Spring 2005 page 1

Carolina Caroler

An official publication of the North Carolina Chapter

of the American Choral Directors Association

Inside
Presidents 2
Message

Church Festival 3
Choir 2004 Report

Fall Conference 3-4

2004 Report

Fall Conference 4
2005

2004 Hoggard 5
Award Recipient

T-ai Chi for 6-7

Singers

Anton Armstrong 8
Bio

Treasurers Report 9

Youth & Student 10

Activities R&S

Community Choirs 11
R&S

2005 Sr. High 11

Womens All State

Sound Reinforce- 11-13

ment for Jazz/Show
Choir
Choral Perform- 14-15
ance Application

Directories
NC ACDA Officers 2

NC ACDA Specially 3
Appointed Officers

NC ACDA R&S 4-5

Chairs

Volume 6, Issue 2
Spring 2005
page 2 Carolina Caroler

NC ACDA Officers
2003-2005
Presidents Message
Janna Brendell, NC ACDA President
President
Janna Brendell
East Carolina University Happy New Year!
School of Music
Greenville, NC 27858 Our 2004 fall conference was a tremendous success! Two highlights of
252.328.2557 our fall conference were exciting sessions with Rodney Eichenberger
brendellj@mail.ecu.edu and the first NC ACDA Church Festival Choir, conducted by David
Pegg. This issue includes photos and more information about the ex-
Past President citing events and sessions we experienced during the fall conference.
Ann Pratt (Visit our website, www.ncacdaonline.org, to see more conference photos.)
McMichael High School
6845 Highway 135 An event like the fall conference would not be successful without the contributions of
Mayodan, NC 27027 numerous people: Tom Shelton (conference chair); Bill Young (site coordinator);
336.427.5165x1308 UNC-Greensboro (facilities); Tony Spencer (church festival choir coordinator); NC
apratt@rock.k12.nc.us
ACDA Conference Planning Committee and Board members; East Carolina University
President-Elect
collegiate chapter; Hinshaw Music (reception); Burrage Music and J.W. Pepper of
Tom Shelton Winston (music packets); Gwen Hall and Cathy West (accompanists); Alfred Music,
Kernersville Middle School Burrage Music, Hinshaw Music, J.W. Pepper of Winston, and Treble Clef Music Press
110 Brown Road (exhibitors). Thank you for your support and assistance with the fall conference!
Kernersville, NC 27284
336.996.5566 Over the years, we have had the opportunity to hear excellent choral performances at our
ttshelton@aol.com fall conference and ACDA luncheon. The 2005 fall conference is very early this year,
consequently, the application form offers several options for shorter concert sessions. If
Secretary you would like your choir to be considered for performance at either of these events,
Gwen Hall please submit the application form to Sam Doyle by April 15. If you know of an out-
Southwest Randolph High standing choir that should be considered for one of these events, please encourage the
School director to apply.
1641 Hopewell Friends Road
Asheboro, NC 27205 It is my pleasure to announce that David Pegg recently received the 2004 Lara Hoggard
336.381.7747 Award for his outstanding contributions to choral music in North Carolina. David was
ghall@randolph.k12.nc.us recognized during the NC ACDA luncheon on November 15, 2004. NC ACDA ex-
presses appreciation to Joel Reed and The Appalachian Chamber Singers for their ex-
Treasurer cellent performance for this event. It was great to see so many of you at the luncheon!
Ginger Wyrick
Queens University of ACDA members across the country are eagerly anticipating the 2005 National ACDA
Charlotte Convention in Los Angeles, California! Several North Carolina choirs and ACDA
1900 Selwyn Avenue members will be a part of this historic convention. The Vocal Arts Ensemble of Dur-
Charlotte, NC 28269 ham (Rodney Wynkoop) has been invited to perform on the convention program. The
704.337.2269
University Singers from Appalachian State University (Stephen Hopkins) will sing for
ggw@hwaci.com
the collegiate conducting competition finals. Lisa Fredenburgh (National Womens
Membership Chair Choir R&S Chair) will present a reading session and an interest session and Thomas
Reta Phifer Sibley (National R&S Chair for Boychoirs) will present a reading session. How won-
339 Falesco Lane derful to have so many North Carolina singers and presenters on the National Conven-
Matthews, NC 28105 tion Program.
704.708.9789
phifer4music@ Make plans now to join us for the 2005 NC ACDA
mindspring.com conference on September 16-17, 2005. You wont
want to miss Anton Armstrong!
Newsletter Editor
Stephen A. Futrell
Elon University Have a wonderful spring!
Campus Box 2800
Elon, NC 27244
336.278.5681 Fall Conference Reading Session
sfutrell@elon.edu
Spring 2005 page 3

C h u r c h Fe s t i v a l C h o i r 2 0 0 4 NC ACDA Specially
Tony Spencer, NC ACDA Music & Worship R&S Chair Appointed Officers
Ace Mentoring/Auditions
Thanks to all who contributed to the Church Festival Choir in October. Under the excel-
Sam Doyle
lent direction and accompaniment of David Pegg and Laura Moore, sixty choir mem- 1702 Westridge Road
bers from twelve churches (after six hours of intense rehearsal on Friday night and Greensboro, NC 27410
Saturday) presented an inspiring closing concert for our Fall Conference. Countless 336.282.0549
hours were spent in preparation for the weekend by choristers and directors alike. Vol- sam2ann@triad.rr.com
unteer choir members planning and dedicating a weekend for the purpose of improv-
ing choral skills is a testimony to the fine work of the people who direct them week Conference Exhibits/
after week. Presenting the concert for North Carolina ACDA was an honor and those Reading Sessions
church musicians were grateful for that opportunity. Moreover, each chorister left that William McConnell
St. Andrews Pres. College
experience as a better choral musician. Thus, their choirs improved when they re-
1700 Dogwood Mile
turned to their local setting. Laurinburg, NC 28352
Our Southern Division Convention is scheduled for 2006 in Charleston, West Virginia. I 910.277.5262
want to encourage church musicians to consider auditioning your choristers in one of mcconnellwt@earthlink.net
the Honor Choirs.
From experience, I can tell you that offering such an opportunity to young people will Conference Site Host
have a positive impact on their lives as well as your choral program. Even if they are Welborn E. Young (Bill)
not accepted into the Honor Choir, the auditioning process will help them grow musi- UNC-Greensboro
cally and they will receive affirmation in the knowledge that their director believes in School of Music
P.O. Box 26167
them. In Charleston, Honor Choirs will be offered in the areas of children, junior high
Greensboro, NC 27402
and high school. When that audition information arrives, look at it closely. Honor 336.334.5428
Choirs are for Church Musicians also! weyoung@uncg.edu

