SUMMER 2000
The Carolina Caroler
Newsletter of the North Carolina Chapter of ACDA
Inside this issue:
We Need Music
Hoggard Award Presented
Bel Canto Concerts
Womens Choral Music at
San Antonio convention
Practice Practicing
Life and Work of NCs Lara
Hoggard
Seven Days of Magic
Rondo in E Mail
Departments
Editors Nook
Membership Update
Advertising Rates
Choral Events Calendar
Membership Form
The Carolina Caroler is the official
newsletter of the North Caro-
lina chapter of the American
Choral Directors Association.
It is published three times per
year (Fall, Winter and Sum-
mer issues). Deadlines for
submission of articles are
Oct. 1, Jan. 15 and July 15.
Advertising deadlines are
Sept. 1, Dec. 15 and June 15.
ACDA reserves the right to
edit any application for ap-
pearance and to edit all ma-
terials proposed for distribu-
tion.
THE CAROLINA CAROLER PAGE 1
Spring 2001
Vol. 2, No. 3
ACDA in President's Message
Maribeth Yoder-White
3
5
San Antonio President, NC ACDA
March 14-17 It is difficult to believe a new cal-
6
endar year has begun again! I trust
6 The national convention of the your holidays allowed time for rest,
reflection, and regeneration!
American Choral Directors Associa-
8 tion is to be held in San Antonio By now, many of you have made
10 March 14-17! By now you will have definite plans to attend the national
received an information packet in the ACDA Conference March 14-17.
18 mail. More details are to be found in With a wide assortment of national
19
the January issue of Choral Journal. and international choirs, reading ses-
Register right away, if you havent sions, exhibitors, and interest ses-
already, and return your housing sions, the San Antonio conference
form now. promises to be exciting and reward-
5 Forty-six auditioned and interest ing. We hope to informally gather
session choirs, four professional the North Carolina contingency dur-
17
choirs and four international choirs ing the conference, so watch for more
19 will perform. Two ACDA commis- details. If possible, you will want to
sioned choral works will be pre- arrive on Wednesday in time to sup-
22 miered, and a major works concert port Lisa Fredenburgh of Meredith
24 will be presented by the Dallas Sym- College in her 4 p.m. presentation. I
phony Chorus and Chamber Orches- hope you will make time to attend
tra. Shape up your plans to attend the 2001 National ACDA Confer-
now! See you in San Antonio! ence!
(Continued on page 3)
NC ACDA Collegiate Choir Festivals
The 2001 NC 24. Gardner-Webb Uni- twenty minutes of mu-
ACDA Collegiate versity in Boiling Springs sic, including walking
Choir Festivals will (John Campbell, host) time, and each session
be held at two sites will be the site of the sec- will have as many as six
again this year. ond festival, on Saturday, choirs with a lunch
Campbell University April 7. Each site may break in between.
in Buies Creek (Phil accommodate up to There is no fee and no
Morrow, host) will be twelve choirs in two ses- clinician or adjudicator.
the site of a festival sions. Participating Gary Wright, Colle-
on Saturday, March choirs may sing up to (Continued on page 21)
 PAGE
PAGE2 2 T H E CTHE
A RCAROLINA
O L I N ACAROLER
CAROLER SPRING 2001

North Carolina ACDA Officers, 1999-2001

President President-Elect Secretary
Maribeth Yoder-White UNCG School of Music Ann Dunn McMichael High School Martha W. Youngwood Canton Middle School
246 Gilbert Road P. O. Box 26167 1948 Price Road 6845 Highway 135 585 Trout Cove Road 60 Penland Street
Statesville, NC 28677 Greensboro, NC 27402 Eden, NC 27288 Mayodan, NC 27027 Waynesville, NC 28786 Canton, NC 28716
704-872-6690 336-334-3301 336-627-0594 336-427-5165 828-926-0568 828-646-3453
Fax: 336-334-5497 dunn4music@prodigy.net Fax: 336-427-5776 blkwngbird@aol.com Fax: 828-926-9893
yoderwhite@abts.net mgyoderw@uncg.edu
Membership Chair Newsletter Editor
Vice President Phillip J. MorrowCampbell University John W. Campbell Gardner-Webb
Reta R. PhiferElizabeth Lane Elem. 232 Green Level Drive P. O. Box 70 University
8149 Mattingridge Drive121 Elizabeth Lane Angier, NC 27501 Buies Creek, NC 27506 734 Skinner Road Boiling Springs, NC
Charlotte, NC 28270 Matthews, NC 28105 919-639-9575 910-893-1497 Shelby, NC 28152 28017
704-366-4614 704-343-5700 Fax: 910-893-1515 704-434-5752 704-406-3885
Fax: 704-343-5704 morrow@mailcenter.campbell.edu Fax: 704-406-3935
phifer4music@mindspring.com jwcampbell@gardner-webb.edu
Treasurer
Ginger Wyrick Queens College
6200 Maple Cove Lane 1900 Selwyn Avenue
Charlotte, NC 28269 Charlotte, NC 28274
704-948-4363 704-337-2269
ggw@hwaci.com Fax: 704-337-2356

NC ACDA Repertoire and Standards Chairs

Boychoirs Ethnic/Multicultural Perspectives Music and Worship
Thomas Sibley Raleigh Boychoir Tony McNeill Friendship Missionary David Mayo St. Stephens UMC
411 Holly Circle 1329 Ridge Road P. O. Box 16935 Baptist Church 1210 Fox Run Drive 6800 Sardis Road
Cary, NC 27511 Raleigh, NC 27607 Charlotte, NC 28297 3301 Beaties Ford Rd. Charlotte, NC 28212 Charlotte, NC 28270
919-467-9425 919-881-9259 704-617-6135 Charlotte, NC 28216 704-567-6377 704-364-1824
rbc@1pass.net Fax: 919-881-0971 Fax: 704-392-0316 704-392-0392 mayo81@aol.com Fax: 704-364-0014
tmcneill1@carolina.rr.com
Childrens Choirs musicatfmbc@yahoo.com Senior High School Choirs
Sandy Holland Charlotte Childrens Lee Mabe Lexington High School
3305 Magnolia Hill Dr. Choir Jazz and Show Choirs 309 West Second Ave. 2747 NC Highway 47
Apt. 1911 P. O. Box 30724 Dan Huff UNC-CH Music Dept Lexington, NC 27292 Lexington, NC 27292
Charlotte, NC 28205 Charlotte, NC 28230 114 Rother Lane CH #3320, Hill Hall 336-248-5085 336-242-1571
704-535-5758 704-374-1896 Durham, NC 27707 Chapel Hill, NC 27599 Lmabe@infoave.com Fax: 336-357-5175
Fax: 704-374-1896 919-493-4877 919-962-4219
srholland@mindspring.com dhuff@email.unc.edu Fax: 919-962-3327 Womens Choirs
Lisa Fredenburgh Meredith College
College and University Choirs Junior High/Middle School Choirs 1316 Courtland Drive 3800 Hillsborough Street
Gary Wright UNC-Pembroke Tom Shelton Kernersville Middle Sch. Raleigh, NC 27604 Raleigh, NC 28607
30120 Arrowhead Trace Department of Music 3002 Amidon Drive 110 Brown Road 919-829-5653 919-760-8577
Wagram, NC 28396 Pembroke, NC 28372 Greensboro, NC 27410 Kernersville, NC 27284 Fax: 919-760-2359
910-369-2522 910-521-6290 336-852-0477 336-996-5566 fredenburg@meredith.edu
wright@papa.uncp.edu ttshelton@aol.com Fax: 336-996-1966
Youth and Student Activities
Community Choirs Male Choirs Janna Brendell East Carolina University
Jerry Cribbs New Hanover Co. Schls. William Carroll UNCG School of Music 106-E West Victoria Ct. School of Music
6252 Gentry Oaks Dr. 1802 South 15th St. 801 W. McGee St., #16 P. O. Box 26167 Greenville, NC 27834 Greenville, NC 27858
Wilmington, NC 28409 Wilmington, NC 28401 Greensboro, NC 27401 Greensboro, NC 27402 252-321-3909 252-328-1252
910-392-6783 910-763-5431 336-370-1936 336-334-5493 brendellj@mail.ecu.edu Fax: 252-328-6258
Fax: 910-254-4120 wpcarrol@uncg.edu Fax: 336-334-5497
jerry_cribbs@nchs.k12.nc.us

