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Summer 2012 page 1

Carolina Caroler
An award-winning publication of the
2orth Carolina Chapter of the
American Choral Directors Association

UPCOMING EVENTS: Inside


Presidents 2-3
C ACDA FALL COFERECE Message
September 21 - 22, 2012
Male Vocal Arts 2
UC Greensboro School of Music Symposium
Guest Clinician ~ Dr. Ann Howard Jones
Incorporating 4,
Improvisation 7-8

featuring 2012 5
Conference
The sixth annual Clinician Bio
MALE VOCAL ARTS SYMPOSIUM
Guest Conductor & Clinician: SSA Sr. High 6
Womens
Vijay Singh All-State
Report

Excellence in 7, 9
C ACDA SR. HIGH Sacred Choral
WOMES ALL-STATE Music

January 25-26, 2013 Treasurers 10


Greensboro Coliseum & Report
War Memorial Auditorium
Membership 11
Sigrid Johnson, Conductor Application
Form

Directories
choral art 2C ACDA Officers 2

advocate 2C ACDA Specially 3


remember
American Choral Directors Association Appointed Officers
teach
2013 National Conference
2C ACDA R&S 4-5
Dallas, Texas March 13-16, 2013
Chairs

Volume 13, Issue 2


Summer 2012
page 2 C a r oCarolina
l i n a C aCaroler
roler

Presidents Message
Bill Young, NC ACDA President
C ACDA Officers
Dear Colleagues, Friends, and 2C Galvn. We are
2010-2012
ACDA members, always delighted to
Lately I have been pondering time, have Dr. Galvn
the relationship of the relative speed at back with us in the
President state. Along with
Welborn E. Young (Bill) which time passes and the cycle of
UNC Greensboro business and life, i.e. personal and famil- Paul Oakley (9-10)
School of Music ial events, academic or liturgical calen- and Karen Kennedy
P.O. Box 26167 dars, unplanned or surprise occasions. (11-12) the rehearsals and concerts were
Greensboro, NC 27402
Most professional musicians have similar beautifully performed. We extend many
336.334.5493 thanks to Jeremy Truhel and his col-
weyoung@uncg.edu cycles: the season, academic or liturgical
year is before you; you prepare-plan, leagues for their considerable time and
execute-perform, recover-reflect. effort to make this another successful All
Past President -State. We look forward to next years
Ginger Wyrick Typically, the preparation-planning time clinician Sigrid Johnson from St. Olaf.
6200 Maple Cove Lane is much longer than the actual execution-
Charlotte, NC 28269
performance. And, frequently the recover The Southern Division conference in
704.948.4363 Winston-Salem was certainly another
ggw@hwaci.com -reflection phase receives little or no
time because, as you are all too familiar highlight of the year. Tom Shelton and
with this cycle, events cluster. You are his entire team made this conference a
President-Elect tremendous success. Congratulations to
Sandy Holland already working the next event without
Charlotte Childrens Choir reflecting or appreciating the past one. the North Carolina constituency that
P.O. Box 30724 Before you realize it, time has passed. performed, presented and contributed to
Charlotte, NC 28230 This is where I find myself, at the con- interest sessions, reading sessions, and
704.451.4194 clusion of an academic year reflecting on exhibits. A hearty thank you to all who
srholland
the many, many wonderful opportunities stepped up and provided an untold
@charlottechildrenschoir.org number of volunteer hours to welcome
to interact with friends, colleagues, and
students and wondering how time passed guests to the state and insure a successful
Secretary conference. On a personal note, the
Vacant
so fast!
Voices of Light performance was a
The calendar year began with the C mountain-top experience for me. And,
Treasurer ACDA sponsored SSA All-State in (Con tinued on p age 3)
Catherine Butler January. This years clinician was Janet
410 Westdale Place
Greensboro, NC 27403
336.337.3153
catherinebutler17@gmail.com

Membership Chair
Rob Frazier
Myers Park
Presbyterian Church
2501 Oxford Place
Charlotte, NC 28207
704.376.3695 x253
rfrazier@mysersparkpres.org

ewsletter Editor
Anne M. Saxon
4105 Sewanee Drive
Winston-Salem, NC 27106 March 2012
336.922.4073 Winston-Salem
Midpatch@aol.com Conference Scenes
Summer 2012 page 3

