Spring 2012 page 1

Carolina Caroler
An official, Award-Winning publication
of the 5orth Carolina Chapter
of the American Choral Directors Association

UPCOMING EVENTS: Inside

Presidents 2, 6
C ACDA SR. HIGH Message

WOMES ALL-STATE Collegiate Partners 2

Membership Info
January 27-28, 2012
Greensboro Coliseum & Southern Division 3
Conference
War Memorial Auditorium Information
Janet Galvn, Conductor
Lara Hoggard 4
Award Recipient

Fall Conference 5
2012 Peek
aACDA SOUTHER
DIVISIO COFERECE Technology/
Web Master Update
6

February 29 - March 3, 2012

Winston-Salem, orth Carolina Male Vocal Arts 7-10
Symposium Info
VOICES OF LIGHT
Show Choir Basics 11

Childrens Choir 12-

Article 13
C ACDA FALL COFERECE
Treasurers Report 14
September 21 - 22, 2012
UC Greensboro School of Music Membership 19
Guest Clinician ~ Dr. Ann Howard Jones Application Form

Directories
5C ACDA Officers 2
featuring the sixth annual 5C ACDA Specially 3
MALE VOCAL ARTS SYMPOSIUM Appointed Officers

Guest Conductor & Clinician TBA 5C ACDA R&S 4-5

Chairs

Volume 13, Issue 1

Spring 2012
page 2
C ACDA Officers
2010-2012
President
Welborn E. Young (Bill)
UNC Greensboro
School of Music
P.O. Box 26167
Greensboro, NC 27402
336.334.5493
weyoung@uncg.edu
Past President
Ginger Wyrick
6200 Maple Cove Lane
Charlotte, NC 28269
704.948.4363
ggw@hwaci.com
President-Elect
Sandy Holland
Charlotte Childrens Choir
P.O. Box 30724
Charlotte, NC 28230
704.451.4194
srholland
@charlottechildrenschoir.org
Secretary
Vacant
Treasurer
Catherine Butler
410 Westdale Place
Greensboro, NC 27403
336.337.3153
catherinebutler17@gmail.com
Membership Chair
Rob Frazier
Myers Park
Presbyterian Church
2501 Oxford Place
Charlotte, NC 28207
704.376.3695 x253
rfrazier@mysersparkpres.org
ewsletter Editor
Anne M. Saxon
4105 Sewanee Drive
Winston-Salem, NC 27106
336.922.4073
Midpatch@aol.com
C a r oCarolina
l i n a C aCaroler
roler
Presidents Message
Bill Young, NC ACDA President
Dear Colleagues, Friends, and ACDA family, Congratulations to Joe
greetings from Greensboro where the weather Hickman, Daniel
is uncharacteristically warm and gorgeous for Wynkoop, Martha
this time of year. The interval between the end Brown, and Phil
of December and the activities of the New Year Mullinax, the directors
is a wonderful time to simultaneously reflect of our invited perform-
back on past events and to anticipate the up- ing ensembles for pre-
coming schedule. senting such wonder-
ful performances. We recognize the effort it
Fall Conference was wonderful. We had the takes to accept this invitation and to prepare
opportunity to participate in three concurrent
performances so early in the academic year.
events at this conference. Our featured clini- You brought beautiful performances to confer-
cian, Rollo Dilworth, presented four sessions ence. Sam Doyle and the audition committee do
over a wide range of topics from transitioning the remarkable work of listening to all the sub-
