Fall 2012 page 1

Carolina Caroler
An award-winning publication of the
0orth Carolina Chapter of the
American Choral Directors Association

UPCOMING EVENTS: Inside

Presidents 2-3
C ACDA FALL COFERECE Message

September 21 - 22, 2012 Hoggard Award 3&

UC Greensboro School of Music Conference 3

Clinician info
Guest Clinician ~ Dr. Ann Howard Jones
Fall Conference 4-6
Performing
Groups Info
featuring MVAS Update 6
The sixth annual Transformational 7-8
MALE VOCAL ARTS SYMPOSIUM Conducting

Guest Conductor & Clinician: SSA Sr. High 8

Womens All-State
Vijay Singh
Conducting 9
Master Class

Fall Conference 10-

and the Student Activities Workshop, Information 11

CHORAL ADJUDICATIO TRAIIG 0CMEA / 0C ACDA 13

Luncheon Info &
Facilitator: Dr. Jeffrey Ward
Multicultural 14-
Clinician: Dr. John Sinclair Repertoire Process 15

Three Rs of 15-
Middle School 17
C ACDA SR. HIGH
Treasurers Report 10
WOMES ALL-STATE Choral Adjudication 17-
18
January 25-26, 2013
Membership 11
Greensboro Coliseum & Application Form
War Memorial Auditorium
Sigrid Johnson, Conductor Directories
0C ACDA Officers 2
0C ACDA Specially 3
choral art 0C ACDA R&S 4-5
advocate
remember Chairs
American Choral Directors Association
teach
2013 National Conference Volume 13, Issue 2
Dallas, Texas March 13-16, 2013
Fall 2012
page 2 C a r oCarolina
l i n a C aCaroler
roler

C ACDA Officers
2010-2012
President
Welborn E. Young (Bill)
UNC Greensboro
School of Music
P.O. Box 26167
Greensboro, NC 27402
336.334.5493
weyoung@uncg.edu
Past President
Ginger Wyrick
6200 Maple Cove Lane
Charlotte, NC 28269
704.948.4363
ggw@hwaci.com
President-Elect
Sandy Holland
Charlotte Childrens Choir
P.O. Box 30724
Charlotte, NC 28230
704.451.4194
srholland
@charlottechildrenschoir.org
Secretary
Vacant
Treasurer
Catherine Butler
410 Westdale Place
Greensboro, NC 27403
336.337.3153
catherinebutler17@gmail.com
Membership Chair
Rob Frazier
Myers Park
Presbyterian Church
2501 Oxford Place
Charlotte, NC 28207
704.376.3695 x253
rfrazier@mysersparkpres.org
ewsletter Editor
Anne M. Saxon
4105 Sewanee Drive
Winston-Salem, NC 27106
336.922.4073
Midpatch@aol.com
Presidents Message
Bill Young, NC ACDA President
Dear 0C ACDA Members, Colleagues, find outlined in this
and Friends, issue of the Caroler.
Unity of purpose in our endeavors is ever We also began plan-
present in my mind as I write to you now. ning the 2013 and
The role and function of this state chapter 2014 state confer-
is the advancement and enrichment of ences. After 14 years
of holding the NC
the choral art throughout the state of
North Carolina and for all of our con- ACDA state conference at the UNCG
Music Building, the board has agreed that
stituents (ncacdaonline.org). One way that
this can be accomplished is by providing after the conclusion of the 2013 confer-
you with the opportunities to work with ence, there will be a new location for the
leading clinicians, providing you perform- 2014 conference. A committee was estab-
ance opportunities, and providing time for lished to investigate possible venues for
you to meet and enjoy the friendship and the 2014 conference. The entire member-
good works of your colleagues, friends, ship of NC ACDA is grateful for the
many years of service provided by UNCG
and admired mentors.
administration, the faculty, and students
The Repertoire and Standards Chairper- who have dedicated their time to provid-
sons, the appointed members, and your ing a hospitable and welcoming host site.
executive board work to build balanced
Your fall conference, September 21-22,
events that best represent our entire con-
features Ann Howard Jones as the
stituency not just from one event to the
conference clinician. Two of her sessions
next but with an eye to future NC ACDA
will include a conducting Master Class; if
years. This philosophy was central to the
you would like to have the opportunity to
NC ACDA boards summer meeting as
conduct, the application form is on page
we discussed details of the 2012 Season
9. Vijay Singh is the clinician for the
including Fall Conference (September 21-
Male Vocal Arts Symposium occurring
22, 2012), NCMEA luncheon (November
simultaneously with the conference. And,
12, 2012), SSA All-State (January 25-26,
through a grant from the Southern Divi-
2013), and our participation at National
sion office, Jeff Ward, R & S Chair or
Conference in Dallas (March 13-16,
Youth and Student Activities, will present
2013). Details of these events you will
(Co nti n ued o n page 3)
STUDENTS! ACDA Partners with North Carolina
on Collegiate Membership
Two years ago Executive Director Tim Sharp announced a new initiative to help
collegiate students become involved in ACDA. The national office is willing to part-
ner with states to help offset the cost of student membership dues.
Current student membership dues are $35.00 annually. ACDA is asking
students to pay only $10.00. The remaining amount will be shared between the
state chapter and the national office.
NC ACDA has allotted funds from our cash reserve to participate in this initiative.
Collegiate students who want to participate must register and attend the Fall Confer-
ence in September. At conference, interested students should contact Treasurer
Catherine Butler to complete the ACDA membership form and pay their $5.00 dues.
Treasurer Butler will complete the membership process on their behalf.

NC ACDA has supported collegiate memberships over the past several years in an
effort to encourage students to become active members in ACDA.
Fall 2012 page 3

C h o r a l A d j u d i c a t i o n Tr a i n i n g Wo r k s h o p
Dr. John Sinclair, Adjudicator (see page 18 for more Workshop info) C ACDA Specially
Appointed Officers
Dr. John V. Sinclair serves as Chair of the Department of Music and is the
John M. Tiedtke Professor of Music at Rollins College in Winter Park, FL.
He is celebrating his 21st season as Artistic Director and Conductor of the Auditions
renowned Bach Festival Society of Winter Park and is the conductor of the Sam Doyle
1313 Westminster Drive
International Moravian Music Festivals. Dr. Sinclair is also a conductor of the
Greensboro, NC 27410
Candlelight Processional at EPCOT and has conducted recordings for Warner 336.282.0549
Brothers, Walt Disney Corporation, Moravian Music Foundation, and numer- sam2ann@triad.rr.com
ous Bach Festival recordings.
A master teacher, Dr. Sinclair has received many awards while at Rollins. For two consecutive Conference Exhibits
years he was selected as the Outstanding Music Educator of the Year by United Arts of Aaron Jackson
Christ Baptist Church
Central Florida and the Florida International Magazine selected him as one of their Power
400 Newton Road
Players in the Arts. Dr. Sinclair founded the Rollins College Community School of Music and Raleigh, NC 27615
the Bach Societys Arts-in-Education program, FreshStARTS, which takes innovative music 919.573.5454
programs to thousands of public school students in central Florida each year. aaron@christbaptist.org

