# Music by Genre > Orchestral, Classical, Italian, Medieval, Renaissance >  A message from the new cmsa president

## M2Lou

To all Mandolin Café participants  

For those of you I have not had the pleasure to meet, I am the new President of the Classical Mandolin Society of America (CMSA). 

Ive been playing the mandolin, addictively, since December 2000. (Prior to this, I played percussion and piano.) I started playing with the Minnesota Mandolin Orchestra in October 2001. Since then, Ive attended every CMSA convention and a number of other workshops (e.g. AMGuSS, Mandofest, CAMW). I also play in an Irish band, an on hold jazz trio, and give private mandolin lessons. Professionally, I recently closed out a career in the accounting and finance field, most recently consulting with businesses in crisis. 

The last few months have been consumed with learning the CMSA ropes and planning for the 2008 CMSA Convention, October 15  19 in Montreal. (I hope you will join us! Our conventions are great!) 

 As Ive talked to a number of people, it is clear that CMSA has been somewhat under the radar in mando land. It is my sincere desire to improve CMSA during my tenure to better serve its members and to attract new members. 

I had the pleasure of meeting with CMSAs founder, Norman Levine, shortly before he died. He discussed his reasons for starting CMSA and its place in the mandolin world. I agreed on all counts and intend to try to make his vision a reality.

In order to do so, Im in the process of examining our strengths and weaknesses.  This note is requesting your constructive comments to help me steer CMSA in the right direction.

Please tell me the following:

-	What is CMSA doing right?
-	What is CMSA doing wrong?
-	What can CMSA do to improve?
-	Are you currently a member of CMSA?
o	Why or why not?
-	Are you planning on attending the CMSA convention in Montreal? 
o	Why or why not?

I am going to ask the same information of current and past members of CMSA, after which, Ill sort through all this input and use it to create a 3 year strategy for CMSA Board approval. 

Thanks in advance for your help!

Lou Chouinard

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## vkioulaphides

Welcome aboard, Lou!

Leaving the first three items for later, or for others to reply to: yes, I am a lifetime member; I was inspired to join after one of my conversations with Norm; alas, I will not be able to attend, for as much as I would have wanted to-- no fault of CMSA, of course, but as I am in the field of academic administration, that time of year is SUPER busy, and even a momentary absence leads to instant chaos. # 

I do wish the CMSA the very best, and very best to you in your almost-new office. It was a GREAT pleasure meeting you at Carlo's NY Workshop last March. I hope to cross paths with you again. Please do not hesitate to call upon me, should you think of anything I can do for the Good Cause. # 

Cheers,

Victor

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## Plamen Ivanov

Hi Lou,

I'm not a CMSA member (yet). But i think all the mandolin community (not just in USA, but also worldwide) shall be interested in a strong and indisputable organization of the american classical mandolinists. I wish you all the best and good luck!

Greetings from Europe!
Plamen

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## mandoisland

I am a founder member of the CMSA, and I have been a member for many years. The main reason for me to quit the membership was the difficult procedure every year - to get some dollar bills from my bank and send a letter to the USA.

So my first wish is, that you install a simple possibility to pay the fees from Germany - paypal would be a good solution, credit card would be another option.

I have the impression, that the position of the classical mandolin in the USA has gained a lot since the CMSA has existed and - of course - also through the fantastic possibilities of the internet and email.

I have always observed the yearly conventions, but as I am from Germany it is not so easy for me to take part in one.

I wish you all the best for your presidency - best wishes from Germany.
Michael

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## labraid

I went to click on the link for this years convention, but the only information I found was room rates. What's happening at the convention? 
This would be a good place to start at getting people interested in CMSA. I am interested in classical music, mandolins, and things happening in america, but why should I join CMSA? (that is a _thought_ question by the way.  )
I do plan on joining, and being at the event (if gas stays under $8 a litre, else I may walk). But I do think there is an issue of _presence_ which could be improved by the CMSA, a group I hardly know anything about unfortunately. Perhaps sponsoring these very forums, discussing with Scott T, a joint promotional venture somehow, improving the website, things along those lines?
I am not being critical. At least not negatively, but in a spirit of hope. CMSA could perhaps use an infusion of passion, determined vision, and even, dare I, youth?