Ma le Voca l Ar t s Sy mp os iu m 2 012
V ij a h Sing h , Co nd ucto r C ACDA Specially
Appointed Officers
The Fall Conference will feature the sixth annual Male Vocal Arts Symposium.
Conference attendees are invited to attend MVAS rehearsals that will run concurrently Auditions
with the Fall Conference Schedule. The conference will end with a concert session of Sam Doyle
1313 Westminster Drive
the MVAS singers. The registration deadline for MVAS is May 15th; go to Greensboro, NC 27410
www.ncacdaonline.org/newsletters/2012_SpringNewsletter for more information. 336.282.0549
MVAS GOALS: sam2ann@triad.rr.com

To promote choral singing and vocal artistry among boys and men who currently Conference Exhibits
sing in school, university, church, and community choirs in North Carolina. Aaron Jackson
Christ Baptist Church
To facilitate multi-generational musical fellowship and mentorship through the for- 400 Newton Road
mation of a state-wide mens ensemble which would encompass singers from 8th Raleigh, NC 27615
grade to retirement age. 919.573.5454
aaron@christbaptist.org
To introduce male singers to male university voice faculty from North Carolina
colleges / universities who will be offered the opportunity to sing in the MVAS Conference Site Host
choir, as well as perform in a solo recital for the MVAS participants. Carole Ott
UNC Greensboro
Vijay Singh is an active performer, composer, teacher, conductor, School of Music
P.O. Box 26170
and clinician residing in Ellensburg, Washington where he is Profes- Greensboro, NC 27402
sor of Music at Central Washington University. A graduate of 336.334.5428
Willamette University (B. M. Ed/Clarinet & Voice) and Portland cjott@uncg.edu
State University (Masters in Choral Conducting/Vocal Perform-
ance), he has been rapidly gaining international attention for his Lara Hoggard
eclectic musical compositions, performances, workshops, and Award Chair
Sam Doyle
conducting appearances.
(see Auditions info listed
Singhs teaching experiences have included work at public secondary schools, commu- above)
nity college, and university levels. He currently teaches voice, choral arranging, jazz
pedagogy, directs the University Chorale, and award-winning CWU Vocal Jazz 1, and SSA All-State Coordinator
Jeremy Truhel
oversees the vocal jazz program (3 jazz choirs). Forsyth Country Day School
5501 Shallowford Road
Pr esident s Mess age (Continued from pa ge 2) P.O. Box 549
Lewisville, NC 27023-0549
what a reception! 336.945.3151
jeremytruhel@fcds.org
I hope that this brief letter will invite you to reflect and recover. You have a number of
personal and professional events that were benchmarks of your calendar. I encourage you Technology Chair/
to take the time to sit in a quiet place and look back before looking forward. Bask in the Webmaster
memory of well-executed plans, of the moments of ingenious spontaneity, of collegial Kelly Turner
collaboration and support, of accomplishment. Have compassion and reverence for your- 3160 Creighton Lane
self and the many things you endeavor to do. Below is a list of next years hold-the- Winston-Salem, NC 27127
date reminders: 336.655.8798
phoneticsoft@gmail.com
September 21-22, 2012. NC ACDA Fall Conference at UNCG. Featured Clinician is
Dr. Ann Howard Jones. The MVAS clinician is Vijay Singh. Conference Reading Sessions
Eric Johnson
ovember 10-13, 2012. NCMEA Conference in Winston-Salem. The NC ACDA James E. Holmes
sponsored lunch will be on Monday, November 12. Middle School
211 N. Pierce Street
January 25-26, 2013. Sr. High All-State Womens Choir Eden, NC 27288
March 13-16, 2013. ACDA National Conference in Dallas, Texas. ejohnson@rock.k12.nc.us
336.623.9791 x108
Best Regards for a brilliant summer. ~Bill
page 4 Carolina Caroler

