Spring 2014 page 1

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

UPCOMING EVENTS Inside

Presidents 2
Message

NC ACDA FALL
CONFERENCE
NC ACDA 2014 FALL CONFERENCE INFORMATION
Clinician 3
September 19-20, 2014 Performing 8-10
Choirs
UNC Charlotte

Schedule
Registration
12
13
*new location* NC SINGS! 16-
17
Dr. Eric Nelson, Clinician
Ethnic and 4
Multicultural
Perspectives

Mens Choirs 5

-with- Childrens Choirs 6

ACDA Lunch 11,

NORTH CAROLINA SINGS! at NCMEA 14

A Workshop for Young Voices Hoggard Award 15

Nominations
September 20, 2014 Richard Keasler 21

Dr. Madeline Bridges, Clinician Upcoming 21

Deadlines

Treasurers Report 22

Membership 23
ACDA 2015 NATIONAL Application Form

CONFERENCE
February 25-28, 2015
Directories
NC ACDA Officers 2
Salt Lake City, Utah NC ACDA Specially 3

NC ACDA R&S 4-5

Chairs
page 2
NC ACDA Officers
2014
President
Sandy Holland
P.O. Box 30724
Charlotte, NC 28230
704.451.4194
srholland64@gmail.com
Past President
Welborn E. Young (Bill)
UNC Greensboro
P.O. Box 26167
Greensboro, NC 27402
336.334.5493
weyoung@uncg.edu
President-Elect
Anne M. Saxon
Central Carolina
Childrens Chorus
4105 Sewanee Drive
Winston-Salem, NC 27106
336.922.4073
Midpatch@aol.com
Secretary
Bethany Jennings
101 Lakewood Road
Belmont, NC 28012
336.501.0103
bethanyjennings@hotmail.com
Treasurer
Carolyn Hall
4505 Talavera Drive
High Point, NC 27265
336.841.0571
musikhall@aol.com
Membership Chair
Rob Frazier
Centenary United
Methodist Church
PO Box 658
Winston-Salem, NC 27102
336.391.1339
rfrazier@centenary-ws.org
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
Sandy R. Holland, NC ACDA President
Every summer for the past 10 years I have made a point of
spending at least one week on Topsail Island. If youre not fa-
miliar with Topsail (pronounced Top-sul) you are missing
much but thats the point. A lazy island that is 26 miles of
beaches and only one mile across at its widest point is a respite
away from the stresses of my life as a choral director and
teacher.
As artists I think it is especially difficult for us to separate
ourselves from work. Its our passion. I know that I could fill my time away with
browsing through new issues of choral octavos, planning the entire season for my
new ensembles, scheduling auditions, listening to music on the web, looking into
tour options, etc.
But for one week I try to do just that. Escape from my role as a musician and
just be. Relax, meditate, walk the beaches, try something new (stand up paddle
boarding!). I can feel the stress melting.
With the stress gone and the week behind me, I almost always return with a
burst of creativity. Allowing my mind and body time to relax and rest, the ideas
seem to come more easily and the creative process is renewed. The older I get the
more I know the effects of cumulative stress and how very important it is to find a
way to renew.
The NC ACDA Fall Conference is also a time to awaken your creativity; renew-
al of friendships, engaging in thoughtful interest sessions, performances and read-
ing sessions. Just as the school year begins, or the church choir is back in their
routine, come to Charlotte for 2 days to be inspired and renewed by six wonderful
choirs, our headliner clinician, Eric Nelson, and Madeline Bridges working with
young singers for the NC Sings! Event.
So if you havent done so, plan a vacation, and plan to be in Charlotte, Septem-
ber 19-20. Get your creative juices flowing as we all move forward toward a re-
warding and musical year.
ACDA National Leadership Conference Report
On June 5-7. Anne Saxon, President Elect of NC ACDA, and I met up in Salt
Lake City, Utah with about 150 other members of ACDA. This leadership confer-
ence, organized by the ACDA National Office, was not only to introduce the lead-
ership of ACDA to the beautiful city of Salt Lake, the sight of the 2015 National
ACDA Conference, but also to discuss the vision and goals of ACDA moving for-
ward. State Presidents met to discuss strategic initiatives to increase membership
through ACDAs Sing UP!, which will begin this August and run through No-
vember. ACDA will focus on providing financial assistance to collegiate members
($5.00 membership fee) and well as focusing efforts on lapsed or returning ACDA
members.
NC ACDA has been allotted 27 free memberships to be given to young conduc-
tors in elementary, middle and high school settings. These teachers, who may be
struggling to make it on a newbies salary, will have all the resources that ACDA
membership avails. These teachers are the future of choral music education, and
(continued on bottom of next page)
Spring 2014 page 3
2 0 1 4 N C AC DA C o n f e r e n c e C l i n i c i a n
Dr. Eric Nelson
NC ACDA Specially
Appointed Officers
Dr. Eric Nelson is Director of Choral Studies at Emory
University where he conducts the Concert Choir and the Auditions
University Chorus. He also teaches graduate Choral Con- Wendy Looker
Guilford College
ducting, Methods and Literature. In addition, Dr. Nelson is 5800 W. Friendly Avenue
the Artistic Director of the Atlanta Master Chorale, a profes- Greensboro, NC 27410
sional chamber choir specializing in sacred a cappella reper- 336.316.2423
wlooker@guilford.edu
toire, and the Minister of Music at the historic 2nd-Ponce de
Leon Baptist Church in Atlanta. Conference Exhibits
He has conducted choirs throughout North America and Europe, including per- Aaron Jackson
Christ Baptist Church
formances in London, Rome, Krakow, Berlin, Leipzig, Prague, Moscow, Wash- 400 Newton Road
ington, D.C., Carnegie Hall, Lincoln Center, and the Sydney Opera House. His Raleigh, NC 27615
choirs have appeared at six American Choral Directors Association conventions, 919.573.5454
aaron@christbaptist.org
including the Concert Choir's performance at Chicago's Orchestra Hall for the
National Convention in 2011 and the Atlanta Master Chorale's performance in Conference Site Host
Winston-Salem for the Southern Regional Convention in 2012. His ensembles Fred Spano
