Spring 2014 page 1

Carolina Caroler
A two-time award-winning publication
of the North Carolina Chapter of the
American Choral Directors Association

UPCOMING EVENTS Inside

Presidents 2
Message

2014 Sr. High 3

Womens All-State
NC ACDA SR. HIGH Clinician

WOMENS ALL-STATE Interview with 4-5,

Mark Cabaniss: 14-
February 21-22, 2014 Music and Worship 15

2014 Fall 6
War Memorial Auditorium, Greensboro Conference Info

Sigrid Johnson, Clinician 2013 Lara Hog- 7

gard Award

Singers with 8
ADD/ADHA:
Womens Choirs
ACDA SOUTHERN DIVISION Reflections on 9
Repertoire: Col-
2014 CONFERENCE lege/University
The Mother/ 10-
March 6-8, 2014 Daughter Choir: 11
High School
Jacksonville, Florida
Southern Division 13
Conference Infor-
mation

Treasurers Report 18
NC ACDA 2014 FALL CONFERENCE Membership 19
Application Form
September 19-20, 2014
UNC Charlotte Directories
*new location*
NC ACDA Officers 2
Dr. Eric Nelson, Clinician NC ACDA Specially 3

NC ACDA R&S 4-5

Chairs

Volume 15, Issue 1

Spring 2014
page 2
NC ACDA Officers
2014
President
Sandy Holland
Charlotte Childrens Choir
P.O. Box 30724
Charlotte, NC 28230
704.451.4194
srholland
@charlottechildrenschoir.org
Past President
Welborn E. Young (Bill)
UNC Greensboro
P.O. Box 26167
Greensboro, NC 27402
336.334.5493
weyoung@uncg.edu
President-Elect
Anne M. Saxon
Central Carolina
Childrens Chorus
4105 Sewanee Drive
Winston-Salem, NC 27106
336.922.4073
Midpatch@aol.com
Secretary
Bethany Jennings
101 Lakewood Road
Belmont, NC 28012
336.501.0103
bethanyjennings@hotmail.com
Treasurer
Catherine Butler
410 Westdale Place
Greensboro, NC 27403
336.337.3153
catherinebutler17@gmail.com
Membership Chair
Rob Frazier
Centenary United
Methodist Church
PO Box 658
Winston-Salem, NC 27102
336.391.1339
rfrazier@centenary-ws.org
Newsletter Editor
Nathan Leaf
NC State University
Price Music Center
Campus Box 7311
Raleigh, NC 27695
919.515.8280
njleaf@ncsu.edu
C a r oCarolina
l i n a C aCaroler
roler
Presidents Message
Sandy R. Holland, NC ACDA President
It is with each passing calendar year that we re-
flect on the achievements and challenges of the
past 365 days, taking stock of our lives and those
in it, evaluating goals yet to be obtained, and
contemplating the future.
But who am I kidding? I think a more accurate scenario for most of us is to
hide away trying to recuperate from the stress of yet another holiday season, dar-
ing to not going into the office, and refusing to do one iota of music, teaching, or
church work. For me, this is exactly where I find myself. It is mid-January and I
am slowly awakening from my hibernation with the realization of what lies ahead
in the coming months for those of us who make choral music our livelihood.
ACDA is here to help inspire us all.
North Carolina has a wealth of choral music happening year-round. Starting
early in the season for the new school year (or fiscal year for those of us in the
non-profit world), we were honored to have Dr. Hilary Apfelstadt as our headline
clinician, and Dr. Tim Seelig, clinician for the Male Vocal Arts Symposium. Ad-
ditionally, many others involved in presenting reading sessions, interest sessions
and outstanding choral performances made this conference the welcome shot in
the arm we all needed to get our programs up and running.
I must congratulate Barbara Beattie and the Winston-Salem Youth Chorus on
their performance for the NCMEA luncheon. We were thrilled to hear their
newly commissioned piece by composer Dan Locklear in honor of the ensem-
bles 20th Celebration. Congratulations as well to Marshall Butler, recipient of
the 2013 of the Lara Hoggard Award, a well-deserved honor for a lifetime of
hard work and achievements in the choral arts.
After suffering an injury a year ago and having to reschedule, Sigrid Johnson
comes to NC to serve as the clinician for the SSA High School All-State. This
years All-State will be held February 21-22, 2014, at the Greensboro Coliseum
and War Memorial Auditorium. Congratulations to Jeremy Truhel who has
chaired this committee for the past several years. As he takes over as the
NCMEA Coordinator for the High School All-State Chorus, we thank him for
service and dedication, and know he will do a wonderful job ensuring the ongo-
ing success of the NC All State Choirs.
In March you will not want to miss the Southern Division ACDA Convention
held in sunny Jacksonville, Florida, March 6-8, 2014. Congratulations to Ste-
phen Futrell and Elon Vocal Jazz Ensemble from Elon University who will be
appearing in concert and presenting an interest session.
Mark your calendars for the 2014 Fall Conference, September 19-20, 2014.
After 14 years the conference will be held at a new location. The University of
North Carolina at Charlotte will host NC ACDA, when the headlining clinician
will be Eric Nelson of the Atlanta Master Chorale and Emory University. (You
(continued on page 12)
Spring 2014 page 3