Incorporating Improvisation into Your Choral Rehearsal


C ACDA Dr. Greg Parker, NC ACDA Jazz Choirs R&S Chair
R&S Chairs

Boychoirs
Vacant there has been a paradigm shift over the last
Childrens Choirs century that has all but relegated improvisation
Nana Wolf-Hill
Eastern Music Festival to jazz alone and that is unfortunate 
336-333-7450 x28
nana@EasternMusicFestival.
org Its not a four-letter word
Fear is a four-letter word, and one of the few that is usable in polite company.
College/University Choirs When approaching the idea of teaching improvisation to my choristers, fear was my first
Carole Ott response. Immediately, these questions assailed the tranquility of my status quo:
UNC Greensboro Why should I do this?
School of Music What is the best way to begin?
P.O. Box 26170
Where can I find resources on the subject?
Greensboro, NC 27402
336.334.5428
cjott@uncg.edu Why should I do this?
It used to be a foregone conclusion that musicians would learn to improvise as an essential
Community Choirs component of their training. A glance at the earliest examples of monody reveals that
Aaron Jackson improvisatory gestures were expected in its performance. In 1600, Jacopo Peri opined that
Christ Baptist Church Those pretty and graceful embellishments which cannot be written, and writing them,
400 Newton Road cannot be learned from writing, made valuable contributions to the overall musical per-
Raleigh, NC 27615 formance. Also, we are well aware of the improvisatory gifts of Bach, Mozart, and Bee-
919.573.5454 thoven. You expect me, as the state R&S Chair for Jazz Choirs, to reiterate the importance
aaron@christbaptist.org of improvisation in jazz music. True, it is the single greatest distinctive of the jazz idiom
and an indispensable skill for jazz musicians. However, there has been a paradigm shift
Ethnic and Multicultural over the last century that has all but relegated improvisation to jazz alone, and that is
Perspectives
Melodie Galloway
unfortunate.
UNC Asheville The 2ational Standards for Arts Education and the 2orth Carolina Standard Course of
107 Lapinsky Hall, CPO 2290 Study both mandate the teaching of improvisatory skills in every year of a childs public
Asheville, NC 28804
828.251.6432
education. Those of us who serve institutions of higher learning which are accredited by
mgallowa@unca.edu the National Association of Schools of Music should be familiar with this standard regard-
ing composition and improvisation: Students must acquire a rudimentary capacity to
Jazz Choirs create original or derivative music. It is the prerogative of each institution to develop
Greg Parker specific requirements regarding written, electronic, or improvisatory forms and methods.
Chowan University Our students need to experience the joy and fulfillment (as well as the adrenaline rush) of
Department of Music extemporaneous music-making.
1 University Place
Murfreesboro, NC 27855-1823
252.398.6201
parkeg@chowan.edu egin by istening
Music & Worship
Andy Roby What is the best way to begin?
120 North Lafayette Street Start your rehearsal off with a recording of a skilled improviser doing his/her thing. You-
Shelby, NC 28150 Tube is an excellent resource. Try searching for some of these greats: Kurt Elling, Ella
704.482.3467 Fitzgerald, Janet Lawson, Bobby McFerrin, Mel Torm.
music@fbcshelby.org It wont be long before everyone in the room will be fully engaged in the music!
The next step in your ad lib adventure is rhythmic improvisation. A good way to start is
by echoing body percussion in which you perform a rhythmic pattern and the ensemble
(Co nti n ued o n page 7 )
Summer 2012 page 5

