Professional Documents
Culture Documents
Carolina Caroler
An award-winning publication of the
0orth Carolina Chapter of the
American Choral Directors Association
Three Rs of 15-
Middle School 17
C ACDA SR. HIGH
Treasurers Report 10
WOMES ALL-STATE Choral Adjudication 17-
18
January 25-26, 2013
Membership 11
Greensboro Coliseum & Application Form
War Memorial Auditorium
Sigrid Johnson, Conductor Directories
0C ACDA Officers 2
0C ACDA Specially 3
choral art 0C ACDA R&S 4-5
advocate
remember Chairs
American Choral Directors Association
teach
2013 National Conference Volume 13, Issue 2
Dallas, Texas March 13-16, 2013
Fall 2012
page 2 C a r oCarolina
l i n a C aCaroler
roler
Presidents Message
Bill Young, NC ACDA President
C ACDA Officers Dear 0C ACDA Members, Colleagues, find outlined in this
2010-2012 and Friends, issue of the Caroler.
Unity of purpose in our endeavors is ever We also began plan-
present in my mind as I write to you now. ning the 2013 and
President The role and function of this state chapter 2014 state confer-
Welborn E. Young (Bill) is the advancement and enrichment of ences. After 14 years
UNC Greensboro of holding the NC
School of Music
the choral art throughout the state of
North Carolina and for all of our con- ACDA state conference at the UNCG
P.O. Box 26167 Music Building, the board has agreed that
Greensboro, NC 27402 stituents (ncacdaonline.org). One way that
336.334.5493 this can be accomplished is by providing after the conclusion of the 2013 confer-
weyoung@uncg.edu you with the opportunities to work with ence, there will be a new location for the
leading clinicians, providing you perform- 2014 conference. A committee was estab-
Past President ance opportunities, and providing time for lished to investigate possible venues for
Ginger Wyrick you to meet and enjoy the friendship and the 2014 conference. The entire member-
6200 Maple Cove Lane
good works of your colleagues, friends, ship of NC ACDA is grateful for the
Charlotte, NC 28269 many years of service provided by UNCG
704.948.4363 and admired mentors.
administration, the faculty, and students
ggw@hwaci.com The Repertoire and Standards Chairper- who have dedicated their time to provid-
sons, the appointed members, and your ing a hospitable and welcoming host site.
President-Elect executive board work to build balanced
Sandy Holland Your fall conference, September 21-22,
events that best represent our entire con-
Charlotte Childrens Choir features Ann Howard Jones as the
P.O. Box 30724 stituency not just from one event to the
conference clinician. Two of her sessions
Charlotte, NC 28230 next but with an eye to future NC ACDA
will include a conducting Master Class; if
704.451.4194 years. This philosophy was central to the
you would like to have the opportunity to
srholland NC ACDA boards summer meeting as
conduct, the application form is on page
@charlottechildrenschoir.org we discussed details of the 2012 Season
9. Vijay Singh is the clinician for the
including Fall Conference (September 21-
Male Vocal Arts Symposium occurring
Secretary 22, 2012), NCMEA luncheon (November
Vacant simultaneously with the conference. And,
12, 2012), SSA All-State (January 25-26,
through a grant from the Southern Divi-
2013), and our participation at National
Treasurer sion office, Jeff Ward, R & S Chair or
Conference in Dallas (March 13-16,
Catherine Butler Youth and Student Activities, will present
2013). Details of these events you will
410 Westdale Place (Co nti n ued o n page 3)
Greensboro, NC 27403
336.337.3153
catherinebutler17@gmail.com STUDENTS! ACDA Partners with North Carolina
Membership Chair on Collegiate Membership
Rob Frazier
Myers Park Two years ago Executive Director Tim Sharp announced a new initiative to help
Presbyterian Church collegiate students become involved in ACDA. The national office is willing to part-
2501 Oxford Place ner with states to help offset the cost of student membership dues.
Charlotte, NC 28207
704.376.3695 x253 Current student membership dues are $35.00 annually. ACDA is asking
rfrazier@mysersparkpres.org students to pay only $10.00. The remaining amount will be shared between the
state chapter and the national office.
ewsletter Editor
Anne M. Saxon NC ACDA has allotted funds from our cash reserve to participate in this initiative.