FWIW

Looking forward to meeting many of you at the event.

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## violmando

HI Lou--glad to have you at the reins! We met at AMGuSS. I let my membership lapse because a)the magazine wasn't coming out and/or was so late it was ridiculous and b) with my husband disabled and out of work for 2 years, I'm only belonging to things that I feel I get something out of. I'd LOVE to go to Montreal, but as a teacher, I can't take that time off--we get 2 personal days a year. If I'm performing, I can ask for professional days, which I may or may not get. But it's a moot point; I can't afford the trip anyway.
I think the main problem CMSA has is VISIBILITY and COMMUNICATION--keep working on the website and get the journal out in a more timely manner and folks will think it's more worthwhile to join. Just my opinion. 
Yvonne, cellist with the Dayton Mandolin Orchestra

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## pigpen

I am not a CMSA member, but live in VT and I am interested in attending the convention. Unfortunately, I have been looking at your website since the convention's announcement and can find no further info than the hotel info. As a non-member, I have been (likely delusionally) thinking that maybe this is because the convention is for experienced convention-goers/long-term CMSA members rather than potential newbies like myself. So, further communication (seminars, teachers, times, cost...) there would be helpful in making me feel that I could attend. I hope that it goes well and that I can join you there.

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## MLT

Hi Lou, 

I am a (new?) member of the CMSA having just joined late last year/early this year thanks to the extensive outreach efforts of Jonathan. #

To answer your questions: 

I think that my answer is the same for several of your questions. #That answer is...exposure. #In many ways the CMSA is doing great things by offering a website and The Mandolin Journal. #But, only a very limited audience see these and yes, as mentioned, they are sometimes woefully out of date. #Please understand that this answer is in no way a criticism of the hard work that goes into managing/publishing the website (I also do one for a non-profit) and the Journal. #These are labors of love and dedication and I want to see them continue. # What I am saying is that we need to grow them and make them full of content and content that is current. Having said that, I also feel that it is up to the membership at large to take some ownership of that content and provide it to those who are managing these publications. #

As to attending the convention. #Unfortunately, I will not be able to attend, it comes down timing (this year). #I hope to plan better for 2009 though as there are several members whom I have been in contact with that I would love to meet in person.# I have seen the photos and read some articles and posts concerning the conventions and they look as though they are filled with fun and ofer great learning opportunities. #

Thank you for taking on this task and thanks for asking.

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## Linda Binder

Lou, the very fact that you're asking for input and openly looking at what needs improvement in CMSA is terrific, and a positive change. #I'm enthused enough to rejoin. #My check and application will be in the mail Tuesday morning! #There are lots of good people in CMSA and there always have been, but your willingness to communicate and positive attitude puts a much more welcoming face on the organization.

I understand from having spoken to you recently that convention details can't be elaborated on yet because guest artist details are still being worked out. #I'm just mentioning that to let others know who are checking for convention info.-- It's not that the website isn't being updated, its that the information is still pending. #I'm glad to know the dates so I can start working to make that time frame available to attend, but it will be really exciting when specific offerings and performers are revealed. #Antici........pation! #Note to Brian--I hope to meet you there...and your elegant new bowlback!

Keep up the good work Lou!

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## John Goodin

Hi Lou,

It's great to see you pop up here at the Cafe! I think your message is right on target and I hope that you get some useful private responses as well as these public ones. Being a long time member I won't comment too much. I will point out that I think that Jackie Zito is doing a great job of editing the Mandolin Journal which is now back on schedule. I encourage all the members of this discussion board to consider contributing articles to her for inclusion in future issues.

