Professional Documents
Culture Documents
Carolina Caroler
A two-time award-winning publication
of the North Carolina Chapter of the
American Choral Directors Association
NC ACDA FALL
CONFERENCE
NC ACDA 2014 FALL CONFERENCE INFORMATION
Clinician 3
September 19-20, 2014 Performing 8-10
Choirs
UNC Charlotte
Schedule
Registration
12
13
*new location* NC SINGS! 16-
17
Dr. Eric Nelson, Clinician
Ethnic and 4
Multicultural
Perspectives
Mens Choirs 5
Treasurers Report 22
Membership 23
ACDA 2015 NATIONAL Application Form
CONFERENCE
February 25-28, 2015
Directories
NC ACDA Officers 2
Salt Lake City, Utah NC ACDA Specially 3
Male Choirs/MVAS
My name is Jayson Snipes, and I am excited to be on Jayson Snipes
board as the R&S Chair for Male Choirs in NC! When I Lexington Middle School
was asked to join the board, I was working on beginning a 100 W. Hemstead St.
Lexington, NC 27292
mens chorus at my church. I thought it would be a great
336.242.1567
opportunity to use this article to discuss some of the bene- jsnipes@lexcs.org
fits and challenges of this endeavor as well as invite dis-
cussion on tips and techniques that others might use to start or recruit for their
own groups. Junior High/
Middle School Choirs
When first considering this group, I weighed the benefits and how it might be Eric Johnson
useful not only for the church itself, but how it might help in other aspects of the James E. Holmes Middle Sch.
music program. These are the points I considered: 211 N. Pierce Street
Eden, NC 27288
336.623.9791 x108
Recruiting men in a church choir has been a challenge for me. I have also ejohnson@rock.k12.nc.us
noticed that recruitment for church choirs has been difficult because those
groups contain members who have been singing together for years, and its Senior High School Choirs
difficult to come in as an outsider. The church mens chorus could be used Carol Earnhardt
Glenn High School
as a way for the men currently in my chancel choir to meet, get to know, and 1600 Union Cross Road
befriend the new men. This allows a seamless assimilation into a group that Kernersville, NC 27284
has been established for a long time. 336.771.4500
One of the most rewarding experiences in my musical growth was singing CEarnhardt@wsfcs.k12.nc.us
and conducting Mens Glee at UNCG. At a time in my career when things Show Choirs
were beginning to become too complacent, this was an opportunity for me as Mary D. Summerlin
a conductor to add a little something different to my repertory and experienc- C.E. Jordan High School
es. This is a two-way street: if these experiences were so rewarding to me, 6806 Garrett Road
Durham, NC 27702
they may also be rewarding to those who join the new mens group. This will 919.560.3912
breathe new life and a new sound into the churchs music program. mary.doyle@dpsnc.net
The amount of commitment required for participation is an issue with church
music ensembles that meet regularly. If I could create a low-commitment but Two-Year College Choirs
high-quality ensemble, I could use this group to combine with my Chancel VACANT
Choir to perform larger works. Having a group that did not require a weekly
commitment also meant I could recruit those men who enjoyed singing but
could not commit weekly because of family and work schedules. Womens Choirs
Beverly Vaughn
Western Rockingham
After pondering these points and establishing a schedule for the group, the next Middle School
step was to recruit singers to participate and see if my ideas were feasible. I 915 Ayersville Road
checked the church calendar to see when other men-only groups participated. Madison, NC 27025
336.548.2168
There was a mens Bible study that met weekly. It occurred to me that it would bvaughn@rock.k12.nc.us
make sense to schedule my rehearsals when the men were already going to be at
the church. I contacted the leader of the group before their fall meetings started Youth & Student Activities
and scheduled a dinner meeting with them. I enlisted the leaders of that group to Brian Schmidt
Duke University
help me recruit for the mens chorus. If I wanted the flexibility of adding this Box 90883
group to the Chancel Choir, and I wanted my chancel choir men to help with re- Durham, NC 27708
cruitment, it would also make sense for mens rehearsal to take place on the same 919.684.3855
brian.schmidt@duke.edu
night and close to the same time as Chancel Choir. Considering these criteria,
(continued on page 19)
page 6 Carolina Caroler
A few years ago, I stumbled across a pedagogical survey that immediately captivated
my attention. The principles listed resonated with my deepest desires for the students in
my choirs. A few of the many values listed were: ...seek ways to empower students...all
voices are encouraged, valued, and heard...learning should be holistic, integrating cogni-
tions, feelings, and experiences...teachers continually strive to increase their knowledge
of and sensitivity to diverse cultural realities...learning is in the service of social
change (Kimmel, 1999, pp. 58-9). The words echoed this increasing desire in my spirit
to foster each students uniqueness, help grow their ability to collaborate, and encourage them in finding
their purpose in the world. This pedagogy seemed to encompass all of those yearnings. I learned that the
name of this pedagogy was called feminist pedagogya pedagogy used in various fields taught by male and
female teachers for all students regardless of sex. In this article, I will summarize the values of feminist peda-
gogy and offer practical suggestions for its use in the childrens choral rehearsal.