music students from Middle to High School, mitted recordings and make the recommenda-
text interpretation, choral music as art song, and tion for performances. I encourage all NC
interpreting Gospels and Spirituals. The confer- ACDA members to consider preparing an
ence attendees enjoyed his enthusiasm, his clear audition recording for Fall Conference/ACDA
perspective and ability to communicate and to luncheon. The audition information is located
teach. online.
Rehearsals for the Male Vocal Arts Sympo- In November the ACDA Luncheon was held
sium, coordinated by Carey Cannon, and A
at the NAfME conference in Winston-Salem.
Jubilant Song, a Music and Worship event Attendance was strong and included a number
coordinated by Andy Roby, ran concurrently
of guests from Methodist College to support
with conference and culminated in a perform- the beautiful performance of the Methodist
ance at the end of conference. Chris Aspaas College Chamber Singers under the direction
lead a near record size MVAS ensemble in of Michael Martin. In addition, Sam Doyle
rehearsals for a beautiful performance. And, presented the Lara Hoggard Award to a very
Jeffrey Reddings musicianship inspired the surprised Betty-Neill Parsons for her distin-
Music and Worship event, A Jubilant Song. guished contributions to choral music in the
The love of their art, their enthusiasm and love state of North Carolina. Betty not only gradu-
of people radiated from them and their singers. ated from Methodist College she was also a
Please look on-line for MVAS registration teacher there.
information for Fall Conference 2012.
Coordinating the activities of an organization
We were also treated to an amazing perform- such as NC ACDA requires a volume of work.
ance by the all-male professional ensemble, With the preparations of every fall conference,
Brethren. With the cooperation of your luncheon, All-state, newsletter and report I hold
Board, exhibitors, and First Baptist Church, my breath. This is needless anxiety as the qual-
NC ACDA invited Brethren to provide a ity, talent, and friendliness of your NC ACDA
performance and aid MVAS in rehearsal board ensures ongoing success. I wish to extend
and performance. The opportunity for our my thanks to all the board members for their
young male singers to observe and sing with dedication to the mission of ACDA and particu-
adult males with such talent will have a lasting larly to NC ACDA and the role it plays in the
impact and help inspire the next generation of (continued on page 6)
male singers.
ACDA Partners with North Carolina
on Collegiate Membership
Welcome Collegiate ACDA members!
NC ACDA is proud to co-sponsor 23 collegiate members
through a partnership with the national office!
Our financial support of you is an investment in the future of choral music. Treasurer
Catherine Butler has completed the membership process on your behalf. Thank you for
attending our recent Fall Conference, as you begin your tenure with NC ACDA.
Spring 2012 page 3