4105 Sewanee Drive Collegiate students who want to participate must register and attend the Fall Confer-
Winston-Salem, NC 27106 ence in September. At conference, interested students should contact Treasurer
336.922.4073 Catherine Butler to complete the ACDA membership form and pay their $5.00 dues.
Midpatch@aol.com Treasurer Butler will complete the membership process on their behalf.
NC ACDA has supported collegiate memberships over the past several years in an
effort to encourage students to become active members in ACDA.
Fall 2012 page 3
C h o r a l A d j u d i c a t i o n Tr a i n i n g Wo r k s h o p
Dr. John Sinclair, Adjudicator (see page 18 for more Workshop info) C ACDA Specially
Appointed Officers
Dr. John V. Sinclair serves as Chair of the Department of Music and is the
John M. Tiedtke Professor of Music at Rollins College in Winter Park, FL.
He is celebrating his 21st season as Artistic Director and Conductor of the Auditions
renowned Bach Festival Society of Winter Park and is the conductor of the Sam Doyle
1313 Westminster Drive
International Moravian Music Festivals. Dr. Sinclair is also a conductor of the
Greensboro, NC 27410
Candlelight Processional at EPCOT and has conducted recordings for Warner 336.282.0549
Brothers, Walt Disney Corporation, Moravian Music Foundation, and numer- sam2ann@triad.rr.com
ous Bach Festival recordings.
A master teacher, Dr. Sinclair has received many awards while at Rollins. For two consecutive Conference Exhibits
years he was selected as the Outstanding Music Educator of the Year by United Arts of Aaron Jackson
Christ Baptist Church
Central Florida and the Florida International Magazine selected him as one of their Power
400 Newton Road
Players in the Arts. Dr. Sinclair founded the Rollins College Community School of Music and Raleigh, NC 27615
the Bach Societys Arts-in-Education program, FreshStARTS, which takes innovative music 919.573.5454
programs to thousands of public school students in central Florida each year. aaron@christbaptist.org
Community Choirs
Aaron Jackson
Christ Baptist Church
400 Newton Road
Raleigh, NC 27615
919.573.5454
aaron@christbaptist.org
Junior High/
Middle School Choirs
Eric Johnson
James E. Holmes
Middle School
211 N. Pierce Street
Eden, NC 27288
ejohnson@rock.k12.nc.us
336.623.9791 x108
We s t e r n C a r o l i n a U n i v e r s i t y C o n c e r t C h o i r
Dr. Michael Lancaster, Conductor
Michael Lancaster has been Director of Choral Activities in the School of Music at Western Carolina
University since 2011, where he conducts the Concert Choir, University Chorus and Early Music Ensem-
ble, and teaches conducting and voice. He is also the Director of the Asheville Symphony Chorus.
Lancaster has served on the music faculties of the School of Church Music and Worship at The Southern
Baptist Theological Seminary in Louisville, KY, and Central Missouri State University in Warrensburg,
MO. During his tenure his choirs sang at state and divisional Music Educators Association and ACDA
Conferences, as well as extensive concert tours to England, Carnegie Hall, and Italy. He also taught high
school choral music in Southern California.
Lancaster studied conducting for two summers at the Oregon Bach Festival under renowned conductor
and Bach scholar Helmuth Rilling, and sang with Robert Shaws Festival Singers in Souillac, France. He
also participated as a member of the paid professional core in the Robert Shaw Choral Workshop and the Carnegie Hall Choral
Workshop many times in subsequent years. Lancaster has sung with many organizations, including the Carmel (CA) Bach
Festival, the Los Angeles Master Chorale (directed by Roger Wagner), the Hollywood Bowl Festival Chorus (directed by
Christopher Hogwood), the Los Angeles Chamber Orchestra (directed by Gerard Schwartz), the William Hall Chorale, the
Long Beach Bach Festival (directed by Sir David Willcocks) and the Disneyland Dickens Carolers.
He holds the BME from Chapman College (Orange, CA), the MM from California State University Fullerton, and the DMA
from the University of Southern California.
