Spring 2010 page 1

Carolina Caroler
An official, Award-Winning publication
of the orth Carolina Chapter
of the American Choral Directors Association

UPCOMING EVENTS: Inside

Presidents 2
Message
ACDA SOUTHER DIVISIO Male Choirs 3&7
COFERECE Article

2010 Conference 4
March 10 ~ 13, 2010 Clinician

Memphis, Tennessee Childrens Choir 4 & 16

Article

Middle School 5
Choir Article

C ACDA FALL COFERECE CMEA Luncheon 6

September 17 - 18, 2010 MVAS Info 8-11

UC Greensboro School of Music C Sings! 12-13

Workshop Info
Guest Clinician ~ Dr. Jerry Blackstone Hoggard Award 14
Recipient

Southern Division 15
Info

featuring Church
Commissioning
17

ORTH CAROLIA SIGS! Report

A WORKSHOP Treasurers Report 19

FOR YOUG VOICES ACDA

Membership
20

Application Form
Guest Clinician ~ Paul Caldwell
Directories
C ACDA Officers 2
and the fourth annual C ACDA Specially 3
MALE VOCAL ARTS SYMPOSIUM Appointed Officers

Guest Conductor & Clinician: C ACDA R&S

Chairs
4-5

Chris Kiver Volume 11, Issue 1

Spring 2010
page 2 C a r oCarolina
l i n a C aCaroler
roler

Presidents Message
C ACDA Officers Ginger Wyrick, NC ACDA President
2009-2011
The best thing about my job is that I get room reservations,
President
Ginger Wyrick
to work with lots of people. In fact, that risers, stands,
Queens University of is what first drew me to choral music. tables, and the
Charlotte Making music with others allows me to unending changes
1900 Selwyn Avenue be the musician that I can never be by that occur during
Charlotte, NC 28274 myself. Oh, I hear you.....the preparation the event. Your flexibility and resources
704.337.2269 time is exponentially greater than if I just make fall conference possible.
ggw@hwaci.com
took care of it myself. Perhaps but the
result are not nearly as rewarding. So it We appreciate our exhibitors choosing to
Past President
can be said for NC ACDA. support choral music in North Carolina.
Daniel J. Bara
School of Music We enjoy meeting you and seeing all that
East Carolina University Congratulations and gracious thanks are you have available. As NC ACDA
Greenville, NC 27858 extended to you all for making fall con- members, make a special effort to
252.328.6243 ference wonderful. Our officers and R&S patronize these vendors as you plan your
barad@ecu.edu leadership teamed for a smooth event. purchases throughout the year. Thanks to
President-Elect
Be sure to see their photo taken at our Aaron Jackson, exhibits coordinator, for
Welborn E. Young (Bill) summer planning meeting on page 11 . hosting our guests and making them feel
UNC Greensboro at home!
School of Music If you missed fall conference, here are
P.O. Box 26167 the details.... Our choral festivals were a great hit with
Greensboro, NC 27402 4 sessions with Bob Chilcott teachers, church choir directors, and
336.334.5428 singers of all ages. The Male Vocal Arts
weyoung@uncg.edu 5 concert sessions Symposium hosted nearly 90 singers
Secretary under the direction of Al Sturgis. This
2 interest sessions perennial favorite, coordinated by Dan
Gwen Hall
Southwest Randolph 2 reading sessions Bara, has become a beloved concluding
High School concert at fall conference. Congratula-
1641 Hopewell Friends Road tions to Al who received this year's Lara
Asheboro, NC 27205
2 concurrent choral festivals
Hoggard Award. See the article on page
336.381.7747
gwenmcleodhall@earthlink.net 1 reception Friday 14.

Treasurer 1 coffee station Saturday This year NC ACDA commissioned a

Jeffrey Ward new church anthem highlighted by the
East Carolina University 8 exhibitors church music festival at conference.
A.J. Fletcher Music Center Under the direction of composer Kenney
Greenville, NC 27858 Countless friendships
Potter, a concert of sacred music and the
252.328.2557
wardj@ecu.edu premier of "My Shepherd is the Living
Special thanks are extended to Jeff Ward, Lord" was presented by members of the
Membership Chair treasurer/registrar, for his attention to 13 sponsoring choirs. We thank coordi-
Daniel J. Bara details and numbers. Also, kudos to nator Andy Roby for his commitment to
School of Music the students of ECU and UNCG who this project.
East Carolina University helped at the registration table stuffing
Greenville, NC 27858 envelopes and greeting our membership ACDA members truly enjoy getting new
252.328.6243 as they arrived.
barad@ecu.edu
music! I see your faces at the registra-
tion table when you receive your packets.
ewsletter Editor
Anne M. Saxon
4105 Sewanee Drive
Winston-Salem, NC 27106
336.922.4073
Midpatch@aol.com
The event would not be possible without
the gracious hospitality of UNCG, St.
Andrew's Episcopal Church, and First
Baptist Church. Special thanks are
extended to Bill Young and Carole Ott,
our site coordinators. We are grateful for
the harrowing details of building and
Thanks to Eric Johnson for coordinating
our reading sessions and to ALL our
R&S chairs for their contributions. Your
thoughtful selections and presentations
brought this music to life. NC ACDA
(Continued on Page 3)
Spring 2010 page 3