Feminist pedagogy is often misconstrued only as curriculum reform, analysis of girls and womens expe-
riences in educational environments, teaching about women, teaching feminist ideas, and teaching done by
self-identified feminists (Crabtree, Sapp, and Licona, 2009, p. 2). In addition to the above characteristics,
feminist pedagogues move toward equalization of power within the classroom; the inclusion of affective
learning and personal experience; exposure to diversity and respect of difference; and the awareness of and
need for social responsibility (Crabtree, Sapp, and Licona, 2009; Kimmel, 1999; Shrewsbury, 1997). These
values lead to holistic learning, where students (male and female) are given opportunities to grow in their
leadership skills, explore their inner selves, broaden their perspective, and make a difference in the world. As
a result of the necessity of these values in todays society, feminist pedagogy has greatly influenced educa-
tion across many disciplines. However, it hasnt yet made a discernible impact on music education (Gould,
2008, p. 131).
The more I have read about feminist pedagogy, the more I have begun experimenting with its praxis in re-
hearsals with choirs of all ages. I know that I am not the only conductor to utilize these approaches in teach-
ing choral music, but I do know that we all benefit from reminders to keep rehearsals creative and engaging
and to encourage the singer as a holistic learner. Below are a few ideas for application in the choral rehearsal
for the first three values of feminist pedagogy listed above. Although these suggestions are geared toward
childrens choirs, I believe they can be applied to choirs of all ages.
Equalization of power within the classroom. Equalizing the power in the rehearsal means giving more
power to the singers. In the choral rehearsal, I interpret this characteristic of feminist pedagogy as giving
singers opportunities to lead and to make decisions together. In Jubilate (The Greensboro Youth Chorus 3rd
5th grade chorus), student volunteers are called on throughout the rehearsal to sight-read a certain portion of
music; to lead the choir in using body solfge signs for sight-reading examples; to sing a difficult measure
we have been working on; or to model a portion of the music to expressively reflect the meaning. In my ex-
perience, the other students seem to listen acutely to their fellow singers and respond with greater focus, par-
ticipation, and expression. We also take time to discuss a section of text as a group and collectively choose
ways to interpret the music based on the text meaning. Although we often dont have time to take this ap-
proach with every measure of every piece, students are able to connect at a deeper level with the music in
general and be a part of the artistic decision-making.
Inclusion of affective learning and personal experience. Music is a beautiful place to incorporate affec-
tive learning. Many of us conductors focus on facial expression, but sometimes forget that outer expression is
a product of inner emotion. With younger singers, discussing the emotion of the piece, its drama, and how it
(continued on page 20)
Spring 2014 page 7
page 8 Carolina Caroler
NC ACDA FALL CONFERENCE
PERFORMING CHOIRS
CATAWBA CHAMBER SINGERS
DR. PHILLIP E. BURGESS, CONDUCTOR
Dr. Phillip E. Burgess ser ves on the faculty of Catawba College in Salisbur y, NC as the
Director of Choral Activities and Instructor of Sacred Music. He also performs as a collabora-
tive pianist for the Department of Music, and Co-Director of the Catawba Community Music
Program. Additionally, Dr. Burgess is the Organist/Choirmaster of St. Luke's Episcopal
Church in Salisbury, NC where he oversees a fully graded choral and handbell program for
youth and adults. Dr. Burgess holds the BM Degree in Church Music from Samford Universi-
ty, and the MM and DMA degrees in Church Music and Organ from the University of Michi-
gan. Post-graduate studies include Orff Certification Levels I, II, III, and Master. Dr. Burgess has written articles for the American
Organist and Diapason Magazines, and is a columnist for the Salisbury Post. He has received both the Mayor's Spirit Award and the
Koontz Humanitarian Award from the City of Salisbury for his efforts as a conductor on improving race relations.