NC ACDA Specially Appointed Officers

2001 Intercollegiate Lara Hoggard SSA All-State Coordinator
Choral Festival Hosts Award Chair Dsire Davis East Chapel Hill H. S.
John W. Campbell Gardner-Webb Univ. Sam Doyle 311 S. LaSalle St. 500 Weaver Dairy Rd.
(see Editors listing) 1702 Westridge Road Durham, NC 27705 Chapel Hill, NC 27514
Greensboro, NC 27410 919-309-0115 919-969-2482, X286
Phillip J. Morrow Campbell University 336-282-0549 ddavis@chccs.k12.nc.us
(see Membership Chair listing) saa@nr.infi.net
Newsletter Advertising Editor
Betty Neill Parsons Methodist College
Technology 984 S. McPherson 5400 Ramsey Street
Lisa Fredenburgh Meredith College Church Road
(see Womens Choirs R&S listing) Fayetteville, NC 28303 Fayetteville, NC 28311
910-485-7029 920-630-7153
bngpars@foto.infi.net Fax: 910-630-7513
 SUMMER 2000
We need music
David Rayl
President, Missouri Choral
Directors Association
(Reprinted by permission from
The MCDA Reporter, Winter
2000, Bruce Dickerson, Editor.)
I am writing this column
on the day following the state
funeral for Governor Mel
Carnahan, an event for which
my students had the privilege
of providing some of them mu-
sic. It was a solemn and awe-
some (in the true sense of that
word) and moving occasion,
one that was rich with elo-
quently spoken words and
powerful symbols...and music.
As I later reflected on the
days events, I was struck by
the important role of music in
the service. A string quartet
President's Message
(Continued from page 1)
As I read over the first two
paragraphs of this message, I
cannot help but note the recur-
ring reference to time. In both
our personal and professional
lives, one of the greatest chal-
lenges we face is organizing
and managing our time. The
precarious balance between be-
ing true to self, family, relation-
ships, work, and community is
often elusive and difficult to
maintain. When we struggle to
manage our time effectively,
we often blame ourselves
(Thats just the way I am; dis-
organization and procrastina-
tion come easy to me) or our
world (Thats just the way life
is these days). Both views are
THE CAROLINA CAROLER
from the St. Louis Symphony
played the Barber Adagio for
Strings and Londonderry Air. A
childrens choir sang Jesus Loves
Me. My own choir performed
Virgil Thomsons arrangement
of My Shepherd Will Supply My
Need and The Battle Hymn of the
Republic. And, of course, there
was the sound of the muffled
drums that accompanied the
casket to the Capitol; of Taps,
which concluded the cere-
mony; and of the bagpipes,
which accompanied the casket
back to the Governors Man-
sion.
It is unthinkable that mu-
siclive music performed by
living, breathing human be-
ingswould not be an integral
part of such a significant event
in the history of our state. Peo-
ple need music. Society needs
inaccurate and self-defeating,
and do nothing more than give
us permission to continue liv-
ing a frantic, exhausting, and
less-than-satisfying life. While
no easy answers exist for solv-
ing this dilemma, here are a
few suggestions (derived from
readings) for making time and
life more manageable.
Determine how you spend
your time. For a week or two,
map out in detail and in writ-
ing how you spend your time.
Mapping your time (Julie
Morgenstern, Time Management
From the Inside Out) and visual-
izing how you spend your time
makes it more tangible and
more controllable. Once you
determine how you spend your
daily time, the next step is to
PAGE 3
music. Whether we are cele-
brating or mourning, we need
music, that astounding art
form that gives expression to
those emotions we cannot ex-
press in any other way.
In all of our talk about the
importance of music in the cur-
riculum of our schools, I some-
times think that we ignore, or
at least understate, the most
important reason to teach mu-
sic: the inherent need of hu-
man beings to experience mu-
sic both as a listener and as a
performer.
The primary reason to in-
clude music in the curriculum
is not that it will make our chil-
dren better at mathematics or
some other subject, not that it
will make them high achievers
on standardized tests, and not
(Continued on page 7)
decide if this time and activity
distribution reflects the balance
you desire in your life. A vis-
ual time map also allows you
to see if you are performing
various activities at a time
most beneficial for you. When
deciding what to do when, let
your own personal energy cy-
cles help determine the best
time of day for you to accom-
plish given activities.
Slow down. Such a sug-
gestion may seem antithetical
to a discussion on time man-
agement; yet when a fast pace
so permeates every area of
your life, hurrying becomes ha-
bitual. Forcing yourself to
slow down may offer opportu-
nity to closely examine how
(Continued on page 4)
 PAGE 4
President's Message
(Continued from page 3)
time is spent and to develop the
habit of a more relaxed pace. If
slowing down is difficult for
you, Elaine St. James (Inner Sim-
plicity) suggests beginning your
day by sitting down for a quiet
breakfast (without distractions of
radio, television, and newspa-
per), leaving for work earlier to
avoid a hurried start of your day,
getting up an hour earlier to al-
low time for a slower beginning
of the day, and placing notes
around your home/office re-
minding yourself to slow down.
Consider the real conse-
quences of saying no. Cho-
ral directors must be some of the
most sought-after, busy mem-
bers of society. How often do
we say yes to commitments
and requests when our lives
would have been better served
by simply saying no? Yet
when we take responsibility for
our lives, we realize that there
are many things we do that we
really dont want or need to do,
things that detract from the time
we should spend on our own
growth and intentions. One
simple means of saying no is
avoiding interruptions such as a
ringing telephone. Not answer-
ing the phone every time it rings
allows us to acknowledge that
just because its convenient for
someone to call you at this par-
ticular time does not necessarily
mean its convenient for you to
answer.
Determine the real reasons
you have difficulty managing
time. Perhaps the causes are
T H E CTHE
A RCAROLINA
O L I N ACAROLER
CAROLER
psychological--some of us fear
downtime while others crave
perfectionism. Perhaps external
difficulties, such as health issues
and impossible workloads, im-
pede progress in time manage-
ment Perhaps external prob-
lems, such as trying to work at
the wrong time, miscalculating
the length needed to complete
tasks, forgetting the tasks to
complete, or failing to delegate
responsibility, impede your pro-
gress. Discovering what keeps
you from effectively managing
how each day is spent is the first
step in gaining control and im-
pacting life-long change (Julie
Morgenstern, Time Management
from the Inside Out).
Find satisfaction in the realiza-
Focus on the compass first,
rather than the clock. Stephen
Covey (First Things First) sug-
gests that our vision, values, and
days filled with awareness of
principles guide our lives like a
compass. Our individual com-
pass provides the direction for
how we lead our lives and helps
us determine that which is most
important to us. After we dis-
cern our priorities and values
(compass), then we can deter-
mine how to use and manage
our time more effectively
(clock). Often we tend to look
at the clock first, trying to do
more and do things more effi-
ciently without considering per-
sonal goals and happiness. Do-
ing more things faster is no sub-
stitute for doing the right things.
Life should be more about what
we do and why we do it, rather
than how fast we can get it
done!
Recognize the power of
your own thoughts. Richard
Carlsen (Dont Sweat the Small
SPRING 2001
Stuff) and Phil McGraw (Life
Strategies: Doing What Works,
Doing What Matters) remind us
of the intense, inextricable re-
lationship between thinking
and feeling. Whether we are
aware of it or not, thinking al-
ways reflects back to us as a
feeling, producing some type
of emotional and physiological
response. Determining that
you can and will delineate
how your time is spent each
day is a powerful, valuable
tool for time, life, and stress
management.
I challenge you to take bet-
ter control of your time this
year, to spend your days doing
what you need and want to do.
tion that you (and you alone)
manage, control, and can cele-
brate time. Best wishes for
time well-spent, and activities
and people that bring you
pleasure.
ACDA Advocacy
Resolution
Whereas the human spirit is
elevated to a broader understand-
ing of itself through study and per-
formance in the aesthetic arts; and
Whereas serious cutbacks in
funding and support have steadily
eroded arts institutions and their
programs 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 pro-
grams for this and future gen-
erations.
 SUMMER 2000
Hoggard Award
presented to
holquist
Each year NC ACDA re-
ceives nominations for the pres-
tigious Lara Hoggard Award. At
this years annual luncheon dur-
ing the NC Music Educator's
Conference at Winston-Salem
on November 13, the organiza-
tion presented the award to
Robert Holquist.
Robert A. Holquist is Profes-
sor of Music and Director of
Choral Activities at Western
Carolina University in Cullow-
hee, NC, where he also serves as
Chair of the Voice Division. In
addition to conducting the Con-
cert Choir and the Early Music
Ensemble, Holquist teaches ap-
plied voice, choral methods, and
conducting.
Holquist earned the Bachelor
of Science in Music Education
degree (1967) and the Master of
Science in Teaching (1971) at
Wisconsin State Universities in
Stevens Point and Eau Claire,
respectively. He was awarded
the Doctor of Musical Arts in
Choral Conducting (1978) by
the University of Iowa.
Teaching experience in-
cludes three years at the senior
high school in Merrill, WI,
seven years as head of choral/
vocal activities at Dakota
Wesleyan University in
Mitchell, SD, and graduate as-
sistantships at Eau Claire and
Iowa. He joined the music fac-
ulty at WCU in August, 1979.
During his tenure Dr. Hol-
quist has maintained an active
schedule as a conductor, bass-
THE CAROLINA CAROLER
baritone soloist, and educator.
He regularly appears on the fac-
ulty recital series, and as a solo-
ist in regional performances of
oratorio. Opera roles during the
past several years include Figaro
in Mozart's Marriage of Figaro,
Basilio in Rosinni's Barber of
Seville, and Ben in Menotti's The
Telephone. In addition to re-
gional choral clinics in NC, GA,
SC, and TN, Holquist served as
director for the 1992 NC All-
State Chorus. Western's choirs
sing annually with orchestral ac-
companiment under his leader-
ship. He has directed adult
church choirs since 1966, and
has been Minister of Music at
First Baptist in Sylva since 1983.
Professor Holquist has a
keen interest in junior- and sen-
ior-high school music programs.
He often adjudicates choral and
vocal festivals, and has served
on the team to select members
of the NC Honors Chorus sev-
eral years. He has served as
member of the NCMEA board
in several positions, and is ac-
tive in the National Association
of the Teachers of Singing. A
member of the American Choral
Directors' Association, Holquist
served as NC President during
1987-89.
In addition to musical en-
deavors, Bob enjoys family
time, golf, hunting, and fishing.
He and his wife, Barbara are na-
tives of northern Wisconsin,
and are proud parents of Ryan
and Amber.
Criteria for the Lara Hog-
gard Award insist that the re-
cipient has distinguished him-
self/herself as an outstanding
choral director within North
PAGE 5
Editors Nook
John W. Campbell
This issue of The Carolina Caroler
contains, typically, items and arti-
cles to address numerous areas of
the choral art. From announce-
ments on the state and national
levels, to rehearsal tips, historical
(or at times hysterical) articles af-
fecting choral music in North
Carolina, inspiration and perspi-
ration, I hope you find some-
thingeven several somethings
that will enrich your own music
making.
Happy reading.
Carolina; has consistently
demonstrated the highest mu-
sical standards throughout his/
her career; has been active in
several areas of education (i.e.,
school, community, church);
has served and/or held office
in choral areas of appropriate
professional organizations
such as NCMEA and NC
ACDA; and has provided
statewide leadership in the
choral art for a minimum of 10
years within the state of North
Carolina. A committee ap-
pointed by the president of NC
ACDA receives nominations
and determines the recipient.
The award does not have to be
given every year, but is re-
served for special occasions
where there is obvious out-
standing merit. For further in-
formation or to make nomina-
tions, contact Sam Doyle,
Chair, Hoggard Selection
Committee (see contact infor-
mation on page 2).
[Editors note: See also the ar-
ticle on Lara Hoggard.]
 PAGE 6
Bel canto celebrates black
history month, And performs
Bachs St. John Passion
The Bel Canto Company
pays tribute to our diverse
American heritage with a cele-
bration of music by African
Americans. The featured work
will be Changed My Name by
Linda Twine, a cantata inspired
by spirituals and the lives of So-
jouner Truth and Harriet Tub-
man, with soloist Elvira Green.
The second portion of the eve-
ning will be devoted to spiritu-
als. These classic spirituals will
be performed both in their tradi-
tional forms and in inventive ar-
rangements by contemporary
composers such as Moses Ho-
gan and Wallace Cheatham.
The Company, directed by
David Pegg, will have two per-
formances of this concert on
February 9 and 10 at Christ
United Methodist Church in
Greensboro at 8:00 p.m. Pre-
concert lectures will be provided
at 7:15 each night of the per-
formance by Dr. Patricia Trice.
Dr. Trice is Music Director of
the Spiritual Renaissance Sing-
ers of Greensboro, Providence
Baptist Sanctuary Choir, and a
retired professor of music who
taught at Hillsborough Commu-
nity College in Tampa, Florida.
Bel Canto is very excited to
be adding a third performance at
Providence Baptist Church,
Greensboro, on Sunday, Febru-
ary 11, at 4:00 p.m. This per-
formance is free and open to the
public.
Bel Canto Company is
pleased to welcome back Elvira
T H E CTHE
A RCAROLINA
O L I N ACAROLER
CAROLER
Green as guest artist. Miss
Greens heart-felt singing of fa-
vorite spirituals has swept away
audiences in Greensboro and
abroad. She has graced the
stage of the Metropolitan, San
Francisco and Netherlands Op-
era companies and toured inter-
nationally in Porgy and Bess and
the recent revival of Showboat.
Devoted to sharing our musical
legacy with young audiences,
Miss Green currently serves as
music director for the Greens-
boro Opera Companys Opera
Camp. She made her debut
with that company last Novem-
ber as Ulrica in Verdis Un Ballo
in Maschera.
*****
Come take advantage of a
rare and delightful opportunity!
The Passion According to St. John,
one of the crown jewels of Jo-
hann Sebastian Bachs choral
compositions, will be performed
Friday, March 30, 2001, at 8:00
p.m. at First Presbyterian
Church, 617 N. Elm Street,
Greensboro. Maestro David
Pegg has assembled an excellent
team in order to meet the in-
tense demands of this incredible
work. Bel Canto Company will
perform the intricate choruses
and chorales that comment on
the unfolding drama. The Caro-
lina Chamber Symphony under
the direction of Robert Franz
will realize Bachs colorful and
exciting accompaniment. North
Carolina School of the Arts fac-
ulty member Glenn Siebert will
SPRING 2001
Women's Choral
Music: Alive and
Well in
San Antonio
Pick Up Vocal Tips
Wednesday, March 14,
4:00 p.m.
Interest Session: The Switch
Hit ters Guide to Voicing
Women's Sections and
Choirs
Lisa Fredenburgh, Clinician;
McIntosh Singers, Georgia
Attend the Roundtable
Thursday, March 15,
7:00 a.m.
Women's Choir Roundtable
Panel Presentation: A
League of Their Own:
Building a Women's Cho-
ral Program
(Continued on page 7)
sing the demanding role of the
Evangelist, and Greensboro
native Robert W. Overman
will sing the part of Jesus.
WFDD 88.5 FM music direc-
tor, Kimberlea Daggy will pro-
vide the pre-concert lecture at
7:15.
Bel Canto offers special
rates for members of NC
ACDA and their school and
church choirs! Teacher/
student group rates are $5 each
(pre-concert lecture is re-
quired), and church and com-
munity choir group rate is $10
each. Reservations for groups
should be made by calling
(336) 668-1020. Regular ticket
prices are $15, and $12 for sen-
iors/students.
 SUMMER 2000 THE CAROLINA CAROLER PAGE 7

