motion: 100 Exercises With and Without Instruments - American Society for the Alexander Technique by Alexandra Turk-Espitalier. Zimmermann, 2017. – www.amsatonline.org - www.musicianswell.com - Feldenkrais Method – www.feldenkrais.com - Bodymapping – Andover Educators – August – Summer Reading Suggestions (theme for the month – mental health) www.bodymap.org - The Balanced Musician: Integrating Mind and Body for Peak Performance by Lesley Sisterhen McAllister. Scarecrow Press, Inc., 2013. December – Tis the Season for loads of work! - www.bulletproofmusician.com During perhaps the busiest month of all for brass players, be sure to care for yourself! Massage is September – Aiding Student Musicians through Marching Band Season one great way to relieve the strain of the season. Many of us will have brass students performing in high school and college Too many hours commuting to gigs, the stress of marching bands during this month; we can offer support and suggestions to help preparing the students for the Winter Concert, the them cope with the physical demands of this season. From overuse injuries to the choir director who has programmed every holiday uncomfortable horn angles we all witness during the marching season, students tune known to womankind (and yes, would like the will need frequent reminders to care for their bodies and maintain balance in their descant on every verse), can take a heavy toll. Do playing. For an excellent read on ways to support your marching band students, your best to make time for proper nutrition, exercise, see Chapter 16 of Nancy Taylor’s book Teaching Healthy Musicianship: The Music and relaxation – and, if you don’t already have a Educator’s Guide to Injury Prevention and Wellness. Oxford University Press, 2016. practitioner you like, find a good massage therapist and enjoy a few moments of stillness. October – National Protect Your Hearing Month and National Breast Cancer Awareness Month Use this month to focus on two specific areas of wellness. If you haven’t yet Here’s to 2019 - full of music, reached the age for getting a mammogram, talk to your moms, grandmothers, aunts, good health, and better balance. and your friends, and support them in their efforts to get checked. For opportunities to contribute to the broader movement through fundraising or other means, visit: Be well!

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From left to right: Madeline Kinsella (Sophomore), Jacey Rosengren (Freshman), Rebecca Ortiz (Senior), Rachel Spencer (Master), Chelsea Orr (Doctoral), Tamara Vaughan (Doctoral), and Marie Speziale. A Young Woman Trumpeter’s Perspective

By Madeline Kinsella Women supporting women is not a new concept, but in my opinion, it is played by all people. I equate the stereotype one that remains underutilized. We know that professional and personal of trumpet being male dominated to women networks of women empowering, promoting, and supporting women in STEM careers. Society has been awakened can change the current culture. As one of six females out of sixteen to the fact that women can be computer students in the University of Texas at Austin trumpet studio, I celebrate programmers, engineers, and mathematicians, the fact that I am part of a school that welcomes and accepts women and this narrative is changing our culture. brass players. I am a sophomore at UT and am one of three females of Women playing brass instruments is a similar the undergraduate trumpet players. In middle and high school, I was the situation. If we change the narrative that we only female trumpet player in my band section, as well as in the entire give young musicians, we can change the band. Jazz is a field of music that lacks female instrumentalists, male-dominated culture of brass musicians. specifically in the brass department. However, there is a huge potential Thriving female musicians such as UT’s for change. I celebrate the fact that our studio has six females who Visiting Professor of Trumpet and former support each other. President of the IWBC, Marie Speziale, who was the first female trumpet player to The photo above was taken directly after Tamara’s wonderful play in a major symphony orchestra, serve DMA recital given at the Butler School of Music. An important as mentors, role models, and inspirations to acknowledgment to make from this photo is that two of the women, females wanting to pursue their passion for Tamara and Rebecca, were in a trio that won second place in the music. Dr. Mary Ellen Poole, Director of the ensemble division at the last IWBC conference in 2017. Butler School of Music, is another example of UT’s commitment to promoting women. As a freshman in the trumpet studio last year, the former professor of the As a young female, I am committed UT trumpet studio, Professor Ray Sasaki, told me that “to be a successful to building relationships and making female trumpet player, you have to be 30% better than your male connections with other women and men that colleague.” While Professor Sasaki did not like this reality, he used it as support changing the current culture to one fuel to encourage and challenge me to be better and to be a successful that welcomes women into the brass field, female brass musician. I think trumpet is slowly becoming a more just as the University of Texas does. diverse field with more opportunities for women, but I believe we need to instill in young female musicians that all instruments can and should be

5 NoteWorthy: Winter 2019

2018 Holiday Brass Concerts St. Louis Holiday Brass Concert

By Toni Stanley, Tuba The 27th annual Holiday Brass Concerts in St. Louis were held on the 3rd and 4th of December at the Manchester United Methodist Church, which seats 1,150 people. Once again, all four concerts were sold out. 4,600 people came as early as 75 minutes before the doors open, which is over an hour before the concert begins. These early arrivers were treated to a prelude of Christmas music performed by the Clayton High School Ensemble under the direction of Kim Shelley. Community. From the start of the rehearsal Musicians traveled from Kansas City, Missouri, Arkansas, Illinois, to the last musician leaving, the sense of Kentucky, Maryland, Michigan, Ohio, and Washington, D.C. to community amongst the musicians who came participate in the concerts, which featured members of the Monarch together to create this event was undeniable. Brass Tuba/Euphonium Ensemble, comprised of Angie Hunter and Local St. Louis musicians as well as those Gail Robertson on euphonium, and Stacy Baker, Velvet Brown, and Jan who traveled from across the United States Duga on tuba. Some of the pieces performed were jazz treatments of came together to create this special event. It traditional carols, arranged by Gail Robertson. is expected as a musician that you will pull together to create an experience for your The program is made up of traditional sacred carols with Highland audience, but this was more. The mutual Cathedral as the one exception. This piece prominently features respect and adoration amongst the musicians members of the Saint Louis Caledonian Pipe Band and is an audience backstage and during breaks was part of the favorite each year. whole. Performers took time to strengthen old friendships and create new ones. They shared The year after year success of these concerts would not be possible stories from past years at the Holiday Brass without the 80 plus volunteers who set up/tear down several Concert, reminisced how they had met, and performing areas in various locations throughout the sanctuary, usher discussed family and future opportunities. patrons to their seats, fill ticket orders, take tickets at the door, stuff The community of musicians was a reminder programs...this list goes on and on...Thank you, volunteers!!!!! of the strength music has beyond notes.