Conference Site Host

Fa l l C o n f e r e n c e C l i n i c i a n Carole Ott
Dr. Ann Howard Jones UNC Greensboro
School of Music
Dr. Ann Howard Jones is Professor of Music and Director of Choral P.O. Box 26170
Activities at Boston University. She conducts the Symphonic and Chamber Greensboro, NC 27402
Choruses, supervises conducting students in the Concert Chorus and the 336.334.5428
Womens Chorale, teaches graduate choral conducting, and administers the MM cjott@uncg.edu
and DMA programs in Choral Conducting.
Lara Hoggard
Dr. Jones is also the conductor of the BU Tanglewood Institute Young Artists Award Chair
Vocal Program Chorus, an auditioned ensemble of high school singers which Sam Doyle
rehearses and performs at Tanglewood in the summer. Recognized as a distinguished clinician, (see Auditions info listed
adjudicator, teacher and conductor, she has led many all state and regional choruses, workshops above)
and master classes in the US, Europe, South America, Canada and Asia.
SSA All-State Coordinator
From 1984-1998, Dr. Jones worked with the late Robert Shaw and the Atlanta Symphony Jeremy Truhel
choruses where she was Assistant Conductor for Choruses, sang in the alto section, assisted Forsyth Country Day School
with the Robert Shaw Chamber Singers and helped to organize the Robert Shaw Institute. 5501 Shallowford Road
P.O. Box 549
Lewisville, NC 27023-0549
Pr esident s Mess age (Continued from pa ge 2) 336.945.3151
jeremytruhel@fcds.org
a workshop titled Developing Error Detection Skills in Pre- and In-Service Choral
Conductors. With Jeff, John Sinclair, Chair of the Department of Music and is the John Technology Chair/
M. Tiedtke Professor of Music at Rollins College in Winter Park, FL, will be the guest Webmaster
clinician. We also look forward to performances by The East Carolina Chamber Singers Kelly Turner
under the direction of Dr. Andrew Crane, the Glenn High School Concert Choir directed 3160 Creighton Lane
by Carol Earnhardt, and the Western Carolina University Concert Choir directed by Dr. Winston-Salem, NC 27127
336.655.8798
Michael Lancaster. You will be treated to wonderful clinician sessions, reading sessions,
phoneticsoft@gmail.com
and a number of exhibitors. Please make plans to attend.
I hope that you will all take full advantage of the many opportunities that ACDA and, Conference Reading Sessions
Eric Johnson
especially, NC ACDA provides for you to enjoy the companionship of like-minded James E. Holmes
choral educators and artists. Our purpose is the advancement and enrichment of the cho- Middle School
ral art. Let us be of one mind as we rest from the season past and begin to focus on what 211 N. Pierce Street
lies ahead. This wonderful art of choral music is a chronicle. The marriage of word to Eden, NC 27288
music is powerful in-and-of itself; expressing social, political, and spiritual events. But, ejohnson@rock.k12.nc.us
when you have groups of people bound together, mind, spirit, and body to make a unified 336.623.9791 x108
sound and thought there is healing and power. I look forward to seeing you, hearing your
choirs, and learning from you everyday. Summer regards, Bill
page 4 Carolina Caroler

NC ACDA Fall Conference 2012 Perfor ming Groups

C ACDA
R&S Chairs East Carolina Univer sity Chamber Singer s
Dr. Andrew Crane, Conductor
Boychoirs
Vacant The East Carolina University Chamber Gothic label: Greater Love and Eternal Light;
Singers is the select choral ensemble on and will release a third, self-produced album
Childrens Choirs campus. Comprised of 34-40 auditioned this fall. The choir maintains a rigorous
Nana Wolf-Hill singers, many of whom are voice majors rehearsal and performance schedule, and
Eastern Music Festival from within the School of Music. The group focuses predominantly on unaccompanied
336-333-7450 x28 tours annually and has performed by invita- choral literature suitable for advanced cham-
nana@EasternMusicFestival. tion at regional and national conferences of ber choir.
org ACDA and NCMEA.
Chamber Singers will also perform at the NC
College/University Choirs The Chamber Singers have also produced ACDA Luncheon at the NCMEA Conference
Carole Ott two professional CD recordings on the in Winston-Salem in November.
UNC Greensboro
School of Music
P.O. Box 26170
Greensboro, NC 27402
336.334.5428
cjott@uncg.edu

Community Choirs
Aaron Jackson
Christ Baptist Church
400 Newton Road
Raleigh, NC 27615
919.573.5454
aaron@christbaptist.org

Ethnic and Multicultural

Perspectives
Melodie Galloway
UNC Asheville
107 Lapinsky Hall, CPO 2290
Asheville, NC 28804
828.251.6432
mgallowa@unca.edu
Jazz Choirs
Greg Parker
Chowan University
Department of Music
1 University Place
Murfreesboro, NC 27855-1823
252.398.6201
parkeg@chowan.edu
Music & Worship
Andy Roby
120 North Lafayette Street
Shelby, NC 28150
704.482.3467
music@fbcshelby.org
Andrew Crane currently serves as Director of Choral Activities at
East Carolina University, where he conducts the Chamber Singers,
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 in Utah.
Choirs under his direction have appeared by invitation at conven-
tions of ACDA, California Music Educators Association, and
the Southern California Vocal Association. He is active as a guest
conductor, clinician, and adjudicator of choirs throughout the
country. Additionally, Crane enjoys a career as a professional solo and ensemble tenor having
appeared with several choirs, including the Los Angeles Bach Festival, Santa Fe Desert Cho-
rale, Lansing Symphony Orchestra, Carnegie Hall Festival Chorus, Utah Valley Symphony.
He holds the Bachelor and Master of Music Degrees from Brigham Young University, and the
Doctor of Musical Arts from Michigan State University.
Fall 2012 page 5

NC ACD A Fall Conference Pe rforming G roups (Continued f rom page 4)

C ACDA
Glenn High School Concer t Choir R&S Chairs
Carol Earnhardt, Conductor
Male Choirs/MVAS
Carey Cannon
Providence Baptist Church
4921 Randolph Road
Charlotte, NC 28221-4002
704.366.4030 x122
ccannon@providencebc.org

Junior High/
Middle School Choirs
Eric Johnson
James E. Holmes
Middle School
211 N. Pierce Street
Eden, NC 27288
ejohnson@rock.k12.nc.us
336.623.9791 x108