Women's Choral Music

In San Antonio
(Continued from page 6)
Why do some women's choirs thrive
and others falter? Panelists will dis-
cuss how American women's choirs,
past and present, have flourished.
They will present a "how to" kit for
beginning, or beginning again, to
build a successful school or commu-
nity women's chorus.
Panelists: Charlotte Adams, Cherry
Creek High School, Denver,
CO; Richard Cox, University of
North Carolina, Greensboro;
The Triads Finest Professional Chorus
David Pegg Artistic Director/Conductor
Cathy West - Accompanist
Aint That Good News!
February 9 & 10, 2001, 8pm
Bel Canto Company
Bel Canto celebrates Black History Month
Guest Artist: Elvira Green
PO Box 10752 Bachs St. John Passion March 30, 2001, 8pm
Greensboro NC 27404 Guest Artists: Carolina Chamber Symphony
Glenn Siebert, Robert W. Overman
Bel Canto
Company offers
Wonderful opportunity to expose your choir
Special Rates
to the finest professional choral music.
Educational Pre-Concert Lectures at 7:15pm
for members of
Teacher/student group rate $5 each
the NC ACDA
and their school (pre-concert lecture is required)
and church Group rates for church, community choirs
choirs! $10 each.

Patricia Hennings, Peninsula Reservation/payment deadlines, Feb. 1 and

Women's Chorus, Palo Alto,
CA.
Explore the Repertoire
March 20 - (336) 668-1020
Tickets:
Adults - $15
Senior/Student - $12
www.greensboro.com/belcanto
belcanto@triad.rr.com

Thursday, March 15, 12:15 p.m.

Women's Choir Reading Session
R&S Division Chairs conducting: University of Mississippi Haltom High School Var-
Melissa Arasi (S), Priscilla Women's Glee Club sity Women, Texas
French (E), Shirley Nute (W), Jo Mount Taylor High
Scurlock-Dillard (SW), Carol School Women's Chorale, Find Resources
Tralau (NC) Texas Exhibits with Specific
St. Olaf's College Manitou Women's Choir Focus
Hear the Performances Singers, Minnesota Treble Clef Music Press
Fort Zumwalt North High Peninsula Women's Choir, Women's Choir Power
Women's Chorale, Missouri California Booth - #514

cians, play such an important role in society.

