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Spring Spring 2010 2010 Spring 2010 Spring 2010 page page page page 1111 CCCC aaaa rrrr
Spring Spring 2010 2010
Spring 2010
Spring 2010
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An official, Award-Winning publication
of the orth Carolina Chapter
of the American Choral Directors Association
 

UPCOMING EVENTS:

Inside

Inside

Inside

Inside

President’s 2

President’s

2

ACDA SOUTHER DIVISIO

 

Message

Male Choirs

3

& 7

CO FERE CE

Article

March 10 ~ 13, 2010

 

2010 Conference

4

Clinician

Memphis, Tennessee

Children’s Choir

4

& 16

 

Article

Middle School

5

   

Choir Article

C ACDA FALL CO FERE CE

C ACDA FALL CO FERE CE

 

CMEA Luncheon

6

September 17 - 18, 2010 U C Greensboro School of Music

MVAS Info

8-11

Guest Clinician ~ Dr. Jerry Blackstone

C Sings! Workshop Info

12-13

   

Hoggard Award

14

Recipient

 

Southern Division

15

featuring Info

featuring

 

Info

Church

17

ORTH CAROLI A SI GS!

Commissioning

Report

A WORKSHOP

Treasurer’s Report

19

FOR YOU G VOICES

 

ACDA

20

Membership

Guest Clinician ~ Paul Caldwell

Application Form

 
 

Directories

Directories

Directories

Directories

C ACDA Officers

2

and the fourth annual

C ACDA Specially

3

MALE VOCAL ARTS SYMPOSIUM

Appointed Officers

Guest Conductor & Clinician: Chris Kiver C ACDA R&S Chairs 4-5

Guest Conductor & Clinician:

Chris Kiver

 

C ACDA R&S Chairs

4-5

Vo lume 11, Issue 1

 

Spring 2010

page 2222

page

page

page

C ACDA Officers

2009-2011

President

Ginger Wyrick

Queens University of

Charlotte

1900

Selwyn Avenue

Charlotte, NC 28274

704.337.2269

ggw@hwaci.com

Past President

Daniel J. Bara

School of Music

East Carolina University

Greenville, NC 27858

252.328.6243

barad@ecu.edu

President-Elect

Welborn E. Young (Bill)

UNC Greensboro

School of Music

P.O. Box 26167

Greensboro, NC 27402

336.334.5428

weyoung@uncg.edu

Secretary

Gwen Hall

Southwest Randolph

High School

  • 1641 Hopewell Friends Road

Asheboro, NC 27205

336.381.7747

gwenmcleodhall@earthlink.net

Treasurer

Jeffrey Ward

East Carolina University

A.J. Fletcher Music Center

Greenville, NC 27858

252.328.2557

wardj@ecu.edu

Membership Chair

Daniel J. Bara

School of Music

East Carolina University

Greenville, NC 27858

252.328.6243

barad@ecu.edu

ewsletter Editor

Anne M. Saxon

4105

Sewanee Drive

Winston-Salem, NC 27106

336.922.4073

Midpatch@aol.com

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CCCC aaaa rrrr oooo llll iiii nnnn aaaa
Carolina Caroler
Carolina
Carolina Caroler
Carolina Caroler
CCCCaaaa rrrr oooo llll eeee rrrr
Caroler

President’s Mess age

Ging er Wyric k, NC ACDA President

The best thing about my job is that I get to work with lots of people. In fact, that is what first drew me to choral music. Making music with others allows me to

be the musician that I can never be by

myself. Oh, I hear you

.....

the preparation

time is exponentially greater than if I just took care of it myself. Perhaps but the result are not nearly as rewarding. So it

can be said for NC ACDA.

Congratulations and gracious thanks are extended to you all for making fall con-

ference wonderful. Our officers and R&S leadership teamed for a smooth event. Be sure to see their photo taken at our summer planning meeting on page 11 .

room reservations, risers, stands, tables, and the unending changes that occur during the event. Your flexibility and resources make fall conference possible.

We appreciate our exhibitors choosing to support choral music in North Carolina. We enjoy meeting you and seeing all that you have available. As NC ACDA members, make a special effort to patronize these vendors as you plan your purchases throughout the year. Thanks to Aaron Jackson, exhibits coordinator, for hosting our guests and making them feel at home!

If you missed fall conference, here are the details ....

Our choral festivals were a great hit with

  • 4 sessions with Bob Chilcott

  • 5 concert sessions

  • 2 interest sessions

  • 2 reading sessions

  • 2 concurrent choral festivals

  • 1 reception Friday

teachers, church choir directors, and singers of all ages. The Male Vocal Arts

Symposium hosted nearly 90 singers under the direction of Al Sturgis. This perennial favorite, coordinated by Dan

Bara, has become a beloved concluding concert at fall conference. Congratula-

tions to Al who received this year's Lara Hoggard Award. See the article on page

14.

  • 1 coffee station Saturday

  • 8 exhibitors

Countless friendships

Special thanks are extended to Jeff Ward, treasurer/registrar, for his attention to details and numbers. Also, kudos to the students of ECU and UNCG who helped at the registration table stuffing envelopes and greeting our membership

as they arrived.

The event would not be possible without the gracious hospitality of UNCG, St.

Andrew's Episcopal Church, and First Baptist Church. Special thanks are

extended to Bill Young and Carole Ott, our site coordinators. We are grateful for the harrowing details of building and

This year NC ACDA commissioned a new church anthem highlighted by the

church music festival at conference. Under the direction of composer Kenney Potter, a concert of sacred music and the premier of "My Shepherd is the Living Lord" was presented by members of the 13 sponsoring choirs. We thank coordi- nator Andy Roby for his commitment to this project.