have been praised for their ability to combine a high level of technical precision UNC Charlotte
Department of Music
with warmth of musical expression. This past June, his Atlanta Master Chorale 9201 University City Blvd.
was awarded the "Margaret Hillis Award for Choral Excellence" by Chorus Charlotte, NC 28223
America. 704.687.0263
Dr. Nelson's compositions have been sung by choirs throughout the United fspano@uncc.edu
States, including performances for the American Choral Director's Association,
Lara Hoggard
the Music Educators National Conference, the Association of Lutheran Church Award Chair
Musicians, the Presbyterian Association of Musicians, the American Guild of Sam Doyle
Organists, and for numerous churches, colleges and universities. 1313 Westminster Drive
Greensboro, NC 27410
Dr. Nelson is past President of the Georgia chapter of the American Choral 336.282.0549
Directors Association, and is the recipient of a "Crystal Apple" award for sam2ann@triad.rr.com
excellence in teaching at Emory University and the "American Prize" in Choral
Conducting. He holds degrees in voice and conducting from Houghton College, SSA All-State Coordinators
Jeremy Truhel (2014)
Westminster Choir College, and Indiana University. Forsyth Country Day School
P.O. Box 549
Lewisville, NC 27023-0549
336.945.3151
Presidents Message: National Leadership Conference jeremytruhel@fcds.org
(continued from previous page)
Sara Downey (2015)
Wheatmore High School
the ACDA leaders of tomorrow. If you have someone in mind that you feel 410 Westdale Place
would benefit from ACDA membership but may need help financially, and also Greensboro, NC 27403
336.908.1300
has potential to be a future leader in the field of choral music education, please
submit their information to be considered for one of the free memberships. Technology Chair/
To nominate a candidate, please email their name and contact information, Webmaster
including phone and email, and a brief statement as to why you feel this person Kelly Turner
336.655.8798
is deserving of a free ACDA membership to Sandy R. Holland, phoneticsoft@gmail.com
srholland64@gmail.com. Recipients will be contacted prior to the Fall Confer-
ence. Conference Reading Sessions
Eric Johnson
In the meantime go to www.ncacdaonline.org to see the wonderful video James E. Holmes Middle School
about the upcoming National Conference in Salt Lake City this February 2015. 211 N. Pierce Street
It is amazing. Eden, NC 27288
336.623.9791 x108
page 4
NC ACDA
R&S Chairs
Boychoirs
VACANT
Childrens Choirs
Nana Wolfe-Hill
Greensboro Youth Chorus
622 Park Avenue
Greensboro, NC 27405
651.208.4153
nanafaithwolfe@notmail.com
College/University Choirs
Andrew Crane
Director of Choral Activities
East Carolina University
102 A.J. Fletcher Music Center
Greenville, NC 27528-4353
252.328.6243
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
mgallow2@unca.edu
Jazz Choirs
VACANT
Music in Worship
Andy Roby
First Baptist Church Shelby
120 North Lafayette Street
Shelby, NC 28150
704.482.3467
music@fbcshelby.org
Carolina Caroler
Sing the World! (but how?):
Building Diversity Into Any Choral Program
Melodie Galloway,
Ethnic and Multicultural Perspectives R & S Chair
A member of my community chorus, the Asheville Choral
Society, once said to me, "Melodie, I just can't sing in all these
other languages. A little Latin is fine, but I get lost trying to
sing in French or Spanish, not to mention that Gaelic piece you
want us to do!....Maybe I'll just sit out this concert and see you on the next cycle."
Of course, I encouraged him not to bow out, and after spending some intense one-
on-one time with him and enlisting the help of my tenor section leader, he ended
up enjoying the experience. I understood his uncertainty and anxiety in approach-
ing musical foreign territory. Sometimes barriers can be daunting with world mu-
sic. A different language, challenging rhythms, strange pitches and sounds, aleato-
ric passages - you can find almost anything in modern choral scores! As we know,
there is a vast ocean of music from non-Western cultures, readily available from
publishers and distributors such as Earthsongs, World Music Press, Santa Barbara,
etc. Dr. Marian Dolan, Assistant Professor of Church Music and Choral Conduct-
ing at Candler School of Theology at Emory University has prepared two compre-
hensive lists. The "American Publishers of International/Multicultural Choral Mu-
sic" (US and non-US) can be found at these two sites:
http://www.madolu.com/mc/General/amerpub.html
http://www.madolu.com/mc/General/foreign.html
The truth is, many of our choirs are primarily comprised of American musicians
(we'll leave out the southern aspect for now...) with decades of homophonic, dia-
tonic, clap-on-the-1-and-the-3 sensibilities that make any odd meters and improvi-
satory sections awkward, if not inaccessible. Our job, as choral directors and edu-
cators, is to make the inaccessible accessible, and even desirable! We can do this
through multiple methods that simply take some careful planning and creativity.
Three areas of development for embracing diversity in choral music are: Thematic
Programming; Collaborative Projects; and Professional Development and
Research.
I. Thematic programming
Since I have to plan for multiple choirs that sing at multiple skill levels, are dif-
ferent age levels, and exist for different purposes, I sometimes feel like I am con-
stantly choosing repertoire and planning concert programs. Using more diversity in
programming has not only made for better concert designs, but has also made the
perusal of literature much more interesting, fun, and educational (which, of course,
the lifelong learner and music freak in me loves!). You don't have to plan a concert
of all Japanese music to have diversity and be multicultural. In fact, I suggest
choosing a theme for your concert and planning music around that theme. When
you have a general concept you can then select music from different cultures that
go along with the theme. Here are two sample programs:
(continued on page 18)
Spring 2014 page 5

