Summer 2015 page 1

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

UPCOMING EVENTS Inside

Presidents 2
Message

NC ACDA Community Choirs 3

R&S Chair
2015 CONFERENCE
Show Choir 4
September 18-19, 2015 R&S Chair

Charlotte, NC The South Dakota

Chorale
5

Dr. Elena Sharkova, clinician

NC ACDA 6
Fall Conference

and also featuring Southern Division

2016 Conference
7

NC SINGS! 2015 National 8-9

with Conference Recap

Fernando Malvar-Ruiz NC Sings! 2015 10-

11
and Carolyn Hall 12
Melissa Malvar-Keylock
ACDA Mentoring 16

Treasurers Report 17

Membership 18
ACDA SOUTHERN DIVISION Application Form

2016 CONFERENCE
Directories
March 9-12, 2016 NC ACDA Officers 2

Chattanooga, Tennessee NC ACDA Specially 3

Appointed Officers

NC ACDA R&S 4-5

Chairs

Volume 16, Issue 2

Summer 2015
page 2
NC ACDA Officers
2014
President
Sandy Holland
P.O. Box 30724
Charlotte, NC 28230
704.451.4194
srholland64@gmail.com
Past President
Welborn E. Young (Bill)
UNC Greensboro
P.O. Box 26167
Greensboro, NC 27402
336.334.5493
weyoung@uncg.edu
President-Elect
Anne M. Saxon
Central Carolina
Childrens Chorus
4105 Sewanee Drive
Winston-Salem, NC 27106
336.922.4073
Midpatch@aol.com
Secretary
Bethany Jennings
101 Lakewood Road
Belmont, NC 28012
336.501.0103
bethanyjennings@hotmail.com
Treasurer
Carolyn Hall
4505 Talavera Drive
High Point, NC 27265
336.841.0571
musikhall@aol.com
Membership Chair
Rob Frazier
Centenary United
Methodist Church
PO Box 658
Winston-Salem, NC 27102
336.391.1339
rfrazier@centenary-ws.org
Newsletter Editor
Nathan Leaf
NC State University
Price Music Center
Campus Box 7311
Raleigh, NC 27695
919.515.8280
njleaf@ncsu.edu
C a r oCarolina
l i n a C aCaroler
roler
Presidents Message: A Final Note
Sandy R. Holland, NC ACDA President
As my tenure as President of NCACDA comes to a close
(as of July 1) I wish to thank the many people who have
helped to make this organization a success and further its mis-
sion of promoting choral singing within our state. The NC
ACDA Board consists of many wonderful and exceptional
teachers/conductors/artists who freely give of their time and
energy for our benefit.
Thank you to all of the NC ACDA Board, especially Anne Saxon, President-
Elect; Carolyn Hall, Treasurer; Bethany Jennings, Secretary and Registrar; Aaron
Jackson, Community Choir R&S and Exhibits Chairperson; Andy Roby, Worship
R&S; Carol Earnhardt, High School R & S Chair; Eric Johnson, Jr Hi R & S and
NC Sings! Chair; Nana Wolfe-Hill Childrens R & S and NC Sings! Co-Chair; Na-
than Leaf, newsletter editor; and Kelly Turner, website manager.
Thinking back over the past three years, NC ACDA has certainly had a wealth of
talent to headline our fall conferences: Dr. Rollo Dilworth, Dr. Ann Howard Jones,
Dr. Hilary Apfelstedt, and Dr. Eric Nelson to name just a few. It has been a joy and
privilege to work with the NC ACDA Board and I thank each of them for their dedi-
cation and service. I also wish to thank UNC-Charlotte for graciously opening their
doors to NC ACDA to host the 2014 and 2015 state conferences and hope that we
can continue to have a positive impact on the NC ACDA membership and the UNC
-Charlotte community.
It is that time when we as an organization must consider the future of NC ACDA
by electing new leadership. Anne Saxon will take on the role of President as of July
1st, 2015. We have two excellent candidates for NC ACDA President Elect, Andy
Roby and Dr. Aaron Jackson. Both have had several years of experience in working
for NC ACDA and with the board of directors. Both have exceptional leadership
skills and a passion to carry out the mission of ACDA. Please be sure to visit the
website for their biographical information.
The election will run June 1 June 15 and will be conducted online. The link for
you to cast your vote is https://eballot4.votenet.com/acda and will be available on
June 1st.
NC membership will receive an email with log-in information on June 1st from the
National Office. Please vote and have your voice heard.
I hope to see all of you at the Fall Conference when our headliner Dr. Elena Shar-
kova and NC Sings! directors Fernando Malvar-Ruiz and Melissa Malvar-Keylock
will renew and inspire us all!
Thank you and I hope you all have a musical and restorative summer.
~Sandy R. Holland
Summer 2015 page 3

