Summer 2016 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

NC ACDA Confer- 3
ence Clinician
High School Choir 4
NC ACDA Camp

Womens Choir 5
2016 CONFERENCE Commissioning
Consortium
Dr. Heather Buchanan, clinician
Treasurers Report 6
October 7-8, 2016
Music in Worship 7
UNC-Charlotte
Boychoirs 9

Hoggard Award 10

Southern Division 11
Conference Recap

NC ACDA History 13

...ALSO INSIDE Conference Perfor- 15-

mance Application 16
2016 APPLICATION FOR HIGH SCHOOL
Membership 20
CHORAL PERFORMANCE CHOIR CAMP Application Form

Directories
NC ACDA HISTORY HOGGARD AWARD NC ACDA Officers 2
RESPONSES REQUESTED NOMINATION INFORMATION NC ACDA Specially 3
Appointed Officers

WOMENS CHOIR 2016 SOUTHERN DIVISION NC ACDA R&R 4-5

Chairs
COMMISSIONING CONFERENCE HIGLIGHTS
Volume 17, Issue 2
CONSORTIUM
Summer 2016
page 2
NC ACDA Officers
2015-2017
President
Anne Saxon
Winston-Salem Girls Chorus
4105 Sewanee Drive
Winston-Salem, NC 27106
336.922.4073 (home)
336.413.8227 (mobile)
Midpatch@aol.com
Past President
Sandy Holland
Young Voices of the Carolinas
2517 Fort Street
Charlotte, NC 28205
704.451.4194 mobile
704.374.1892 x24
srholland64@gmail.com
President-Elect
Andy Roby
First Baptist Church Shelby
120 North Lafayette Street
Shelby, NC 2815
704.482.3467
aroby72359@gmail.com
Secretary & Registrar
Bethany Jennings
Stuart Cramer High School
101 Lakewood Road
Belmont, NC 28012
336.501.0103
ncacdasecretary@gmail.com
Treasurer
Carolyn Hall
High Point Young Voices
4504 Talavera Drive
High Point, NC 27265
336.841.0571 (home)
704.674.6948 (mobile)
musikhall@aol.com
Membership Chair
Ginger Wyrick
6200 Maple Cove Lane
Charlotte, NC 28269
704.231.8443
ggw@hwaci.com
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
Anne Saxon, NC ACDA President
Greetings to you on behalf of NC ACDA. The past few
months have been industrious for us and there is so much I
wish to share with you! In late February our NC ACDA Board
met in Old Salem and covered many things. Reports were giv-
en and ideas were introduced and discussed. Please know that
you are well-represented by a group of dedicated and talent-
ed folks who are working on your behalf.
Last fall I introduced our newly appointed Historian, Joel Stegall, and the history
project we have begun. Many archival pieces have come our way in the form of old
newsletters, programs, and personal memorabilia. Joel has begun organizing these
materials, and we have been compiling a list of past state leadership dating back to
at least the late 1960s. Joel has also been contacting several of these people to help
connect the dots of missing information. This past February, he and I traveled to
Greensboro to meet with Richard Cox and Sam Doyle to interview them about our
rich and colorful past. What an honor and a joy to be among these incredible gentle-
man and learn so much about our organizational history! We are also reaching out
to our membership past and present to further assist us in this process. If you
have old programs, personal stories anything from the past that you can share us
PLEASE contact us so that we can include this information in our expanding ar-
chives. Beginning with this issue, Joel will be including a Historians Article to
share some of our NC ACDA Story with you.
As we are researching our past, our Visioning Team is vigorously dreaming of
our future, more clearly defining who we are as a state chapter. During our Febru-
ary Board Meeting, Bill Young, Vision Team Facilitator, introduced the teams vi-
sion and mission statement proposals which passed unanimously. These statements
are included on the back page for you and will now be included in all of our organi-
zational materials. This has prompted a decision to begin rebranding as we are
constantly evolving and changing to adapt to the world around us, in order to be as
viable and vital an organization possible to support and empower our state member-
ship. This team met again recently, and has now defined more specific goals and
objectives which will be presented at the Board Meeting in June for approval. Not
only is this group of choral musicians accomplished in each of his or her own areas,
but they are dedicated to this visioning endeavor for NC ACDA. I am constantly
amazed at how far above and beyond the call of duty they are willing to go for us.
I can personally attest to the fact that the Southern Division Conference in Chatta-
nooga was well-attended by our North Carolina Membership. We were also well-
represented: High Point University Chorale, directed by Marc Foster; Wingate Uni-
versity Singers, directed by Kenney Potter; Vocal Arts Ensemble of Durham, di-
rected by Rodney Wynkoop; Duke Vespers Ensemble, directed by Brian Schmidt;
an Interest Session presented by Andy Roby; a Poster Session presented by Nana
Wolfe-Hill, and former NC ACDA President Tom Shelton directed the Childrens
Continued on page 17
Summer 2016 page 3