Starting a Church Mens Choir

NC ACDA
Jayson Snipes, Male Choirs R & S Chair R&S Chairs

Male Choirs/MVAS
My name is Jayson Snipes, and I am excited to be on Jayson Snipes
board as the R&S Chair for Male Choirs in NC! When I Lexington Middle School
was asked to join the board, I was working on beginning a 100 W. Hemstead St.
Lexington, NC 27292
mens chorus at my church. I thought it would be a great
336.242.1567
opportunity to use this article to discuss some of the bene- jsnipes@lexcs.org
fits and challenges of this endeavor as well as invite dis-
cussion on tips and techniques that others might use to start or recruit for their
own groups. Junior High/
Middle School Choirs
When first considering this group, I weighed the benefits and how it might be Eric Johnson
useful not only for the church itself, but how it might help in other aspects of the James E. Holmes Middle Sch.
music program. These are the points I considered: 211 N. Pierce Street
Eden, NC 27288
336.623.9791 x108
Recruiting men in a church choir has been a challenge for me. I have also ejohnson@rock.k12.nc.us
noticed that recruitment for church choirs has been difficult because those
groups contain members who have been singing together for years, and its Senior High School Choirs
difficult to come in as an outsider. The church mens chorus could be used Carol Earnhardt
Glenn High School
as a way for the men currently in my chancel choir to meet, get to know, and 1600 Union Cross Road
befriend the new men. This allows a seamless assimilation into a group that Kernersville, NC 27284
has been established for a long time. 336.771.4500
One of the most rewarding experiences in my musical growth was singing CEarnhardt@wsfcs.k12.nc.us
and conducting Mens Glee at UNCG. At a time in my career when things Show Choirs
were beginning to become too complacent, this was an opportunity for me as Mary D. Summerlin
a conductor to add a little something different to my repertory and experienc- C.E. Jordan High School
es. This is a two-way street: if these experiences were so rewarding to me, 6806 Garrett Road
Durham, NC 27702
they may also be rewarding to those who join the new mens group. This will 919.560.3912
breathe new life and a new sound into the churchs music program. mary.doyle@dpsnc.net
The amount of commitment required for participation is an issue with church
music ensembles that meet regularly. If I could create a low-commitment but Two-Year College Choirs
high-quality ensemble, I could use this group to combine with my Chancel VACANT
Choir to perform larger works. Having a group that did not require a weekly
commitment also meant I could recruit those men who enjoyed singing but
could not commit weekly because of family and work schedules. Womens Choirs
Beverly Vaughn
Western Rockingham
After pondering these points and establishing a schedule for the group, the next Middle School
step was to recruit singers to participate and see if my ideas were feasible. I 915 Ayersville Road
checked the church calendar to see when other men-only groups participated. Madison, NC 27025
336.548.2168
There was a mens Bible study that met weekly. It occurred to me that it would bvaughn@rock.k12.nc.us
make sense to schedule my rehearsals when the men were already going to be at
the church. I contacted the leader of the group before their fall meetings started Youth & Student Activities
and scheduled a dinner meeting with them. I enlisted the leaders of that group to Brian Schmidt
Duke University
help me recruit for the mens chorus. If I wanted the flexibility of adding this Box 90883
group to the Chancel Choir, and I wanted my chancel choir men to help with re- Durham, NC 27708
cruitment, it would also make sense for mens rehearsal to take place on the same 919.684.3855
brian.schmidt@duke.edu
night and close to the same time as Chancel Choir. Considering these criteria,
(continued on page 19)
page 6 Carolina Caroler

Holistic Pedagogy in the Choral Rehearsal

Nana Wolfe-Hill, Childrens Choirs R & S Chair

A few years ago, I stumbled across a pedagogical survey that immediately captivated
my attention. The principles listed resonated with my deepest desires for the students in
my choirs. A few of the many values listed were: ...seek ways to empower students...all
voices are encouraged, valued, and heard...learning should be holistic, integrating cogni-
tions, feelings, and experiences...teachers continually strive to increase their knowledge
of and sensitivity to diverse cultural realities...learning is in the service of social
change (Kimmel, 1999, pp. 58-9). The words echoed this increasing desire in my spirit
to foster each students uniqueness, help grow their ability to collaborate, and encourage them in finding
their purpose in the world. This pedagogy seemed to encompass all of those yearnings. I learned that the
name of this pedagogy was called feminist pedagogya pedagogy used in various fields taught by male and
female teachers for all students regardless of sex. In this article, I will summarize the values of feminist peda-
gogy and offer practical suggestions for its use in the childrens choral rehearsal.
Feminist pedagogy is often misconstrued only as curriculum reform, analysis of girls and womens expe-
riences in educational environments, teaching about women, teaching feminist ideas, and teaching done by
self-identified feminists (Crabtree, Sapp, and Licona, 2009, p. 2). In addition to the above characteristics,
feminist pedagogues move toward equalization of power within the classroom; the inclusion of affective
learning and personal experience; exposure to diversity and respect of difference; and the awareness of and
need for social responsibility (Crabtree, Sapp, and Licona, 2009; Kimmel, 1999; Shrewsbury, 1997). These
values lead to holistic learning, where students (male and female) are given opportunities to grow in their
leadership skills, explore their inner selves, broaden their perspective, and make a difference in the world. As
a result of the necessity of these values in todays society, feminist pedagogy has greatly influenced educa-
tion across many disciplines. However, it hasnt yet made a discernible impact on music education (Gould,
2008, p. 131).
The more I have read about feminist pedagogy, the more I have begun experimenting with its praxis in re-
hearsals with choirs of all ages. I know that I am not the only conductor to utilize these approaches in teach-
ing choral music, but I do know that we all benefit from reminders to keep rehearsals creative and engaging
and to encourage the singer as a holistic learner. Below are a few ideas for application in the choral rehearsal
for the first three values of feminist pedagogy listed above. Although these suggestions are geared toward
childrens choirs, I believe they can be applied to choirs of all ages.

Equalization of power within the classroom. Equalizing the power in the rehearsal means giving more
power to the singers. In the choral rehearsal, I interpret this characteristic of feminist pedagogy as giving
singers opportunities to lead and to make decisions together. In Jubilate (The Greensboro Youth Chorus 3rd
5th grade chorus), student volunteers are called on throughout the rehearsal to sight-read a certain portion of
music; to lead the choir in using body solfge signs for sight-reading examples; to sing a difficult measure
we have been working on; or to model a portion of the music to expressively reflect the meaning. In my ex-
perience, the other students seem to listen acutely to their fellow singers and respond with greater focus, par-
ticipation, and expression. We also take time to discuss a section of text as a group and collectively choose
ways to interpret the music based on the text meaning. Although we often dont have time to take this ap-
proach with every measure of every piece, students are able to connect at a deeper level with the music in
general and be a part of the artistic decision-making.
Inclusion of affective learning and personal experience. Music is a beautiful place to incorporate affec-
tive learning. Many of us conductors focus on facial expression, but sometimes forget that outer expression is
a product of inner emotion. With younger singers, discussing the emotion of the piece, its drama, and how it
(continued on page 20)
Spring 2014 page 7
page 8 Carolina Caroler
NC ACDA FALL CONFERENCE
PERFORMING CHOIRS
CATAWBA CHAMBER SINGERS
DR. PHILLIP E. BURGESS, CONDUCTOR

The Catawba Chamber Singers is the premier choral ensemble of

Catawba College, and is the main touring choir. This auditioned
ensemble is frequently called upon to represent the College in con-
certs and various services of worship, and draws student members
representing a wide range of majors and concentrations from across
the campus. In 2008-2009 the Catawba Chamber Singers sang a
solo performance in New York's prestigious Carnegie Hall. IN
2009-2010, they performed at the Washington National Cathedral
and sang for the North Carolina MENC Convention. In 2010-2011,
composer/conductor Eric Whitacre invited the ensemble to premier his new work, Paradise
Lost: Shadows and Wings as a prelude concert to the National ACDA convention in Chicago.