Senior High School Choirs

Carol Earnhardt
Glenn High School
1600 Union Cross Road
Kernersville, NC 27284
336.771.4500
Glenn High School Concert Choir is one of two auditioned choirs at the school located in CEarnhardt@wsfcs.k12.nc.us
Kernersville, NC. The schools choirs consistently receive superior ratings at state and
national choral festivals and competitions. In 2006, the Concert Choir participated in the Show Choirs
Bahama Cruise Festival onboard Royal Caribbeans Cruise Lines Sovereign of the Seas. In Mary D. Summerlin
addition to superior ratings in this festival, the choir was named the National Cruise Festival C.E. Jordan High School
Overall Grand Champion. The choirs at Glenn have been named Overall Grand Champion in 6806 Garrett Road
chorus festivals across the Southeast: Festival Disney, Orlando Fest, Fiestival, Music in The Durham, NC 27702
Parks, and North American Music Festivals. 919.560.3912
mary.doyle@dpsnc.net
In addition to frequent performances throughout the community, the Concert Choir has
performed at the Governors Mansion, State Capitol, Biltmore House, Castle McCullough, Two-Year College Choirs
and the Winston-Salem Mayors Office. Invitational performances include the NC Music Vacant
Educators (NCMEA) Conference, the state Christmas Tree Lighting, and a joint concert with
Bel Canto, a chorus of professional singers in Greensboro. It was also a featured choir at Womens Choirs
Carnegie Hall in New York for the 2008 Carnegie Hall High School Choral Festival. Beverly Vaughn
Western Rockingham
Carol Earnhardt is in her fifteenth year as the choral director at Robert Middle School
B. Glenn High School. She received Bachelors and Masters Degrees of 915 Ayersville Road
Music from UNC Greensboro, and holds the National Board Certifica- Madison, NC 27025
tion. Earnhardt has served as the All-County Chorus Coordinator and 336.548.2168
bvaughn@rock.k12.nc.us
lead teacher for the Winston-Salem/Forsyth County School System,
and in 2004, helped to develop system-wide choral and honors choral
Youth & Student Activities
curriculums for county high schools. She was elected as the Teacher of Jeffrey Ward
the Year for the WS/FC School System in 2007. East Carolina University
Prior to teaching at Glenn, Earnhardt taught choral music at Hill Middle A.J. Fletcher Music Center
School in Winston-Salem and at Jones Elementary School in Mount Airy Greenville, NC 27858
252.328.2557
where she was named Teacher of the Year for the 1995-1996 school year. In 2012, she served
wardj@ecu.edu
as the International Conductor Exchange Program (ICEP) Coordinator for the Southern Divi-
sion ACDA conference in Winston-Salem. Currently, Earnhardt is the High School R&S chair
for NC ACDA and is the chair-elect for the NCMEA High School Choral Section.
page 6 Carolina Caroler

NC ACD A Fall Conference Pe rforming G roups (Continued f rom page 4)

We s t e r n C a r o l i n a U n i v e r s i t y C o n c e r t C h o i r
Dr. Michael Lancaster, Conductor

The Western Carolina University Concert Choir is the

premier auditioned mixed choral ensemble in the School
of Music. Most are music majors, but several other disci-
plines are represented as well. The choir sings repertoire
from the Renaissance to the present, including a cappella
works, pieces with keyboard accompaniment, and choral
-orchestral masterworks. The Concert Choir joins the
Asheville Symphony Orchestra and Chorus annually. In
April of 2013, they will present the Mozart Requiem and
Vaughan Williams Flos campi.
The Concert Choir and Early Music Ensemble tour annu-
ally during the fall semester and sing other performances
in the area, in addition to on-campus concerts in the
Bardo Arts Center. Auditions are held during the first
four days of each semester.

Michael Lancaster has been Director of Choral Activities in the School of Music at Western Carolina
University since 2011, where he conducts the Concert Choir, University Chorus and Early Music Ensem-
ble, and teaches conducting and voice. He is also the Director of the Asheville Symphony Chorus.
Lancaster has served on the music faculties of the School of Church Music and Worship at The Southern
Baptist Theological Seminary in Louisville, KY, and Central Missouri State University in Warrensburg,
MO. During his tenure his choirs sang at state and divisional Music Educators Association and ACDA
Conferences, as well as extensive concert tours to England, Carnegie Hall, and Italy. He also taught high
school choral music in Southern California.
Lancaster studied conducting for two summers at the Oregon Bach Festival under renowned conductor
and Bach scholar Helmuth Rilling, and sang with Robert Shaws Festival Singers in Souillac, France. He
also participated as a member of the paid professional core in the Robert Shaw Choral Workshop and the Carnegie Hall Choral
Workshop many times in subsequent years. Lancaster has sung with many organizations, including the Carmel (CA) Bach
Festival, the Los Angeles Master Chorale (directed by Roger Wagner), the Hollywood Bowl Festival Chorus (directed by
Christopher Hogwood), the Los Angeles Chamber Orchestra (directed by Gerard Schwartz), the William Hall Chorale, the
Long Beach Bach Festival (directed by Sir David Willcocks) and the Disneyland Dickens Carolers.
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.