R e p e r t o i r e & Te c h n i q u e s f o r
C ACDA Specially
Middle School Male Singer s Appointed Officers
Jeremy Truhel, Boychoirs R&S Chair
I conduct a Boys Chorus of 7th and 8th graders at Forsyth Country Day Auditions
School in Lewisville. As our repertoire is primarily geared toward the Sam Doyle
changing male voice, I have developed a particular interest in investigating 1313 Westminster Drive
repertoire and techniques for late middle school male singers. I hope to Greensboro, NC 27410
336.282.0549
offer a few helpful repertoire suggestions based on my experience in this
sam2ann@triad.rr.com
challenging area.
The variety of middle school repertoire that has become available for the male choir over the last Conference Exhibits
decade is remarkable. A keen group of arrangers and composers who understand the needs of the Aaron Jackson
changing male voice continue to put forth pieces that appeal to boys of this age and afford chang- Christ Baptist Church
ing voice boychoirs with the chance to excel in ensemble singing at a very high level. Below, I 400 Newton Road
have listed ten titles that my boys and I have really enjoyed working on. Even if you have a mixed Raleigh, NC 27615
middle school ensemble, I have found it productive and rewarding to allow the boys to sing works 919.573.5454
devised with the characteristics of these particular voices in mind. aaron@christbaptist.org

1. Cindy (arr. eil A. Johnson) Heritage 12/2236H Conference Site Host

This arrangement of Cindy is a fun, rollicking version of the classic folk song. The range for both Carole Ott
the tenors and the baritones is simply an octave, and the tessitura sits in the middle of the voice for UNC Greensboro
(Continued on Page 6) School of Music
P.O. Box 26170
Greensboro, NC 27402
C ACDA Luncheon 336.334.5428
Attendees (from LR): cjott@uncg.edu

Lara Hoggard
Tom Shelton,
Award Chair
Southern Division Sam Doyle
President-Elect (see Auditions info listed
above)
Welborn Young,
C ACDA SSA All-State Coordinator
President-Elect Laura Sam
Walter M. Williams
Jeff Ward, High School
C ACDA 1307 South Church Street
Treasurer Burlington, NC 27215
336.570.6163
Laura_Sam@abss.k12.nc.us
Ginger Wyrick
C ACDA Technology Chair
President Webmaster
Bert Fox
Lufkin Road Middle School
1002 Lufkin Road
Presidents Message (Continued from Page 2) Cary, NC 27539
919.387.4465
remains grateful to Jeff Whitsett and J. W. Pepper of Winston, for their continued foxsterb@aol.com
sponsorship. Also, thanks to Lou Fifer and Oxford University Press who provided Bob
Chilcotts music. Conference Reading Sessions
Eric Johnson
Hesitantly I stop listing names knowing that I have left out someone in error. I do James E. Holmes
recognize that NC ACDA is an amazing team of North Carolina's best choral musicians. Middle School
Together, we work musical miracles across the state. It is truly an honor to walk alongside 211 N. Pierce Street
of you as we make a difference in the lives of our singers and those who are blessed to Eden, NC 27288
hear our music. ejohnson@rock.k12.nc.us
336.623.9791 x108
Still singing,
Ginger Wyrick, President
page 4 Carolina Caroler
N C AC DA Fa l l C o n f e r e n c e 2 0 1 0 C l i n i c i a n
C ACDA
R&S Chairs
Boychoirs
Jeremy Truhel
Forsyth Country Day School
5501 Shallowford Road
P.O. Box 549
Lewisville, NC 27023-0549
336.945.3151
jeremytruhel@fcds.org
Childrens Choirs
Heather Potter
2005 Scott Avenue
Charlotte, NC 28203
704.408.1685
hpotternc@juno.com
College/University Choirs
Carole Ott
UNC Greensboro
School of Music
P.O. Box 26170
Greensboro, NC 27402
336.334.5428
cjott@uncg.edu
Community Choirs
Aaron Jackson
Christ Baptist Church
400 Newton Road
Raleigh, NC 27615
919.573.5454
aaron@christbaptist.org
Ethnic and Multicultural
Perspectives
Wendy Looker
Guilford College
5800 W. Friendly Avenue
Greensboro, NC 27410
336.316.2423
wlooker@guilford.edu
Jazz Choirs
Greg Parker
Chowan University
Department of Music
1 University Place
Murfreesboro, NC 27855-1823
252.398.6201
parkeg@chowan.edu
Music & Worship
Andy Roby
120 North Lafayette Street
Shelby, NC 28150
704.482.3467
music@fbcshelby.org
D r. Je r r y B l a c k s t o n e
Grammy Award winning conductor Jerry Blackstone is Director of
Choirs and Chair of the Conducting Department at the University
of Michigan School of Music, Theatre & Dance where he conducts
the Chamber Choir, teaches conducting at the graduate level, and
administers a choral program of eleven choirs. In February 2006, he
received two Grammy Awards (Best Choral Performance and Best
Classical Album) as chorusmaster for the critically acclaimed Naxos
recording of William Bolcoms monumental Songs of Innocence and
of Experience.
Professor Blackstone is considered one of the countrys leading conducting teachers, and
his students have received first place awards and been finalists in both the graduate and
undergraduate divisions of the American Choral Directors Association biennial National
Choral Conducting Awards competition. Look for more information on our website!
L is te ni ng Acr os s th e Age s
D r . H e a th er Po tter , C h ildr e ns Ch o ir R &S C ha ir
When you receive the convention program for an ACDA state,
regional or national convention do you immediately scan the list of
participating choirs looking for performing ensembles that are most
similar to yours? As a college choir conductor, my husband surveys
the program and mentally checks a long list of groups that he does not
want to miss; however, as a childrens choir conductor, I am often disappointed by the
lack of performances featuring young singers.
If you share my position, you might very likely toss the program aside in frustration and
complain, There are never many childrens choirs! Why should I go to this conven-
tion? I would like to share some thoughts regarding the value of listening to singers of
all age levels. Hopefully, one or two ideas may resonate and encourage you to actually
seek opportunities to hear choirs that are different from yours.
1. A musical performance is a musical performance regardless of the age
of the performing choir. Whenever you have the opportunity, enjoy the
presence of beautiful phrasing, subtle dynamic shading, the ebb and flow
of correct word stress, and articulate diction. Consider how you might
encourage your singers to achieve these universal goals more efficiently.
2. Choirs of any age can deliver stylistically accurate performances. Take
opportunities to hear choirs that expertly demonstrate stylistic accuracy.
Refresh your commitment to programming works that require your singers to
learn the articulation, phrasing, tone colors, and vocal timbre associated with
various periods of music history.
3. Give your polyphonic/monophonic ears a break. If you are accustomed
to hearing unison melodies, challenge yourself to isolate and follow the
moving internal parts of polyphonic music. If you direct ensembles that
primarily perform music in multiple parts, remind yourself of the value and
difficulty of achieving a truly blended unison line.
4. Listen critically to vocal tone. I am not encouraging you to listen with the
intent to criticize, but rather to listen with the intent to diagnose. Analyze the
sound of the choir and determine how the conductor achieves his
(Continued on Page 16 )
Spring 2010 page 5