Dr. Phillip E. Burgess ser ves on the faculty of Catawba College in Salisbur y, NC as the
Director of Choral Activities and Instructor of Sacred Music. He also performs as a collabora-
tive pianist for the Department of Music, and Co-Director of the Catawba Community Music
Program. Additionally, Dr. Burgess is the Organist/Choirmaster of St. Luke's Episcopal
Church in Salisbury, NC where he oversees a fully graded choral and handbell program for
youth and adults. Dr. Burgess holds the BM Degree in Church Music from Samford Universi-
ty, and the MM and DMA degrees in Church Music and Organ from the University of Michi-
gan. Post-graduate studies include Orff Certification Levels I, II, III, and Master. Dr. Burgess has written articles for the American
Organist and Diapason Magazines, and is a columnist for the Salisbury Post. He has received both the Mayor's Spirit Award and the
Koontz Humanitarian Award from the City of Salisbury for his efforts as a conductor on improving race relations.

ECU CHAMBER SINGERS

DR. ANDREW CRANE, CONDUCTOR

The Chamber Singers is the select choral ensemble at East Caroli-

na University. Comprised of 34-40 auditioned singers, many of
whom are voice majors from within the School of Music, the
group tours annually and has performed by invitation on multiple
occasions at regional and national conferences of the American
Choral Directors Association and the National Association for Mu-
sic Education. The Chamber Singers have produced two profes-
sional CD recordings on the Gothic label: Greater Love and Eter-
nal Light, and also were the winners of the 2012 American Prize for Choral Performance (college/
university division). In November 2013, the Chamber Singers competed in the Tolosa (Spain) Internation-
al Choral Contest, as the only American choir to be invited. They maintain a rigorous rehearsal and perfor-
mance schedule, and focus predominantly on unaccompanied choral literature for advanced chamber choir.

Dr. Andrew Crane ser ves as Dir ector of Chor al Activities at East Car olina Univer sity, wher e he con-
ducts the Chamber Singers, Mens Choir, University Chorale, and heads the graduate program in choral
conducting. Prior to coming to ECU in 2011, Crane held a similar position at California State University,
San Bernardino, where he received the College of Arts and Letters Outstanding Teaching Faculty
award. He also is the former choral director at Provo High School (UT). Choirs under his direction have
appeared by invitation at multiple conferences of the American Choral Directors Association and National
Association for Music Education; and have performed in major concert venues throughout Europe. He is
active as a guest conductor of All-State and honor choirs, as well as clinician, presenter, and adjudicator
throughout the country. Additionally, Crane enjoys a career as a professional solo and ensemble tenor. He is currently serving as the
Repertoire and Standards chair for college/university choirs in ACDAs North Carolina chapter. Crane received BM and MM de-
grees from Brigham Young University, and the Doctor of Musical Arts from Michigan State University.
Spring 2014 page 9
NC ACDA FALL CONFERENCE
PERFORMING CHOIRS
THE CHANCEL CHOIR of
EDENTON STREET UNITED METHODIST CHURCH
KEVIN B. HOLLAND, CONDUCTOR
Long considered to be one of the finest choral ensembles in North Caroli-
na, the 75-voice Chancel Choir of Edenton Street United Methodist
Church is composed of volunteer s who give of their time and talents in
providing the very best in sacred choral literature. In addition to their
leadership in morning worship services, this ensemble also presents sacred
concerts throughout the year. In 1986 the Choir sang the publisher's prem-
iere from manuscript of Requiem, by J ohn Rutter with the composer con-
ducting. Other notable performances have included Mendelssohns Elijah, Haydns Creation and Lord
Nelson Mass, Requiem settings by Durufle, Verdi, and Brahms and performances at Piccolo Spoleto,
Carnegie Hall, and the historic Bruton Parish Church in Williamsburg, Virginia.

Kevin B. Holland is the Dir ector of Music and Wor ship Ar ts at Edenton St. UMC in Raleigh,
where he oversees a broadly-based music ministry including choirs and instrumental ensembles for pre-
school children through adults and serves as artistic director of the Edenton Street Live! Fine Arts Se-
ries. He has held music ministry positions in Colorado, North Carolina, Virginia, Kentucky and Tex-
as. A native of North Carolina, Mr. Hollands educational background includes degrees from Elon Uni-
versity and the University of North Carolina-Greensboro, with additional studies at Westminster Choir
College and Shenandoah Conservatory. He is the founding director of Cantate, a choir for students in
grades six through twelve at Suncreek UMC in Allen, TX, and served as Artistic Director and for the
Allen Philharmonic Symphony Chorus. He is the past president of the Charlotte, and Dallas chapters of Choristers Guild and cur-
rently serves as President of the North Carolina chapter of the Fellowship of United Methodists in Music and Worship Arts.

HOLMES MIDDLE SCHOOL TREBLE CHOIR

ERIC JOHNSON, CONDUCTOR

J. E. Holmes Middle School, serving Eden and the surrounding area, is one
of four middle schools in Rockingham County. The Holmes Middle School
Choral program is the largest in Rockingham County and serves approxi-
mately 300 of the schools 800 students. This program has been under the
direction of Eric Johnson since January of 2007, and is made up of four
large performing groups: Sixth Grade Choir, Seventh and Eighth Grade
Mixed Chorus, Seventh and Eighth Grade Mens Chorus and Eighth Grade
Treble Choir. Holmes singer s ar e often selected for the NC Middle
School Honors Chorus, All-State Chorus as well as Southern Division and
National ACDA choirs. They have received Superior and Excellent ratings at the Central District Choral
Festival and the Carowinds Choral Festival as well as awards at the Music in the Parks festival in Wil-
liamsburg, VA, and the Festival Disney Competition in Orlando. FL. The Eighth Grade Treble Choir was
recently selected to sing the National Anthem for the 2013 Womens ACC Basketball Tournament.