Historian
Fall Conference 2004 Wrap Up: A Sincere Thank You! Frances T. Sinclair
Tom Shelton, NC ACDA President-Elect 704.690.7217(h)
ftsinclair@nc.rr.com
The Fall Conference was very successful! It was wonderful having fellowship with the Lara Hoggard Award
North Carolina choral conductors; listening to beautiful sounds from our guest choirs; Chair
and re-energizing ourselves through music. Sam Doyle
Special thanks should be given to our guest Clinician, Rodney Eichenberger. His con- (see Ace Mentoring info
ducting expertise provided informative and enjoyable sessions. I've seen him work listed above)
many times, and I always learn something new. He is a gifted conductor and delightful
to be around. SSA All-State Coordinator
Performing for a state conference can add a touch of stress to one's life. I want to per- Amy W. Daw
Northern High School
sonally thank each group, and their conductor, for stepping up to the challenge, and
117 Tom Wilkinson Road
providing us with beautiful music during the conference. It was wonderful to hear the Durham, NC 27712
progression of maturity in voices as well, ranging from youth, high school, college, 919.560.3956x56813
and adult choirs. A sincere thank you to the following choirs: UNCG Women's Amy.Daw@dpsnc.net
Choir, Welborn E. Young, conductor; H.M. Arndt Middle School Eighth Grade Choir,
Tamera P. Shook, conductor; Providence High School Chamber Singers and Men's Technology Chair
Ensemble, Terri L. Setzer, conductor; Leesville Road High School Capital Pride, Webmaster
Diane Covington, conductor; Northwest Guilford High School Advanced Women, Bert Fox
Beverly Alt, conductor; North State Chorale, Richard Earl Cook, conductor; and Lufkin Road Middle School
Greensboro Youth Chorus - Cantabile, Ann Doyle, conductor. 1002 Lufkin Road
Cary, NC 27539
This year we were fortunate to have a Church Festival Choir. This event was the brain- 919.387.4465
child of Tony Spencer, Music and Worship R&S Chair. Tony also coordinated the foxsterb@aol.com
event. Tony worked diligently to make this festival successful and meaningful to the
participants. David Pegg was selected to conduct this event, and did an outstanding
job bringing the music to life.

(Continued on page 4)
page 4
NC ACDA R&S Chairs
Boychoirs
Ben Outen
St. Peters Episcopal Church
115 W. 7th Street
Charlotte, NC 28202
704.332.7746
Ben@st-peters.org
Childrens Choirs
Anne M. Saxon
Main Street United Methodist
Church
306 South Main Street
Kernersville, NC 27284
336.993.3411
Midpatch@aol.com
College/University Choirs
Robert Holquist
Music Department
Western Carolina University
Cullowhee, NC 28723
828.227.3259
holquist@email.wcu.edu
Community Choirs
Daniel J. Bara
School of Music
East Carolina University
Greenville, NC 27858
252.328.6243
barad@mail.ecu.edu
Ethnic and Multicultural
Perspectives
Jacqueline P. Robinson
Hunter Huss High School
1518 Edgefield Avenue
Gastonia, NC 28052
704.866.6610
Mikear@bellsouth.net
Jazz Choirs
Stephen A. Futrell
(see Newsletter Editor info
on page 2)
Junior High/Middle School
Choirs
David Dobbins
SE Guilford Middle School
4825 Woody Mill Road
Greensboro, NC 27406
336.674.4280x4175
dobbind@guilford.k12.nc.us
Carolina Caroler
Fall Conference 2004
(Continued from page 3)
The "Meet the Clinician" reception was well received. It was nice to have time built in
the schedule to socialize with friends and our guest clinician. Special thanks to Hin-
shaw Music for helping sponsor this event. Thanks also to Mark Freundt, an incredi-
ble jazz pianist, for providing his talents for our enjoyment.
The R&S chairs offered six informative interest sessions for our membership. Topics
included: "Brain Gym", "Future Directions for NC ACDA College/University Choir
Events", "Effective Leadership for Artistic and Organizational Success", "Benefits of
Active Membership in Our Profession/ACDA", "Choral Gems for Middle School
Choirs", and "Vivaldi's Venice - and Porpora's, and Hasses's: Finding and Performing
Baroque Music of the Ospedali Choirs". Thank you to the R&S chairs for the work
they put into these sessions, as well as the guest clinicians for leading the sessions.
We were fortunate to have wonderful exhibitors! Thanks to Alfred Music Company
(Sally Albrecht & Jay Althouse), Burrage Music Company (Don Howard), Hinshaw
Music Company (Roberta Van Ness, Bill Carroll), J.W. Pepper of Winston (Jeff Whit-
sett) and Treble Clef Music Press (Mary Lycan) for exhibiting at our conference.
We offer thanks to Burrage Music Company & J. W. Pepper of Winston for putting to-
gether various packets for our session.
The conference would not be successful without a good location. UNCG is not only a
good location, but an incredible place to have the conference. We are fortunate to
have such a facility to use for our conference. Thanks to Bill Young, conference site
chair, for the endless hours he spends co-coordinating this event; as well as Dr. John
Deal, Dean of the School of Music, for supporting our efforts.
This conference would not take place without the efforts of a special group of people -
the Conference Planning team. This group has worked hard to provide a conference
that would be educational, inspiring, motivating, fun, and musically rewarding. Mem-
bers include: Janna Brendell, Sam Doyle, Stephen Futrell, Reta Phifer, Ann Pratt,
Ginger Wyrick, and Bill Young.
As always, we appreciate any feedback you have to offer. This is an organization for
YOU. If there were things you really enjoyed or something you would like to see in
the future, please let us know! You can email me at: ttshelton@aol.com.
I look forward to seeing you at our conference in September, 2005!
Fall Conference 2005~September 16-17, 2005
Put this date on your calendar now! The conference planning team is working to provide
a stimulating experience you will not want to miss! Our guest clinician will be Dr.
Anton Armstrong (see Biography on page 8). Dr. Armstrong will offer sessions in-
cluding: "Our Vocation as Choral Music Educators"; "A Session on the Adolescent
Voice"; "Artistry in the Choral Rehearsal"; a "Question & Answer" Session; and pos-
sibly a conducting Master class for college students or first year teachers.
This conference will be earlier than usual. The conference planning team realizes it will
be hard to present a full concert program this early in the school year. We are offering
several options for groups that would like to perform. You could prepare an entire
concert (20 - 25 minutes); OR you could share a concert session with another
group. You would only have to prepare 10 - 15 minutes of music. We would like to
encourage you to send an audition tape of your group. In North Carolina, we have
many fine choral groups. Please share your talents and music-making with the other
choral directors. Applications for performance can be found on pages 14-15.
Spring 2005 page 5