Southern Division Conference

February 29 - March 3, 2012 C ACDA Specially
Appointed Officers
Winston-Salem, North Carolina
Registration for the conference is quick Auditions
and easy. Go ahead and register now. Sam Doyle
It's going to be a great conference! 1313 Westminster Drive
Greensboro, NC 27410
- Go to acda.org and log in (You must log 336.282.0549
in to register) sam2ann@triad.rr.com
- Go to the Conference Link
Conference Exhibits
- After you log in, on the left hand side of
Aaron Jackson
the conference page it will say Christ Baptist Church
ELECTIONS/REGISTRATION; 400 Newton Road
Click on the SOUTHERN DIVISION link Raleigh, NC 27615
and follow the registration directions. 919.573.5454
aaron@christbaptist.org
Highlights Include:
Conference Site Host
Hilary Apfelstadt, Carole Ott
Conducting Master Class UNC Greensboro
School of Music
Charlotte Childrens P.O. Box 26170
Choir Performance Greensboro, NC 27402
336.334.5428
Seraphic Fire Ensemble cjott@uncg.edu
Voices of Light with
Bel Canto Company, Lara Hoggard
Award Chair
Greensboro Youth Sam Doyle
Chorus Cantabile, and the (see Auditions info listed
UNC Greensboro above)
Chamber Singers
SSA All-State Coordinator
Hymn Service at the beautiful Jeremy Truhel
Centenary United Methodist Forsyth Country Day School
5501 Shallowford Road
Church P.O. Box 549
Moravian Love Feast and Lewisville, NC 27023-0549
336.945.3151
Singstunde in Old Salem jeremytruhel@fcds.org
Appalachian State
University Singers Technology Chair/
Webmaster
Vocal Arts Ensemble Kelly Turner
of Durham 3160 Creighton Lane
Winston-Salem, NC 27127
Tim Sharp presents 336.655.8798
Colonial Winston--Salems phoneticsoft@gmail.com
Bridge to the Berlin Song
Conference Reading Sessions
School Eric Johnson
Sonja Sepulveda presents James E. Holmes
Middle School
The Spiritual as an American 211 N. Pierce Street
Art Form Eden, NC 27288
Three levels of honor choirs ejohnson@rock.k12.nc.us
336.623.9791 x108
And much more!
page 4
C ACDA
R&S Chairs
Boychoirs
Vacant
Childrens Choirs
Nana Wolf-Hill
Eastern Music Festival
336-333-7450 x28
nana@EasternMusicFestival.
org
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
Melodie Galloway
UNC Asheville
107 Lapinsky Hall, CPO 2290
Asheville, NC 28804
828.251.6432
mgallowa@unca.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
Carolina Caroler
Haggard Award Recipient
Betty-Neill G. Parsons
Betty-Neill G. Parsons was awarded the Lara Hoggard
Award for distinguished service in choral music in North
Carolina, at the NC ACDA Luncheon in Winston-Salem
last November. Betty-Neill taught kindergarten through
university during her 44-year teaching career. A native of
Fayetteville, she taught in NC, Alabama, and Texas.
Currently, after three retirements, Betty-Neill is Music
Director at First Presbyterian Church Fayetteville, NC.
Betty-Neill was among the FIRST 43 graduates of
Methodist College in 1964. She earned her MM from East
Carolina University and her certification as Educational
Leadership/Curriculum Specialist from Fayetteville State
University. She taught in private, parochial, and public
schools as well as Methodist University. She has been a
member of MENC: The National Association for Music
Education and NC ACDA since 1970.
The most wonderful and outstanding elements of her career she credits as her students.
She was fortunate to be able to travel with her students to perform in numerous places in
the United States and Europe. Her guest conducting events have been in over ten counties
in North Carolina. She adjudicates choral events annually.
Betty-Neill, with two other musicians, was named (as first member) of the Fayetteville
Music Hall of Fame, in 2008. She lives with her husband Larry in Fayetteville.
Recommendations for 2012 are to be sent
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. For more information,
Dr. Lara Hoggard downloadable form, visit www.ncacdaonline.org.
19152007
Hoggard Award Recipients:
1986 Richard Cox 1995 Sam Doyle 2005 Maribeth
Yoder-White
1987 Richard Brewer 1997 Don Hinshaw
2006 Marta Force
1988 Paul Frye 1998 Richard Morgan
2007 Jerry Cribbs
1989 Maxine Blackwell 2000 Robert Holquist
2008 Clinton Parker
1990 Rhonda Fleming 2001 William Carroll
2009 Al E. Sturgis
1991 Jim Jerome 2002 Rodney Wynkoop
Williams 2010 Sandy Beam
2003 Joel Reed
1993 Hilary Apfelstadt 2011 Betty-Neill Parsons
2004 David Pegg
1994 Barbara Bair
Spring 2012 page 5

Fa l l 2 0 1 2 C o n f e r e n c e C l i n i c i a n C ACDA
Dr. Ann Howard Jones R&S Chairs
Dr. Ann Howard Jones is Professor of Music and Director Male Choirs/MVAS
of Choral Activities at Boston University. She conducts Carey Cannon
the Symphonic and Chamber Choruses, supervises Providence Baptist Church
conducting students in the Concert Chorus and the 4921 Randolph Road
Womens Chorale, teaches graduate choral conducting, Charlotte, NC 28221-4002
and administers the MM and DMA programs in Choral 704.366.4030 x122
Conducting. ccannon@providencebc.org