S r. H i g h Wo m e n s A l l - S t a t e C h o r u s C l i n i c i a n
Sigrid Johnson, Conductor NC ACDA Specially
Appointed Officers
Sigrid Johnson is an artist in residence on the music Auditions
faculty at St. Olaf College in Northfield, Minnesota, Wendy Looker
where she conducts the Manitou Singers, a 100-voice Guilford College
204 St. Regis Lane
first-year womens chorus. She is also the associate Kernersville, NC 27284
conductor of VocalEssence, a Minneapolis choral en- 336.681.1695
semble that presents both rarely heard and newly com-
Conference Exhibits
missioned works for chorus and orchestra. Aaron Jackson
Christ Baptist Church
Johnson maintains an active schedule as a guest con- 400 Newton Road
ductor and clinician at workshops, choral festivals, and Raleigh, NC 27615
all-state music festivals around the world. She is a 919.573.5454
aaron@christbaptist.org
member of ACDA, MEND, IFCM, and Chorus Ameri-
ca. She conducted the Manitou Singers in three performances at the ACDA Na- Conference Site Host
tional Convention in San Antonio, Texas, in 2001, and most recently, they per- Fred Spano
formed at the ACDA North Central Convention in Minneapolis in 2010. UNC Charlotte
Department of Music
In 2006, Johnson was awarded the prestigious F. Melius Christiansen Lifetime 9201 University City Blvd.
Achievement Award for her lifelong conducting experience and for providing Charlotte, NC 28223
704.687.0263
outstanding contributions and distinguished service to Minnesota choral music. fspano@uncc.edu
Johnson was a featured lecturer at both the Eighth World Symposium on Cho-
Lara Hoggard
ral Music in Copenhagen, Denmark in 2008 and the Sixth World Symposium on Award Chair
Choral Music in Minneapolis, Minnesota in 2002, and was invited to lecture on Sam Doyle
choral tone at the Ninth World Choral Symposium on Choral Music in Argenti- 1313 Westminster Drive
Greensboro, NC 27410
na in 2011. She was also a member of the esteemed jury for the Bela Bartok In- 336.282.0549
ternational Choral Competition in Debrecen, Hungary in 2006, and was a fea- sam2ann@triad.rr.com
tured lecturer and clinician at the 2004 Australian National Choral Association
SSA All-State Coordinators
conference. Jeremy Truhel (2014)
Forsyth Country Day School
Johnson has served as conductor of the Dale Warland Symphonic Chorus, as- P.O. Box 549
sociate conductor of the Dale Warland Singers, and conductor of the National Lewisville, NC 27023-0549
Lutheran Choir of Minneapolis. She has prepared symphonic choruses for 336.945.3151
jeremytruhel@fcds.org
Neemi Jarvi, Sir Neville Marriner, David Zinman, Stanislaw Skrowaczewski,
Gerard Schwarz, Edo de Waart, and Leonard Slatkin, among others. Sara Downey (2015)
Wheatmore High School
In 1999, Johnson was honored with the College of Fine Arts and Humanities 410 Westdale Place
Leadership Award from her alma mater, St. Cloud State University. Greensboro, NC 27403
336.908.1300
In 1998, Johnson led the renowned St. Olaf Choir while the ensembles con-
Technology Chair/
ductor, Anton Armstrong, was on sabbatical leave. She has also served as asso-
Webmaster
ciate conductor of the St. Olaf Choir during its tours of Australia and New Zea- Kelly Turner
land, Central Europe, Norway, and the British Isles. 336.655.8798
phoneticsoft@gmail.com

Conference Reading Sessions

Eric Johnson
James E. Holmes Middle School
211 N. Pierce Street
Eden, NC 27288
336.623.9791 x108
ejohnson@rock.k12.nc.us
page 4 Carolina Caroler

An Interview with Mark Cabaniss

NC ACDA Andy Roby, Music and Worship R & S Chair
R&S Chairs

Boychoirs Mark Cabaniss, a native of Shelby, North Carolina, is

a music publisher, writer, producer, broadcaster, and
VACANT speaker. He is head of the Alfred Sacred Music Group
(a division of Alfred Music) and founder of Jubilate
Music, creating printed and digital music, recordings
Childrens Choirs
Nana Wolf-Hill and DVDs.
First Presbyterian Church As an ASCAP composer and arranger, Marks pub-
Greensboro
622 Park Avenue lished compositions have been performed nationally and abroad, and include mu-
Greensboro, NC 27405 sicals, cantatas, and instrumental works. You can read his full biographical sketch
651.208.4153 here: http://markcabaniss.com/about.php.
nanafaithwolfe@hotmail.com
I recently had an opportunity to sit down and visit with Mark when he was in
College/University Choirs North Carolina, visiting family and friends during the holidays. We continued our
Andrew Crane conversation by email. I believe that church musicians will find Mark's words to
Director of Choral Activities be insightful and inspiring.
East Carolina University
102 A.J. Fletcher Music Center
Greenville, NC 27528-4353
252.328.6243 AR: Tell me (the short version) of how you got involved in the music publishing
industry, and specifically the sacred or church music side of the business.
Community Choirs MC: My first published composition was "Break Forth Into Joy", which was
Aaron Jackson
Christ Baptist Church published by Brentwood Music (now named Brentwood/Benson). That led to me
400 Newton Road meeting Brentwood's founder/president Jim Van Hook. Jim offered me a job
Raleigh, NC 27615 with Brentwood in 1989. Since Brentwood was (and is) a sacred publisher, that
919.573.5454
aaron@christbaptist.org
set the stage for learning about and being a part of the sacred music publishing
business. Also, while in graduate school at the University of Tennessee, I wrote
Ethnic and Multicultural my master's thesis on Hinshaw Music. That helped me make several connections
Perspectives in the sacred/educational music publishing field as well.
Melodie Galloway
UNC Asheville
107 Lapinsky Hall, CPO 2290 AR: How does the market for well-crafted choral music for liturgical/worship
Asheville, NC 28804
828.251.6432
settings compare to the market that existed at the beginning of your career?
mgallow2@unca.edu MC: Unfortunately, it has changed and shrunk over the years.
Jazz Choirs
AR: To what do you attribute the changes?
VACANT
MC: In the last several years, the economy has ...the challenge
Music & Worship
caused church music budgets to be cut. The In- for us all remains
ternet has certainly had an impact (though not
Andy Roby
on printed music yet nearly as much as recorded
to educate and
First Baptist Church Shelby
120 North Lafayette Street music). Also, the contemporary worship move- motivate...on the
Shelby, NC 28150
704.482.3467
ment has clearly had a huge impact over the last joys and rewards
20 years. I certainly do not take offense at the
music@fbcshelby.org
contemporary worship movement. I embrace of a healthy choir
quality wherever it exists but I fear weve program.
(continued on next page)
Spring 2014 page 5