Ma le Voca l Ar t s Sy mp os iu m 2 012
V ij a y Sing h , Co nd ucto r
Vijay Singh is an active performer, composer, teacher, conductor, and clinician residing in Ellensburg,
Washington where he is Professor of Music at Central Washington University. A graduate of Wil-
lamette University (BME/Clarinet & Voice) and Portland State University (MM Choral Conduct-
ing/Vocal Performance), he has been rapidly gaining international attention for his eclectic musical
compositions, performances, workshops, and conducting appearances.
Singhs teaching experiences have included work at public secondary schools, community college, and
university levels. He currently teaches voice, choral arranging, jazz pedagogy, directs the University
Chorale, and award-winning CWU Vocal Jazz 1, and oversees the vocal jazz program (3 jazz choirs).
The Male Vocal Arts Symposium will run concurrently with the conference and culminate with a final
performance at the conclusion of the event.
Fall 2012
Tr a n s f o r m a t i o n a l C o n d u c t i n g
Dr. Carole Ott, College & University Choirs R&S Chair
At the conclusion of my choral conducting class this spring,
I asked my students how their perceptions of the conductors
role had changed over the course of the semester. The
answers varied, but I was pleasantly surprised at the depth
of their attention over our very busy semester together. One
of the most profound answers was this: At the beginning of
the semester, I thought the conductor was the person who got
everyone started and kept everyone together. Now I believe
that the conductor is more like the spiritual guide for an
ensembles understanding of a piece of music. I could not
have asked for a better answer or a more profound statement
from a beginning conductor.
It was a good reminder for
me that as conductors, we
have a great responsibility
ow do we transform the sound
to our musicians. How do being created from many individuals
we move from a state of
simply starting and stop-
ping our ensembles to
into one unified artistic statement
transforming their under-
standing of a piece of music? How do we transform the
sound being created from many individuals into one, unified,
artistic statement? Below are three areas essential to creating
a rich environment that engenders a high level of expressivity
in rehearsal and performance.
I. Score Study
This is perhaps the most obvious and necessary aspect of our
preparation but is the easiest to forgo in the wake of increas-
ingly busy lives. It can be seductive to learn music with the
ensemble, but this inhibits both rehearsal pace and the final
musical outcome. The ensembles range of expression is only
limited by the imagination of the conductor. Having a com-
plete aural image before the first rehearsal gives direction
throughout the entire rehearsal process. Everyone has a dif-
ferent time frame and schedule for score study.
Scheduling the time necessary to learn as much as
possible away from the ensemble and being consis-
tent with that schedule is a very important key to the
success of any musical organization.
A few key steps for study:
1. Background: Who wrote it, when, why, for
whom?
2. Text: Who is the poet? What is the language? How did it
originally look in print? Did the composer take liberties with
the text?
3. Form: How many sections are there? Does anything
repeat? What is the key? Does it change?
4. Material: How does the music enhance the text? What are
the possibilities for interpretation? Begin to make musical
decisions and mark them in your score.
page 7
5. Imagine the words being sung. How do they sound? How
do the melodies and harmonies sound? The more clearly you
imagine the piece as a whole, the more efficient and reward-
ing the rehearsal process.
In general, moving from large to small helps prevent obsess-
ing over small details too early in the process. Keeping a
notebook of reflections can be an effective way to record
discoveries or difficulties with the music.
II. Gestural Practice
Even a small amount of gestural practice, done intentionally
and conscientiously, goes a long way. The goal here is not to
choreograph your move-
ments to a piece of mu-
sic, but to practice mov-
ing in such a way as to
build body awareness
and connectivity. There
are several books with
good exercises for move-
ment and building awareness. Some that I have found to be
helpful are Awareness through Movement by Mosh Feldenk-
rais, Somatics by Thomas Hannah, and Physical Expression
and the Performing Artist by Jerald Schwiebert. Physical
Expression was published recently and is an excellent re-
source for building movement awareness written in a direct
and conversational way. The awareness gained through doing
this kind of exploration directly affects what happens on the
podium.
III. Self-evaluation
Self-evaluation, in combination with study and practice, is
extremely helpful in building self-awareness and efficiency
in rehearsal. This can be done both through a series of ques-
tions to consider while in the rehearsal process and by video
taping rehearsals to review later with these questions in
mind. Ideally, a combination of these techniques will
yield the most positive results.
1. Am I breathing? This is not only in relation to prepar-
ing an entrance. We hold our breath if were nervous,
while were concentrating, if were listening, or for any
number of reasons. This creates tension in the body and
inhibits good critical listening. Just taking a moment to be
aware of the breath is very helpful.
2. How are my gestures shaping the sound of the ensemble
(both positively and negatively)? What are other gestural pos-
sibilities?
3. Is my body driven my tension or intention? If there is
tension, where is it? Shoulders? Arms? Knees? Feet?
4. Am I really hearing the ensemble in front of me? Are the
vowels beautiful? Is there a sense of line and shape?
(Continued on page 8)
page 8 Carolina Caroler

NC ACDA 2013 Sr. High All-State Womens Choir

Jeremy Truhel, NC ACDA Sr. High All-State Womens Choir Chair

2013 High School Women's All-State Choir:

January 25-26, 2013, Greensboro Coliseum
Sigrid Johnson, Conductor
The 2013 All-State Womens Choir will be conducted by Sigrid Johnson from St.
Olaf College. Johnson is well-known for her work with womens choirs throughout
the United States and I know she will bring a wonderful program to North Carolina.
The repertoire list is still being solidified and will be available in the fall. Online
registration will be available in August; be on the watch for an email from Beverly
Alt or myself. Should you have any questions please do not hesitate to email me at
jeremytruhel@fcds.org.
Sigrid Johnson

Transformational Conducting (Continued from page 7)

5. Is there beauty in this rehearsal?
Ultimately, it is preparation that will lead to a higher level of artistic freedom. When we transform ourselves through
study, practice and self-evaluation, we are inevitably able to guide our ensembles through the rehearsal process and
transform the way they engage their musicianship. Through our own understanding of the music and our intention
behind each gesture, we are able to transform the notes, rhythm, and text on the page into a complete musical picture.
The expressivity enabled through this process can culminate in performances that profoundly affect both the singer and
the audience.
Fall 2012 page 9

Conducting Master Class Application

with Dr. Ann Howard Jones, Boston University
C ACDA Fall Conference September 21 22, 2012
University of orth Carolina at Greensboro
School of Music, Theatre and Dance

Conductors or all levels of experience (beginning to advanced) as well as Conductors working in various areas (community,
church, school / university) are encouraged to apply. Master Class session, while utilizing major choral works, will focus on
the conducting gesture and not on conducting through entire movements or performance preparation of major works. Appli-
cants will be reviewed by a committee and notified by email of their acceptance.

Please complete the following:

Name______________________________________________________ Age__________________

Email_______________________________________

Cell Phone __________________________________ Work/Home Phone _______________________

Address _____________________________________________________________________________

City/State/Zip ________________________________________________________________________

Current Position/Place of Employment____________________________________________________

If Student - University Enrolled___________________________________________________________

Briefly describe your choral conducting experience:

__________________________________________________________________________________________________________

__________________________________________________________________________________________________________

__________________________________________________________________________________________________________

______________________________________________________________________________________________________

All applicants must submit an 8 12 minute video demonstrating their conducting work before a live ensemble. The camera
would preferably be facing the conductors face. Videos must be uploaded to YouTube and the link sent in your email applica-
tion or you may send a DVD.

Submit for selection committee review: the above application information, as well as the YOUTUBE link of the conducting
video to srholland@charlottechildrenschoir.org or mail the completed application along with a DVD marked clearly with the
applicants name to:

Sandy R. Holland
Charlotte Childrens Choir
P.O. Box 30724
Charlotte, NC 28230-0724

Deadline for submissions is August 24, 2012.