David Pegg Receives Hoggard Award NC ACDA R&S Chairs

Sam Doyle, NC ACDA Hoggard Award Chair Male Choirs
Daniel Huff
Each year the NC ACDA honors a member for "Distinguished service in Choral Music in UNC-Chapel Hill
North Carolina." This year the recipient is David Pegg. Below are the criteria and a brief Dept. of Music
resume: CB#3320 Hill Hall
Chapel Hill, NC 27599-3320
LARA HOGGARD AWARD FOR DISTINGUISHED SERVICE IN CHORAL MUSIC IN 919.962.4219
NORTH CAROLINA dhuff@email.unc.edu
Criteria: Music & Worship
1. Nominee has distinguished himself/herself as an outstanding choral director within Tony Spencer
North Carolina. First Baptist Church
2. Nominee has consistently demonstrated the highest musical standards throughout his/ 211 West Main Street
her career. Forest City, NC 28043
3. Nominee has been active in several areas of education (i.e. school, community, church 828.245.6626
work). tspencer@rfci.net
4. Nominee has served and/or held office in choral areas of appropriate professional or- Senior High School Choirs
ganizations such as NCMEA and NC-ACDA. Melissa B. Murphy
5. Nominee provided statewide leadership in the choral art for a minimum of 10 (ten) Havelock High School
years within the state of NC. 101 Webb Blvd.
Havelock, NC 28532
David Pegg serves as Director of Music at Centenary United Methodist Church, Winston- 252.463.1533
Salem, North Carolina. At Centenary, he conducts the 80-voice Chancel Choir and coor- missy.murphy@
dinates a complete music program which includeschoirs for children, youth, older craven.k12.nc.us
adults and handbellsand the Centenary Academy for Music and Performing Arts, a
community music school. Show Choirs
He received his B. M. and M. M. degrees from the University of North Carolina at Amy W. Daw
Greensboro, and has done advanced studies at the University of Oklahoma, University (see SSA Coordinator info
on page 3)
of Iowa, and University of Hartford, and Westminster Choir College.
In addition to his duties at Centenary, Mr. Pegg is Artistic Director and Conductor of the Two-Year College Choirs
Bel Canto Company, a professional choral ensemble based in Greensboro, North Caro- R. Michael Daugherty
lina. Coastal Carolina Community
Mr. Pegg has served as a choral clinician and adjudicator for workshops and festivals in College
North Carolina, South Carolina, Virginia, Florida, Ohio, Tennessee, Connecticut, and 444 Western Blvd.
has conducted and accompanied the North Carolina All-State Chorus and Honors Cho- Jacksonville, NC 28546
910.938.6315
rus. He has been the guest conductor of the Kentucky All-State Chorus and the Indiana
daugmuse@hotmail.com
TTBB All-State Chorus. In the fall of 2004, he served as guest conductor of the first
North Carolina Church Choir Festival, sponsored by the North Carolina state chapter of Womens Choirs
the American Choral Directors Association (ACDA). Mary Lycan
Mr. Peggs collegiate choruses have performed on programs for the North Carolina Music Womens Voices Chorus
Educators Association state convention, the 415 Wesley Drive
Ohio Music Education Associations state Chapel Hill, NC 27516-1521
convention, three Southern Division Con- 919.932.5455
mlycanclef@aol.com
ventions of ACDA, and two national Music
Educators National Conference (MENC) Youth & Student Activities
conventions. Welborn E. Young (Bill)
Mr. Pegg has taught in the public schools of (see Conference Site Host
North Carolina and Florida, and has been a info on page 3)
member of the faculties of High Point Col-
lege, the University of North Carolina at
Greensboro, the Greensboro Music Acad-
emy, and Kent State University. Prior to
his position at Centenary Church, he was
an Associate Professor and Director of the David Pegg (L) receives Hoggard Award
School of Music at Salem College. from Sam Doyle (R)
page 6 Carolina Caroler

