Election of Officers

Election of Officers

From USA, ballot must be re turned by May 1 0, 2003 (postmark date) . If located outside of the USA, ballot may be faxed or emailed no later than May 20, 2003 and must include member’s name.


Tuba, Euphonium, and Music Education University of North Carolina-Greensboro ITEA Conference Coordinator Past-ITEA Competitions Coordinator Co-Host, ITEC 2002

!TEA has a strong history of representing the interests of euphonium and tuba performers throughout the world, through commissions, collaborations with manufacturers, the development of the Tuba-Euphonium Press, and, of course, the presentation of workshops, clinics, symposia, and conferences both regional and international. In recent years, we have seen an increase in the coverage of topics of particular interest to amateur/recreational players in our Journal and at our conferences, as well as a strong new group working to further the interests and concerns of our student members. Our organization has begun working diligently to document the accomplishments of “legend ” in our field, as well as to process through a series of oral histories from significant older members in order to gain further insight into where we came from as an organization, as well as how our performance opportunities have changed and matured over the year . Additionally, we are embarking on exciting new possibilities of interaction and communication via our website.

All of these areas are vitally important to the strength and mi ion of !TEA, and if I am elected as Vice-Pres id ent/Pres id ent Elect, I will, of course, strive to not only maintain all of these areas but to push them forward to further succe ses. Further, I believe that we must continue seeking new ways that we can be a truly international organization. We need to investigate ways (and implement them!) to encourage the development of strong national euphonium and tuba organizations worldwide, so as not to lose the independent musical voices of different cul tures. Then, we can more easily work to link all of the e groups under the auspices of !TEA. Further, as we work on this task, we need to continually remember the importance of the amateur player – the “community band” player who is the backbone and mainstay of how we continually deliver our message of music in virtually every country in the world.

As we do look back on our history with the upcoming 30th anniversary celebration as well as look forward to exciting times yet to come, I look forward to erving you. I am truly honored to be nominated for the office of Vice-Pres ident and will serve in that office, if elected, to the best of my abilities.

Principal Tuba, Buffalo Philharmonic Associate Professor of Tuba, Eastman School of Music

I have always observed the organization through its activitie and the Journal. I was a participant in several of the conferences including the first one in 1973. I have seen the maturity of the process into what is fo r me the ideal blend of enhancements and informat ion. My approach to teaching has evolved into a concept of enhancing and building on the existing informat ion and at the same time providing the tools for the player to elfimprove constantly as that person’s future unfo lds. That is how I perceive the forum that the journal provides now. I always honor the history of our inspira tional tubists and euphonium artists and am constantly gratified to see the threads these have left us as they evolve their way through the present and onward into the future. I see no great need for any alterations of the present course of the collective process that we are involved in as players and teachers, just a continued commitment to constantly looking for ways to expand the flow of information.

There are a coupl e of areas I would like to see addressed. One particularly urgent one is a close examination of the “Dys tonia” problem that we have encountered in the Ia t everal years. A large scaled discussion to clarify it and see if there are things we a teachers can look at, ince it is apparently loosely correlated to the repetitive motion syndrome (in a general sense ). The other is to make available in some form audio and visual media that would permit conductors and artistic administrators the possibility of studying new works. I know that privately many of u are already working on the problem, but so many road blocks need to be worked out regarding copyright rules. The purpo e would be to create an implementation committee of influential people who might be able to let so many of the new works see the concert stage. I am not just thinking of orchestral works but every other type of piece that has to be sidelined due to old traditional stereotype that exist in every place from chamber music societies to modern music ensembles. I am still amazed that we still have to self-produce works that need to be heard. I am of course intensely interested in the historical aspects of the Journal and certainly not in a passive way. I think that the evolution of brass playing in general is fa cinating in the several technological tracks that determine our pre ent environment, namely better horns and better recording techniques. I think performance activism is required for providing more public exposure and programming equality for the works that have been and will be written for our instruments.



Velvet Brown has served as professor of tuba and euphonium at Bowling Green State University since 1996. She enjoys a professional career as an international solo and chamber ensemble performer, recording artist, conductor, and orchestral player with appearances throughout Italy, Switzerland, Austria, Germany, Finland, France, England, Hungary, Japan, Canada, Russia, and the United States. Ms. Brown has served as principal tubist with the New Hampshire Music Festival Orchestra and a substitute or additional tubist with the Detroit Symphony, Saint Louis Symphony, and the Fort Wayne Philharmonic. She has also garnered high prai e as a founding and current member of the Monarch Brass Quintet and Brass Ensemble. Ms. Brown is also noted for receiving a 1999-2000 William Fulbright Fellowship. Currently, Ms. Brown is serving ITEA as the Secretary of the Executive Committee and the Journal Program Editor, with prior service as a board member and vice-president of the International Women’s Brass Conference. She has also held various posts as secretary within the university environment.

Candidate Statement

I am honored to be con idered by the ITEA nominating committee to serve as the Secretary of the Executive Committee. It is my sincere wish to continue in this position for another term of two years, feeling that the continuity coupled with the forward motion of the organization would benefit if I am elected once again. I strongly believe that I can continue to help the organization and work effectively to welcome and implement the new directions of the executive committee as well as foster and strengthen the paths that have been set in the last two years since I have been on board. The 18 months that I have served thus far have gone by very quickly. This can be attributed to the immense amount of changes and projects that have been taking place to benefit the membership and give us more global presence as amateur and professional players, educators, and lovers of the wonderful art of music making. It has been a pleasure and an honor to be a part of this great organization founded 30 year ago. I have embraced the foundation and dutifully worked with the organization to help enrich it, and I am looking forward to the new activities and direction in our future.

