In the prior ITEA Journal (Summer 2012), R. Winston Morris addressed the birthday of TUBA/ITEA as an organization and presented a reprint of his editorial that first appeared in the "special organizational issue" of the Tubists Universal Brotherhood Association newsletter in March 1973. At this point, we will begin to address the history of the organization from its conception up to that recent birthday. This article commences a series of history features to be published in the ITEA Journal as part of a large project to document the history of the organization.
As will be addressed in more detail in a future article, there are many people and events that led to the initial formation of the TUBA. But the establishment of an identifiable organization with a specific focus on facilitating communication among tuba players was undertaken by Robert Ryker, starting in 1968, and that organization was given the name Tubists Universal Brotherhood Association.
While initial support for the new organization was not unanimous, it was enthusiastic, and within a few years the size of the organization, along with hte burdens and costs of administering it, far exceeded the initial plans of Mr. Ryker and his colleagues. In an October, 1970 letter to the Executive Advisory Council, Mr. Ryker identifies that there were then over 250 members; by the date of 1971 invitation to prospective new members Mr. Ryker identifies there were then well over 300 members.
Printed below is a [summary] portion of a report from Mr. Ryker dated October 1972. This portion provides Mr. Ryker's comments as to the past and present' these comments predate Winston's editorial from March 1973 and set the stage for the changes needed to transform the association as it existed into a more sustainable form.
[Two] substantial problems have gradually asssumed proportions sufficient to bring all of the growth and activities of TUBA to a halt, and to threaten the life of the organization: time and money.
... In the symphonic field other musicians have daily opportunities to share their experiences, to compare schools of technique, to keep abreast the developments in pedagogy, publishing and manufacturing in their specializations. The tubist certainly benefits from his association with other brass players of his orchestra and from the occasional vsits he enjoys with tubists from other orchestras (of other cities), but how much he needs the same case of communication which is common to other instrumentalists!
To be perfectly fair, we are not the only instrumentalists in an analogous situation, and the many more tubists in the band field are not so isolated as their orchestral colleagues, but the principle of relative insularity does remain. The lifeline which we so badly need is the essence of TUBA, a simple matter of communication. In fact, the heart of the organization must be the mailing list and the newsletter: one to enable us to communicate with our colleagues individually and the other to enable us to communicate with our colleagues generally.
Funds: Originally funds were provided for TUBA's organizational infancy by three instrumental manufacturers in a gesture of heartwarming support [Mirafone, Conn and Getzen]. This support was on the order of several hundred dollars. Four years afterward our card files contain the names of now over one thousand tubists around the world. No one at the time envisaged an organization on such a scale, and none of us were prepared for the tremendous enthusiasm of so many of the key individuals. The funds which went so far originally now would cover only the cost of postage on one mailing. With the perception on hindsight, we know that we were wrong to conceive of the organization of TUBA without any financial onus on the members who would therby benefit.
Admnistration: Secondly, the letters which have been received from enthusiastic tubists of every part of the world have been filled with fascinating observations and information of allkinds. What a wealth of source material for our newsletter, the vital link of the organization! My original thought that th eperson responsible for editing that newsletter should have direct access to this valuable information.
Again hindsight has revealed our error - we were thinking too small. The coordination of information and its distribution through the newsletter is a job which requires a capable person to do only that. Material of interest should be directed to him, and he should be highly visible for this purpose. The role is so vital to TUBA that he ust have time to give the newsletter first priority.
Those responsible for administration in any organization may be identified by a variety of titles, e.g. president, vice-chairman, secretary, treasurer, editor, and so on, but their function is to coordinate the related elements in several defined areas: people, money, information, and activities. We might even call them membership coordinator, financial coordinator, communications coordinator, and executive coordinator. Regardless, each function must be provided for in TUBA as in any organization, and none must be aloowed to suffer from time and attention given to any other.
TUBA grew completely beyond the simple admnistrative provisions which we originally made.