Eric Johnson is chor al dir ector at Holmes Middle School, wher e he dir ects a pr ogr am of 300 stu-
dents, 100 of which are young male singers, in five choirs and serves as a technology specialist and cultur-
al arts lead teacher. He has degrees from Appalachian State in Music Education and Sacred Music Perfor-
mance, and recently completed a Masters degree in Music Education and Choral Conducting from the
Florida State University. He has also achieved his level one and two certifications in Orff-Schulwerk from
ASU. Mr. Johnson has worked with many childrens choirs in North Carolina as conductor and consultant.
He has conducted All-County choirs, and is a sought after clinician for professional development confer-
ences. He has served as a soloist for St. Francis Episcopal Church, and has sung with the Greensboro Opera Chorus and Bel Canto
Company. Eric is the Sanctuary Choir Director for First Baptist Church in Eden. He is a member of the executive boards for the
NC ACDA where he serves as the R&S chair for Middle Schools, and North Carolina Middle School Choral Section where he
serves as the Technology Facilitator. Eric has coordinated the past three Southern Division ACDA Honor Choirs, co-chaired the
2013 and 2015 National ACDA Childrens Honor Choir, and is excited to be coordinating the NC Sings! Workshop.
page 10 Carolina Caroler
NC ACDA FALL CONFERENCE
PERFORMING CHOIRS
THE UNC CHARLOTTE UNIVERSITY CHORALE
DR. RANDY HALDEMAN, CONDUCTOR

As one of the Universitys oldest traditions, The University Chorale is comprised of

students from departments across the entire campus. An active and flexible ensemble,
the Chorale schedule includes several concerts a year, a weekend choir retreat, an an-
nual Invitational Choral Festival with Rodney Eichenberger, as well as frequent re-
gional and European tours. A yearly collaborator on major works with the UNC Char-
lotte Chamber Orchestra, recent performances have included Haydns Missa Brevis at
the North Carolina Music Educators Annual Conference and the Bach Magnificat.
Within the last 5 years, the Chorale has collaborated with the Choir of Clare College,
Cambridge on their international tour, hosted the Morehouse College Glee Club, had partnerships with
several high schools in the region, toured Italy and then Spain, and has presented more than 60 different
programs including serving as the studio choir in television commercials and the vocal ensemble in
the Charlotte Symphony Orchestras production of Video Games Live.

A native of Wisconsin, Randy Haldeman has taught Choral Music at all levels of academia, Pre-K
through collegiate. Haldeman earned the BM in Vocal Performance from the University of Wisconsin at
Whitewater, the MM in Voice and Opera Performance from Northwestern University, and the PhD in Mu-
sic Education (Choral Conducting emphasis) from the Florida State University. His music is published in
the U.S. by Walton and Colle Voce, and in Canada and Europe by ditions G.A.M. He has multiple ap-
pearances as guest conductor and clinician in Europe and the U.S. In addition, this year he is serving as
the Director de la Pedagoga at the Curso Internacional de Msica Coral in Madrid as well as conductor of the AMIS Honor
Choir in Luxembourg. His recording The Singing Schools American Choral Music is forthcoming under the Naxos label.
He directs UNC Charlottes choral music program and teaches conducting and music education courses.

THE WESTERN CAROLINA UNIVERSITY CONCERT CHOIR

DR. MICHAEL LANCASTER, CONDUCTOR

The Concert Choir is the pr emier auditioned mixed chor al ensemble in the
School of Music at Western Carolina University. Most are music majors, but sev-
eral other academic disciplines are represented as well. The choir sings repertoire
from the Renaissance to the present, including a cappella works, pieces with key-
board accompaniment, and choral-orchestral masterworks. The Concert Choir
joins the Asheville Symphony Orchestra and Chorus for one performance a year.
In April 2013, they sang Mozart: Requiem and Vaughan Williams: Flos campi and
in April 2014 they performed Haydn: Lord Nelson Mass. In April 2015 the Con-
cert Choir has been invited to join the ASO and C for a performance of Handels
Alexander's Feast. The Concert Choir tours annually during the fall semester and sings other perfor-
mances in the area in addition to on-campus concerts in the Bardo Center for the Performing Arts and the
Coulter Recital Hall. The choir performed at the 2012 NC ACDA Fall Conference.

Michael Lancaster is the Dir ector of Chor al Activities at Wester n Car olina Univer sity, wher e he
conducts the Concert Choir, University Chorus and Early Music Ensemble, and teaches conducting, cho-
ral methods and voice. He is also the Music Director of the Asheville Symphony Chorus and the Direc-
tor of Worship and Music at the First Presbyterian Church of Highlands. Choirs under his direction have
sung in Carnegie Hall, Westminster Abbey and the Sistine Chapel, and he has conducted festival choirs
in Missouri, Kentucky, Indiana and North Carolina. Dr. Lancaster has sung professionally with many
organizations, including the Robert Shaw Festival Singers, the Carmel (CA) Bach Festival, the Oregon
Bach Festival, the Santa Fe Desert Chorale, the Los Angeles Master Chorale (under the direction of Rog-
er Wagner), among others. His many performances under the batons of Maestros Robert Shaw and
Helmuth Rilling include several professional recordings, one of which is the Grammy Award-winning
Credo by Penderecki with the Oregon Bach Festival Chorus and Orchestra. He holds the BME from Chapman College (Orange,
CA), the MM from California State University Fullerton and the DMA from the University of Southern California.
Spring 2014 page 11
NCMEA CONVENTION
ACDA LUNCHEON PERFORMANCE
JAMES B. HUNT HIGH SCHOOL VOCAL ENSEMBLE
JEREMY TUCKER, CONDUCTOR

The James B. Hunt High School Vocal Ensemble, an advanced mixed

choir for grades 10-12, is one of four choral groups at James B. Hunt High
School in Wilson. The Hunt Vocal Ensemble has won numerous grand cham-
pionships and awards for their vocal performances in major cities across the
US including New York, Florida, Boston, and New Orleans. Additionally, the
group has performed collaboratively with the ECU Chamber Singers under the
direction of Dr. Andrew Crane. In the spring of 2015, the ensemble will per-
form several solo pieces at Carnegie Hall as well as a larger work under the
direction of Dr. Randall Stroope. Across North Carolina, the group has been featured in concerts at the
State Capital, Department of Public Instruction, and Governors Mansion.