Tai Chi for Singers and Conductors: A Personal Journey

Anne Saxon, NC ACDA Childrens Choir R&S Chair

In the summer of 2003 while attending Choral Music Experiencea conductors

workshop designed by Childrens Choir expert, Doreen RaoI was interested to
know more about the physical warm-up exercises that were taught. They made a lot of
sense and seemed to make a difference with the singer. I was told several times that it
ACDA was Tai-Chi based. What was this Tai Chi? I asked myself. It was certainly myste-
rious and intriguing. Was it like karate or judo? What did that have to do with singing?
Advocacy When I returned home I looked up Tai Chi in the yellow pages and called a local
center to find out more information. I learned that it is a form of gentle movements
Resolution based on self-defense techniques that improves strength, flexibility, balance and circu-
lation; a kind of meditation in motion. Gee, that sounded more intriguing than ever!
I signed up for a demonstration class and arrived bright and early on a Saturday morn-
ing.
I had gotten the time mixed up and arrived when the regular class was ready to begin. I
Whereas the human was invited to either observe the class, or join in and try it out. VERY tentatively I
spirit is elevated to a joined the others and we began with a series of shakes, movements, exhalations, and
broader understanding basically acting like a puppet with loose limbs. There were drummers playing on Afri-
of itself through study can drums which made it a lot more fun to kind of loosen up! I am certainly not a
and performance in the spring chicken or a model of fitness; in looking around the room I noticed that there
aesthetic arts; and were people of all ages and stages which made me relaxa little!
Then some beautiful flute music began to come through the speakers, and we did some
breathing exercises. These included focusing on inhalation and exhalation with a se-
ries of simple movements. The instructor began to say some phrases that were very
Whereas serious cut- familiar to singers: inhale like you were sipping air though a straw, bring the breath
backs in funding and source down in the lower stomach area, center/focus your breath, focus on breath-
support have steadily ing into the lower back, inhale in a ribbon of breath, keep your chest and shoul-
eroded arts institutions ders down and relaxed AHA! THIS must be why its good for singers. One thing I
and their programs found interesting: to concentrate on exhalation, and the inhalation will come naturally.
throughout our country, After other types of stretches we practiced Chi Kung:standing with feet slightly apart,
knees slightly bent (sound familiar?), toes pointed forward, chest and shoulders re-
laxed, neck straight, arms slightly away from the body, elbows bent, hands held up in
front of you to chest height, fingers opened, with your weight towards the balls of
Be it resolved that all
your feet. We will stand in that position for what feels like 610 minutes at a time!
citizens of the United Ive found that although you feel a little silly at first, your body begins to slowly move
States actively voice into better alignment, and sometimes you feel little jerks or spasms running through it.
their affirmative and Our Master, San Gee Tan said it was your chi, or energy source freeing up. Ok, so
collective support for this was a little different than your normal everyday experience! All of the above took
necessary funding at the about 40 50 minutes.
local, state, and national After a break we worked on the Tai Chi form. At first you have so much to think
levels of education and aboutyour feet, shoulders, neck, etc., much like a new voice student! You are con-
government, to ensure centrating on every little thing and feel a little overwhelmed at first. We were split up
the survival of arts pro- into small groups with instructor trainees who gently talked and walked you through
grams for this and fu- the movements. As you work on the form you are totally focused on every single min-
ute detail: the position of each foot, hand, head, knees, etc. Each part of the form sets
ture generations. up the next, and if you have one part out of alignment it affects the next, and so on.
Time stands still; you think of little else. The music is New-Age style, light and at-
mospheric. At times I get lost in it and find myself in an increased state of awareness.
Then we all did the form together, and if you didnt know a part of it you just pretended
and followed along. Everyone was at a different level which made me less self-
conscious. This was the cool part: a roomful of people all doing the same thing to-
(Continued on page 7)
Spring 2005 page 7

Tai Chi
(Continued from page 6) Dates to
gether, quiet music in the background, and everyone PRESENT to the moment. Remember
Wouldnt you like to get all of the singers in your choir to that level of focus?!
The demo class began next, and I stuck around to watch, listen and learn. The testimo-
nies were very interesting, and I heard the words presence, relaxed, and stress- ACDA National
relief more than once. I decided that there must be more to this stuff than just breath-
Convention
ing and alignment. It is very low impact with long-term beneficial results.
I joined up for a ten-week session and have been hooked ever since. Although my Los Angeles, CA
schedule only allows for two sessions a week, here in my 15-month I notice how February 2-5, 2005
much more aware and present I am to my choirs and daily living in general. I still
have about a fourth of the way to go in learning the basic form, but do not feel rushed
or pressured to do soeveryone is encouraged to learn at their own pace. A sym- NC ACDA
phony violist in my class figured out the form is a rondo form, which helps me as I Conference~UNCG
learn. She says Tai Chi helps her performance focus tremendously. September 16-17, 2005
Tai Chi relieves stress and helps you tone your body and focus your mind. People in
the Tai Chi Community are open and supportive to each otherthere is a high degree
of mentoring in the process. Extra sessions have included working with other Masters, Future NC ACDA
and I even took the Chanting Class last spring. It was the most amazing thing, and
Conference Dates
gave me a whole new perspective on breathing and focusing the breath. Also, it is re-
freshing to be around people that do something besides music! It certainly broadens
your perspective. September 22-23, 2006
Techniques that I apply as a Choral Conductor are:
September 21-22, 2007
Using the breathing and warm-up exercises in rehearsal as a way for singers to
focus, relax, and become more present to the rehearsal (for yourself as well!).
You can modify these to work with all ages and stages of choirs.
Standing in correct body alignmentthe singers see this and model it. ACDA Southern
Keeping the conducting pattern low, centered, and relaxed. Division Convention
Using breathing techniques to apply to fluidity of movement. Charleston, WV
Approaching gestures with focused intent, giving you economy of movement. February 22-25, 2006

If nothing else, this application makes me more centered and relaxed as a conductor,

thus more effective. I highly recommend it to all artists!
Master Sam Gee Tan is the most amazing person Ive ever met, having been all over the
world teaching and promoting this Golden Flower Tai Chi Method. His integration of
self-cultivation techniques, as well as those of the instructors hes trained, makes each
session a Master Class in the journey of internal development. It has certainly changed
the course of my own direction for the better. I encourage and invite you to check out
www.goldenflower.org for more information. In a world of political,
economic and personal
Anne Saxon is the full-time Director of Music Ministries at Main Street Methodist disintegration,
Church in Kernersville, and the Artistic Director of the Central Carolina Childrens music is not a luxury,
Chorus in Winston-Salem. but a necessity,
not simply because it is
therapeutic nor because
Rodney Eichenberger
interest session it is the universal
Fall Conference (L) language, but because
it is the persistent focus
Reading Session of mans intelligence,
Fall Conference (R)
aspiration and good will.
Robert Shaw
page 8 Carolina Caroler