Fa l l 2 0 1 2 C o n f e r e n c e C l i n i c i a n
Dr. Ann Howard Jones C ACDA
R&S Chairs
Dr. Ann Howard Jones is Professor of Music and Director
Male Choirs/MVAS
of Choral Activities at Boston University. She conducts the
Carey Cannon
Symphonic and Chamber Choruses, supervises conducting Providence Baptist Church
students in the Concert Chorus and the Womens Chorale, 4921 Randolph Road
teaches graduate choral conducting, and administers the MM Charlotte, NC 28221-4002
and DMA programs in Choral Conducting. 704.366.4030 x122
Dr. Jones is also the conductor of the BU Tanglewood ccannon@providencebc.org
Institute Young Artists Vocal Program Chorus, an auditioned
Junior High/
ensemble of high school singers which rehearses and performs
Middle School Choirs
at Tanglewood in the summer. Recognized as a distinguished Eric Johnson
clinician, adjudicator, teacher and conductor, she has led many James E. Holmes
all state and regional choruses, workshops and master classes in Middle School
the US, Europe, South America, Canada and Asia. 211 N. Pierce Street
From 1984-1998, Dr. Jones worked with the late Robert Shaw and the Atlanta Symphony Eden, NC 27288
ejohnson@rock.k12.nc.us
choruses where she was Assistant Conductor for Choruses, sang in the alto section, as-
336.623.9791 x108
sisted with the Robert Shaw Chamber Singers and helped to organize the Robert Shaw
Institute. Senior High School Choirs
Ann Howard Jones was selected by the American Choral Directors Association to receive Carol Earnhardt
its prestigious Robert Shaw Choral Award for 2011 which was presented at the 2011 Glenn High School
ACDA National Conference in Chicago. The Robert Shaw Choral Award is given every 1600 Union Cross Road
Kernersville, NC 27284
two years to a choral leader who has made unusual contributions to the art of choral
336.771.4500
music. CEarnhardt@wsfcs.k12.nc.us

Show Choirs
Mary D. Summerlin
C.E. Jordan High School
6806 Garrett Road
Durham, NC 27702
919.560.3912
mary.doyle@dpsnc.net

Two-Year College Choirs


Vacant

Womens Choirs
Beverly Vaughn
Western Rockingham
Middle School
915 Ayersville Road
Madison, NC 27025
336.548.2168
March 2012 bvaughn@rock.k12.nc.us
Winston-Salem Youth & Student Activities
Conference Jeffrey Ward
East Carolina University
Scenes A.J. Fletcher Music Center
Greenville, NC 27858
252.328.2557
wardj@ecu.edu
page 6 Carolina Caroler

NC ACDA Sr. High All-State Womens Choir Update


Jeremy Truhel, NC ACDA Sr. High All-State Womens Choir Chair
On January 27, 280 young women from across the state gathered together for ACDAs annual
All-State Womens Choir. This year our esteemed conductor was Dr. Janet Galvn from Ithaca
College and a native North Carolinian excited to return to her state!
Dr. Galvn is a master at working tonal beauty and style in her choral groups. The 2012
Womens Choir was no different; as the women sang pieces of Daley and Walker with a glorious
full sound, Pergolesi with attention to articulation, and Powells Still I Rise with conviction.
Two of the highlights of the concert were Otmar Mchas haunting Hoj, Hura, Hoj with its
dramatic leaps and echo effects as well as a complex and humorous world premiere by Dr. Jack Jarrett based on e.e.
cummings poem, hist whist. It was an exciting program for me to create with Dr. Galvn! Our wonderful pianist, once
again, was Dr. Karen Beres from the UNC School of the Arts.

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

Sigrid Johnson has been a mem- Dale Warland Singers and music director of the Dale
ber of the voice and choral faculty Warland Symphonic Chorus. She was a presenter at the
at St. Olaf College in Northfield, World Choral Symposium in Copenhagen, Denmark in
MN, since 1983. During her 24- 2008 and in Puerto Madryn, Argentina in 2011.
Sigrid Johnson
year tenure as conductor of Mani- Johnson has prepared symphonic choruses for
tou Singers, the 100-voice chorus for first-year women internationally known conductors such as Neemi Jarvi,
at St. Olaf, Johnson has inspired more than 2,000 young Sir Neville Mariner, David Zinman, Stanislaw Skrowac-
women. As a guest clinician at choral workshops and all zewsky, Gerard Swartz, Edo de Waart and Leonard
-state music festivals in 30 states she has enriched and Slatkin.
deepened the musical experience of countless singers of
all ages across the country. Johnson is known for her In 2006 Johnson received the F. Melius Christiansen
skill at blending voices, perfecting tone and assisting Award from the American Choral Directors Association
with vocal production -- both psychologically and of Minnesota (ACDA-MN). The lifetime achievement
physiologically. award -- the highest honor from the association -- is
presented annually to a Minnesota conductor whose
Johnson earned her bachelor's of music degree in vocal career has provided outstanding contributions and
performance from St. Cloud State University and a distinguished service to choral music in Minnesota.
master's of music in voice performance from the
University of Michigan. She has taught voice at the Currently, Johnson is associate conductor and director
University of Minnesota and Gustavus Adolphus of special events for Philip Brunelle's VocalEssence and
College, was a member and associate conductor of the is active as a clinician specializing in women's choral
literature.