At this point I intend to go to Montreal. I think Montreal is a great location and I think it's important for CMSA to hold the convention in Canada from time to time. But 2008 poses special challenges. First, there is the change in travel documentation requirements. I, for example, still need to send in my passport renewal request. When I attended CMSA in Toronto I didn't need my passport. Second, I spent an hour yesterday looking at air fares from 5 different midwestern airports and couldn't find any flight to Montreal for much less than $800. I'm going to keep looking at options but that kind of price could be a deal breaker for me. 

I'm hoping to catch one of your summer concerts this year. Maybe Lon will even let me sit in again! Thanks for taking on the hard job of CMSA President.

John G.

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## Dave Cohen

John, I had to renew my passport in 2005. Went to the nearest P.O. and did it in less than an hour. They said at that time that it would take about 90 days, but managed to send it to me in less than 60 days.

http://www.Cohenmando.com

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## Rick Schmidlin

I'd like to join

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## Docreed

Hi Lou,
Thanks for the request for feedback. #I have been a member for over 10 years but have not attended a meeting for several years because they have all been on the eastern half of the US and Canada. When I first joined the meetings would alternate; East-Middle-West but for the last several years the West has been left out. I hope you can get back to a geographic balance.

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## Don Julin

Congrats Lou and congrats to CMSA members for selecting you. I have been a CMSA member since 1999 and remember meeting you first in Toronto. (followed by Lawrence Kansas and the Minneapolis Mn). Lou I think you are the right guy for the job. I second the notion that by asking for input you have already improved CMSA. My suggestion is that we can better serve the mandolin world by thinking in terms of "The mandolin IS" not "the mandolin was". I understand about the golden age of classical mandolin music but if we only focus on the past at best we re-create. I think it is best to leave the re-creating to historical museums. We currently are living in a very exciting prolific time for the mandolin. Every time I go on youtube I see someone playing something fantastic. The younger generation that is growing up listening to Chris Thile, Josh Pinkham, and others, will be able to play things we could only imagine a few short years ago. I believe that that history of mandolin and mandolin ensembles is important but but if I dare compare this to driving a car it best to keep your focus on the road ahead of you with one eye checking the rear view mirror. I am very optomistic about the future of CMSA with Lou Chouinard driving the bus.

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## Jonathan Peck

OK, five questions for you.

What is the CMSA?
What is the mandolin journal?
What does CMSA do?
How does CMSA help me?
How can I help CMSA?

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## alan

Hi Lou,

Great to hear that you are the new CMSA President. I think that you will do a great job and you have my vote for sure.

The first CMSA convention that I attended was in 1997 in Louisville, Ky and it was a great experience. I think one thing folks may not realize is the CMSA Conventions really celebrate the mandolin and it is not just classical mandolin. Many of the participants play a wide range of music on the mandolin and the jamming, workshops and performers at the conventions are also quite varied. I have attended 4 conventions so far and they have all been great. #

Best of luck to you Lou and I hope to see you in Montreal.

Alan Epstein

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## MLT

I would like to add/clarify my earlier posting.

Today I received the latest edition of _The Mandolin Journal_. I have not read it all yet, but I have had an opportunity thumb through it. As mentioned it is the largest to date (38 pages cover to cover). And it looks fantastic. 

I would like to apppologize to the Editor, Jackie Zito, if my comments above in any way were offensive, that was not my intent, and I can see from this issue that the Membership does take pride in this publication and supports it by offering content--and well we all should. 

Just may additional 2 cents.

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## John Goodin

I too received my copy of Mandolin Journal yesterday and (despite my own one page contribution) it is an excellent issue indeed. Jackie Zito is doing a great job as the new editor. This issue features a cover story on Alison Stephens which includes an interview conducted by the editor. There is also a good insider's article by Barbara Conrad on the March Carlo Aonzo workshop in NYC.

I would encourage anyone with classical mandolin news to write an article or concert review and send it to Jackie at CMSAjournal@gmail.com. I think the deadline for the next issue is July 1.