 page 10 Carolina Caroler

2012 NORTH CAROLINA ACDA FALL CONFERENCE ~ September 21 - 22

Schedule of Events Conference Sites
Friday, September 21, 2012 UNCG School of Music, Theater, and Dance, hosts our Fall
12:00 pm Registration / Exhibits Open Conference. The building is located at the corner of McIver and
Market Streets in Greensboro. Visit www.uncg.edu/online/map
1:00 pm Opening of Conference & Concert Session I for campus and driving directions.
Western Carolina University Concert Choir Male Vocal Arts Symposium rehearsals will be at First Baptist
Dr. Michael Lancaster, Conductor Church (located at 1000 Friendly Avenue, about 2 blocks from
2:00 pm Headliner Clinician Session I: Dr. Ann Howard Jones the UNCG School of Music) on Friday. MVAS rehearsals move
Review of Advanced Conducting Principles to the School of Music on Saturday.
3:45 pm R&S Reading Session I Choral Adjudication Training Sessions are held at the UNCG
School of Music, Theater and Dance.
5:00 pm Headliner Clinician Session II: *Conducting Master Class
Repertoire: Mozart REQUIEM Dies Irae and Lacrymosa
Brahms REQUIEM, Movement 6 Conference Parking
Parking is available in the McIver Parking Deck adjacent to the
6:30 pm All Conference Reception
School of Music. Rates are assessed hourly. Each time you enter
and leave the deck, charges will be assessed. A limited number
Saturday, September 22, 2012 of parking spaces may be available on nearby streets.
8:30 am Registration; Coffee Bar / Exhibits Open
9:30 am R&S Reading Session II
Parking Deck Instructions
1. Drive into the parking deck and take the white ticket as you
11:00 am Concert Session II
enter.
Glenn High School Concert Choir ~ Carol Earnhardt, Conductor
East Carolina University Chamber Singers ~ Dr. Aaron Crane, Conductor 2. Bring the parking deck ticket with you when you leave
your car.
12:00 pm Browse Exhibits & Lunch (on your own)
3. When you are ready to leave and BEFORE GOING TO
1:45 pm Headliner Clinician Session III: *Conducting Master Class YOUR CAR - go to the big Yellow box (on the right as you
Repertoire: Mendelssohn ELIJAH: approach the parking deck) that says Pay Here.
#29 He, Watching Over Israel; #16 The Lord is God; 4. Place your parking ticket in the appropriate slot.
#15 Cast Thy Burden Upon the Lord
5. Pay for parking.
3:30 pm Concert Session III
6. Take the white ticket (receipt) with you to your car.
Male Vocal Arts Symposium Chorus ~ Vijay Singh, Conductor
7. Insert the ticket in the machine to activate the crossbar to
4:30 pm End of Conference leave the deck.
5:15 pm NC ACDA Board Meeting and Dinner
*See page 9 for application form Conference Accommodations
The Park Lane Hotel at Four Seasons Mall serves as our confer-
Concurrent Events: Conference registration includes attending these ence hotel. Rooms are available under NC ACDA #2505 group
rehearsals/sessions without additional fees. For information on attending title at a conference rate of $79 night +tax, and includes break-
MVAS as a singer, registration materials are on the NC ACDA website at fast. Rooms will be held until August 21st. You may contact
www.ncacdaonline.org. the hotel at 800.942.6556. Book early!

Male Vocal Arts Symposium
Facilitator: Carey Cannon, R&S Chair for Male Choirs
Clinician: Dr. Vijay Singh, Central Washington University
Choral Adjudication Training: Developing Error Detection Skills in
Pre-and In-Service Choral Conductors
Facilitator: Dr. Jeffrey Ward, R&S Youth and Student Activities
Clinician: Dr. John V. Sinclair, Rollins College, Winter Park, Florida
COLLEGE STUDENTS PLEASE NOTE:
Join ACDA for only $10.00!! NC ACDA and the
National Office will share the cost of your student mem-
bership when you attend Fall Conference. NC students
that pay the $25.00 student conference fee AND attend
the fall conference are eligible. Speak with Treasurer
Catherine Butler at Fall Conference (On site registration
requires payment with cash or a check).
Directions to Park Lane Hotel at Four Seasons
From the Raleigh-Durham area: Travel I-40 West towards
Greensboro. Take the High Point Road/Koury Blvd. exit #217.
Turn right onto High Point Road. Park Lane Hotel will be on
your right.
From the Charlotte area: From I-85 North, take I-40 West and
travel to the High Point Road Exit. At the end of the exit take a
right; the hotel will be on your right.
For more information:
Bill Young & Carol Ott, Conference Co-Chairs
Bill Young: Phone: 336.334.5493 ~ weyoung@uncg.edu
Carole Ott: Phone: 336.256.1476 ~ cjott@uncg.edu
or visit www.ncacdaonline.org
Fall 2012 page 11

NORTH CAROLINA ACDA FALL CONFERENCE REGISTRATION FORM

Pre-Registration Deadline Conference Costs
Pre-Registration (Postmarked on/before August 21,
August 21, 2012
2012)
___ $65 Active ACDA member
___ $45 first time member (joining ACDA to attend
Name________________________________________
conference)
ACDA membership number______________________ ___ $75 Non-ACDA Member, Spouse, Guest
(Visit www.acdaonline.org for member information) ___ $20 Collegiate member
___ $40 One day rate
Home Information
___ $30 Retired member
Address______________________________________

City, State, Zip________________________________ Registration (After August 21, 2012)

Phone_______________________________________ ___ $75 ACDA member

___ $55 First time member (joining ACDA to attend
E-mail_______________________________________
conference)
Work Information ___ $85 Non-ACDA Member, Spouse, Guest
Institution____________________________________
___ $30 Collegiate member
Address_____________________________________
___ $50 One day rate
City, State, Zip________________________________ ___ $40 Retired member
Phone_______________________________________ Total amount enclosed $_______________

email________________________________________
I have special needs and wish to be called about
arrangements.
I am a First-Year Teacher/Director
PLEASE 2OTE: NC ACDA will take photographs
during the conference for archival and publicity purposes.
These pictures may be used on the website, conference
recordings, newsletters and other NC ACDA print
materials. NC ACDA has permission to use photographs
taken during the Fall Conference on their website,
conference recordings, newsletters and other NC ACDA
mailings without any other express written consent.
Signature Date
CEU Credit
If you would like to receive CEU credit for attending the
conference, please obtain the pre-approval form from your
school system. NC ACDA will provide a documentation
of your attendance.
Instructions
1. Fill out the registration form and return as indicated
below by August 21st. Conference music packets cannot
be guaranteed for those who register after August 21st.
Registration fees are nonrefundable. Your cancelled check
is confirmation of registration.
2. Mail registration form and check (payable to NC
ACDA) to: Catherine Butler, NC ACDA Treasurer
410 Westdale Place
Greensboro, NC 27403
catherinebutler17@gmail.com
2OTE: On site registration requires payment
with cash or a check.
page 12 Carolina Caroler

LARA HOGGARD AWARD FOR DISTINGUISHED SERVICE

IN CHORAL MUSIC IN NORTH CAROLINA

OMIATIO FORM

Nominees Name ______________________________________________________________

Nominees Address ______________________________________________________________

_______________________________________________________________

Nominees Phone ______________________________________FAX____________________

Nominators Name ______________________________________________________________

Nominators Address ____________________________________________________________

______________________________________________________________

Nominators Phone ______________________________________FAX____________________

Nominators Email ______________________________________________________________

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, 2012 to:
Sam Doyle, Hoggard Award Chair
1313 Westminster Drive
Greensboro, NC 27410
336.282.0549
336.370.8287 (FAX)

If you prefer you may e-mail the information to: sam2ann@triad.rr.com

Fall 2012 page 13

North Carolina ACDA Luncheon

at the
North Carolina Music Educators Association
Annual In-Service Conference
Monday, November 12, 2012

Embassy Suites Garden Terrace ~ Winston-Salem, North Carolina ~ 12:30 Noon

Guest Choir:
East Carolina University Chamber Singers
Dr. Andrew Crane, Conductor

MENU:
Twin City Quarter Salad
Grilled Chicken Breast ~ Mashed Potatoes ~ Chefs Vegetables
Assorted Breads & Rolls ~ Cheesecake ~ Iced Tea & Coffee

Luncheon Cost: $26.00 ~ Meal Tickets MUST be ordered in advance!