Dr. Jones is also the conductor of the BU Tanglewood Junior High/

Institute Young Artists Vocal Program Chorus, an audi- Middle School Choirs
tioned ensemble of high school singers which rehearses Eric Johnson
and performs at Tanglewood in the summer. James E. Holmes
Recognized as a distinguished clinician, adjudicator, Middle School
211 N. Pierce Street
teacher and conductor, she has led many all state and
Eden, NC 27288
regional choruses, workshops and master classes in the ejohnson@rock.k12.nc.us
US, Europe, South America, Canada and Asia. 336.623.9791 x108
From 1984-1998, Dr. Jones worked with the late Robert Shaw and the Atlanta Symphony
Senior High School Choirs
choruses where she was Assistant Conductor for Choruses, sang in the alto section, as-
Carol Earnhardt
sisted with the Robert Shaw Chamber Singers and helped to organize the Robert Shaw Glenn High School
Institute. 1600 Union Cross Road
Ann Howard Jones was selected by the American Choral Directors Association to receive Kernersville, NC 27284
336.771.4500
its prestigious Robert Shaw Choral Award for 2011 which was presented at the 2011
CEarnhardt@wsfcs.k12.nc.us
ACDA National Conference in Chicago. The Robert Shaw Choral Award is given every
two years to a choral leader who has made unusual contributions to the art of choral Show Choirs
music. Mary D. Summerlin
C.E. Jordan High School
6806 Garrett Road
Durham, NC 27702
Application for Choral Performance 919.560.3912
mary.doyle@dpsnc.net
at the 2012 Fall Conference Two-Year College Choirs
is included on our website at www.ncacdaonline.org Vacant

Postmark deadline is April 15, 2012! Womens Choirs

Beverly Vaughn
Western Rockingham
Middle School
915 Ayersville Road
Madison, NC 27025
336.548.2168
bvaughn@rock.k12.nc.us

Youth & Student Activities

Jeffrey Ward
East Carolina University
A.J. Fletcher Music Center
Greenville, NC 27858
252.328.2557
wardj@ecu.edu
page 6 Carolina Caroler

Te c h n o l o g y C h a i r / We b m a s t e r U p d a t e
Anne Saxon, Newsletter Editor Kelly Turner is our new

C ACDA welcomes Kelly Turner as our new (C ACDA webmaster.

webmaster, beginning in the fall of 2011. Turner holds Check out the new site at
both Master of Music and Doctor of Musical Arts degrees www.ncacdaonline.org!
in Choral Conducting from UNC Greensboro, as well as a
Bachelors degree in Music Education from Auburn
University.
Dr. Turner has served on the faculties of
the University of Houston and Millbrook
High School in Raleigh. As a church
musician, he has served churches in
Alabama, Florida, and North Carolina.
He is a published arranger of choral
music, and has served as a clinician,
conductor, and adjudicator in several
states.
Kelly currently lives in Winston-Salem
with his wife, Amy, and 2-year-old
daughter, Tessa.
C ACDA sincerely thanks Bert Fox
serving as our webmaster since 2001!
Bert is our original webmaster and has
maintained our web site all these years.
We are truly indebted to his faithful years
of service and wish him well in future
endeavors.

Pr esident s Mess age (Continued from pa ge 2)

lives of our members. A huge debt of gratitude is owed

the chairpersons and appointees that do a lion-share
(C ACDA
of the work: Treasure, Catherine Butler, Exhibitors
Coordinator, Aaron Jackson, Reading Sessions, Eric Fall
Johnson, MVAS, Carey Cannon, Womens All-State, Conference
Jeremy Truhel, Webmaster, Kelly Turner, Conference
Site Coordinator, Carole Ott, and most especially News- Scenes
letter Editor, Anne Saxon.
Looking ahead, the North Carolina High School SSA
All-State Chorus, will be held at the Greensboro
Coliseum January 27-28, 2012. The clinician is Janet
Galvn. Southern Division ACDA is also fast approach-
ing, February 29-March 3, in beautiful Winston-Salem.
You can find more information about these events on
our website. Please mark your calendar and join us for
as many of these exceptional events as you are able to
attend.
Best wishes to all as you spring into the New Years
teaching, performing, and music making.

