Spring 2017 page 1

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

UPCOMING EVENTS Inside

Presidents 2,
Message 12

Hoggard Award 3
Winner

Motivating Middle 4-5

School Students

Womens Choir 6-7

Commission

ACDA History 8

ACDA National 9
Conference

Application for 10-

Performance 11

Fall Conference
In Review:
ALSO INSIDE: Mentor 13-
statements 16
Photos 17

NCMEA Luncheon 18
Hoggard Award
Treasurers Report 18

Membership 19
Application Form
Mentor Statements
Directories
R & R Articles NC ACDA Officers 2

NC ACDA Specially 3
Appointed Officers

NC ACDA NC ACDA R&R 4-5

Chairs
Conference Recap
Volume 18, Issue 1
Spring 2017
page 2
NC ACDA Officers
2015-2017
President
Anne Saxon
Winston-Salem Girls Chorus
4105 Sewanee Drive
Winston-Salem, NC 27106
336.922.4073 (home)
336.413.8227 (mobile)
Midpatch@aol.com
Past President
Sandy Holland
Young Voices of the Carolinas
2517 Fort Street
Charlotte, NC 28205
704.451.4194 mobile
704.374.1892 x24
srholland64@gmail.com
President-Elect
Andy Roby
First Baptist Church Shelby
120 North Lafayette Street
Shelby, NC 2815
704.482.3467
aroby72359@gmail.com
Secretary & Registrar
Bethany Jennings
Stuart Cramer High School
101 Lakewood Road
Belmont, NC 28012
336.501.0103
ncacdasecretary@gmail.com
Treasurer
Carolyn Hall
High Point Young Voices
4504 Talavera Drive
High Point, NC 27265
336.841.0571 (home)
704.674.6948 (mobile)
ncacdatreasurer@gmail.com
Membership Chair
Ginger Wyrick
6200 Maple Cove Lane
Charlotte, NC 28269
704.231.8443
ggw@hwaci.com
Newsletter Editor
Nathan Leaf
NC State University
Price Music Center
Campus Box 7311
Raleigh, NC 27695
919.515.8280
njleaf@ncsu.edu
C a r oCarolina
l i n a C aCaroler
roler
Presidents Message:
5 0 Ye a r s a n d C o u n t i n g
Anne Saxon, NC ACDA President
Last year when we formed our Visioning Team, I was
excited to look to where we should be heading, but there were
still a lot of unanswered questions about where we had been
as an organization. Ive heard it said that when the student is
ready the master will come, and low and behold, a passing
conversation after a church choir rehearsal revealed the
master, Joel Stegall, with whom I had sung together for the previous nine years.
Joel was an assistant professor at Mars Hill College, and a doctoral student at UNC
Chapel Hill at the time he served as the NC ACDA President beginning in 1972.
Lara Hoggard, who was a professor at UNC Chapel Hill at the time, suggested and
encouraged Joel to organize a state collegiate festival. Hoggard had been Joels idol
since Joel participated in an All-State high school chorus in Saint Pauls led by
Hoggard 10 years earlier, so he felt he could not refuse. Being present at such a
foundational level of NC ACDA afforded him experiences very early in his career
that made him the perfect candidate to become our Historian. Yes, folks, I had hit
the jackpot, and like Dorothy, it was in my own back yard!
Joel, and his wife, June, are still
very actively involved in choral My curious nature lends me
music, and have a long history with
ACDA. Having moved to Winston-
to go a step further: what
Salem for their retirement, it is most choral leadership potential
inspiring to see June serve as our
church choirs Assitant Director, and
is here, right in our own
to lead a local retirement community state, waiting to be tapped?
choir; Joel also sings in the Winston-
Salem Symphony Chorale. They
both have strong ties to stellar choral music and musicians, and I daresay I have on-
ly seen but a fraction of the incredible talent and experiences of these two modest
and delightful people.
My original thoughts regarding NC ACDAs history were that although we had a
list of Lara Hoggard Award winners, there was no presidents list. I could remem-
ber several from over the years, but what about before then? That paved the way for
many more questions to comeJoel has been like a private investigator, an NC
ACDA sleuth, as it were, and here 18 months later we have history draft #26, 48
pages and counting, of our rich and colorful history! Joel has made phone calls,
written letters, sent emails and texts, held interviews, contacted the national office,
and turned over countless stones in this process. His memory, and his scholarship,
are quite profound. This draft will be ready for viewing on our web site later this
spring, and will be an ongoing project for the years to come. Joel has even created a
Historians job description and will be ready to pass it along to someone else on Ju-
ly 1st when his term is over (if you are interested please let me know!). Our files and
memorabilia are in order, and we now have a template to use and share.
Continued on page 12
Spring 2017 page 3