Of Songs and Th ings

Middle School R&S Co-Chair, Susan Townsend C ACDA
R&S Chairs
Among the multitude of challenges every middle school choral Male Choirs
director faces is choosing quality repertoire. There are so Dan Huff
many variables to consider--enrollment, voicing, ability, UNC Chapel Hill
appropriate music for the "occasion"--not to mention working CB#3320 Hill Hall
Chapel Hill, NC 27599-3320
with the never-ending roller coaster of emotions and social 919.962.4219
issues (and the drama that often accompanies them!) that middle school students bring to dhuff@email.unc.edu
our classrooms every day. We could probably write a book on the unique world of the
Junior High/Middle School
middle school student--but in this article, I will stick to the subject of repertoire! Choirs (Co-Chairs)
Susan Townsend
As I think about repertoire for middle school 4236 Huntsville Road
We could probably write a choral programs, three essential things to Fayetteville, NC 28314
book on the unique world of consider come to mind. The first is that of 910.433.9085
being sure of the voicing in each of the Sjst624@aol.com
the middle school student--
groups. In my 6th grade chorus, my students Claire Olinik
but in this article, I will stick
generally sing unison and 2-part music--they Rosman Middle School
to the subject of repertoire! 2770 Old Rosman Highway
are strictly a treble chorus. They are put on
Rosman, NC 28722
Part I and Part II, and I try not to call them 828.885.5574
sopranos and altos (I prefer not to "box them in" to a strictly soprano or alto mindset just colinik@transylvania.
yet). I try occasionally to have them sing the "other" part in a song or two to give them k12.nc.us
more experience. Senior High School Choirs
Carol Earnhardt
With my 7th grade mixed chorus, I evaluate the range of my "men" and then try to find Glenn High School
3-part pieces with a limited-range Part III that they can easily sing. This gives them the 1600 Union Cross Road
opportunity to start the journey on becoming full-fledged tenors and baritones--and it Kernersville, NC 27284
makes them feel important! In my 8th grade mixed chorus, again I evaluate the range of 336.771.4500
CEarnhardt@wsfcs.k12.nc.us
my men, and use 3-part or SAB music. I generally do not use SATB with middle school
unless I have a "bumper crop" of young men who possess the ability to sing two separate Show Choirs
male parts and are able to hold those parts against the others. Mary Doyle
C.E. Jordan High School
Finally, in my 7th-8th grade treble chorus, I like to choose more challenging 2-part 6806 Garrett Road
Durham, NC 27702
pieces, and a few SSA pieces provided I have the talent. In this case, numbers don't 919.560.3912
necessarily correspond to ability--I have had groups of 30 who could only manage 2-part mary.doyle@dpsnc.net
pieces, but this year I have a group of fourteen 7th-graders who can sing just about any-
Two-Year College Choirs
thing I put in front of them! Frances Wilson
...not to mention working Sandhills Community College
The second and third areas go hand-in-hand. I have 3395 Airport Road
some "go-to" composers that I know I can rely on with the never-ending Pinehurst, NC 28374
for quality, do-able pieces. Among my favorites are roller coaster of emotions 919.695.3830
Mark Patterson, Dave and Jean Perry, Cynthia Gray, and social issues (and the wilsonf@sandhills.edu
Amy Feldman Bernon, Mary Lynn Lightfoot, Linda drama that often Womens Choirs
Spevacek, Earlene Rentz, and Greg Gilpin. We also accompanies them!) Laura Sam
have four great composers of fine middle school Walter M. Williams
High School
literature who live right here in North Carolina--Sally Albrecht, Jay Althouse, Tom 1307 South Church Street
Shelton, and Kenney Potter. There are many more fine composers whose music is Burlington, NC 27215
beautiful and well-suited to the middle school chorus. 336.570.6163
Laura_Sam@abss.k12.nc.us
Third, and finally, I am an advocate of listening to new music (usually on CDs that the
Youth & Student Activities
various publishing houses send to us near the end of the school year) and selecting new Fred Spano
and exciting pieces. But there are even more "tried and true" pieces whose quality and UNC Charlotte
audience appeal are "time tested". I try to incorporate some of each--always looking for Department of Music
those pieces that I feel are best suited to my individual choral groups--for no two groups 9201 University City Blvd.
Charlotte, NC 28223
are exactly the same! Happy singing! 704.687.4462
fspano@uncc.edu
page 6
Repertoire for Middle School Male Singers (Continued from page 3)
both parts. The two rhythmic ostinatos of the
final chorus are not difficult, yet the effect is a
build to a rousing conclusion. My 7th grade
boys derived great satisfaction and a sense of
ACDA accomplishment from learning this piece.
2. Come Travel With Me (Scott Farthing)
Advocacy Walton HL08501432
Carolina Caroler
strong low notes and a tenor section of early
changing voices. There is very little overlap in
the range of the two voice parts as the melody
is passed back and forth between octaves with