ACDA members truly enjoy getting new music! I see your faces at the registra- tion table when you receive your packets. Thanks to Eric Johnson for coordinating our reading sessions and to ALL our R&S chairs for their contributions. Your thoughtful selections and presentations brought this music to life. NC ACDA

(Continued on Page 3)

Spring Spring 2010 2010

Spring 2010

Spring 2010

Re pertoire & Techniques f or Middle School Male Singers

J eremy Truhel, Bo ycho irs R&S Chair

I conduct a Boys’ Chorus of 7th and 8th graders at Forsyth Country Day

School in Lewisville. As our repertoire is primarily geared toward the

changing male voice, I have developed a particular interest in investigating

repertoire and techniques for late middle school male singers. I hope to

offer a few helpful repertoire suggestions based on my experience in this

challenging area.

Spring Spring 2010 2010 Spring 2010 Spring 2010 Re pertoire & Techniques f or Middle School

The variety of middle school repertoire that has become available for the male choir over the last

decade is remarkable. A keen group of arrangers and composers who understand the needs of the

changing male voice continue to put forth pieces that appeal to boys of this age and afford chang-

ing voice “boychoirs” with the chance to excel in ensemble singing at a very high level. Below, I

have listed ten titles that my boys and I have really enjoyed working on. Even if you have a mixed

middle school ensemble, I have found it productive and rewarding to allow the boys to sing works

devised with the characteristics of these particular voices in mind.

1. “Cindy” (arr. eil A. Johnson) Heritage 12/2236H

This arrangement of “Cindy” is a fun, rollicking version of the classic folk song. The range for both

the tenors and the baritones is simply an octave, and the tessitura sits in the middle of the voice for

(Continued on Page 6)

C ACDA Luncheon Attendees (from L—R): Tom Shelton, Southern Division President-Elect Welborn Young, C ACDA
C ACDA Luncheon
Attendees (from L—R):
Tom Shelton,
Southern Division
President-Elect
Welborn Young,
C ACDA
President-Elect
Jeff Ward,
C ACDA
Treasurer
Ginger Wyrick
C ACDA
President

President’s

Message (Continued from Page 2)

remains grateful to Jeff Whitsett and J. W. Pepper of Winston, for their continued sponsorship. Also, thanks to Lou Fifer and Oxford University Press who provided Bob Chilcott’s music.

Hesitantly I stop listing names knowing that I have left out someone in error. I do recognize that NC ACDA is an amazing team of North Carolina's best choral musicians. Together, we work musical miracles across the state. It is truly an honor to walk alongside of you as we make a difference in the lives of our singers and those who are blessed to hear our music.

Still singing,

Ginger Wyrick, President

page 3333

page

page

page

C ACDA Specially

Appointed Officers

Auditions

Sam Doyle

1313

Westminster Drive

Greensboro, NC 27410

336.282.0549

sam2ann@triad.rr.com

Conference Exhibits

Aaron Jackson

Christ Baptist Church

400

Newton Road

Raleigh, NC 27615

919.573.5454

aaron@christbaptist.org

Conference Site Host

Carole Ott

UNC Greensboro

School of Music

P.O. Box 26170

Greensboro, NC 27402

336.334.5428

cjott@uncg.edu

Lara Hoggard

Award Chair

Sam Doyle

(see Auditions info listed

above)

SSA All-State Coordinator

Laura Sam

Walter M. Williams

High School

1307

South Church Street

Burlington, NC 27215

336.570.6163

Laura_Sam@abss.k12.nc.us

Technology Chair

Webmaster

Bert Fox

Lufkin Road Middle School

1002

Lufkin Road

Cary, NC 27539

919.387.4465

foxsterb@aol.com

Conference Reading Sessions

Eric Johnson

James E. Holmes

Middle School

N. Pierce Street

211

Eden, NC 27288

ejohnson@rock.k12.nc.us

336.623.9791

x108

page 4444

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page

page

C ACDA R&S Chairs

Boychoirs

Jeremy Truhel

Forsyth Country Day School

5501

Shallowford Road

P.O. Box 549

Lewisville, NC 27023-0549

336.945.3151

jeremytruhel@fcds.org

Children’s Choirs

Heather Potter

2005

Scott Avenue

Charlotte, NC 28203

704.408.1685

hpotternc@juno.com

College/University Choirs

Carole Ott

UNC Greensboro

School of Music

P.O. Box 26170

Greensboro, NC 27402

336.334.5428

cjott@uncg.edu

Community Choirs

Aaron Jackson

Christ Baptist Church

400 Newton Road

Raleigh, NC 27615

919.573.5454

aaron@christbaptist.org

Ethnic and Multicultural

Perspectives

Wendy Looker

Guilford College

5800

W. Friendly Avenue

Greensboro, NC 27410

336.316.2423

wlooker@guilford.edu

Jazz Choirs

Greg Parker

Chowan University

Department of Music

1 University Place

Murfreesboro, NC 27855-1823

252.398.6201

parkeg@chowan.edu

Music & Worship

Andy Roby

120 North Lafayette Street

Shelby, NC 28150

704.482.3467

music@fbcshelby.org

Carolina Carolina Caroler Caroler

Carolina Caroler

Carolina Caroler

NC ACDA Fall Conference 2010 Clinician

Dr. Jerr y Blackstone

Grammy Award winning conductor Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music, Theatre & Dance where he conducts the Chamber Choir, teaches conducting at the graduate level, and

administers a choral program of eleven choirs. In February 2006, he received two Grammy Awards (“Best Choral Performance” and “Best