Bill
Spring 2012 page 7

I d e n t i t y Fo r m a t i o n a n d t h e S i n g i n g Vo i c e
Nana Wolfe, Childrens Choir R&S Chair

Adolescents undergo tumultuous emotional, psychologi- expressions and appearance of a peer group in their
cal, physical, spiritual, and social change compounded by search (Johansen 136). Hence, they are learning (and
the search for individual identity. Identity refers to who a experimenting with) an identity (158).
person is and how he or she identifies oneself (Flannery
54). Self-esteem is the positive and negative evaluations To help guide adolescents healthily through this process,
given to ones own identity adolescent psychiatrist
Joseph Nowinski encour-
(55). Identity is developed
through self-esteem and What is our role as choral educators in the ages parents and adults to
foster resilient identities
external influencesfamily, identity formation of our adolescent students? (Nowinski 90). Qualities
peer groups, the media, etc.
and manifests in the How significant is our role? of a resilient identity
include awareness of
physical voice. Identity and
the voice are interconnected. talents and abilities,
acceptance of personal limitations, optimism, and indi-
During adolescence, teenagers begin to pull away from vidualismall qualities that help young people navigate
their families and begin to seek the approval of their pressures of adolescent life. If an identity can be learned
peers. Within social peer groups teenagers experiment and positively constructed, it can also be suppressed or
with various identities that may differ from what was even annihilated. Professor of psychology Abraham
learned, encouraged, or discouraged at home. They seek Maslow describes its vulnerability and weakness: It is
their true and unique identity by trying on various easily overcome, suppressed or repressed. It may even be
forms of self-expression. Oftentimes, they conform to the (Continued on page 12)
page 8 Carolina Caroler

Announcing the Sixth Annual

Male Vocal Arts Symposium
at the
NC ACDA Fall Conference 2012
September 21-22, in Greensboro, NC

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.

SIGER 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, 2012. 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, 2012 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

SIGER 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 2012 page 9

LOGISTICS:
The MVAS schedule will run concurrently and in tandem with the NC ACDA Fall Conference. For the conven-
ience 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 two-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 par-
ents 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.

TETATIVE MVAS SCHEDULE:

Friday, September 21, 2012 Saturday, September 22, 2012

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, 2012. Actual space allotment based
upon total response will be announced by June 1, 2012. 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, 2012.

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 10)

When I hear music, I fear no danger. I am invulnerable. I see no foe.

I am related to the earliest times, and to the latest.
~ Henry David Thoreau (1817
(1817--1862)
page 10 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 21-22, 2012

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, 2012. Actual space
allotment based upon total response will be announced by June 1, 2012. 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, 2012. 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, 2012 to:

Carey Cannon, MVAS Coordinator Questions? Contact Carey Cannon

Providence Baptist Church (W)704-366-4030 x122 / 704-366-6360 (fax)
Charlotte, NC 28211-4002 704-560-8400 (cell)
ccannon@providencebc.org
Spring 2012 page 11

Sh ow Ch oir B as ics
Mary Summerlin, Show Choir R&S Chair

As I reflect upon the past year, I realize I have learned a few things about show choir:
The scariest aspect to teaching show choir is the dancing!
The easiest alternative to expensive costumes is to have the students wear all black and then add a
"pop of color.
When it comes to choreography, less is more --make sure it does not detract from the singing.