NC ACDA Specially
D r. H e a t h e r B u c h a n a n Appointed Officers
2016 NC ACDA Conference Clinician Auditions
Wendy Looker
Australian-born conductor Heather J. Buchanan, PhD, is Guilford College
Professor of Music and Director of Choral Activities at Greensboro
Montclair State University (MSU) where she conducts 336.316.2423 (office)
wlooker@guilford.edu
choral ensembles ranging in size from 24 to 175 voices.
Choirs under her direction have won critical acclaim for Conference Exhibits
their heartfelt conviction, grace and precision, Aaron Rice
vibrant sound, and for singing with the crispness and Chowan Universtiy
dexterity of a professional choir. During her tenure at Murfreesboro
MSU, her choirs have collaborated with a variety of re- 252.398.6517 (office)
ricea@chowan.edu
nowned artists and composers including Meredith Monk,
Richard Alston Dance Company (RADC), members of the Vienna Philharmonic Conference Site Host
strings, The Shakespeare Theatre of New Jersey, Chen Yi, Robert Livingston Al- Fred Spano
dridge, Herschel Garfein, Robert Cohen, Mchel Slleabhin, Tarik ORegan, and UNC Charlotte
conductors Neeme Jrvi, Jacques Lacombe, John Maucceri, and Susie Benchasil Seiter 704.687.0263
with the New Jersey Symphony Orchestra (NJSO). Dr. Buchanans choral-orchestral fspano@uncc.edu
masterwork collaborations with the NJSO include Beethovens Ninth Symphony, Mozart
Historian
Requiem, Verdis Messa da Requiem, Orffs Carmina Burana, Mendelssohns A Mid- Joel Stegall
summer Nights Dream, Mahler Symphony No. 3, Zelda: Symphony of the Goddesses, Winston-Salem
and Howard Shores Academy Award winning The Lord of the Rings Symphony, with 336.721.1719
Handels Messiah in December 2016 for the 3rd successive season. Commercially pro- joelstegall@triad.rr.com
duced recordings include the Grammy nominated Songs of Ascension with Meredith
Monk on the prestigious ECM label under legendary producer Manfred Eicher (May NC Sings! Facilitator
Eric Johnson
2011), and Verdi Requiem and Orffs Carmina Burana with the MSU Chorale and NJSO
J.E. Holmes Middle School
(Jacques Lacombe conductor). 2016-17 guest engagements include a Britten collabora- Edenton
tion with RADC for the internationally renowned NYC Dance Festival, conducting the 336.623.9791 X108
Passion of Italy (KI Concerts) in Rome, and headlining the Australian Choral Conductors ejohnson@rock.k12.nc.us
Education and Training Summer School (Melbourne). A licensed Andover Educator Dr.
Buchanan specializes in the teaching of Body Mapping, a neuro-anatomical educational Hoggard Award Chair
Sam Doyle
technique that trains musicians to attain freedom of expression through effective move-
Weaver Academy-Greensboro
ment. A vibrant teacher, dynamic performer, and passionate musicians health advocate, 336.285.6916
Dr. Buchanan is in demand as a guest conductor, somatic educator, and choral clinician sam2ann69@gmail.com
in the US and abroad.
Webmaster
Kelly Turner
APPLY TO HAVE YOUR CHOIR PERFORM! Winston-Salem
336.655.8798
phoneticsoft@gmail.com
NC ACDA Fall Conference (UNC-Charlotte) or
NCMEA/ACDA Luncheon (Winston-Salem) Conference Reading Sessions
Liz Doebler
The application form can be found on pages 15-16, or online at: High Point University
336.420.6011
www.ncacdaonline.org/conference.html liz.doebler@gmail.com
A complete application will include: Submit to Wendy Looker, Auditions Chair, Visioning Team Leader
application form by mail or electronically: Bill Young
recordings (CD or sound files) Dr. Wendy Looker UNC Greensboro
conductor biography and headshot Guilford College 336.334.5493
ensemble biography and group photo 5800 W. Friendly Avenue weyoung@uncg.edu
Applications must be postmarked or time-stamped Greensboro, NC 27410
no later than May 30th. wlooker@guilford.edu
page 4 Carolina Caroler

NC ACDA Repertoire & High School Choir Camp: A Jumpstart

Resource Chairs
Boychoirs
Jeremy Tucker
Raleigh Boychoir
Green Hope High School-Cary
252.315.1718
jeremyclaytontucker@gmail.com
Childrens Choirs
Paul Flowers
Hope Middle School-
Greenville
Greenville Choral Society
Childrens Chorus
252.375.4673
flowerp@pitt.k12.nc.us
College/University Choirs
Marc Foster
High Point University
601.506.3934
mfoster@highpoint.edu
Two-Year College Choirs
Jaeyoon Kim
UNC Pembroke
910.775.4152
Jaeyoon.kim@nucp.edu
Activity to Develop an Outstanding Choir
Carol Earnhardt, Senior High School Choir R&R Chair
In 2012, my choir was chosen to perform at the North Carolina
ACDA conference. It was a great honor and I was very excited
about the opportunity. The problem was that the conference was
in September. Our first day of school was August 27! In twenty school days, I
would need to go over the rules for the class, cover the calendar for the year, meas-
ure for choir outfits, collect information from choir members, assign choir folders
and music, train my choir leaders and prepare my choir to give a memorized, pol-
ished performance of a 25-minute set of challenging music to a crowd of incredible
North Carolina choral directors. No pressure right?
The solution.a CHOIR CAMP!
So, in August of 2012, I held a two-day choir camp designed to prepare my stu-
dents for their performance at the conference and I also, unknowingly, began a tra-
dition that has greatly improved my choral program! I have held a choir workshop
for my auditioned mixed choir every August since 2012. The activity has become
an anticipated event for the end of the summer and this past year, I planned a simi-
lar activity for my auditioned womens choir.

Community Choirs PLANNING THE CAMP

Tony Spencer
Rutherford Community Chorus
Forest City You cannot use your time to the best advantage if you do not make some
828.289.4638 sort of plan. ~ Eleanor Roosevelt
tspencer@bellsouth.net
Be proactive:
Ethnic & Multicultural
Persp. The sooner you notify your choir members of the camp, the more likely you will
Gerald Knight have 100% participation. Families are busy during the summer, but if you notify
Elon University parents early, plans can be made to accommodate the days of the camp. Placements
803.348.8520 for my choir for the following school year are completed in February. Students
Jazz Choirs must have permission from parents to audition for a choir placement. On the per-
Stephen Futrell mission letter, I list the costs of the performance attire, the approximate number
Elon University concerts they will be expected to perform and the dates of the required choir
336.278.5681 camp. Choir placements are announced in late March, and, by then, I have estimat-
sfutrell@elon.edu
ed the cost of the choir camp (meals, activities and staff). Each student who is
Music in Worship placed in an auditioned choir is given a congratulatory letter with the dates and cost
Aaron Jackson of the camp. By the end of the school year, I create an e-mail group of future stu-
Christ Baptist Church
Raleigh
dents and I also invite students and parents to join a group text (Celly.com). E-mails
919.573.5454 and texts are sent throughout the summer to remind students of the camp dates. I
arjackson821@gmail.com excuse students with family vacation plans that interfere with their participation in
the workshop family comes first. I also work the camp schedule around those kids
who are in marching band camp and who are in sports practices at the high school.