This is the 16th year that I have had the privilege of performing in Tradition. The Holiday Brass Concert is the Holiday Brass Concerts and it is truly my favorite job of the an annual event hosted by Susan Slaughter year. The music, the incredible musicianship, and the camaraderie is and her team. It draws in 11,000 concert- unparalleled. goers to the four-performance event. While lingering in the lobby for a bit to take it all I’ve been told by many audience members that attending the Holiday in, I watched as families greeted one another Brass Concert is key to helping get them into the Christmas spirit. I before finding their seats, as well as old couldn’t agree more. friends meeting to enjoy a concert that has become a tradition in their lives to begin celebrating the holidays through music By Keely Abeln and tradition. Community. Tradition. Joy. Pride. My 14-year old daughter, Kendal, and I were a part of the Holiday Brass Concert in St. Louis and these Joy. Just sitting and absorbing the are the four words that sum up our incredible experience. performances as groups popped up in

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different areas of the sanctuary was joyful. It is a culmination of by the brass, and Chris Schroeder on organ. various mixtures of musicians who appear in the sanctuary, drawing Guest trumpet artist Nancy Taylor performed the audience’s attention to a new musical moment. Listeners might a beautiful set of Jewish songs with Thom experience a trumpet duet across the church by Susan Slaughter and King, cantor, and a duet on with Mary Weber, a brass choir at the front directed by Velvet Brown, or a Kelli Young. Nancy is Professor of Trumpet rendition of Silent Night with musicians spaced around the entire church at the University of Texas at El Paso and a entering one at a time. former member of “The President’s Own” US Marine Band. Pride. In the summer Susan Slaughter asked if Kendal and I would like to be part of this event. At the time I did not know anything about Directing the players were Elizabeth Schulze, it, but I was pretty sure you don’t say no to an opportunity involving Music Director of the Maryland Symphony Susan Slaughter. On Dec. 2 we walked into the sounds and energy of an Orchestra ,and John Clanton, former director amazing group of musicians rehearsing. I was able to watch my daughter for the “Pershing’s Own” U.S. Army Band walk up on stage and take her seat next to Dr. Gail Robertson and and Soldiers’ Chorus of the U.S. Army Field Angie Hunter of the Monarch Brass. Our first real time playing together Band. and Soldiers’ Chorus of the U.S. Army (other than the times in our kitchen) was with a choir of nearly 150, Field Band. New this year was the appearance an ensemble of world class musicians, and being conducted by Susan of the outstanding St. Paul’s Concert Chorale, Slaughter. And to bookend this amazing event, I watched as my daughter under the direction of John Smedstad, and stood at the final concert with internationally known low brass musicians these young men were so loved that cries for from the Monarch Brass. I felt pride for a daughter who herself was their return in 2019 can already be heard. proud. I watched at that moment as my daughter caught a glimmer of From a trumpet duet version of What Child is what a life with music can be. This arranged by Susan Slaughter, to music for tuba euphonium quartet and everything I am grateful for this unique opportunity and I am in awe of all the in-between, the programming was joyful and people and moving parts it takes to put such an event together. But most celebratory. of all, I am thankful for the power of music giving me this moment with my daughter, and for the community, tradition, joy, and pride of which The beautiful Cathedral of Mary Our Queen we played a small part. was again our gracious host, and the team of volunteers who welcomed audience mem- bers, managed chairs and music stands, and organized the event’s many details deserve a Baltimore Holiday Brass huge thanks. Event host and trumpeter Ginger Celebrates 15 Years Turner, newly retired from the United States Army By Joanna Ross Hersey Field Band, welcomed This past November the Baltimore Holiday Brass team the audience with her of musicians and volunteer staff celebrated their 15th thanks for their choice to Anniversary Concert, opening the holiday season with share the beginning of the voices in combination with brass, keyboard, percussion holiday season with the and bagpipes. This holiday tradition, begun in St. Louis Holiday Brass. Thanks by IWBC Founder Susan Slaughter, raises funds to to the countless hours of provide scholarship and competition prize money, and work by the volunteers to support projects such as educational initiatives with and the attendance of the young musicians. loyal audience members, the 15th Holiday Brass The 2018 line up of artists included some former rang out as always: strong, favorites welcomed again, such as soprano Kelli Young clear and bright. Plans for and the Catonsville High School Steel Drum Band under the direction of next year are already underway, please visit Jim Wharton. One of the most anticipated parts of the program was the https://www.myiwbc.org/upcoming-concerts performance of Jean Gould and Laura Neville on bagpipes, accompanied for ticket information for 2019.

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IWBC WOMEN AT THE 2018 UNIVERSITY OF KENTUCKY NOTE- SUMMER TRUMPET WORTHY INSTITUTE In mid-June, more than 65 trumpet players of all ages gathered in NEWS Lexington, Kentucky for the 2018 University of Kentucky Summer Trumpet Institute. Organized by Women of the 2018 UK Summer Trumpet Institute. University of Kentucky trumpet professor, Jason Dovel, Source: Marisa Youngs Adjunct Professor of Trumpet, this annual four-day event highlighted a significant number Winthrop University of female trumpet players as faculty and staff, many of whom have IWBC connections. One featured faculty member was Marie Speziale, Professor Emeritus at Rice University and former IWBC President. Ms. Speziale led several hours of masterclass sessions throughout the week, guiding participants through orchestral excerpts, solo repertoire, rehearsal etiquette, practice tips, and more. Also on faculty was Dr. Raquel Rodriquez, host of IWBC’s 2014 conference at Northern Kentucky University and newly appointed Assistant Professor at the University of North Texas. Dr. Rodriquez led several masterclasses, conducted a trumpet ensemble, and performed Rodion Shchedrin’s In the Style of Albéniz and Astor Piazzolla’s Oblivion on a faculty recital. In staff leadership roles, Jenna Veverka, winner of the 2017 IWBC Mock Military Band Audition, served as on-site event staff and resident counselor, while University of Kentucky student Abby Temple and recent graduate Marisa Youngs assisted with the coordination of the institute. Of the participants, 15 women attended from various high school, undergraduate, and graduate school programs, representing nine different states. Participants took part in a number of classes and performed in the exciting final concert, featuring seven different trumpet ensembles which rehearsed throughout the week. The 2018 University of Kentucky Summer Trumpet Institute proved to be not only educational, but a truly inspiring event for all.