Classical Album”) as chorusmaster for the critically acclaimed Naxos recording of William Bolcom’s monumental Songs of Innocence and of Experience.

page 4444 page page page C ACDA R&S Chairs Boychoirs Jeremy Truhel Forsyth Country Day School

Professor Blackstone is considered one of the country’s leading conducting teachers, and

his students have received first place awards and been finalists in both the graduate and undergraduate divisions of the American Choral Directors Association biennial National

Choral Conducting Awards competition. Look for more information on our website!

page 4444 page page page C ACDA R&S Chairs Boychoirs Jeremy Truhel Forsyth Country Day School

Listening Across the Ages

Dr. Heather Potter, Children’s Choir R&S Chair

When you receive the convention program for an ACDA state,

regional or national convention do you immediately scan the list of participating choirs looking for performing ensembles that are most similar to yours? As a college choir conductor, my husband surveys the program and mentally checks a long list of groups that he does not want to miss; however, as a children’s choir conductor, I am often disappointed by the lack of performances featuring young singers.

If you share my position, you might very likely toss the program aside in frustration and

complain, “There are never many children’s choirs! Why should I go to this conven- tion?” I would like to share some thoughts regarding the value of listening to singers of all age levels. Hopefully, one or two ideas may resonate and encourage you to actually seek opportunities to hear choirs that are different from yours.

  • 1. A musical performance is a musical performance regardless of the age of the performing choir. Whenever you have the opportunity, enjoy the presence of beautiful phrasing, subtle dynamic shading, the ebb and flow of correct word stress, and articulate diction. Consider how you might encourage your singers to achieve these universal goals more efficiently.

  • 2. Choirs of any age can deliver stylistically accurate performances. Take opportunities to hear choirs that expertly demonstrate stylistic accuracy. Refresh your commitment to programming works that require your singers to learn the articulation, phrasing, tone colors, and vocal timbre associated with various periods of music history.

  • 3. Give your polyphonic/monophonic ears a break. If you are accustomed to hearing unison melodies, challenge yourself to isolate and follow the moving internal parts of polyphonic music. If you direct ensembles that primarily perform music in multiple parts, remind yourself of the value and difficulty of achieving a truly blended unison line.

  • 4. Listen critically to vocal tone. I am not encouraging you to listen with the intent to criticize, but rather to listen with the intent to diagnose. Analyze the sound of the choir and determine how the conductor achieves his

(Continued on Page 16 )

Spring Spring 2010 2010

Spring 2010

Spring 2010

“Of

Spring Spring 2010 2010 Spring 2010 Spring 2010 “Of Songs and Things” Middle School R&S Co-Chair,

Songs and Things”

Middle School R&S Co-Chair, Susan Townsend

Among the multitude of challenges every middle school choral director faces is choosing quality repertoire. There are so many variables to consider--enrollment, voicing, ability, appropriate music for the "occasion"--not to mention working with the never-ending roller coaster of emotions and social issues (and the drama that often accompanies them!) that middle school students bring to our classrooms every day. We could probably write a book on the unique world of the middle school student--but in this article, I will stick to the subject of repertoire!

As I think about repertoire for middle school choral programs, three essential things to consider come to mind. The first is that of being sure of the voicing in each of the groups. In my 6th grade chorus, my students generally sing unison and 2-part music--they

We could probably write a book on the unique world of the middle school student-- but in this article, I will stick to the subject of repertoire!

are strictly a treble chorus. They are put on Part I and Part II, and I try not to call them sopranos and altos (I prefer not to "box them in" to a strictly soprano or alto mindset just yet). I try occasionally to have them sing the "other" part in a song or two to give them

more experience.

With my 7th grade mixed chorus, I evaluate the range of my "men" and then try to find 3-part pieces with a limited-range Part III that they can easily sing. This gives them the opportunity to start the journey on becoming full-fledged tenors and baritones--and it makes them feel important! In my 8th grade mixed chorus, again I evaluate the range of my men, and use 3-part or SAB music. I generally do not use SATB with middle school unless I have a "bumper crop" of young men who possess the ability to sing two separate male parts and are able to hold those parts against the others.

Finally, in my 7th-8th grade treble chorus, I like to choose more challenging 2-part pieces, and a few SSA pieces provided I have the talent. In this case, numbers don't necessarily correspond to ability--I have had groups of 30 who could only manage 2-part pieces, but this year I have a group of fourteen 7th-graders who can sing just about any- thing I put in front of them!

...

not

to mention working

with the never-ending roller coaster of emotions and social issues (and the drama that often accompanies them!)

The second and third areas go hand-in-hand. I have some "go-to" composers that I know I can rely on for quality, do-able pieces. Among my favorites are Mark Patterson, Dave and Jean Perry, Cynthia Gray, Amy Feldman Bernon, Mary Lynn Lightfoot, Linda Spevacek, Earlene Rentz, and Greg Gilpin. We also

have four great composers of fine middle school literature who live right here in North Carolina--Sally Albrecht, Jay Althouse, Tom Shelton, and Kenney Potter. There are many more fine composers whose music is

beautiful and well-suited to the middle school chorus.