Restructuring: Our colleagues, overworked secretaries and I have all been acutely aware of the urgent need for a restructuring of the organization of TUBA since the middle of 1969. At that time, we could no longer keep abreast the acknowledgements to new tubists presenting themselves for membership. At the same time we were attempting to cross-index all of the valuable references in the letters we received for purposes of the newsletter, and we were attempting to further promote the growth of TUBA through planning significant projects on both a regional and international basis. We simply could not satifsy the needs of all of these functional areas simultaneously with the time and resources available.
I have long wanted to diversify our organization both functionally and regionally so that more productive activity could take place - with the more involved participation of more of us - yet without sacrificing the tremendous advantages of the worldwide character of TUBA.
The Constitution Committee: To this end I received a mandate from a regional meeting of TUBA in Chicago two years ago to convene a President's committee to draft and present a consitution defining the purposes, the functions, and the activities of TUBA. This committee met at Ball STate University in Muncie, Indiana (USA) for three days in the spring. Their work was done exceedingly well. A draft of their recommendations was sent to each of our honorary members and to those who had been proposed for coordinating roles in the organization for their reactions and further advice. Nine of the eighteen members of the advisory council responded, and their responses were completely supportive.
The proposed constitution contains provisions for dues, geographical regions, election processes, and a divesified executive with responsibilities for membership, finances, newsletters, resource centres, and annual workshops.
It was essential that these fundamental organizational concepts be the creation of a representative group rather than the inspiration of any individual. Now they must be considered and endorsed by the membership at large.
With those thoughts, Robert Ryker set the stage for the transition of the association. In the remiander of the report, Mr. Ryker a remarkably prescient vision for the organization and for a successor to move the association toward that vision. The remainder of the report, as well as the work of the consitution committee, will be addressed in the next issue.
Mr. Ryker was First Tuba with the Montreal Symphony from 1960 to 1973.
Tubists Universal Brotherhood Association, though relatively new as a named organization, had its beginnings in New York City in the 1930's, when William Bell joined the NBC Symphony. In an interview with Harvey Phillips, he traced these early years for the author. Mr. Phillips stated that with such a great tubist and teacher in their presence, it was only natural for other tubists, both professional and student, to be attracted to Mr. Bell. They met informally at McSorley's Old Ale House, in Manhattan, for beer, food and friendship. Because Mr. Bell was not always available, "these meetings were very irregular; sometimes twice a week or more, sometimes not for several weeks at a time.
Seated at a large, round table, the discussions concerned the tuba and how to improve its playing. At the table everyone was an equal, a part of the group. A sense of camaraderie prevailed, where all were no longer teacher or student, but people who had an interest in the tuba.
It was suggested by some members that the group should devise an official name. After much discussion around the table, Mr. Bell rumbled that they should call it the "Royal Order of ... . .. pots" [expletive deleted]. And thus it became, complete with membership cards.1
From the ale house meetings, until his death in August of 1971, Mr. Bell is considered by Mr. Phillips to have been a major force in the organizing of tubists. His death created a tremendous void in the tuba world.2
In 1966, Robert Ryker, principal tubist with the Montreal Symphony Orchestra, the Montreal Brass Quintet, and editor of the Montreal Brass Quintet Series, sent notice to several music publications announcing an attempt to organize an official organization of tubists. He called it the Tubists Universal Brotherhood Association, or T.U.B .A. or short. The Conn and Mirafone companies contributed money towards the expenses that would be incurred in mailings and printings. Three tubists were made honorary members of T.U.B.A.: William Bell, Arnold Jacobs and Harvey Phillips.