NC ACDA Specially
G i n g e r Wy r i c k Appointed Officers

2 0 1 6 L a r a H o g ga r d Aw a r d W i n n e r Auditions
Wendy Looker
Guilford College, Greensboro
Ginger Wyrick, conductor, author, clinician, lecturer, 336.316.2423 (office)
teacher, and performer, serves on the music faculty at UNC wlooker@guilford.edu
Charlotte where she directs The Charlotteans, UNCC's
Conference Exhibits
Women's Glee, and teaches accompanying and theory clas- Liz Doebler
ses. She frequently leads workshops and lectures on music High Point Univ., High Point
education, serves as an adjudicator for piano, voice, and cho- 336.420.6011
liz.doebler@gmail.com
ral festivals, and appears as guest conductor for honor choirs, festivals and camps.
Conducting engagements include national, regional, and local events in 17 Conference Site Host
states, the District of Columbia, and 4 foreign countries. She conducted a sister Fred Spano
cities concert tour representing Charlotte, NC in Wracow, Poland, and presented UNC Charlotte
704.687.0263
a gala performance for the US Consulate General celebrating 90 years of US- fspano@uncc.edu
Poland relations. Ms. Wyrick has served as the invited guest conductor for the
Charlotte Music Club's annual performance of Messiah since 2010. She is a for- Historian
mer chorus master and performer with Augusta Opera. Joel Stegall
Winston-Salem
Ms. Wyrick has authored 16 books and numerous periodicals on music and cur- 336.721.1719
riculum development. She has served the local church in music ministry and re- joelstegall@triad.rr.com
mains active as a liturgical arts consultant, choir director, and organist. Ms.
Wyrick leads training events for all ages and has appeared at national symposi- NC Sings! Facilitator
VACANT
ums presenting her research on the changing role of music in the United States
and the local church. Hoggard Award Chair
Ms. Wyrick earned music degrees from the University of North Carolina at Sam Doyle
Greensboro and Southern Methodist University. Honors include membership in Weaver Academy, Greensboro
336.285.6916
Pi Kappa Lambda and Mu Phi Epsilon. Ms. Wyrick holds leadership positions in sam2ann69@gmail.com
several professional organizations. She is a former president of the North Carolina
American Choral Director's Association and continues to serve on its board. Webmaster
Kelly Turner
Winston-Salem
Past Hoggard Award Recipients 336.655.8798
phoneticsoft@gmail.com
1986 Richard Cox 2003 Joel Reed
1987 Richard Brewer 2004 David Pegg Technology/Social Media Ch.
William Buck Scoggins
1988 Paul Frye 2005 Maribeth Yoder-White W.C. Friday Middle School
1989 Maxine Blackwell 2006 Marta Force Dallas
864.515.8280
1990 Rhonda Fleming 2007 Jerry Cribbs wpscoggins@gaston.k12.nc.us
1991 Jim Jerome Williams 2008 Clinton Parker
Conference Reading Sessions
1993 Hilary Apfelstadt 2009 Alfred E. Sturgis Paul Etter
1994 Barbara Bair 2010 Sandy Beam Gardner-Webb University
Boiling Springs
1995 Sam Doyle 2011 Betty-Neil G. Parsons 704.406.3992
1997 Don Hinshaw 2012 Richard Keasler petter@gardner-webb.edu

1998 Richard Morgan 2013 Marshall Butler, Jr. Presidents Council Advisor
2000 Robert Holquist 2014 J. Don Coleman Bill Young
UNC Greensboro
2001 William Carroll 2015 Welborn E. Young 336.334.5493
2002 Rodney Wynkoop weyoung@uncg.edu
page 4 Carolina Caroler