presentations, lecture recitals, and performances all relating to the subject of music composed, taught, and performed by women. The festival will feature concerts of new and historic music written by women composers. Applications are made in advance through the submission of video, and the works presented feature all instrument and voice combinations, from tuba to , toy to tympani. Festival Director and pianist Julia Mortyakova welcomed her colleagues to her campus for the first time in 2017, and the festival grew by leaps and bounds during Mississippi University for Women is pleased to the second year; this third year promises to be the largest announce its third annual Music by Women Festival yet. IWBC President Joanna Hersey will be presenting on March 7-9, 2019, to be held in historic Poindexter the premiere of the tuba version of Elizabeth Raum’s Hall on the campus of the Mississippi University Flights of Fancy, originally scored for clarinet, trombone, for Women in Columbus, Mississippi. The beautiful and piano. Registration for the entire three-day festival and circular Kossen Auditorium in Poindexter Hall is $50. Join the excitement by visiting https://www.muw. dates to 1905 and is listed on the National Register edu/musicbywomen to view the schedule of events and for of Historic Places. The festival will include papers, registration information.

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By Abby Lannan The INTERNATIONAL EUPHONIUM AND TUBA FESTIVAL concluded NOTE- its 2018 event and15th year with a record number of participants and artists from around the world. The annual week-long festival takes place at Emory WORTHY University in Atlanta, Georgia. With 128 participants and 18 staff, artists, and teachers, the 2018 festival featured some of the most inspirational, hardworking, NEWS and passionate people that the tuba and euphonium world has to offer. Each year, the participants rave about being able to work closely with prominent tuba and euphonium players. Participants have the opportunity to take lessons, participate in masterclasses, perform in ensembles, and in competition. Each day is jam packed with amazing playing and learning opportunities. Participants get the chance to meet and collaborate with students from around the world, share meals with guest artists, and enjoy the scenic Emory campus. The 2018 festival hosted students from around the world, including performers from Colombia, Brazil, South Africa, Japan, Canada, Thailand, and the Dominican Republic. IWBC President Joanna Ross Hersey was a featured tuba artist, performing Pete Meechan’s Land of the Living Skies with the Georgia Brass Band. In addition, host Adam Frey brought Øystein Baadsvik, Brian Bowman, Zach Collins, Richard Demy, Tormod Flaten, James Gourlay, Jukka Myllys, Thomas Rüedi, Aaron Tyndal, and David Thornton as featured artists. In order to help fund attendance at the IET Festival, participants can apply for the Earle Louder Fellowship, a scholarship established in 2016 and supported by individual donors through the registered nonprofit, The Euphonium Foundation, to recognize Earle Louder’s accomplishments to further education. Participants apply with a personal statement, resume, video interview, audition and a statement of how IWBC President Joanna Ross Hersey performing Pete Meechan’s Land of the they plan to share their new Living Skies with the Georgia Brass Band at the 2018 IET Festival. knowledge in their respective countries. Awards can vary from $200 to $1,000. This year, six students were awarded the fellowship; of those, three were women from the Dominican Republic, Japan, and South Africa. Interested supporters can find more information at www.euphoniumfoundation.org and also make donations which help to continue to expand the number and quality of the scholarships. The 2019 Festival dates are June 16-22, 2019, and it will again feature artists, private lessons, competition, ensemble performances, and low brass camaraderie.

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

9 NoteWorthy: Winter 2019

MONARCH BRASS NOTE- A central part of the IWBC Mission is to assist and WORTHY support young people as they strive toward a NEWS musical career. Perhaps because brass instruments are loud and declarative, they are a category of Combined trumpet section: Monarch Brass instruments traditionally thought of as masculine. and Montclair Wind Symphony. Many people expect a classical brass soloist to look a certain way, but perceptions can be changed. Isabella, then Ravel, Bach, and Wagner’s Monarch Brass, an ensemble made up of top female Götterdammerung. The finale of the first brass performers from across the world, was founded by half was Christopher Mowat’s arrangement Susan Slaughter to show what was possible. Twenty-five of The Christmas Song, featuring Amy years later the women of Monarch are still bringing joy to Cherry and Ava Ordman. For the second half, audiences and working as educators across the nation. Monarch members joined students in the The Monarch Brass was an honored guest for a very special Wind Symphony performing side by side, performance at Montclair State University in Montclair, directed by Dr. Thomas McCauley, Director New Jersey. Members of Monarch joined student of Bands at Montclair. The combined group performers of the MSU Wind Symphony for the 2018 performed music of Turrin, Arnold, and Beatrice Crawford Memorial Concert, thanks to funding Gorb, concluding the evening with the Alfred from the Keating Crawford Foundation. The foundation Reed classic, Russian Christmas Music. brings performances to Montclair in memory of Beatrice Monarch next moves to Arizona State Crawford, a Montclair musician and music director. MSU’s University to present the finale concert of the Alexander Kasser Theater hosted the event on December 9, IWBC 2019 conference, hosted by Deanna 2018, featuring Monarch Brass, who opened the concert by Swoboda. The conference opens Wednesday, performing the first half. May 22 and concludes Saturday, May 25, Leading the Monarch Brass was Sylvia Alimena, a horn and will feature exhibits, competitions, player and Music Director of Brass of Peace, a high performances, panel discussions, composer caliber student ensemble based in Alexandria, Virginia. forums, brass group reading sessions, Monarch performed Ascent to the Summit by Tara Islas, and much more. Phil Snedecor’s arrangement of Bring a Torch, Jeanette