The response was greater than expected. Tubists from virtually every corner of the world began to request information from Mr. Ryker. More and more tubists wrote, so that by 1971, it became evident that one person could not handle all of the correspondence and the organizing that was necessary. On May 22-25, 1971, an informal committee, comprised of Robert Ryker, R. Winston Morris and J. Lesley Varner met at the Ball State University Student Center to draw up a proposed constitution and plan the structuring of the early directions of T.U.B.A.,3 with regards to commissions, workshops, and the resource library. At the end of this meeting, the committee decided to call for a general meeting of participating members at the Midwest Band and Orchestra Clinic in Chicago, in December of 197I. With the formation of the international organization in May, the December meeting saw the formation of an ad hoc committee to study constitutional matters for the North American Chapter of T.U.B.A. Harvey Phillips was elected chairman of the chapter. A year later, the by-laws were approved at the 1972 meeting in Chicago. This set the stage for the First International Tuba Symposium.
While in Boston, Mr. Phillips had approached Gunther Schuller about using the Tanglewood facilities for a conference of tubists. Schuller stated that Tanglewood could not accommodate such an influx of people. In 1971, Mr. Phillips came to Indiana University and immediately started seeking permission to hold a tuba symposium. Permission was granted for him to offer the school as the site for the First International Tuba Symposium, to be held May 22-26, 1973. A planning committee was formed, consisting of Dan Perantoni, J. Lesley Varner, R. Winston Morris, David Kuehn, Harvey Phillips, and Barton Cummings.4
In 1973, the first complete, official election was held. The officers elected were Robert Eliason - International President (replacing Robert Ryker); Dan Perantoni – North American Chairman (replacing Harvey Phillips); Barton Cummings-Secretary; David Kuehn – Treasurer; R. Winston Morris – Publications Coordinator; Raymond Young – Tenor Tuba Coordinator (later to be known as Euphonium Coordinator); and Robert Pallansch - Coordinator of Tuba Design. The first organizational newsletter appeared in the spring of this year.
The First International Tuba Symposium-Workshop is viewed by many as the point at which T.U.B.A. really got off the ground. The planning committee decided that the symposium should not be just for tubists, but for all people to whom the tuba is important, and hence, are important to the tuba.5
Reaching composers was a main part of the symposium's objectives. T.U.B.A. wanted to reach composers to tell them that there was a whole country full of tubists ready to play their music, not just a handful of top professionals.6 The symposium resulted in about 150 compositions for the tuba, in Mr. Phillips' estimation, as well as a large rise in the performance level of the tuba since then.7
Those also invited to the symposium were conductors, teachers, professionals, and representatives from tuba-making companies. These companies were given free booth space so that the sessions on tuba design could be critical and objective without worrying about offending a fee-paying exhibitor's product. 8 Three of the many outstanding names in music present were conductor William Revelli and composers Alec Wilder and Gunther Schuller.
During and after the symposium there was a large campaign for the establishment of local chapters and chapters throughout the world. Leading this campaign were both North American Chairman Dan Perantoni and International President Robert Eliason. An advisory board was formed, to be headed by the past president. It was decided to adopt the serpent as the symbol of T.U.B.A., eliminating the problem of choosing an acceptable tuba design and stating historical origin in the same choice.
Harvey Phillips again showed his creativity by sponsoring, along with the William Bell Memorial Chapter of Indiana University, the first Octubafest, a festive series of concerts featuring the tuba and coinciding with German Octoberfest time.
Starting 1974's activities off was the Tennessee Technological University Fourth Annual Tuba-Euphonium Symposium, on January 19. Many universities began sponsoring chapter activities such as workshops and Octubafests. One such workshop was held April 19-21 at Ball State University. Some of those present were Thomas Beversdorf, Robert Eliason, Ronald Bishop, Brian Bowman, and Abe Torchinsky. Sessions were held concerning New Music and the Electronic Studio, Ancient Instruments, and solo and orchestral performance.9
T.U.B.A. chapters began approaching composers to commission new works for the tuba and the euphonium, as well as for ensembles. 1974 was a year of growth and expansion for T.U.B.A. Now things began to happen for the tubist. Two major events highlighted 1975: a major recital series in the Carnegie Recital Hall in New York City, and the first National Tuba-Euphonium Symposium-Workshop. The first was instigated by Harvey Phillips; a series of five recitals in January. But this project did not come into full bloom until September 29, when he presented Roger Bobo (who had performed the first tuba recital in the hall in April of 1961), followed by Dan Perantoni ( October 29), John Turk (November 29), and Mr. Phillips' own performance in the series on December 22. The series continued into 1976 with Robert Whaley (January 9), J. Lesley Varner (January 18), Barton Cummings (February 15), the Tennessee Technological University Tuba Ensemble with R. Winston Morris, director (March 13), Brian Bowman (March 28), and Floyd Cooley (April 25).