Mark Cabaniss Interview thrown out the baby with the bathwater when it
(continued from previous page)
comes to sometimes eliminating choirs altogether NC ACDA
in evangelical churches. Fortunately, mainline R&S Chairs
churches (and musically traditionally-oriented evangelical churches) have contin-
ued choir programs over the years. But even those churches if they have two Male Choirs/MVAS
Jayson Snipes
services or a single blended one are doing less choral music than ever before Lexington Middle School
(since one of their two services is often contemporary without a choir). However, 100 W. Hemstead St.
I do believe things are often cyclical, and I encourage readers to carry the banner Lexington, NC 27292
of choral music in worship with fervor and excellence! Quality always attracts 336.242.1567
jsnipes@lexcs.org
peopleyoung and old. In my opinion, theres nothing more moving vocally
than a choir singing together in harmony.
AR: Many church musicians Junior High/
Middle School Choirs
sense a decline in the number of Eric Johnson
I want to help budding com- choirs in churches and other James E. Holmes Middle Sch.
posers place their music. Any liturgical settings. Is that an ac- 211 N. Pierce Street
Eden, NC 27288
curate perception nationally?
music publisher worth their Are there regions where sacred
336.623.9791 x108
ejohnson@rock.k12.nc.us
salt feels that way. choral groups are flourishing or
even growing? Senior High School Choirs
Carol Earnhardt
MC: I do think there has been Glenn High School
a decline in the number of church choirs nationally when you look at the entire 1600 Union Cross Road
picture due to the factors I noted in your last question. Also, church choirs are Kernersville, NC 27284
336.771.4500
tending to skew a bit older these days. I believe the Midwest has always and CEarnhardt@wsfcs.k12.nc.us
continues to have a strong choral tradition in worship. And of course, the South.
Ive had (younger) directors tell me that they eliminated their choir program be- Show Choirs
cause it was just too much work. I was stunned. I think that attitude can be a Mary D. Summerlin
C.E. Jordan High School
cultural and even generational problem of sortswanting easy and instant re- 6806 Garrett Road
sults with less work. Again, the challenge for us all remains to educate and moti- Durham, NC 27702
vate young and old alike on the joys and rewards of a healthy choir program. 919.560.3912
Graded choir programs become all the more important in a climate such as this. If mary.doyle@dpsnc.net
we get them hooked on choir early (as I was) we can keep them through their Two-Year College Choirs
adult years.
VACANT

AR: As one who has been at the helm of a number of music publishing groups,
can you share how the sacred choral music market has changed relative to other Womens Choirs
Beverly Vaughn
segments of the choral music publishing industry (school, university, community, Western Rockingham
etc.)? In other words, have the same numeric trends occurred across the board? Middle School
915 Ayersville Road
MC: Thats an excellent question, and one that we in the music publishing busi- Madison, NC 27025
ness watch closely. I can tell you the school budget cuts in the 80s and 90s obvi- 336.548.2168
ously had a big impact on school music sales. Those were the decades when bvaughn@rock.k12.nc.us
church music came to the rescue for a lot of educational music publishers and
Youth & Student Activities
retailers (who suddenly found themselves very interested in church music if they
hadnt been before). But school budgets have seemed to level out by now and VACANT
with the changes in worship styles, the proverbial shoe is on the other foot now,
with school choral sales often being a bit stronger than church choral sales. Of
course, there are certainly exceptions to this.
(continued on page 14)
page 6 Carolina Caroler

Fall Conference 2014: NC ACDA Journeys Forward

Anne M. Saxon, NC ACDA President-Elect

As we make plans to move our Fall Conference Site next year we have a wonderful op-
portunity for fresh perspectives in our conference experience at the state level. I don't
know about you, but conferences and professional development are the life-blood of my
very existence! As artists and musicians we are constantly creating, visioning, seeking
the next new "gems" of repertoire and ideas that refuel us, gaining energy and inspira-
tion while reconnecting with colleagues and meeting new people that "do what we do."
Does it get any better than that?

ACDA strongly believes that we are our best at the grassroots level, meaning our state chapters. This is where
we share the same "turf" with a general understanding of who we are as a people in North Carolina, and work
with one another in endless musical settings. Our Fall Conference is where we create our local choral com-
munity and strengthen the "ties that bind" with one another.

After meeting at UNC Greensboro's beautiful School of Music, The-

ater, and Dance for the past 14 years, we truly thank Dr. Bill Young,
our site host, and assistant Dr. Carole Ott, for their endless support
year after year in dealing with the myriad of details and work this re-
quires. We are now moving to the UNC Charlotte School of Arts and
Architecture, the site chosen after our relocation committee traveled
the state and gathered information from several places last year. Dr.
Fred Spano there is our new site host, and we eagerly await the new
energy this move will create for us. UNC Charlotte's School of Music
provides many beautiful spaces for music and collaboration, with the
beautiful city of Charlotte as our backdrop.