Continued on pages 18-19

Summer 2016 page 5

Invitation to Participate in a Commissioning NC ACDA Repertoire &

Resource Chairs
Consortium: Appalachian Folk Songs For
Male Choirs
Womens Choir Christopher Aitken
Asheville Christian Academy
Nana Wolfe-Hill, Womens Choirs R&R Chair Swannanoa
828.581.2200
chris.aitken@acalion.org
Last fall, I had the privilege of meeting composer Linda Tutas
Haugen at the NCCO (National Collegiate Choral Organization) Junior High/
where she was a presenter at their national conference. She is a Middle School Choirs
Catie Hitzigrath
delightful woman and we found we had many things in common, one of which was Hanes Middle School
the love of Appalachian folk music. We began to discuss the idea of putting together Winston-Salem
a commissioning consortium to create a set of Appalachian folk songs for treble 919.649-0080
catie.hitzigrath@gmail.com
voices by womens choirs in this region. North Carolina conductors of high school
or college level womens choirs, I sincerely hope that you consider joining this spe- Senior High School Choirs
cial and significant project. Carol Earnhardt
Glenn High School
Kernersville
About the Composer 336.771.4500
Linda Tutas Haugen lives in Minnesota, but is closely connected with the musical cearnhardt@wsfcs.kas.nc.us
heritage of North Carolina. Her grandmother was born in Hickory, and eventually Show Choirs
moved to Wisconsin to marry. When Linda was a child, she would sit on her grand- Heidi Hickox
mothers lap and listen to her sing folk songs and talk about her love of NC and the William A Hough High School
Cornelius
Blue Ridge Mountains. Linda ended up majoring in music at St. Olaf College fol- 704.516.9770
lowed by a Master of Music degree in Composition and Theory from the University Heidi1.hickox@cms.k12.nc.us
of Minnesota, studying with Pulitzer Prize winning composer, Dominick Argento.
Womens Choirs
While at the University, she studied American folk song taught by a highly knowl- Nana Wolfe-Hill
edgeable (and eccentric) professor in the poetry department. These experiences fos- Wingate University
tered a deep appreciation and admiration for the folk tunes and texts of our region. 651.208.4153
n.wolfewhill@wingate.edu

Today, Lindas catalogue of over 50 compositions includes eight orchestral scores, Youth & Student Activities
including two large works for chorus and orchestra, an opera, 28 choral composi- Liz Doebler
High Point University
tions, a score for wind ensemble, and multiple instrumental, vocal, and chamber 336.420.6011
pieces. Her adventurous approach has resulted in works that have been critically liz.doebler@gmail.com
acclaimed as music of character and genuine beauty, (Minneapolis Star Tribune)
Visioning Team
superbly crafted... engaging... beautiful and powerful (Opera Today). Her mu- Team Leader: Bill Young
sic has been performed throughout the US, in Europe, Korea and Australia, includ- (Past President)
ing the North Carolina Symphony and the North Carolina Governors School. She Sandy Holland
(Immediate Past President)
has received numerous awards and grants in composition from American Compos- Anne Saxon (President)
ers Forum, ASCAP, Meet The Composer, Minnesota State Arts Board, NEA, and Andy Roby (President-Elect)
private foundations. Bethany Jennings (Secretary)
Wendy Looker (Auditions)
Carol Earnhardt (High School)
In choral music, she is highly recognized for her 7-movement work Anne Frank: A Aaron Jackson
Living Voice that was commissioned by the San Francisco Girls Chorus and has re- (Music in Worship)
Carolyn Hall (Treasurer)
ceived nearly 40 performances across the country. Her opera, Pocahontas, was Nana Wolfe-Hill --alternate
commissioned by the Virginia Arts Festival and the Virginia Opera for the 400th An-
niversary of Jamestown in 2007, and premiered in Norfolk and Williamsburg, VA.
For more information about Linda, visit http://lindatutashaugen.com
Continued on next page
page 6 Carolina Caroler

Womens Choir Commissioning Consortium (continued from page 5)

About the Project
The project will consist of a set of 4-5 songs/folksongs with texts that reflect life in Appalachia. The move-
ments will be contrasting in character, voicing (possibilities ranging from unison to four-part SSAA), and in-
strumentation. Optional folk instruments may be used, however the instrumentation will be flexible so that if
folk instruments are not available, the pieces will be able to be successfully performed without them or with
alternative standard instruments, i.e., piano. Through her research, Linda will remain true to the folk tradition
by selecting instruments and compositional approaches with knowledge, thoughtfulness, and care.
About Joining the Commissioning Consortium
We are inviting up to 32 choirs to participate by contributing $500 each; or a choir may commission of a
movement or whole movement which will give them premiere priorities for that movement. The total length
of the set will be 14 -16 minutes of music. The deadline for submitting funds is January 1, 2017. Because of
the research involved and Lindas composing schedule, the completion of the composition is scheduled for
spring of 2018, with choirs receiving the music by pdf in late spring of 2018. We hope to hold the NC state
premiere at the NCACDA Convention in the fall of 2018 with members from each participating choir. Please
consider pledging your intention by October 1, 2016.
Participation Timeline Summary:
May 1- October 1: Contact Nana Wolfe-Hill with intent to participate
October 2016 - January 1, 2017: Submit funds of $500, half or full movement.
Spring of 2018: Composition completed and delivered by pdf
October of 2018: North Carolina ACDA premiere at State Convention, other premieres may also be
scheduled
When we recently spoke on the phone to solidify aspects about the project, Linda mentioned, A little piece of
me goes with each of my compositions. She doesnt take on every commissioning project that comes her
way. Instead, she carefully selects the projects that speak to her heartand this is one of them.
Thank you for your thoughtful consideration. Feel free to contact me with any questions at 651-208-4153 or
n.wolfehill@wingate.edu. For additional specific information visit the Commissioning Consortium: Appala-
chian Folk Songs for Womens Choir page:
http://www.lindatutashaugen.com/appalachian-songs-for-women-consortium.htm.