We need music
(Continued from page 3)
that it affords an opportunity to integrate music
with other subjects such as history or geography.
The primary reason that musicall the arts, for
that mattermust be included in the curriculum
of our schools is because we need them to sustain
our civilization and ourselves. If we as a society
lose the ability to express our deepest feelings
through the art of music, then we will have lost
something incredibly precious. Music truly is a
gift, one that must be nurtured and protected so
that it can be passed down from one generation to
the next. And that is why we, as choral musi-
I suspect that Ive included the following
quote by Ernest Boyer in an earlier column,
but he makes my point with such power and
clarity that Ill include it again.
There are human experiences that defy
the power of words to describe. To express
our most intimate, most profoundly moving
feelings and ideas we use a more sensitive,
more subtle language we call the arts. Music,
dance, and the visual arts are no longer just de-
sirable, they are essential. They affirm and
dignify our lives and remain the means by
which the quality of a civilization can be meas-
ured.
 PAGE 8 T H E CTHE
A RCAROLINA
O L I N ACAROLER
Practice Practicing and
rehearse rehearsing
Peter Robb,
Childrens Choir R&S Chair,
Oregon ACDA
(Reprinted by permission from Oregon Choral Focus, Novem-
ber 2000, Julie Adkins, Editor.)
One of the constant challenges for the chil-
drens choir director is finding a way to keep
singing fun and engaging while leading the
young singers to musical excellence and self-
discipline.
After two decades of working with young
singers, I made a huge discovery in the last cou-
ple of years: Children learn to be choir mem-
bers. It may sound obvious, but the gem Ive
been uncovering is this simple statement: Prac-
tice practicing and rehearse rehearsing.
Like any other skill, the wide variety of skills
necessary for success as a choir member are not
Peter Robb is Founder/Artistic Director of
Oregon Festival Choirs, sponsors of the Pacific
International Children's Choir Festival
(PICCFEST). Each June, six to eight choirs
gather in beautiful Eugene, Oregon, for six days
of rehearsal, performance, recreation, and cul-
tural exchange. Set against the backdrop of the
prestigious Oregon Bach Festival, PICCFEST is
quickly becoming one of the finest festivals of its
kind. In addition to at least three individual per-
formances by each choir, the combined 300
voice Festival Chorus performs at the Oregon
Bach Festival opening ceremonies and in a cul-
minating Gala Concert with the Oregon Mozart
Players chamber orchestra. Past guest conduc-
tors/clinicians and seminar presenters have in-
cluded Doreen Rao, Axel Theimer, Henry Leck,
Judith Willoughby, Harvey Smith, Anton Arm-
strong, and others.
For more information about PICCFEST 2002,
contact Peter Robb, Oregon Festival Choirs, PO
Box 207, Eugene, OR 97440. Phone 541-465-
9600. Fax 541-465-4990. E-mail informa-
tion@piccfest.org
CAROLER SPRING 2001
innate. They are learned. The same goes for
some of the seemingly less musical aspects of
choral training. A conductor may spend a great
deal of time and repetition to help young singers
finally experience and begin to master legato
singing. But when it comes to staying focused, it
is easy to regard a student as either one who can
or one who cant focus. The conductor then uses
an inordinate amount of energy and rehearsal
time to monitor those who dont seem to focus
very well in rehearsal.
With this in mind, I now regard everything
that happens in rehearsal as something worth re-
hearsing; something skill-based that requires the
same learning steps as the mastery of any skill.
That meansit takes practice to: sit tall when
singing; to control the impulse to call out an an-
swer or make a funny comment; to use a score; to
sing with energy through a phrasea sectiona
piecea whole rehearsal; to watch the conduc-
tor; to be attentive to instruction and observations
that follow a cut-off; to transition from one re-
hearsal activity to another without losing focus,
etc., etc.
Think about this: There are no similar activi-
ties in their school or home life. By this age, it is
not effective to have the entire math class solving
math problems aloud, in unison, for an entire
class period. It is not conceivable for students to
read aloud, in unison, for an entire history class.
Yet in the choral setting the chief activity in-
volves using their voices.
On the one hand, it is not very difficult to un-
derstand, Sing when asked to sing. Dont talk
unless asked to do so. But from a skill level, we
are asking them to go rather abruptly from mak-
ing sound to not making sound. More to the
point, we are asking them to be vulnerable to ex-
posing their voicesin publicamong peers, and
then cutting off any chance to check in with those
around them. The ability to do this is a learned
skill. And if its a learned skill, that means it can
be taught!
And just like any new skill, one of the most
important means to mastery is familiarity and
repetition.
Rather than treating interruptions as a behav-
(Continued on page 9)
 SUMMER 2000 THE CAROLINA CAROLER
Practice practicing
(Continued from page 8)
ior issue, Ive begun to see them as opportunities
to check our progress in developing rehearsal
skills. Instead of snapping, Cant you kids go
longer than 30 seconds without disrupting re-
hearsal?!, I might set up the following: One of
the toughest things to learn in a choir is how to
go from one activity to another without losing
our focus. Lets see if we can make the transi-
tion from the cut-off on this piece to my next in-
structions without losing focus or talking to
neighbors.
Give it a try. Then give them a chance to
evaluate: On a scale of 1-10, how did you do?
At this point, they are developing the skill to
monitor their own self-discipline. A high score
is the occasion for praising this skill achieve-
ment; a less-than-stellar result can be the occa-
sion to Practice Practicing.
In the latter case I might say, Thats a bit
harder than it seems. Lets try it again. See if
you can make the transition from this piece to
the next without losing focus or talking to a
neighbor.
The biggest discovery in all this is that cogni-
tive development and skill development do not
operate on the same time table. The choristers
may understand the necessity to refrain from
talking the moment they stop singing, but that
does not mean they have the skill to execute the
concept.
You get my point. Treat the mastery of mak-
ing a transition, of sitting tall, or any of the skills
that might get labeled behavior as you would
a difficult rhythm or a phrasing challenge.
Practice practicing. Rehearse rehearsing.
My initial reaction to this was that it takes
time away from rehearsing the all-important
concert program. However, that is a very selec-
tive view of which elements in music-making re-
quire rehearsal. Ive begun to see rests as a place
where the singers do not actually rest, but are en-
gaged in singing the silence. That when we
move from one piece to another, we are not
stopping and starting, but making a segue. Even
incorporating a talking break a few places in re-
PAGE 9
hearsal can be the skill development of watching
for the conductors cue to get back to work on
repertoire.
The payoff is the development of a much
more efficient way of rehearsing. The tone of
rehearsal becomes one of mentoring and cele-
brating successes rather than the adversarial rela-
tionship that can develop when discipline is
treated as a control issue.
I recently returned from a wonderful work-
shop at the American Boychoir School in
Princeton, NJ. Along with 100+ conductors of
boychoirs, girlchoirs, and childrens choirs, I ob-
served 80 boys ages 10-14 rehearse and perform
in a most amazingly professional manner with
Anton Armstrong, Andr Thomas, and their
own conductor James Litton. One might be
tempted to diminish the achievement of the only
non-sectarian boarding choir school in the U.S.
by regarding these boys as an aberration, not to
be confused with the normal children the rest of
us work with.
However, as if to challenge the notion that
the ABS boys were aliens, they were joined by
the Newark Boychoir School, an urban charter
school in nearby Newark. These boys from the
mean streets of Newark exhibited the very same
quality of professionalism in their deportment,
rehearsal/performance manner, and interaction
with the conference attendees as their ABS
counterparts. And their singing? Breathtaking!
As their conductors will tell you, the ABS
and Newark Boychoir singers do not arrive at
the school as perfectly disciplined professionals.
Regardless of the advantages inherent in a choir
school experience, they still must learn what
every chorister must learnhow to focus and be
productive in rehearsal and performance.
Nothing I know motivates better than the
satisfaction of mastering a new skill, whether
thats singing in three parts or staying on task
and being able to be engaged in the music when
not singing.
Perhaps the punch line to the question asked
of a New York cabby ought to be amended:
How do you get to Carnegie Hall? Practice,
practice, practice, AND practice practicing and re-
hearse rehearsing.
 PAGE 10 T H E CTHE
A RCAROLINA
O L I N ACAROLER
The life and work of north carolinas
Lara hoggard
Editors note: The last issue of The Carolina Caroler (Fall
2000) carried Robin Garners fine article describing
the events that brought choral legend Lara Hoggard to
North Carolina. That article and the work behind it
made several people aware of the need and opportunity
to chronicle Dr. Hoggards musical odyssey, both for
the record and as an inspiration to succeeding genera-
tions of choral musicians. Citing newspaper articles
from the time, family correspondence, and the verbal
recollections of family and close friends, as well as Dr.
Hoggards own words, the following article recounts
his childhood development as a musician. A subse-
quent article will carry the story forward into his col-
lege years and his remarkable career. The Carolina Caroler
is proud to present this account of his musical begin-
nings.
Lara Guldmar Hoggard was born in King-
ston, Oklahoma on February 9, 1915, the sev-
enth of eleven surviving children. Music and lit-
erature were an integral part of family activities
and entertainment, involving both vocal and in-
strumental participation: piano, violin (standard
and breakdown fiddling), guitar (Spanish and
folk/country), mandolin, ukulele, banjo and
for both pleasure and music appreciationthe
almost constantly-played Victrola with a treas-
ured collection of Victor Red Seal records
great performances by some of the worlds most
famous singers and instrumentalists, such as
Caruso, Melba, Galli-Curci, Tetrazzini, Farrar,
Kreisler, Powell and Paderewski.
Whether inside in winter or on the front
porch in summer, there was a plenitude of op-
portunity for group singing of folk songs, bal-
lads, art songs and hymns found in well-worn
copies of Golden Book of Songs. Of particu-
lar interest was the reading of excerpts from lit-
erature, both poetry and prose. Selections were
rendered by various members of the family,
younger and older, with memorization heartily
approved. Especially enthusiastic were the pres-
entation and reception of original poems.
As early as age three, Lara often was ob-
CAROLER SPRING 2001
served experimenting with the variety of sounds
he could produce on the piano keyboard: seek-
ing the right notes to play the familiar nursery
rhyme tunes, melodies heard on Victrola re-
cords, and unusual combinations of notes
(chords), revealing a remarkable ear regarding
pitch relationships. For example, he could du-
plicate at the piano the tuning of fifths on the
violin, and he knew when the other stringed in-
struments were correctly tuned.
At age four he began to play by ear the sec-
ondo part in simple duets, learned by listening
and watching the fingers of his sister Josephine
as she and their older sister Jacquelyn practiced.
Eventually Lara also learned to play the primo
part and could play duets with either sister, play-
ing either part. Favorite repertory included sim-
ple four-hand arrangements of patriotic marches
and ballads associated with World War I. (The
oldest Hoggard boy had fought in France.)
This family interest in music and literature
was the more striking because of its setting in an
agrarian/ranching environment where even chil-
dren were expected to hire out as field hands
baling hay, sacking oats, chopping cotton and
corn, gathering fruit for drying and canning.
Lara commented in later years,
We hated for someone to knock at the
door and announce Kellys cotton is
ready for picking, for we knew it meant
working sunrise to sunset, hot, sweaty
work; and how the dried bolls would prick
our fingers! Mama would manage to fix a
picnic lunch, and she and Daddy would
bring it to us. Just her being there, smil-
ing, gave us a feeling of comfort and secu-
rity. But I knew she didnt want my sis-
ters to pick cotton. We didnt realize the
gravity of events when we were children.
Later we understood that all ranchers suf-
fered a financial disaster after the world
war. Most of them took advantage of the
bankruptcy law, relieving them from in-
debtedness. But my father refused to ac-
cept what he thought was a dishonorable
 SUMMER 2000 THE CAROLINA CAROLER
(Continued from page 10)
escape. He paid off all his debts, leaving
us almost penniless. He had to sell our
nice house in downtown Kingston and
move us out into the country to live in a
ranch house that had always been occu-
pied by a cowpuncher foreman and his
men. There was no electricity (we had
only kerosene lamps), nor indoor plumb-
ing. All water had to be drawn from a
well with rope and bucket, and carried
into the kitchen. Bath water had to be
heated on the kitchen stove. I was five
years old when Daddy took me down to
the barn with my brother Harold, and
showed us how to milk cows. That twice-
a-day activity was our responsibility until
we graduated from high school. We all
had to walk to school, one mile distant,
rain or shine.
When Lara was almost five, a fateful episode
occurred. His father, a man of many talents,
was short-tempered and driven to the domina-
tion of others. A rancher, he usually was not at
home during the day, but one afternoon (to his
later profound regret) he came home and entered
the room where Josephine and Lara were at the
piano. Listening for a moment, he stepped for-
ward and demanded that they stop playing!
Then, speaking with a mocking voice, he turned
to Lara: Hey, is this our little sissy? Dont you
know that boys are not supposed to play the pi-
ano? Only girls take piano lessons and play in
recitals. You dont want to be a sissy, now do
you? Thats what the other boys will call you
when you go to school next fall. Now you listen
to me! If you dont stay away from this piano
Im going to start calling you Little Sister!
Josephine could never forget the reaction of
this not yet five-year-old child:
His face turned very pale; his eyes
filled with tears. He quickly moved off
the piano bench and ran from the room,
making strange little sobbing noises. It
was terrible to see and hear!
He wouldnt come to supper that
night, although Mama called to him sev-
PAGE 11
eral times. Finally she got up from the ta-
ble to see about him. Daddy didnt say a
word or do anything, just looked down at
his plate. But his face looked troubled,
and he ate only a little of his food. Later
that evening our house was very quiet,
and we could hear Mama and Daddy
quarreling. We heard her tell him, in a
loud voice, that Lara would keep on playing
the pianoshe would see to thatbut
never when Daddy was in the house.
We all were worried, afraid that Lara
might not ever want to play the piano
again. These fears were gradually dis-
pelled. There were times, when he must
have thought no one was near, we could
hear him, even from a distance, softly
playing little melodies and chords we had
never heard before. Mama said he was
composing, and she cautioned the rest of
us not to go near or into that room and
never to disturb his practicing, reminding
us, He needs privacy and more time to
work things out in his mind.
Mama tried to help us understand that
Daddy was not really mean, and he was
sorry to have hurt Laras feelings. She
said it was hard for him ever to apologize,
although she had suggested he needed to
do so. She assured us that Daddy loved
us all, and just didnt want to see us get
hurt. He was only trying to protect Lara
from harm, because he knows that your
little brother is a very sensitive, unusual
child; and he also knows how mean and
ugly some of those older bullies can be.
Cowards always like to pick on younger,
defenseless children.
I remember Mama telling us that
Daddy had grown up in a rough world.
(He was once a cowboy in west Texas,
and the only piano-playing he might have
heard would have been by a saloon girl or
a drunkard musician.) She had tried to
tell Daddy how prejudiced and unfair he
was, not using good sense, and that boys
could and should play the pianothey
just had never done it in Marshall
County, Oklahoma. She asked him why
 PAGE 12 T H E CTHE
A RCAROLINA
O L I N ACAROLER
Lara hoggard
(Continued from page 11)
he liked to hear Paderewski on our
Victrola; wouldnt a great pianist have
started learning to play when he was just a
little boy? Mama concluded with this
statement: I think your father doesnt
realize how prideful and stubborn he is.
But some day he will be so very proud
that Lara is his son. Just you wait and
see!
The living situation improved somewhat
when Lara was about eight years old, as he later
recalled:
Daddy was able, with the help of one
of our uncles and his son, to build a house
at the edge of town. What a time of ex-
citement and rejoicing it was! But best of
all, we were now much closer to school
and church, no longer isolated from our
schoolmates and activities. And I was
able to use the school piano whenever it
was free, especially after school, even
when the janitor was there, sweeping and
dusting. I could stay until it was time for
him to lock up.
At age eleven, in spite of his lack of formal
training and inability to read music, and to the
surprise of the Kingston townspeople, Lara won
first prize in a county-wide piano competition
the only boy, and the youngest contestant. Un-