NCMEA Members Pre-register for the Luncheon

On the Conference Pre-Registration Form Provided in
The North Carolina Music Educator
Or on the NCMEA Website: www. ncmea.net
---------------------------------------
Non-NCMEA / NC ACDA Members Place Luncheon Ticket Orders
by Submitting Form with Check

Name: __________________________________ ACDA Membership #: ________________

Address: ______________________ City: _______________________ Zip: _____________

NC ACDA Luncheon: ________ @ $26.00 = Total Amount Submitted: $ ______________

Make checks payable to: NCMEA

Mail this form and your check to: Dr. Reta R. Phifer, Executive Director
7520 East Independence Blvd., Suite 155
Charlotte, NC 28227
rphifer@ncmea.net
Deadline for Pre-registration for the ACDA Luncheon: October 15, 2012
page 14
S i n g i n g i n S t y l e : A u t h e n t i c i t y i n Pe r f o r m a n c e
Dr. Melodie Galloway, Ethnic & Multicultural Perspectives R&S Chair
When it comes to choosing music that is Ethnic or Multicul-
tural, the key is authenticity. Can I get my choir to sing this
with authority and with an understanding of the culture from
which it originates? Sure, there are issues of voicing, diffi-
culty, harmonic and rhythmic challenges, but the central idea
of authenticity in performance is critical for the students and
the audience. Where do we look for realistic support? There
are several
options.
The forum on ChoralNet
is often the best first
If we are to incorporate influences from
go-to place for collegial
discussion on this kind cultures and traditions other than our own we
of issue. You can open
up the forum page and
participate in conversa-
must rearrange our thinking on the subject
tions about all sorts of
things. It is a valuable
starting point for information and input from colleagues. A
next step in the pursuit of authenticity in performance is to
find resources that support the style you are working to
present.
For instance, a primary source for preparing an African song
would be talking with someone from Africa, specifically the
country the song is from, of course. This sounds simple
enough, except for some of us who do not have access to the
real thing, nor do we have access to a person from China for
Carolina Caroler
a Chinese piece, or someone who knows something about
music from their native land of Venezuela or Portugal. It can
feel, at times, like we are doing our best to authenticate our
music, but we are stepping out on the proverbial limb, hoping
the singers pronounce the text correctly, and hoping no one
who is really from that country is sitting in the audience.
As an educator, I know
that finding time in the
week is challenging for
any extensive research,
however, there are valu-
able sources to pursue
that might be well worth
the extra effort. It may
sound a bit tacky, but
how about talking with
your local Chinese restau-
rant owner about a par-
ticular Asian piece you are working on with your choir
(hopefully its the same country/region of Asia). On my cam-
pus at UNC Asheville I was planning some choruses from
Estonia for our upcoming University Singers concert and I
sought out the Admissions office for student information. I
was surprised to find out that in that one semester alone, we
had two visiting students from Tallin, Estonia. They were
only staying in Asheville for six months! I emailed them both
and they agreed to meet with me and then work with the
choir.
It turned out to be a delightful experience
they ended up singing on the concert with us
on our pieces, and, because they were both
good singers, I had them sing their national
anthem as a duet in the Estonian language.
This experience opened up dialogue about
cross-cultural issues, international study,
choral music, and future vocation. My
students enjoyed singing the music, but their
performance was broadened so far beyond
simply the good singing done by the choir.
It was an educational and enriching process,
that really didnt take much effort to engi-
neer. Sometimes all it takes is a phone call.
Other sources for making connections: local
churches ask about their congregational
makeup, ethnicities, community groups that
also meet at the church?; local libraries and
schools ask about personnel, resources;
local chamber of commerce offices ask
about community groups, foreign language
sources, etc. Of course, the internet is a great
source, but it is not always the best place to
start in finding local people and communi-
ties. (Continued on page 15)
Fall 2012 page 15

The Three Rs of Middle School: Recruit, Retain, Repeat

Eric Johnson, Middle School R&S Chair
Middle School is a crossroads of music education for todays students. It is at this level that our students are first allowed the
opportunity to choose what classes they will take. This is also the stage of education where we can hook them into a musical
path or loose them. I recently sent out a survey using GoogleDocs to middle school choral directors across the state. In this
survey I asked them about two key areas in the life of a choral program: Recruitment and Retention.

Recruitment
The ability to recruit singers is the lifeline of any choral program. If students do not sign up we potentially could end up
teaching classes outside of our field, or even end up without a position. Public relations and marketing were not part of our
undergraduate curriculums but they are a few of the many hats we wear as educators/recruiters. Ninety percent of middle
school recruiting is done at elementary schools so that we can reach our future students. We spend the other ten percent of our
recruiting efforts reaching out to children within our school that may not have initially chosen Chorus but change their mind as
middle school students often do. In my survey I gave teachers eight choices and asked them to select all that applied to their
recruitment efforts. These options centered on recruiting at both the elementary and middle level.