How privileged we are to have Dr. Eric Nelson from Emory Universi-
ty as our conference clinician and conductor. Dr. Nelson, a highly re-
garded conductor, is also the Artistic Director of the Atlanta Master
Chorale, and Minister of Music at the historic 2nd Ponce de Leon
Baptist Church in Atlanta. Two interest sessions have been planned;
first, Dr. Andrew Crane from East Carolina University will present
"Creating Choirs that Care: How to Motivate Students (of All Varie-
ties) to "Buy In" to your Artistic Vision." I attended this session re-
cently at the NCMEA Conference to a standing-room only crowd of
music teachers on a Saturday night at 8:00! This showed me how
hungry we are for this information, and I encouraged Dr. Crane to
present this for us next fall. Next, Dr. Jos Rivera from UNC Pem-
broke, the National ACDA R&S Chair for Ethnic and Multicultural
Perspectives, will present a session titled, "Cantemos con Cantamos:
Latin American Literature for Children's Choirs," featuring an His-
panic demo choir. These sessions are in addition to the reading ses-
sions and other great components that make up our conference.

Is your interest peaked? Hopefully! Make your plans NOW: September 19-20, 2014. It's certainly going to
be worth your time and money. --Anne
Spring 2014 page 7

2013 Lara Hoggard Marshall Butler, Jr. teaches choral music in the Wake
County Public School System, at Jesse O. Sanderson
Award Winner High School. He has served as a Middle and High
School All-County Clinician for Alexander, Craven,
Cumberland, Davidson, Duplin, Durham, Edgecombe,
Forsythe, Gaston, Guilford, New Hanover, Johnston,
MARSHALL BUTLER, JR. Onslow, Pitt, Randolph, and Rockingham County
Schools. He was among the first group of teachers to
receive their National Board for Professional Teachers
Certification in Music in 2002. Butler was Jesse O.
Sanderson High Schools 2002-03 Teacher of the Year,
the North Carolina Music Educators Association 2009-
10 High School Choral Director of the Year. He was a
member of the Sanderson High School delegation travel-
ing to China during September 2009, and he served as
the Bass Section Leader for the ACDA National Honors
Chorus in Oklahoma City in 2009. His groups have per-
formed at the North Carolina Music Educators Confer-
ence in Winston-Salem, and also in New Orleans, Orlan-
do, Washington, New York, Chicago, Atlanta, Italy, and
London. They have made several recordings for Walton
Music, and have sung for gatherings following the inau-
guration of Governor Purdue and other elected officials.
Mr. Butler taught choral music in the Rocky Mount
City Schools for nine years prior to teaching in Wake
County. He earned his Bachelor of Science in Music
Education from Winston-Salem State University, where
he studied under Robert L. Morris. Marshall has two
Past Recipients lovely daughters (Knachelle, who teaches in the Wake
County School System, and Melody, who is at Ohio
1986 Richard Cox 2002 Rodney Wynkoop States School of Dentistry) and a beautiful granddaugh-
1987 Richard Brewer 2003 Joel Reid ter, Chanel. He serves as the Minister of Music at Riley
1988 Paul Frye 2004 David Pegg Hill Baptist Church in Wendell.
1989 Maxine Blackwell 2005 Maribeth Yoder
1990 Rhonda Fleming White

1991 Jim Jerome 2006 Marta Force

Williams 2007 Jerry Cribbs
1993 Hilary Apfelstadt 2008 Clinton Parker
1994 Barbara Bair 2009 Alfred E. Sturgis
1995 Sam Doyle 2010 Sandy Beam
1997 Don Hinshaw 2011 Betty-Neil G.
1998 Richard Morgan Parsons The mission of the American
2000 Robert Holquist 2012 Richard Keasler Choral Directors Association is to
2001 William Carroll
inspire excellence in choral music
through education, performance,
composition, and advocacy.
page 8 Carolina Caroler

Singers with ADD/ADHA

Beverly Vaughn, Womens Choirs R & S Chair
As I sat down to listen to the choral program at the as pubertal development pro-
ACDA luncheon in November, I remarked to Anne gresses. Adding social pres-
Saxon that I recalled I had to write an article for the sures to this biological aspect,
newsletter. As the day progressed a myriad of ideas we have a potential pattern of
went through my ADD head and I thought, how can I early-morning sleepiness in
link the two areas that am currently researching? teen-agers. In her study of 40
I mention the ADD because I have noticed lately high-school students pub-
that when students come into my classes for the first lished in the journal Sleep (Vol. 21, No. 8) in 1998,
time, they announce they are ADD/ADHD and there- she, Wolfson and colleagues examined the effect of
fore are excused to blurt out or display a vast array of changing school starting times from 8:25 a.m. to 7:20
disrupted behaviors. I usually start laughing and say a.m. The results of the study states that almost half of
welcome to my world. Over the years I have no- the students who began school at the hour earlier
ticed that large amount of my chorus and theater stu- were "pathologically sleepy", falling directly into
dents are ADD/ADHD. I find that if I sit down and REM sleep in an average of only 3.4 minutes, a pat-
start talking about how my head works and the multi- tern similar to what is seen in patients with narcolep-
ple squirrel moments occurring at the same time as I sy. Do you know these students? I do, depending on
am talking to them, they realize I genuinely do under- the time of day I am teaching them.
stand. In my eighth grade choral class we even have When we sing we breathe more efficiently, our
signals to let each other know that a person is having lungs and facial muscles get a workout and the vascu-
a large squirrel problem that day. lar system is stimulated by the increased exercise. My
While I am working on how musicians with ADD/ question would be whether singing allows the body to
ADHD manage to discipline themselves to concen- wake up early in the morning or are we taxing the
trate and read, play or sing music, another area of ma- voices of students by trying to sing this early? Is their
jor interest to me is the fact that we teach a large por- lack of sleep affecting their vocal production all of
tion of sleepy singers. "Almost all teen-agers, as they the time or only in the early part of the morning?
reach puberty, become walking zombies because they There have been arguments that singing can help
are getting far too little sleep," comments Cornell with depression and anxiety through the release of the
University psychologist James B. Maas, PhD, one of bodies endorphins. As a choir we do sing together,
the nation's leading sleep experts. The newest find- so there is a communal effort that allows us to show
ings are that adolescent sleep difficulties are often emotions and be creative. According to the newest
associated with psychopathologies such as depression study on choral singing and breathing out of Sweden,
and attention deficit hyperactivity disorder "When you sing the phrases, it is a form of guided
(ADHD). breathing," says musicologist Bjorn Vickhoff of the
According to a study by Carskadon, students from Sahlgrenska Academy. "You exhale on the phrases
puberty through their early twenties require more and breathe in between the phrases. When you exhale,
sleep, than younger children or adults. 9.2 hours to the heart slows down. What struck him during the
be precise! They also go through a phase shift at this course of his study was that it took almost no time at
time which biologically makes them go to sleep later all for the singers' heart rates to become synchro-
than younger children. What was originally thought nized. The readout from the pulse monitors starts as a
of as a social mandate turns out to be biological. Ac- jumble of jagged lines, but quickly becomes a series
cording to the Carskadon study melatonin production of uniform peaks. The heart rates fall into a shared
tapered off later in mature teens. This suggests that rhythm guided by the song's tempo.
the brain's circadian timing system, which is con-
trolled mainly by melatonin, switches on later at night (continued on page 12)
Spring 2014 page 9