Learning Every Day: A Conversation with

J. Don Coleman, Founding Conductor of NC ACDA Specially
Appointed Officers
the Hickory Choral Society
Aaron Jackson, Community Choirs R & S Chair Auditions
Wendy Looker
Guilford College
Community choirs frequently share similar challenges, ob- 5800 W. Friendly Avenue
stacles, opportunities, and goals. Conductors of such ensem- Greensboro, NC 27410
336.316.2423
bles benefit when suggestions and ideas are presented to help the community wlooker@guilford.edu
choir achieve high levels of success, both musically and as a civic organization.
This article summarizes a recent phone interview with J. Don Coleman, conduc- Conference Exhibits
Aaron Jackson
tor of the Hickory Choral Society. His wisdom, insight and experience in choral Christ Baptist Church
music and community choirs will inform conductors and singers. 400 Newton Road
In 2014, North Carolina ACDA presented J. Don Coleman the Lara Hoggard Raleigh, NC 27615
919.573.5454
Award for Distinguished Service in Choral Music. This honor is bestowed upon aaron@christbaptist.org
individuals who distinguish themselves as outstanding choral directors in North
Carolina, demonstrate the highest musical standards, and are involved in areas of Conference Site Host
education. A native of Rockingham, NC, Mr. Coleman is the founding conductor Fred Spano
UNC Charlotte
of the Hickory Choral Society (HCS), which is celebrating its thirty-seventh sea- Department of Music
son and has performed over 400 concerts. Members of the HCS have enjoyed 9201 University City Blvd.
successful national and international musical tours to locations that include New Charlotte, NC 28223
York City, Washington D.C. Great Britain and Scotland. The HCS is also active 704.687.0263
fspano@uncc.edu
in the proliferation of local music education through grants, collaborative con-
certs and a free-lending musical library of over 500 selections made available Lara Hoggard
to area schools. In addition to the Lara Hoggard Award and the NCMEA Music Award Chair
Education Advocate Aware (2001), Mr. Coleman is a decorated citizen of North Sam Doyle
Weaver Academy
Carolina, having received the Order of the Long Leaf Pine (2003) and the Old 3 Annalisa Drive
North State Award (2013). A biographical sketch of the Hickory Choral Society Greensboro, NC 27455
and Mr. Coleman is available at: ncacda.org/awards or hickorychoralsociety.org. 336.285.6916
sam2ann69@gmail.com

