Sinfonia’s genesis was,
in the words of sixth Supreme President, Percy Jewett Burrell, “not
really a beginning after all, but indeed the product of a personality—Father
Mills.” Ossian Everett Mills, then bursar of the New England
Conservatory in Boston, was profoundly interested in the physical,
mental, moral, and spiritual development of the Conservatory students
and recognized that a large proportion of them intended to put their
musical knowledge into the church either as organists or singers.
Mills felt that this class of people, as much as any, needed to
be men of high ideals and, beginning in 1885, invited a group of
male students to meet with him once a week. Thirteen years later,
Mills was still leading these weekly meetings, and he encouraged
the “Old Boys” of the Conservatory to invite the “New
Boys” to a “get-acquainted” reception on September
22, 1898. Henry T. Wade, a member of the original committee of “Old
Boys” wrote:
The fact that Bro. Mills made the
initial move to have the men students get together and counseled
us in keeping the group interested, in having an efficient
organization for getting better acquainted and for fellowship,
and also saw to it that we had our first club room, gives
to him, in my opinion, a just claim to be honored with the
title of Founder... |
A discussion
about forming a men’s music club took place among some of
the men who attended the reception, and there being considerable
interest in the idea, a meeting was planned for the evening of October
6 to further explore the possibilities. It is safe to suppose that
some of the men who were attending the weekly meetings held by Mills
were present at the gathering on October 6 and that, through them,
Mills influenced the adoption of high ideals of manhood by Phi Mu
Alpha Sinfonia even before its official beginnings.
The minutes of the first meeting
on October 6, 1898 stated:
Mr. Wade was appointed chairman.
Report of comm. on suggestions as to what the club should
do with itself, was accepted.
Noted that a club be organized, to which shall be eligible,
any male student of the N.E.C.
Noted that the primary object of the club be sociability.
The election of officers was proceeded with... |
The minutes of that first meeting also describe
the appointment of a “committee on rules and regulations,”
which was to prepare a set of bylaws for the new organization. On
October 25, the club’s thirteen active and one honorary member,
Ossian Mills, accepted from a committee a governing document that
has remained the Fraternity’s philosophy of existence to the
present day. In part it read:
The object of this Fraternity shall
be for the development of the best and truest fraternal spirit;
the mutual welfare and brotherhood of musical students; the
advancement of music in America and a loyalty to the Alma
Mater... |
The club also accepted the suggestion of the
newly-elected director of the Conservatory (and the Sinfonia’s
second honorary member), George W. Chadwick, that the group adopt
the name of an organization to which he belonged during his student
days in Leipzig. SINFONIA was born.
The fledgling society was a
success from its very beginning. The first recorded initiation of
new members took place on November 28, 1898, less than two months
after Sinfonia’s founding. Under the leadership of its first
president, Frank Leslie Stone, the Fraternity carried on a busy
schedule of social events, recitals, concerts, and shows, sponsored
a men’s glee club, entertained visiting artists, renovated
the chapter rooms set aside for their use by the Conservatory, and
held regular fortnightly meetings, one of the main features of which
was the initiation of new members.
By October 1899 the club numbered
about fifty men and continued to add members at frequent intervals.
Sinfonia’s outstanding success gave rise to thoughts of expansion
in the minds of Founder Mills, President Percy Jewett Burrell, and
Treasurer Ralph Howard Pendleton. To them it seemed that if their
club was fulfilling a need among men at the New England Conservatory,
then surely men in other conservatories in the country could find
benefit and pleasure in similar organizations in their schools.
Large Greek-letter fraternities flourished on college campuses,
but there was no Brotherhood for men in music. Why not establish
a national Sinfonia for men studying music in conservatories and
music schools coast to coast? The men of Boston’s Sinfonia,
however, were by no means of one mind on the question of expansion;
at a meeting on October 1, 1900 to discuss the issue, arguments
pro and con were vigorous and tempers grew hot. But, in the end,
a majority agreed to spend $25.00 from the club’s treasury
(which then totaled $34.00) to send men to New York, Philadelphia,
and Washington in order to present the idea of Sinfonia firsthand
to male students of the leading conservatories. The expedition attracted
notice far outside the student world and mention appeared in leading
newspapers and magazines.
So it was that Pendleton and
Henry Hall found themselves in Philadelphia and in conference with
men of the Broad Street Conservatory on October 6, 1900, two years
to the day after Sinfonia’s birth in Boston. The Philadelphia
students requested and received admission to Sinfonia as its Beta
Chapter, confirmed by the following telegram to the waiting brothers
at the New England Conservatory:
October 6, 1900
Broad Street Conservatory applies for admission.
The Sinfonia now National.