The second event, a National Symposium-Workshop, was held at the University of Illinois, May 20-24. It presented prominent professionals and students in recital. It also gave players a chance to be evaluated in their performance by top professionals and teachers. A mock audition was held for tubists and euphoniumists, offering a cash prize to the respective winners. Some of the performers present were Arnold Jacobs, Harvey Phillips, Roger Bobo, Rich Matteson, Brian Bowman and the tube ensembles from Tennessee Technological and North Texas State Universities. Officers elected in 1975 were: R. Winston Morris (President), J. Lesley Varner (Vice President), Don C. Little (Secretary-Treasurer), Earle Louder (Euphonium Coordinator), and Robert Whaley (Publications Coordinator). With this election came the combining of the international group and the North American group into one group.10 In· this same year, the Brass Press of Nashville, Tennessee began publishing a T.U.B.A. Series of new music. It was available by subscription, whereby a member would receive a new publication at regular intervals throughout the year. This helped to support some of the new music being written for the tuba and helped to get it out to those who wished to play and study the new works being written for the tuba.
Besides the recital series and the symposium, T.U.B.A. actively began planning for the promotion of regional workshops to be held during the 1975-76 school year. These workshops were held in several parts of the country, including the Mid-South (at Bowling Green, Kentucky) and the Mid-West (Chadron, Nebraska) Regions. Tubists also took part in brass workshops and the International Brass Symposium in Montreaux, Switzerland, as well as performing as groups at places as diverse as Disneyland and Carnegie Recital Hall.
In five years, T.U.B.A. has grown from an ad hoc committee meeting in Muncie, Indiana, to an organization which has members all over the world, ranging from the beginner to the best professional.
1. Phillips. Harvey, personal interview.
3. Varner. J. Lesley, personal interview.
4. Phillips, Harvey, op. cit.
6. Perantoni, Dan, personal interview.
7. Phillips, Harvey, op. cit.
9. Varner, J. Lesley, op, cit.
This article is the second half of a graduate course paper written by Mr. Leeka in partial fulfillment of the requirements for the Master of Arts Degree at Ball State University, Muncie, Indiana. The title of the original paper is "Tubists Universal Brotherhood Association – A Survey and Short History of the First Five Years, 1971-1976."
Mr. Leeka is a student of J. Lesley Varner.
In the previous issue, we looked at the inception of the Tubists Universal Brotherhood Association in 1968. Robert Ryker has indicated that the direct impetus for TUBA came as a result of the experiences of him and his students resulting from Expo 67 in Montreal, a six-month exposition from April to October 1967 during Canada's centennial year. Robert indicated that he and many of his students were heavily employed during Expo 67 and very much enjoyed the camaraderie that resulted from the opportunity to get together during that period of musical activity, with the result that discussions frequently referenced the thought that "someone should organize a tuba association."
Robert once characterized the formation of TUBA as "the spiritual exptension of the 'tuba fraternity' which met at convenient intervals at McSorley's Ale House in New York City, presided over by the inimitable Bill Bell." It is not documented just when such gatherings at McSorley's, with Mr. Bell's involvement, may have started (possibly shortly after his relocation to NYC in 1937, when he assumed the chair in the NBC Symphony, though he spent summers there as early as 1926, playing in the Goldman Band and the Asbury Park Municipal Band). From reports and available documentation, the McSorley's gatherins were not strictly limited to tuba players by any means, and were clearly not limited to academic discussions regarding the tuba.