Dave, thanks for the passport encouragement. I'll get it renewed in time for Montreal.

John G.

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## violmando

Lou, I just renewed my membership after letting it lapse a year or two (maybe more?). You might have someone check for folks like me that gave up on CMSA during the rough times--we could be emailed to strengthen the coffers a bit, maybe add some articles, whatever. #Some of us were turned away, but that was by a different attitude and if we were approached by new folks, we'll come back! #It's just too bad that things are tough financially now that some of us can't make the convention, but we can be there in spirit. I DO agree with Don "88 strings" that we need to focus on the future of the mandolin more than the past AND when talking about the convention, put emphasis on the non-classical as well for those Cafe members who aren't into the Orchestra scene. Hope the schedule gets up soon and GOOD LUCK!!! Yvonne

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## Eugene

I keep promising myself to join, but I am so active in so many organizations, I usually get distracted elsewhere. In the past, I have been resistant simply because the organization had a reputation for 1) laxity in communication with its membership and 2) little formal interest in dedicated art-music repertoire for mandolin (as an unnamed friend once put it, "Turkey in the Straw" isn't necessarily "classical" simply because it's being played by a mandolin orchestra). The climate there, at least from my outsider's perspective, seems to be changing, thanks largely to the efforts of advocates like you, Lou. I think it's time to renew my self promise to get involved...and perhaps to actually do so.

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## Robert Beene

I have been a member of the CMSA for about 10 years and am responding to Eugene's concerns. #I can relate to his number one. #The poor communication, mostly because the Mandolin Journal was so infrequently published over the past few years, has concerned me as well. #However, with the issue of the Mandolin Journal that just arrived in my mail box, and Lou's outreach, it appears the CMSA is working hard to change that problem.

Eugene's second concern is totally unfounded. #I don't know where anyone got the notion that tunes like "Turkey in the Straw" are played by mandolin orchestras and assumed to be classical. #I challenge whoever made the comment to play in the En Masse orchestra at a CMSA convention. #The En Masse orchestra plays some very challenging pieces that will take your breath away. #(not that there is anything wrong with Turkey in the Straw)

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## Eugene

> Eugene's second concern is totally unfounded. #I don't know where anyone got the notion that tunes like "Turkey in the Straw" are played by mandolin orchestras and assumed to be classical. #I challenge whoever made the comment to play in the En Masse orchestra at a CMSA convention. #The En Masse orchestra plays some very challenging pieces that will take your breath away. #(not that there is anything wrong with Turkey in the Straw)


I don't think the assertion ever was that "Turkey in the Straw" specifically was ever actually played by the en masse orchestra, but rather that there was a time that the dedicated historic and modern art-music repertoire specific to mandolin may have been under represented. #I got the impression that "Turkey in the Straw" was a hypothetical exaggeration. #Personally, I come to the mandolin to access the music that was written for it. #I take no slight with anybody who wants to play Bach transcriptions (or even Turkey in the Straw), but that guy isn't necessarily me.

Jim Bates is a friend of mine, living in my town and directing the string program of a local university where I have several friends and ensemble partners on the faculty, a university where I occasionally perform on the faculty recitals of those friends. #It certainly was _not_ Jim who made that assertion, but discussions with Jim in the past--discussing things very positively, as Jim always does--did help form the opinion I had carried, in spite of Jim's positive perspective.

Again, I want to be clear that the organization has been growing in personal appeal to me in recent years...even if I'm not ever likely to find the time to travel to the convention. #The potential of my membership, even the notion of relatively active membership, is becoming more interesting all the time.

Frankly, I'm sorry I've been peripheral to the organization for so long. #A volunteer/membership organization _is_ its members, and those on the outside can't blame any such organization for what it isn't...so I won't. #I will simply belong or not.