Pendleton and Hall.... |
On November 26, 1900, a group of twelve at
the American Institute of Applied Art in New York City became Gamma
Chapter; Delta, at Ithaca Conservatory, followed in the last weeks
of January 1901. To govern the affairs of the now national Fraternity,
a convention of its four chapters was called in Boston on April
16-20, 1901. The assembly saw the sights and attended concerts in
Boston, elected Ossian Mills Supreme President, and set about the
business of fraternity government that has continued ever since.
By 1902, Beta had progressed
sufficiently to host the second National Convention. The Philadelphia
Press on April 20, 1902, gave the assembly a particularly noteworthy
account:
Nearly forty musical
geniuses from different parts of the country will assemble
in this city tomorrow to discuss in a calm, harmonious way,
topics pertaining to their art.
This will be the second
convention of the Sinfonia Fraternity of America, the first
organization which has ever tried to promote and foster a
general feeling of fellowship among makers of melody since
the practicability of producing musical sounds was discovered
in the dead past.
For three days these
musical geniuses, who hail from Boston, Chicago, Ithaca, and
New York and other parts of the Union are to enjoy one another’s
society. In that time they will talk of various phases of
modern music, discuss the compositions of the old masters,
transact business of the fraternity, hold a banquet and visit
the various points of interest in Philadelphia, and they propose
doing it in a manner which musicians of old times would have
believed impossible. In the musical discussions particularly,
it is said, the spirit of antagonism proverbially rampant
among artists of the profession will be absent. Tradition,
in this respect, has been overcome by the Sinfonia. |
A committee on national ritual and initiation
forms was appointed at the first convention, but it wasn’t
until after the death of Ossian Mills in 1920 that the ritual attained
its current form. By 1926, a committee made up of Peter W. Dykema
(Supreme President), Charles E. Lutton (Supreme Secretary), Rollin
Pease (Supreme Historian), and Turpin Bannister revised the Ritual
as a tribute to the founder and, primarily through the work of Rollin
Pease, infused the ceremony with a poetic beauty and deep esoteric
symbolism that it retains today. This committee revised the Ritual
again in 1938, and in 1947 another revision was adopted with only
minor changes to their work. Subsequent revisions in 1960, 1970
and 1982 drastically altered the Ritual, but the 1988 National Assembly
voted to recapture the original beauty and meaning of the ceremony
by adopting a slightly revised 1938 version as the official form
of the Ritual. The Sinfonia’s Ritual is acknowledged as being
one of the most beautiful and meaningful in Greek tradition.
The club that resulted from
the efforts of those young men under the leadership of Brother Mills
grew into the largest music fraternity in the United States. The
national Brotherhood that formed around four chapters in April of
1901 grew to over three hundred strong in the early sixties and
today boasts of approximately two hundred active chapters.
What has really happened since
1898? How did the Fraternity grow to its present size? What were
the motives of the founders, and how have they served as the foundation
of the organization as it has evolved into what we now know as Phi
Mu Alpha Sinfonia Fraternity?
A history of the organization
that appeared in Musical America in 1917 stated:
The Sinfonia’s purpose, interpreted
into every day life, means service to one’s fellow-man.
The fraternity covets for the man who is a non-Sinfonian in
the realm of music in America to-day a full realization that
service to music is not enough, but that service to mankind
should be the essential thing of his life. |
The writings of the founders and earliest
members indicate that they recognized music as more than a means
of artistic expression or entertainment. While the academic institution
would teach the musician to perfect his skill, Sinfonia would complete
his education by teaching him to regard music as a powerful tool
for the uplift of mankind. This idea of service to others through
music was personified by Father Mills who, beginning in the 1880s,
took groups of musicians into the hospitals of Boston to touch the
lives of those who were sick and often forgotten. Sinfonia chapters
carry on this tradition today through the Ossian Everett Mills Music
Mission.
The founders also sought to
develop the “manly musician” by providing a social atmosphere
in which individuals could develop the ideals of manhood in themselves
and their fellow-man ? ideals that, through their interactions with
others, would pervade society. The delegates who were gathered at
the first convention in Boston in 1901 stood on the threshold of
the twentieth century—a time that was to see the most rapid
and dramatic changes in the history of the world. Those men attempted
to project into this century an idea that would revolutionize American
music—an idea that emphasized the harmony and welfare of music
students over the dominant condition of competitiveness that characterized
interactions among musicians. They envisioned a brotherhood that
they hoped would go forth from the conservatories to bring about
the final harmony of all mankind. Thus, the advancement of music
in America was initially regarded as the inevitable result of advancing
Sinfonia’s ideals in musicians in America.