NC ACDA Fall Conference 2005, September 16-17, UNCG

Anton Armstrong, Clinician

Anton Armstrong is the Harry R. and Thora H. Tosdal Professor of Music at St. Olaf Col-
lege and Conductor of the St. Olaf Choir, a position he assumed in 1990. He came to this
position following ten years in Grand Rapids, Michigan where he served on the faculty
of Calvin College and conducted the Campus Choir, the Calvin College Alumni Choir
and the Grand Rapids Symphony Chorus.
A graduate of St. Olaf College, Anton Armstrong earned a Master of Music degree at the
University of Illinois and the Doctor of Musical Arts degree from Michigan State Uni-
versity. He holds membership in several professional societies including the American
Choral Directors Association, Choristers Guild, Chorus America, and the International
Federation for Choral Music. He also serves as editor of a multicultural choral series for
Earthsongs Publications and co-editor of the revised St. Olaf Choral Series for Augsburg Fortress Publishers. Dr. Arm-
strong is widely recognized for his work in the area of youth and childrens choral music. He served for over twenty
years on the summer faculty of the American Boychoir School, Princeton, New Jersey and held the position of Con-
ductor of the St. Cecilia Youth Chorale, a 75 voice treble chorus based in Grand Rapids, from 1981-1990. He has con-
ducted the Troubadours, 30-voice boys ensemble of the Northfield Youth Choirs since 1991. He currently serves as a
member of the Board of Trustees of the American Boychoir School. In June 1998, he began his tenure as conductor of
the Oregon Bach Festival Youth Choral Academy.
Anton Armstrong has conducted the St. Olaf Choir in critically acclaimed solo concert performances at the 59th National
Conference of the Music Educators National Conference in April 2004, the Sixth World Symposium on Choral Music
in August 2002, and at the 1999 National Convention of the American Choral Directors Association in Chicago, Illi-
nois. In February 2005, The St. Olaf Choir will share the stage with the Mormon Tabernacle Choir in presenting the
finale concert for the national conference of the American Choral Directors Association at the new Walt Disney Hall
in Los Angeles, California.
He has frequently conducted ensembles and appeared before regional and national gatherings of the American Choral
Directors Association, Music Educators National Conference, Choristers Guild, American Guild of Organists, Asso-
ciation of Lutheran Church Musicians, Organization of American Kodaly Educators and the Orff-Schulwerk Associa-
tion. In August 1996 he was featured as a clinician at the Fourth World Symposium on Choral Music in Sydney, Aus-
tralia.
Dr. Armstrong is active as a guest conductor and lecturer throughout North America, Europe, Scandinavia, Korea, Singa-
pore, Australia, New Zealand, Venezuela, and the Caribbean. In June 2003, he was honored to serve as the first Peter
Godfrey Visiting Professor of Choral Music at the University of Auckland, New Zealand. In recent years he has guest
conducted such noted ensembles as the Utah Symphony and Symphony Chorus, the Mormon Tabernacle Choir, the
Westminster choir, the American Boychoir and the St. Paul Chamber Orchestra. He has also collaborated in concert
with Bobby McFerrin and Garrison Keillor.
In 1992 Anton Armstrong made his European conducting debut at the International Band and Choir Festival in Brussels,
Belgium and returned to Vienna, Austria in March 2000 to conduct the 25th anniversary concerts of this festival. He led
the St. Olaf Choir on a concert tour of Denmark and Norway in 1993, which included a performance at the Bergen In-
ternational Festival, Norway and in January 1997, he conducted the ensemble in a four-week concert tour to New Zea-
land and Australia. In June 2001 he guided the St. Olaf Choir on a three-week concert tour of Central Europe and will
return to Norway with the St. Olaf Choir for a three-week performance tour in June 2005. In the summer of 2001, Dr.
Armstrong conducted the World Youth Choir sponsored by the International Federation of Choral Music with concerts
in Venezuela and the United States
During 2004-2005 Dr. Armstrong will serve as conductor of All-State Choirs in New Jersey and Michigan. He will also
lead choral festivals in Carnegie Hall, New York, Davies Hall San Francisco, and Orchestra Hall, Chicago. During
Spring 2005, he will serve as the Visiting Housewright Scholar in the School of Music at Florida State University and
guest clinician with the Singing City Choir of Philadelphia. Additional conducting and lecturing engagements this sea-
son include appearances in North Carolina, Michigan, Minnesota, New Jersey, Oregon, Tennessee, Alaska, New York,
South Carolina, Illinois, and California.
Spring 2005 page 9

NC ACDA Treasurers Report (Through December 10, 2004) The Carolina Caroler is the official
Ginger Wyrick, NC ACDA Treasurer newsletter of the North Carolina
chapter of the American Choral
Income Directors Association. Articles and
Dues 75.00 advertisements may be submitted
Newsletter Advertising 225.00 to:
Stephen A. Futrell, Editor, via email
Conference Registration 6220.00
at sfutrell@elon.edu
Church Festival Choir Registration 1300.00
Allotment from Southern Division 1629.25 Articles may be submitted via email
TOTAL INCOME 9449.25 as Word documents. Times New
Roman, or similar, with font size
Expenses 11 is preferred. Please do not dou-
Bank charges 18.55 ble space after punctuations
Conference Meals 2086.00 (periods)a practice held back in
the days of typewritersit is not
Conference Clinicians 1200.00
necessary with word processing.
Conference Clinician Food/Travel 303.90
Conference Clinician Housing 290.98
Conference postage 76.88
For advertisements, contact our
Fall Conference Awards/Certificates 26.60 Advertising Editor:
Conference Printing 4.30
Conference printing/duplication 49.92 Lisa Fredenburgh
Meredith College
Conference accompanist/instrumental 100.00 Raleigh, NC 27607
Conference Music 865.73 919.760.8577
Dues transfer 75.00 fredenburghL@meredith.edu
Awards 47.98
Issue Deadline Publication
Online/website 39.80 Fall July 15 Aug. 1
NCMEA lunch pre-sale 170.00 Spring Dec. 15 Jan. 15
Church Festival Choir Clinician 800.00 Summer April 15 May 15
Church Festival Clinician food/travel 52.58 NC ACDA reserves the right to edit
Church Festival Printing 34.24 any application for appearance and
Church Festival Choir Accompanist 300.00 to edit all materials proposed for
TOTAL EXPENSES 6542.46 distribution.
Operating Profit 2906.79
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 digi-
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payable to North Carolina
ACDA must accompany the or-
der. Advertisers will NOT be
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advance payment. Advertising
copy is subject to editorial ap-
proval. The editor reserves the
right to head and/or box any adver-
tisement bearing confusing resem-
blance to editorial material.
page 10 Carolina Caroler