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## Dave Cohen

I'd like to make an unsolicited pitch for CMSA membership. I've never been a 'joiner', and I must admit with some guilt that between research, writing, and building instruments, my hands are already too full to volunteer for anything. Still, I have maintained my membership in CMSA. CMSA needs our membership dues, our membership, and our attendance at the convention. And, attending the convention is a win/win if there ever was one. The performances, workshops, jams, friendships, contacts,...., have been worth far more to me than the total amount of money I have paid to CMSA.

For the combination of mandolin family instruments and classical music (from 'light' to the most serious), CMSA is the only organization there is. It's a small organization, and it should be a lot bigger. If we don't support it, normal attrition would probably doom it to eventually dying out. And if that happens, there would be a huge void where mandolin family instruments and classical music are concerned. We all need it, even if it is not a perfect fit for everyone. I'll hypothesize that if CMSA can increase its' membership, it will also increase the small number of energetic people like Lou who together can make the organization thrive and increase its' benefits to all of us. So, Eugene, I think that you oughta join and come to the convention. You'd enjoy it, and I know that we would enjoy seeing you.

http://Cohenmando.com

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## margora

My two cents:

1. Lou Chouinard is a superb choice as the new CSMSA president. Lou has outstanding business experience from his career as well as great people skills. He also plays a mean mandolin.

2. I've attended two CMSA conventions. I enjoyed both very much, especially meeting other players from around the country (world) and participating in the competition. I also enjoyed the En Masse experience although, since I play regularly in the PMO, I experience more or less the same on a regular basis. Re: Eugene's comment, there is a small, but growing body of truly excellent works for mandolin ensemble that deserves showcasing (eg. Victor's concerto), and the CMSA convention is an obvious place to do so. In the PMO at least, transcriptions play a very minor role, and we play essentially nothing from the "Golden Age" era (one atypical piece by Calace excepted).

3. I am pleased that the Journal is back on track. Several articles that I wrote were held up for a long time (they have recently appeared). Regular appearance of the Journal will go a long ways towards restoring confidence in CMSA.

4. With regard to the convention in general, Eugene does have a point -- there could be more "dedicated art-music" exhibited of the chamber music variety. In the recent past this hasn't happened much, I surmise, because most of the relevant performers are in Europe and money is a problem (I do note, however, that John Goodin has done exemplary work in this regard; his workshop at the Denver convention was outstanding). There also was more going on when the Troesters and Mair-Davis were active. However, a little of this goes a long way -- not much of the dedicated art-chamber music of the mandolin stands up to repeating hearing, frankly. I enjoy hearing the Beethoven as much as the next person, but I would shudder to do so every year (I might make an exception for the Scarlatti, though). 

5. A specific convention suggestion that I have is to schedule a few events for advanced/pro-level players. Most of the workshops are geared towards beginning and/or intermediate players -- which is fine, but that doesn't leave much to do for advanced players. For example, a "masterclass" with, say, Carlo, comes readily to mind. I'd also enjoy presentation of a scholary paper or two. I imagine this would make Eugene happy, too.

6. CMSA should continue to do what it can to encourage/support younger players of the mandolin. It should also do what it can to make inroads into classical guitar programs around the country. A few years ago the PMO played at Ben Verdery's guitar festival at Yale, and we got an excellent write-up in Classical Guitar magazine. There are a lot of possibilities here, not the least of which is improving the ensemble skills of classical guitarists.

7. I wonder if there might be a way for CSMA to help sponsor, or at least encourage, "exchange programs" among the various mandolin orchestras in North America. This could include, for example, guest appearances by members of one orchestra with another, regional tours, repertoire exchange, etc. The PMO is doing repertoire exchange with foreign groups (Het Consort, Toulouse, various other German, Spanish, and Australian ensembles) but not within North America.

8. I don't know whether I will be able to attend the Montreal convention (because of scheduling issues); however, there has been some talk that the PMO will perform, in which case I would go unless physically unable to do so. 

9. One of the reasons I go to music conventions is to shop. I realize there aren't that many vendors but Best Music really needs to be at the Convention, plus all the luthiers one can muster. I don't think CSMA needs to subsidize vendor attendance but the cost should also not be discouraging.