Broadening our Perspective on Repertoire

Andrew Crane, College/University R & S Chair

This past November, the ECU Chamber Singers competed in the 45th annual Tolosa
Choral Contest, held annually in the Basque region of Spain. Each year, only one
American ensemble is invited to compete, and this singular invitation allowed us to
witness some of the finest choirs from around the globe. Choral groups came from
places like Finland, Germany, Sweden, Indonesia, Spain, and Estonia, to name a few.
I found it fascinating to consider the repertoire that the various groups selected, and
to look at choral programming from a non-American perspective. Here are a few
of the interesting lessons I learned from this experience:
1. International choirs are not afraid of challenging an audience with unusual or avant-garde music.
Germanys Saarbrcken Chamber Choir performed a work of Alfred Schnittke which called for choral
wailing and extremely dissonant sonorities. The audience appreciated and enjoyed the selection, especial-
ly alongside other pieces which were easier on the ear.
2. The Basque region of Spain is home to some wonderful choral music and composers. Each choir at the
contest was required to perform native folksong arrangements (performed in the Basque language), as well
as modern festival repertoire of Basque composers. Please check out the works of Basque composers Da-
vid Azurza, Josu Elberdin, Jesus Guridi, and others.
3. Historic, time-tested repertoire has endured for a reason! At the competition, choirs performed the
works of Byrd, Schtz, Monteverdi, Stanford, Debussy, Poulenc, and many more. It was inspiring to see
that these choirs didnt rely solely on the current trends in choral composition, but also paid homage to the
great music of the past.
4. Choirs from around world like to enhance their repertoire through choral movement where appropriate.
The stand and sing model was definitely the exception in this competition, not the norm, especially in non-
classical pieces. The international choirs found tasteful ways to bring simple choreography into their per-
formance.
5. As in the United States, the choirs that
performed most successfully at this competi-
tion were those that showcased their choral
SOUND through the repertoire they chose.
Less-successful choirs chose works which,
while excellent by their own merit, for one rea-
son or another did not flatter a particular
groups tone.
This experience with international choirs al-
lowed me to consider my own philosophy
when it comes to selecting choral repertoire,
and perhaps can influence yours as well.

I am looking forward to serving as your R & S

chair for College and University Choirs!
page 10 Carolina Caroler

The Mother/Daughter Choir:

A Unique Experience for your High School Womens Choir
Carol Earnhardt, High School R & S Chair

Several years ago, I attended a fantastic session at the National ACDA conference enti-
tled, The Venus Factor. The session presented the unique qualities of the personality,
psyche, and nature of females and the possible implications for the womens choir director. The session was
designed to encourage directors to find activities, traditions, and music that would empower the members of
high school womens choir programs. After attending the session, I was inspired to create ways for the girls
in my womens choir to embrace their uniqueness. As in most high school situations, the singers placed in my
womens choir were the girls who did not make the top SATB choir, so I was determined to create distinct
activities for my womens choir that would inspire my girls and would make them feel special. One of the
first ideas I implemented was the mother/daughter choir. This choir has become an anticipated and treasured
tradition at Glenn High School. Special Note: It is important to realize that not all families are the same.
Make it clear to the young ladies in your choir that when you say mother, you mean biological mom,
adopted mom, step-mom, older sister, aunt, grandma, and the lady who lives next door who has been like a
mother to you. Also, students should be allowed to invite more than one mom.