Tr e a s u r e r s R e p o r t
Carolyn Hall, NC ACDA Treasurer

Current Balances:
DDA checking $33,642.25
CDA $10,634.54
CDA $25,655.20

Total assets: $69,331.99

Additional news: PayPal will be ready to accept payments for the Fall Conference.
Summer 2016 page 7

Music in Worship at the 2016 Southern Division

ACDA Conference
Aaron Jackson, Music in Worship R&R Chair

While at the Southern Division ACDA Conference in Chattanooga, I had the opportunity to
attend helpful interest sessions related to music in worship and church choral music. The fol-
lowing is a summation of the materials presented in these sessions.

Connections: Ideas for Effective Worship Planning was presented by Dr. Eric Nelson, the Director of Choral Ac-
tivities at Emory University and the Minister of Music at Second-Ponce de Leon Baptist Church in Atlanta GA. In this
session, Dr. Nelson presented helpful concepts for thoughtful worship planning and offered suggestions for practical
implementation. First, Dr. Nelson encouraged worship planners to begin with the text or scripture for a given day; let
the text be the starting point from which you plan and prepare for a given worship experience. Second, select literature
(both musical and non-musical) that will relate or connect to the pre-selected scripture passage. Third, look through the
congregations canon of music (for many this will be a hymnal), every week. Observe not only at the title or first stanza,
but also examine the secondary and tertiary stanzas. In them will often be found connective material commonly over-
looked. Fourth, discuss the order of worship as a way to inform both the choir and congregation. By reviewing the order
of worship with the choir, an atmosphere of partnership and team is created. Furthermore, with knowledge and reason
behind a given order of worship, members of the choir can positively influence congregants who may be adverse to old
or new methods and songs. Informing the congregation with intentional and concise comments during the worship expe-
rience can prove helpful in connecting the various elements of the service back to the main scripture.

The Church Choir Reading Session, presented by Dr. Stanley Roberts, Director of Choral Activities at Mercer Uni-
versity, included the following eight anthems, appropriate for choral use in worship:
Rejoice the Lord is King, Malcolm Archer What Child, Paul Lohman
I Will Be a Child of Peace, Elaine Hagenberg Psalm Eight (Adonai, Adonenu), Dan Forrest
Sanctus, Aaron David Miller When Speaking Has Ceased, Craig Courtney
The Eternal Gates, Howard Helvey Leaning on the Everlasting Arms, Eric Nelson

15 Plus Pieces for Small Church Choirs was presented by Dr. John M. Petzet, Director of Choral Activities at Loui-
siana Tech University. Dr. Petzet posed the following three questions:
Does your church choir have trouble singing music containing divisi?
Does your church choir struggle (attitude or ability) with foreign language texts such as Kyrie or
Sanctus?
Does your church choir lack confidence or is simply unable to sing a cappella music?
In response, Petzet made recommendations regarding repertoire selection that would benefit the small church choir.
Sometimes, as boring as it may seem, what our choirs need most is to sing unison or two-part so they can hear magni-
fied tall vowels, deep breath support, and an energized tone; then challenge them to make that same sound within their
individual sections (sopranos, basses, etc.) when split into 2-4 parts. Petzet went on to say, Repertoire is everything.
We need musically solid pieces that contain unison, 2-part, 3-part, and simple 4-part so these choirs will build confi-
dence, attract more members, and create a tonal product that is professional and worshipful.
Attendees to this session read through the following anthems, which incorporate unison and simple 2, 3, and 4-part
singing:
And No Bird Sang, Wagner Beside the Still Waters, Andrea Ramsey
Brother James Air, Mack Wilberg Grace, Mark Hayes
I Stand in Grace, Terry Byars In Pilates Hall, Beall/Carter
Lord Be Near Us, Dudley-Smith, T/Hopson, H. Name We Treasure, Taylor, J
Now Let Us All Praise God and Sing, Young The Yearning, Craig Courtney
Rise With Jesus in the Mornin, Terry Byars Sweet Hour of Prayer, arr. Schrader
To God All Praise and Glory, Martin, G. Who is Like Unto Thee, Terry Byars
O Breath of God, Keith Getty & Phil Maderia/arr. Shackley
Continued on next page
page 8 Carolina Caroler

Music in Worship (continued from page 7)

Dr. Petzet also provided an additional 31 titles appropriate for small church choirs for future consideration and use.