Third, and finally, I am an advocate of listening to new music (usually on CDs that the various publishing houses send to us near the end of the school year) and selecting new and exciting pieces. But there are even more "tried and true" pieces whose quality and audience appeal are "time tested". I try to incorporate some of each--always looking for those pieces that I feel are best suited to my individual choral groups--for no two groups are exactly the same! Happy singing!

page 5555

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page

page

C ACDA R&S Chairs

Male Choirs

Dan Huff UNC Chapel Hill CB#3320 Hill Hall Chapel Hill, NC 27599-3320

919.962.4219

dhuff@email.unc.edu

Junior High/Middle School Choirs (Co-Chairs)

Susan Townsend

4236

Huntsville Road

Fayetteville, NC 28314

910.433.9085

Sjst624@aol.com

Claire Olinik

Rosman Middle School

2770

Old Rosman Highway

Rosman, NC 28722

828.885.5574

colinik@transylvania.

k12.nc.us

Senior High School Choirs

Carol Earnhardt Glenn High School

1600

Union Cross Road

Kernersville, NC 27284

336.771.4500

CEarnhardt@wsfcs.k12.nc.us

Show Choirs

Mary Doyle

C.E. Jordan High School

6806

Garrett Road

Durham, NC 27702

919.560.3912

mary.doyle@dpsnc.net

Two-Year College Choirs

Frances Wilson

Sandhills Community College

3395

Airport Road

Pinehurst, NC 28374

919.695.3830

wilsonf@sandhills.edu

Women’s Choirs

Laura Sam

Walter M. Williams High School

1307

South Church Street

Burlington, NC 27215

336.570.6163

Laura_Sam@abss.k12.nc.us

Youth & Student Activities

Fred Spano

UNC Charlotte

Department of Music

9201

University City Blvd.

Charlotte, NC 28223

704.687.4462

fspano@uncc.edu

page 6666

page

page

page

Carolina Carolina Caroler Caroler

Carolina Caroler

Carolina Caroler

ACDA

Advocacy

Resolution

Whereas the human

spirit

elevated

is

t o

a

b r o a d e r

understanding

of

itself

through

study

and performance in the

aesthetic arts; and

Whereas

serious

cutbacks

in

funding

support

and

have

steadily

eroded

arts

institutions

and

their

programs

throughout

our country,

 

Be it resolved that all citizens of the United

 

States

ac-

tively

voice

their

af-

f i r m a t i v e

a n d

collective

support

for

necessary

funding

at

the

state,

local,

and

national

levels

of

e d u c a t i o n

a n d

government, to ensure

the

survival

of

arts

programs for this and future generations.

Repertoire for Middle School Male Singers (Continued from page 3)

both parts. The two rhythmic ostinatos of the

final chorus are not difficult, yet the effect is a

build to a rousing conclusion. My 7th grade

boys derived great satisfaction and a sense of

accomplishment from learning this piece.

  • 2. “Come Travel With Me” (Scott Farthing)

Walton HL08501432

The text of this song by Scott Farthing is in-

spired by the writings of Walt Whitman. The

TTB voicing makes this piece appropriate for

the more advanced middle school choir.

Homorhythmic passages for the tenors may

prove difficult for most middle school choirs,

but the many unison passages make this piece a

great tool for building tone. The accompani-

ment is marked by an exciting rhythmic drive

that highlights the uplifting text.

  • 3. “The Coventry Carol” (arr. Mark Patter-

son) BriLee BL 563

This is a beautiful arrangement of the classic

Christmas carol supported by a gently flowing

piano accompaniment. The lovely, legato tenor

part encompasses a very comfortable range for

the middle school tenor – a perfect opportunity

to encourage the exploration of falsetto. There

are some beautiful moments for unison singing

in each part, particularly in the first verse.

  • 4. “Every Time I Feel the Spirit” (arr.

Donald Moore) BriLee BL 446

This is an excellent arrangement of this well-

known spiritual for young men’s voices. There

are solo opportunities for young baritones on

the verses, and a great descant at the end show-

cases a strong group of tenors. This arrange-

ment keeps the voices in a limited range while

incorporating interesting harmonies.

  • 5. “Hodie” (Laura Farnell) BriLee BL 541

Laura Farnell is an arranger particularly skilled

in showcasing what boys this age do well. This

setting juxtaposes fragments based on the

Gregorian chant, “Hodie Christus natus est,”

with the chorus of “Adeste fideles” to make a

beautiful Holiday selection. At first I was

apprehensive about programming a piece with

so much Latin text, but it ended up being my

boys’ favorite piece on our Holiday concert,

and they couldn’t wait to rehearse it each day.

  • 6. “My True Love’s Hair” (arr. Earlene

Rentz) Carl Fischer CM9056

Rentz’s arrangement includes the folk songs

“Scarborough Fair” and “Black is the Color of

my True Love’s Hair.” This piece is especially

good for a true middle school bass section with

strong low notes and a tenor section of early

changing voices. There is very little overlap in

the range of the two voice parts as the melody

is passed back and forth between octaves with

each phrase. The sharing of the melody allows

each part to work on blend and tone building

within their own section.

  • 7. “Rest ot!” (Laura Farnell) Hal Leonard

08552012

My boys love to sing this piece. The accompa-

niment has a driving rhythmic pattern of eighth-

notes grouped 3+3+2. The tenor voice stays in a

range that is comfortable for most 7th and 8th

grade tenors and allows them to show off their

head voices with passages that venture above

the staff. I was surprised by the popularity of

this piece amongst my boys, the girls, and the

parents. It has been quite successful.

  • 8. “She’s Like the Swallow” (arr. Laura

Farnell) Alliance AMP 0509

This is another great arrangement by Laura

Farnell. The melody is passed between the

tenor and baritone prior to the homophonic sec-

ond verse in which an optional second tenor

part introduces the boys to the rich sonorities

that typify writing for men’s choirs. The ranges

are compact allowing every part to be success-

ful in this very musical setting.

  • 9. “Sinner Man” (arr. Roger Emerson) Hal

Leonard 08551784

Opening with a baritone solo accompanied

by sustained chords on the piano, “Sinner Man”

picks up with a driving ostinato under simple

vocal parts that remain within the range of

a sixth for both the tenors and the baritones.