Eventually, there was tongue-in-cheek formalization for the participants in these gatherings, with the printing of memership cards for the Loyal Order of S*** Pots and Amalgamated Loyal Sons of McSorley's Marching Clam Chowder Band. An example membership card [is in the Winter 2013 Journal, page 76].
The camaraderie between tuba players, and between Mr. Bell as teacher and his students, resulting from the McSorley's gatherings and club were not the only precursor to a tuba association. Other persons had thoughts of such an organization, quite likely for the same motivations expressed in Robert Ryker's October 1972 Report "TUBA: Past, Present, and Future," the first part of which was printed in the previous ITEA Journal (Vol. 40 No. 1), and the remainder of which is printed below.
Ed Livingston had conceived of some form of tuba association at least as ealry [as] 1965. In a letter from Mr. Bell to Ed in August of 1965, he references with approval a "Tuba Players Club" of Ed's: "Your Tuba Players Club seems to be the beginning of something good. We shall have to make it International someday."
Clearly, Robert Ryker's activities in 1968 in forming TUBA led to a sizable organization, one that grew in short order to the point that it required a more formal structure and additional individuals to serve the membership in the manner desired. It should be noted that although the early rhetoric discussing the orgaization typically refers to tubists, the intent of the organization was not limited as such. The membership roster of November 1969, only a year into the life of the organization, identified three members as playing tenor tuba (two emeritus), as well as band and music directors and other interested individuals including publisher (and emeritus tenor tubist) Robert King and Stan Kenton.
As a result of the need for a more formal organization with expanded management personnel, Robert formed in 1972 a constitutional committee consisting of himself, Winston Morris of Tennessee Tech University, and Lew Varner of Ball State University, tasked with arriving at a guiding constitution for the organization as it took the next step forward. Robert also began a search for another person to take over for him as President of the organization.
In this remaining portion of Robert Ryker's 1972 Report, presented verbatim, he discusses the search for a replacement president and the identifucaiton of a successor appropriate for guiding the further development of the organization. He also identifies other innovations that boded positively for the organization, including the recent formation of a trombone association and the announcement of the First International Tuba Symposium-Workshop to be hosted by Inidana University in May 1973. In the next volume, we will look at the work of the constitutional committee in crafting the consitution that would be adopted by TUBA at the 1973 Symposium-Workshop.
Pragmatic Considerations: We must pay good attention to the lesson of experience which we have learned: we can't do everything at once.
For instance it would be wonderful to organize TUBA on an international basis immediately, wouldn't it; but it would be more pragmatic and more productive, I am certain, to plan the international structure and to concentrate first on organizing well one region to start with. With profound concern and appreciation for our colleagues in other parts of the world, there is but little doubt that the most active region of TUBA at this time is the central North American region. Here there is a concentration of very active tubists, the artists and professors of a number of major orchestras and major universities, an already flourishing variety of activities, and a large proportion of our present membership.
Let us organize our house one room at a time, and let us begin here.
In our choice of members to perform the coordinating functions which TUBA requires, proximity is helpful but not essential. It is vital however that they have both the interest and the ability to do what will be required, and this ability is dependent in part upon time and resources.
It would be tremendously helpful to put these responsibilities in the hands of individuals associated with institutions which will share and support our interest in the activities of TUBA, as for example in the case of a university which would allow use of staff time and campus facilities for this purpose. This is apparent already in the cnetral North American region, where Indiana University, Tennessee Technological University, and Ball State University have given just this kind of official support to the first international tuba symposium, the resource centre for published tuba materials, and the resource center for recorded tuba materials.