each phrase. The sharing of the melody allows
each part to work on blend and tone building
within their own section.
The text of this song by Scott Farthing is in-
Resolution spired by the writings of Walt Whitman. The
TTB voicing makes this piece appropriate for
the more advanced middle school choir.
Homorhythmic passages for the tenors may
prove difficult for most middle school choirs,
Whereas the human but the many unison passages make this piece a
spirit is elevated great tool for building tone. The accompani-
to a broader ment is marked by an exciting rhythmic drive
that highlights the uplifting text.
u nd ers ta nd in g of
itself through study 3. The Coventry Carol (arr. Mark Patter-
and performance in the son) BriLee BL 563
aesthetic arts; and This is a beautiful arrangement of the classic
Christmas carol supported by a gently flowing
piano accompaniment. The lovely, legato tenor
part encompasses a very comfortable range for
Whereas serious the middle school tenor a perfect opportunity
cutbacks in funding to encourage the exploration of falsetto. There
and support have are some beautiful moments for unison singing
in each part, particularly in the first verse.
steadily eroded arts
institutions and their 4. Every Time I Feel the Spirit (arr.
programs throughout Donald Moore) BriLee BL 446
our country, This is an excellent arrangement of this well-
known spiritual for young mens voices. There
are solo opportunities for young baritones on
the verses, and a great descant at the end show-
Be it resolved that all cases a strong group of tenors. This arrange-
citizens of the United ment keeps the voices in a limited range while
States ac- incorporating interesting harmonies.
tively voice their af-
5. Hodie (Laura Farnell) BriLee BL 541
firmative and Laura Farnell is an arranger particularly skilled
collective support for in showcasing what boys this age do well. This
necessary funding at setting juxtaposes fragments based on the
Gregorian chant, Hodie Christus natus est,
the local, state, and
with the chorus of Adeste fideles to make a
national levels of beautiful Holiday selection. At first I was
education and apprehensive about programming a piece with
government, to ensure so much Latin text, but it ended up being my
the survival of arts boys favorite piece on our Holiday concert,
and they couldnt wait to rehearse it each day.
programs for this and
future generations. 6. My True Loves Hair (arr. Earlene
Rentz) Carl Fischer CM9056
Rentzs arrangement includes the folk songs
Scarborough Fair and Black is the Color of
my True Loves Hair. This piece is especially
good for a true middle school bass section with
7. Rest ot! (Laura Farnell) Hal Leonard
08552012
My boys love to sing this piece. The accompa-
niment has a driving rhythmic pattern of eighth-
notes grouped 3+3+2. The tenor voice stays in a
range that is comfortable for most 7th and 8th
grade tenors and allows them to show off their
head voices with passages that venture above
the staff. I was surprised by the popularity of
this piece amongst my boys, the girls, and the
parents. It has been quite successful.
8. Shes Like the Swallow (arr. Laura
Farnell) Alliance AMP 0509
This is another great arrangement by Laura
Farnell. The melody is passed between the
tenor and baritone prior to the homophonic sec-
ond verse in which an optional second tenor
part introduces the boys to the rich sonorities
that typify writing for mens choirs. The ranges
are compact allowing every part to be success-
ful in this very musical setting.
9. Sinner Man (arr. Roger Emerson) Hal
Leonard 08551784
Opening with a baritone solo accompanied
by sustained chords on the piano, Sinner Man
picks up with a driving ostinato under simple
vocal parts that remain within the range of
a sixth for both the tenors and the baritones.
This is an excellent piece in which to explore
articulation. The accents, staccatos, and tenuto
markings make this simple piece come alive.
Its a great choice to open a program.
10. Tell My Father (arr. Andrea Ramsey)
Hal Leonard 02501096
The selection from the musical, The Civil
War, expresses the thoughts of a Union soldier
dying on the battlefield. Although it is arguably
a challenge for the typical middle school boys
chorus, the beautiful melody is so satisfying to
sing that even young tenors and basses will be
inspired to put forth the effort necessary to
make this song work. I highly recommend this
this piece for any male ensemble that you
conduct.
I hope this list gives you a place to start in
(Continued on Page 7)
Spring 2010 page 7

Repertoire...(Continued from page 6)

exploring music for middle school male choirs. I look forward to serving you in my capacity and hope to bring some new ideas
about working with this important group of singers. Please feel free to contact me with questions, repertoire suggestions, and
thoughts about working with boychoirs. Jeremy Truhel

ACDA Luncheon
Highlights
at
CMEA
Convention
page 8 Carolina Caroler

NC ACDA is pleased to announce

an exciting new choral experience for North Carolinas children

North Carolina Sings!