Jeremy Tucker is the chor al dir ector at J ames B. Hunt High School and the inter im Ar tistic Dir ec-
tor of the Raleigh Boy Choir. He holds a MM and BM in Music Education as well as a theater degree
from UNC Greensboro. At Hunt, Tucker has continued the rich tradition of musical excellence by the
creation of four grand champion and superior-rated ensembles which include: Mixed Chorus, Show
Choir, Honors Womens Ensemble and Honors Vocal Ensemble. Tucker taught elementary music in Wil-
son County for 7 years and achieved National Board Professional Teaching Certification in 2008. In
2012, Tucker created a system-wide choral festival that has featured over 1,500 students, teachers, and
community leaders in choral performances to raise awareness for music education and support the charity
Communities in Schools. The event has raised over $15,000. He is the past Associate Conductor of the
Capital City Girls Choir at Meredith College. Tucker was recently named the 2014-2015 Wilson County Schools Teacher of the
Year. Prior to teaching, Tucker served at the associate musical director for the national Broadway tour of Oliver! The Musical!
page 12
NC ACDA FALL CONFERENCE
Conference Schedule ~ September 19-20, 2014
Friday, September 19th
12:00 noon Registration / Exhibits Open
1:00 Opening of Conference
Concert Session I
UNC Charlotte Chorale
Dr. Randy Haldeman, Conductor
James E. Holmes Middle School
8th Grade Treble Choir
Eric Johnson, Conductor
Western Carolina University
Concert Choir
Dr. Michael Lancaster, Conductor
2:00 Clinician Session I
Dr. Eric Nelson
3:45 R&S Reading Session I
5:00 Clinician Session II
Dr. Eric Nelson
6:30: All-Conference Reception
Saturday, September 20th
8:30 am Exhibits Open
9:00 R&S Reading Session II
10:15 Interest Sessions
Creating Choirs that Care: How to
Motivate Students (of All Varieties) to
'Buy In' to your Artistic Vision.
Dr. Andrew Crane of East Carolina
Cantar con Cantamos: Latin
American Literature for Children's Choirs:
Dr. Jos Rivera of UNC Pembroke
Sacred Music Programming:
Dr. Eric Nelson
11:15 Concert Session II
Edenton Street United Methodist
Chancel Choir
Kevin B. Holland, Conductor
East Carolina University
Chamber Singers
Dr. Andrew Crane, Conductor
12:15 Browse Exhibits & Lunch (on your own)
1:45 Clinician Session III - Dr. Eric Nelson
3:00 Concert Session III
Catawba College Chamber Singers
Dr. Phillip Burgess, Conductor
NC Sings! Workshop Choir
Dr. Madeline Bridges, Conductor
5:00 NC ACDA Board Meeting & Dinner
Carolina Caroler
College Students Please Note:
Attend the Fall Conference at the reduced fee of
$20, which includes a year of membership! NC
ACDA and the National Office will share the cost of
your student membership when you attend Fall
Conference. Speak with the NC ACDA Treasurer
at the conference registration table.
Conference Accommodations
The Hilton Charlotte University Place serves as our
conference hotel, which is in close proximity to the
campus. Rooms are available under the NCACDA
group title at a conference rate of $109 per night
night +tax for a single or double room. Free park-
ing and wifi are included. Rooms will be held until
August 30th. You may contact the hotel at
704.543.7444. Book early!
Hilton Charlotte University Place Hotel
8629 JM Keynes Drive, Charlotte, 28262
704.547.7444
NC ACDA Group Reservations Page:
http://www.hilton.com/en/hi/groups/p
ersonalized/C/CLTHUHF-NCACDA-
20140919/index.jhtml?WT.mc_id=POG
Map & Directions:
http://www3.hilton.com/en/hotels/no
rth-carolina/hilton-charlotte-
university-place-CLTHUHF/maps-
directions/index.html
NOTE: In the event a guest who has reserved a room
within in the block checks out prior to the guests re-
served check-out date, the hotel will add an early
check-out fee of $50 to that guests individual ac-
count. Guests wishing to avoid an early check-out fee
will advise the hotel at or before check-in, of any
change of planned length of stay.
For more information:
Anne Saxon: 336.412.8227 Midpatch@aol.com
Sandy Holland: 704.451.4194
srholland64@gmail.com
or visit www.ncacdaonline.org
Spring 2014 NC ACDA FALL CONFERENCE page 13
page 14 Carolina Caroler

North Carolina ACDA Luncheon

at the
North Carolina Music Educators Association
Annual In-Service Conference
Monday, November 10, 2014
Winston-Salem, North Carolina ~ 12:00 Noon

NEW LUNCHEON LOCATION!!! CENTENARY UNITED METHODIST CHURCH

*The luncheon will be held in the beautifully renovated Memorial Auditorium at the
4 Street back entrance, just two blocks from the Benton Convention Center.
*A church shuttle bus will run from the main Convention Center entrance on 5th
street from 11:4512:10, and return to the same spot from 1:301:45 pm.
*No additional cost required for shuttle transportation!

Guest Choir: James B. Hunt High School Ensemble

Jeremy Tucker, Conductor

BUFFET MENU:
Baked Chicken Breast, Rice Pilaf, Steamed Green Beans, Fruit, & Salad
Bread & butter, Regular & Decaffeinated Coffee, Iced Tea (Sweet & Unsweet), & Water
Dessert: Choice of Triple Chocolate Cake or Lemon Crunch Cake

Luncheon Cost: $15.00 ~ 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 by October 15, 2014
Online registration at www.ncacdaonline.org

Name: __________________________________ ACDA Membership #: ________________

Address: ______________________ City: _______________________ Zip: _____________

NC ACDA Luncheon: ________ @ $15.00 = Total Amount Submitted: $ ______________

Make checks payable to: NC ACDA
Mail this form and your check to: Pat Hall, NCMEA Executive Director
883-C Washington Street
Raleigh, NC 27605
pathall.ncmea@att.net

Deadline for Pre-registration for the NC ACDA Luncheon: October 15, 2014
Spring 2014 page 15

LARA HOGGARD AWARD FOR DISTINGUISHED SERVICE

IN CHORAL MUSIC IN NORTH CAROLINA
NOMINATION 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, 2014 to:
Sam Doyle, Hoggard Award Chair
1313 Westminster Drive
Greensboro, NC 27410
Phone: 336.282.0549
Fax: 336.370.8287
Email: sam2ann@triad.rr.com
page 16 Carolina Caroler

NC ACDA is pleased to announce

an exciting choral experience for North Carolinas children:

North Carolina Sings!

A Workshop for Young Voices
with guest clinician

Dr. Madeline Bridges

of Belmont University
& Nashville Childrens Choir

in conjunction with the NC ACDA Fall Conference 2014

September 20, 2014
UNC-Charlotte School of Music

ACDA members may sponsor children in grades 3-6 to participate in this one-
day choral skill-building workshop. This event provides an opportunity for
young singers from school, religious, and community choirs to make music in
a positive environment designed to encourage enthusiasm for choral singing.
Advance preparation is not required! During check-in on September 20, each
singer will receive a choral packet designed for use during the workshop and
included in the registration fee.
Register by June 15, 2014 to reserve spaces for a maximum of eight children.
Singer allotments may increase as space allows, and additional singers will be
added after July 1, 2014 on a first-come, first-served basis.

Register NOW to include your singers in this exciting event!