This is an excellent piece in which to explore

articulation. The accents, staccatos, and tenuto

markings make this simple piece come alive.

It’s a great choice to open a program.

  • 10. “Tell My Father” (arr. Andrea Ramsey)

Hal Leonard 02501096

The selection from the musical, “The Civil

War,” expresses the thoughts of a Union soldier

dying on the battlefield. Although it is arguably

a challenge for the typical middle school boys’

chorus, the beautiful melody is so satisfying to

sing that even young tenors and basses will be

inspired to put forth the effort necessary to

make this song work. I highly recommend this

this piece for any male ensemble that you

conduct.

I hope this list gives you a place to start in

(Continued on Page 7)

Spring Spring 2010 2010 Spring 2010 Spring 2010 page page page page 7777 Repertoire ...(Continued from
Spring Spring 2010 2010
Spring 2010
Spring 2010
page
page
page
page 7777
Repertoire
...(Continued
from page 6)

exploring music for middle school male choirs. I look forward to serving you in my capacity and hope to bring some new ideas

about working with this important group of singers. Please feel free to contact me with questions, repertoire suggestions, and

thoughts about working with boychoirs. —Jeremy Truhel

Spring Spring 2010 2010 Spring 2010 Spring 2010 page page page page 7777 Repertoire ...(Continued from
Spring Spring 2010 2010 Spring 2010 Spring 2010 page page page page 7777 Repertoire ...(Continued from
Spring Spring 2010 2010 Spring 2010 Spring 2010 page page page page 7777 Repertoire ...(Continued from
Spring Spring 2010 2010 Spring 2010 Spring 2010 page page page page 7777 Repertoire ...(Continued from
ACDA Luncheon Highlights at CMEA Convention
ACDA Luncheon
Highlights
at
CMEA
Convention

page 8888

page

page

page

Carolina Carolina Caroler Caroler

Carolina Caroler

Carolina Caroler

NC ACDA is pleased to announce an exciting new choral experience for North Carolina’s children

North Carolina Sings! A Workshop for Young Voices

With guest clinician

Paul Caldwell

of the Youth Choral Theater of Chicago

in conjunction with the NC ACDA Fall Conference 2010 September 18, 2010 UNCG School of Music

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 18, each singer will receive a choral packet designed for use during the workshop and included in the registration fee.

Register by May 15, 2010 to reserve spaces for a maximum of eight children. Singer allotments may increase as space allows, and additional singers will be added after June 1, 2010 on a first-come, first-served basis.

Register NOW to include your singers in this exciting event!

Spring Spring 2010 2010

Spring 2010

Spring 2010

page 9999

page

page

page

orth Carolina American Choral Directors Association

orth Carolina Sings! A Workshop for Young Voices

September 18, 2010 Requirements for singer eligibility and registration guidelines:

  • 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 appointments (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 June 1, 2010 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 9, 2010.

  • 6. Return completed application form and registration fee of $25 per singer space by May 15, 2010 to: Heather Potter, ACDA R&S for Children’s Choirs 2005 Scott Avenue, Charlotte, NC 28203 (704) 408-1685 hpotternc@juno.com

APPLICATIO FORM

please print or type

Sponsoring ACDA Member

____________________________________________

ACDA Member # ______________

Member Email ____________________________________________________________________________________

Work Phone ____________________

Home Phone

____________________

Cell Phone

_________________

Ensemble Name ___________________________________________________________________________________

Type of Choir: School Community Religious Institution

Members wishing to send singers from multiple choir types should complete a separate registration form for each choir.

Initial maximum allotment per C ACDA member is 8 singers.

Ensemble Address _________________________________________________________________________________

City

__________________________________________

Zip Code

___________________________________________

Total number of spaces you wish to reserve (8, maximum): ___________

Total number of spaces you are confident you could fill, if space allows: __________

page 10101010

page

page

page

Announcing the Fourth Annual

Carolina Caroler

Carolina Caroler

Carolina

Carolina

Caroler

Caroler

Male Vocal Arts Symposium

at the NC ACDA Fall Conference 2010 September 17-18, 2010 in Greensboro, NC

Chris Kiver, conductor

GOALS:

To promote choral singing and vocal artistry among boys and men who currently sing in school, university, church, and community choirs in North Carolina.

To facilitate multi-generational musical fellowship and mentorship through the formation of a state-wide men’s ensemble which would encompass singers from 8 th grade to retirement age.

To introduce male singers to male university voice faculty from North Carolina colleges / universities who will be offered the opportunity to sing in the MVAS choir, as well as perform in a solo recital for the MVAS participants.

To engage a national caliber conductor/clinician who will lead rehearsals culminating in performance of varied men’s chorus repertoire.

SI GER ELIGIBILITY:

Singers must be recruited and recommended for participation by his choral conductor, who must be a member of ACDA, and who will be in attendance at the NC-ACDA Fall Conference. Conductors may apply to bring as many as eight (8) singers from his or her choir, space permitting. When endorsing multiple singers for MVAS, conductors should consider ensemble balance and submit an octet of 4 tenors and 4 basses. Conductors with multiple professional appointments, (i.e. a church choir and school choir) may apply to submit singers from more than one type of choir, but the total allotment of spaces within the MVAS choir per sponsoring member will be determined by the total level of response. Teachers will be informed of their total allotment by June 1, 2010. Adult male ACDA members may register themselves to take part in MVAS using the same application process.