A Workshop for Young Voices
With guest clinician

Paul Caldwell
of the Youth Choral Theater of Chicago

in conjunction with the NC ACDA Fall Conference 2010

September 18, 2010
UNCG School of Music

ACDA members may sponsor children in grades 3-6 to participate in this

one-day choral skill-building workshop. This event provides an opportunity
for young singers from school, religious, and community choirs to make
music in a positive environment designed to encourage enthusiasm for
choral singing.

Advance preparation is not required! During check-in on September 18, each

singer will receive a choral packet designed for use during the workshop and
included in the registration fee.

Register by May 15, 2010 to reserve spaces for a maximum of eight children.
Singer allotments may increase as space allows, and additional singers will
be added after June 1, 2010 on a first-come, first-served basis.

Register NOW to include your singers in this exciting event!

Spring 2010 page 9

orth Carolina American Choral Directors Association

orth Carolina Sings! A Workshop for Young Voices

September 18, 2010

Requirements for singer eligibility and registration guidelines:

1. Singers must be recommended for participation by their choral conductor, an active member of ACDA, who will
register for and attend the NC ACDA Fall Conference. (Elementary music teachers may recommend children
from their classroom or choir.)
2. Singers must be in third, fourth, fifth, or sixth grade.
3. Initially, conductors may register a maximum of eight (8) singers. Conductors with multiple professional
appointments (e.g. a church choir and a school choir) are encouraged to register singers from more than one
choir, but a total allotment will be given to the sponsoring ACDA member rather than to the choral program.
4. Singer allotments may increase as space allows, and additional singers will be added after June 1, 2010 on a
first-come, first-served basis.
5. Individuals must be selected to fill the singer allotment and registered by name via email by September 9, 2010.
6. Return completed application form and registration fee of $25 per singer space by May 15, 2010 to:
Heather Potter, ACDA R&S for Childrens Choirs
2005 Scott Avenue,
Charlotte, NC 28203
(704) 408-1685
hpotternc@juno.com

APPLICATIO FORM
please print or type

Sponsoring ACDA Member ____________________________________________ ACDA Member #______________

Member Email ____________________________________________________________________________________

Work Phone ____________________ Home Phone____________________ Cell Phone_________________

Ensemble Name ___________________________________________________________________________________

Type of Choir: S School S Community S Religious Institution

Members wishing to send singers from multiple choir types should complete a separate registration form for each choir.
Initial maximum allotment per C ACDA member is 8 singers.

Ensemble Address _________________________________________________________________________________

City__________________________________________ Zip Code___________________________________________

Total number of spaces you wish to reserve (8, maximum): ___________

Total number of spaces you are confident you could fill, if space allows: __________
page 10 Carolina Caroler

Announcing the Fourth Annual

Male Vocal Arts Symposium
at the
NC ACDA Fall Conference 2010
September 17-18, 2010 in Greensboro, NC
Chris Kiver, conductor

GOALS:
To promote choral singing and vocal artistry among boys and men who currently sing in school, university,
church, and community choirs in North Carolina.
To facilitate multi-generational musical fellowship and mentorship through the formation of a state-wide mens
ensemble which would encompass singers from 8th grade to retirement age.
To introduce male singers to male university voice faculty from North Carolina colleges / universities who will
be offered the opportunity to sing in the MVAS choir, as well as perform in a solo recital for the MVAS
participants.
To engage a national caliber conductor/clinician who will lead rehearsals culminating in performance of varied
mens chorus repertoire.

SIGER ELIGIBILITY:
Singers must be recruited and recommended for participation by his choral conductor, who must be a member of
ACDA, and who will be in attendance at the NC-ACDA Fall Conference. Conductors may apply to bring as many
as eight (8) singers from his or her choir, space permitting. When endorsing multiple singers for MVAS, conductors
should consider ensemble balance and submit an octet of 4 tenors and 4 basses. Conductors with multiple
professional appointments, (i.e. a church choir and school choir) may apply to submit singers from more than one
type of choir, but the total allotment of spaces within the MVAS choir per sponsoring member will be determined
by the total level of response. Teachers will be informed of their total allotment by June 1, 2010. Adult male
ACDA members may register themselves to take part in MVAS using the same application process.

Conductors should apply for an allotment within the MVAS Choir by May 15, 2010 for participation in the
MVAS at the Fall Conference. Our goal is to have a choir of 95-120 singers. Ideally, the choir breakdown might
be:
60% student singers in grades 8-12
25% university singers
15% adult singers from church or community choirs

SIGER PREPARATIO:
Because of the calendar proximity of the Fall ACDA Conference with NC Honor Choir Auditions and the
beginning of the school year, minimal pre-conference preparation will be expected of the singers. With this in
mind, conductors should select highly motivated and focused singers with a high potential for success under
these circumstances. The repertoire list for the festival will be published by July 1st, and it will be expected that
each singer possess his own copy of the music prior to the conference. Singers should come to the festival with a
familiarity with the music, but no screening will take place at the conference.
Spring 2010 page 11

LOGISTICS:
The MVAS schedule will run concurrently and in tandem with the NC-ACDA Fall Conference. For the convenience of
the registered ACDA Members wishing to take advantage of both events, every effort will be made to place the MVAS
activities as close to (or on) the UNCG campus as close to the school of music as possible. ACDA Members bringing
student singers for MVAS will be responsible for the conduct of their singers during the course of the 2-day event.
These members should plan to bring additional chaperones to monitor MVAS activities when taking part in other
conference sessions.
A block of rooms for MVAS singers will be reserved at the Downtown Marriot in Greensboro for the overnight stay.
This will be the convention hotel. Junior high and high school students must be carefully chaperoned by parents or
teachers throughout the event, and in the evenings according to National ACDA Policy. Adult singers may also choose
to stay in other Greensboro area hotels if attending the MVAS from a distance.