Ma le Voca l Ar t s Sy mp os iu m 2 012
V ij a y Sing h , Co nd ucto r
Vijay Singh is an active performer, composer, teacher, conductor, and clinician residing in Ellensburg,
Washington where he is Professor of Music at Central Washington University. A graduate of Wil-
lamette University (BME/Clarinet & Voice) and Portland State University (MM Choral Conduct-
ing/Vocal Performance), he has been rapidly gaining international attention for his eclectic musical
compositions, performances, workshops, and conducting appearances.
Singhs teaching experiences have included work at public secondary schools, community college, and
university levels. He currently teaches voice, choral arranging, jazz pedagogy, directs the University
Chorale, and award-winning CWU Vocal Jazz 1, and oversees the vocal jazz program (3 jazz choirs).
The Male Vocal Arts Symposium will run concurrently with the conference and culminate with a final
performance at the conclusion of the event.
Fall 2012 page 7
Tr a n s f o r m a t i o n a l C o n d u c t i n g
Dr. Carole Ott, College & University Choirs R&S Chair
At the conclusion of my choral conducting class this spring, 5. Imagine the words being sung. How do they sound? How
I asked my students how their perceptions of the conductors do the melodies and harmonies sound? The more clearly you
role had changed over the course of the semester. The imagine the piece as a whole, the more efficient and reward-
answers varied, but I was pleasantly surprised at the depth ing the rehearsal process.
of their attention over our very busy semester together. One
In general, moving from large to small helps prevent obsess-
of the most profound answers was this: At the beginning of
ing over small details too early in the process. Keeping a
the semester, I thought the conductor was the person who got
notebook of reflections can be an effective way to record
everyone started and kept everyone together. Now I believe
discoveries or difficulties with the music.
that the conductor is more like the spiritual guide for an
ensembles understanding of a piece of music. I could not II. Gestural Practice
have asked for a better answer or a more profound statement Even a small amount of gestural practice, done intentionally
from a beginning conductor. and conscientiously, goes a long way. The goal here is not to
choreograph your move-
It was a good reminder for
ments to a piece of mu-
me that as conductors, we
have a great responsibility ow do we transform the sound sic, but to practice mov-
ing in such a way as to
to our musicians. How do being created from many individuals build body awareness
we move from a state of
and connectivity. There
simply starting and stop-
ping our ensembles to
into one unified artistic statement are several books with
good exercises for move-
transforming their under-
ment and building awareness. Some that I have found to be
standing of a piece of music? How do we transform the
helpful are Awareness through Movement by Mosh Feldenk-
sound being created from many individuals into one, unified,
rais, Somatics by Thomas Hannah, and Physical Expression
artistic statement? Below are three areas essential to creating
and the Performing Artist by Jerald Schwiebert. Physical
a rich environment that engenders a high level of expressivity
Expression was published recently and is an excellent re-
in rehearsal and performance.
source for building movement awareness written in a direct
I. Score Study and conversational way. The awareness gained through doing
This is perhaps the most obvious and necessary aspect of our this kind of exploration directly affects what happens on the
preparation but is the easiest to forgo in the wake of increas- podium.
ingly busy lives. It can be seductive to learn music with the
ensemble, but this inhibits both rehearsal pace and the final III. Self-evaluation
musical outcome. The ensembles range of expression is only Self-evaluation, in combination with study and practice, is
limited by the imagination of the conductor. Having a com- extremely helpful in building self-awareness and efficiency
plete aural image before the first rehearsal gives direction in rehearsal. This can be done both through a series of ques-
throughout the entire rehearsal process. Everyone has a dif- tions to consider while in the rehearsal process and by video
taping rehearsals to review later with these questions in
ferent time frame and schedule for score study.
Scheduling the time necessary to learn as much as mind. Ideally, a combination of these techniques will
possible away from the ensemble and being consis- yield the most positive results.
tent with that schedule is a very important key to the 1. Am I breathing? This is not only in relation to prepar-
success of any musical organization. ing an entrance. We hold our breath if were nervous,
while were concentrating, if were listening, or for any
A few key steps for study: number of reasons. This creates tension in the body and
1. Background: Who wrote it, when, why, for inhibits good critical listening. Just taking a moment to be
whom? aware of the breath is very helpful.