Conductors should apply for an allotment within the MVAS Choir by May 15, 2010 for participation in the MVAS at the Fall Conference. Our goal is to have a choir of 95-120 singers. Ideally, the choir breakdown might be:

60% student singers in grades 8-12 25% university singers 15% adult singers from church or community choirs

SI GER PREPARATIO :

Because of the calendar proximity of the Fall ACDA Conference with NC Honor Choir Auditions and the beginning of the school year, minimal pre-conference preparation will be expected of the singers. With this in mind, conductors should select highly motivated and focused singers with a high potential for success under these circumstances. The repertoire list for the festival will be published by July 1 st , and it will be expected that each singer possess his own copy of the music prior to the conference. Singers should come to the festival with a familiarity with the music, but no screening will take place at the conference.

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LOGISTICS:

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The MVAS schedule will run concurrently and in tandem with the NC-ACDA Fall Conference. For the convenience of

the registered ACDA Members wishing to take advantage of both events, every effort will be made to place the MVAS

activities as close to (or on) the UNCG campus as close to the school of music as possible. ACDA Members bringing

student singers for MVAS will be responsible for the conduct of their singers during the course of the 2-day event.

These members should plan to bring additional chaperones to monitor MVAS activities when taking part in other

conference sessions.

A block of rooms for MVAS singers will be reserved at the Downtown Marriot in Greensboro for the overnight stay.

This will be the convention hotel. Junior high and high school students must be carefully chaperoned by parents or

teachers throughout the event, and in the evenings according to National ACDA Policy. Adult singers may also choose

to stay in other Greensboro area hotels if attending the MVAS from a distance.

TE TATIVE MVAS SCHEDULE:

Friday, September 17, 2010

10:00am

Registration

11:00

Rehearsal and Sectionals

1:00pm

Lunch on your own

2:30

Choir Rehearsal

4:00

Break

4:30

Choir Rehearsal

6:30

End of Day 1

7:00

Meet the Clinicians’ Reception

REGISTRATIO & FEES:

Saturday, September 18, 2010

8:45am

Warm-up

9:00

Choir Rehearsal

11am

MVAS Faculty Recital

12pm

Lunch

1:30

Choir Rehearsal

3:00

Dress rehearsal

4:00

Concert

ACDA members should apply for spaces within the MVAS choir by May 15, 2010. Actual space allotment based

upon total response will be announced by June 1, 2009. ACDA Members endorsing singers for MVAS must fill their

allotment once it has been determined, in order to ensure ensemble balance and viability for our clinician. Actual

MVAS participants must be selected and registered by name by September 1, 2010.

Male Vocal Arts Symposium

C-ACDA Fall Conference

Singers

$25 each

(Full access to MVAS events & Conference Sessions)

ACDA Member Singer

$25 each

Members

$65

 

College Students

$20

(Registration Form on Page 8)

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NCACDA Announces

NCACDA Announces

NCACDA Announces

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Announces

Facebook Group!

Facebook Group!

Facebook Group!

Facebook

Group!

Located on Facebook at NC ACDA Anyone can join, post, and gather lots of chorus-related information All members are encouraged to post your concerts and related events that might be of interest!

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Carolina Caroler

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orth Carolina American Choral Directors Association

Announcing the Fourth Annual

Male Vocal Arts Symposium

In conjunction with the NC-ACDA Fall Conference

Friday and Saturday September 17 - 18, 2010

APPLICATIO FORM

please print or type

Singers must be recruited and recommended for participation by his choral conductor, who must be an active member of ACDA, and who will be in attendance at the NC-ACDA Fall Conference. Conductors may apply to bring as many as eight (8) singers from his or her choir, space permitting. When endorsing multiple singers for MVAS, conductors should consider ensemble balance and submit an octet of 4 tenors and 4 basses. Conductors with multiple professional appointments, (i.e. a church choir and school choir) may apply to submit singers from more than one type of choir, but the total allotment of spaces within the MVAS Choir per sponsoring member will be determined by the total level of response. ACDA members should apply for spaces within the MVAS choir by May 15, 2010. Actual space allotment based upon total response will be announced by June 1, 2010. ACDA Members endorsing singers for MVAS must fill their allotment once it has been determined, in order to ensure ensemble balance and viability for our clinician. Actual MVAS participants must be selected and registered by name via email by September 1, 2010. Adult male ACDA members may register themselves to take part in MVAS using this same application process.

Sponsoring ACDA member

______________________________________

(name)

________________

(ACDA member #)

Member Email ___________________________

Check if you are registering yourself

Work Phone

________________

Home Phone

_________________

Cell _______________

Ensemble Name ___________________________________________________________________

Type of Choir:

□Junior High

□High School

□College/University

□Church

□Community

(Members wishing to send singers from multiple choir types should complete a separate registration form for each choir type.)

Ensemble Address

________________________________________________________________

City _____________________________________

Zip Code

_________________________

TOTAL number of spaces you wish to reserve:

____

1 st tenors 1 st basses

____

2 nd tenors 2 nd basses

____

____

Send completed application form by FAX or US mail by May 15, 2010 to:

Daniel Bara, ACDA President

Questions? Contact Daniel Bara

(W)(252) 328-6243

East Carolina University School of Music barad@ecu.edu (C)(252) 412-5880

Greenville, NC 27858

FAX: (252) 328-6258

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Fourth Annual Male Vocal Arts Symposium

Daniel Bara, NC ACDA Past President

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Announcing the 2010 Guest Conductor and Clinician:

Chris Kiver

Christopher Kiver joined the Pennsylvania State University faculty in 2005, and directs

the Penn State Glee Club and the Chamber Singers. Kiver also teaches classes in choral

conducting and choral literature. He is a graduate of the University of London, Florida State

University, and the University of Michigan where he received the D.M.A. in choral

conducting. He has studied conducting with Jerry Blackstone, Rodney Eichenberger and

Theodore Morrison. Kiver has also participated in master classes with Anton Armstrong,

Frieder Bernius, Simon Halsey and Stefan Parkman.