Dr. Andrew Crane ser ves as Dir ector of Chor al Activities at East Car olina Univer sity, wher e he con-
ducts the Chamber Singers, Mens Choir, University Chorale, and heads the graduate program in choral
conducting. Prior to coming to ECU in 2011, Crane held a similar position at California State University,
San Bernardino, where he received the College of Arts and Letters Outstanding Teaching Faculty
award. He also is the former choral director at Provo High School (UT). Choirs under his direction have
appeared by invitation at multiple conferences of the American Choral Directors Association and National
Association for Music Education; and have performed in major concert venues throughout Europe. He is
active as a guest conductor of All-State and honor choirs, as well as clinician, presenter, and adjudicator
throughout the country. Additionally, Crane enjoys a career as a professional solo and ensemble tenor. He is currently serving as the
Repertoire and Standards chair for college/university choirs in ACDAs North Carolina chapter. Crane received BM and MM de-
grees from Brigham Young University, and the Doctor of Musical Arts from Michigan State University.
Spring 2014 page 9
NC ACDA FALL CONFERENCE
PERFORMING CHOIRS
THE CHANCEL CHOIR of
EDENTON STREET UNITED METHODIST CHURCH
KEVIN B. HOLLAND, CONDUCTOR
Long considered to be one of the finest choral ensembles in North Caroli-
na, the 75-voice Chancel Choir of Edenton Street United Methodist
Church is composed of volunteer s who give of their time and talents in
providing the very best in sacred choral literature. In addition to their
leadership in morning worship services, this ensemble also presents sacred
concerts throughout the year. In 1986 the Choir sang the publisher's prem-
iere from manuscript of Requiem, by J ohn Rutter with the composer con-
ducting. Other notable performances have included Mendelssohns Elijah, Haydns Creation and Lord
Nelson Mass, Requiem settings by Durufle, Verdi, and Brahms and performances at Piccolo Spoleto,
Carnegie Hall, and the historic Bruton Parish Church in Williamsburg, Virginia.
Kevin B. Holland is the Dir ector of Music and Wor ship Ar ts at Edenton St. UMC in Raleigh,
where he oversees a broadly-based music ministry including choirs and instrumental ensembles for pre-
school children through adults and serves as artistic director of the Edenton Street Live! Fine Arts Se-
ries. He has held music ministry positions in Colorado, North Carolina, Virginia, Kentucky and Tex-
as. A native of North Carolina, Mr. Hollands educational background includes degrees from Elon Uni-
versity and the University of North Carolina-Greensboro, with additional studies at Westminster Choir
College and Shenandoah Conservatory. He is the founding director of Cantate, a choir for students in
grades six through twelve at Suncreek UMC in Allen, TX, and served as Artistic Director and for the
Allen Philharmonic Symphony Chorus. He is the past president of the Charlotte, and Dallas chapters of Choristers Guild and cur-
rently serves as President of the North Carolina chapter of the Fellowship of United Methodists in Music and Worship Arts.
J. E. Holmes Middle School, serving Eden and the surrounding area, is one
of four middle schools in Rockingham County. The Holmes Middle School
Choral program is the largest in Rockingham County and serves approxi-
mately 300 of the schools 800 students. This program has been under the
direction of Eric Johnson since January of 2007, and is made up of four
large performing groups: Sixth Grade Choir, Seventh and Eighth Grade
Mixed Chorus, Seventh and Eighth Grade Mens Chorus and Eighth Grade
Treble Choir. Holmes singer s ar e often selected for the NC Middle
School Honors Chorus, All-State Chorus as well as Southern Division and
National ACDA choirs. They have received Superior and Excellent ratings at the Central District Choral
Festival and the Carowinds Choral Festival as well as awards at the Music in the Parks festival in Wil-
liamsburg, VA, and the Festival Disney Competition in Orlando. FL. The Eighth Grade Treble Choir was
recently selected to sing the National Anthem for the 2013 Womens ACC Basketball Tournament.