TETATIVE MVAS SCHEDULE:

Friday, September 17, 2010 Saturday, September 18, 2010
10:00am Registration 8:45am Warm-up
11:00 Rehearsal and Sectionals 9:00 Choir Rehearsal
1:00pm Lunch on your own 11am MVAS Faculty Recital
2:30 Choir Rehearsal 12pm Lunch
4:00 Break 1:30 Choir Rehearsal
4:30 Choir Rehearsal 3:00 Dress rehearsal
6:30 End of Day 1 4:00 Concert
7:00 Meet the Clinicians Reception

REGISTRATIO & FEES:

ACDA members should apply for spaces within the MVAS choir by May 15, 2010. Actual space allotment based
upon total response will be announced by June 1, 2009. ACDA Members endorsing singers for MVAS must fill their
allotment once it has been determined, in order to ensure ensemble balance and viability for our clinician. Actual
MVAS participants must be selected and registered by name by September 1, 2010.

Male Vocal Arts Symposium C-ACDA Fall Conference

Singers $25 each (Full access to MVAS events & Conference Sessions)
ACDA Member Singer $25 each Members $65
College Students $20
(Registration Form on Page 8)

NCACDA Announces
A Facebook Group!
ACD
NC
bo ok! Located on Facebook at NC ACDA
e
Fac Anyone can join, post, and gather lots of chorus-related information
All members are encouraged to post your concerts and
related events that might be of interest!
page 12 Carolina Caroler

orth Carolina American Choral Directors Association

Announcing the Fourth Annual

Male Vocal Arts Symposium

In conjunction with the NC-ACDA Fall Conference
Friday and Saturday September 17 - 18, 2010

APPLICATIO FORM
please print or type

Singers must be recruited and recommended for participation by his choral conductor, who must be an active member of ACDA, and who will be in attendance at the
NC-ACDA Fall Conference. Conductors may apply to bring as many as eight (8) singers from his or her choir, space permitting. When endorsing multiple singers for
MVAS, conductors should consider ensemble balance and submit an octet of 4 tenors and 4 basses. Conductors with multiple professional appointments, (i.e. a church
choir and school choir) may apply to submit singers from more than one type of choir, but the total allotment of spaces within the MVAS Choir per sponsoring
member will be determined by the total level of response. ACDA members should apply for spaces within the MVAS choir by May 15, 2010. Actual space
allotment based upon total response will be announced by June 1, 2010. ACDA Members endorsing singers for MVAS must fill their allotment once it has been
determined, in order to ensure ensemble balance and viability for our clinician. Actual MVAS participants must be selected and registered by name via email by
September 1, 2010. Adult male ACDA members may register themselves to take part in MVAS using this same application process.

Sponsoring ACDA member ______________________________________ ________________

(name) (ACDA member #)

Member Email ___________________________ Check if you are registering yourself

Work Phone ________________ Home Phone _________________ Cell _______________

Ensemble Name ___________________________________________________________________

Type of Choir: Junior High High School College/University Church Community

(Members wishing to send singers from multiple choir types should complete a separate registration form for each choir type.)

Ensemble Address ________________________________________________________________

City _____________________________________ Zip Code _________________________

TOTAL number of spaces you wish to reserve: ____ 1st tenors ____ 2nd tenors
____ 1st basses ____ 2nd basses

Send completed application form by FAX or US mail by May 15, 2010 to:

Daniel Bara, ACDA President Questions? Contact Daniel Bara (W)(252) 328-6243
East Carolina University School of Music barad@ecu.edu (C)(252) 412-5880
Greenville, NC 27858
FAX: (252) 328-6258
Spring 2010 page 13

Four th Annual Male Vocal Ar ts Sy mpos ium

Daniel Bara, NC ACDA Past President

Announcing the 2010 Guest Conductor and Clinician:

Chris Kiver
Christopher Kiver joined the Pennsylvania State University faculty in 2005, and directs
the Penn State Glee Club and the Chamber Singers. Kiver also teaches classes in choral
conducting and choral literature. He is a graduate of the University of London, Florida State
University, and the University of Michigan where he received the D.M.A. in choral
conducting. He has studied conducting with Jerry Blackstone, Rodney Eichenberger and
Theodore Morrison. Kiver has also participated in master classes with Anton Armstrong,
Frieder Bernius, Simon Halsey and Stefan Parkman.
A native of the United Kingdom, he has received numerous prizes and scholarships includ-
ing a Fulbright Award, and the 2002 Sydney World Symposium Foundation Scholarship. In
February 2006, he was a double Grammy Award winner ("Best Choral Performance" and "Best Classical Album") as
chorusmaster for the critically acclaimed Naxos recording of William Bolcoms monumental Songs of Innocence and of
Experience.
Choirs under Kivers direction have performed at state and regional conventions of the American Choral Directors
Association and the Music Educators National Conference.
He is President-Elect for the Pennsylvania American Choral Directors Association and has taught at the Westminster
Choir College summer and Saturday seminar programs. Kiver has appeared as guest conductor, clinician and adjudica-
tor in the United States, Australia and New Zealand.
page 14 Carolina Caroler