TITLE COMPOSER CATALOG NO. VOICING PUBLISHER

A New Song Lloyd Larson BP1363 SATB Beckenhorst

Irish Shepherds Psalm K. Lee Scott CM8223 SATB Carl Fischer
The Lord of Victory Handel/Ehret 0687007356 SATB Abingdon
Come, Come Unto Me Ken Dosso 10/3159M SATB Lorenz
Awake, My Heart Jane M. Marshall CMR 2515 SATB Alfred
Create In Me A Clean Heart, O God Carl F. Mueller 8682 SATB G. Schirmer
O Sons And Daughters Of The King Paul Sjolund HMC-553 SATB Hinshaw
With A Voice Of Singing Martin Shaw Schirmer 8103 SATB G. Schirmer
Gracious Spirit, Dwell With Me K. Lee Scott 11-2198 SA/TB Augsburg
Now Thank We All Our God Bach/Hopson AMP 0061 SAB Alliance
I Wonder As I Wander Niles/Weber AMP 0261 SAB Alliance
Oh, Sing To God Your Joyful Praise Handel/Hopson Concordia 98-2872 SATB Concordia
Know My Heart Benjamin Harlan A 6836 SATB Shawnee
In The Stillness Of This Moment Joseph M. Martin 35027725 SATB Harold Flammer
Come, Nourish Me David Lantz III 35027628 SATB Harold Flammer
We Will Glorify Paris/Schrader C 5095 SATB Hope
God So Loved The World John Stainer 8621 SATB Theodore Presser
Come, Holy, Quickening Spirit Bach/Scott 98-2838 SAB Concordia
And We Remember Douglas Wagner 10/3241L SATB Lorenz
A Holy Mystery Is Here Gilbert M. Martin 10/2628S SATB Lorenz
Thanks Be To You Russell Nagy JH516 SATB Beckenhorst
Psalm 1 Mark Hayes BP1838 SATB Beckenhorst
The Shepherds Farewell to the Holy Family Hector Berlioz 1617 SATB E. C. Schirmer
You Are My Light and My Salvation Handel/Ehret 0687497299 SATB Abingdon
I Sing the Mighty Power of God Mack Wilberg 9780193869233 SATB Oxford
O Praise Ye The Lord Dale Wood D-5222 SAB Harold Flammer
In This Moment of Remembrance Dale Wood S-480 SATB Lorenz
Our Great and Glorious King Gregg Sewell 10/1441T SATB Lorenz
Lead Me Back Pepper Choplin A7753 SATB Shawnee
In Holy Reverence, Lord, We Come Lloyd Larson BP1174 SATB Beckenhorst
Give Us A Vision Pepper Choplin 10/1149 SATB Lorenz
Summer 2016 page 9

Choral Ensembles as an Inclusive Community -

YES - Including Boychoirs
Jeremy Tucker, Boychoirs R&R Chair

Undoubtedly our goal as choral directors for our choral ensembles is to transform our partici-
pants into lifelong singers. Many organizations have started to realize the value of keeping
boys healthily singing throughout their vocal transformation. However, this is much easier to
incorporate into our philosophies and mission statements on paper than to authentically prac-
tice.
The Raleigh Boychoir is approaching its 50th anniversary. This is quite an achievement for
any choral ensemble. Yet, as I began two years ago as the Artistic Director for this very prestigious organization, I real-
ized that the choir has had the reputation of performing traditional boychoir music with only young, unchanged voic-
es. In fact, the publics perception of the Raleigh Boychoir was quite true. Once a boy entered puberty, he graduated
from the organization.
In 2014, The Raleigh Boychoir had 30 active boys. As any new leader would do when entering a new community, I
began interviewing stakeholders which included members of the choir, parents, funding partners and community mem-
bers. What could I do to help this organization grow? How could I help an organization that is mostly funded by the
City of Raleigh reach more boys in the community? What I discovered was an organization that had a very exclusive
reputation. An ensemble that only reached a certain gender, age, zip code and commitment level in its participants.
In all fairness, since the middle ages, boychoirs have primarily only been composed of boys that have yet to begin
puberty. Boychoirs are also deeply rooted in sacred settings, which is reflected in repertoire and traditions. Yet, here
are some ideas that have started to transform the Raleigh Boychoir from exclusive to inclusive in the community.

Entry Points to the Choral Ensemble

School auditions
Public auditions throughout the year
Collaborative concerts with both schools and other Boychoirs
Annual festival of American Music with guest choirs at the NC Natural Science Museum
Summer camps open to any boy
Community workshops on the changing voice with local experts
Boys can enter in any grade 1-12
Any boy is welcome to join the organization

Motivation and Retention

Developed the top ensemble into an SATB structure
Boys have become more interested in the quality of the choral experience
Expanded changed-voice opportunities
Leaders talk openly about the voice change in rehearsals
We can now take boys off the street at any age and stage of the voice change
Music theory curriculum is self-guided but correlates directly with choral repertoire
Programming offered at The Raleigh Boychoir is progressive and innovative for all ages
Engagement of adult models and alumni builds a sense of community

After two years, The Raleigh Boychoir has grown from 30 to 70 members both with changed and unchanged voic-
es. We will tour Ireland with 20 boys this summer. Our boys are always encouraged to use all parts of their vocal range.
When the time comes for our boys to sing in a lower octave, we let it happen. We allow our boys to map and track the
change in their own voice, and we educate our artistic staff, community and boys on how the voice change works.
Our organization is on the brink of a true transformation because our powerful vision of inclusivity has direction and
a community of support. Yes, we uphold high standards of music performance as seen in many of our reviews, but we
allow that music making to be experienced by any boy. We also deeply own that philosophy among our artistic
staff. Yes, even an ensemble that includes the least likely of members -boys- can be inclusive and can help them con-
tinue singing for a lifetime!
page 10 Carolina Caroler

Lara Hoggard Award Nomination Information

Sam Doyle, Hoggard Award Chair

The Lara Hoggard Award is a very special honor that NC ACDA bestows each year. Please go to our web site
(www.ncadaonline.org) and read under awards. You can read about our current recipient, see the list of past
recipients, and most importantly, read about Lara Hoggard himself. Think of a person who has contributed to
the art of choral music in NC and/or influenced your life as a musician. Then take the time to nominate that
person.

Nominees are never removed from consideration, unless the nominee subsequently moves out of state.

The criteria for nomination is:

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.
Summer 2016 page 11

Recapping Southern Division Conference 2016

Andrew Roby, NC ACDA President Elect

Chattanooga, Tennessee hosted the Southern Division Conference in March, and

North Carolina was well-represented by performers, presenters, attendees, exhibi-
tors, and conference planning team members. As always, ACDAs Southern Divi-
sion Conference featured stellar concerts, inspirational and informative interest
sessions, fun, fellowship, and opportunities for networking.
Special thanks to performing choirs chair Marta Force and exhibits chair Aaron
Jackson for serving so effectively behind-the-scenes. Serving on the planning
committee for a division or national conference requires a large investment of time, and North Carolina
ACDA is grateful for your service to our profession.
Please enjoy these photos below and on the next page of singers, conductors, and conference attendees from
North Carolina.