I have had more than a few teachers come up to me and
say you do show choir, right? I say yes! They con-
tinue by asking me how they should begin one because
they are starting a new school, or would really enjoy
having a show choir but can only do one after school.
Every now and then people ask me for a great show choir
piece as well.
The scariest aspect to teaching show choir is the
dancing. As a music teacher, you think, I can play piano,
I can sing and I can dance (a little)but can I make up
choreography? I have hired choreographers, friends have
offered to come in and teach choreography to classes,
alumni have come in and current students have volun-
teered. By far, the best situation is when I find a student
willing to spend the time to make up choreography and
willing to teach it to their peers. The student has to be able
to stand in front of their peers and clearly teach them the
choreography, with a positive, but firm attitude. The stu-
dent must be confident in their abilities and must be able
to break down the dance moves in teachable sections.
I have had many students volunteer to make up choreogra-
phy, and it is glorious when I find the student who is an
outstanding teacher and makes the process fun and easy.
I have found it is easier to rely on students versus adults
who have volunteered. I now have enough confidence in
myself that if something happens, I can make up choreog-
raphyand you can too!
I have learned that costume companies have a busy
season too. So, if you are ordering new costumes, adding
on to your old costumes, or just ordering ties for the boys,
you must build in a few extra weeks for delivery. Most
places state you must allow between six and eight weeks
for delivery. I would caution you to allow at least eight if
not ten weeks, if possible. If your school is like mine, the
check request for the costumes must go through many
hands before it is placed in the mail and sent to the com-
pany. Most companies will not begin making a costume
until they have the check in their hands.
When the costume company projects a shipping date
AFTER your concert date (and they will), do not panic.
Try to think differently and make a decision about an alter-
native costume that will look just as good on stage. The
easiest alternative is to have the students wear all black
and then add a "pop of color" to their costumes. This
year, I chose to add color in the form of a sash around the
girls waist and a colored tie for the boys. Our school
colors are red, white and blue, so I went on the internet
and found a red sash. I did find red sashes in costume
books but they were all too expensive. Eventually, I
wound up on a website that sold linens, and I found red
sashes that are usually used in weddings to be tied around
chairs. They were inexpensive and exactly what I was
envisioning. The sashes arrived at my door in plenty of
time for the concert and they looked great!
I have also discovered that less is more--make sure
your choreography does not take away from the sing-
ing. Make sure the students are committed to the choreog-
raphy. There is nothing worse than a limp arm or a sloppy
turn-no matter what the difficulty level. Simple things
like mass movements to the diagonal or changing the
staging to create a heart or river on stage have big impacts.
Students love props. Try to find small things that will add
to the song. You can find cheap things online like huge
plastic diamond rings for Diamonds are a Girls Best
Friend, big, fake money for Big Spender, and fake
flowers for the boys to put in the girls hair. Be creative and
if you are stumped, ask the kids. They have great ideas and
they love to share and be a part of the process.
Finally, I remember a conversation I had with a teacher at
the NC ACDA conference who asked me if I knew of any
show choir competitions or festivals in North Carolina. I
realized I only know of a few show choir camps during the
summer but I never hear about any other show choir
events. I would like to compile a list of show choir camps,
competitions, festivals and anything else in relation to
show choir. If you know of anything in your area, please
email me at mary.summerlin@dpsnc.net and I will begin
my list. Mary
page 12
I d e n t i t y Fo r m a t i o n a n d t h e S i n g i n g Vo i c e
( C o n t i n u e d f r o m pag e 6)
killed off permanently . . . [It is] weak, subtle and delicate,
very easily drowned out by learning, by cultural expecta-
tions, by fear, by disapproval, etc. (Maslow 191). In
todays society, there can be many negative influences on
identityfamily relationships, peer relationships, cultural
expectations, the media, and more.
What is our role as choral educators in the identity forma-
tion of our adolescent students? How significant is our
role?
Voice pedagogue Kristin Samuelson posits that the singing
voice can be an indicator of identity, as well as a shaping
influence. Samuelson worked with two late adolescent
women who showed symptoms of puberphonia (also
known as mutational falsetto in young men), where a
person demonstrates child-like vocal behaviors after the
physical changes in puberty have already occurred (i.e.,
speaking in a higher range than his/her natural speaking
voice) (Samuelson 25). Throughout the study, she noted
that personal development simultaneously occurred as the
voice improved into a healthier state of singing and speak-
Carolina Caroler
ing. She concludes that, Emotional development mani-
fests itself in the speaking voice, and the speaking voice
carries over to the singing voice (Samuelson 27). If