NC ACDA Repertoire & Motivating Middle School Students

Resource Chairs
Catie Hitzigrath, Jr High/Middle School R&R Chair
Barbershop
Michael Martin
Methodist University,
Fayetteville Returning to school after Winter Break brings excitement and new
910.630.7151 challenges. Every program is different, but in my world we are prepar-
mmartin@methodist.edu ing for MPA, Carowinds, Show Choir Competitions and more. The
students exceeded my expectations in the fall, but now that the holi-
Boychoirs days are over and snow days are all used up, I seem to be the only one
Jeremy Tucker interested in doing any work around here. Before we start counting the days until summer I
Raleigh Boychoir
Green Hope High School, Cary
want to offer you some strategies to help you and your students have a productive and suc-
252.315.1718 cessful spring semester.
jeremyclaytontucker@gmail.com
Everyday is a fresh start, for you and for them.
Childrens Choirs This can be a lot easier said than done. Some students come to class every day in defense
Paul Flowers
mode, assuming their teacher is going to pick a fight with them before class has even start-
Hope Middle School
Greenville Choral Society
ed. Make your first statement to every child a positive one. It doesnt matter if theyre not
Childrens Chorus in dress code, if theyre yelling at someone in the hallway, or if theyre late to class. If the
252.375.4673 only thing you can come up with is, I like your shoes!, then you lead with that. Letting
flowerp@pitt.k12.nc.us them walk in the door and take a breath before you correct their behavior will only increase
your chances of success with that student.
College/University Choirs Even with initially positive interactions, students will still sometimes fail to settle and
James Franklin
focus in the classroom. There will be days where they wont do their work, they will make
East Carolina University
469.744.2786 mistakes, and they will push boundaries for the sake of their pride. Situations like these
JFranklin.choir@gmail.com make me feel incredibly frustrated and disappointed because I know how capable all of my
students are, and it is hurtful watching them create obstacles for themselves.
Two-Year College Choirs When students have hard days like that, a fresh start the next day can be the best thing for
Jaeyoon Kim them. A clean slate is necessary for any student to be more successful upon returning to
UNC Pembroke class. If a student feels like you are mad or disappointed in them, they are likely to assume
910.775.4152
Jaeyoon.kim@nucp.edu that being successful in your class today is hopeless. Also, consider the amount of energy it
takes to hold a grudge against a 12-year-old because of something they did two days ago.
Community Choirs Pursuing this strategy will leave you forever tired.
Tony Spencer
Rutherford Community Chorus Allowing Input/Ownership in the Classroom
Forest City Have you ever tried to play a game with people, and you were the only person at the table
828.289.4638
tspencer@bellsouth.net
that didnt understand the rules? If you have, you probably were not very invested and may
have not even finished the game unless someone was helping you understand what was
Ethnic Music going on. The same holds true in your classroom. If a student feels like they are not
Gerald Knight included in the process or if they dont understand whats going on in the room, they are
Elon University, Elon much less likely to invest any time or energy into being a part of the class. I try to create
803.348.8520 opportunities whenever possible for students to have input and take ownership in THEIR
gknight2@elon.edu class. If Im doing my job, I should be functioning more and more as a facilitator as the
Jazz Choirs
year goes on.
Stephen Futrell It may sound insignificant, but giving students a chance to have opinions on what they
Elon University, Elon are singing helps increase productivity during rehearsal and gives them a sense of owner-
336.278.5681 ship over their concert repertoire. This is not to say they should be able to choose every
sfutrell@elon.edu song for every concert, but its okay to be flexible with them. My general rule is that for
every concert we perform, four songs are my choice and one song is theirs. The one song
Music in Worship
tends to be a fun Christmas or winter song in December and a pop song in May.
Aaron Jackson
Christ Baptist Church, Raleigh
919.573.5454 Continued on next page
arjackson821@gmail.com
Spring 2017 page 5

NC ACDA Repertoire &

Resource Chairs
I also let students have a voice in what we sing for Music Performance Adjudication.
Every year we work on multiple songs, usually four or five, and run through each of them Mens Choirs
quickly. We play through parts, and sometimes listen to a recording so they have an idea of Christopher Aitken
what each song is like and then allow the students to pick the two that we take to MPA. The Asheville Christian Academy
songs I present to them are all songs I have pre-approved and we discuss how and why we Swannanoa
828.581.2200
chose the two songs (encouraging contrast between the pieces). By allowing them to choose chris.aitken@acalion.org
their own music they are more engaged, they feel a part of the decision making process, and
no matter what they pick, I know they can be successful. Junior High/
Student Leadership has also had a huge impact on keeping my students motivated. In 8th Middle School Choirs
grade, students run for positions and elect three section leaders and two co-presidents. I Catie Hitzigrath
made the choice to have two people equally in charge because I have found that it puts less Hanes Middle School
Winston-Salem
pressure on one individual. Students are often more successful when they have a partner to 919.649-0080
share the responsibility with. This works especially well if at least one of them has started catie.hitzigrath@gmail.com
piano lessons because they can assist with learning parts in
sectionals. Section leaders are in control of sectional re- Senior High School Choirs
The fastest path hearsals (usually guided by a pre-recorded track I provide), Carol Earnhardt
Glenn High School
to respect is to and co-presidents lead rehearsal in my absence. These stu-
dent leaders are responsible for leading students in the re- Kernersville
say what you hearsal plan I leave for them. They also record a video of
336.771.4500
cearnhardt@wsfcs.kas.nc.us
their progress that day and share it with me on Google
mean and mean drive. These leaders will often lead warm ups or sight sing- Show Choirs
what you say. ing during the beginning of class if I am handling an indi-
vidual situation, taking up money, or am otherwise unable
Heidi Hickox
William A Hough High School
to do multiple things at a time. Cornelius
704.516.9770
Heidi1.hickox@cms.k12.nc.us
Fair and Follow Through
I see students come into my classroom on a regular basis incredibly frustrated because Student Activities
they feel that many of their teachers do not treat them fairly. We have all been guilty of Shannon Gravelle
allowing students who typically follow the rules a little bit of leeway when they are not Meredith College, Raleigh
following the dress code or show up late one day. The problem with this is when you do not smgravelle@meredith.edu
allow that same grace to everyone. In my classroom, we establish a clear set of expectations Womens Choirs
at the beginning of the year and those rules apply to everyone. If Kianna is not meeting the Nana Wolfe-Hill
expectations and I tell her its okay just this once, then I have to do the same for the student Wingate University, Wingate
in the back row who commits the same infraction. If there is a consequence for an action, 651.208.4153
then you must follow through on that consequence. When I first started teaching one of my n.wolfewhill@wingate.edu
biggest mistakes was getting frustrated quickly and listing all of the things that were going
to happen if students didnt follow directions. As you can imagine, that was not effective.
NC ACDA VISION
If you tell a student you are going to call home and you dont, you immediately lose
NC ACDA enriches our
credibility. Only throw out consequences that you are confident you can enforce. We have diverse lives and empowers
a tendency to do this when we are upset, hoping it will scare students into following communities through the
directions. This does not work. The fastest path to respect is to say what you mean and transformative nature of the
mean what you say. Following through with this and having the same expectations for all choral arts.
students will make a safe environment that they can learn in.
Sometimes the excitement of music-making causes us forget our job is not just to teach NC ACDA MISSION
music, but to teach our students how to become functioning members of society. I have NC ACDA invests in the
learned as an educator that my opportunities for learning are never over because I am al- development and growth of
ways looking for new strategies to help my students. Not every strategy works for every the choral arts through
teacher, so like any idea you attempt for the first time, there will likely be some trial and exceptional experiences in
error. I hope that the strategies I have shared with you today can either help you jumpstart artistry, innovations,
diversity, and leadership.
your spring semester or maybe help you kick off your new school year in the fall!
page 6 Carolina Caroler