2. Text: Who is the poet? What is the language? How did it 2. How are my gestures shaping the sound of the ensemble
originally look in print? Did the composer take liberties with (both positively and negatively)? What are other gestural pos-
the text? sibilities?
3. Form: How many sections are there? Does anything 3. Is my body driven my tension or intention? If there is
repeat? What is the key? Does it change? tension, where is it? Shoulders? Arms? Knees? Feet?
4. Material: How does the music enhance the text? What are 4. Am I really hearing the ensemble in front of me? Are the
the possibilities for interpretation? Begin to make musical vowels beautiful? Is there a sense of line and shape?
decisions and mark them in your score. (Continued on page 8)
page 8 Carolina Caroler
Conductors or all levels of experience (beginning to advanced) as well as Conductors working in various areas (community,
church, school / university) are encouraged to apply. Master Class session, while utilizing major choral works, will focus on
the conducting gesture and not on conducting through entire movements or performance preparation of major works. Appli-
cants will be reviewed by a committee and notified by email of their acceptance.
Name______________________________________________________ Age__________________
Email_______________________________________
Address _____________________________________________________________________________
City/State/Zip ________________________________________________________________________
__________________________________________________________________________________________________________
__________________________________________________________________________________________________________
__________________________________________________________________________________________________________
______________________________________________________________________________________________________
All applicants must submit an 8 12 minute video demonstrating their conducting work before a live ensemble. The camera
would preferably be facing the conductors face. Videos must be uploaded to YouTube and the link sent in your email applica-
tion or you may send a DVD.
Submit for selection committee review: the above application information, as well as the YOUTUBE link of the conducting
video to srholland@charlottechildrenschoir.org or mail the completed application along with a DVD marked clearly with the
applicants name to:
Sandy R. Holland
Charlotte Childrens Choir
P.O. Box 30724
Charlotte, NC 28230-0724
Male Vocal Arts Symposium Directions to Park Lane Hotel at Four Seasons
Facilitator: Carey Cannon, R&S Chair for Male Choirs
Clinician: Dr. Vijay Singh, Central Washington University From the Raleigh-Durham area: Travel I-40 West towards
Greensboro. Take the High Point Road/Koury Blvd. exit #217.
Choral Adjudication Training: Developing Error Detection Skills in Turn right onto High Point Road. Park Lane Hotel will be on
Pre-and In-Service Choral Conductors your right.
Facilitator: Dr. Jeffrey Ward, R&S Youth and Student Activities
From the Charlotte area: From I-85 North, take I-40 West and
Clinician: Dr. John V. Sinclair, Rollins College, Winter Park, Florida
travel to the High Point Road Exit. At the end of the exit take a
COLLEGE STUDENTS PLEASE NOTE: right; the hotel will be on your right.
Join ACDA for only $10.00!! NC ACDA and the
National Office will share the cost of your student mem- For more information:
bership when you attend Fall Conference. NC students Bill Young & Carol Ott, Conference Co-Chairs
that pay the $25.00 student conference fee AND attend Bill Young: Phone: 336.334.5493 ~ weyoung@uncg.edu
the fall conference are eligible. Speak with Treasurer Carole Ott: Phone: 336.256.1476 ~ cjott@uncg.edu
Catherine Butler at Fall Conference (On site registration or visit www.ncacdaonline.org
requires payment with cash or a check).
Fall 2012 page 11
email________________________________________
CEU Credit
If you would like to receive CEU credit for attending the
I have special needs and wish to be called about conference, please obtain the pre-approval form from your
arrangements. school system. NC ACDA will provide a documentation
of your attendance.