Throughout the year, the website celebrates the DONNE, Women in Music women who are currently making their mark in society in the online series Composers of Gabrielle Di Laccio, Founder and Curator Today. DONNE also features the fascinating Launched on International Women’s Day 2018, the ongoing stories of so many forgotten women composers project aiming to champion women composers’ equality is a new of the past with short video introductions on the destination platform for information and content spotlighting Historical Composers page. brilliant composers, past and present. DONNE’s dedicated CD Collection will release DONNE’s dedicated website features an online database of more 5 albums featuring only music by women in than 4,000 women composers on the Big List page, providing 2018-1019, extending the equality initiative to further information for anyone who would like to learn a bit more. the recording market as well.

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This initiative has attracted the attention of many influential music On the 1st January 2019, DONNE started a institutions like the Royal College of Music, Royal Academy of Music, new venture called: Donne 365, and for 365 King’s College of London, City University of London, University of São days this year (and hopefully for the next years Paulo, Oxford University, etc. It will continue the to grow the collaboration to come), they will be featuring two women opportunities for the project and future recordings. composers every day with links to their website and where to find their music. The project was featured extensively on the international media in 2018 since their latest research about inequality in music. www.drama-musica.com/Donne.html

Creating a Legacy Keely Abeln After 21 years as a middle school music educator, I can definitely say it takes a village to create a musician. Directors find videos and recordings to show students where all of the beginning band wrong notes and repetition can lead. We tell stories of what is possible if they continue to lug their instruments back and forth every day. We model a rousing rendition of Hot Cross Buns on any instrument we can get our hands on to impress eager beginning band students. As crucial as these things are to the development of a musician, none of these extra resources compares to having a musician stand in front of your students performing music and sharing knowledge. Dr. Robertson worked with the high and low brass On December 5th after a busy three days of rehearsals and performances for students, focusing on buzzing, wind-patterns, Susan Slaughter and the Holiday Brass Concert in St. Louis, Missouri, three and articulation. Sophomore trombone, Chris musicians became a part of many young musicians’ musical paths. Dr. Stacy Martin, and freshman euphonium, Kendal Abeln, Baker, Judith Saxton and Dr. Gail Robertson took the time to give a masterclass performed solos for Dr. Robertson, who was able with students from three different schools in the St. Louis and St. Charles areas. to work with them with a complete understanding Dr. Baker and Ms. Saxton went to Parkway South Middle School to work with of how to instruct and critique young players in low and high brass students from two area middle schools. Both worked with an encouraging way. Kendal Abeln stated, “Dr. two groups for one hour each. Dr. Gail Robertson gave a two-hour master class Robertson gave me suggestions on a better way at Francis Howell High School. to hold my euphonium. She complimented me on my tone, but suggested I practice more with Dr. Baker performed a tuba piece that involved polyphonic sounds and a a metronome. We were able to go more in depth recorded accompaniment called Aboriginal Voices by Neal Corwell. She about things for low brass that we never get to go provided visualizers to all of the students and modeled proper embouchures. over in class.” She discussed things to look for when playing and how to fix possible bad habits. Dr. Baker created an environment where students felt open to try new As educators we will probably never fully realize techniques. Days later a euphonium student who struggles with practice and the impact we make on students. There is no way goal setting was excited to produce the visualizer and tell his class about how to know what each student will hang onto and he used it at home. draw upon, but what we can do is share our talent, our experiences and our musical passion. Each Ms. Saxton presented the importance of having a balance between your body opportunity we have to step in front of young and mind when you play. Director of Parkway Southwest Middle School Drew musicians is a chance to have an impact on future Davis said, “I was impressed with how Ms. Saxton engaged the students with players. It is an opportunity to influence our the mental/emotional aspects of playing right from the start.” He went on to say future instrumentalists. Thank you to these three how she stressed using the term “wind” rather than “air” because wind implies musicians for their time, talent, and energy in movement. The young musicians were excited with the hope of more master creating a legacy. classes in their future.

11 NoteWorthy: Winter 2019

Spotlight on…Yvonne Toll

Professional Positions: most often in church settings: sometimes during a trumpet • Principal Trumpet: The Atlanta and organ piece, in worship services/concerts working with Opera Orchestra conductor Ed Schneider and his choral groups (including a • Freelance Musician: Regular Tour to the Middle East -Jordan, Israel, and Palestine), as well sub with the Atlanta Symphony as with Eric Nelson and his choral groups. Orchestra and the Atlanta Ballet Orchestra. Several years ago I performed Mahler’s 2nd Symphony with • Previous positions include the Atlanta Symphony Orchestra and conductor Donald Instructor of Trumpet at GA State Runnicles. When we were finished, many orchestra members University, Emory University, left the stage “in awe” and I heard someone exclaim “this is Clayton State University, and why we studied music in school…these magical moments are Columbus State University. far too rare, but tonight we experienced something special!”