AJ: What do you believe to be the overall purpose of a community choir? Technology Chair/
DC: One overall purpose is to afford opportunities for musicians to experience Webmaster
major works from various musical time periods. Community choirs offer singers Kelly Turner
336.655.8798
something they might not experience in other settings; something that will phoneticsoft@gmail.com
stretch singers through advanced music-making experiences. This purpose is
twofold. In so doing, we make major works available to our constituency. And Conference Reading Sessions
Eric Johnson
this too has its effects; were often able to introduce new sounds to our audiences James E. Holmes Middle School
and at the same time educate them in numerous musical areas. 211 N. Pierce Street
Eden, NC 27288
336.623.9791 x108
AJ: Since you mentioned major works, what is your philosophy of community ejohnson@rock.k12.nc.us
choir repertoire?
DC: Diverse literature. In the HCS we use music representative of numerous
centuries and composers. My philosophy is to offer a very balanced program,
something that encourages singers and audiences to embrace new music, some of
which may be very old, but new to their ears. We want to offer something that is
challenging for the chorus, yet fulfilling. And, we want to balance the program
with something to which everyone, including the audience, can relate. We ask
Continued on page 13
page 4 Carolina Caroler

NC ACDA A Fine Balance

R&S Chairs Mary Summerlin, Show Choir R & S Chair

Boychoirs
VACANT
Childrens Choirs
Nana Wolfe-Hill
Greensboro Youth Chorus
622 Park Avenue
Greensboro, NC 27405
651.208.4153
nanafaithwolfe@hotmail.com
College/University Choirs
Andrew Crane
Director of Choral Activities
East Carolina University
102 A.J. Fletcher Music Center
Greenville, NC 27528-4353
252.328.6243
Community Choirs
Aaron Jackson
Christ Baptist Church
400 Newton Road
Raleigh, NC 27615
919.573.5454
aaron@christbaptist.org
Ethnic and Multicultural
Perspectives
Melodie Galloway
UNC Asheville
107 Lapinsky Hall, CPO 2290
Asheville, NC 28804
828.251.6432
mgallow2@unca.edu
Jazz Choirs
Stephen Futrell
Elon University
Campus Box 2800
Elon, NC 27244
336.278.5681
sfutrell@elon.edu
Music in Worship
Andy Roby
First Baptist Church Shelby
120 North Lafayette Street
Shelby, NC 28150
704.482.3467
music@fbcshelby.org
Throughout the school year I work on Vowels, Breath Control, Intonation,
Balance, Tone, Theory, Rhythm, Pitch, Dynamics, and Harmonyhave I missed
anything? I am sure I have, but you get the point. I work on making my students
become independent and thoughtful musicians with top-notch ensemble skills.
This year, I gave three completely different concerts. The first one was at the end
of October and we sang some beautiful, challenging literature of the traditional na-
ture. We stood and sang The Seal Lullaby by Eric Whitacre, Lamentations of
Jerimiah by Stroop and the students and I loved the music. In December, we pre-
sented a traditional holiday concert with old favorites like Sleigh Ride and a beauti-
ful arrangement of Breath of Heaven by Amy Grant/Larson. This concert literature
was different than the October concert, as it was light hearted and festive. I loved
this concert and enjoyed singing holiday music. (In the past, my December concert
was a mixture of the traditional literature, holiday music and show choir music).
For our spring concert, I have chosen a wide variety of music from the pop
and Broadway scene. I find I have to listen to what my students are listening to in
order to find some pop numbers they will be attracted to (Radioactive by Imagine
Dragons has been a hit)! Pop music is difficult to select! For this concert, we add
choreography. In the past, I have brought in choreographers, I have used one main
student, and this year, I am using many different student choreographers. Once we
learn the music, we begin learning choreography. Once we start to learn choreog-
raphy, the students focus only on choreography and I have to constantly remind
them to sing. The parts we worked so diligently on mastering just weeks before are
forgotten. The vowels and dynamics fall by the wayside. I am sure I am not the
only one with this problem. What is the solution? I have heard that some show
choir groups do unison or two part music (which is fine if that matches where your
students are vocally). In my own county, we have a show choir event every Febru-
ary. For the numbers where the
kids have a lot of dancing, the ar-
rangements are SAB. I guess the
big question is should we sacrifice
musicality for dance moves and a
show? Should we have choreogra-
phy that allows for singing well and
dancing well? Simple moves that
allow for students to sing or more
difficult combinations that the stu- The mission of the American
dents love, but might sacrifice the Choral Directors Association is
musicality of the piece? I wish I to inspire excellence in choral
had the answer. I am still discover- music through education, per-
ing the best way to add choreogra-
formance, composition, and
phy. It is a fine balance. advocacy.
Summer 2015 page 5