NC ACDA Youth & Student Activities R&S Report

Welborn E. Young, Chair

The loss of student members upon graduation from college was a recurring theme from the February, 2004 Regional
Conference of ACDA in Nashville, Tennessee. A Youth and Student Activities round-table discussion during the
NCACDA state conference at UNCG addressed this particular issue. The small group led by Welborn Young and Reta
Phifer began by enumerating the many benefits of membership, i.e. the state and regional newsletters, the Choral Jour-
nal, the body of professional experience, colleagues, and performances at the highest level of artistry.
The discussion became a brain-storming session in which two concepts emerged: Growth and Relationships. The group
realized that these concepts embodied the spirit of ACDA. Membership in ACDA provides opportunity for scholarly
growth through a variety of newsletters, scholarly articles, monographs, performances, and special presentations at
state, regional, and national conferences. A members special choral interest can be the source of the next presentation,
article, or performance presented. Through participation in these activities, the member encourages their career
growth.
The discussion group agreed that the relationships forged at ACDA events were equally important. At ACDA events,
members unite with friends and colleagues from their past, meet new friends and colleagues. This is more than a mu-
tual admiration society. Members have serious and critical conversations about repertoire, teaching, programming, and
performance practice. The newer member has at their disposal the aggregate knowledge of ACDA and the veteran
member may find new ideas to challenge and revitalize their experience. Most importantly, however, is the joy of con-
necting with old friends, colleagues, teachers, and students during casual unstructured time.
This summary only begins the discussion of the benefits of ACDA membership. With Growth and Relationship as
umbrella concepts, the breadth of benefits available to members is limited only by the number of members in the or-
ganization.

Lenoir-Rhyne College Vocal Jazz Workshop for high school and college students with nationally-known
artist and arranger, Steve Zegree will be held on January 21-22. Contact Dr. Paul Weber, Director of Choral Activities,
at (828) 328-7149 or weber_pd@lrc.edu for further information. The cost is $10 per person and $50 per ensemble.
Spring 2005 page 11

NC ACDA Community Choirs R&S Report, October Conference

Daniel Bara, Chair

At the ACDA State conference this fall, Lawrence Speakman was invited to speak at the R&S Roundtable discussion for
Community Choirs. Mr. Speakman, who is the Artistic Director and primary conductor of the Concert Singers of Cary,
addressed an attentive classroom of nearly 20 conductors. During the course of his talk, which included an expansive
and informative Power-point presentation, Speakman recounted the impressive development of the Concert Singers of
Cary, and discussed how his organization has managed to attract and motivate singers of all levels of ability by creat-
ing singing opportunities and specific ensembles that meet the abilities of all singers. Furthermore, he discussed the
development of the organizational and governing body of the organization, which has evolved and led the group to fis-
cal growth and the development of an endowment fund. Fundraising techniques, auditioning processes, and ensemble
structure were all discussed in addition to the highly impressive and informative web site, which the ensemble proudly
displays. The conductors in attendance were inquisitive and responsive throughout the presentation and held Speakman
beyond his allotted time with questions, anecdotes, and requests for advice.
If you have questions for Mr. Speakman, he can be reached at: larryspeakman@peoplepc.com. The web address for the
Concert Singers of Cary is: www.concertsingers.org.
Many thanks to Mr. Speakman for sharing his experience and expertise with us during the conference. Best wishes to all
for a restful and healthy holiday, and an enriching and musical spring.

NC ACDA 2005 Sr. High All-State Womens Choir

War Memorial Auditorium, Greensboro
January 28-29, 2005
Amy Daw, NC ACDA coordinator
Daniel J. Bara, conductor

Dr. Daniel Bara is the Director of Choral Activities and Instructor of Conducting and
Choral Literature at East Carolina University. At ECU he also oversees the MM in
Choral Conducting degree program and is the founder and director of the ECU Sum-
mer Choral Conducting Institute which will enter its 4th season in June of 2005. Addi-
tionally, Bara serves on the Artist Faculty at the Interlochen Arts Camp at the re-
nowned Interlochen Center for the Arts in Interlochen, MI during the summers where
he conducts the high school choirs and operetta. He is a past winner of the ACDA Na-
tional Conducting Competition - Graduate Division, and was awarded the Walter
Hagen Conducting Prize at the Eastman School of Music. Baras choirs have been invited to perform at state and re-
gional conferences of ACDA and MENC and he is active as a clinician and conductor of high school, middle school,
and church choir festivals. Bara holds degrees in conducting and organ from the Eastman School of Music and the
University of Michigan. He is also the Artistic Director of the Greenville Choral Society.
For more information contact Amy Daw, SSA Coordinator:
Amy.Daw@dpsnc.net or 919-560-3956, ext.8.