Hometown: Favorite Pieces of Music: Altadena, CA Mahler #1, Handel’s Trumpet Shall Sound, Beethoven #9, Education: Bach b minor Mass, Brahms Requiem, Arutunian Trumpet • BM and BME: North Park University, Chicago, IL Concerto. • MM: Eastman School of Music, Rochester, NY Greatest Accomplishments: Biggest Influences: I feel blessed to have a career as a professional musician and Luther Didrickson, William Scarlett, Barbara Butler, private instructor. Performing a variety of music in different Charles Geyer ensembles and venues is fun! The students I teach (4th grade- adult) inspire me regularly, and their joy/excitement when Most Memorable Musical Moment: there is an “aha” moment…or a new high note, is contagious. As an undergrad: when I performed Verdi and Brahms Watching them experience success (big and small), and Requiems in large cathedrals, Handel’s Messiah (David hearing of their growth into adulthood is fulfilling. Thorburn, conductor), and soloed on the Arutunian with a local orchestra. In 2015, I completed Ironman Chattanooga after training 9 months with a 48-person team, which raised $253,000 for the As a grad student: touring with the Eastman Wind Ensemble Leukemia/Lymphoma Society through Team-In-Training. and Wynton Marsalis. Wynton gave me one of his gold-  plated Schilke piccolo during our rehearsal in Words of Wisdom: Carnegie Hall. Work hard, live a life of integrity, take time to have fun, embrace your strengths AND your weaknesses, laugh at As a pro: there are several instances where a performance yourself, treat others with kindness, stay open and willing to has been “magical”…moments where I have been touched learn from others, forgive others, forgive yourself, smile and to my core, beyond words, and many around me experienced laugh often, stay physically active, and treasure relationships the same. For me, these memorable moments have occurred with those who are most important to you.

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

12 International Women’s Brass Conference Remembering...

Joan Watson (1953-2015) By Marina Krickler I attended my first IWBC symposium paramount. The highlight was being able to last summer and it was a fantastic study with Joan intensively at her home over experience. The concerts were top- 5 days. She didn’t believe in one-off lessons, notch and the range of lecture topics saying that she wanted to invest in each of and activities kept me engaged from her students in a lasting way. Joan and her morning to night. I was particularly husband Scott gave me hours of musical moved by the exhibit honoring our training and mentorship, while treating me as female brass pioneers, but there was a fully professional musician. The impact on one more name that I wanted to see my playing and my mindset was enormous. among them, so I’d like to offer a personal remembrance of Joan Joan Thelma Watson was one of Canada’s Thelma Watson. foremost horn soloists, principal players, and educators. She has been highly regarded as a My first memories of Joan are of consummate musician and skilled virtuoso. her as a brass class teacher when I was a starry-eyed undergrad at the She served as Principal Horn of the Canadian University of Toronto. She led the class through many memorable Opera Orchestra, a founding member of the (and hilarious) exercises, but one in particular sticks out. She asked True North Brass Quintet, Associate Principal everyone in the class to go around introducing themselves to each other Horn of the Toronto Symphony Orchestra, by enthusiastically saying, “Hi! My name is ______, and I don’t give a and Principal Horn of the Esprit Orchestra, $%^# what you think. Have a nice day!” If Joan and the rest of the class the Victoria Symphony Orchestra, the Pacific weren’t convinced by your efforts, you had to go back and do it again Opera, and Vancouver Opera . In until they were. At that point in my life, I was pretty reserved and maybe 2010, she hosted the International Women’s a little too polite, and I remember my mild horror at having to say that Brass Conference in Toronto at Humber to my colleagues. Looking back, I see the value in it. The point was not College. Joan lived with her partner-in-crime, to be rude, but to develop a thick skin – to let go of our need for the J. Scott Irvine, in Owen Sound, Ontario, and approval of others, and to assert ourselves courageously. Joan trailblazed passed away at the age of 61. her own career path, finding success at every turn, and she inoculated us with what we needed to do the same. Joan touched the lives of so many men and women. In that spirit, I’d like to leave you Later on, after graduating with my master’s degree, I was undergoing with these three quotes of hers: some serious career anxiety. Joan had recently developed her Higher Notes career coaching program, so I decided to go for it. The course • “Personal alignment comes as a surprise was very beneficial – she had students carefully examine all aspects of to most people, but especially women. their lives and to create a clear vision for where they saw themselves in We seem to be trained to put others 5 years. It wasn’t enough to say “I want a job” – clarity of intention was CONTINUED ON PAGE 17

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Von Hoff and Schmid: Facing Current Biases Against the Female Trumpet Player

By Sarah Palmer Another explanation for why women were It isn’t common in current ensembles to find female trumpet players. not allowed to play was because at this time, Outliers such as the St. Louis Symphony have employed women as the a woman’s only societal role was to be a wife Principal Trumpet of their orchestra, so clearly it is not as if women and mother.6 Anything that detracted from are not up to the task. This has been the case since the invention of the these roles was seen as preventing a woman trumpet, and before the sixteenth-century, scientific beliefs discouraged from her duties to society. Additionally, women from creating any music, much less playing the trumpet. Even women were meant to behave in a quiet, when society and science told women they should not play, there were appropriate manner and were not meant two women, Johanna Von Hoff, and Elisabetha Schmid, who were paid to put strain on their delicate bodies.7 The to perform on the trumpet in the 1600s and 1700s respectively. These trumpet directly contradicts this social norm. women are the start to a necessary education for the evolution of our To play a loud instrument would have meant society into one that does not discriminate trumpet performers based on acting in a masculine manner. Requiring their gender. a woman to alter the shape of her face to produce an embouchure would have been To analyze why women were not allowed to play music, one must seen as exerting too much work on her fragile consider previous medical science beliefs, as well as the social roles and body.8 To play trumpet at this time, women expected societal behaviors women were meant to enact. Before 1543, would have had to be in defiance of what was when the Belgian, Andreas Vesalius, first started dissecting humans, the 1 deemed acceptable by society as well as what science of anatomy was mostly theoretical. Because the anatomy of was believed by the medical science of the women could not be seen, the medical science surrounding this topic time. was particularly speculative. The female sexual organs were thought to 2 be the inverse of the male anatomy. Even slightly past the point where To get a better understanding of why these scientific discovery led to a more accurate depiction of the workings of two women were allowed to play, one must the human body, moods and actions were still thought to be controlled delve into the changing political climate of by what Galen termed the four humours.3 These consisted of blood, 4 the courts with which they were employed. phlegm, choler, and melancholy. If a man was acting weak for instance, Johanna Von Hoff was paid 20 gulden to he would be considered phlegmatic or melancholic. These symptoms play at the court of Emperor Leopold I in were thought to be able to be caused by listening to too much music or 9 5 1655, which was part of the Hapsburg lands spending too much time around women. It stands to pre-eighteenth- in Austria. This was an area where several century reason then, that women performing music would have made the wealthy families elected a ruler as a sort of temperament of a man completely unbalanced. Thought of as the weaker oligarchy.10 These families competed for sex, it would not have been permitted for women to have had the power attention and, therefore, were willing to fund to exert this sort of emotional control over men. extravagant musical productions in order to