beknownst even to his familysometimes prac-
ticing at home when he was certain no one else
was therehe had learned the Beethoven
Minuet in G by observing and listening to an
older classmate practicing the contest piece at
school during recess, at noon, or after school.
Late one afternoon the music teacher, who also
had a piano studio at the school, had heard the
all-too-familiar Minuet coming from the audi-
torium, and she knew it was not one of her pu-
pils. She later reported to Laras mother:
I was absolutely shocked to hear how
well your son was playing. I tip-toed up
close behind him. He was so engrossed
he was unaware of my presence. His
CAROLER SPRING 2001
notes were absolutely correct. And his
phrasingbeautiful, and very musical. I
moved closer, and slightly to one side for
a better view of his hands. Some of his
fingering was a bit unusual, although
amazingly effective. When I softly called
his name he almost leaped from that pi-
ano stool. He looked frightened and I
tried to assure hism that everything was
all right, that I just wanted to hear him
play. Then I invited him to sit down and
play the Minuet for me, but he said he
didnt want to. When I asked, Why
not? his reply was, Because I dont
want to be called a sissy.
With gentle insistence I finally got his
attention by asking if I could play some of
the Minuet for him, suggesting that he
watch my fingering. The moment I began
playing he moved close to my side, bend-
ing over the keyboard the better to ob-
serve my hands. In just a few minutes he
was back on that piano stool, revealing
immediate comprehension and enthusias-
tic reception of my suggestions. I cant
remember ever being so deeply moved by
music making as I was when, finally, he
played that Beethoven Minuet unerringly,
with amazing pianism. It was absolutely
thrilling. I could hardly control the tears
and a big lump in the throat as he was
leaving, especially when he turned at the
door, smiled, and softly spoke, Thank
you, Miss Marie, for helping me.
Laras sister Josephine recalled the subse-
quent events:
Miss Marie entered Lara in the county
contest (only two days away) with
Mamas knowledge and excited approval.
Preliminaries would be in the afternoon
with about a dozen entries; finals, that
evening. All of us were excited and beg-
ging to go to Madill to hear Lara play.
Mama asked if we could hear the Bee-
thoven now. With a bit of shyness he
agreed. We hurried to the piano room, all
SUMMER 2000 THE CAROLINA CAROLER
except Daddy. But shortly after Lara be-
gan to play, I glanced over at the hallway
door, and there was Daddy, standing out
in the hall in a position to see the piano
and Lara. When the final note was
played we clapped loudly, and a long
time. Then Mama asked if the contest-
ants were supposed to bow when they had
finished playing. Lara didnt know.
Mama asked Jacquelyn, who had played
in recitals, to show Lara how it was done.
His first effort was a good imitation of
Jacs demonstration. But our merriment
was suddenly interrupted when Daddy
came into the room. All eyes followed
him as he walked across the room to a
chair near the piano.
The room was abruptly very quiet.
Lara was still standing by the piano
bench. He glanced toward Mama and the
rest of us, then turned toward Daddy and
just stood there as though frozen, staring
at his father. Daddys response was un-
forgettable. He placed both hands on
Laras shoulders, patted him, and spoke:
Son, Im asking a favor of you. I was a
little late getting here, and didnt want to
interrupt. So I missed the first part of
what you were playing. And I dont want
to wait until tomorrow in Madill to hear
the whole piece. So the favor I ask is this:
Will you play it again, now? And if it
wont both you, Id like to stand close by
to watch those fingers make music.
So with Daddy standing at his side,
Lara sat on the piano bench, looked over
at Mama, who was now dabbing at her
eyes with a handkerchief, took a deep
breath, and began to play Beethoven even
better than that first time. When it was
over, Daddys voice broke the silence:
Ill bet old Beethoven wouldnt ask for it
to be played any prettier than that! And
when Lara stood up, Daddy reached over
and hugged him, the first time we had
ever seen him do that.
PAGE 13
Next afternoon seven happy Hoggards were
in that old Madill High School auditoriumsix
in the audience and one on stagefor the pre-
liminaries of the county contest. All twelve con-
testants were seated in a row on stage, eleven
girls and one boy. Numbers were drawn from a
hat to determine the order of performance. Lara
drew number one. Mama was glad; he would
not be influenced by the way the others played.
Daddy made us all laugh with his whispered
platitudinous pun-in-reverse: Ladies last! His
humor evoked a laugh from behind us, from
Miss Marie of Kingston. Two of her pupils,
both older than Lara, were also contestants.
After Lara played, Miss Marie leaned over
and whispered, I doubt that any of those other
eleven can even come close to what we have just
heard. Hes certainly going to be in the finals
tonight. After the last girl had performed, we
agreed totally when the judges announced their
decision, naming four finalists: two girls from
Madill, and a girl and boy from Kingston.
As we were leaving the auditorium to locate
a place where we could eat our supperMama
had prepared two shoeboxes filled with food
several people halted us to talk about the con-
test, to have a closer look at Lara and talk about
his performance. One man said, I didnt know
that a boy could play the pi-anna. Another
added, Ive never heard of any in Marshall
county or anywhere in Oklahoma who could.
But this boy sure can do it, Im here to tell you!
His wife spoke to Lara, Now you just play your
very best tonight, and youre sure to win. When
you played this afternoon I just knew everybody
wanted to clap for you, but the contest rules
wouldnt allow it. Maybe tonight we can.
Years later Dr. Julia Stout, head of the music
department at Southeastern Teachers College in
Durant and chairperson of the judges for the
Marshall County Interscholastic Contests, re-
called the event:
After Laras performance in the pre-
liminaries we waited in vain for any of
those eleven girls to match his musician-
ship, artistry or level of pianism. When
the four finalists drew for order of per-
(Continued on page 14)
 PAGE 14 T H E CTHE
A RCAROLINA
O L I N ACAROLER
Lara Hoggard
(Continued from page 13)
formance that evening, we judges were glad
that Lara drew number four and would play
last.
When this eleven-year-old boy played
that final left-hand note of Beethovens
Minuet in G there was a strange, breath-
less, dramatic moment of absolute silence in
that crowded auditorium. Then came an
explosive outburst of applause from a spell-
bound audience. There was even some
shouting and whistling. On stage, the three
girls stood and cheered.
Not everyone there could have compre-
hended (back then, in 1926) the impact and
portent of all that had occurred on that
stage. But we three judges could talk of lit-
tle else during our drive back to Durant on
that April night. Visiting with his family af-
ter the contest we were told that this boy
had never before played the piano in public
until three nights ago, when he had played
the Beethoven Minuet in a very special
debut just for his family in their home. Fol-
lowing the competition in Madill, a reporter
for the local newspaper joined the people
who had gathered on the stage to meet the
judges and to visit with the contestants and
their families. The reporter asked if we
would give a review and appraisal of the
contest. We agreed. Following is a portion
of what appeared in his column: All four
finalists deserve our praise. Attitude and
effort were exemplary. The three girls were
similar in technical facility and interpreta-
tion, but also equally vulnerable to some
criticism (which, we assure you, is offered
in a spirit of affirmative support and encour-
agement leading to improvement). All
three played the right notes, but not always
at the right time or in the right way. They
were skilled in finger dexterity, but their
playing emphasized technical proficiency
over artistry. With inflexible tempo and no
nuance in dynamics or phrasing, at times
one could imagine we were hearing a me-
chanical player piano.
CAROLER SPRING 2001
After the contest Dr. Stout asked Mr. and
Mrs. Hoggard about their son. Daddy re-
sponded first. Our son has been trying his
best to understand and overcome longstanding
situations which had deprived him, in large
measure, of a childs special joy and need for
security: sharing his love with others, espe-
cially his parentsboth of themalong with
sharing an amazing love of music and of music
making. Then Mama, seeing tears starting in
Daddys eyes, spoke up. Our son, perhaps by
sheer instinct, was determined to convey to us
a longing for recognition and acceptance of
what, to him, are the only gifts of any real
worth that he can give. It was a soul-uplifting
experience just to see and hear the results of
such an effort. Yes, the other finalists did play
the right notes; I didnt hear a single wrong
one. But Lara sensed how they should be
played, perfectly coordinated, at the right time
and in the right way, hopefully as Beethoven
intended, and perhaps even as Paderewski
might have played them when he was a young
boy.
Unknown to her children, Laras mother
was stricken with cancer a few weeks before
the county music contest. She died almost ex-
actly one year later, in April 1927. Her death
at age 43 resulted in the fragmentation of the
Hoggard family, as the three oldest children
(Jac, Jo and Harold) found summer employ-
ment away from home at Daddys insistence.
In those circumstances, Laras sister Gerry
offered to help him with his music. Earlier,
while visiting from Dallas during Mamas ill-
ness, she had heard all about the Marshall
County piano contest, and Lara played for her.
Later she revealed that Mama had whispered
to her, I hope someone might be able to help
with the cost of piano lessons for him. Honey,
somehow maybe you can manage it.
When Gerry got back to her home, she
talked with her husband about it. His response
was, We cant afford it, not right now. Then
she phoned Daddy: I want to know why Lara
isnt taking music lessons. Daddys response
 SUMMER 2000 THE CAROLINA CAROLER
was, Kingstons piano teacher has moved. The
closest teacher is at the college in Durant. And I
cant pay for lessons. Nor can I take the time to
drive twenty-five miles, then just sit in the car
and wait an hour during his lesson, and then
drive us back to Kingston. I guess he will just
have to work something out himself. Maybe he
could hitchhike; a lot of people are doing that
these days. He probably doesnt need but one
lesson a month. That wouldnt cost you as
much either, that is, if you are determined to
help him. Josephine knows someone in Durant
who inquired about it for her, and learned that
the best teacher is a Virginia Neely, and that she
charges five dollars for a full hour lesson. I
know thats a lot, but she is reported to be one of
the best in Oklahoma.
Then Gerry phoned again from Dallas and
talked with Lara to discuss what might be done.
Daddy thinks maybe you can manage to get to
Durant once a month for an hour-long lesson
with the college piano teacher there. If you want
to try it, I promise to mail you a five-dollar bill
before the first of every month. And I promise
also to send the money to pay for the music your
teacher will supply for your study, just as soon
as she tells you how much it costs.
During his three years in high school Lara
hitchhiked from Kingston to Durant, a round
trip of fifty miles, for his once-a-month, one-
hour lesson with Mrs. Neely. His meteoric mu-
sical development resulted in his winning the
Southern Oklahoma contest (Ardmore) at age
thirteen, and the Southeastern District contest
the next year.
A series of dramatic events occurred as a re-
sult of this teenagers determined quest for musi-
cal knowledge and pianism. It began on a freez-
ing January morning with the monthly trek to
Durant. Few cars were on that frozen graveled
road. Only two stopped to offer him a ride, and
only for a part of the distance. The lesson was
scheduled for two oclock. It was after five
oclock, and dark, when he reached his teachers
house. His ringing of the doorbell was answered
by a wide-eyed Mrs. Neely.
PAGE 15
Lara! What in the world are you doing here
at this hour? I came for my piano lesson. Im
sorry to be so late...car trouble.
Oh, you dear boy! You must be frozen!
Come in where its warm! She reached for his
free handthe other was clutching the satchel
containing his musicand pulled him inside.
Ushering him over to the fireplace, she began an
agitated, somewhat emotional interrogation and
commentary: Lara, what happened? Your les-
son was scheduled for early this afternoon, and
its almost six oclock! I didnt expect you at all
because of the weather. Here, let me have your
coat and gloves. Get closer to the fireplace and
warm those hands, but slowly! They may be
frostbitten. How did you get here? You said
youd had car trouble. Oh, is someone sitting
out there in the car waiting for you to have your
lesson? Oh, my! They cant stay out there for
an hour in this cold, even with a heater!
She hurried to the door and peered expec-
tantly outside into the darkness, but there was
no car parked out on the street. She hesitated a
moment, then with a puzzled frown came back
into the room where Lara was warming and
massaging his fingers. Ive not had my supper
yet, and Ill bet youre hungry, too. Ill just run
out to the kitchen and make us a sandwich. We
can have that and some cookies with a glass of
milk, right here in the living room. You can set
up this card table for us. Now, you just keep
warming and rubbing those fingers and Ill be
back in a jiffy.
Her cheerful face and enthusiasm contra-
dicted the misgivings she undoubtedly felt about
Laras situation. But, according to his subse-
quent report, she proceeded to give him the
best lesson Ive ever had. She especially liked
the way I play Scarlatti and Mendelssohn, and
we worked hard on the Grieg concerto. She had
two pianos, and it was wonderful to hear her
play some of the orchestra part.
Then, the lesson over, she handed him his
overcoat, stocking cap and gloves. With serious
countenance and voice, yet with gentle kindness,
she challenged him, Lara, please tell me what
you are planning to do. While I was in the
(Continued on page 16)
 PAGE 16 T H E CTHE
A RCAROLINA
O L I N ACAROLER
Lara Hoggard
(Continued from page 15)
kitchen fixing our supper I tried to call your
home in Kingston, but the operator said that
many of the lines were still down and she could-
nt get through.
Lara responded with his second cover-up un-
truth: Oh, my brother is waiting for me at the
Chevrolet garage. Our car needed two new
tires, and this seemed like a good time to get that
done, during my piano lesson. Its only a few
blocks from here, and I know the way. Dont
worry, Mrs. Neely, Ill be all right. Thank you
for that delicious supper and the lesson, and for
getting me started on the Grieg concerto. Its
beautiful! Ill try to have it ready for you to hear
at my February lesson.
She opened the door and gasped at the rush
of cold air. Turning to the clothes closet she
reached in and handed him a wool scarf. here,
this will help you stay warm. Then she turned
on the porch light to help him see his way down
the sidewalk to the street. He glanced back. She
was still standing there on the porch. He waved
and called to her, Its too cold for you out here.
Please go back inside. And dont worry; Ill be
all right.
He could tell she was worried, and obviously
distrustful of the situation. He also sensed that
she was watching and waiting to see which di-
rection he would take. The Chevrolet garage
would be to his left. After a moments hesitation
he resolutely turned to the left, ostensibly headed
for downtown and the garage. Looking back
once more, he saw that her door was now closed
and the porch light turned off. He did an imme-
diate about-face, heading for the highway that
would take him toward Kingston, and home. It
was already past eight oclock and he had
twenty-five miles to go.
The first car that came along, at about the
Durant city limits, stopped and took him as far
as Meadten miles. Another car could take
him only five miles, not far from a wilderness
area of the Washita River. Fortunately there
was moonlight, and the roadway was clearly
visible. Although he was not afraid of coyotes,
he could hear them not far away. The only
CAROLER SPRING 2001
other sound was that of his boots against the fro-
zen gravel. The stillness was broken at last by
the sound of a distant car behind him. As it ap-
proached, he began to wave. But the car went
on past him. Then came the sound of tires hit-
ting the gravel, and the car began backing to-
ward him. Lara ran forward to meet it. A
mans voice said, Jump in. Where are you go-
ing? When he learned that the destination was
Kingston, he said, Kingston is off this highway,
isnt it?
Lara replied, About a mile as the crow flies.
But you would have to go far out of your way,
almost to Madill and then take another road
back to Kingston. I can tell you where to let me
off, and I can walk across country to my house
in the north part of town. It will work just fine.
That settled, the driver asked, Whats in
that satchel?
Piano music.
Do you play the piano?
Yes, Im taking lessons.
What in the world are you doing out here,
eleven oclock on one of the coldest nights of the
year?
Ive been to Durant. My lesson was sup-
posed to be early this afternoon, but I didnt
have much luck getting a ride.
You mean you hitchhiked from Kingston to
Durant and back?
Yes, sir.
Well Ill be damned!
Next question: What do you want to do
with your life?
Make beautiful music, and help other peo-
ple learn to love it. But first I must go to col-
lege.
When Lara indicated where he could be let
off, the man reached into his vest pocket and
handed him a card. If you ever get to Okla-
homa City, come to see me. Id like to talk with
you some more. They shook hands. Lara
thanked him, got out of the car, waved goodbye,
and struck out across meadows and farmland to-
ward home.
He was heartily greetedand fussed at.
Weve been so worried. We finally were able
to get through to Mrs. Neely. She wants us to
 SUMMER 2000 THE CAROLINA CAROLER PAGE 17