I am a First-Year Teacher/Director
Instructions
1. Fill out the registration form and return as indicated
below by August 21st. Conference music packets cannot
PLEASE 2OTE: NC ACDA will take photographs be guaranteed for those who register after August 21st.
during the conference for archival and publicity purposes. Registration fees are nonrefundable. Your cancelled check
These pictures may be used on the website, conference is confirmation of registration.
recordings, newsletters and other NC ACDA print
materials. NC ACDA has permission to use photographs 2. Mail registration form and check (payable to NC
taken during the Fall Conference on their website, ACDA) to: Catherine Butler, NC ACDA Treasurer
conference recordings, newsletters and other NC ACDA 410 Westdale Place
mailings without any other express written consent. Greensboro, NC 27403
catherinebutler17@gmail.com
2OTE: On site registration requires payment
Signature Date with cash or a check.
page 12 Carolina Caroler
OMIATIO FORM
_______________________________________________________________
______________________________________________________________
Criteria:
1. Nominee has distinguished himself/herself as an outstanding choral director within NC.
2. Nominee has consistently demonstrated the highest musical standards throughout his/her career.
3. Nominee has been active in several areas of education (i.e. school, community, church work).
4. Nominee has served and/or held office in choral areas of appropriate professional
organizations such as NCMEA and NC ACDA.
5. Nominee provided statewide leadership in the choral art for a minimum of 10 (ten)
years within the state of NC.
6. Nominee must be nominated by a member of NC ACDA by a letter of recommendation
citing the merits of the nominee.
This form and a letter of recommendation must be submitted via mail, email, or FAX by
the nomination deadline of September 30, 2012 to:
Sam Doyle, Hoggard Award Chair
1313 Westminster Drive
Greensboro, NC 27410
336.282.0549
336.370.8287 (FAX)
MENU:
Twin City Quarter Salad
Grilled Chicken Breast ~ Mashed Potatoes ~ Chefs Vegetables
Assorted Breads & Rolls ~ Cheesecake ~ Iced Tea & Coffee
S i n g i n g i n S t y l e : A u t h e n t i c i t y i n Pe r f o r m a n c e
Dr. Melodie Galloway, Ethnic & Multicultural Perspectives R&S Chair
When it comes to choosing music that is Ethnic or Multicul- a Chinese piece, or someone who knows something about
tural, the key is authenticity. Can I get my choir to sing this music from their native land of Venezuela or Portugal. It can
with authority and with an understanding of the culture from feel, at times, like we are doing our best to authenticate our
which it originates? Sure, there are issues of voicing, diffi- music, but we are stepping out on the proverbial limb, hoping
culty, harmonic and rhythmic challenges, but the central idea the singers pronounce the text correctly, and hoping no one
of authenticity in performance is critical for the students and who is really from that country is sitting in the audience.
the audience. Where do we look for realistic support? There As an educator, I know
are several that finding time in the
options. week is challenging for
The forum on ChoralNet any extensive research,
is often the best first If we are to incorporate influences from however, there are valu-
go-to place for collegial able sources to pursue
discussion on this kind cultures and traditions other than our own we that might be well worth
of issue. You can open the extra effort. It may
up the forum page and
participate in conversa-
must rearrange our thinking on the subject sound a bit tacky, but
how about talking with
tions about all sorts of your local Chinese restau-
things. It is a valuable rant owner about a par-
starting point for information and input from colleagues. A ticular Asian piece you are working on with your choir
next step in the pursuit of authenticity in performance is to (hopefully its the same country/region of Asia). On my cam-
find resources that support the style you are working to pus at UNC Asheville I was planning some choruses from
present. Estonia for our upcoming University Singers concert and I
For instance, a primary source for preparing an African song sought out the Admissions office for student information. I
would be talking with someone from Africa, specifically the was surprised to find out that in that one semester alone, we
country the song is from, of course. This sounds simple had two visiting students from Tallin, Estonia. They were
enough, except for some of us who do not have access to the only staying in Asheville for six months! I emailed them both
real thing, nor do we have access to a person from China for and they agreed to meet with me and then work with the
choir.
It turned out to be a delightful experience
they ended up singing on the concert with us
on our pieces, and, because they were both
good singers, I had them sing their national
anthem as a duet in the Estonian language.
This experience opened up dialogue about
cross-cultural issues, international study,
choral music, and future vocation. My
students enjoyed singing the music, but their
performance was broadened so far beyond
simply the good singing done by the choir.
It was an educational and enriching process,
that really didnt take much effort to engi-
neer. Sometimes all it takes is a phone call.