Sound Reinforcement for Jazz or Show
Choir, Pt. 1~Stephen Futrell, Jazz Choir R&S
Disclaimer~Although this writer may have personal pref-
erences, references to specific brand names do not con-
stitute an endorsement or guarantee. The brand names
and products indicated should serve as guidelines. Re-
tail prices indicated serve only as "ball park" figures.
For more specific information and pricing of items,
please support your local music store.
Any discussion of what type of equipment to use must be-
gin with a brief reminder that it is the natural sound we
are trying to amplify. The goal is to use the best possible
equipment in a manner which truly represents the sound
source. For singing, the sound source is the voice. The
primary goal in singing is to produce a tone quality
(Continued on page 12)
page 12
Sound Reinforcement
(Continued from page 11)
which is natural, free and vibrant. The sound system am-
plifies whatever is put into it. Although a sound system
might mask some defects, it is not a substitute for solid,
fundamental technique.
The types of mics one should look for are those which re-
spond to the inherent frequencies of the voice. Look at
the literature which comes with the mic itself and there
is usually a description or chart of the frequency re-
sponse of that mic. Close mic-ing is the absolute best
situation for amplifying the voice. The Shure Beta 58 (c.
$285) and the Electrovoice PL70N/D (c. $300) are ex-
cellent mics for the voice. Vtech and Sennheiser manu-
facture mics designed for the voice which sell for a little
less. The standard vocal mic for many years was the
Shure SM-58 which retails for around $110 and it is still
a great mic. The Beta 58 is manufactured with the newer
technology designed to respond to the full range of the
voice. By the way, the Shure SM-57 is a great mic if
youre going to use horns. There are available hand-held
wireless mics, lapel mics and headsets beginning around
$300.00. Professional music theater productions use
those which operate at ultra high band (UHF) so that
there is no cross talkthese can run around $800-900.
If you absolutely have to distance mic, as is often the case
Carolina Caroler
with show choirs, the two major concerns are tone
quality and feedback/noise. Although the tendency has
been to use a pressure zone mic (several manufactur-
ersc. $250.00), the PZM is not built to truly represent
the voice. A common method employed is to mount the
PZM on plexiglass so that it catches a wider area.
The only thing this writer has seen any use for a PZM
is on a stage floor to mic tap dancing. I would also not
recommend using a PZM to mic a piano. There are a
couple of great condenser mics that one could employ
for distance mic-ing: Audio Technica Micro Line Se-
ries condenser mics at c. $300 (tighter pattern) and
AudioTechnica 855 Stereo condenser mic at c. $550.
Just remember with the condensers, you will either
need to put a battery in them or use the phantom power
on your mixing board. Close mic-ing is ideal because it
will amplify all of the inherent frequencies of the voice.
An advantage to distance mic-ing is that it allows for
more choreography and corded microphones could be-
come tangled.
In considering sound systems, there are two choices:
those with separate components and those which are
more self-contained (often referred to as box mixers).
If you are going with separate components, you need to
look for a mixing board that is clean and flexible.
Mackie boards have become recognized as among the
best in the business. Behringer and Samson both manu-
facture scaled-down versions of the Mackie boards, but
are still clean, reliable, compact and versatile. Most
companies manufacture standard boards and rack
mountable mixers. There are 16-channel, rack-mount
mixers for around $700. When considering flexibility,
one looks at how many inputs, how many monitor
sends, how many auxiliary inputs/effects loops, what
kind of EQ per input channel, do the input channels
have gain as well as a fader, do the input channels have
a phantom power switch, etc.
After youve decided on a mixer, youll need to get an
amplifier. More power might equal more volume, but
the paradigm is really more power equals cleaner
sound. Run the amp wide open. The simplest design is
rack-mount using one amp with one side for mains and
one side for monitors. You can use one amp for mains
and a separate amp for monitors if you wish. In either
case, you are running the system mono. The advantage
with two amps is that you can have separate monitor
mixes, if your board is setup for multiple monitor
mixes. The Behringer EP1500 pushes 1400 watts at 4
ohms bridged and retails at around $360.
There are usually two speakers for front-of-house
(mains). Soundtech manufactures a speaker rated at 8
ohms with a 15" cone and a horn for c. $400/cabinet.
With the one amp, using one side of the amp, the
Spring 2005 page 13

Sound Reinforcement one for main/one for monitor. The Yamaha EMX5000-
(Continued from page 12) 12 is a 12-Channel 1000W powered mixer (c. $1000)
with 12 channels, 500W per side or 1,000W bridged.
speakers are run parallelrunning one speaker cable Channels 1-8 provide XLR and TRS phone connection.
out of the amp to one speaker, then out of that speaker Channels 9/10 and 11/12 have phone and RCA jacks.
to the second. The JBL JRX115 15 2-way speaker Channel inserts are provided on all 8 mono channels, 3-
rated at 8ohms retails at c. $370 per cabinet. As in band EQ on all channels, plus a 9-band graphic EQ. It
mics, youll want to look at the frequency range of the also has dual SPX digital 24-bit effects.
speakers. Those with a broader range will work better Last, but not least, dont forget the stuffmic cables,
for you. mic stands (boom), speaker stands, patch cords, speaker
A system may only use two monitors, but if you are using and monitor cables (don go cheap on the speaker ca-
more, you might need another amp. Soundtech manu- blesget high gauge, shielded cables), a direct box or
factures a monitor speaker rated at 8 ohms with a 15" two, power supply, extension cords, box for cables, box
cone and a horn for c. $300 per monitor. With the one for mics, other storage containers, batteries, etc. If you
amp, using one side, the monitors are run parallel. are fortunate enough to have someone as a sound engi-
There are a number of great companiesSony, Ya- neer, you should consider getting a snake so that you can
maha, Peavey, JBL, etc. You may need separate moni- position the board out in the hall. As an example, the
tor mixesone for the vocal group and one for the American Cable Company manufactures a 100-foot,
rhythm section for example. 12x4 Stage Snake that retails for c. $200.00just look
You will need to consider auxiliaries and cartage. Some for the number of inputs that will match your board.
mixing boards have some equalizers and digital effects There will be a brief article on some of the techniques on
built in. Otherwise, you can acquire rack mount proces- how to use the sound system in the next issue of the
sors. The dbx 231 Dual 31-band EQ sells for c. $275. Carolina Caroler. Hopefully, this article provided some
You would use one side for mains and one side for useful information that can get you started in looking for
monitors. For effects/signal processing the Alesis a sound system for your vocal jazz or show choir.
MidiVerb4 at c. $300 or the Yamaha Rev100 at c. $275 See page 10 for information regarding the Lenoir-Rhyne
are both good units. College Vocal Jazz Workshop with Steve Zegree.
There are a host of companies which manufacture racks
and storage gear. As an example, you can find a rack
bag (will hold amp and EQ) at c. $125. You will need a
larger rack to hold more gear, recording devices, or
whatever and those cases often come with wheels.
Dont forget a power switchthere are a handful avail-
able at c. $150. Power switches are terrific, because
with one switch you can turn everything on and they
are programmed to turn the various pieces on in the
correct order.
An advantage to box mixers is the portability factoryou
have the mixer and the amp in one piece. The disadvan-
tage is if your amp goes down, everything goes down.
In a system with separate pieces, if your amp goes
down, you could call around and borrow an amp to get
through the gig. Two other disadvantages are that usu-
ally box mixers don't have attenuator (gain) plus fader
and the EQ usually has far fewer bands.
Peavey and a host of others manufacture box mixers. The
Mackie 808M 8-Channel Powered Mixer (c.$1000) has
twin 600W FR Series amps which deliver 1,200 real
watts @ 2 ohms and are switchable as mains or mains/
monitors. The 8 mic/line channels feature phantom
power, inserts on channels 1 through 6, and dual line
inputs on channels 7 and 8. Each channel has 3-band
EQ and separate, studio-grade 9-band graphic EQs
page 14 Carolina Caroler