High Point University

Chamber Singers (Marc
Foster, conductor) in
Hymnus Paradisi, with
LSU A Cappella Choir,
University of Kentucky
Chorale, and University
of Mississippi Concert
Singers, and the Chatta-
nooga Symphony Or-
chestra. David Hill,
guest conductor.

Wingate University choir students outside the Tivoli Theater,

showing how much they love singing in Chattanooga.
page 12 Carolina Caroler

2016 SOUTHERN DIVISION CONFERENCE PHOTOS

Durham Vocal Arts Ensemble

Rodney Wynkoop, conductor

Tom Shelton (formerly of NC, now

at Westminster Choir College)
served as conductor of the Southern
Division Treble Honor Chorus

Wingate University Singers

Kenney Potter, conductor

Duke Vespers Ensemble

Brian A. Schmidt, conductor
Summer 2016 page 13

The History of NC ACDA

Joel Stegall, NC ACDA Historian

NC ACDA president Anne Saxon has appointed me historian and asked me to write a
history of the organization. This is to explain the project, my own experience with NC
ACDA, and to ask each member to check his/her recollections and files for information to
help make this work of greater value to the members.

BACKGROUND
First, a bit of background. Sometime in 1965-66, when I was in my first year as a choral director at Mars
Hill College, I attended the first ACDA meeting in North Carolina, called for the purpose of establishing a
state chapter of the new organization of choral directors. Held at Salem College in what was then a brand-new
fine arts building, Paul Peterson, choral director at Salem, was host. Paul Fry, Carl Cronstedt and Robert Ellis
were also involved. Newly-appointed ACDA executive director Wayne Hugoboom was the keynote speaker
and clinician.
I had seen Wayne Hugoboom nine years earlier when he conducted the All-State Chorus in Aycock Audito-
rium at Womans College (now UNCG). As a tenth-grade high school student from the town of Saint Pauls, I
was particularly impressed with Randall Thompsons Alleluia and Peter J. Wilhouskys arrangement of
Battle Hymn of the Republic.
At the ACDA inaugural meeting at Salem College, Hugoboom spoke at a banquet. The single point I recall
was his suggestion that the fermata should be an indication to sustain, not to hold a note. That linguistic
nuance seemed important to me, and still does. Hugoboom also conducted a reading clinic that introduced me
to Hindemiths La Biche from Six Chansons.
Impressed with the new organization, I joined. Four years later, I was elected president of what was then
called the North Carolina chapter of ACDA. During the four years I served, from 1970-74, the Collegiate Cho-
ral Festival became the first event sponsored the state group. Dr. Lara Hoggard, then director of the Carolina
Choir at UNC-CH, suggested the project. I moved out of the state in 1976, but came back to my roots when I
retired in 2002.

GATHERING INFORMATION
Before starting to write, I interviewed Richard Cox and Sam Doyle, who were most helpful. Anne Saxon has
been most supportive with her guidance and ideas. She has also made available materials that had been handed
down from past presidents, going back to the early 1980s. Correspondence with more than 35 other people has
helped fill in information gaps and clear up ambiguities; however, quite a bit of data is still missing.

To move this project to the next phase, members are invited to look over the outline on the next page and
contact me with corrections, clarifications, additional information, copies of programs, and stories that
help paint a complete picture of this vital organization. Note especially the questions, comments, or miss-
ing information indicated in bold italics. Contact me at:

Joel Stegall
2732 Tudor Road
Winston-Salem. NC 27106
joelstegall@triad.rr.com
page 14 Carolina Caroler
OUTLINE OF NC ACDA HISTORY
FIRST PRESIDENTS
In the years from 1965 to 1970, Paul Peterson, Paul Fry, Carl Cronstedt and Robert Ellis had significant roles. Perhaps
all three were presidents; however, I have not found documentation. Who were the presidents before 1970, and what
years did they serve?
OTHER LEADERSHIP POSITIONS
In the first years, the only officer was the president. The first reference I have found to a vice-president was in a News-
letter in 1982. Were other officers in place before then?
NC ACDA AT NCMEA
I have a vague recollection of ACDA breakfasts at NCMEA going back to the mid-1970s; however, I have no corrobo-
rating evidence. The first luncheon seems to have been in 1981. Was there a luncheon before 1981? Information on
performing groups is missing for the following years: 1985-87; 1990-92; 1994; 1996; 2000; 2002; 2004; 2009-2013.
STATE CONFERENCE
What is now the Fall Conference began in August 1984, when a Summer Convention met immediately before the Hin-
shaw Celebration. In 1990, the NC ACDA gathering was separated from Hinshaw and re-named the Summer Confer-
ence. Most of the programs are in the archives. The Summer Conference continued to meet in late July or early August
until 1995, when it moved to a date in September or October and was appropriately called the Fall Conference.
NEWSLETTER/CAROLINA CAROLER
The earliest copy of a Newsletter is dated November 1981. Was there a Newsletter before that time?
There were two issues most years in the 1980s. As best as I can determine the publication schedule, it appears that the
following issues are missing: Fall 1991 through Summer 1993; Winter/Spring, Fall, 1994; Winter/Spring 1995; Fall
1996; Winter/Spring, Summer1997; Summer, Fall 1998; Fall 2015.
COLLEGIATE/INTERCOLLEGIATE CHORAL FESTIVAL
Called the Collegiate Choral Festival from its inception in 1972, the name of this event was changed in 1984 to Intercol-
legiate Choral Festival. In 1999, it was changed back to Collegiate Choral Festival, a title that remained until it was dis-
continued in 2003. I find no documents that explain why the name was changed. Some have told me travel costs be-
came prohibitive, but perhaps other factors were involved. Programs are missing for the following years: 1972-74;
1977-82; 1984-88; 1990; 1992-98; 2000; 2003.
HOGGARD AWARD
The Lara Hoggard Award for Distinguished Service in Choral Music in North Carolina was established in 1986. Rec-
ords appear to be complete.
SSA HIGH SCHOOL ALL-STATE CHORUS
NC ACDA began this event, apparently in 1990, and ran it until 2014, when NCMEA took it over. The archives contain
dates and names of clinicians for most years, but information is missing for 2001.
COLLEGIATE HONORS CHORUS
This event was held at least two times, in February 1988 (Richard Cox, conductor) and November 1989 (Weston Noble,
conductor). Concerts were at the Stevens Center in Winston-Salem. It appears this was discontinued, but reasons are
unknown.
NORTH CAROLINA COMPOSERS
This project was undertaken in 2003 and 2004 by Reta Phifer, who now has materials collected.
OTHER PROJECTS
The following have come to my attention; however, records are incomplete. Were these events held? Does anyone
have programs?
NC Honors Chorus: Mentioned in June 1988 Newsletter.
Junior High Honors Chorus: Proposed in October 1985 Newsletter.
European Tour with guest conductor (John Rutter?): Around 1985.
Childrens Chorus: 1991
Summer 2016 page 15
page 16 Carolina Caroler
Summer 2016 page 17