Other sources for making connections: local
churches ask about their congregational
makeup, ethnicities, community groups that
also meet at the church?; local libraries and
schools ask about personnel, resources;
local chamber of commerce offices ask
about community groups, foreign language
sources, etc. Of course, the internet is a great
source, but it is not always the best place to
start in finding local people and communi-
ties. (Continued on page 15)
Fall 2012 page 15
Recruitment
The ability to recruit singers is the lifeline of any choral program. If students do not sign up we potentially could end up
teaching classes outside of our field, or even end up without a position. Public relations and marketing were not part of our
undergraduate curriculums but they are a few of the many hats we wear as educators/recruiters. Ninety percent of middle
school recruiting is done at elementary schools so that we can reach our future students. We spend the other ten percent of our
recruiting efforts reaching out to children within our school that may not have initially chosen Chorus but change their mind as
middle school students often do. In my survey I gave teachers eight choices and asked them to select all that applied to their
recruitment efforts. These options centered on recruiting at both the elementary and middle level.
Recruitment Strategies
30
25
20
15
10
5
0
Perform at Mailings Personal Invite singers Send concert Have Talk with T-Shirts
elementary home to visits to to your videos out students students in
schools elementary feeder concerts recruit friends the halls or
schools schools (word of while on
mouth) lunch duty
One of the best avenues for recruiting comes naturally to us and our singers. Recruitment concerts are one of the best ways
to share information about your program, and to showcase the different options singers might have in your choir. Many of the
schools surveyed travel to elementary schools and perform there, but many schools wait for the students to visit their school.
My band director and I split the cost of bringing all of the fifth graders from our four feeder schools to our campus for a con-
(Continued on page 16)
L a r a H o g g a r d Aw a r d f o r D i s t i n g u i s h e d
Ser vice in Nor th Carolina Choral Music
The deadline for submitting recommendations is quickly approaching!
Please send in your recommendation no later than September 30th to:
Sam Doyle, Hoggard Award Chair
1313 Westminster Drive
Greensboro, NC 27410
336.282.0549 / 336.370.8287 (FAX)
If you prefer you may e-mail the information to: sam2ann@triad.rr.com. The form is on page 12,
or you may access a downloadable form and obtain more information at www.ncacdaonline.org,
Retention Strategies
40
35
30
25
20
15
10
5
0
Popular Be the nice Field Trips Investing in Challenging Opportunities for
music/show teacher students (being students success and
choir present outside musically praise
the choral
classroom)
Repeat
Though I only surveyed the directors about two Rs (Recruitment and Retention). it was clear a third R was present, and that
is Repeat. By the time we wrap up recruiting we are working to retain singers. Recruitment and retention are both year long
events, and before you know it the year is over and it is time to start all over again.
One concept that really shapes my educational philosophy is that we as choral directors are the most constant factor in
their education. Math and Social Studies teachers change every year, and other elective teachers change at the semester, but
we for the most part get to have them all year and for multiple years. It is this bit of consistency that makes the difference in
their lives, because we can always be there for them. This is why I strive to retain and recruit every singer I can.
Though our singers my never go on to become professional musicians, they may one day sing in a church or community choir,
they may one day buy a candy bar because it benefits the choral program, or they may one day encourage their own children to
sing the song in their heart.
page 18 Carolina Caroler
Workshop participants will develop error detection and adjudication skills through the Choir Adjudication Training
(CAT) (Ward, in press). In the CAT, workshop participants work with a workshop facilitator (Ward) and two other
experienced choral conductors and adjudicators (see below for proposed guest adjudicators). Through the adjudication
format of the CAT, workshop participants can focus on detecting, correcting, diagnosing, and analyzing choral ensemble
errors in an environment where the conducting-needs of the podium interfere.
The sequence of the CAT is:
1. Introduction to large ensemble festival procedures
a. Choral personnel and repertoire requirements
b. Adjudication form
c. Adjudication rubric
2. Adjudication of live choirs (or recordings as needed) by training participants and experienced adjudicators
3. Adjudicator clinics
a. Adjudicator verbally shares the content of his adjudication form to the training participants, using each choir as an il-
lustration of his comments.
b. Adjudicator shares his diagnosis and analysis of the errors and offers solutions
c. Adjudicator implements the solutions with each performing choir to illustrate to the training participants how these
solutions work in a "real life" situation.