Commissioning Consortium Update and Invitation to Participate:

Appalachian Folk Songs for Womens Choir

Nana Wolfe-Hill, Womens Choir R&R Chair

Consortium Update
Over the last 8 months, conductors located near the Appalachian mountains have been
invited to participate in a consortium to commission Linda Tutas Haugen to create a set
of Appalachian folk songs for womens choir. Currently, the project has raised over 85% of the final goal of
$16,000! Thank you to the following organizations and conductors for participating in the project:
Appalachian State University Hayes School of Music, Priscilla Porterfield
East Mecklenburg High School, Kathryn Heinen
Guilford College, Wendy Looker
Hollins University, Shelbie Wahl-Fouts (1/2 movement)
Longwood University, Pamela McDermott
Meredith College, Shannon Gravelle (full movement)
The North Carolina Governor's School East and West Choral Music Ensembles, David H. Connell, Gwen
McLeod Hall, Alexander Lloyd Blake, and Stuart Chapman Hill (full movement)
North Carolina State University, Nathan Leaf
Sanderson High School, Beth Philemon
University of North Carolina-Greensboro, Welborn Young
Wingate University, Nana Wolfe-Hill
We are looking for four more choirs to participate (at $500 each) or one choir to commission a move-
ment ($2,000). If your organization is interested in joining the consortium, please read the information below
for more details.

About the Composer

Linda Tutas Haugen lives in Minnesota, but is closely connected with the musical heritage of North Caroli-
na. Her grandmother was born in Hickory, NC and eventually moved to Wisconsin to marry. When Linda
was a child, she would sit on her grandmothers lap and listen to her sing folk songs and talk about her love
of NC and the Blue Ridge Mountains. Linda ended up majoring in music at St. Olaf College followed by a
Master of Music degree in Composition and Theory from the University of Minnesota, studying with Pulitz-
er Prize winning composer, Dominick Argento. While at the University, she studied American folk song
taught by a highly knowledgeable (and eccentric) professor in the poetry department. These experiences fos-
tered a deep appreciation and admiration for the folk tunes and texts of our region.
Today, Lindas catalogue of over 50 compositions includes eight orchestral scores, including two large
works for chorus and orchestra, an opera, 28 choral compositions, a score for wind ensemble, and multiple
instrumental, vocal, and chamber pieces. Her adventurous approach has resulted in works that have been crit-
ically acclaimed as music of character and genuine beauty, (Minneapolis Star Tribune) superbly crafted...
engaging... beautiful and powerful (Opera Today). Her music has been performed throughout the US, in
Continued on next page
Spring 2017 page 7

Europe, Korea and Australia, including the North Carolina Symphony and the North Carolina Governors
School. She has received numerous awards and grants in composition from American Composers Forum,
ASCAP, Meet The Composer, Minnesota State Arts Board, NEA, and private foundations.
In choral music, she is highly recognized for her 7-movement work Anne Frank: A Living Voice that was
commissioned by the San Francisco Girls Chorus and has received nearly 40 performances across the country.
Her opera, Pocahontas, was commissioned by the Virginia Arts Festival and the Virginia Opera for the 400th
Anniversary of Jamestown in 2007, and premiered in Norfolk and Williamsburg, VA. For more information
about Linda, visit http://lindatutashaugen.com

About the Project

The project will consist of a set of fourfive songs/folksongs with texts that reflect life in Appalachia. The
movements will be contrasting in character, voicing (possibilities ranging from unison to four-part SSAA), and
instrumentation. Optional folk instruments may be used, however the instrumentation will be flexible so that if
folk instruments are not available, the pieces will be able to be successfully performed without them or with
alternative standard instruments, i.e., piano. Through her research, Linda will remain true to the folk tradition
by selecting instruments and compositional approaches with knowledge, thoughtfulness, and care.

About Joining the Commissioning Consortium

We are inviting up to 32 choirs to participate by contributing $500 each or a choir may commission of a
movement which will give them premiere priorities for that movement. The total length of the set will be 14 -
16 minutes of music. The deadline for submitting funds is February 28, 2017. Because of the research involved
and Lindas composing schedule, the completion of the composition is scheduled for spring of 2018, with
choirs receiving the music by pdf in late spring of 2018. We hope to hold the NC state premiere at the NC
ACDA Convention in the fall of 2018 with members from each participating choir. Please consider pledging
your intention by February 1, 2017.