Creating the Mother/Daughter Choir

Publicize: I start publicizing the event at open house. I prepare a letter that includes a description of the
event, the repertoire list the choir will perform, and a list of dates and times for rehearsals and for the perfor-
mance. I give the letter out at open house when I introduce myself to parents, and then, I give the letter to my
womens choir students during the first week of school. I also put the letter on my web site and I email it to
parents by the second week of school. Mothers declare their interest by returning the signed letter to me.
Prepare: I give every interested mom a rehearsal packet. The packet includes the rehearsal dates, printed
copies of the music the choir will perform, and a rehearsal CD. I record every voice part of each song on the
CD and I dont require moms to claim a voice part until the scheduled rehearsal dates. I also post the rehears-
al tracks on my web site.
I schedule two rehearsals. At the initial rehearsal, I ask my daughter (or another musician) to help me with
sectionals. I schedule two dates and times for the initial rehearsal to accommodate work, sports, and family
schedules. The final rehearsal is scheduled on the night of the concert, one hour before it is to begin. So that
the mothers feel prepared and calm about the performance, its important that the final rehearsal occurs in the
performance space with risers and lights. I require all of my womens choir members to attend every rehears-
al, but I never exclude a mother who cant make it to the practices.
Perform: I always schedule the mother/daughter choir performance at the beginning of the concert. Moth-
ers are called to the stage before the concert begins and are situated on the risers behind a closed curtain.
When the curtain opens, the audience is delighted at the scene: a stage full of women from ages 13 to 80!
The first concert at Glenn High School is always scheduled in the month of October, breast cancer aware-
ness month. For this reason, the mother/daughter choir participants are asked to wear any solid or combina-
tion of three colors black, white, and pink. I encourage participants to wear as much pink as possible and I
sell concessions to benefit the Susan G. Komen Foundation for breast cancer research.
Repertoire choices for the mother/daughter choir are very important. Pieces should be easy enough for
mothers to learn on their own, challenging enough for the members of your womens choir to reach curricular
Spring 2014 page 11

goals, but most of all, should be meaningful and memorable for the choir members and the audience. I choose
three pieces: the first is a challenge piece; the second is a sentimental piece; and the third is a fun, crowd-
pleasing piece. All of the repertoire should center on subjects that are empowering and meaningful to women.
The following is a list of some pieces I have selected for the mother/daughter choir in the past several years:

First Piece
Hello Girls, Lloyd Pfausch; Ascribe to the Lord, Rosephanye Powell; Dance on My Heart, Allen Koepke

Second Piece
Music in My Mothers House, J. David Moore; The Softness of My Mothers Hands, John Starr Alexander;
In Yourself Believe, Tom Shelton

Third Piece
Beauty School Dropout, Arr. Mac Huff; Popular, Arr. Mac Huff; Holy is the Lord, Jeffrey Ames

Product: The emotional experience of the performance and the time spent in rehearsals create a bond be-
tween the adult participants and myself. Because most of the members of my Womens Choir are freshmen
and are new to the chorus program at Glenn, it is wonderful to make this connection early in their high school
choral experience. I gain a team of parents who believe in the power of the arts and are willing to support the
chorus department with their time and money, and, most importantly, parents who participate are very vocal
in advocating the importance of choral music to their child.
After the performance of the mother/daughter choir, comments made about the experience reassure me of
the importance of the event. After the concert this year, I received the following email from a mother who per-
formed with her daughter in the choir:
I just wanted to take a few minutes to send you an email to say thank you. I know everyone has a story and I just
wanted to share what this night meant to me. Two weeks ago when my daughter brought the music home to me and I
began to listen to the songs, I struggled through the tears. I wasn't sure how on Earth I was going to stand up on stage
next to my daughter and sing that song. (I'm such a mush.) Tears of feeling honored as a mom that my 14 year old
daughter would all but beg me to sing in her high school chorus concert and then ask me to stand next to her. I thought
about how I could only dream of having a mom at her age, because at her age, 14, when in 8th grade I was placed in a
foster-home by my mother and did not reconnect again until the age of 28, when my daughters were 4 and 2. It definite-
ly made an impact on my life and how I wanted things to be with my kids and I feel as though I have been able to. "The
Softness of a Mother's Hand" was the main tear jerker and I listened hoping that I have been able to be that mom to my
girls. So, I share all of this from a mother who thinks that the way in which you included the moms tonight is phenome-
nal!! Please don't stop! This will be a night I will remember forever. Not only did I get to be part of this event, it hap-
pened on the same day/night I completed my Master's degree in Business Administration, a date I will not forget. I have
been in school for the past 5 years online and it has been quite the sacrifice for my girls, and there were very difficult
life changing events in our lives. I couldn't think of a better way to spend my last day of school than standing next to my
daughter singing in her high school choir. I feel very blessed to have been part of the program!

Recently, one of my colleagues said, Great teachers are great thieves. They take good ideas from others
and make them applicable to their program. How true! I am positive that the mother/daughter choir has been
one of the best traditions I have started at my school. And, it is my intention, with this article, to encourage
you to start a mother/daughter choir tradition at your school. You will be surprised at the positive effects on
your choral program and on your community.
page 12 Carolina Caroler
Presidents Message Singers with ADD/ADHD
(continued from page 2) (continued from page 8)

will want to make sure to see their performance in Jack- It would seem to me that the case being made to start the
sonville as well!) There will be additional interest ses- school day later does make sense. If that were to occur
sions, opportunities to visit exhibits and network with perhaps we would find vocal students would be physiolog-
colleagues to renew and inspire for the last few months ically and mentally more equipped for choir classes
of 2014! throughout the day. The likelihood of that schedule change
North Carolina ACDA took in an additional 92 mem- happening soon is slim. So, I would make a case that the
bers this past year. Many of these memberships are stu- benefits of a group of voices raised in song, causing joined
dents who are just beginning their careers in music edu- heart rates and breathing patterns, all while sharing a crea-
cation or church music. It is exciting to know that tive and emotional moment does perhaps bring the body
ACDA is not only inspiring those of us who are awak- and mind together and allow concentrated effort to occur,
ening from our two week hibernation, but also helping despite the lack of sleep.
to guide those who will take the choral world into the
future.
So, Happy New Year! After working for 23 years, I
am taking a new vow in 2014. To not sweat the small
stuff, to see the bigger picture and to enjoy the journey
of creating music, striving to be in the moment. For its
the relationships we make and the students whose lives
are enriched by the music that we together create that
are important. Life is short - maybe hibernation is nec-
essary for us to awaken renewed and ready to immerse
ourselves again in the privilege of music making.
Spring 2014 page 13