Al Sturgis Receiv es Lara H o g gard Award

Sam Doyle, NC ACDA Ho g gard Award Chair

Alfred E. Sturgis was appointed Music Director of the North Carolina

Master Chorale in 1993. Under his skilled artistic leadership the NC Master
Chorale has made several appearances at state and regional conferences of the
American Choral Directors Association, recorded three Christmas CDs as well
as a broadcast for UNC-TV, and been involved in numerous successful collabora-
tions with the Carolina Ballet and the North Carolina Symphony. In addition to
his work with the Chorale, Sturgis serves as Music Director of the Carolina Ballet,
Tar River Orchestra, and Appalachian Institution.
Sturgis has served as Guest Conductor for the New York City Ballet at
Lincoln Center, North Carolina Symphony, Winston-Salem Symphony, Carolina
Chamber Orchestra, Raleigh Civic Symphony, National Opera Company, Capital
Opera, Long Leaf Opera, and North Carolina Theatre. He has conducted orches-
tral and opera performances overseas in France, Bulgaria, and China, and recently served as a clinician for the inaugural
London International Choral Festival. Early in his career he performed a number of roles in musical theatre, opera, and
oratorio, in addition to touring and recording in Southern France with the Robert Shaw Festival Singers. Sturgis still
performs occasionally as a counter tenor or baritone.
In recognition of his dynamic leadership of the NC Master Chorale, Sturgis was awarded the 1996 Raleigh
Medal of Arts. Noted for his energetic, positive teaching style, Sturgis is in great demand as a conductor/clinician for
Music Education and Church Music workshops and festivals including All-State and Honors Choirs. Between the
numerous festivals, his thirteen years as Director of Choral Music at North Carolina State University, and seven years
as a church music director he has taught thousands of students as well as adults. Dr. Sturgis holds degrees from the
University of South Florida and the University of Illinois in Voice Performance, Music Education, and Conducting.
The Award was presented at the NC ACDA Luncheon this past November, at the NCMEA Conference.

Past Recipients:
Award Criteria:
1986 Richard Cox
1. Nominee has distinguished himself/herself as an outstanding choral
1987 Richard Brewer
1988 Paul Frye director within NC.
1989 Maxine Blackwell 2. Nominee has consistently demonstrated the highest musical standards
1990 Rhonda Fleming throughout his/her career.
1991 Jim Jerome Williams
1993 Hilary Apfelstadt 3. Nominee has been active in several areas of education (i.e. school,
1994 Barbara Bair community, church work).
1995 Sam Doyle
4. Nominee has served and/or held office in choral areas of appropriate
1997 Don Hinshaw
1998 Richard Morgan professional organizations such as NCMEA and NC ACDA.
2000 Robert Holquist 5. Nominee provided statewide leadership in the choral art for a minimum
2001 William Carroll of 10 (ten) years within the state of NC.
2002 Rodney Wynkoop
2003 Joel Reid 6. Nominee must be nominated by a member of NC ACDA by a letter of
2004 David Pegg recommendation citing the merits of the nominee.
2005 Maribeth Yoder White
2006 Marta Force
A nomination form is available online and will be included in the
2007 Jerry Cribbs
2008 Clinton Parker
fall issue of the Carolina Caroler.
Spring 2010 page 15

2 0 1 0 S o u t h e r n D i v i s i o n C o n f e r e n c e , M e m p h i s , Te n n e s s e e
March 10 - 13, 2010
Welcome to a tapestry of Southern Choral Music
Traditions. As we weave together threads from
the great traditions of African-American Spirituals,
Shape Notes, Jazz, hymn singing, choral/orchestral
masterworks and outstanding choral singing in this
conference, we celebrate who we are as musicians
and who we can become as human beings. This is a
time to gather, uplift our shared musical values and
inspire one another with the great music we all
love. Bradley Almquist, Southern Division
President
The conference will meet in Memphis, Tennessee
March 10-13, 2010. Perform-
ances will be held in the lovely
East Carolina Chamber Singers with Daniel Bara, Conductor
Cannon Center for the Perform-
ing Arts. All other sessions will
meet in the Convention Center.
The downtown Marriott, the Convention Center, and the Cannon Center are accessible without
going outside. More information can be obtained at http://acda.org/southern.
C ACDA honors conference participants that have been chosen to represent our state!
East Carolina Chamber Singers, conducted by Daniel Bara
Paul Oakley, Session Presenter, Baroque Performance Practice: The Pearl ecklace Paul Oakley from
Catawba College
page 16 Carolina Caroler

Listening(Continued from page 4)