Spring 2014 page 17

North Carolina American Choral Directors Association

North Carolina Sings! A Workshop for Young Voices

September 20, 2014

Requirements for singer eligibility and registration guidelines:

1. Singers must be recommended for participation by their choral conductor, an active member of ACDA, who will
register for and attend the NC ACDA Fall Conference. (Elementary music teachers may recommend children from
their classroom or choir.)
2. Singers must be in third, fourth, fifth, or sixth grade.
3. Initially, conductors may register a maximum of eight (8) singers. Conductors with multiple professional appoint-
ments (e.g. a church choir and a school choir) are encouraged to register singers from more than one choir, but a
total allotment will be given to the sponsoring ACDA member rather than to the choral program.
4. Singer allotments may increase as space allows, and additional singers will be added after July 1, 2014 on a first-
come, first-served basis.
5. Individuals must be selected to fill the singer allotment and registered by name via email by September 6, 2014.
6. Return completed application form and registration fee of $25 per singer space by June 15, 2014 to:
Eric Johnson
James E. Holmes Middle School
211 N. Pierce Street
Eden, NC 27288
ejohnson@rock.k12.nc.us
336.623.9791

*****************************************************************************
NC Sings! APPLICATION FORM
please print or type

Sponsoring ACDA Member ____________________________________ ACDA Member #__________

Member Email ______________________________________________________________________

Work Phone _____________ Home Phone______________ Cell Phone______________

Ensemble Name ___________________________________________________________________________________

Type of Choir: School Community Religious Institution

Members wishing to send singers from multiple choir types should complete a separate registration form for each choir.
Initial maximum allotment per NC ACDA member is 8 singers.

Ensemble Address ____________________________________________________________________

City____________________________________________ Zip Code____________________

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

Total number of spaces you are confident you could fill, if space allows: __________
page 18
Multicultural/Ethnic Perspectives
(continued from page 4)
1. Hearth and Home - A November Concert
The Bridge Builder/Eleanor Daly
Shenandoah/James Erb
I'll Ay Call in By Yon Town/arr. Mack Wilburg
Pacific Song/David Fanshawe
Hulo Hulo
Muli Tu Pe
Otuhaka
Zion's Walls/Aaron Copland
Stomp Your Foot/Aaron Copland
Homecoming/Randall Stroope
The Road Home/Stephen Paulus
2. Light and Water - Reflections of Sound
Water Night/Eric Whitacre
Ahrirang/Korean Folk Song, arr. Robert de Cormier
Esta Tierra/Paso/Javier Busto
The Sounding Sea/Eric Barnun
Deep River/arr. Renato Tagliabue
Riversong/Roger Emerson
Gabriel's Oboe/River, from Mission/Ennio Morricone
A children's choir programming concept I recently came
across was an entire concert about animals. This would
work for youth or adults as well. You can imagine the se-
lections possible! All these suggestions provide vehicles
for diverse programming. Many of you are already doing
this. Of course, children can embrace diversity better than
any of us. Bring these opportunities into the choral re-
hearsal. If you are well-prepared then almost any group
will open their ears and share your enthusiasm.
II. Collaborative Projects
Some of the most exciting performances are the result of
collaborative artists working together. I have the good for-
tune of working with a faculty whose pedigree is continu-
ally impressive and is globally representative. We recently
presented a tribute to Nelson Mandela with University
Singers, Asheville Singers (chamber), UNCA Percussion
Ensemble, UNCA Africana Studies Drumming Ensemble,
and the Reuter Center Singers (Osher Lifelong Learning
Institute). Not being an expert in African culture or music,
I reached out to the Africana Studies Director, Dr. Agya
Boaten, to dream and plan a collaborative concert for our
students and the university. Dr. Boaten enlisted the greater
campus community and came several times to my choral
rehearsals to talk to the students about life in Ghana and
other countries in Africa, and the role of music in African
Carolina Caroler
culture. Largely due to this connection, we were ulti-
mately able to reach a larger population and explore
themes of ritual, tradition, poverty, worship, family,
language and power, as well as musical styles, songs,
and rhythms. The event grew into so much more than I
had expected and was so enriching for the students and
all who participated (because to attend was to partici-
pate!). By the time of the performance the word was
out and even the local media was there. Sometimes just
taking the first step in initial contact can produce an
astounding result.
III. Professional Development and Research
There are articles, books, workshops and programs
available for study and research into world music and
the integration of diversity in music education. Many
institutes offer conferences and research portals for
professional development and learning in areas of mul-
ticulturalism and global music traditions. A few intro-
ductory articles are listed here:
Eight Simple Rules for Singing Multicultural Music,
Parr, Clayton, Music Educators Journal, v93 n1 p34
Sept. 2006.
Music Faculty Perceptions of Multicultural Music Educa-
tion, Norman, Katherine:
http://www.jstor.org/stable/40318947
Opening the Doors to Diverse Traditions of Music Making:
Multicultural Music Eduction at the University Level, Belz,
Mary Jane: http://www.jstor.org/stable/3878501
Conventions such as MENC, ACDA, NCCO, MTNA
are all organizations that further professional develop-
ment for music teachers. Attending these conferences
can be extremely successful in the pursuit of gaining
knowledge for teaching ethnic musical styles and
building repertoire. There is a growing trend in global
music classes and workshops available at national and
regional conventions.
As we keep making the effort to include music from
other cultures on our programs, it is important not to
overlook what may be in our very own classrooms.
Your student makeup is growing in its diversity - all
over the country. Ask your students what their tradi-
tions are. What are their family's roots? Musics? Sto-
ries? One idea might be to have a "Storytelling" con-
cert wherein students share their traditions or their af-
finities for song styles and themes. This could end up
being the most successful path to integrating
'otherness' (and discovering that it is really
'togetherness' surprisingly present all along).
Spring 2014 page 19

Mens Choir at church along with wanting a lower-commitment group, I decided that this
group would meet from 6:30-7:15 every other Wednesday night.
(continued from page 5)
Some of my Chancel Choir men participated, and at our first rehears-
al I had 15 men, 7 of whom were new!
The next challenge for this group was repertoire selection. I knew that I wanted this group to be a feeder to
the Chancel Choir, so I made sure to include the men in a performance with the Chancel Choir. We sang
Mack Wilbergs Come, Thou Fount. It was an exciting sound! We also performed as entertainment for a
Christmas dinner at the church. The repertoire for this was varied. We performed a four-part mens arrange-
ment of Gesu Bambino arranged by Spevacek (Heritage Music Press 15/1590H). We also sang a few bar-
ber shop tunes, which can be found for free at www.bbsmusic.com. Because we had limited rehearsal time,
and this was a beginner group, I did not have time to rehearse several octavos. To add to this music, I had the
men sing out of the hymnal, arranging the four parts to their voices, and improvised a piano accompaniment.
Why do I share all this information with you? The mens chorus tradition is an exciting one, and the church
is a central avenue to the performance, recruitment, and eventually a great revival of the mens chorus tradi-
tion. I would encourage you to start mens chorus groups with your churches and organizations, and let me
know of your recruitment ideas, repertoire selections, and the successes of your programs! Feel free to con-
tact me by email any time: jsnipes@lexcs.org. Good luck, and Happy Singing!