A native of the United Kingdom, he has received numerous prizes and scholarships includ-

ing a Fulbright Award, and the 2002 Sydney World Symposium Foundation Scholarship. In

February 2006, he was a double Grammy Award winner ("Best Choral Performance" and "Best Classical Album") as

chorusmaster for the critically acclaimed Naxos recording of William Bolcom’s monumental Songs of Innocence and of

Experience.

Choirs under Kiver’s direction have performed at state and regional conventions of the American Choral Directors

Association and the Music Educators National Conference.

He is President-Elect for the Pennsylvania American Choral Directors Association and has taught at the Westminster

Choir College summer and Saturday seminar programs. Kiver has appeared as guest conductor, clinician and adjudica-

tor in the United States, Australia and New Zealand.

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Al Sturgis Receives Lara Hoggard Award

Sam Doyle, NC ACDA Hoggard Award Chair

Alfred E. Sturgis was appointed Music Director of the North Carolina

Master Chorale in 1993. Under his skilled artistic leadership the NC Master

Chorale has made several appearances at state and regional conferences of the

American Choral Director’s Association, recorded three Christmas CDs as well

as a broadcast for UNC-TV, and been involved in numerous successful collabora-

tions with the Carolina Ballet and the North Carolina Symphony. In addition to

his work with the Chorale, Sturgis serves as Music Director of the Carolina Ballet,

Tar River Orchestra, and Appalachian Institution.

Sturgis has served as Guest Conductor for the New York City Ballet at

Lincoln Center, North Carolina Symphony, Winston-Salem Symphony, Carolina

Chamber Orchestra, Raleigh Civic Symphony, National Opera Company, Capital

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Opera, Long Leaf Opera, and North Carolina Theatre. He has conducted orches-

tral and opera performances overseas in France, Bulgaria, and China, and recently served as a clinician for the inaugural

London International Choral Festival. Early in his career he performed a number of roles in musical theatre, opera, and

oratorio, in addition to touring and recording in Southern France with the Robert Shaw Festival Singers. Sturgis still

performs occasionally as a counter tenor or baritone.

In recognition of his dynamic leadership of the NC Master Chorale, Sturgis was awarded the 1996 Raleigh

Medal of Arts. Noted for his energetic, positive teaching style, Sturgis is in great demand as a conductor/clinician for

Music Education and Church Music workshops and festivals including All-State and Honors Choirs. Between the

numerous festivals, his thirteen years as Director of Choral Music at North Carolina State University, and seven years

as a church music director he has taught thousands of students as well as adults. Dr. Sturgis holds degrees from the

University of South Florida and the University of Illinois in Voice Performance, Music Education, and Conducting.

The Award was presented at the NC ACDA Luncheon this past November, at the NCMEA Conference.

Past Recipients:

  • 1986 Richard Cox

  • 1987 Richard Brewer

  • 1988 Paul Frye

  • 1989 Maxine Blackwell

  • 1990 Rhonda Fleming

  • 1991 Jim Jerome Williams

  • 1993 Hilary Apfelstadt

  • 1994 Barbara Bair

  • 1995 Sam Doyle

  • 1997 Don Hinshaw

  • 1998 Richard Morgan

  • 2000 Robert Holquist

  • 2001 William Carroll

  • 2002 Rodney Wynkoop

  • 2003 Joel Reid

  • 2004 David Pegg

  • 2005 Maribeth Yoder White

  • 2006 Marta Force

  • 2007 Jerry Cribbs

  • 2008 Clinton Parker

Award 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.

A nomination form is available online and will be included in the fall issue of the Carolina Caroler.

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20 10 Southern Division Conference, Memphis, Tennessee

March 10 - 13, 2010
March
10
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13, 2010

East Carolina Chamber Singers with Daniel Bara, Conductor

“Welcome to a tapestry of Southern Choral Music

Traditions. As we weave together threads from

the great traditions of African-American Spirituals,

Shape Notes, Jazz, hymn singing, choral/orchestral

masterworks and outstanding choral singing in this

conference, we celebrate who we are as musicians

and who we can become as human beings. This is a

time to gather, uplift our shared musical values and

inspire one another with the great music we all

love.” —Bradley Almquist, Southern Division

President

The conference will meet in Memphis, Tennessee

March 10-13, 2010. Perform-

ances will be held in the lovely

Cannon Center for the Perform-

ing Arts. All other sessions will

meet in the Convention Center.

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Paul Oakley from

Catawba College

The downtown Marriott, the Convention Center, and the Cannon Center are accessible without

going outside. More information can be obtained at http://acda.org/southern.

C ACDA honors conference participants that have been chosen to represent our state!

East Carolina Chamber Singers, conducted by Daniel Bara

Paul Oakley, Session Presenter, Baroque Performance Practice: The Pearl ecklace

Spring Spring 2010 2010 Spring 2010 Spring 2010 page 15151515 page page page 20 10 Southern
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Listening…(Continued from page 4)

or her desired tone. How would you verbally

describe the sound to someone who missed this

concert? How do the singers shape the vowel

sounds? What aspects of the vocal tone do you like

or dislike? Do you hear evidence of vocal prob-

lems among the singers? Are these same problems

present in your own singers? How are you address-

ing the problems? Does the sound of your own

ensemble reflect your tonal preference?