1 Charles O’Malley, Andreas Vesalius of Brussels, 1514-1564 (Berkeley: University of California Press, 1964). 2 Merry E. Wiesner, “The Female Life Cycle,” Women in Early Modern Europe, 2nd ed. (New York: Cambridge University Press, 2000), 60-1. 3 “Four Humours,” A Dictionary of Philosophy, Macmillan, 3rd ed. (Basingstoke: Macmillan Publishers Ltd., 2002). 4 Ibid. 5 Kirsten Gibson, “Age, Masculinity and Music in Early Modern England,” Gender, Age and Musical Creativity (Surrey: Routledge, 2015), 49. 6 Weisner. 7 Leslie Ellen Aboud. “Playing like a girl: An analysis of the role of gender in trumpet performance,” (University Honors with Distinction thesis, University of Northern Iowa, 2010). 8 Stevie Fliciano, “Women Composers: From the Middle Ages to Present,” New York Public Library, June 27, 2013, accessed May 9, 2018, https://www.nypl.org/ blog/2013/06/27/woman-composers-middle-ages-present. 9 Jean Bérenger, “The Austrian Lands: Habsburg Absolutism under Leopold I,” Absolutism in Seventeenth-Century Europe (London: Palgrave, 1990), 157-74. 10 Ibid.

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do so. This would lead rulers such as Emperor Leopold I to employ bigger orchestras and hire a wider range of musicians to play for his court, such as Johanna Von Hoff.

70 years later in Württemberg, the orchestra hired Elisabetha Schmid in 1722, as well as several other female musicians.11 The Duke of Württemberg, Eberhard Louis, fought to gain the office of Archbishop even though it was not meant to be for him, so he could be harsher to his Catholic incomers.12 Because of this lack of religious tolerance, the Catholic instrumentalists who lived in the Württemberg court often traveled to a different court to attend religious services.13 This meant that many of the male musicians the Württemberg court’s Protestant cathedral would have needed for performances were not present. In their place, female musicians were hired.

It remains to be seen why these two women specifically were chosen. In the case of Elisabetha Schmid, she was 14 the daughter of trumpeter Johann Christoph Schmid. come from home, hence the relation of She and her father were employed at the same time and paid 150 gulden women in music throughout history to their 15 each. musical, male counterparts.18 One critique exists of her playing, Schmid’s daughter…was graciously taken into service at the same Johanna Von Hoff seemingly goes against time as her father. With her father or brother, who is in the Guard, all of this. The only information written [she] can play quite a few pieces on the trumpet; however, she about her is that she was paid 20 gulden to understands very little in general about music. 16 play by herself for Emperor Leopold I of the Hapsburg court.19 It is interesting to note that 20 Clearly, the fact that she was the daughter and sister of trumpeters in the she played a solo and not with an ensemble. court orchestra helped in her employment in 1722. This means she was specifically hired, rather than filling in for other instrumentalists. No A common theme surrounding female musicians in history is a critique information exists as to who she was related stating their ignorance of musical education. This seems hardly fair to and how she was given access to this considering the previously stated restrictions on women playing music, opportunity. as well as the exclusion of women from receiving a music education.17 Conservatories did not accept women into their institutions until 1795, The prevention of women from playing and so for a woman to receive a musical education, it would have to trumpet, and the lack of detailed records of those that did play, led to the stereotype

11 Ibid. 12 Ibid. 13 Owens, “Professional Women Musicians,” 33. 14 Owens, “Professional Women Musicians,” 46. 15 Ibid, 45-6. 16 Ibid, 45. 17 Karolina Kizinska, “Women Composers – as Emerging from the Shadows,” Meakultura, August 25, 2012, accessed May 9, 2018, http://meakultura.pl/publikacje/ women-composers-as-emerging-from-the-shadows-310. 18 Ibid. 19 Owens, “Professional Women Musicians,” 46. 20 Ibid.