The Presidency: My role during the four years of TUBA's existence has been one of two kinds: originally to draw upon the inspiration and example of the tuba fraternity in New York, the information on hundreds of tubists contained in the correspondence files of the Montreal Brass Quintet Series, the generous financial support of Mirafone, Conn, and Getzen, and the dedication and voluntary labour of my colleagues and students' presently to preserve what has since grown from those precious seeds in somewhat the manner of a caretaker government until that time soon when the vital administrative functions can be carried on by several individuals with the capabilities, the time and the resources which we know now are so necessary.
The President's committee considered this matter with great care, and recommended to me that I remain as President of TUBA until the election processes contained in their proposals could be properly implemented, that the organization could continue under my guidance through the transitional period. It must be apparent to all however, as it is painfully apparent to me, that this is not working out. ... I have therefore deicded to ask another colleague as soon as possible to accept the heavy responsibility to serve TUBA as acting President, and to implement election procddures in due course.
A Successor: Such a person must be enormously capable and be able to command international respect, for we must tenaciously guard the worldwide character of TUBA. At the same time he must be well associated and able, in particular, to guide the organization of the region which has already been cited, the central North American region.
Among the thousands of tubists thorughout the world there are several such highly respected and capable persons. In the mid-United States, for example, I may mention Arnold Jacobs for his extraordinary influence on our profession both as an artists and as a pedagogue. Our distinguised colleagues are in widely separated parts of the world however. Most of us are aware of the similar influence of Alexander Lebedev in the Soviet countries; and Kurahei Sato is likewise revered in the Orient, and Ionel Dumitru is correspondingly admired thoughout the Near East. There may not be a great many men of this calibre, but there are some.
I have spoken recently with a good friend and colleague to ask him personally to serve as activng President fo rTUBA. He is widely recognized for his tremendous abilities as an artist, teacher, and administrator. He is a man of enormaous energy; he has a marvelous personality and superb presence. He brings dignity to our field for his universal respect. How he accomplishes all that he does I cannot imagine. It is said of Harvey Phillips that he doesn't even sleep - instead he practices.
Innovations: There are several other recent innovations besides the appointment of Professor Phillips at Indiana University which bode well for the future of TUBA.
An international trombone association has made its appearance in teh past year with a board of directors and a [sphere] of activities which seems to be centered in the United States. They have already witnessed a highly successful national trombone workshop, well-documented in the Brass World, they have instituted annual dues of ten dollars, and they have elicited an enthusiastic response from their field.
The Brass World itself has emerged as a well-respected periodical of professional standards and considerable practical value. Among other things it is the official journal of the trumpet symposia, the horn workshops, and the trombone association. TUBA has long ago received an invitation from the editor to contribute to Brass World. There is little doubt that this is widely expected of us and that it will be to everyone's advantage - ours and theirs - that we adopt Brass World as the official journal of our proceedings, too.
Indiana University will [host] the first international tuba symposium-workshop on their campus in May. An excellent job of planning has been done by their project committee and a programme of activities has been projected in keeping with the high standards other brass workshops which are a tradition of only the past half-decade.
In preparation for this symposium the February issue of the Instrumentalist is to be entirely devoted to the tyba symposium, TUBA, and related articles. The entire membership files of TUBA have been computerized by Indiana University in order to [disseminate] all related information concerning the symposium to every tubist for whom we have personal information.
Credit of the imagination and implementation of the notable tuba projects belongs largely to Harvey Phillips. And Harvey has discussed with me his suggestions for further such projects which we will surely see realized in the not-distant future.
Coda: An integral part of this report are the proposals of the President's committee for the Constitution of TUBA, endorsed as I have described by the international advisory council. To this I must append my endorsement of a pragmatic recommendation that th eglobal organization of TUBA wiat temporarily upon the immediate organization of one region, and then the next, and the next, until our world is complete.
To Harvey Phillips and to those who will have the privilege and responsibilty of working most closely with him I extend the very best wishes and support of all of us in TUBA, for we have the deepest interest in the results of their efforts and good works.