March 2012
Winston-Salem
Conference
Scenes
Summer 2012 page 7

Incorporating Improvisations ( C o n t i n u e d f r o m pag e 4)

repeats it. You probably do this sort of thing with your should move on to working with melodies. Stoloff
groups anyway. Any combination of claps, slaps, or snaps recommends beginning with diatonic patterns that are
will doso long as no one gets hurt! Consider choosing familiar to your singers. His book contains a large number
patterns from the piece(s) on which you plan to work of melodic exercises in jazz waltz, Latin, swing, and funk
during that rehearsal. Once your singers are proficient at styles. After your singers have become comfortable sing-
it, ask them to create variations in their echoes of your ing precomposed melodies, have them try their hands at
patterns. You may wish to feature a particularly skilled melodic improvisation. Theme and variation is the most
member as an example to the others. direct approach. You state a straightforward melodic frag-
At our fall conference, Rollo Dillworth divided the ensem- ment and have your singers provide variations of it. You
ble into two parts, assigning one the steady beat and the can gradually increase the difficulty level, and as their
other the improvised rhythms. This is an excellent way confidence grows, your choir members will begin fleshing
to reinforce the concept of maintaining the steady beat out longer and more substantial improvisations. Encourage
while opening the door for improvisatory exploration. You them to create their own melodic ideas. Michele Weir
could incorporate rhythm instruments into such exercises suggests the following sequence:
as well. Once your singers have become proficient at 1. Make up a short rhythmic idea
improvisation using body percussion, introduce scat sylla- 2. Sing it on one or two pitches
bles into the mix. Good basic scat syllables include doot, 3. Repeat it several times while branching out to
du-be, da-be, and du-dn. In his book, Scat! Vocal Improvi- other new notes
sation Techniques, Bob Stoloff includes rhythmic etudes These melodies can be on scat syllables or on verbal
that will not only develop your singers rhythmic chops, statements. Singers should add appropriate jazz ornaments
but will introduce them to singing on scat syllables. The to their melodies, including slides, shakes, inflections, and
etudes begin simply and progress in complexity. (Continued on page 8)
Flushed with your success at rhythmic improvisation, you

Excellence in Sacred Choral Music: A Brief Theological Basis


Andy Roby, NC ACDA Music in Worship R&S Chair
King David said, I will pay the full price, for I will not offer to God that which cost
me nothing (Hebrew scripture: 1 Chronicles 21:24). Unwilling to offer something
on the cheap or without giving of his own resources in full measure, David was
driven to make a most excellent offering to his God. He was unwilling to let some-
one else make the offering for him or to devalue his sacrifice by taking an easy way
out.
In contrast to King David, the human tendency, it seems, is to be given to mediocrity
in so many ways. Our society-at-large seeks ways to make all kinds of things ever
more cheaplysometimes by laying the labor on the backs of those who receive
little recompenseand at the loss of any substantive attention to quality. We are
often on the lookout for shortcuts to our goals even when those shortcuts come at the
expense of excellence or of what we say we value. Choral musicians in the church
can easily succumb to the demands of weekly worship music needs by relying on
excellence-draining shortcuts.
We should ask why King David wanted to pay the price of a lavish sacrifice to God
when he had been given an opportunity to give one at a much lower cost. How does
this apply to choral musicians? I believe David had discovered that the real meaning
of a sacrificial offering is not found in fulfilling the demands of the law. No, the deep-
est meaning of such an act is found within the relationship to which the offering points.
Our best, most excellent choral offerings, then, are offered within a context of sacred relationships. As sacred choral
musicians the motivation for rehearsing diligently and striving for excellence in our music-making flows from a
(Continued on page 9)
page 8 Carolina Caroler