From Durham to Sioux Falls: Some Thoughts NC ACDA

on the South Dakota Chorale R&S Chairs
Brian Schmidt, Youth and Student Activities R & S Chair Male Choirs/MVAS
Jayson Snipes
Lexington Middle School
Editors Note: Brian Schmidt, Assistant Conductor and Administrative 100 W. Hemstead St.
Coordinator of Chapel Music at Duke University and our R & S Chair for Lexington, NC 27292
Youth and Student Activities, is also the Founding Artistic Director of the 336.242.1567
South Dakota Chorale. Following the SD Chorales outstanding perfor- jsnipes@lexcs.org
mances at the ACDA National Conference in Salt Lake City this past February, Anne Saxon and I
thought this would be a great opportunity for us to learn about the work that one of our North Junior High/
Carolina conductors is doing elsewhere in the country. Brian has obliged with answers our Middle School Choirs
questions below. Eric Johnson
James E. Holmes Middle Sch.
211 N. Pierce Street
1. Tell us about the South Dakota Chorale Eden, NC 27288
The SDC is a professional choir based in Sioux Falls, SD, and founded in 2009. 336.623.9791 x108
Our singers range in age from 20 to 65 and also represent a wide range of voca- ejohnson@rock.k12.nc.us
tions from people with day jobs in other disciplines, to collegiate voice teachers Senior High School Choirs
and choral conductors, to others who make their daily living singing opera and Carol Earnhardt
oratorio around the country. Glenn High School
1600 Union Cross Road
Kernersville, NC 27284
2. What led you to form the South Dakota Chorale? 336.771.4500
The impulse for starting SDC was manifold, but at the top of the list were the CEarnhardt@wsfcs.k12.nc.us
desire to (1) provide a top-notch singing experience for singers in our region who
were craving this sort of opportunity, and (2) providing world-class live perfor- Show Choirs
Mary D. Summerlin
mances of choral arts for SD listeners/audiences. There is a fantastic regional C.E. Jordan High School
symphony based in Sioux Falls, a vibrant Jazz scene, great youth choirs and 6806 Garrett Road
school choirs at the high school and college level, but no professional choral Durham, NC 27702
group. I just wanted to fill out the buffet and add to the already growing music 919.560.3912
mary.doyle@dpsnc.net
scene. There is a deep appreciation for singing and the arts in Sioux Falls and, as
professionals, we can broaden the types of repertoire people experience and ad- Two-Year College Choirs
vocate for choral arts in general.
VACANT
3. What is the mission of the choir, and from where do you draw the singers?
Our mission is: Bringing people together to produce inspirational world-class Womens Choirs
performances of choral arts that embrace professional artistry and enrich the cul- Beverly Vaughn
tural life of South Dakotans. Western Rockingham
Middle School
The South Dakota Chorale is a collaborative network of professional level 915 Ayersville Road
singers. What that means is about half of our singers live in or around Sioux Madison, NC 27025
Falls, SD (our home city) and the other half are singers from other places around 336.548.2168
the country. In our six years of existence, we are getting auditions from an in- bvaughn@rock.k12.nc.us
creasing number of professional singers who grew up in SD but live in other Youth & Student Activities
parts of the country to support their career, and are interested in coming back Brian Schmidt
home to make music. Its really exciting to see our melting pot philosophy Duke University
Box 90883
bringing singers together and developing long-lasting professional relationships Durham, NC 27708
with people they first met in SDC. 919.684.3855
brian.schmidt@duke.edu
Continued on page 15
page 6 Carolina Caroler

NC ACDA 2015 FALL CONFERENCE

DATES: September 18-19, 2015
LOCATION: UNC Charlotte
GUEST CLINICIAN: Dr. Elena Sharkova

Plan now to attend NC ACDAs annual Fall Conference, being held for
the second year at UNC Charlotte. There will be opportunities for learn-
ing, growth, and inspiration. We hope to see you there.