2014 Southern Division Conference

March 6-8 Jacksonville, Florida
ENGAGE AND INSPIRE
Guest Artists
Simon Halsey
Francisco J. Nez
New York Voices
American Boy Choir

Conference Hotel
Hyatt Regency Jacksonville Riverfront

More Information
Visit the ACDA Southern Division web site
WWW.ACDASOUTHERN.ORG

The Application
for Choral Performance
at the 2014 Fall Conference
is included on our website at
www.ncacdaonline.org

PLEASE NOTE
The postmark deadline is
April 15, 2014!
page 14 Carolina Caroler
Music and Worship: Mark Cabaniss AR: You recently moved from Word Music, where you revived a catalog
(continued from page 5)
of some of the more substantive choral pieces from Words archives and
published some new pieces in more mainstream sacred choral genres
(compared to the recent Word catalog which has been focused on more blended, gospel, and contemporary styles). You
have now bought the catalog that you developed under the Jubilate imprint and are going to be keeping that going. Do
you have any upcoming plans for Jubilate that youd like to share with church choral musicians in North Carolina?
MC: Thank you, Andy, for giving me a chance to speak about Jubilate! Im very thankful for the folks at Word work-
ing with me for me to purchase Jubilate. And Im excited for Jubilate (and me) to be at Alfred Music. Together, Alfred
and I have formed the new Alfred Sacred division (which includes Alfred Sacred, Jubilate and HW Gray). There are a
lot of new initiatives and ideas were currently working ontoo many to mention here. But I will say watch for the un-
veiling of our new website (www.alfredsacred.com) later this year. That will give you a complete picture of our new
plans.

AR: Can you share any of your plans for the Alfred church music arena?
MC: Alfred will be the more blended side of the catalogventuring in to some gently contemporary music. But it
will be well-crafted, from composers and arrangers we all know and trust. Jubilate will remain traditional and HW Gray
will lean toward the higher church, collegiate side of things (but still very doable by many church choirs). Im also
reviving the Alfred handbell catalog, and have brought noted handbell composer/arranger Sondra Tucker on board to
edit the catalog.

AR: Some publishers are offering more downloadable choral pieces. My own experience has been that printing signifi-
cant copies of a multi-page choral piece and trying to format it to fit within a typical choral folio or ring binder has
been a lot of trouble and not necessarily any less expensive than buying printed music from the publishers. Do you see
trends toward digital downloads for choral music and do you envision a less cumbersome and less expensive process for
an online distribution channel?
MC: Thats another interesting and excellent question, and one we print music publishers (and retailers) discuss at
length and in depth at our annual conventions. Of course, none of us ultimately know what the future holds, but for the
very reasons you mention in your question, downloadable choral music hasnt really caught on yet. Its just easier to
order copies that are standard octavo size and ready to go. I can understand the need for an anthem in an instant for an
unexpected funeral or other occasion (even so, retailers and publishers can get finished copies shipped fast). My think-
ing is that until an affordable, usable device is available for choir members, well still be using printed music by and
large. But I firmly believe that day is coming. The new generation of kids are totally and completely hooked on their
electronic devices, and they dont read printed newspapers, etc. Their grandparents probably read them, but when this
current new generation is (hopefully) in an adult choir someday, I suspect theyll be reading the music from a device.

AR: It seems that many of the long-time stalwarts in the print music retail industry have disappeared, while others
seem to be struggling. What is the role of the music dealer/distributor in todays economy, and how do publishers such
as Alfred work with them? Is the trend towards fewer, larger, more nationally-oriented distributors going to be the way
forward?
MC: Theres no question the music retail industry has seen great changes as well due to everything weve discussed.
As for their current role, I see the retailers surviving that have built strong trust and connection with their customer base
(while embracing the Internet in every possible way). We at Alfred work closely with our retail partners through pro-
motions, reading sessions, daily contact and other means to make our products and content accessible to as large an au-
dience as possible. Not only are these folks trusted business associates, they are dear friends whom Ive known for
many years. Were all trying to do our very best to navigate the changing waters in which we find ourselves, because
we love what we do and are dedicated to it. I do agree with your assertion that the future will see fewer, larger, and
more nationally-oriented distributors. If you look at what has happened to the book publishing industry (publishers and
retailers), I think thats a preview as to what the future might hold for the print music industry. In many ways, were
already seeing it happen.
(continued on next page)
Spring 2014 page 15
Music and Worship: Mark Cabaniss AR: Turning to the creative side, I know there is a catalog of some fine
choral arrangements and compositions from your own hand and from sev-
(continued from page 14)
eral publishers over the years. Are you currently active in the composition
or arranging arenas? If so, what are you working on?
MC: Thank you! My writing has always been in my spare time through the years, but it has given me great joy and
Ive managed to turn out several sacred and secular musicals and anthems over the years. While I really enjoyed ar-
ranging my own pieces or hymns early on, I work with so many amazing arrangers I decided years ago its wiser to
have a first-rate arranger lay hands on my things. If your readers would like to view my pieces, they can go to
www.markcabaniss.com and take a look. There are other fun things on my website such as some celebrity interviews
Ive conducted and theatre pieces Ive written. I just completed a new middle school musical Tom Sawyer & Company
for Alfred (to be released this spring) and Im currently at work on a new childrens Christmas musical (with Ruth
Elaine Schram), an adult Christmas musical (with Mary McDonald) and a commissioned anthem.