(Continued from page 16) NC ACDA

call her as soon as we know how you are. Jose-
phine spoke to Harold, Go first to the tele- membership update
phone office and the operator can call Mrs. Here is a list of new members and their cities of
Neely. Then send word by someone to go tell residence. University affiliation
the men who are out on the road north, toward is given for student members.
the highway, looking for Lara, that he is safe at
home. They had organized a search party Flora Abernethy, Salisbury
about three hours earlier. When Daddy got
Brad Alford, Pembroke (UNCP)
back to the house he looked very upset and an-
gry. But then he smiled, and he and Lara Nancy Arnold, Aberdeen
hugged each other. Thank God, you are safe Catherine Butler, Greensboro (UNCG)
were his only words. Jose Calvar, Greenville (ECU)
Before going to bed Lara told them that a Sarah Dalton, Pembroke (UNCP)
man from Oklahoma City had given him a ride. David Early, Sanford
Here is the card he gave me. He handed it to Joel Gilliam, Greensboro (UNCG)
Josephine, who read it for all to hear:
Phyllis Hansen, Hendersonville
Tom Slick Elizabeth Harris, Greensboro (UNCG)
President, T. B. Slick Oil Co. Brenda Hollyfield, Boonville
Oklahoma City, OK Bethany Jennings, Greensboro (UNCG)
Jennifer Johnson, Pembroke (UNCP)
Mark Kemp, Lexington
(In the next issue of The Carolina Caroler Dr. Hoggard Stephen Lane, Pembroke (UNCP)
will reveal the outcome of his meeting with one of
Nick Lyons, Greensboro (UNCG)
Oklahomas most renowned oilmen.)
Kendall McDougall, Pembroke (UNCP)
Miriam McKinney, Chandler
Meghan Miller, Pembroke (UNCP)
In our profession, a man can be brilliant Aaron Moore, Shelby (Gardner-Webb)
Elsie Norton, Wake Forest
and acquire total technical mastery. Yet in
Jessica Park, Pembroke (UNCP)
the last resort, the only thing that really Roger Petrich, Chapel Hill
Jonathan Poe, Mebane (UNCG)
counts is his quality as a human being. For Antonio Roberts, Kings Mountain
music is created by man for man. And if Kristen Robeson, Elon College
Stephen Sain, Shelby (Gardner-Webb)
someone sees nothing more than notes in it, Teresa Sawyer, Raleigh
this can perhaps be very interesting, but it Vonda Jo Schmidt, Mohall
Toni Stallworth, Charlotte
cannot enrich him. Music should exist for Mae Trimble, Kernersville
one purpose onlyto enrich Man and give Scot Weir, Greensboro (UNCG)