Eric Johnson is chor al dir ector at Holmes Middle School, wher e he dir ects a pr ogr am of 300 stu-
dents, 100 of which are young male singers, in five choirs and serves as a technology specialist and cultur-
al arts lead teacher. He has degrees from Appalachian State in Music Education and Sacred Music Perfor-
mance, and recently completed a Masters degree in Music Education and Choral Conducting from the
Florida State University. He has also achieved his level one and two certifications in Orff-Schulwerk from
ASU. Mr. Johnson has worked with many childrens choirs in North Carolina as conductor and consultant.
He has conducted All-County choirs, and is a sought after clinician for professional development confer-
ences. He has served as a soloist for St. Francis Episcopal Church, and has sung with the Greensboro Opera Chorus and Bel Canto
Company. Eric is the Sanctuary Choir Director for First Baptist Church in Eden. He is a member of the executive boards for the
NC ACDA where he serves as the R&S chair for Middle Schools, and North Carolina Middle School Choral Section where he
serves as the Technology Facilitator. Eric has coordinated the past three Southern Division ACDA Honor Choirs, co-chaired the
2013 and 2015 National ACDA Childrens Honor Choir, and is excited to be coordinating the NC Sings! Workshop.
page 10 Carolina Caroler
NC ACDA FALL CONFERENCE
PERFORMING CHOIRS
THE UNC CHARLOTTE UNIVERSITY CHORALE
DR. RANDY HALDEMAN, CONDUCTOR
A native of Wisconsin, Randy Haldeman has taught Choral Music at all levels of academia, Pre-K
through collegiate. Haldeman earned the BM in Vocal Performance from the University of Wisconsin at
Whitewater, the MM in Voice and Opera Performance from Northwestern University, and the PhD in Mu-
sic Education (Choral Conducting emphasis) from the Florida State University. His music is published in
the U.S. by Walton and Colle Voce, and in Canada and Europe by ditions G.A.M. He has multiple ap-
pearances as guest conductor and clinician in Europe and the U.S. In addition, this year he is serving as
the Director de la Pedagoga at the Curso Internacional de Msica Coral in Madrid as well as conductor of the AMIS Honor
Choir in Luxembourg. His recording The Singing Schools American Choral Music is forthcoming under the Naxos label.
He directs UNC Charlottes choral music program and teaches conducting and music education courses.
The Concert Choir is the pr emier auditioned mixed chor al ensemble in the
School of Music at Western Carolina University. Most are music majors, but sev-
eral other academic disciplines are represented as well. The choir sings repertoire
from the Renaissance to the present, including a cappella works, pieces with key-
board accompaniment, and choral-orchestral masterworks. The Concert Choir
joins the Asheville Symphony Orchestra and Chorus for one performance a year.
In April 2013, they sang Mozart: Requiem and Vaughan Williams: Flos campi and
in April 2014 they performed Haydn: Lord Nelson Mass. In April 2015 the Con-
cert Choir has been invited to join the ASO and C for a performance of Handels
Alexander's Feast. The Concert Choir tours annually during the fall semester and sings other perfor-
mances in the area in addition to on-campus concerts in the Bardo Center for the Performing Arts and the
Coulter Recital Hall. The choir performed at the 2012 NC ACDA Fall Conference.
Michael Lancaster is the Dir ector of Chor al Activities at Wester n Car olina Univer sity, wher e he
conducts the Concert Choir, University Chorus and Early Music Ensemble, and teaches conducting, cho-
ral methods and voice. He is also the Music Director of the Asheville Symphony Chorus and the Direc-
tor of Worship and Music at the First Presbyterian Church of Highlands. Choirs under his direction have
sung in Carnegie Hall, Westminster Abbey and the Sistine Chapel, and he has conducted festival choirs
in Missouri, Kentucky, Indiana and North Carolina. Dr. Lancaster has sung professionally with many
organizations, including the Robert Shaw Festival Singers, the Carmel (CA) Bach Festival, the Oregon
Bach Festival, the Santa Fe Desert Chorale, the Los Angeles Master Chorale (under the direction of Rog-
er Wagner), among others. His many performances under the batons of Maestros Robert Shaw and
Helmuth Rilling include several professional recordings, one of which is the Grammy Award-winning
Credo by Penderecki with the Oregon Bach Festival Chorus and Orchestra. He holds the BME from Chapman College (Orange,
CA), the MM from California State University Fullerton and the DMA from the University of Southern California.