In the first decade of the
twentieth century, the Fraternity’s members began to realize
the organization’s potential to raise American music and American
musicians to a point of equality with their European counterparts.
America was beginning to assert itself in the arena of world affairs,
trying furiously to cast off the role of the culturally “backward”
colonies and be counted among the ranking nations of the globe.
That American musicians should want to be part of this movement
as well stands to reason.
In those days, even American
audiences and conservatories would recognize a musician only if
he had a background of European instruction. The foremost masters
were Europeans. No matter what a man’s ability, he could realistically
expect no advancement without the proper European pedigree. One
can easily imagine the effect this type of atmosphere could have
on a young musician eager to make his start in the world. This served
to intensify the competition among talented American musicians for
the few positions available to them and to foster in them a deep
insecurity and an unavoidable sense of inferiority to the Europeans,
regardless of their own abilities. The unfairness of the situation
gnawed at them. To be disregarded by the Europeans was one thing,
but to be disregarded by their countrymen for the same reasons was
almost unbearable. If America was willing to assert itself on a
level of equality with the rest of the world, could not American
musicians do the same? This became one of the driving forces behind
the expansion of a national Sinfonia.
Thus, the structure created
for musical students to develop devotion to Sinfonia’s ideals
within themselves and their Fraternity brothers became a mutually
supportive atmosphere for American musicians and a means to end
the destructive competition which only served to hold them back.
They foresaw a time when American musicians would compete, not against
one another, but against the European stigma that kept them from
a place of equality. Only then could American music take its rightful
place alongside the European tradition. The early members of the
Fraternity took great pride in being a primary force in that movement.
The rapid rate of expansion
that followed grew out of this atmosphere, as the young musicians
of the country’s conservatories eagerly sought to overcome
their perceived inferiority. By its twenty-fifth year, the Fraternity
had grown to twenty-five chapters. It doubled in the five years
that followed. It was in this period that Sinfonia experienced its
“Golden Age,” when labors of influential and selfless
leaders such as Ossian Mills, Percy Jewett Burrell, Peter Dykema
and Thomas E. Dewey brought forth a National Sinfonia that earned
the great respect of students and educators alike and truly became
a force in American music.
Sinfonia grew and flourished
in the early teens under the leadership of Burrell, a man imbued
with the spirit of Ossian Mills and determined to nurture the seeds
that Mills had carefully planted in Sinfonia. Supreme President
from 1907-1914, Brother Burrell gave selflessly of his time and
effort to build Sinfonia into a proud and strong Fraternity with
an earnest commitment to the values embodied in the Object of Sinfonia
and a demand for quality that gained Phi Mu Alpha Sinfonia the respect
of its peers.
Sinfonia continued to flourish
in the 1920s under the dynamic leadership of Wisconsin’s Peter
W. Dykema, later of Columbia University, a man of great energies
and foresight whose effect on American music education is felt to
this day. The Fraternity stressed quality in its programs, a quality
that was reflected in a series of exemplary publications written
by a young first year law student at the University of Michigan,
Thomas E. Dewey, who at the time was equally well known for a “fine
baritone voice.”
Dewey insisted on quality as
National Historian, often returning articles to their authors with
instructions to improve them. His efforts resulted in a feeling
of pride throughout the Fraternity that helped to power Sinfonia’s
rapid growth. Dewey later transformed those same standards and values
into an outstanding political career that carried him to the Governorship
of New York and just short of the Presidency of the United States
in 1948.
After America’s victory
in World War II, the idea that American music was inferior became
a thing of the past. The insecurity that had given Sinfonia its
urgency before the wars vanished. The draft in wartime had made
it virtually impossible to maintain anything other than a shell
of the organization, since many schools could claim fewer than ten
male students enrolled. With the introduction of the GI bill came
a massive influx of men into the nation’s music programs after
the war. The size problems suddenly vanished, and now chapters boomed
almost faster than anyone could keep track. Due to this rapid growth,
maintaining the same type of quality and continuity in the Fraternity’s
programs became very difficult. Rather than a natural, orderly expansion,
the Fraternity was now faced with a membership boom for which it
was not well prepared.