Our guest clinician, Russian-American conductor Elena Sharkova is

recognized nationally and internationally as an inspirational, versatile, and
effective conductor, choral clinician, music educator, and lecturer. She has
conducted professional, university, youth, and community choirs and or-
chestras in 17 countries across several continents. A noted soprano,
Sharkova has performed and recorded with one of Russias finest profes-
sional choirs Lege Artis and appears on five studio CDs on SonyClassical label. An expert on Russian choral
music, she has lectured extensively on its repertoire and performance practices and conducted several U.S.
premiers of Russian contemporary compositions.
In her fourteenth year as Artistic Director of Symphony Silicon Valley Chorale, Sharkova has prepared and
conducted the chorus in over 40 major choral-orchestral works. She has been the Artistic Director of the 250-
voice strong Cantabile Youth Singers of Silicon Valley since 2004.
Sharkova received an undergraduate degree in music education and piano, and a graduate degree in conduct-
ing from St. Petersburg State Rimski-Korsakov Conservatory. From 1988 to 1993 she served as Chair of the
Choral Department of the Preparatory Music School at the Conservatory where she conducted four children's
choruses and taught the innovative Ogorodnov Method to graduate students. She received her second graduate
degree in conducting from Western Michigan University where she studied with Dr. Craig Arnold.
Sharkova has had a privilege to serve as guest conductor of all-state, divisional, and national honor choirs for
ACDA, National Association for Music Educators, Organization of American Kodly Educators, Association
for Music in International Schools, Manhattan Concert Productions, Music Celebrations International, Distin-
guished Concerts International, and Heritage Festivals of Gold.

The Music of Latin America

Searching for a Latin American Style
June 12-13, 2015 - Austin, Texas
Go to ACDA.ORG for more info
Summer 2015 page 7

A Message from Alicia W. Walker

President-Elect, Southern Division ACDA

On behalf of the 2016 Conference Planning Team, I invite you join us in beautiful Chattanooga, Tennes-
see for the Southern Division Conference to be held March 9-12, 2016.

Chattanooga offers us a centralized, accessible location, excellent musical venues, a plethora of fine hotels
and dining experiences, and a beautiful downtown. We will host world-class headliners and the outstand-
ing performing choirs of Southern Division. Alongside will be the repertoire and educational resources
you have come to expect from ACDA, and inspiring events such as the Ecumenical Service, a special Uni-
ty Concert, and unforgettable Honor Choir experiences for our younger singers. The theme for the 2016
conference is Serve, Entrust, Transform. Throughout our
time together in March, we will consider the power of cho-
ral music to transform lives, and the many ways we can im-
pact those who sing with us, those whom we train to follow
in our footsteps, and the world in which we sing.

In the coming months, I hope many of you will submit re-

cordings and proposals for interest sessions. For more infor-
mation on the timelines and guidelines for submission,
please click on the 2016 conference tab.

Save the date for Southern Division in Chattanooga!

page 8 Carolina Caroler

Salt Lake City: 2015 National Conference Highlights

Anne Saxon, NC ACDA President-Elect

Thousands of choral musicians converged upon this beautiful city at the end of
February to gather for our bi-annual national pilgrimage to connect, share, and be
inspired. To be honest, I was reticent about this oneit was expensive, would take me
away several days in my busiest time of the season, and the weather was cold and
snowyso I wondered if it would be worth it. How WRONG I was! Here is a list of
highlights to sum up my experience:

1. To begin, the ACDA Conference App was a quick and convenient tool for your iPhone.
2. National Leadership encounters, including Tom Shelton, Tim Sharp, and Hilary Apfelstadt!
3. Catching up/reconnecting with many colleagues from NC and the United States, and meeting new folks. I
call it the Greater Choral Connection.
4. The performing venues were STELLER!
5. Concert sessions filled with fabulous choirs and beautiful music, INCLUDING one from the South Dako-
ta Chorale conducted by our own Brian Schmidt of Duke Chapel.
6. Informative Interest Sessions great downloadable hand-outs at:
http://acda.org/page.asp?page=sessionhandouts.
7. The Mormon Tabernacle Choir and Orchestra, under the direction of Mack Wilberg, in the Mormon Tab-
ernacle MESMORIZING! A TRULY spectacular and memorable experience.
8. Great Exhibits! Many NC based Vendors were also present. Got lots of brochures & ideas.
9. Thick Reading Packets and lots of NEW Music!
10. The Honor Choir performances were awesome and very inspiring!
11. Many receptions to meet and greet folks. Opportunities to see lots of people.
12. Impromptu meals with new and old acquaintances at fun restaurants.
13. Composer signatures! There were composer sightings everywhere.
14. The final concert, A Grand Night for Singing, in the Conference Center in Temple Square, hosted by
Sylvia McNair and Santino Fontana, included the Mormon Tabernacle Choir and Orchestra and US Air
Force Singing Sergeants (I traded seats with someone to help them out and ended up two seats down from
none other than composer Alice Parker)! This 21,000-seat arena was breathtaking, as well as the grand
organ in the front center. The concert ended with the Honor Choir singers joining in; I dont know when I
lost it and was overcome with emotionit was either when the four bagpipers came in near the end of
the concert for the Amazing Grace or when the Childrens Honor Choir singers began the final song
Hes Got the Whole World In His Hands. What an incredible ending to an incredible conference!

As if the final concert wasnt enough, my return flight was rescheduled due to snow and I had to spend an
extra day and night in Salt Lake. My hotel roomies were in the same situation, so we rented a car and
drove up to Park City for the day. The snowy and scenic drive included majestic snow-capped mountains
and ski slopes around every bend and turn. Our day culminated in taking a lift to a mountain peak for a
fun restaurant meal before heading back.

Information is coming soon about the 2017 National Conference in Minneapolis and proves to be something
worth working towards planning in your schedule. If it is ANYTHING like the Salt Lake City experience, it
will be worth attending.
Summer 2015 page 9

Salt Lake City: 2015 National Conference Photos

Two views of the LDS Conference Center in

Temple Square during the conference closing
event, Its A Grand Night for Singing.

Downtown
Salt Lake City

Selfie with
iconic composer,
Alice Parker

LDS Temple, lit at night

NC ACDA members at the

Southern Division reception.
page 10 Carolina Caroler

NC ACDA is pleased to announce an

exciting choral experience for North Carolinas developing musicians:

North Carolina Sings!

A Workshop for Developing Voices
With guest clinicians
Developing Mens Voices: Developing Womens Voices:

Fernando Malvar-Ruiz Melissa Malvar-Keylock

of The American Boychoir of The Princeton Girlchoir

In conjunction with the NC ACDA Fall Conference 2015

September 19, 2015 at the UNC-Charlotte School of Music
ACDA Members may sponsor young men and young women in grades 7-12 to participate in this one-
day choral skill-building workshop. This event provides an opportunity for young singers from
school, religious, and community choirs to make music in a positive environment designed to encour-
age enthusiasm for choral singing.

Advance preparation is NOT REQUIRED! During check-in on September 20th, each singer will re-
ceive a choral packet designed for use during the workshop and included in the registration fee of $25
per singer.