4. Adjudicator-led small groups
a. Training participants are divided into small groups headed by adjudicator and facilitator.
b. Small groups examine and define the six performance dimensions of the adjudication form (tone/vocal production,
intonation, diction, technique, musicality, and overall effect) and the sub-dimensions in each area.
c. Small groups create lists of causes and solutions of errors that occur in each performance dimension and sub-
dimension as applicable to middle and high school choirs.
5. Facilitator clinic
a. Small groups share lists with other groups.
b. Facilitator clearly defines performance dimension terminology, eliminating possible misconceptions.
c. Facilitator plays recorded positive and negative examples, illustrating the performance dimensions delineated by the
adjudication form.
d. Facilitator leads a discussion in analyzing the recorded examples for errors and potential solutions to those errors.
6. Adjudication of live or recorded choirs by training participants and experienced adjudicators.
In addition to training workshop, the adjudication forms of the participants and adjudicators will be explored to provide
research data for the development of future error detection strategies for pre- and in-service choral conductors. If partici-
pants choose to participate in the workshops, they may choose not to have their adjudication form included in research
data collection.
Facilitator: Dr. Jeffrey Ward is the developer of the Choir Adjudication Training (CAT) and researcher in the
areas of developing error detection and music assessment skills in pre-service conductors and music educators.
He has presented research at the 2011 Society for Teacher Music Education Symposium in Greensboro, North
Carolina, the 3rd International Symposium for Assessment in Music Education in Bremen, Germany, the 29th
World Conference of the International Society for Music Education (ISME) in Beijing, China, the 2nd Interna-
tional Symposium for Assessment in Music Education in Gainesville, Florida. In the 2012-13 academic year, he
is scheduled to present research at the 30th World Conference of the International Society for Music Education
(ISME) in Thessaloniki, Greece and the Mentor Institute at the University of New Mexico.
Dr. Ward is Interim Associate Dean for Assessment, Associate Professor of Choral Music Education and Associate Director of
Choral Activities at East Carolina University in Greenville, North Carolina. Additionally, he is the Artistic Director of the Greenville
Choral Society and Director of Traditional Music for St. James United Methodist Church in Greenville.
Fall 2012 page 19
page 20 Carolina Caroler
Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207
www.ncacdaonline.org
Included in this Issue: Conference Information, Forms, and the Coming Year
Lifes Challenges
Anne Saxon, Editor The Carolina Caroler is the official newsletter of the North Carolina chapter of
the American Choral Directors Association. Articles and advertisements may be
Recently, over a three-week submitted to: Anne M. Saxon at Midpatch@aol.com. Articles may be submitted
period, I lost my mother, my via email as Word documents. Times New Roman, or similar, with font size 11 is
son got married, and then my preferred. Please do not double space after punctuations (periods)a practice held
father-in-law died. Needless back in the days of typewritersit is not necessary with word processing.
to say it has been truly chal- Issue Deadline Publication
lenging for my family as we
bring closure on one hand, Fall June 15 July 15
and celebrate the future on the Spring Dec. 15 Jan. 15
Summer April 15 May 15
other.
I think that my experience and training as a NC ACDA reserves the right to edit any application for appearance and to edit all
performing artist, and leading choirs in materials proposed for distribution.
performance on a regular basis, have enabled
me to take the tough things that happen in Advertising Rates
life and find a place to continue forward The Carolina Caroler will accept advertising at the following rates:
while dealing with the challenges at hand. It's Full page-$150.00 (c. 7.5x10)
what we all do, and when a high degree of Half page-$100.00 (c. 7.5x 4.5)
personal emotion is involved, it shows us Quarter page-$50.00 (c. 3.75x 4.5)
what we are made of. It also shows us that
Discounts are available on multiple ads of the same design. Rates listed are for
there is greater musical and spiritual commu- digital .jpg or .pdf files. A check made payable to North Carolina ACDA must
nity out there willing to drop everything and accompany the order. Advertisers will NOT be billed. Copy will not run without
help shepherd us as needed. When all else advance payment. Advertising copy is subject to editorial approval. The editor
fails, I've learned to just "lay it on the altar" reserves the right to head and/or box any advertisement bearing confusing resem-
and know that there is a grand plan out there blance to editorial material.
that we dont always understand. --Anne