Recruitment Strategies

30
25
20
15
10
5
0
Perform at Mailings Personal Invite singers Send concert Have Talk with T-Shirts
elementary home to visits to to your videos out students students in
schools elementary feeder concerts recruit friends the halls or
schools schools (word of while on
mouth) lunch duty

One of the best avenues for recruiting comes naturally to us and our singers. Recruitment concerts are one of the best ways
to share information about your program, and to showcase the different options singers might have in your choir. Many of the
schools surveyed travel to elementary schools and perform there, but many schools wait for the students to visit their school.
My band director and I split the cost of bringing all of the fifth graders from our four feeder schools to our campus for a con-
(Continued on page 16)

Multicultural Repertoire... (Continued from page 14)

Colleges and universities, if you have one in your vicinity, Beyond language and making connections with ethnic
may often be the richest source for finding ethnicity and a peoples, support for teaching non-western styles in general is
place that will offer support in your pursuit. Start with the tremendously helpful in preparation for specific performance
Admissions office, or the Dean of Students office, tell them practices.
about your project and the connections you are wanting to
A brilliant article on teaching multicultural music-making is
make. You might be surprised in the directions it may lead.
Warren Senders and Lyle Davidsons Music and Multicultur-
Obviously, the best way to connect with true musical style is alism: Dimensions, Difficulties and Delights, from the Jour-
for the teacher to experience the music first-hand. Though nal for Learning Through Music/Summer 2000. The writers
we may not be able to fly to Bali next week, we can be more summarize, The biggest challenge is the one we face as edu-
intentional in seeking out primary source music. Look for cation professionals: If we are to incorporate influences from
concerts, music demonstrations, workshops with music from cultures and traditions other than our own, we must rearrange
a broad global spectrum. The drum circle in Asheville may our thinking on the subject. New conceptions of ensemble
not be the highest in scholarship, but it draws people from organization and group music-making can be taught only if
all sorts of cultures and backgrounds, and spotlights innova- they are experienced. After we have undergone genuinely
tion and creativity in rhythm, and is both presentational and meaningful musical learning ourselves, we can begin to de-
participatory. Go ahead and get your hands dirty it will open velop a vocabulary of analytical and pedagogical approaches
your mind and the minds of your students. which will enable us to convey these ideas to our students.
page 16
The Three Rs of Middle School... (Continued from page 15)
-cert. In this concert, we encourage the students to be in-
volved in music. We both talk about band and chorus equally
and we dont build one as better than the other. We each
showcase different choirs/bands and talk about what is
needed to be a part of music at the middle level. It is our goal
that the students be involved in music, but we make sure they
know if they dont sign up for band or chorus there wont be
music. Many teachers wait for move-up days or school
tours to do their recruitment concerts. Once teacher shared
that when the students tour their school they rotate and spend
twenty minutes with each elective class.
In addition to recruitment concerts, teachers can employ
many other tactics to help recruit future singers. Letters and
flyers are a fast and easy way to share information about your
program. These can be passed out at orientation nights, or
during personal visits to elementary music classes. If your
school system will allow it, packets can be made and the
elementary schools will distribute them for you. Many
schools also have phone message systems that information
can be shared through with the principals permission.
Often we need to have the opportunity to recruit singers
within our school during the later years. They may have
tried other classes, and now are looking for something new to
try. One of the best recruitment sources for these students are
your current students. Both in your school and outside of
your school, your current singers are the ones who can share
the best information about chorus. Middle school students
will follow each other. What one does another will do, and
so on. Word of mouth goes a long way, and if your students
are enjoying what they are doing, they will share that joy
with anyone who will listen.
Though teachers may not like having additional duties, this
is another great way to recruit singers. Morning bus/car duty
allows you to be one of the first people to greet students in
the morning. Lunch duty gives you a time to sit and talk with
small groups of students. A well designed T-shirt can also
turn your students into billboards for your program.
Some other suggestions for Recruitment are:
Make a Chorus commercial that can be shared in your
schools and other schools through YouTube, teacher tube, or
google video.
Invite elementary choirs to perform on your concert.
Host a half day or evening spring/summer choral camp.
This allows you to get to know and work with some students,
and allows them to get to know you.
If you cant go to elementary music classes due to sched-
uling, Skype the elementary children into whatever classes
you are teaching then. This can allow you to really demon-
strate what chorus is all about.
Have soloists or small groups sing the national anthem at
school and local athletic events.
Carolina Caroler
Submit all of your events to the local news paper or TV
station. A little publicity goes a long way.
Hold a chorus service project day.
Retention
We work hard to fill all of the spots in our program, but
unlike other classes in our school, we also work to keep them
with us for years. We have to constantly alter our curriculum
with new material and keep everything we do fresh and excit-
ing so that they will return to our classroom, and keep singing
beyond. It is our job in the middle grades to spark an interest
that will carry them into High School choral programs. Using
the GoogleDocs survey I gave teacher six options to see if
they were representative of how they retain students.
Each student comes to a choral program looking for some-
thing different. Some students are looking for somewhere
safe, to belong, and to achieve something greater than they
ever have. Others come for their friends, and some even
come for the music.
One thing every student wants is to feel successful. Music is
one of the best avenues for students to express themselves
and to find success. A well balanced concert program not
only educates but excites our singers. We are often faced
with the problem of so much music, so little time. Our sing-
ers want music they can relate to. Directors often use Holiday
concerts to give a mix of serious and fun music. Spring
Contests and Festivals bring about its own repertoire sugges-
tions and requirements. Many of the directors elaborated that
Spring Concerts are a great time for popular music. By this
time the singers have developed the skills and maturity
needed and ending the year with popular music will end the
year on a popular note with them.
Regardless of the music we choose be it fun or serious, our
singers want to be challenged. They may not always admit
it, they know that in chorus they can be pushed further and
held more accountable than other teachers in the building
will. Our singers want to be challenged and that was one of
the main retention strategies revealed in the survey. By chal-
lenging students we are able to give them praise all along the
journey and when they accomplish the goals they have been
striving towards. Working hard and having fun often go hand
in hand in choirs. Students are always looking for attention
and we are able to give them positive attention when they are
growing as singers. Many of the teachers surveyed shared
that using awards ceremonies to inspire their students and
acknowledging teamwork were excellent ways to praise
students and encouraged them to stay. Following concerts is
also a good time to celebrate with the stables of middle
school diets: doughnuts, ice cream and pizza. Little celebra-
tions go a long way for singers and it gives you all a chance
to reflect (Continued on page 17)
Fall 2012 page 17

L a r a H o g g a r d Aw a r d f o r D i s t i n g u i s h e d
Ser vice in Nor th Carolina Choral Music
The deadline for submitting recommendations is quickly approaching!
Please send in your recommendation no later than September 30th to:
Sam Doyle, Hoggard Award Chair
1313 Westminster Drive
Greensboro, NC 27410
336.282.0549 / 336.370.8287 (FAX)
If you prefer you may e-mail the information to: sam2ann@triad.rr.com. The form is on page 12,
or you may access a downloadable form and obtain more information at www.ncacdaonline.org,

The Three Rs of Middle School... (Continued from page 14)

on the journey from when the music started through the concert.
Singers are also looking for someone to be invested in them as an individual. Very few teachers take interest in what their
singers do outside the classroom. Attending one of every sporting events, or the opening night of a play, or even a club meet-
ing will allow your singers to feel your support in all that they do. This will also help with recruitment of singers who may not
have initially chosen chorus. We may never want to say it aloud, but students do sign up for field trips. This past year if I had
not held any trips my eighth grade students never would have left the building. As students get up in age field trips do not take
great precedent in other classes. I try to hold two trips per year for each grade level. These trips may be as simple as riding to a
nursing home at Christmas or taking an over night trip to Bush Gardens.
I seek out every opportunity I can for my singers to perform, and they seek out every opportunity they can to miss school.
This is a win-win situation when it comes to retention in the choral program. Participating in local, state, divisional, and even
national honor choirs will spark a great interest for your singers. When I have students selected for honor choirs, I always
purchase them a T-shirt so that they can wear when they talk about the opportunity they had. I also recognize those singers
with a distinguishing mark in the concert program and with a medal or trophy at concerts.