Participation Timeline Summary:

January 1 February 1, 2017: Contact Nana Wolfe-Hill with intent to participate
January 1 February 28, 2017: Submit funds of $500, or full mvmnt.
Spring of 2018: Composition completed and delivered by pdf
October of 2018: North Carolina ACDA premiere at State Convention, other premieres may also be
scheduled

When we recently spoke on the phone to solidify aspects about the project, Linda mentioned, A little piece
of me goes with each of my compositions. She doesnt take on every commissioning project that comes her
way. Instead, she carefully selects the projects that speak to her heartand this is one of them.
Thank you for your thoughtful consideration. Feel free to contact me with any questions at
n.wolfehill@wingate.edu or 651-208-4153. For additional specific information visit the Commissioning Con-
sortium: Appalachian Folk Songs for Womens Choir page: http://www.lindatutashaugen.com/appalachian-
songs-for-women-consortium.htm.
page 8 Carolina Caroler

Do You Know ACDA History?

Joel Stegall, NC ACDA Historian

North Carolina choral directors were prominent in the formation of ACDA at the na-
tional level. One of the organizers had North Carolina connections. At least three char-
ter members and the first three Southern Division presidents were from North Carolina.

Founding Steering Committee and Second National President

Dr. Elwood Woody Keister, a member of the founding Steering Committee and later the second national
president, was choral director at East Carolina University before moving to the University of Florida just two
years before ACDA was founded in 1959.

Charter Members
In May 1959, three months after ACDA was founded, 79 charter members included three from North Caro-
lina: James Berry, Myers Park Baptist Church, Charlotte; Cecil Brodt, Brodt Music Co., Charlotte; and, Paul
Fry, Albemarle Senior High School.
By the end of 1964, other North Carolina choral directors had signed on: Glenn Draper, Pfeiffer College;
Robert Ellis, Hickory; Samuel Hill, Durham; Evelyn Johnson, Elizabeth City; Gordon Johnson, Greenville;
Margaret Sloan Muse, Statesville; Thane McDonald, Wake Forest College; Richard Renfro, Western Carolina
College; Paul W. Peterson, Salem College; Harvey Woodruff, Charlotte; Charles Stevens, East Carolina Col-
lege; Charles Starnes, Charlotte; Maxine Blackwell, Kernersville; Eucella Hamilton, Hickory; Marion McKel-
lar Israel, Rockingham; and, Clarissa May, Winterville.

Southern Division Leadership in ACDAs Formative Years

North Carolinians held the top leadership position in the Southern Division for nine years after the division
was formed. Paul Fry of Albemarle, NC was the first chairman (as the top office was called then). Richard
Cox of the University of North Carolina at Greensboro succeeded Fry and led in the transition to the first in-
dependent ACDA conferences.

Southern Division Chairmen from 1962-75:

1962-67: Paul Fry, Albemarle Senior High School

1967-71: Richard Cox, University of North Carolina at Greensboro
1971-75: Colleen Kirk, Florida State University

Editors Note: This was excerpted from the History of NC ACDA, which Joel Stegall expects to complete by
the end of spring semester 2017.
Spring 2017 page 9

National Conference 2017: Minneapolis

Andrew Roby, NC ACDA President Elect

A city with superb choral performance facilities, an outstanding convention center, an

array of excellent hotels, fine dining options, and a vibrant city cultural life beckons us
to venture far northward this March 8-11 ACDA's 2017 National Conference. Concerts
by world-renowned choral groups will once again highlight the conference. Featured
choirs and concerts are simply too numerous to mention here, but please be sure to
check out the wealth of information at www.acda.org/conferences.asp where you can
find a full listing of all choirs, concerts, interest sessions, and special events. As a church musician, I have per-
sonally noted the record number of offerings related to choral music in worship. Inspiration, enlightment, and
resources will be in abundance for choral directors in all settings and levels.
ACDA celebrates "A Life of Song" in Minneapolis. I urge you to join me and the thousands of choral musi-
cians who will be there. And don't worry about the weather. It probably will be cold, so dress appropriately,
but be aware that Minneapolis has an extensive indoor walkway system connecting the Convention Center
with shopping, restaurants, and hotels throughout the center city area. Taxis and public transit are also easily
accessible from nearly anywhere. Minneapolis promises to offer warm, gracious hospitality regardless of the
weather. So register today and make your plans to be in Minneapolis in March!

Visit ACDA.ORG for more information

page 10 Carolina Caroler
Spring 2017 page 11
page 12 Carolina Caroler

P r e s i d e n t s M e s s a ge List of NC ACDA Presidents:

Continued from page 2

Joels work has uncovered the fact that it is our 50th Anni-
1964 Paul Fry*
versary Season, and once I learned this last spring weve tried
1968 Paul Peterson*
to integrate celebrating this in our fall conference and lunch-
eon events. It was such a blast to cut an anniversary cake dur- 1970 Carl Crostedt*
ing the conference luncheon, and add a special showing of 1974 Joel R Stegall
Robert Shaw: The Film as a part of the weekends events. 1977 Clinton Parker
Then during our November luncheon there were 11 Past NC 1979 Gary Shive
ACDA Presidents and 14 Hoggard Award Recipients present 1980 David Pegg
as our honored guests, a literal whos who all together in 1981 (?)
the same room. As far as I know, weve never really done 1983 Robert P. Keener*
this kind of thing before, and it was truly a homecoming. It 1985 Richard G. Cox
was fun, and a poignant moment, to toast to our honored 1987 Rhonda J. Fleming
guests, and to NC ACDA as an organization. As I have stated
1989 Robert Holquist
before, I am a product of the choral music of this state; to see
1991 Hilary Apfelstadt
these choral giants -- whom I have revered, learned from,
and served in NC ACDA together for years -- seated around 1993 Noel Lovelace
us during our toasting, was a very emotional moment. 1995 Joel F. Reed
Past President Ginger Wyrick most deseveredly received 1997 William Carroll
the Hoggard Award during this event. During Gingers ac- 1999 Reta R. Phifer
ceptance speech she summed it all up beautifully, saying how 2001 Maribeth Yoder-White
over the years our NC ACDA partners will become our close 2003 Ann Pratt Long
colleagues and great friends, sharing our tears, joys, and tri-
2005 Janna K. Brendell
umphs together. A career in choral music is certainly unique
and can be extremely challenging and isolating at times. NC 2007 Tom Shelton
ACDA is here to be your support system and give you a 2009 Daniel Bara
greater connection to help you grow and flourish. It is truly 2011 Ginger Wyrick
servant leadership in a most fulfilling way, from teaching a 2013 Welborn Young
kid how to sing beautifully, to those moments of cold chills 2015 Sandy Holland
during well planned rehearsals and spontaneous break-out
2017 - Anne Murray Saxon
concerts in hallways and on choir tours.
My curious nature lends me to go a step further: what cho-
*Deceased
ral leadership potential is here, right in our own state, waiting
to be tapped? Years ago when I was the Middle School R&S
Chair I certainly didnt think that one day I would end up as
your president! Therefore, I encourage you to step up, speak
out, and share your knowledge and experiences as a choral
musician. Not only that, share your PASSION for what you
are doing, out there, in your own little slice of the world. Just
think if the impact we can make in the choral community
here, right in our own state!
We have no idea how much we can help others and grow,
in this thing called NC ACDA together. Now, on to the
next 50 years! Anne
Spring 2017 page 13

Fall Conference in Review: Mentor Statements

EDITORS NOTE: For this falls conference, we asked the conductors
of the performing choirs to reflect and write statements about mentors
that had an influence on their professional work. These statements were
read as part of the introduction of the choirs, in place of conductor
biographies. We are happy to share these statements with you again on
the next several pages.

The mentor acknowledgement poster at the fall conference.

David Gresham, Brevard College

I have had many mentors during my time as a

musician, but today Id like to recognize the im-
portance of Dr. Larry Kaptein (Professor Emeri-
tus from University of Colorado at Boulder) on
my musical journey. Dr. Kaptein said two things
that resonated with me immediately when I began
conducting studies with him more than 20 years
ago. The first: each member of your choir should
leave your rehearsals a better singer than when
they came in. His insistence on a good under-
standing of the voice, and the development of
good technique in the midst of rehearsing choral
repertoire was revelatory to me, and I still make
that a primary goal.
The second: The choral palette should have
many colors. Since working with him, I have
strived to find those different colors in my ensem-
bles - to make, as an example, Sweelincks sound
different than a spiritual. Perhaps the thing that
matters to me more than all of the wonderful
things I learned under his guidance is that I con-
sider him a friend and look forward to visits when
I am back in Colorado.
Joel Reed, Southern Appalachian Chamber Singers
As I reflect upon those who have been professional
mentors for me, I must begin with my high school,
collegiate and graduate school choral directors: Miss
Clara Wilbanks, Dr. Joel Stegall, Dr. Robert Rich and
Dr. Eugene Brasher, all providing for me great models
as teachers as well as significant learning opportuni-
ties as a student conductor in their programs. Others
who created opportunity for me or inspired me with
their choral artistry were Dr. Lara Hoggard, Dr. Gene
Brooks and Robert Shaw, the latter teaching me how
to listen to my choir but not necessarily how to be
kind to sopranos!
I am also grateful to my former students who contin-
ue to teach and inspire me through their work and suc-
cess as choral conductors, many here in the public
schools of North Carolina.
Finally, I would like to acknowledge and thank my
greatest mentor--our father, Cleland Reed, who taught
us the value of hard work, excellence, and never to
walk away until the task had met our highest standard.
page 14 Carolina Caroler