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that women did not play the trumpet. Typically, even in beginning Gérard de Rayneval, Joseph-Mathias. Institutions band classes, girls are nudged toward instruments such as the flute au Droit Public d’Allemagne. Strasbourg: Bauer & Cie, 1771. and , whereas boys are pushed towards instruments such as 21 Gibson, Kirsten. “Age, Masculinity and Music in percussion and brass instruments. This extends to the professional Early Modern England.” Gender, Age and symphony world now. Musical Creativity. Surrey: Routledge, 2015. Only three percent of trumpet players in all major orchestras are Haynes, Bruce. The Eloquent Oboe: A History female. The fact that women were excluded from orchestras purely of the Hautboy 1640-1760. London: Oxford University Press, 2001. 277. based on their gender is evident in the introduction of blind auditions, which pushed the number of female musicians up from 10% to 35%. Kendrick, Robert. “Monastic Musical Traditions.” Celestial Sirens: Nuns and Their Music Yet still, only 35% of major orchestras are female. Music educators In Early Modern Milan. Cotswolds: can help to change this percentage. Clarendon Press, 1996. 128-136. Kizinska, Karolina. “Women Composers – as To do this, we must change how we educate music students in the Emerging from the Shadows.” Meakultura. Last modified August 25, 2012. Accessed future. While the current student will learn about male trumpet May 9, 2018. http://meakultura.pl/ performers such as Bud Herseth and Chris Martin, they will not likely publikacje/women-composers-as- learn about female trumpet performers in the same positions such as emerging-from-the-shadows-310. Marie Speziale, Susan Slaughter, Karin Bliznik, and Amy McCabe.22 Marines. “Gunnery Sergeant Amy McCabe.” The President’s Own United States Marine Band. Accessed May 9, http://www. Teaching future trumpet students about these women will instill the marineband.marines.mil/Members/ realization that women are just as competent at the instrument. This, Musicians/Brass/Trumpet-and-/. in turn, will create a society that no longer discriminates against Miller, Sarah. “Long run is Ending for SLSO’s trumpet performers based on their gender. Female composers and top trumpet Susan Slaughter has been a musicians are less often mentioned than men in the same roles. Pioneer.” Last modified September 20, 2009. Accessed May 9. https://stltoday.co Educating students about these women changes future generation’s m/entertainment/long-run-is-ending-for- minds about who can be a musician, regardless of gender. Johanna slso-s-top-trumpet-susan/article_c554c6e2- Von Hoff and Elisabetha Schmid are the first in a long line of women 32b7-53a7-9e1b-7f39070bf10d.html. who have performed on trumpet professionally, and they can be used O’Malley, Charles. Andreas Vesalius of Brussels, as proof to change stereotypes. 1514-1564. Berkeley: University of California Press, 1964. Owens, Samantha. “Professional Women Musicians in Early Eighteenth-Century Bibliography Württemberg.”Music & Letters. Vol 28. No 1. London: Oxford University Press, 2001. Aboud, Leslie Ellen. “Playing like a girl: An analysis of the role of gender in trumpet performance.” University Honors with Distinction thesis, Owens, Samantha Kim. “The Wurttemberg University of Northern Iowa, 2010. Hofkapelle c. 1680-1721.” PhD diss., New Zealand School of Music, 1995. Bérenger, Jean. “The Austrian Lands: Habsburg Absolutism under Leopold I.” Absolutism in Seventeenth-Century Europe. London: Palgrave, 1990. Ryan, Holli. “Shepherd School of Music bids 157-174. farewell to retiring professor Marie Speziale.” International Trumpet Guild. Cusick, Susanne G. “Figiuola del celebratissimo Giulio Romano.” Francesca http://trumpetguild.org/content/itg Caccini at the Medici Court: Music and the Circulation of Power. news/264-shepherd-school-of-music- Chicago: University of Chicago Press, 2010. bidsfarewell-to-retiring-professor-marie Fliciano, Stevie. “Women Composers: From the Middle Ages to Present.” New speziale. York Public Library. Last modified June 27, 2013. Accessed May Wiesner, Merry E. “The Female Life Cycle.” 9, 2018. https://www.nypl.org/blog/2013/06/27/woman-composers- Women in Early Modern Europe. 2nd ed. middle-ages-present. New York: Cambridge University Press, “Four Humours.” A Dictionary of Philosophy. Macmillan.3rd Ed 2000. Basingstoke: Macmillan Publishers Ltd., 2002. Youngson, R. M. “humours”. The Royal Society of Medicine Health Encyclopedia. 2nd ed. London: Bloomsbury, 2000.

21 Aboud, 1. 22 Aboud, 4.

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CONTINUED FROM PAGE 13 Remembering Joan Watson first (perhaps it is in our DNA). It takes courage and conviction to You can be one of those people no keep ourselves aligned and daily focus. Please be kind to yourself matter where you are. You will lift up the and start NOW. Agreements we make with ourselves are actually energy level wherever you go. Musically, the most important ones to keep. You will develop a trust and personally, and financially.” confidence in yourself that will be very rewarding.” • “The only thing you have control over is • “Why would someone want to hire you over anyone else? What your level of satisfaction. That way, no strengths can you now bring to relationships, orchestras, team matter what, you come away with a sense members, coaching clients, and students? Emotions are what of accomplishment and contribution. Your connect people. We are all attracted to passionate, happy people. success is inevitable!”

Remembering Rachel Duncan By Anna Spina

I will always remember the day leader in a quiet and respectful way, but also we met when moving into our always a collaborator and wanted everyone’s shared apartment in Evanston ideas to be heard, all while managing to bring at the beginning of my junior positivity and joy to everyone’s experience. year and the start of Rachel’s When she was creating music, whether as a master’s degree at Northwestern teacher or as a performer, you knew that was University. We had never met where she was meant to be. each other, so before move-in day, I naturally did some research Losing Rachel has been such a tremendous (Facebook stalking) and was loss for so many people. Personally, I lost one immediately intimidated. The of my very best friends and favorite people. I first thing I noticed was how will be forever grateful for our time together beautiful she was. Literally every and the memories we shared - long talks in picture of her was gorgeous - her fiery red hair, beautiful brown eyes, our pajamas on our kitchen floor, pizza and and beaming smile took over every photo. She was also clearly a very wine nights, our mutual love for dogs, our accomplished trumpet player, having just completed her time at the time playing music together, being a part of Curtis Institute and just about to begin studies at NU. So on move-in her gorgeous wedding, and having her there day, I was pretty nervous to meet her. It took me all of 2 seconds to to hold my hand at my wedding. Those are learn that, while all of those things I concluded from my Facebook memories I will always cherish. She had such research were true, she was also kind, approachable, easy to talk to, a beautiful way of connecting with people that silly beyond all heck, and that she was going to be a great roommate was so personal and honest, and all of us who and friend. have known her, either as a colleague, mentor, friend, or even a passing acquaintance, are As a musician, Rachel was a star. Her sound on the trumpet was unlike better people because of her. The world lost anyone’s I had ever heard - warm, lyrical, comforting, personal, like it one of its brightest lights when Rachel left us. was coming from the deepest parts of her soul. Music was a part of her We love you, Rachel. Rest in peace. in such a natural and unique way, a way that can’t really be described in words. As a colleague, Rachel was the best there is. She was a natural