him something he has lost in most respects. Total membership in NC ACDA as of January
27 was 504.
Herbert von Karajan
 PAGE 18 T H E CTHE
A RCAROLINA
O L I N ACAROLER
From 5 months of torture
to seven Days of Magic
Christy Elsner
Childrens Choirs R&S Chair
Kansas CDA
(Reprinted with permission from the May 2000 issue of
Choral Range, The Kansas Choral Directors As-
sociation Newsletter, Tom Wine, editor.)
Every year after Christmas, my childrens
church choir began auditions and rehearsal for
the spring musical. Every year I was excited at
the potential of the musical and the performers.
And every year, the torturous, re-occurring night-
mare would soon begin. The absence illness
would start subtly with a few missed rehearsals
here and there. By April, attendance declined at
a rapid pace, and my answering machine was
jammed with frantic apologies from parents. The
King had an important soccer game, the
Angels were at Girl Scouts, one of the
Priests had too much homework, and the
Devil had baseball practice. The entire cast
never rehearsed together until dress rehearsal.
(And of course, it was atrocious.) By May, I had
a mouth full of canker sores, I couldnt sleep at
night, and I prayed 24 hours a day. When they
took their final bows, the cast and I would
breathe a collective sigh of relief.
I knew things had to change if I was to sur-
vive the next musical. I kept thinking to myself,
Imagine what this choir could do if I had them
uninterrupted for an entire week. When I began
to speak my vision out loud, not one of my par-
ent volunteers laughed. Heres how we turned 5
months of torture into a camp called Seven
Days of Magic.
1. Advertise the musical as a summer camp
open to rising 3rd-5th graders. The camp is a
great recruitment tool to find new members
for your regular choir.
2. Charge a nominal fee for music, snacks, an
accompanist, rehearsal tapes, scripts, and sup-
plies.
3. Try the selection of musicals from the Choris-
ters Guild like Allen Potes, A Technicolor
Promise. Most of the musicals are 30 min-
CAROLER SPRING 2001
utes in length and offer a variety of perform-
ance options for different levels and sizes of
groups.
4. Hold auditions for speaking and/or singing
parts a few weeks prior to the camp.
5. Provide each cast member with a rehearsal
tape, score, and a script to take home and
have memorized.
6. Run the camp for five hours per day. Ours
ran from 9:00-2:00 p.m. Monday-Friday with
a two-hour dress rehearsal on Saturday.
Conclude the Seven Days of Magic with a
performance on Sunday.
7. Build time into the schedule for the kids to
design and create their own set and cos-
tumes. Our kids were amazingly innovative.
8. Start the first day with a complete run-
through. Youll be amazed at the level of
preparation.
9. Try teaching the cast four basic blocking pat-
terns used throughout the entire musical.
Vary the patterns with sitting, kneeling, and
standing positions. This will save an enor-
mous amount of time.
10. Design a camp schedule that moves the cast
from rehearsal to choreography to set design
and to costume design. Keep them hopping
and discipline problems will not exist.
11. When teaching the choreography, use lots of
repetition and group movements.
12. At the end of the day, make time to review
all that has been covered previously.
Because we rehearsed in small increments
without interruptions for six days straight, the
choreography was well-executed, the songs were
polished, and the cast was relaxed, enthusiastic,
and confident. It was the best week of my pro-
fessional life. If you suffer from five months of
torture, try a little magic.
Tonic: What is generally enjoyed over ice
after choir rehearsal.
Dominant: In a choral relationship, usually
the alto.
Score: Basses 3, Tenors 0
Grand pause: When the conductor loses his
or her place.
 SUMMER 2000 THE CAROLINA CAROLER
Rondo in e mail
From the Editors e-mail bag: Do you have any
ideas how to get high school altos to stop pulling things
flat in a cappella singing? My altos are the worst ones
for pulling things flat and Ive told them and Ive
worked with them by running over things again and
again, but its not working. I dont know if it just takes
a lot of getting used to before they quit going flat or if
there are techniques out there that might work that I
just dont know about. (My vote is for the second one!)
If there is anything you can tell me that might help I
would greatly appreciate it.
Here are some ideas for working with under-pitch
altos (Note: Blossoming young women are
sometimes sensitive to being described as flat.
I decided to use the term under pitch after I
overheard a conversation in high school band be-
tween a couple of rather attractive clarinetists
who were dismayed at the band directors termi-
nology when tuning the sectionflat, flat, and/or box any advertisement bearing confus-
flat.):
1) Be sure their posture is good. Poor posture
slumps the sound too.
2) Have them count-sing their parts in sixteenth
notes, on one-ee-and-uh or even doo-be-
doo-be-doo. The goal is to energize the line.
3) Dont work them in isolation. Pair them with
another line, most often the basses, so that
they have a harmonic context for their part.
4) Use mixed-quartet formation. A line of altos
who tend to go under pitch will pull each
other down, but mixed into the group may do
fine individually.
5) Watch half steps, especially in descending
lines where they will tend to lower pitch.
Have them use hand gestures such as pointing
the lower note up so that they get the idea of
the small increment of that half step. Then
when you use the gesture as you conduct the
piece (Remember that left hand?) they will re-
late to having made the gesture themselves,
and will correct the pitch.
6) If it is an a cappella piece, start it a half-step
higher (or, rarely, lower).
7) Have their free hands make a scooping mo-
PAGE 19
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lowing rates:
Full page$150.00
Half page$100.00
Quarter page$ 50 .00
Rates listed are for camera-ready copy only. NC
ACDA will produce ads for customers at a
charge of $50.00 over and above the advertising
rate. Materials requiring typesetting must reach
the advertising editor two weeks before an-
nounced deadlines (given on page one). A check
made payable to North Carolina ACDA must
accompany the order. Advertisers will NOT be
billed. Copy will not run without advance pay-
ment. If the ad is to run in more than one issue,
please include commensurate payment. Adver-
tising copy is subject to editorial approval. The
advertising editor reserves the right to head
ing resemblance to editorial material. See page
two, Advertising Editor, for contact informa-
tion.
tion with each beat to energize the pitches in
question and remind them to pay attention
to tuning.
8) If you have the space in your rehearsal
room, have them step to the music. Again,
its a question of energy, and maybe of the
concept that music is in motion.
9) Get them to laugh, even if it means vocaliz-
ing on ha-ha-ha-ha. A positive attitude
never hurts.
10) Dont accept, and dont allow them to ac-
cept, poor intonation. Call them on it, and
challenge them to do better at that spot in
the music, but also provide ways such as
those above to improve the intonation rather
than just shouting that they are out of tune.
(Not that you would shout at them.) Its
only fair to provide them with solutions once
the problem is known.
I hope this helps. Keepem singing!
 PAGE 20 T H E CTHE
A RCAROLINA
O L I N ACAROLER
CAROLER SPRING 2001

NC ACDA
2001 Collegiate Choral Festival
Saturday, Mar 24, 2001
Campbell University, Buies Creek, NC
Dr. Phil Morrow, Site Host
or
Saturday, April 7 , 2001
Gardner-Webb University, Boiling Springs, NC
Dr. John W. Campbell, Site Host
Each site will host two sessions, each with up to six choirs, and each performance slot of up to 20 minutes First come
first served. No clinician is scheduled, and no cost to register. Starting time of 10:00 A.M. for the morning session,
and 2:30 P.M. for the afternoon session.

Name of College/University _____________________________________________________________

Name of the Choir/Ensemble ____________________________________________________________
Approximate number of singers ______ Prefer: morning _____ afternoon ____
Performance location: Campbell (Mar 24) _____ Gardner-Webb (Apr 7) _____

If one is offered, I would plan to attend a no-host directors luncheon in between the two
performance sessions: Yes _____ No _____ Check with me later _____
Director's name _______________________________________________________________________
Director's address _____________________________________________________________________
_______________________________________________ Zip _____________________
Phone #'s Office ( _____ ) ________________________ Home ( _____ )_________________________
e-mail address __________________________________ fax__________________________________

Second Choir If you plan to bring more than one choir, I hope you will consider singing in both the
morning and afternoon sessions.

Name of the Choir/Ensemble ____________________________________________________________

Approximate number of singers ______ Prefer: morning ____ afternoon ____

Performance location: Campbell (Mar 24) _____Gardner-Webb (Apr 7) _____

Return this application to:

Dr. Gary K. Wright
UNC Pembroke
PO Box 1510
Pembroke, NC 28372
Home (910) 369-2522 Office (910) 521-6290
Fax (910) 521-6390; e-mail: wright@papa.uncp.edu

2002 Collegiate Festival Dates: Mar. 23, Campbell; Apr. 6, site TBA
 SUMMER 2000 THE CAROLINA CAROLER
Collegiate choral festivals
(Continued from page 1)
giate R & S Chair, is organizing the festivals. Colle-
giate choral directors should have already received
from him a letter and a copy of the registration
form. If not, send in a completed copy of the form
on the facing page (page 12). By having two festi-
vals, on different dates and in different parts of the
state, it is hoped that more choirs will be able to par-
ticipate. If you direct a college choir, please bring
your group. Your students will benefit from hearing
different approaches to the choral art by a variety of
choirs, and other ensembles will benefit from hear-
ing your group.
Dates for the Collegiate Festivals for the next
three years have been announced: March 23 and
April 6 in 2002, March 22 and April 5 in 2003, and
March 20 and April 3 in 2004. A rotation cycle for
hosting the festival has been established, such that
each host takes the festival for two years with one of
the sites changing each year. (Meredith College
hosted in 1999-2000, and now Campbell University
for 2001-2002; in the west, Gardner-Webb Univer-
sity has overlapped by hosting in 2000-2001, and a
new site will be chosen for 2002-2003.) Based on
this rotation, Gary Wright would like to project sites
for the next three years. Performance venues need
to seat around 300 and be available for the sched-
uled dates. The site host takes care of performance
details and creates the program for the day, while
the Collegiate R&S Chair does the pre-planning,
mailing and collection of applications, etc. If you
would be willing to serve as one of the host sites,
please contact Gary Wright (see contact information
in the officers listing on page 2).
Director wanted
Susan Cook from B'Nai Shalom in Greensboro
has successfully applied for a grant of $500 to fund a
director for the Jewish Intergenerational Choir. Re-
hearsals are March 5, 12, 19, and 26, and April 2,
23 and 30, with a Songfest on May 10th at which
the choir will sing 2 to 3 songs. The director does
not have to be Jewish. An accompanist is already in
place.
Interest persons may call Lyn Koonce at 336-
691-0672, ext. 55, or 336-885-0710.
PAGE 21
What is acda?
Purpose. Founded in 1959, the American Choral
Directors Association (ACDA) is a nonprofit music-
education organization whose central purpose is to pro-
mote excellence in choral music through performance,
composition, publication, research, and teaching. In addi-
tion, ACDA strives through arts advocacy to elevate cho-
ral music's position in American society.
Membership. ACDA membership consists of
approximately 18,000 choral directors who represent
more than one million singers across the United States.
ACDA members teach choral music in public and private
schools - kindergarten through senior high school - and at
the college and university levels. They conduct a variety
of choral groups, including boychoirs, children's choirs,
men's and women's choruses, junior and senior high
school choirs, college and university choruses, ethnic
choirs, vocal-jazz ensembles, and symphony choruses.
They also conduct choirs in their communities and in
their places of worship.
Structure. ACDA is divided into seven geo-
graphic regions as well as fifty state chapters, each with
its own conventions, newsletters, festivals, clinics, and
workshops. Whether at the national, division, or state
level, ACDA is structured so that its members can easily
involve themselves in the organization's activities.
Conventions. ACDA offers conventions at the
state, division, and national levels. National conventions
are offered in March of odd-numbered years; the seven
division conventions take place in February and March of
even-numbered years. Through concert performances by
accomplished choirs, educational clinics by leading ex-
perts, and exhibits by music-industry representatives,
ACDA offers its members a diverse and practical forum
in which to develop their skills and professional knowl-
edge.
The Choral Journal. The official publica-
tion of the American Choral Directors Association is the
Choral Journal. This national publication, issued
monthly except for June and July, contains articles and
columns of a scholarly and practical nature in addition to
reviews of newly released CD recordings, books, and
printed music. The Choral Journal is a benefit of mem-
bership in the American Choral Directors Association.
Subscriptions are available to libraries.
Committees. ACDA has numerous national
committees engaged in advancing the choral profession
in its many facets. The committees work in several areas
of the choral profession, whether through establishing
high performance standards, recommending quality cho-
ral literature, encouraging research in choral studies, or
advocating the importance of choral music in our society.
 PAGE 22 T H E CTHE
A RCAROLINA
O L I N ACAROLER
CAROLER SPRING 2001