Addendum: Male Vocal Arts Symposium

There have been several questions regarding MVAS. To allow for other opportunities for singers, growth in
other R&S areas, and for other events to run concurrently with the NC ACDA conference, MVAS will be re-
turning on a rotating schedule. We expect MVAS to return to conference in 2015, so be on the lookout for
dates, clinician information, and opportunities for your men!
page 20 Carolina Caroler
Childrens Choirs: Holistic Pedagogy
(continued from page 6)

makes us feel can unlock authentic facial expression. Bibliography

With older students, journaling about how a text makes Crabtree, R. D., Sapp, D. A. and Licona, A. C. (2009). Intro-
us feel can help students engage personally. Sharing duction: The Passion and the Praxis of Feminist Peda-
those thoughts and feelings with the group encourages gogy. In Feminist Pedagogy: Looking Back to Look
students to continue to dig deeper within themselves, Forward. Baltimore, MD: The John Hopkins Univer-
increase respect and understanding between students, sity Press.
and create community. Gould, E. (2008). Feminist Imperative(s) in Music and Educa-
Exposure to diversity and respect of difference. As tion: Philosophy, theory, or what matters most. Educa-
tional Philosophy and Theory, 43:2, 130-147. Re-
described above, this personal sharing within the re-
trieved from http://dx.doi.org/10.1111/j.1469-
hearsal is of utmost importance to the feminist pedagog- 5812.2008.00424.x
ical value of respecting difference between students.
Although the sharing of thoughts and emotion can be Kimmel, E. (1999). Feminist Teaching, An Emergent Practice.
In S. N. Davis, M. Crawford, & J. Sebrechts (Eds.),
related to music, personal sharing unrelated to music can
Coming Into Her Own: Educational Success in Girls
create a safe place to express uniqueness and embrace and Women (pp. 57-76). San Francisco, CA: Jossey-
difference. This last year, every Jubilate student brought Bass Publishers.
an object that represented them in some waya hobby
or inner quality. Over the course of the first few months, Shrewsbury, C. M. (1997). What is Feminist Pedagogy? W om-
ens Studies Quarterly, Vol, 25, 166-173. Retrieved
we ended each rehearsal with a personal introduction by from http://www.jstor.org/stable/40005427
23 students through a visual representation. Not only
was it fun, but it helped students remember each others
names and uplifted each student, their interests, and their
backgrounds. Another (more commonly used) example
of the inclusion of diversity in the choral rehearsal is
through repertoire. It is such a joy to see an increase in
diversity within choral literature spanning race, religion,
heritage, and gender. A few years ago, a Jubilate singer
was learning Hebrew, so I programmed a piece where he
could teach us the text in Hebrew. Its a special oppor-
tunity when repertoire choice can have personal impact
and celebrate difference within the choirs members.
Awareness of and need for social responsibility. At
recent lectures at ACDA conventions and retreats, I have
become aware of the difference between community
outreach and engagement. Rather than simply bringing
choirs to sing at venues such as childrens hospitals, el-
derly homes, and homeless shelters, we are encouraged
to exchange ideas, to learn from each other, and to make
music togethera true two-way engagement. Although
I have delved farther into outreach with the young choirs
I conduct, I am still exploring how to truly engage in
meaningful ways for the singers and for the community.
In summary, I believe that the values of feminist peda-
gogy target the needs of singers as holistic individuals.
Incorporating its characteristics into the choral rehearsal
brings life to rehearsals through shared leadership, en-
gagement, personal connection and community. I would
love to hear your pedagogical ideas for groups of all ag-
es that reflect these values. Please email me at
nanafaithwolfe@hotmail.com. I look forward to hearing
from you.
Spring 2014 page 21

~IN MEMORIAM~
RICHARD KEASLER
1938-2014
Richard Keasler, winner of the 2012 Lara Hoggard
Award, taught choral music in Cabarrus County for
30 years. A native of Concord and a graduate of Ca-
tawba College, he directed choirs at several church-
es, including First Presbyterian in Corcord, Epworth
UMC, and Northwest Baptist. He directed All-
County Choruses for Cabarrus, Wake, Forsythe,
Cumberland, Moore and many others. He was a con-
ductor of the middle school chorus for NCMEA All-
State, the girls high school chorus for ACDA, the
Concord/Kannapolis Community Chorus, and the
Mercy School of Nursing Girls Glee Club. The
Richard E. Keasler Teacher of the Year Award is
given annually for excellence in music education by
NCMEA. Richard was married to Peggy Keasler for
39 years, and is survived by three children and four
grandchildren. He was a great man and a great pres-
ence in NC choral music. We will miss him dearly.

ACDA 2014 Deadlines

A Handy Chart
Event
Event Registration Other
Dates

NC ACDA
September Discount: usually one month On Site
Fall Conference
19-20 prior to the event
UNC Charlotte

September First come-first served

North Carolina Sings! June 15
20 after July 1

2015 ACDA National February Opens: October 1 No Reading Packet

Conference 25-28 Early Reg. Ends: Jan. 21 option after Jan. 21
page 22 Carolina Caroler

Tr e a s u r e r s R e p o r t
Catherine Butler, NC ACDA Treasurer
Spring 2014 page 23
page 24
Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207
www.ncacdaonline.org
In this Issue: Fall Conference Info; NC Sings!; Hoggard Award Nominations; R&S Chairs
Editors Note
Nathan Leaf, Newsletter Editor
As I sit on the cabin
porch, sipping coffee,
wrapped in a blanket,
enjoying the cool Mon-
tana air and sun rising on
Lake Seeley, I reflect on
last nights sing-along at
the Leaf family reunion.
Young and old, 55 voices united in songs
both old and new, some immediately famil-
iar and some requiring recall from a place
distant yet still warm. As we professionals
gird ourselves for the vital preparations of
the year ahead, we can know that our re-
sponsibility to our singers and audiences is
dual. Both technique and spirit are needed.
And just as the evening would have been
less without the practiced fingers of the
retired music teacher on the ivories, so the
same without the little ones who were
learning some of it for the first time.
~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. 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.