Presidents Message (continued from page 2)

Honor Choir! If you have not had an opportunity to attend a divisional or national conference, I encourage
you to plan to do so in the future. Early in my career I would be highly discouraged when I found out about
the additional costs, time away from my job(s), and the planning it would take for me to attend one of these.
Then some NC Teacher friends encouraged me to join them on a trip to the National Conference in Washing-
ton, D.C., and I decided to go since it was within driving distance. It was such an inspiration and a life-
changing event that Ive never missed one since! In fact, I would be a member of ACDA just for the confer-
ence opportunities alone.
Speaking of conferences, our upcoming Fall Conference at UNC-Charlotte is scheduled for Friday
and Saturday, October 7-8. We are excited about moving away from September in order to empower more
folks to join us, high school and middle school teachers, especially. We are also excited about more choirs
planning to audition to perform since there will be a longer preparation time. The audition form and guide-
lines can be found on pages 15-16, and also on our web site at www.ncacdaonline.org/conference. The dead-
line is now May 30, giving folks a longer time to prepare audition materials. Read more about Heather Bu-
chanan, our conference clinician, and other details in this newsletter.

Current Happenings:
Our board has voted to release some of our reserves for a new and improved web site and a re-branding
design, which is extremely exciting. I want to thank our newsletter editor, Nathan Leaf, and our web
master Kelly Turner, in advance for their work on this project.
We are also able to move ahead with complete online registration and payments for the Fall Conference
and other NC ACDA events. The link should be ready and up on our web site by late July/early Au-
gust.
The Executive Board is in the process of some restructuring due to the changeover from Repertoire and
Standards to the Repertoire and Resources Chairs that was voted in at the national level this past
January. This includes four main groupings of types of choirs, including reaching out to more of our
underserved choir communities. If this sparks your interest please contact us so that we can begin a
conversation of more inclusion.
Please look through your memories, old programs and memorabilia of NC ACDA past events to share
with Joel Stegall and our history project. The summer is an ideal time for paper-clearing!

We love to hear from our membership and take your suggestions and ideas seriously. Please do not hesitate to
contact any one of us contact info is included in the blue sidebars on pages 2-5. Happy singing! Anne

ACDA MENTORING
The American Choral Directors Association is focusing on mentoring as a way
to assist our membership in encouraging lifelong professional growth and identi-
fying resources and allies.
For more information and to get started, visit http://mentoring.acda.org.
Questions? Contact Sundra Flansburg, director of membership development (405
-232-8161, ext. 200 or sflansburg@acda.org).
page 18 Carolina Caroler

Choir Camp (continued from page 4)

Find a location for the camp:
Probably the most difficult task in planning the camp is finding a location for the event. In 2012, the choir camp was
held at our high school. But after using most of my budget to pay overtime for school custodians and realizing that the
event would be more like a camp in a location away from our home school, I started having the choir camp at a local
church preferably one affiliated with one of my choir members. I give a donation to the church for the use of their fa-
cilities and I enlist a group of dependable parents to make sure the church is perfectly clean after we are done.

Get some help:

Besides parent volunteers, you will need a lot of workers to help behind the scenes. I have found that the choir camp is a
perfect time to enlist the help of choir alumni, especially those who are music majors and can conduct sectional rehears-
als. These future music educators are thankful for the opportunity to build their teaching skills. Former students who are
not music majors are great resources for planning and facilitating the workshop, especially when parent help is not read-
ily available. Alumni can help in preparing and serving meals, facilitating games and small group activities and running
errands. Summer is the perfect time to expose your students to other talented musicians in your area. I enlist the help of
choir directors from universities around my school who clinic my choir on vocal pedagogy and choral techniques. My
students and I learn so much from these local experts and the professors are excited for the exposure for future recruit-
ment.

Choose the Repertoire:

When I planned a repertoire list for the choir camp in 2012, it was a no brainer we worked exclusively on the music
planned to perform at the NC-ACDA conference. Since then, I have chosen pieces for the camp that could be learned in
two days and that we could we use for the remainder of the year as a set to perform at various functions throughout
the community. If we dont get the repertoire completely learned in time to present at the parent meeting on the last
night of camp, we just perform portions from the pieces. Parents understand our lack of preparedness and we finish our
work on those pieces during the first few days of school. The main purpose of the repertoire for the camp should be to
build voices and to create a choral sound that can be built on in the coming weeks of school. The end product will not be
perfect but the students need to feel challenged and feel like they have accomplished something great in a short amount
of rehearsal time. And, keep in mind, the sectionals conducted by former students are very helpful in learning repertoire
quickly.