AR: How do you relate to other composers from the standpoint of an editor or publisher?
MC: Working with composers, arrangers and orchestrators is truly the most enjoyable aspect of my job. I love writ-
ers and the creative process, and working with some of the most talented people around has been deeply fulfilling over
the years. I brought Lee Dengler on board with us at Alfred/Jubilate, and together, Lee and I give ideas and assign-
ments to composers/arrangers (with Sondra Tucker on the handbell side). Of course, the writers bring a wealth of ideas
to the table as well. The writers we prefer are naturally among the busiest, so were grateful theyre interested and
available. Thats not to say were not very, very interested in uncovering new composing talents (and Ive got a plan to
help do that in the futurewatch our new website for details).

AR: For young church music composers looking to share some of their own work with a wider market, how would
you suggest that they begin the process of connecting with the music publishing industry?
MC: This is one of the most frequent questions Ive been asked over the years and I love to answer it. I want to help
budding composers place their musicany music publisher worth their salt feels that way. The basics are 1). Find the
publisher(s) who are publishing the sort of music youre writingand then submit. Dont toss it out there without
knowing youre hitting your target stylistically. Do that by spending time on the publishers websites; join their cho-
ral club, etc. 2). Find out if and when the publisher(s) you select takes unsolicited manuscripts, and what are their
rules of engagement. You can find that out on the publishers website. 3.) Dont try to start with a musical! Start
with a single anthem. Get that published, then establish a track record of solid sales with that publisher. Then maybe
you can write an extended work for them (musicals are a big ticket item for sellers and buyers, and publishers rarely
take a chance with an unknown writer on them). 4.) As the late/great Hawley Ades says in his classic Choral Arrang-
ing text, Write and listen, write and listen and write and listen! Get your music performed by anyone you can
(published or unpublished), and learn from those performances (preferably before you submit it for publication).

AR: You have a new book out. Tell me a little about it and the impetus for writing it. How can people find a copy?
MC: Thanks for asking. Ive been very blessed over the years to have met and worked with a lot of celebrities during
the course of my careersuch as Bob Barker, Shirley Jones, Andy Griffith, Doc Severinsen, Steve Allen and others. I
have been telling these celebrity stories at parties and the like over the years. Many friends often said Youve got to
write those down. In 2013, I began my 25th year in the music business and such a book had been on my bucket list for
a while, and my 25th anniversary seemed like the right moment. I titled it Confessions of a Shameless Name-Dropper:
Adventures in the Music Business and an independent Nashville book company published it. I connect the celebrity
stories with stories about my career journey. So people who want a behind-the-scenes peek at the print music business
(in addition to the celebrity stories) will hopefully enjoy that part, too. Its a light, easy read. The book is available at
Amazon.com, Barnesandnoble.com, markcabaniss.com and other online and brick and mortar retailers.

AR: Any other words youd like to share?

MC: My genuine thanks to you, Andy, for our time together and asking for my ideas. Im proud to call you friend
and associate and wish you and your newsletter readers the best and blessings for 2014!
AR: THANKS!
page 16 Carolina Caroler

NC ACDA 2013 FALL CONFERENCE PHOTOS

MVAS with Dr. Tim Seelig

Conference
Clinician:

Dr. Hilary
Apfelstadt

Exhibits
Registration
Friendships

Photos taken by Heidi Fusik and Nathan Leaf

Spring 2014 page 17

ACDA 2014 Deadlines

A Handy Chart
Event
Event Registration Other
Dates

Southern ACDA Pre-registration without On Site

Regional Conference March 6-8 reading packets has been
Jacksonville, Florida extended to Feb. 23

Application for Choral

September
Performance at 2014 Postmarked by April 15
19-20
NC ACDA Conference

NC ACDA
September Discount: usually one month
Fall Conference On Site
19-20 prior to the event
UNC Charlotte
page 18 Carolina Caroler

Tr e a s u r e r s R e p o r t
Catherine Butler, NC ACDA Treasurer
Spring 2014 page 19
page 20
Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207
www.ncacdaonline.org
In this Issue: Southern Division Conference, 2013 Hoggard Award, and the Coming Year!
Editors Note
Nathan Leaf, Newsletter Editor
As we start a new year,
and for many of us, a new
semester, I am very excited
to also start as your NC
ACDA Newsletter Editor.
The people who have as-
sisted me in this first at-
tempt are far too numerous
to list. Yet, I must say a public thank you
to my predecessor, and current President-
Elect, Anne Saxon. Without her able assis-
tance, templates, and guidance, this news-
letter simply would not have been complet-
ed. I hope to continue her award-winning
ways.
I hope you find this publication useful. If
there are items you would like to be includ-
ed in future issues, please contact me.
And, keep you eyes open for the Good
New Repertoire Initiative, which will
begin with the Summer 2014 Newsletter.
~Nathan
Carolina Caroler
The Carolina Caroler is the official newsletter of the North Carolina chapter of
the American Choral Directors Association. Articles and advertisements may be
submitted to: Nathan Leaf at njleaf@ncsu.edu. Articles may be submitted via email
as Word documents. Times New Roman, or similar, with font size 11 is preferred.
Please do not double space after punctuations (periods)a practice held back in
the days of typewritersit is not necessary with word processing.
Issue Deadline Publication
Fall June 15 July 15
Spring Dec. 15 Jan. 15
Summer April 15 May 15
NC ACDA reserves the right to edit any application for appearance and to edit all
materials proposed for distribution.
Advertising Rates
The Carolina Caroler will accept advertising at the following rates:
Full page-$150.00 (c. 7.5x10)
Half page-$100.00 (c. 7.5x 4.5)
Quarter page-$50.00 (c. 3.75x 4.5)
Discounts are available on multiple ads of the same design. Rates listed are for
digital .jpg or .pdf files. A check made payable to North Carolina ACDA must
accompany the order. Advertisers will NOT be billed. Copy will not run without
advance payment. Advertising copy is subject to editorial approval. The editor
reserves the right to head and/or box any advertisement bearing confusing resem-
blance to editorial material.