Retention Strategies

40
35
30
25
20
15
10
5
0
Popular Be the nice Field Trips Investing in Challenging Opportunities for
music/show teacher students (being students success and
choir present outside musically praise
the choral
classroom)

Repeat
Though I only surveyed the directors about two Rs (Recruitment and Retention). it was clear a third R was present, and that
is Repeat. By the time we wrap up recruiting we are working to retain singers. Recruitment and retention are both year long
events, and before you know it the year is over and it is time to start all over again.
One concept that really shapes my educational philosophy is that we as choral directors are the most constant factor in
their education. Math and Social Studies teachers change every year, and other elective teachers change at the semester, but
we for the most part get to have them all year and for multiple years. It is this bit of consistency that makes the difference in
their lives, because we can always be there for them. This is why I strive to retain and recruit every singer I can.
Though our singers my never go on to become professional musicians, they may one day sing in a church or community choir,
they may one day buy a candy bar because it benefits the choral program, or they may one day encourage their own children to
sing the song in their heart.
page 18 Carolina Caroler

Developing Error Detection Skills in Pre and In-Service Choral Conductors

Dr. Jeffrey Ward, Student Activities R&S Chair
Although the workshop is sponsored by the student activities
section of 2C ACDA, it is open to all conference registrants.

Workshop participants will develop error detection and adjudication skills through the Choir Adjudication Training
(CAT) (Ward, in press). In the CAT, workshop participants work with a workshop facilitator (Ward) and two other
experienced choral conductors and adjudicators (see below for proposed guest adjudicators). Through the adjudication
format of the CAT, workshop participants can focus on detecting, correcting, diagnosing, and analyzing choral ensemble
errors in an environment where the conducting-needs of the podium interfere.
The sequence of the CAT is:
1. Introduction to large ensemble festival procedures
a. Choral personnel and repertoire requirements
b. Adjudication form
c. Adjudication rubric
2. Adjudication of live choirs (or recordings as needed) by training participants and experienced adjudicators
3. Adjudicator clinics
a. Adjudicator verbally shares the content of his adjudication form to the training participants, using each choir as an il-
lustration of his comments.
b. Adjudicator shares his diagnosis and analysis of the errors and offers solutions
c. Adjudicator implements the solutions with each performing choir to illustrate to the training participants how these
solutions work in a "real life" situation.
4. Adjudicator-led small groups
a. Training participants are divided into small groups headed by adjudicator and facilitator.
b. Small groups examine and define the six performance dimensions of the adjudication form (tone/vocal production,
intonation, diction, technique, musicality, and overall effect) and the sub-dimensions in each area.
c. Small groups create lists of causes and solutions of errors that occur in each performance dimension and sub-
dimension as applicable to middle and high school choirs.
5. Facilitator clinic
a. Small groups share lists with other groups.
b. Facilitator clearly defines performance dimension terminology, eliminating possible misconceptions.
c. Facilitator plays recorded positive and negative examples, illustrating the performance dimensions delineated by the
adjudication form.
d. Facilitator leads a discussion in analyzing the recorded examples for errors and potential solutions to those errors.
6. Adjudication of live or recorded choirs by training participants and experienced adjudicators.
In addition to training workshop, the adjudication forms of the participants and adjudicators will be explored to provide
research data for the development of future error detection strategies for pre- and in-service choral conductors. If partici-
pants choose to participate in the workshops, they may choose not to have their adjudication form included in research
data collection.
Facilitator: Dr. Jeffrey Ward is the developer of the Choir Adjudication Training (CAT) and researcher in the
areas of developing error detection and music assessment skills in pre-service conductors and music educators.
He has presented research at the 2011 Society for Teacher Music Education Symposium in Greensboro, North
Carolina, the 3rd International Symposium for Assessment in Music Education in Bremen, Germany, the 29th
World Conference of the International Society for Music Education (ISME) in Beijing, China, the 2nd Interna-
tional Symposium for Assessment in Music Education in Gainesville, Florida. In the 2012-13 academic year, he
is scheduled to present research at the 30th World Conference of the International Society for Music Education
(ISME) in Thessaloniki, Greece and the Mentor Institute at the University of New Mexico.
Dr. Ward is Interim Associate Dean for Assessment, Associate Professor of Choral Music Education and Associate Director of
Choral Activities at East Carolina University in Greenville, North Carolina. Additionally, he is the Artistic Director of the Greenville
Choral Society and Director of Traditional Music for St. James United Methodist Church in Greenville.
Fall 2012 page 19
page 20
Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207
www.ncacdaonline.org
Included in this Issue: Conference Information, Forms, and the Coming Year
Lifes Challenges
Anne Saxon, Editor
Recently, over a three-week
period, I lost my mother, my
son got married, and then my
father-in-law died. Needless
to say it has been truly chal-
lenging for my family as we
bring closure on one hand,
and celebrate the future on the
other.
I think that my experience and training as a
performing artist, and leading choirs in
performance on a regular basis, have enabled
me to take the tough things that happen in
life and find a place to continue forward
while dealing with the challenges at hand. It's
what we all do, and when a high degree of
personal emotion is involved, it shows us
what we are made of. It also shows us that
there is greater musical and spiritual commu-
nity out there willing to drop everything and
help shepherd us as needed. When all else
fails, I've learned to just "lay it on the altar"
and know that there is a grand plan out there
that we dont always understand. --Anne
Carolina Caroler
The Carolina Caroler is the official newsletter of the North Carolina chapter of
the American Choral Directors Association. Articles and advertisements may be
submitted to: 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 typewritersit is not necessary with word processing.
Issue Deadline Publication
Fall June 15 July 15
Spring Dec. 15 Jan. 15
Summer April 15 May 15
NC ACDA reserves the right to edit any application for appearance and to edit all
materials proposed for distribution.
Advertising Rates
The Carolina Caroler will accept advertising at the following rates:
Full page-$150.00 (c. 7.5x10)
Half page-$100.00 (c. 7.5x 4.5)
Quarter page-$50.00 (c. 3.75x 4.5)
Discounts are available on multiple ads of the same design. Rates listed are for
digital .jpg or .pdf files. A check made payable to North Carolina ACDA must
accompany the order. Advertisers will NOT be billed. Copy will not run without
advance payment. Advertising copy is subject to editorial approval. The editor
reserves the right to head and/or box any advertisement bearing confusing resem-
blance to editorial material.