Mark Mordue

Mark Mordue has been Assistant Professor of Tuba and Euphonium at Ball State University in Muncie, Indiana since 1996. He is also a member of the Muncie Symphony Orchestra, the Marion Philharmonic, and the Da Camera Brass Quintet. Mark holds degree in tuba performance from the Eastman School of Music, the University of Akron, and the University of Michigan. In addition he was awarded a Premier Prix in tuba after study at the Roubaix Conservatory in France. He was Principal Tubist with the Oklahoma Symphony Orchestra for fifteen years and taught at the University of Oklahoma and Oklahoma City University. At that time he also performed with the Oklahoma Brass Ensemble and the New American Ragtime Ensemble. He has held positions with the Windsor Symphony in Ontario, Canada, the Boise Philharmonic in Idaho, the Warren Symphony in Michigan, the Mansfield Symphony in Ohio, and the University of Toledo. For sixteen summers he was tubist with the Breckenridge Music Festival in Colorado, performing as a member of the Breckenridge Festival Orchestra and the Breckenridge Brass Quintet.

Mark has been a member of ITEA for most of his career. He founded an ITEA {then T.U.B.A.) chapter at the University of Oklahoma. He has performed as a soloist at the U.S. Army Band TubaEuphonium Conference and at the Southeast Regional Conference held at the Univer ity of Kentucky. He was a judge of the high school young artist competition at the ITEA International Conference held in Regina, Saskatchewan. He is a regular reviewer for the New Materials section of the ITEA Journal. In March 2003 he hosted the ITEA Midwest Regional Tuba-Euphonium Conference at Ball State University.

Mark believes that ITEA has been a va luable resource and tool over the years for furthering tuba-euphonium concerns. Through lobbying efforts, dissemination of information, and coordination of activ ities the organization makes important contributions in the areas of performance, composition, instrument manufacture, and publication. ITEA’s influence has grown over the years and, through the continued participation of fellow tuba and euphonium enthusiasts, will continue to grow. There is strength in numbers and fellowship in music.

International Vice-President


Born in 1957 in the East of France, my family moved to Burgundy when I was 8. I began studying music playing accordion and by chance the band conductor was also my private music professor. He asks: “You’re a big man, you will play the euphonium at 12 years old.” And why not? Then began the pleasure of brass playing. After completing military service at age 20, I worked at the Dijon music school before leaving for the Paris Conservatory. I have studied the bass and contrabass tuba with Mel Culbertson, Fernand Lelong, Fran~ois Pouliot, and John Fletcher. These very different personalities provided me with an international view of brass performance. I have been the tuba teacher in the Chalon sur saone Music Conservatory since 1983, and I also play serpent as a result of my interests in historic performance styles. I co-authored an educational book, 10 Years with the Tuba . I have toured with different brass ensembles and orchestras that include Guy Touvron and the National Orchestra of Lyon. In 1989 in Washington, D.C., I performed with a French band for the bicentenary where I met Marty Erickson. I have organized masterclasses with Michel Godard, Fran~ois Thuillier, and Dave Bargeron. Currently, I am organizing a conference for the French tuba scheduled for fall of 2003.

My desire is to be able to say in the future that I participated in the development of the literature for my instrument, and I helped facilitate for artists the abi lity to exchange knowledge and friendships. Education allowed me to reveal an important point in the cultural domain, which is not to take the position as boss but as brother who shares knowledge. By giving knowledge, it is not power that one abandons but a certainty that one anchors, resulting in beautiful rewards, such as when one hears (understands) new, innovative repertoire that one previously thought to be unchanging. This is the vision of an ITEA member who listens to recordings or concerts by musicians of so many different cultures and/or backgrounds. I think that formal or informal meeting are of an incredible factor in our development, which already exists in our association and must further be spread to all, tubist/ euphoniumist or not.

Gerhard Meinl

I was born on September 5, 1957 in Bavaria, studied law at the Munich Law School and in Fribourg, Switzerland, and philosophy at the Jesuit University of Munich. I have been a member of the Munich Bar. I undertook a three-year apprenticeship with Wenzel Meinl GmbH Geretsried becoming a brass instrument and percussion maker at the Bavarian Guild of Musical Instrument Makers. I took over Wenzel Meinl (Meinl-Weston/ Melton) in 1983, then formed the JA Musik Group with B&S Markneukirchen and turned it around from a state owned company. I took over Courtoi -Paris and Marigaux Oboes in 1991, and last year I founded Sternberg Brass In trument Manufacturing in Hungary. I am currently President of the German Music Trade Association as well as the European Association of Music Industry.

These are my international, tuba, and euphonium skills and experiences and though they stem from a commercial side, my first love has always been the tuba. While visiting in my family’s home, Bill Bell propo ed the idea of ITEA, and therefore it later influenced me as cofounder of the Deutsche Tubaforum, writing their constitution and bylaws. I am highly interested in the position of Vice President of International Relations for I TEA. My participation will bring extensive European as well as global connection making our organization truly international. This will also help facilitate introducing ITEA to the New Europe, which formed following the end of the Iron Curtain.