17 NoteWorthy: Winter 2019 Contributors Bravo Circle Supporter’s Circle Amanda Bolger Chasse Duplantis $1000+ $100-199 Julie Boltz Lauren Eberhart Anonymous Charline Bambauer Lisa Bontrager Jo Anne Edwards In Memory of Cliff and Bunny Blackburn Emily Borra Arlie & Laverne Ehlmann Adelaide Cherbonnier Mary Bowden Katie Boss Lauren Eisenreich Dr. and Mrs. Grady Hallman Karen Caffee Janelle Bradshaw Joan Marie Engel International Trombone Chapter IF P.E.O. Sisterhood Joan Briccetti Rebecca Epstein-Boley Association Robert Coil Zach Bridges Jennifer Espinoza Dr. Ann Johanson Robert Feller Rae Bridgman Joan Essen Carole Klein Shannon Gunn Margaret Briscoe Justin Feliciano Julie Landsman Steven Hendrickson Julia Broome-Robinson Amanda Ficca Barbara Liberman Jan Holland Centria Brown Danielle Fisher Maurine Magliocco Anna Jacobson Cynthia Brown Susan Fleet Allen Myers David LaMont Blaine Brubaker Joshua Fleming Puffin Foundation Ltd. John Leipprandt Steven Bryant M. Elizabeth Fleming Carole Dawn Reinhart Jean Leonhardt Mary Burroughs Kelley Fletcher Richard and Mary Ann Shaw Laura Lineberger Bonnie Callahan Ryanne Flynn * Susan Slaughter Morris Northcutt Stephen Cannistraci Lin Foulk Julia Studebaker Ross & Donna Osiek Douglas Carlsen Kristen Fowler David Takach Lydia Reinebach Lauraine Carpenter Jennifer Fox Oliverio Ms. Phyllis R. Tirmenstein, Roland Susan Rider Maurice Carretta Justin Fraser Quest Memorial Fund of the St. Julia Rose Elizabeth Carvell Meredith Fuller Louis Community Foundation Douglas Rosenthal Michelle Caudill Joseph Futtner Judith Saxton Christina Cavitt Lisa Galvin Benefactor’s/Patron’s Circle Gail Smith Ligia Chaves-Rasas Marrianne Garbutt $200-999 St. Louis Low Brass Collective Yi-Ching Chen Jena Gardner Sandra Chesnut Reese Gardner Anonymous Jeffrey Strong Tom Swietlik Cindy Chole Mary Garza Stephane Beaulac Meagan Christy Nichole Gates Katelyn Benedict * Kelly Watkins Dorothea and Lawrence Weeks Edwarf & Judith Mirella Gauldin Amy Bowers Brenda Clark Frank Gazda * Velvet Brown Anita Cocker-Hunt GE Foundation * Daniel Burdick Donor’s Circle Up to $99 Sandy Coffin Sarah Gillespie Stephen Chenette Michela Comparey Gina Gillie Amy Cherry Nicole Abissi Lanette Compton Casey Goldman Abbie Conant Saeed Abuwi Beth Cooper Betsy Gowan Ryan Darke Cynthia Allen Edmund Cord Wendy Grasdahl * Jan Duga Tracey Allison Rachel Core Peggy Graves Steven Duncan Katy Ambrose Marybeth Coscia-Weiss David Greenwood Joan Fann Annie Amen Kathryn Cox JoAnn Hahn * Langston Fitzgerald III Kate Amrine Katie Cox Kellyn Haley * Amy Gilreath Major Brielan Andersen Al & Marilyn Coxon Valerie Hamburg Betty Glover Andrew Anderson Lorna Crafton Margaret Hamilton * Theresa Hanebury Carlos Aragon Justin Croushore Darcy Hamlin Jason Harris Joy Archer Bravin Margit Csökmei Lauren Harris Christine Hayes Marcelyn Atwood Ashley Cumming Charity Harter * Joanna Hersey Chantal Aubin Lauren Curran Saya Hashino Thomas Hooten Lilly Aycud Sara Cyrus Sarah Haylett Maureen Horgan Noreen Baer Pamela Czekay Lacey Hays * Fred Irby III Ann Baldwin Hinote David Dash Clayton Heath * Nancy Joy Susan Banks Hayley Daub Brittany Hendricks Robert Lischer Austin Barney DeAunn Davis Eric Henson * Kana Madarame Susan Bartlett Jean Davis Jacqueline Herbein * Jennifer Marotta Morgan Bates Jo Dee Davis Fiona Herbert Arthur & Barbara McDonnell Craig Beavers Whitney Davis Sarah Herbert Malcolm McNab Lauren Becker Brooke DeArman Carl & Jan Hermann James Miller Samantha Beemer Cecilia DeFurianni Brandon Hess Beth Mitchell Lisa Bergman Natalie DeJong Betty Hilbrant Kristy Morrell David & Pat Berner (In Honor of Arden Delacey Laurel Hinkle * Lynn Mostoller Susan Slaughter) Julia Dennis Tiffany Hoffer Jeffrey & Nancy Neville Lauren Bernofsky Lorenzo Diaz Pamela Hoffert Laurel Ohlson James Bicigo Derek Dillman Cecily Hoffins * Ava Ordman Philip Biggs Adrienne Doctor Anne Houser Jan Owens David Binder Michael Dorato Michele Howard * Marquita Reef Carrie Blosser Bryan Doughty Sharon Huff Rob Schaer Siana Bobst Mary Jo Douglass Barbara Hull * Faye-Ellen Silverman Peggy Bode Joan Dowlin Lauren Hunt Marie Speziale Rebecca Boehm Shaffer Rose Doylemason Angie Hunter Phyllis Tirmenstein Victoria Boell Erica Drake Barbara Hunter * Ginger Turner Mr. Lynn Bogovich Mr. & Mrs. Derick Driemeyer Beatrice Huskey James Wilt James Boldin Frances Duffy Lauren Husting 18 International Women’s Brass Conference

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