Robert Rÿker, Montréal, October, 1972
As surely as the 1960s can be labeled "the Golden Age of Percussion," the 1970s will be regarded as "the Golden Age of the Tuba." What we are involved with in this respect is much more important than any individual aspirations or ambitions. We are dealing with nothing less than the "image" of our instrument and ourselves. The accomplishments of the very best of our ranks demand proper recoginition and serious respect from all the music world. If we are concerned about the art of tuba playing, if we are serious about ourselves as mucisians, if we can establish the image of artists of the first order comparable with performers on more established instruments, then, it will be difficult for a leading American composer to state that he would consider composing a concerto for "almost every instrument except the tuba." It will be inappropriate and proof of ignorance for music critics to refer to the tuba as the "belcher of the band," as a "non-paper trained elephant, lion or hippo," or as a "musical curiosity." It will be difficult for manufacturers not to condisder our advice when designing new instruments, and it will be difficult for publishers not to seek out and produce the best literature possible for the tuba.
When J.S. Bach died in 1750, the baroque period went with him. When William J. Bell died in August, 1971, a tremendaous void was created in the tuba world. The collective, creative efforts of the tuba fraternity must operate with maximum efficiency in order to help fill this void. One of our most respected members recently stated that there was less jealousy among tubists than any other group of instrumentalists and that he "never me t atua player he didn't like." This kind of spirit exemplifies the camaraderie necessary for the success of a tuba fraternity.
T.U.B.A. is now in the final stage of infancy. When H. Robert Ryker, our International President, first placed a few obscure notices in several publications some five and six years ago announcing the birth of a tuba fraternity, little did he realize the monstrous project he had nurtured. Before the first year expired, some 750-1000 letters filled his files from every imaginable corner of the world. The wheels were slow, but due to the thoroguhness of Bob Ryker, the stage was set. In Decmeber 1971, at a T.U.B.A. meeting during the Chicago Mid-West Clinic, ad hoc committees were formed to consider constitutional matters and the formation of a North American Chapter of T.U.B.A. The 1972 meeting is documented elsewhere in this newsletter. Harvey G. Phillips, Professor of Tuba at Indiana University, was elected Chairman of the North American Chapter. The tremendous energy and total dedication of Harvey Phillips sets the stage for the First International Tuba Symposium-Workshop, co-sponsored by the Indiana University School of Music and Tubists Universal Brotherhood Association. The importane and far-reaching effects of this historic meeting will be felt for years. The tuition fee of $75 would just about cover the expenses for a single master lesson with any one of the dozens of tuba artists and composers who will be present. Further information is presente elsewhere in this newsletter along with an application form. This application needs to be returned as soon as possible. A more specific and complete brochure will be available in the very near future.
This special "organizational" issue of the T.U.B.A. Newsletter contains all the documents and information necessary for every tubist to be fully informed on all aspects of T.U.B.A. and the F.I.T.S.W. The next (and most important) business meeting of T.U.B.A. will be in Bloomington, Indiana, on the morning of May 26, 1973. At this time, formal acceptance and ratification of final documents (bylaws and constitution) and the election of officers will take place. Ideally, everyone will be a "dues-paying" member at that time.
The T.U.B.A. Newsletter should become a regular publication by next fall. Initial plans include three publications per year between September and May. The Newsletter should be considered as an open and informal forum for the discussion of any and all aspects related to any member of the utba family. Please forward all pertinent information (reviews of new music, recital reviews, programs, local chapter new, etc.) to: R. Winston Morris, Publications Coordinator.
Finally, the mundane matter of dues! Simply, dues will help finance tuba commissions, special publications vital to the tuba family, a regular report of all activities of interest to tubists by means of a newsletter, future symposia, research projects and surveys, membership rosters and whatever else the membership deems appropriate. In short, dues will help to "reshape the image . . . "