APPLICATION FOR CHORAL PERFORMANCE

North Carolina American Choral Directors Association

NC-ACDA Fall Conference UNCGreensboro _____

Please indicate concert length you prefer:
___ Concert session: 25 minutes
___ Concert session: 12-15 minutes
___ Concert session: 8-10 minutes

AND/OR

NCMEA ACDA Luncheon Winston-Salem _____(check one or both)

Applications/recordings must be postmarked by April 15, 2005

Submit to:
Sam Doyle
1702 Westridge Rd.
Greensboro, NC 27410

General Information (Please type)

Name of Ensemble _____________________________________________________________

Number of Singers _____________ Voicing ___________________________________

Ensemble Category _______________________________________________________

Boy Choir, Childrens Choir, College/University Choir, Church Choir, Community Choir, Ethnic/
Multicultural Ensemble, Jazz/Show Choir, Junior High/Middle School Choir, Male Choir, Senior
High School Choir, Two Year College Choir, Womens Choir, Other

Name of Group __________________________________________________________

Name of School, Church or Institution ________________________________________

Name of Director _________________________________________________________

Mailing Address
________________________________________________________________________

City _________________________________________ Zip ______________________

Telephone: Office ______________________________________________

Home ______________________________________________

Email Address _______________________________________

Directors ACDA membership Number ______________________________

Spring 2005 page 15

APPLICATION FOR CHORAL PERFORMANCEpage 2

North Carolina American Choral Directors Association

Eligibility and Financial Statement:

Conductors must be current, paid to date members of ACDA. No choral ensemble shall appear
on successive conventions (October) and/or at the ACDA Luncheon (November). It is under-
stood that ACDA will not assume any financial responsibility for travel, food, or lodging for the
performing groups. This application implies that the above-mentioned group is prepared to
travel to and perform at the convention if accepted.

Signature of Director

Name of Administrator

Signature of Administrator

TAPE SPECIFICATIONS

a) Each tape for concert, jazz, or show choir performance should be prepared on a superior
quality cassette tape or CD.
b) The recording should be 10-15 minutes in length and should include three selections from
live performances.
c) Vocal jazz, show choir, and madrigal ensemble performance applications should include
both a cassette tape and video cassette tape (1/2 inch VHS).
d) Recorded selections submitted on this tape are:

Selection #1: Title

Composer

Selection #2: Title

Composer

Selection #3: Title

Composer

For more information contact Sam Doyle:

sam2ann@triad.rr.com
Carolina Caroler
page 16 Carolina Caroler
North Carolina American Choral Directors Association
c/o Stephen A. Futrell, editor
Elon University
Campus Box 2800
Elon, NC 27244

www.ncacdaonline.org

American Choral Directors Association Membership Application

Name: Mr. Ms. Mrs. Dr. ______________________________________ Member No.________
Send ACDA publications to: Alternate Address:
Address: ____________________________ Address: _______________________________
____________________________ _______________________________
City: ____________________________ City: _______________________________
State: ____________________________ State: _______________________________
Zip: ____________________________ Zip: _______________________________
Country: ____________________________ Country: _______________________________
Phone: ____________________________ Phone: _______________________________
E-mail: ____________________________ E-mail: _______________________________
Fax: ____________________________ Fax: _______________________________
Check Member Type Check All Activity Areas Check All Choir Types
Active$75 Elementary School Children
Associate$75 Junior High/Middle School Boy
Student$30 Senior High School Girl
Retired$35 ACDA Student Chapter Male
Institutional$100 Two-Year College Women
Industry$125 College/University SATB/Mixed
Foreign Airmail$100 Community Choir Jazz/Show Choir
Foreign Surface$90 Music and Worship
Ethnic/Multicultural
Life ($200 minimum Professional Choir
installments)$2000 Supervisor/Administrator
Installment Amount ____________ Youth & Student Activities
Make check payable to: American
Enclosed is $1 for the ACDA En- Choral Directors Association
dowment Trust Fund
Mail completed form and check to:
As an ACDA member, I will comply with the copyright laws of the United States of America ACDA National Office
as they pertain to printed music or the downloading of music off the internet. ATTN: Membership
(Compliance with these laws is also a condition of participation by clinicians and P. O. Box 2720
performing ensembles that appear on any ACDA-sponsored event or convention.)
Oklahoma City, OK 73101-2720