The increased numbers brought
about the appearance of health, but along with that perception came
complacency toward the values of the Fraternity that had seemed
so urgent before the wars. The values that had been intently championed
by the idealists of the early years seemed somewhat hollow and perhaps
a little naive to the men who were fresh from the experiences of
war. They wanted to enjoy life, to make up for lost time. The Fraternity
became larger through a desire for fellowship and renewing old acquaintances,
but the intense commitment to developing the ideals of manhood that
had been prevalent in the early days subsided in favor of more social
and professional interests. The Object upon which the Fraternity
was founded was reordered in December 1927, placing the advancement
of music in a position of prominence. The new statement read:
It shall be the object and purpose
of this Fraternity to advance the cause of music in America,
to foster the mutual welfare and brotherhood of students of
music, to develop the truest fraternal spirit among its members,
and to encourage loyalty to the Alma Mater. |
Extremely rapid expansion coupled with the
difficulties and expenses of communicating with the entire membership
and keeping records updated posed some rather large problems. To
save money, publications were streamlined. It was impossible to
put out the type of yearbook that had been the standard of the pre-war
era. The heritage of excellence that was common knowledge to the
early brothers was lost in the rush of expansion, and hence any
knowledge of Sinfonia’s early years was limited and somewhat
vague. The writings and commentaries that made up the bulk of the
Fraternity’s history were no longer published on a regular
basis, and as a result their message became less and less familiar
to its members. Along with that loss and the intense commitment
the writings had helped to foster went the national prestige that
the Fraternity had enjoyed in the 1920s and 1930s. This was not
a drastic process, but rather a decline that progressed slowly over
the ensuing years. When the scorn of established institutions that
characterized the 1960s hit Phi Mu Alpha Sinfonia, the Fraternity
was hard pressed to preserve the vestiges of national prominence
that remained. The question of quality had been replaced by the
more vital question of survival itself.
In an attempt to distinguish
itself from other fraternities and attract membership, Sinfonia’s
leaders marketed the organization as “The Professional Fraternity
for Men in Music,” a designation that, despite its departure
from the original intent of a club formed for sociability, became
a source of pride for generations of Sinfonians. In 1970, the Fraternity’s
statement of purpose was rewritten to “place increased emphasis
upon professionalism.”
The primary purpose of this Fraternity
shall be to encourage and actively promote the highest standards
of creativity, performance, education, and research in music
in America. Further purposes shall be to develop and encourage
loyalty to the Alma Mater, to foster the mutual welfare and
brotherhood of students of music, to develop the truest fraternal
spirit among its members, and to instill in all people an
awareness of music's important role in the enrichment of the
human spirit. |
At the height of the characterization of Sinfonia
as a “professional fraternity,” Title IX of the Education
Amendments of 1972 was passed, dictating that professional fraternities
cannot legally restrict membership to a single sex. After permitting
the initiation of approximately 250 females since 1976, in accordance
with the new regulation, Sinfonia was granted exemption from Title
IX and therefore designated as a “social, rather than professional,
fraternal organization.” Following receipt of an exemption
from Title IX in 1983, the 1985 National Assembly voted to limit
all membership and initiation programs in chapters to men only and
to delete “Phi Mu Alpha is a fraternity representing the music
profession” from the National Constitution as not being an
accurate description of the organization. However, until 1998, the
National Examination continued to teach probationary members that
the Fraternity was a professional society “in terms of its
goals and purposes.” As efforts increased to educate members
that Phi Mu Alpha Sinfonia is both legally and philosophically a
social fraternity, members began to question the apparent contradiction
of this classification with the 1970 statement of purpose. Concurrently,
members who took a greater interest in the Fraternity’s history
and the Ritual came to realize that the 1901 Object is the basis
of the Fraternity’s Ritual and symbols. This increased awareness
led to the decision of the 2003 National Assembly to restore the
1901 Object, in recognition of the fact that placing “the
development of the best and truest fraternal spirit” in the
position of chief importance expresses an idea that is the very
essence of Sinfonia.
With retrospective self-examination,
Sinfonia has entered its second century with a renewed commitment
to the vision of its Founders and a zeal for the timeless values
that, as history has demonstrated, provide such a strong foundation
for the health of the organization. The values that made Sinfonia
great in its early days are abiding and can be just as useful now
as they were one hundred years ago. What made Sinfonia so prominent
in its “Golden Age?” There were three overriding forces:
intense commitment to the values of the Fraternity; a belief in
the need for a vital and well-organized national organization in
addition to strong individual chapters; and a sincere attempt to
live the vows taken at initiation. As our early brothers expressed
so well in 1928, at the memorial service for Ossian Mills:
To all of us humans the future is
a closed book, except that we know it as a continuation of
the present, just as the present flows out of the past. We,
therefore, can speak of the Sinfonia of the future only in
terms of what has been. |
The future course of Sinfonia rests on the
actions taken in the present. The success that Phi Mu Alpha Sinfonia
will enjoy tomorrow depends upon fidelity and vigilance to the vision
of the founders today. Why should Sinfonia not fulfill its promise
to advance music in America and bring about the final harmony of
mankind by developing musicians — physically, mentally,
morally, and spiritually? The only limitation to Sinfonia’s
attainment of this mission is each brother’s personal commitment
and effort.
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