Fall Conference in Review: Mentor Statements

Sandy R. Holland, Young Voices of the Carolinas

I began singing in a childrens choir at age 3. While Im sure
I was not the best behaved young chorister, I remember loving
the music. My mother, a singer herself, was our director and
made sure that my siblings and I were involved musically any
way she could afford. The church played a great role in my
musical development and as it turned out my mother married
my church and high school choral director when I was 12.
The training I received at both school and church helped to develop my love of choral singing as well as my
musicianship. But by far the most influential person in developing my love of childrens and treble choirs has
been Dr. Mary Goetze. I was attending Indiana University for a Masters in Vocal Performance when I real-
ized I didnt have the drive to survive, much less the vocal chops needed to make it in the highly competitive
world of vocal performance! This pretty much sums up my experience in a highly competitive vocal studio at
IU: How many sopranos does it take to change a light bulb? Two, one put the light bulb in and one to kick
the chair! I observed the University Childrens choir rehearsal under Dr. Goetzes leadership and was imme-
diately taken with the beauty and artistry of trained childrens voices.
Twenty-five years later and I still get chills during rehearsals. I firmly believe that singing in a choir not on-
ly makes the world a better place, but helps to shape the lives of children in a positive and beautiful way.
Spring 2017 page 15

Fall Conference in Review: Mentor Statements

Phillip Morrow, Campbell University

We all stand on the shoulders of those who have helped us climb
and reach. At the University of North Alabama, it was choral direc-
tor Joseph Groom that first helped me find the excitement and re-
ward of choral singingand inspired my switch from saxophone
major to voice major. As a graduate student, it was Richard Cox at
UNC-Greensboro who mentored me with a wealth of knowledge about choral literature and insight into the essence of a
piece of music. His unique way of cajoling and inspiring trained singers to create something collectively that was better
than what they could do alone was a game-changer for me. In Louisville, Milburn Price was a consummate mentor
part father-figure, part coach, part employer, part editor, and all hero. A conductor-composer, Dr. Price helped me find
a creative spark I didnt know I had. He helped me expand the scope of my choral capabilities, and modeled for me the
conductor as artist and teacher, rather than dictator or boss.
In considering the impact of these mentors on my life, I have realized that each was willing to employ a little tough
love when necessary. They all understood that, in bringing up a child in the way that he should go, tough love is im-
portant. I remember the time Mr. Groom benched mekicked me out of a performance with guest conductor Jester
Hairston no less, for missing an important rehearsal. At the time I reasoned that just one rehearsal miss would be OK,
being that I needed to attend a fraternity formal event. This was a hard but effective lesson. Dr. Cox tough-loved me
through the completion of a masters thesis, helping me understand that academic writing involves both research AND
writingboth matter, and you cant fake it. Dr. Price reminded me on one occasionin no uncertain termsthat the
Promised Land is not guaranteedthat persons who pursue doctoral degrees have to earn them, and that broad is the
way that leads to destruction, and, by the way, I seemed to be gravitating towards it!
These mentors and so many others have helped shape me. Teachers like John Dickson, whose Seminary Choirs were
as close to professional singing as I have experienced, and churches and church choirs from Alabama to the Carolinas
who have put up with and loved me, and yes, helped me learn what it means to be a choral directorall have contribut-
ed significantly to my development. Voice teachers Bill McIver and Lloyd Mims taught me most about the vocal instru-
ment, and most all my teacherssecondary school and beyondhelped mentor me in small and big ways. I thank them
all. I recognize that it is their shoulders on which I stand today, grateful for every hand and leg-up and yes, every chas-
tisement along the way.

Libby Tilson, Providence Day School Middle School Chorus

My parents gifted me with music throughout
their lives. My mother, a piano performance major
and church organist, taught piano in our home for
over 55 years. My fathers beautiful tenor voice
landed him solos with the Glee Clubs while study-
ing at Wofford College and Yale University. My
parents realized and appreciated how music could
joyfully bring people together. They encouraged
me every step of the way as I pursued a career as a music educator.
What my hometown schools lacked in music education offerings, the church provided. I was fortunate to be
a part of a graded choir program where very caring and able musicians led each level. Our church youth choir
traveled the country coupling mission projects with nightly concerts. It was our youth choir director that en-
couraged six of us to consider music as a profession. Way before the days of AP Music Theory, he offered
Theory classes to us while we were still in high school. I will always be grateful for his interest and vision.
My students--most especially the students with me today--serve as a daily confirmation of the value of mu-
sic education. Their ability and desire to work together so beautifully toward common goals and the joy they
share with each other and with others will always be my complete inspiration.
page 16 Carolina Caroler

Fall Conference in Review: Mentor Statements and Photos

Phillip Burgess, Catawba University
While I have spent many years studying
with some of the best leaders in our profes-
sion, whose walls, like mine, are covered
with degrees, I have found that what these
teachers say to inspire their singers to pro-
duce great choral sound is far more im-
portant than what they did with their arms!
My journey to choral conducting began when I was 4 years old and attended my very first Vacation Bible
School. As I marched into opening worship singing We will Worship God Above, I had never heard such a
glorious sound. Then I looked up and saw herMrs. Betty Bush leading the whole assembly. While very
much a volunteer leader whose conducting style was far from what most would consider academic, her tone of
voice and what she said produced a magical sound to my youthful ears. Many years later, I encountered the
Fayette County Community Chorus under the direction of Lillian Jane Foster. While watching her direct the
chorus, I was transfixed by the sound and I studied every gesture that she made. The arms waving in wild cir-
cles, the stomping of the foot for accent, the smiling face, the occasional scowlI was hooked for life. Again,
far from being academic in nature, what she said and how she said it, coupled with her individual conduct-
ing style produced a sound that has stayed with me for years.
Upon entering college, I performed in choirs conducted by the professionals on the faculty. Although each
and every gesture was meticulous, academic, and studied for clarity and text-book precision, the choral sound
was far from being exciting, leaving both the singer and the listener uninspired. Life changed for me when I
entered the University of Michigan. When I met my organ professor, teacher and mentor, Marilyn Mason, I
knew that my life would change forever. Lessons with this remarkable woman were often held in her kitchen,
car, in a park, or on a walk. The organ, and the mechanics of playing it, were often not of any concern to her at
all. It was during these lessons where she simply talked and I listenedduring these moments I learned the
power of words, what to say, and how to say it to achieve the necessary result. When we did return to the or-
gan she would say, Do you remember the lesson in my kitchen? The sound of the meat sizzling in the hot
oil? I want you to play like that.
So for me, the life I have lived, the people that I have met, the places I have travelled, my teachers, my stu-
dents and friends all have given me stories to tell, and hopefullywords to inspire.