Incorporating Improvisations (Continued from page 7)

and fall-offs. Weir provides excellent embellishment exer- Stoloff is Assistant Chair of the Voice Department
cises in her book, Vocal Improvisation. at the Berklee College of Music in Boston and a
Now that your singers are improvising melodies, its time popular clinician, especially in the area of scat
to introduce chord progressions over which such improvi- singing.
sations will take place. Since we are most familiar with The Complete Guide to Teaching Vocal Jazz by Dr.
diatonic scales, it is best to begin with chord progressions Stephen Zegree. Heritage Music Press, 2002
that are based on them. Start off with major keys and then This is an excellent book that is designed to help
move to minor keys and eventually to modes as your traditional choral directors start a vocal jazz
students become proficient. The most important skill that ensemble. There are four appendices that include
improvisers need to acquire in terms of harmony is the such information as a vocal jazz discography and a
ability to hear the roots of the chords. You can help them music review and evaluation form. A companion
to develop this aptitude by playing recordings and having CD with numerous examples is included.
them focus on the bass players part. You may wish to Vocal Improvisation by Michele Weir. Advance
give them experience in transcribing bass lines as well. Music, 2001
Where can I find resources on the subject? An excellent book that walks aspiring improvisers
Right here! The following materials can help you to from basic information to advanced exercises. She
develop a plan of action: provides explanations of the theory behind jazz
ChoralNet, www.choralnet.org and improvisation and a CD that goes along with
Valuable discussion threads the text.
Developing Technique Through Jazz/Pop Styles The Vocal Jazz Ensemble by Paris Rutherford. Hal
by Russell Robinson and Jay Althouse. Alfred Leonard, 2008
Publishing Company, 1984 This should be on your bookshelf next to Steve
The book contains warm-ups, exercises, and Zegrees book. Rutherford has a chapter on
pieces in Broadway Two-Beat, Rock, Ballad, and improvisation and stresses the importance of sing-
Swing styles and easily fits into a choral folder. ing in keys and modes.
Gettin It Together: Learn to Improvise Like the Jazz If you are looking to improve your vocal jazz ensemble or
Masters! by Jamey Aebersold. Jamey Aebersold to broaden the repertoire and experience of your concert
Jazz, 1979 choir, I encourage you to mix some improvisation into
Although originally developed for instrumental- your choral rehearsal plans. You will find the results to be
ists, the exercises in the book can be performed by fun, enriching, and expressive.
vocalists. There is a lot of information on chords
and scales and a CD with recorded examples and Bibliography
backgrounds for the exercises in the book.
Donington, Robert. Baroque Music, Style and Performance: A
Scat! Vocal Improvisation Techniques by Bob Stoloff. Handbook. New York: W.W. Norton, 1982
Gerard and Sarzin Publishing Company, 1996
This book teaches vocal improvisation through National Association of Schools of Music. 2ASM Handbook 2011-
2012. Reston, VA: National Association of Schools of Music, 2012.
rhythmic and melodic exercises, articulation stud-
ies, and transcribed solos. It includes an excellent Weir, Michele. Vocal Improvisation. Rottenburg am Neckar,
CD with many exercises in a variety of styles. Germany: Advance Music, 2001.

Gregory Parker is a Professor of Music at Chowan University in


Murfreesboro, where he also serves as Chair of the Department of
Music and Director of Choral Activities. He holds a Bachelor of
Music Education Degree and a Performers Certificate in Voice from
Samford University, a Master of Music Degree from Southwestern
Baptist Theological Seminary, and a Doctor of Musical Arts Degree in
Voice Performance from the University of Missouri at Kansas City.
Summer 2012 page 9

Incorporating Improvisations (Continued from page 7)

heart of devotion to God and to those with whom we share


I will pay the full price, in acts of worshipful song.
for I will not offer to God From the Christian scripture, recall the woman who poured
the costly perfume on Jesus (John 12:1-3). It wasn't because
that which cost me nothing Jesus demanded or even expressed a desire for her treasured
possession that she extravagantly lavished it upon him. She
~ King David offered the perfume as a precious gift, as a tangible yet
fleeting sign of her love and devotion.
Our motivation as sacred choral musicians ought to be like that woman's, with an attitude that flows not from a
sense of duty, but from a desire to provide good and excellent gifts to those with whom we are in loving rela-
tionship. As worshipers, we declare and believe that God lavishes upon us gifts of grace, beauty, truth and
mercy. We receive those gifts and in so doing should be learning to lavish such gifts upon each other andin
worshipupon God.
As choral musiciansas those who would pray, proclaim and worship through our songour motive in doing
so with excellence is neither to win Gods favor nor to be applauded by the congregation. Rather, it is to em-
body and express our love for God and for Gods people in a tangible expression of sound. Our most excellent
gifts of song are just as fleeting as David's expensive sacrifice or the costly perfume poured upon the feet of
Jesus, and just as significant.