Spring 2014 page 11
NCMEA CONVENTION
ACDA LUNCHEON PERFORMANCE
JAMES B. HUNT HIGH SCHOOL VOCAL ENSEMBLE
JEREMY TUCKER, CONDUCTOR
Jeremy Tucker is the chor al dir ector at J ames B. Hunt High School and the inter im Ar tistic Dir ec-
tor of the Raleigh Boy Choir. He holds a MM and BM in Music Education as well as a theater degree
from UNC Greensboro. At Hunt, Tucker has continued the rich tradition of musical excellence by the
creation of four grand champion and superior-rated ensembles which include: Mixed Chorus, Show
Choir, Honors Womens Ensemble and Honors Vocal Ensemble. Tucker taught elementary music in Wil-
son County for 7 years and achieved National Board Professional Teaching Certification in 2008. In
2012, Tucker created a system-wide choral festival that has featured over 1,500 students, teachers, and
community leaders in choral performances to raise awareness for music education and support the charity
Communities in Schools. The event has raised over $15,000. He is the past Associate Conductor of the
Capital City Girls Choir at Meredith College. Tucker was recently named the 2014-2015 Wilson County Schools Teacher of the
Year. Prior to teaching, Tucker served at the associate musical director for the national Broadway tour of Oliver! The Musical!
page 12 Carolina Caroler
NC ACDA FALL CONFERENCE
BUFFET MENU:
Baked Chicken Breast, Rice Pilaf, Steamed Green Beans, Fruit, & Salad
Bread & butter, Regular & Decaffeinated Coffee, Iced Tea (Sweet & Unsweet), & Water
Dessert: Choice of Triple Chocolate Cake or Lemon Crunch Cake
Deadline for Pre-registration for the NC ACDA Luncheon: October 15, 2014
Spring 2014 page 15
_______________________________________________________________
______________________________________________________________
Criteria:
1. Nominee has distinguished himself/herself as an outstanding choral director within NC.
2. Nominee has consistently demonstrated the highest musical standards throughout his/her career.
3. Nominee has been active in several areas of education (i.e. school, community, church work).
4. Nominee has served and/or held office in choral areas of appropriate professional
organizations such as NCMEA and NC ACDA.
5. Nominee provided statewide leadership in the choral art for a minimum of 10 (ten)
years within the state of NC.
6. Nominee must be nominated by a member of NC ACDA by a letter of recommendation
citing the merits of the nominee.
This form and a letter of recommendation must be submitted via mail, email, or FAX by
the nomination deadline of September 30, 2014 to:
Sam Doyle, Hoggard Award Chair
1313 Westminster Drive
Greensboro, NC 27410
Phone: 336.282.0549
Fax: 336.370.8287
Email: sam2ann@triad.rr.com
page 16 Carolina Caroler
ACDA members may sponsor children in grades 3-6 to participate in this one-
day choral skill-building workshop. This event provides an opportunity for
young singers from school, religious, and community choirs to make music in
a positive environment designed to encourage enthusiasm for choral singing.
Advance preparation is not required! During check-in on September 20, each
singer will receive a choral packet designed for use during the workshop and
included in the registration fee.
Register by June 15, 2014 to reserve spaces for a maximum of eight children.
Singer allotments may increase as space allows, and additional singers will be
added after July 1, 2014 on a first-come, first-served basis.
1. Singers must be recommended for participation by their choral conductor, an active member of ACDA, who will
register for and attend the NC ACDA Fall Conference. (Elementary music teachers may recommend children from
their classroom or choir.)
2. Singers must be in third, fourth, fifth, or sixth grade.
3. Initially, conductors may register a maximum of eight (8) singers. Conductors with multiple professional appoint-
ments (e.g. a church choir and a school choir) are encouraged to register singers from more than one choir, but a
total allotment will be given to the sponsoring ACDA member rather than to the choral program.
4. Singer allotments may increase as space allows, and additional singers will be added after July 1, 2014 on a first-
come, first-served basis.