Choral Events Calendar

February to August 15, 2001
Each issue of The Carolina Caroler includes a calendar of choral events. The Fall issue will include events from August 15 to November 1, 2001.
Please send information about major choral events at your school, church or community to the editor. Include date, time, place, choir
(including sponsoring institution if appropriate), conductor, major works or other special information, admission cost if any, and a contact
person and phone number. And plan to hear choral music happening near you!
Date, Time, Place Performing Ensemble(s) Director(s) Concert Infomation
Feb. 9 & 10, 8:00 p.m. Bel Canto; David Pegg 7:15 p.m. pre-concert lecture by
Christ United Methodist Ch. soloist Elvira Green Patricia Trice; Black History
Greensboro theme; admission charge (see p. 6)
Feb. 17, 8:00 p.m. Greensboro Youth Chorus Ann Doyle Contact 336-373-2549,
University of the South Tom Shelton saa@nr.infi.net
Sewanee, TN
Feb. 18, 7:00 p.m. Gardner-Webb University John W. Campbell Lauridsen, Fissinger, Tallis; free;
Berea Baptist Church Concert Choir contact director, 704-406-3885,
Mooresville jwcampbell@gardner-webb.edu
Feb. 24, 8:00 p.m. Duke Chorale Chamber Rodney Wynkoop 2001: A Spatial Odyssey; Ligeti,
Baldwin Auditorium Choirs, Choral Society of Bach, Copland, Scearce; tickets
Durham Durham and orchestra $10, $5/students, 919-684-4444
Feb. 25, 3:30 p.m. UNC-Greensboro Womens Welborn Young Pre-Tour Concert; contact 336-
Guilford College U.M.C. Choir, Mens Glee Club, William P. Carrol 334-5493
Greensboro Womens Glee Club Maribeth Yoder-White
Mar. 5, 7:00 p.m. NC Baptist Singers and NC Neil Eller, Dan Ridley, Thompson Peaceable Kingdom,
J. E. Broyhill Civic Center Baptist Brass and Wind En- Mary Alice Seals, Jim Brahms, more; free; contact 800-
Lenoir semble Davidson 395-5102, X 415, neller@bscnc.org
Mar. 22, 8:00 p.m. Gardner-Webb University John W. Campbell Home Concert; free admission;
Gardner-Webb University Concert Choir contact 704-406-3885, jwcamp-
Boiling Springs bell@gardner-webb.edu
Mar. 22, 8:00 p.m. Duke Chorale Rodney Wynkoop Tavener, Lauridsen, Hogan, Chen
Baldwin Auditorium Yi, Rachmaninoff, Isaac, others;
Durham free admission
Mar. 23-25 Piedmont Invitational Choral Francisco Nunez, guest For schedule and info, contact
Asheboro Festival; Asheboro Childrens clinician Rick Morgan,
Choir, host choir Rmorgan@asheboro.com
Mar. 24 ACDA Collegiate Choral Various directors Contact Gary Wright, 910-521-
Campbell University Festival Phil Morrow, host 6290, wright@papa.uncp.edu
Buies Creek
Mar. 30, 8:00 p.m. Bel Canto, Carolina Cham- David Pegg, Pre-concert lecture at 7:15 p.m. by
First Presbyterian Church ber Orchestra, soloists Glenn Robert Franz Kimberlea Daggy; admission
Greensboro Siebert and Robert Overman charge (see p. 6 for details)
Mar. 30, 8:00 p.m., and Choral Society of Durham, Rodney Wynkoop Beethoven, Missa Solemnis; tickets
Mar. 31, 3:00 p.m. NC Symphony, soloists $25, $19 students,
Duke Chapel, Durham contact 919-684-4444

Apr. 3, 8:00 p.m. Gardner-Webb University Phil Perrin Spring Concert; free admission;
Gardner-Webb University Chorale contact 704-406-4452,
Boiling Springs pperrin@gardner-webb.edu
Apr. 6 and 7, 8:00 p.m. Duke Chapel Choir, African Rodney Wynkoop Fanshawe, African Sanctus, com-
Duke Chapel percussion, orchestra poser presentation; $10, $5/
Durham students; 919-684-4444
 SUMMER 2000 THE CAROLINA CAROLER PAGE 23

Apr. 6, 7:30 p.m. Greensboro Youth Chorus Ann Doyle and Tom Habitat for Humanity Benefit,
Our Lady of Grace Cath. Ch. Shelton donations; contact 336-373-2549,
Greensboro saa@nr.infi.net
Apr. 7 ACDA Collegiate Choral Various directors Contact Gary Wright, 910-521-
Gardner-Webb University Festival John W. Campbell, host 6290, wright@papa.uncp.edu
Boiling Springs
Apr. 11, 7:30 p.m. UNC-Pembroke Choral Gary Wright Faur Requiem; contact 910-521-
Givens Auditorium Union, invited high school 6290, wright@papa.uncp.edu
Pembroke choirs and orchestra
Apr. 11, 8:00 p.m. Davidson College Chamber Ray Sprague Spring Concert; featuring com-
Davidson College Pres. Ch. Singers posers from Davidson; rspra-
Davidson gue@davidson.edu
Apr. 21, 3:30 p.m. UNC-Greensboro Chorale William P. Carroll McCullough Holocaust Cantata,
UNCG Recital Hall and Womens Choir Welborn Young Orban Mass VI; contact 336-334-
Greensboro
Apr. 21, 2:00 p.m. Duke Chorale, orchestra, Rodney Wynkoop Vivaldi Gloria, Felsted Jonah
Duke Chapel soloists (early American); admission
Durham charge; rodney@acpub.duke.edu
Apr. 23, 7:00 p.m. NC Baptist Singers and NC Neil Eller, Dan Ridley, Thompson Peaceable Kingdom,
Faith Baptist Church Baptist Brass and Wind En- Mary Alice Seals, Jim Brahms, more; free; 800-395-
Faith semble Davidson 5102, X 415, neller@bscnc.org
Apr. 24, 8:00 p.m. Davidson College Concert Ray Sprague Haydn Symphony 104,
Davidson College Pres. Ch. Choir and Symphony Or- Milton Crotts Rutter Requiem;
Davidson chestra rsprague@davidson.edu
Apr. 27, 8:00 p.m. Duke Chorale Rodney Wynkoop Chorale Celebration; refresh-
Biddle Music Bldg. Fountain ments, music from 2000-2001 rep-
Durham ertoire; free admission
Apr. 29, 3:00 p.m. Gardner-Webb University John W. Campbell Mozart Requiem; free admission;
Dover Theatre Choral Union and orchestra contact 704-406-3885,
Boiling Springs jwcampbell@gardner-webb.edu

May 5, 8:00 p.m. Choral Society of Durham, Rodney Wynkoop Rossini Stabat Mater, Verdi
Baldwin Auditorium orchestra, soloists Triumphal March fr. Aida; $12,
Durham $5/student, 919-684-4444

May 19, 7:30 p.m. Greensboro Youth Chorus Ann Doyle and Tom Spring Concert; free admission;
Christ United Methodist Ch. Shelton contact 336-373-2549, saa@nr.
Greensboro infi.net

May 19, 8:15 p.m. Davidson College Chamber Ray Sprague Baccalaureate Concert,
Davidson College Pres. Ch. Singers and Concert Choir Favorites from 2000-2001;
Davidson Rsprague@davidson.edu

May 20 Myers Park Baptist Church Paul E. Oakley Durufl Requiem; free; contact
Myers Park Baptist Church Chancel Choir, orchestra Garrett DeVane, 704-334-7232, X
Charlotte 29, gdevane@mpbconline.org

May 21, 7:00 p.m. NC Baptist Singers and NC Neil Eller, Dan Ridley, Thompson Peaceable Kingdom,
First Baptist Church Baptist Brass and Wind En- Mary Alice Seals, Jim Brahms, more; free; 800-395-
Smithfield semble Davidson 5102, X 415, neller@bscnc.org

June 10, 7:00 p.m. Vocal Arts Ensemble of Rodney Wynkoop Annual concert, demanding
Duke Chapel Durham chamber choir repertoire; free
Durham
 PAGE 24 T H E CTHE
A RCAROLINA
O L I N ACAROLER
CAROLER SPRING 2001

American Choral Directors Association Membership Application

Name: Mr Ms Mrs ______________________________________ Member No.________
Send ACDA publications to: Alternate Address:
Address: _______________________________ Address: ___________________________________
_______________________________ ___________________________________
City: _______________________________ City: ___________________________________
State: _______________________________ State: ___________________________________
Zip: _______________________________ Zip: ___________________________________
Country: _______________________________ Country: ___________________________________
Phone: _______________________________ Phone: ___________________________________
E-mail: _______________________________ E-mail: ___________________________________
Fax: _______________________________ Fax: ___________________________________
Check Member Type Check All Choir Types Check All Activity Areas
Active$55 Children Elementary School
Associate$55 Boy Junior High/Middle School
Student$20 Girl Senior High School
Retired$25 Male ACDA Student Chapter
Institutional$75 Women Two-Year College
Industry$100 SATB/Mixed College/University
Foreign Airmail$90 Jazz/Show Choir Community Choir
Foreign Surface$80 Ethnic/Multicultural Music and Worship
Life ($200 minimum Professional Choir
installments)$2000 Make check payable to: American Supervisor/Administrator
Choral Directors Association Youth & Student Activities

As a member of ACDA, I will comply Mail completed form and check to:
with the copyright laws of the United ACDA Membership
States of America. P. O. Box 6310
Lawton, OK 73506-0310

The Carolina Caroler Non-Profit Organization

North Carolina American Choral Directors Association U. S. POSTAGE PAID
2022 Hearthwood Court Permit No. 541
Greensboro, NC 27407 Greensboro, NC 27420