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## vkioulaphides

While I blush to mention this on the heels of comments by an _economics_ professor, a hypothetically (or rather wishfully) larger CMSA would, by internal economies of scale and external purchasing-power, almost automatically do better. Interconnections between members would generate more cross-visibility, conventions would attract more vendors/luthiers, etc., etc. Sheer size would yield many other beneficial results too obvious to mention.

I therefore wholeheartedly second Dave's main point: first and foremost, it is *membership* that the CMSA needs! It is only a logical conclusion that, for all those who wish the CMSA were "better", in whatever way they judge and measure that, the first and crucial step is, well... joining!  

Cheers,

Victor

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## Jonathan Peck

Well, I guess I'm in the minority here. I still haven't read anything that would make me want to join or participate. In fact, I'm starting to reaffirm my decision to pursue solo works rather than ensemble or orchestra playing. I will continue to follow this dialog in search of something that will change my mind. Also, it's been my experience that any organization with many heads and no arms is doomed to mediocrity.

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## Jonathan Rudie

Hi Jonathan Peck,

If you send me your address I will mail you a copy of the latest CMSA journal so you can check it out. #There are many benefits to CMSA membership. The teacher and training resources; #the excitement of playing in the en mass orchestra. #CMSA provides access to top notch teachers and education programs. The opportunity to interact with, hear and learn from world class musicians. #The CMSA #not only affords its members an opportunity to meet kindred spirits and to gain life long friends, but joining the CMSA affords an opportunity to improve your technique, tone quality, tremolo, duo style, no matter what type of music one wishes to play or learn. #Join the CMSA and become a better mandolin player and better musician. # I encourage you to join the CMSA and attend the convention.

As you expressed interest in pursuing mandolin solo works The CMSA can steer you to terrific solo works composed for the instrument (modern era and romantic era). I would also add that I beleive the type of music you study is probably one of the biggest keys to accelerated growth imo. If you play fiddle tunes that are at the top of the difficulty list, you just scratch the surface of the difficulty level of the Mandolin music that has been composed and is out there (modern & romantic era). Joining the CMSA can help you find the resources to learn this music and grow as a mandolin player.

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## Jonathan Peck

Hi Jonathan,

Thanks for your insights on the organizations goals. I'm sure it takes alot of hard work to make those goals a reality. I'll send you a PM and I'd love to check out the journal.

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## vkioulaphides

Quite objectively, there is VERY significant "value added" in the "refurbished" CMSA. To cite one, first-hand experience, 0% hype, 100% fact:

A decade or so ago, two composer-colleagues of mine (one Spanish, one Italian) and I started a Composers' Collective dedicated not to promoting our OWN works, but to preserving folk, urban/popular, "old-time" music from our common, Mediterranean region of the world. Obviously, this was never meant to be a self-aggrandizing, or commercially profitable venture. My part, which I gladly accepted, was to collect, edit, and publish mandolin music from my native, Greek tradition; the "dedicated subsidiary", whose direction I naturally assumed, was named GrecoMando Editions.

But... how does one reach one's "clientele", if one is not really in the _business_ of publishing? We had no "seed money", all three of us made our living in the monetarily unrewarding profession of music and, worse yet, we had no aspiration of profit-- recoup, at best. We thought long and hard about this. THE most obvious outlet was The Mandolin Journal; so, we paid the $70 annual, (4 x trimester) fee, and posted an ad-- not a small cost in context to a "company" that is committed to $10-per-volume-inflation-be-damned publications, that must still bear printing-and-materials costs of production, and whose revenues are immediately "recycled" to buying torn and tattered old octavos, moth-eaten song-books dug out of musty bookstores, old recordings, etc. for our NEXT publishing project.  