Leadership Training:
At the end of every school year, choir members elect the leadership for the following school year. From these elections,
I have a group of students who are eager to build an awesome new choir. The slate of officers includes a president, a
vice-president, a secretary, a historian, a head section leader, a stage manager, 8 section leaders and an assistant director.
One week prior to the camp, these leaders and I meet at their favorite fast food restaurant in Kernersville. I pay for their
lunch (part of the choir camp budget) and as we eat, we review their leadership role, share ideas for the coming year and
discuss plans for the choir camp. I assign camp duties to each of the officers. The students offer ideas for games and ac-
tivities at the camp - always better ideas than what I had planned. They leave the meeting with a sense of ownership and
importance. Each leader is excited about the choir camp and is eager to begin serving as an active and effective leader in
their choir.
Continued on next page

Did you know that NC ACDA was founded in 1966?

Happy 50th Anniversary, NC ACDA!

Summer 2016 page 19

CHOIR CAMP FUN

Sample Camp Schedule:

Friday, August 15th, 9am-9:30pm

9am -9:30am Welcome and Breakfast (Continental) : PAY $40 for meals and expenses, pick up choir folder,
turn in permission slip
9:30am-11:00am Rules, Calendar, Contract, paperwork for class, Introductions
11:00am-12:00pm Size for and order dresses, tuxedoes, T-shirts, Distribute Music and Folders,
Update E-mail and Contact information
12pm-1pm Lunch (Subway)
1pm-1:30pm Group Games (Fruit Wars)
1:30pm-3:30pm Warm-ups then Rehearsal (Sectionals)
3:30pm-4pm Break and Snacks
4pm-5:45pm Rehearsal (Sectionals)
6PM Dinner (PapaJohns )
7:30PM Load bus for Countryside Lanes in Kernersville for bowling (Fruit Wars)
9:30pm Bus Arrives back to Bunker Hill UMC

Saturday, August 16th, 9am-7:30pm

9am - 9:30am Breakfast and hand in paperwork

9:30am-11:30am Rehearsal (Sectionals)
11:30am-12pm Group Games (Fruit Wars)
12pm-1pm Lunch (Subway)
1:00pm-3:00pm Group Rehearsal
3pm-3:30pm Group Games (Fruit Wars)
3:30pm-4pm Break and Snacks
4pm-5pm Final Rehearsal
5:30-6:30 Dinner
6:30-7:30 Final Awards, concert, and VERY IMPORTANT PARENT MEETING

Fruit Wars:
On the first day of camp, students are randomly assigned to 8 groups and each group is led by one of the section leaders.
Groups can earn points based on their finish in relay races and minute-to-win-it games. Bowling scores are also fig-
ured into the group score. For those less athletic and more creative choir members, alumni members award group points
for live music video presentations and lip sync contests. At the parent meeting, each section leader is given a fruit
trophy to share with their other group members. The size of the fruit indicates the total amount of points earned by
their group during the two-day camp: the highest scoring group wins a watermelon, the second highest scoring group
wins a pineapple and the lowest scoring group wins a blueberry. The games and contests are not only fun but also
help build leadership skills and encourage camaraderie among choir members.

Parent Meeting:
On the final night of camp, parents attend a dinner (catered by an area restaurant at a discount) and a parent meeting.
The choir performs the camp repertoire and I present a PowerPoint that details the class rules, the behavior and commit-
ment expectations of the choir, a list of scheduled performance commitments and various volunteer opportunities for
parents and community members. The PowerPoint includes pictures from our activities over the last two days
(especially the embarrassing ones) and I show them the winning live music video. Parents are appreciative of the infor-
mation and they seem to thoroughly enjoy the concert. They are always amazed at the amount of work accomplished in
such a short amount of time.

When my students leave the camp, they have a sense of family and community that is needed for success throughout the
school year. We have a repertoire of songs that can be performed throughout the year for all of those last minute com-
munity performances that pop up throughout the year. And best of all, all that business stuff I used to do during the first
two weeks of school is done. We begin the first week of school singing!
page 20 Carolina Caroler
Summer 2016 page 21

Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207

www.ncacdaonline.org

In this Issue: Application for Performance, Fall Conference, Worship in Music, and more...

Editors Note
Nathan Leaf, Newsletter Editor The Carolina Caroler is the official newsletter of the North Carolina chapter of
the American Choral Directors Association. Articles and advertisements may be
Thanks to our vision- submitted to: Nathan Leaf at njleaf@ncsu.edu. Articles may be submitted via email
ing team, we have new as Word documents. Times New Roman, or similar, with font size 11 is preferred.
mission and vision Please do not double space after punctuations (periods)a practice held back in
statements. Check the days of typewritersit is not necessary with word processing.
them out below. Best Issue Deadline Publication
wishes to all for a great Fall June 15 July 15
summer! Spring Dec. 15 Jan. 15
Summer April 15 May 15
~Nathan
NC ACDA reserves the right to edit any application for appearance and to edit all
NC ACDA VISION materials proposed for distribution.
NC ACDA enriches our diverse
lives and empowers communities Advertising Rates
through the transformative nature of The Carolina Caroler will accept advertising at the following rates:
Full page-$150.00 (c. 7.5x10)
the choral arts. Half page-$100.00 (c. 7.5x 4.5)
Quarter page-$50.00 (c. 3.75x 4.5)
NC ACDA MISSION Discounts are available on multiple ads of the same design. Rates listed are for
NC ACDA invests in the development digital .jpg or .pdf files. A check made payable to North Carolina ACDA must
and growth of the choral arts through accompany the order. Invoices sent upon request. Copy will not run without ad-
exceptional experiences in artistry, vance payment. Advertising copy is subject to editorial approval. The editor re-
serves the right to head and/or box any advertisement bearing confusing resem-
innovations, diversity, and leadership. blance to editorial material.