Andrew Roby serves as the minister of music for First Baptist Church in Shelby, NC, a
position he has held since 2001. He also serves as an adjunct professor at GardnerWebb
University, and as codirector of the NC Baptist Singers, a group of 120 church musicians
from across the state.
Previously, he has served as Professor of Music, Director of Choral Activities, and Chair
of the Department of Music at Union University (TN). Earlier choral faculty appointments
included Shorter College (GA) and Asbury College (KY). Andrew received the Doctor of
Musical Arts degree from The Southern Baptist Theological Seminary, where he studied
choral techniques and conducting with Milburn Price and John Dickson.

March 2012
Winston-Salem
International Exchange Conductor Maria Perez from Cuba,
Conference Scene
with Cantamos Choir in Winston-Salem
page 10 Carolina Caroler

NC ACDA Financial Report


Catherine Butler, NC ACDA Treasurer

ACDA Advocacy Resolution


Whereas the human spirit is elevated to a broader understanding
understanding of itself
through study and performance in the aesthetic arts; and

Whereas serious cutbacks in funding and support have steadily


steadily eroded arts institutions
and their programs throughout
throughout our country,

Be it resolved that all citizens of the United States actively voice their affirmative and
collective support for necessary funding at the local, state, and national levels of education and
government, to ensure the survival of arts programs for this and future generations.
Summer 2012 page 11
page 12 Carolina Caroler
Carolina Caroler

www.ncacdaonline.org

It was my Mum who got me into


singing properly - she knew I had to
do something with my voice because
she knew I was talented. She was the
one who pushed me into joining a
choir all those years ago, when I was
about 12. I remember she told me to
start with the choir and just see where
it took me. Susan Boyle

Collate music, collect folders, retrieve uniforms, and remember: SUMMER IS COMING!!!

Shared Experience
Anne Saxon, Editor The Carolina Caroler is the official newsletter of the North Carolina chapter of
the American Choral Directors Association. Articles and advertisements may be
At one of my recent
submitted to: Anne M. Saxon at Midpatch@aol.com. Articles may be submitted
concerts several of our via email as Word documents. Times New Roman, or similar, with font size 11 is
singers were absent due preferred. Please do not double space after punctuations (periods)a practice held
to illness or other factors. back in the days of typewritersit is not necessary with word processing.
The second soprano
section was the most Issue Deadline Publication
affected and I had to quickly edit our Fall June 15 July 15
repertoire selections to accommodate. Spring Dec. 15 Jan. 15
Summer April 15 May 15
Our small group did well but the concert
was certainly no where near our normal
level of performing. After the concert an NC ACDA reserves the right to edit any application for appearance and to edit all
materials proposed for distribution.
older couple from out-of-town came to tell
me how beautiful it was and how they were
so glad they did not miss it! They said they Advertising Rates
were blessed by our music. After being The Carolina Caroler will accept advertising at the following rates:
so wrapped up in what we were NOT able Full page-$150.00 (c. 7.5x10)
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encounter reminded me that singing is a Quarter page-$50.00 (c. 3.75x 4.5)
totally human and shared experience. Discounts are available on multiple ads of the same design. Rates listed are for
As your season comes to a close and each digital .jpg or .pdf files. A check made payable to North Carolina ACDA must
concert and milestone occurs, please know accompany the order. Advertisers will NOT be billed. Copy will not run without
that your music is profound and far- advance payment. Advertising copy is subject to editorial approval. The editor
reaching. We can only begin to understand reserves the right to head and/or box any advertisement bearing confusing resem-
what the choral experience means to our singers blance to editorial material.
and to those with whom we share our music.
Anne

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