The chronic tardiness of The Mandolin Journal, however, strained our relationship, respective to this "publicity campaign". No, we were NEVER unhappy to support the CMSA with our modest advertising fees, but getting nothing for something --my disgruntled colleagues' understandable view of the matter-- was too much to bear. I was finally asked to pull the plug on this ad campaign, and revert to our earlier, e-mail-blitz-based campaign targeting those who ALREADY were our "customers", once a year, every time we had a new issue to offer.

Enter... TA-DA!!!... the new and improved CMSA: not only is The Mandolin Journal now on time, but the Society offers *free* access to me, as member, to post our publications in the Classified Ad section of the website.

So... have we gotten rich on the endeavor? Hardly. But the point is, as always, the *mandolin*. More means more: more people see the ad, more buy a volume or more of our publications, more play the music we are trying to preserve _in the first place_, more audiences get to hear it... EVERYbody wins! Much like what Dave wrote of the CMSA's inevitable eventual demise, if no new members ever joined and old ones were depleted by attrition, so GrecoMando Editions would have also surely gone the way of the dinosaurs, as we could no longer afford to offer new issues. Clearly, the tide has been turned.

For this, and for SO much more, we have the new, dynamic management of the CMSA to thank. I can only expect the institution to go upwards from here. While I am not formally charged with promoting membership, nor am I authorized to act as official spokesperson for the Society, I thought it was only fair and right to share this experience with you all.

Cheers,

Victor

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## M2Lou

Thank you all for your responses to my request for input! I was very impressed at the positive and constructive nature of the posts. I did get additional, more critical (and equally constructive) comments directly. I appreciated those as well.

I would like to respond briefly to a number of questions raised:

	Lack of Response to E-mails - Our outstanding webmaster, Dave Betts, has added a Contact Us type facility to the website. This will help assure that the questions get to the right people. In addition, I have requested that all Board members check their e-mails on a regular basis.
	Name  We are the Classical Mandolin Society of America. By design, our focus is on the Classical side of the music world. However, this is not meant to be exclusionary. We welcome players from all genres. (Ill comment on this more under my convention comments.)
	Currency Conversion and Paypal  Good point! We have had Paypal capabilities through our website in the past. Well get working on this idea for 2008.
	Convention info  Indeed, we want to get information out as soon as possible. It is a sequential process, so information becomes available in pieces. Look for a major announcement about 2008 Montreal early next week!
	Convention location  We try to move it around. We were unsuccessful in hosting it in Seattle in 2007 due to hotel prices. 2009 is slated for Dayton Ohio.
	Convention attendees  The convention is for everyone of any ability and from any background. I truly believe that if you attend a convention, go to the workshops, and play in the En Masse Orchestra, you will leave a better player. We also try to have at least one workshop and one performer focused on a music genre other than Classical. 
	Why Should I be a Member  Another great question! Our Outreach Coordinator, Jonathon Rudie, is working on a white paper that will list all the reasons one should become a member of CMSA. Once that is done, I am going to ask the Board what should be on the list that isnt. One of our major goals is to increase membership. In order to do that, we need to sell the value. (This might also give us some strategic direction.)
	Website Improvements  Again, my hat is off to Dave Betts, our webmaster. Over the last couple of years he has made huge improvements with many more on the list.
	More Exposure / Communication  Yep  we know that. The Mandolin Café is one key method we are using to spread the word. (Many thanks to Scott Tichenor for his enthusiastic support!) We are working on a number of other ideas in this area.
	The Mandolin Journal  What more can I say? Our new editor, Jackie Zito, has really whipped the entire process into shape. Our last 3 issues were on time and we recently published a record 38 page issue! The most recent MJ has a new column called Spotlight On. The MJ production process is highlighted in this issue. Interestingly, there were some printing problems with this issue. The MJ team was all over that and we expect the problem has been fixed.

In closing, improving CMSA is going to be a process. It will take lots of work by lots of people. The more people willing to work for and support the organization, the faster we can grow as an organization.

Thanks again to all for your comments! Please keep them coming.

Lou

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## M2Lou

OK - 

So now I know how to kill a topic - just respond :Smile: 

Really, if you have anything else to add, I'm all ears!