  • 5. Enjoy performances of repertoire that are

not available to your set of singers. Many choral

works were written with a specific collection of

performers in mind. We grow as musicians when

we seek exposure to a variety of musical styles and

vocal configurations.

Attending ACDA convention concerts is the most

efficient way to experience the best of a variety of

performing ensembles. You can hear women’s choirs,

men’s choirs, children’s choirs, church choirs, jazz

choirs, college, high school and middle school choirs.

Challenge your musical self to listen thoughtfully,

attentively, and discerningly. By virtue of your member-

ship in an organization that serves and supports choirs

for all ages and voice parts, you have opportunities to

experience the best of choral music in all of its forms.

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SACRED ANTHEM COMMISSIONING & FESTIVAL CHOIR PROJECT 2009

Andrew Roby, Music in Worship R&S Chair

North Carolina ACDA's 2009 Fall Conference was the

setting for a new venture sponsored by the Music in

Worship R&S Area. Nearly 100 singers drawn from 13

church choirs assembled at First Baptist Church of

Greensboro on Saturday, September 19, for a morning of

rehearsal in preparation for an afternoon concert session in

which the festival choir presented a new commissioned

sacred anthem, along with four other pieces.

Over a year earlier, Kenney Potter, director of choral

activities at Wingate College and a noted composer

of choral music, was commissioned by the Music in

Worship R&S Area to write a new sacred anthem and to

serve as the clinician-conductor for the festival choir.

Based on one of Isaac Watts's metrical paraphrases of the

23rd Psalm, "My Shepherd Is the Living Lord," the

commissioned work was given its first public presentation

at the afternoon concert session at UNCG.

After Kenney agreed to his role in this project, Andrew

Roby, Music in Worship R&S Chair, invited church

music leaders from across the state to participate by

making a financial contribution toward the commission

and by sending a representative group of their church choir

members to the festival choir. Ultimately, 13 churches

were represented, including:

Christ Baptist Church, Raleigh -

Aaron Jackson, director

Emerywood Baptist Church, High Point -

Matt McGee, director

First Baptist Church, Forest City -

Tony Spencer, director

First Baptist Church, Greensboro -

Doug Vancil, director

First Baptist Church, Monroe - Paul Sims, director

First Baptist Church, Mount Holly -

Brian Childers, director

First Baptist Church, Shelby - Andrew Roby, director

Ridge Road Baptist Church, Raleigh -

Patti Lingafelt, director

Saint Andrews Presbyterian Church, Raleigh -

Karrie Rushing, director

St. Alban's Episcopal Church, Hickory -

Tamera Shook, director

St. James United Methodist Church, Greenville -

Jeffrey Ward, director

Selwyn Avenue Presbyterian Church, Charlotte -

Fred Spano, director

White Plains United Methodist Church -

Laura Minick, director

Saturday morning's rehearsal session was a joyful celebra-

tion of the art of choral music in worship as Kenney

provided skillful leadership. Benita McFarland, assisted

by Matt Messick on one piece, provided excellent piano

accompaniment. The choir members from diverse

locations quickly established a sense of friendship with

one another as we gathered in Greensboro First Baptist

Church's sanctuary, which provided a beautiful and

acoustically warm setting for the rehearsals.

The rehearsals and concert session music consisted of

these pieces, the third of which was the commissioned

sacred anthem:

  • 1. Hark, I Hear the Harps Eternal - American Folk Hymn, arr. Alice Parker. Alfred LGS1331.

  • 2. What Sweeter Music - Words by Robert Herrick. Music by John Rutter. Oxford 0-19-343120-3.

  • 3. My Shepherd Is the Living Lord - Words by Isaac Watts from 23rd Psalm. Music by Kenney Potter. Manuscript.

  • 4. It Is Well with My Soul - Words by Horatio G. Spafford. Music by Philip P. Bliss, arr. Eric Nelson. Augsburg Fortress 0-8006-7734-X.

  • 5. Bound for the Promised Land - American Folk Hymn, arr. Mack Wilberg. Oxford 0-19-386917-2.

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North Carolina American Choral Directors Association

c/o Anne M. Saxon, Editor

4105 Sewanee Drive

Winston-Salem, NC 27106

To the Current Resident, Or

www.ncacdaonline.org
www.ncacdaonline.org

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Included in this Issue: Informative articles for Children’s, Middle School, & Male Choirs!

Carolina Caroler page 20202020 page page page North Carolina American Choral Directors Association c/o Anne M.

Newsletter

Update

Anne Saxon,

Editor

In

this

edition

we

hear

from

our

Children’s Choir, Middle School, and Male

Choir R&S Chairs, sharing their experi-

ences and ideas. Repertoire suggestions and

other ‘golden nuggets’ are also included that

we all can use!

On pages 12 - 13 you’ll find information

about an exciting addition to our next

fall conference: “North Carolina Sings!,”

with guest clinician Paul Caldwell. ACDA

members may sponsor children in grades 3-

6 to participate in this one-day choral skill-

building workshop. Advanced preparation

is not required! The application form for

this, and

the fourth-annual MVAS, are

included on pages 8-9 and 10-12, respec-

tively.

The next edition will be online only, so look

for a reminder postcard. Sing on! —Anne

The Carolina

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Caroler is the official newsletter of the North Carolina chapter

of the American Choral Directors Association. Articles and advertisements

may be submitted to: Anne M. Saxon at Midpatch@aol.com. 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 typewriters—it 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. 7.5”x10”)

Half page-$100.00 (c. 7.5”x4.5”)

Quarter page-$50.00 (c. 3.75”x4.5”)

Discounts are available on multiple ads of the same design. Rates listed are for

camera-ready copy or digital .jpg or .pdf file. 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 resemblance to editorial material.