5. Individuals must be selected to fill the singer allotment and registered by name via email by September 6, 2014.
6. Return completed application form and registration fee of $25 per singer space by June 15, 2014 to:
Eric Johnson
James E. Holmes Middle School
211 N. Pierce Street
Eden, NC 27288
ejohnson@rock.k12.nc.us
336.623.9791
*****************************************************************************
NC Sings! APPLICATION FORM
please print or type
Total number of spaces you are confident you could fill, if space allows: __________
page 18 Carolina Caroler
Multicultural/Ethnic Perspectives culture. Largely due to this connection, we were ulti-
(continued from page 4) mately able to reach a larger population and explore
themes of ritual, tradition, poverty, worship, family,
language and power, as well as musical styles, songs,
1. Hearth and Home - A November Concert
and rhythms. The event grew into so much more than I
The Bridge Builder/Eleanor Daly had expected and was so enriching for the students and
Shenandoah/James Erb all who participated (because to attend was to partici-
I'll Ay Call in By Yon Town/arr. Mack Wilburg pate!). By the time of the performance the word was
Pacific Song/David Fanshawe out and even the local media was there. Sometimes just
Hulo Hulo taking the first step in initial contact can produce an
Muli Tu Pe astounding result.
Otuhaka
Zion's Walls/Aaron Copland III. Professional Development and Research
Stomp Your Foot/Aaron Copland There are articles, books, workshops and programs
Homecoming/Randall Stroope available for study and research into world music and
The Road Home/Stephen Paulus the integration of diversity in music education. Many
institutes offer conferences and research portals for
2. Light and Water - Reflections of Sound professional development and learning in areas of mul-
Water Night/Eric Whitacre ticulturalism and global music traditions. A few intro-
ductory articles are listed here:
Ahrirang/Korean Folk Song, arr. Robert de Cormier
Esta Tierra/Paso/Javier Busto
Eight Simple Rules for Singing Multicultural Music,
The Sounding Sea/Eric Barnun Parr, Clayton, Music Educators Journal, v93 n1 p34
Deep River/arr. Renato Tagliabue Sept. 2006.
Riversong/Roger Emerson
Gabriel's Oboe/River, from Mission/Ennio Morricone Music Faculty Perceptions of Multicultural Music Educa-
tion, Norman, Katherine:
A children's choir programming concept I recently came http://www.jstor.org/stable/40318947
across was an entire concert about animals. This would
work for youth or adults as well. You can imagine the se- Opening the Doors to Diverse Traditions of Music Making:
lections possible! All these suggestions provide vehicles Multicultural Music Eduction at the University Level, Belz,
for diverse programming. Many of you are already doing Mary Jane: http://www.jstor.org/stable/3878501
this. Of course, children can embrace diversity better than
any of us. Bring these opportunities into the choral re- Conventions such as MENC, ACDA, NCCO, MTNA
hearsal. If you are well-prepared then almost any group are all organizations that further professional develop-
will open their ears and share your enthusiasm. ment for music teachers. Attending these conferences
can be extremely successful in the pursuit of gaining
II. Collaborative Projects knowledge for teaching ethnic musical styles and
Some of the most exciting performances are the result of building repertoire. There is a growing trend in global
collaborative artists working together. I have the good for- music classes and workshops available at national and
tune of working with a faculty whose pedigree is continu- regional conventions.
ally impressive and is globally representative. We recently As we keep making the effort to include music from
presented a tribute to Nelson Mandela with University other cultures on our programs, it is important not to
Singers, Asheville Singers (chamber), UNCA Percussion overlook what may be in our very own classrooms.
Ensemble, UNCA Africana Studies Drumming Ensemble, Your student makeup is growing in its diversity - all
and the Reuter Center Singers (Osher Lifelong Learning over the country. Ask your students what their tradi-
Institute). Not being an expert in African culture or music, tions are. What are their family's roots? Musics? Sto-
I reached out to the Africana Studies Director, Dr. Agya ries? One idea might be to have a "Storytelling" con-
Boaten, to dream and plan a collaborative concert for our cert wherein students share their traditions or their af-
students and the university. Dr. Boaten enlisted the greater finities for song styles and themes. This could end up
campus community and came several times to my choral being the most successful path to integrating
rehearsals to talk to the students about life in Ghana and 'otherness' (and discovering that it is really
other countries in Africa, and the role of music in African 'togetherness' surprisingly present all along).
Spring 2014 page 19
Mens Choir at church along with wanting a lower-commitment group, I decided that this
group would meet from 6:30-7:15 every other Wednesday night.
(continued from page 5)
Some of my Chancel Choir men participated, and at our first rehears-
al I had 15 men, 7 of whom were new!