Our featured clinician,

Dr. Heather Buchanan.

Ginger Wyrick at the registration table.

Nana Wolfe-Hill, with the Wingate Advanced

Womens Ensemble, presenting her session
on empowering singers in rehearsal.
Spring 2017 page 17

Fall Conference in Review: Photos

Michael Martinezs session on a cappella in the classroom.

Happy Anniversary, Shannon Gravelle and Wendy Looker.

NC ACDA!

Andy Beck demonstrating

with the show choir.

Kirsten Foyles and Terri Sinclair presenting

ideas for intergenerational music in worship.

At the
Robert Shaw
film viewing.

High School Choir Conducting clinic.

page 18 Carolina Caroler

Fall in Review: NCMEA ACDA Luncheon

NC ACDA Presidents:
Back Row, L-R: Joel Reed:1993-1995; Anne
Murray Saxon: 2015-2017; Robert
Holquist:1987-1989; Maribeth Yoder-
White:1999-2001; Welborn Young:2011-
2013
Middle Row, L-R: Ginger Wyrick:2009-
2011; Ann Pratt Long: 2001-2003; Reta
Phifer:1997-1999; David Pegg:1979-1980;
Joel Stegall:1970-1974
Front Row, L-R: William Carroll:1995-1997;
Richard Cox:1983-1985

Hoggard Award Recipients

Back Row, L-R: Rodney Wynkoop-2002, Joel Reed-2003,
J. Don Coleman-2014, Maribeth Yoder-White-2005,
Joel Reed and the Southern
Welborn Young-2015, Rick Morgan-1998
Appalachian Chamber Singers
Middle Row, L-R: Ginger Wyrick-2016, Marta Force-2006,
David Pegg-2004, Robert Holquist-2000, Sam Doyle-1995

Tr e a s u r e r s R e p o r t Front Row, L-R: William Carroll-2001, Richard Cox-1986,

Jim Jerome Williams-1991
Carolyn Hall, NC ACDA Treasurer

Balances as of December 31, 2016

DDA - 31,283.76
CDA - 10,642.21
CDA - 25,662.27

There has been limited activity since the fall conference. Online payments have proven to be popular with
members for Fall Conference and for NCACDA Luncheon at NCMEA in November.
Spring 2017 page 19
page 20
Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207
www.ncacdaonline.org
In this Issue: NATIONAL CONFERENCE, MIDDLE SCHOOL, MENTORS, and more!
Editors Note
Nathan Leaf, Newsletter Editor
As I read about others
mentors and reflect on
my own from days
past, it occurs to me
that, while I put those
mentors on a pedestal
in my own mind, they
were not actually on one. They were,
like most of us most of the time, busy,
probably doing too much, beset with
their own doubts and fears, trying to
advance their careers and care for their
families. And yet, they were still able
to be an inspiration to me and to many
others. When I consider my own cur-
rent efforts and leadership with my
singers, that is a comforting thought.
And inspiring.
~Nathan
Carolina Caroler
The Carolina Caroler is the official newsletter of the North Carolina chapter of
the American Choral Directors Association. Articles and advertisements may be
submitted to: Nathan Leaf at njleaf@ncsu.edu. Articles may be submitted via email
as Word documents. Times New Roman, or similar, with font size 11 is preferred.
Please do not double space after punctuations (periods)a practice held back in
the days of typewritersit is not necessary with word processing.
Issue Deadline Publication
Fall June 15 July 15
Spring Dec. 15 Jan. 15
Summer April 15 May 15
NC ACDA reserves the right to edit any application for appearance and to edit all
materials proposed for distribution.
Advertising Rates
The Carolina Caroler will accept advertising at the following rates:
Full page-$150.00 (c. 7.5x10)
Half page-$100.00 (c. 7.5x 4.5)
Quarter page-$50.00 (c. 3.75x 4.5)
Discounts are available on multiple ads of the same design. Rates listed are for
digital .jpg or .pdf files. A check made payable to North Carolina ACDA must
accompany the order. Invoices sent upon request. Copy will not run without ad-
vance payment. Advertising copy is subject to editorial approval. The editor re-
serves the right to head and/or box any advertisement bearing confusing resem-
blance to editorial material.