or her desired tone. How would you verbally
describe the sound to someone who missed this
concert? How do the singers shape the vowel
sounds? What aspects of the vocal tone do you like
or dislike? Do you hear evidence of vocal prob-
lems among the singers? Are these same problems
present in your own singers? How are you address-
ing the problems? Does the sound of your own
ensemble reflect your tonal preference?
5. Enjoy performances of repertoire that are
not available to your set of singers. Many choral
works were written with a specific collection of
performers in mind. We grow as musicians when
we seek exposure to a variety of musical styles and
vocal configurations.
Attending ACDA convention concerts is the most
efficient way to experience the best of a variety of
performing ensembles. You can hear womens choirs,
mens choirs, childrens choirs, church choirs, jazz
choirs, college, high school and middle school choirs.
Challenge your musical self to listen thoughtfully,
attentively, and discerningly. By virtue of your member-
ship in an organization that serves and supports choirs
for all ages and voice parts, you have opportunities to
experience the best of choral music in all of its forms.
Spring 2010
SACRED ANTHEM COMMISSIONING & FESTIVAL CHOIR PROJECT 2009
A nd re w Ro b y , M usic in W or sh ip R & S C ha ir
North Carolina ACDA's 2009 Fall Conference was the
setting for a new venture sponsored by the Music in
Worship R&S Area. Nearly 100 singers drawn from 13
church choirs assembled at First Baptist Church of
Greensboro on Saturday, September 19, for a morning of
rehearsal in preparation for an afternoon concert session in
which the festival choir presented a new commissioned
sacred anthem, along with four other pieces.
Over a year earlier, Kenney Potter, director of choral
activities at Wingate College and a noted composer
of choral music, was commissioned by the Music in
Worship R&S Area to write a new sacred anthem and to
serve as the clinician-conductor for the festival choir.
Based on one of Isaac Watts's metrical paraphrases of the
23rd Psalm, "My Shepherd Is the Living Lord," the
commissioned work was given its first public presentation
at the afternoon concert session at UNCG.
After Kenney agreed to his role in this project, Andrew
Roby, Music in Worship R&S Chair, invited church
music leaders from across the state to participate by
making a financial contribution toward the commission
and by sending a representative group of their church choir
members to the festival choir. Ultimately, 13 churches
were represented, including:
Christ Baptist Church, Raleigh -
Aaron Jackson, director
Emerywood Baptist Church, High Point -
Matt McGee, director
First Baptist Church, Forest City -
Tony Spencer, director
First Baptist Church, Greensboro -
Doug Vancil, director
First Baptist Church, Monroe - Paul Sims, director
First Baptist Church, Mount Holly -
Brian Childers, director
First Baptist Church, Shelby - Andrew Roby, director
page 17
Ridge Road Baptist Church, Raleigh -
Patti Lingafelt, director
Saint Andrews Presbyterian Church, Raleigh -
Karrie Rushing, director
St. Alban's Episcopal Church, Hickory -
Tamera Shook, director
St. James United Methodist Church, Greenville -
Jeffrey Ward, director
Selwyn Avenue Presbyterian Church, Charlotte -
Fred Spano, director
White Plains United Methodist Church -
Laura Minick, director
Saturday morning's rehearsal session was a joyful celebra-
tion of the art of choral music in worship as Kenney
provided skillful leadership. Benita McFarland, assisted
by Matt Messick on one piece, provided excellent piano
accompaniment. The choir members from diverse
locations quickly established a sense of friendship with
one another as we gathered in Greensboro First Baptist
Church's sanctuary, which provided a beautiful and
acoustically warm setting for the rehearsals.
The rehearsals and concert session music consisted of
these pieces, the third of which was the commissioned
sacred anthem:
1. Hark, I Hear the Harps Eternal - American Folk
Hymn, arr. Alice Parker. Alfred LGS1331.
2. What Sweeter Music - Words by Robert Herrick.
Music by John Rutter. Oxford 0-19-343120-3.
3. My Shepherd Is the Living Lord - Words by Isaac
Watts from 23rd Psalm. Music by Kenney Potter.
Manuscript.
4. It Is Well with My Soul - Words by Horatio G.
Spafford. Music by Philip P. Bliss, arr. Eric
Nelson. Augsburg Fortress 0-8006-7734-X.
5. Bound for the Promised Land - American Folk
Hymn, arr. Mack Wilberg. Oxford 0-19-386917-2.
page 18 Carolina Caroler
Spring 2010 page 19
page 20
Carolina Caroler
North Carolina American Choral Directors Association
c/o Anne M. Saxon, Editor
4105 Sewanee Drive
Winston-Salem, NC 27106
www.ncacdaonline.org
Included in this Issue: Informative articles for Childrens, Middle School, & Male Choirs!
Newsletter
Update
Anne Saxon,
Editor
In this edition we hear from our
Childrens Choir, Middle School, and Male
Choir R&S Chairs, sharing their experi-
ences and ideas. Repertoire suggestions and
other golden nuggets are also included that
we all can use!
On pages 12 - 13 youll find information
about an exciting addition to our next
fall conference: North Carolina Sings!,
with guest clinician Paul Caldwell. ACDA
members may sponsor children in grades 3-
6 to participate in this one-day choral skill-
building workshop. Advanced preparation
is not required! The application form for
this, and the fourth-annual MVAS, are
included on pages 8-9 and 10-12, respec-
tively.
The next edition will be online only, so look
for a reminder postcard. Sing on! Anne
Carolina Caroler
To the Current Resident, Or
The Carolina Caroler is the official newsletter of the North Carolina chapter
of the American Choral Directors Association. Articles and advertisements
may be submitted to: Anne M. Saxon at Midpatch@aol.com. Articles may be
submitted via email as Word documents. Times New Roman, or similar, with
font size 11 is preferred. Please do not double space after punctuations
(periods)a practice held back in the days of typewritersit is not necessary
with word processing.
Issue Deadline Publication
Fall June 15 July 15
Spring Dec. 15 Jan. 15
Summer April 15 May 15
NC ACDA reserves the right to edit any application for appearance and to edit
all materials proposed for distribution.
Advertising Rates
The Carolina Caroler will accept advertising at the following rates:
Full page-$150.00 (c. 7.5x10)
Half page-$100.00 (c. 7.5x4.5)
Quarter page-$50.00 (c. 3.75x4.5)
Discounts are available on multiple ads of the same design. Rates listed are for
camera-ready copy or digital .jpg or .pdf file. A check made payable to North
Carolina ACDA must accompany the order. Advertisers will NOT be billed.
Copy will not run without advance payment. Advertising copy is subject to
editorial approval. The editor reserves the right to head and/or box any
advertisement bearing confusing resemblance to editorial material.