puberphonia is left untreated, it will most likely be
carried into adulthood and become part of the individual's
identity (34).
If physical vocal problems can affect identity, then isnt
the opposite also true? Ones identity can be nurtured
and developed (or diminished and weakened) through the
training of the singing voice. For adolescents in particular,
the training of the singing voice can be extremely influen-
tial in their process of identity formation. How many of us
have witnessed students become more confident as they
learn to sing more efficiently and with greater coordination
and freedom? I once taught a young female student that
stuttered in every sentence she spoke. She began high
school as a shy and introverted young lady with few
friends. After she joined choir and began taking voice
lessons, she discovered her beautiful singing voice. She
became more confident as a singer and blossomed as a
(continued on page 13)
Spring 2012
Identity Formation and the Singing Voice
(Continued from page 12)
person, exhibiting greater happiness, confidence, and
social ease. She even stuttered less.
This past fall, I conducted a survey for adolescent female
choral students. Below are a few responses that illuminate
the correlation between identity and singing:
Singing is the voice of my spirit rather than just my
voice.
Your singing voice kinda shows who you really are.
Since I started to sing, I have become more open and less
shy.
My confidence has increased by becoming more comfort-
able with my voice. I have become more comfortable with
myself.
These young women are verbalizing their inner experience
in relation to singing. The connection between self-esteem,
identity, and the singing voice is apparent.
As choral educators, we have a unique role in helping
build resilient identities in our students through the train-
ing of the singing voice. Being aware of the relationship
between the singing voice and identity should influence
how we prepare for rehearsals, what repertoire we choose,
how we teach the repertoire, and how we relate to our stu-
dents. Here are a couple of practical questions for self-
reflection:
Am I encouraging confidence in each individual
studentpersonally and vocally?
Am I creating a safe place for students to share their
thoughts, opinions, and feelings?
Am I teaching my students to be supportive of one
another?
Am I choosing repertoire that positively influences my
students in their stage of life?
Am I creatively teaching in a manner that helps engage
students in a deeper way?
Am I creating a happy, fun, and hard-working musical
environment?
page 13
Our methods are dependent on the age, development, and
background of the students we are teaching. Therefore, we
should be mindful of their particular stage in identity
formation.
In her book Freeing the 5atural Voice, Kristin Linklater
states, To free the voice is to free the person, and each
person is indivisibly mind and body (Linklater 8). Music-
making and teaching music are our profession and passion,
but growing confident individuals with resilient identities
is our responsibility and privilege.
Works Cited
Flannery, Daniele D. Identity and Self-Esteem. Women
as Learners. Hayes, Elisabeth and Daniele D.
Flannery. New York: Jossey-Bass Publishers,
2001. 53-78. Print.
Johansen, Geir. Modernity, Identity and Musical Learn-
ing. Sociology and Music Education. Ed. Ruth
Wright. Burlington, VT: Ashgate, 2010. 51-62.
Print.
Linklater, Kristin. Freeing the 5atural Voice: Imagery and
Art in the Practice of Voice and Language. Re-
vised and expanded ed. Hollywood, CA: Drama
Publishers, 2006. Print.
Maslow, Abraham M. Toward a Psychology of Being. 2nd
ed. New York: Van Nostrand Reinhold, 1968.
Print.
Nowinski, Joseph. The Identity Trap: Saving Our Teens
From Themselves. New York: American Manage-
ment Association, 2007. Print.Samuelson, Kristin.
The Impact of Puberphonia on the Female Speak-
ing and Singing Voice. Journal of Singing - The
Official Journal of the 5ational Association of
Teachers of Singing 55.4 (1999): 25-35. Web. 30
Oct. 2011.
page 14 Carolina Caroler
Fall 2011 Conference Scenes
Spring 2012 page 15
 page 16
Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207
www.ncacdaonline.org
Included in this Issue: Divisional Conference Information, MVAS, and the Coming Year
Newsletter Update
Anne Saxon, Editor
The fall season is over and now it is
time to finish those detailed plans
for the spring. I have barely finished
getting sleigh bells and red scarves out of my car
(well, there might also be a few pairs of angel wings
I borrowed from a friend and a couple of unwrapped
presents still in the back somewhere..and every time
I make a sharp right turn I hear a little melody
bell, I think its a B-flat or something). During
the holiday concert season my life certainly goes
to all of these...pieces!
Hopefully each of you has had an opportunity
for your own holiday after helping make others
merry and bright. I am always amazed at
how quickly January rolls around and all of
those things I did not complete in December
are intensely staring me down. However, I am
certainly tired and all out of ideas!
Yes, it is time to attend a conference and/or
workshop and get inspiration from others, to go
and feed off of others energy and creativity
gleaning several choral nuggets along the way.
Have you registered for one? 5OW is the time- I
hope to see you in Winston-Salem in March!
Anne
Carolina Caroler
The Carolina Caroler is the official newsletter of the North Carolina chapter of
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