Lou

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## vkioulaphides

Well, Lou... you didn't "kill" the topic; it's just that your response was so brilliantly comprehensive!  

You're on the right track, as far as a _general_ direction is concerned. Perhaps from this point on you can ask (or we can discuss) whatever _particular_ "case-studies" come along. Some may wish for more luthiers participating in the CMSA's conventions, others would like advice from the CMSA on building local "chapters", others may be more interested in CMSA incorporating sources of repertoire on its website, etc. The CMSA's contribution to the mandolin in America is obviously "cumulative", not a once-off effect.

As for me, I am green with envy, as I will be tethered to my job when you all meet in charming Montreal, straight up north from my home... 

Cheers,

Victor

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## Bob A

Now that the thread has been re-animated, permit me to knock it off track with a question: have Victor's partners published any interesting music for mandolin from the Italian or Spanish traditions? Always on the lookout for simple yet tuneful fare to mutilate musically, I am.

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## vkioulaphides

Bob, please allow me to reply via PM. It is... *ahem*... _complicated_.

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## JeffD

I am a member of CMSA because I support classical music written for and or played on the mandolin, and I support the mandolin players themselves, who join together to make mandolin orchestras, quartets, ensembles, or just struggle with Bach alone in their dorm room.

I look forward to a day when it would be unthinkable that a major city not have a mandolin orchestra. There is obviously a lot of room for growth. I know the CMSA by itself can't make it happen, but I also know it cannot happen without the CMSA or something like it.


I live in a small city of sometimes 40K. And we have a philharmonic orchestra, a pops orchestra, a community #orchestra, a youth orchestra, an opera company, and the university has an orchestra and an opera department. But the nearest mandolin orchestra is four hours away.

I tried to organize a mandolin quartet, but it was pointed out to me that if that many mandolin players get together, one small bomb could take out all the mandolin players in the county.

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## Bob A

"one small bomb could take out all the mandolin players in the country". I've heard something like, if you laid out all the mandolin players in the country end to end, it would be a good thing.

But of course I wouldn't.

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## joebrent

Hey everyone, for those who do not know me yet, my name is Joe Brent, and I'm a mandolinist in New York. I'll be performing a jazz concert as well as a classical concert in Montreal, and giving a workshop on both as well. I look forward to the convention with great anticipation, not just for my own performances but also for those given by Carlo Aonzo and Tamara Volskaya, both of whom I used to study with!

For my classical workshop, I'll be focusing on commissioning music from composers who are not mandolinists; assisting me in this will be my accompanist, the composer (and piano virtuoso) Andrew Gerle. I'll be performing a piece he's writing for me right now on my concert (in fact, I'll be giving no less than _two_ world premieres at the convention), and discussing our working relationship for our workshop. I've always believed it to be crucially important to have music written for us by non-mandolinists, so that the technique of the performer evolves over time to reflect the music being written for it _right now_, which is the same as you'd find for any other instrument. For my jazz recital, I'll do a solo set, then workshop techniques relating to learning tunes I learned from the great jazz educator, Hal Crook. I hope to have a very special guest guinea pig for the workshop, nothing to announce just yet...

How does all this relate to the thread? Well, what really excites me about this convention is the opportunity to really focus on the mandolin, its repertoire, and techniques, in a room full of mandolinists. I play in a lot of chamber ensembles here in addition to the orchestral thing, and I run into far too many people who -- despite an otherwise deep appreciation for the music -- still see the mandolin as a gimmick instrument, or a coloration, rather than an instrument with a history, technique, and pedagogy all its own. I run into the same attitudes with the jazz thing, too. I see this convention as a way for us to work together to find a way to help grow our instrument, by discussing the technical issues we all share and the musical situations we've all no doubt run into, and I couldn't be more excited to get to work! And if you love this instrument like I do and like I know many of the people associated with this board do, then that alone should be enough reason to join CMSA and come on out to Montreal this October!

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