The next challenge for this group was repertoire selection. I knew that I wanted this group to be a feeder to
the Chancel Choir, so I made sure to include the men in a performance with the Chancel Choir. We sang
Mack Wilbergs Come, Thou Fount. It was an exciting sound! We also performed as entertainment for a
Christmas dinner at the church. The repertoire for this was varied. We performed a four-part mens arrange-
ment of Gesu Bambino arranged by Spevacek (Heritage Music Press 15/1590H). We also sang a few bar-
ber shop tunes, which can be found for free at www.bbsmusic.com. Because we had limited rehearsal time,
and this was a beginner group, I did not have time to rehearse several octavos. To add to this music, I had the
men sing out of the hymnal, arranging the four parts to their voices, and improvised a piano accompaniment.
Why do I share all this information with you? The mens chorus tradition is an exciting one, and the church
is a central avenue to the performance, recruitment, and eventually a great revival of the mens chorus tradi-
tion. I would encourage you to start mens chorus groups with your churches and organizations, and let me
know of your recruitment ideas, repertoire selections, and the successes of your programs! Feel free to con-
tact me by email any time: jsnipes@lexcs.org. Good luck, and Happy Singing!
~IN MEMORIAM~
RICHARD KEASLER
1938-2014
Richard Keasler, winner of the 2012 Lara Hoggard
Award, taught choral music in Cabarrus County for
30 years. A native of Concord and a graduate of Ca-
tawba College, he directed choirs at several church-
es, including First Presbyterian in Corcord, Epworth
UMC, and Northwest Baptist. He directed All-
County Choruses for Cabarrus, Wake, Forsythe,
Cumberland, Moore and many others. He was a con-
ductor of the middle school chorus for NCMEA All-
State, the girls high school chorus for ACDA, the
Concord/Kannapolis Community Chorus, and the
Mercy School of Nursing Girls Glee Club. The
Richard E. Keasler Teacher of the Year Award is
given annually for excellence in music education by
NCMEA. Richard was married to Peggy Keasler for
39 years, and is survived by three children and four
grandchildren. He was a great man and a great pres-
ence in NC choral music. We will miss him dearly.
NC ACDA
September Discount: usually one month On Site
Fall Conference
19-20 prior to the event
UNC Charlotte
Tr e a s u r e r s R e p o r t
Catherine Butler, NC ACDA Treasurer
Spring 2014 page 23
page 24 Carolina Caroler
Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207
www.ncacdaonline.org
In this Issue: Fall Conference Info; NC Sings!; Hoggard Award Nominations; R&S Chairs
Editors Note
Nathan Leaf, Newsletter Editor The Carolina Caroler is the official newsletter of the North Carolina chapter of
As I sit on the cabin the American Choral Directors Association. Articles and advertisements may be
submitted to: Nathan Leaf at njleaf@ncsu.edu. Articles may be submitted via email
porch, sipping coffee, as Word documents. Times New Roman, or similar, with font size 11 is preferred.
wrapped in a blanket, Please do not double space after punctuations (periods)a practice held back in
enjoying the cool Mon- the days of typewritersit is not necessary with word processing.
tana air and sun rising on Issue Deadline Publication
Lake Seeley, I reflect on
Fall June 15 July 15
last nights sing-along at
Spring Dec. 15 Jan. 15
the Leaf family reunion. Summer April 15 May 15
Young and old, 55 voices united in songs
both old and new, some immediately famil- NC ACDA reserves the right to edit any application for appearance and to edit all
iar and some requiring recall from a place materials proposed for distribution.
distant yet still warm. As we professionals
gird ourselves for the vital preparations of Advertising Rates
the year ahead, we can know that our re- The Carolina Caroler will accept advertising at the following rates:
sponsibility to our singers and audiences is Full page-$150.00 (c. 7.5x10)
dual. Both technique and spirit are needed. Half page-$100.00 (c. 7.5x 4.5)
And just as the evening would have been Quarter page-$50.00 (c. 3.75x 4.5)
less without the practiced fingers of the Discounts are available on multiple ads of the same design. Rates listed are for
retired music teacher on the ivories, so the digital .jpg or .pdf files. A check made payable to North Carolina ACDA must
same without the little ones who were accompany the order. Advertisers will NOT be billed. Copy will not run without
learning some of it for the first time. advance payment. Advertising copy is subject to editorial approval. The editor
reserves the right to head and/or box any advertisement bearing confusing resem-
~Nathan blance to editorial material.