Register by July 15, 2015 to reserve spaces for a maximum of eight singers in each ensemble. Singer
allotments may increase as space allows, and additional singers will be added after August 1, 2015 on
a first-come, first served basis.
Summer 2015 page 11
North Carolina Sings! A Workshop for Developing Voices
September 19th, 2015
Requirements for singer eligibility and registration guidelines:

1. Singers must be recommended for participation by their choral conductor, an active member of
ACDA, who will register for and attend the NC ACDA Fall Conference.
2. Singers must be in grades seven through twelve.
3. Initially, conductors may register a maximum of eight (8) singers per choir. Conductors with mul-
tiple profession appointments (e.g. a church choir and a school choir) are encouraged to register
singers from more than one choir.
4. Singer allotments may increase as space allows, and additional singers will be added after August
1, 2015 on a first-come, first served basis.
5. Individuals must be selected to fill the singer allotment and registered by name via email by Sep-
tember 6, 2015.
6. Return completed application form and registration fee of $25 per singer by July 15, 2015 to:

Eric Johnson
240 Laura Road
Madison, NC 27025
egjohnson@triad.rr.com

-
NC Sings! APPLICATION FOM
Please print or type

Which choir will you be participating in? (Please place a check mark)
__________ Young Men __________ Young Women __________ Both

Sponsoring ACDA Member: _________________________________________________________

Member Email: ____________________________________________________________________

Preferred Phone Number: ___________________________________________________________

Ensemble Name: ___________________________________________________________________

Type of Choir: School Community Religious Institution

Members wising to send singers from multiple choir types should complete a separate registration form for each choir.

Ensemble Address: _________________________________________________________________

City: ________________________________________ Zip Code: __________________________

Total number of spaces you wish to reserve (8 maximum per choir)

__________ Young Men __________ Young Women

Would you be interested in additional spots if they become available? _____ Yes _____ No
page 12 Carolina Caroler

Meet the New NC ACDA Treasurer:

Carolyn Hall

Carolyn Hall is an experienced choral music educator having taught secondary

choral music in South Carolina, Georgia and North Carolina, she is the Founding
Artistic Director/Conductor of High Point Young Voices and teaches voice at
Wesleyan Teaching Studios. She received her B.M. from Wesleyan College, M.M.E.
from University of South Carolina and M.M. Choral Conducting from University of North Carolina Greens-
boro. High Point Young Voices was started in the Fall of 2014 and has three ensembles for treble voices from
ages 6-18 serving children in all schools whether public, private or home schools. HP Young Voices motto is:
Many Voices, One Song!
Ms. Hall currently sings with Bel Canto Company in Greensboro and has performed with the Charlotte
Symphony, Charlotte Repertory Orchestra, Oratorio Singers and Oratorio Chamber Singers of Charlotte,
Piedmont Chamber Singers, Eastern Music Festival Summer Chorus and Columbia and Augusta Choral Soci-
eties. As a NC Regional Artist, she was a Fellow at the 2001 Conductors Institute of South Carolina and
served as Conductor of the Gaston String Orchestra in Gastonia. Ms. Hall lives in High Point with husband
Steve and sons, Erik, David, and Steven.
Summer 2015 page 13

A Conversation with J. Don Coleman

(continued from page 3)

the question, is there something to which they (audience and singers)

can go out humming?
One additional aspect of my philosophy of repertoire is music com-
missions. Through individual and collective support, the HCS has com-
missioned five compositions, most recently the Dan Forrest, Requiem
for the Living. This is a very positive aspect of repertoire for our group.
Its music in which we have a vested interest.

AJ: Can you provide a brief overview of the 37-year history of the
Hickory Choral Society?
DC: In the mid-1970s, area church choirs met together to do the
Christmas portion of Handels Messiah. Over the years, this grew from Mr. Coleman, with the
approximately 100 singers to 225. This was the genesis of the HCS. Lara Hoggard Award Plaque
Participants of the Messiah choir wanted to do more music on an orga-
nized basis. So, we started by investigating who would be interested in
performing Brahms Requiem: 65 singers participated that first season. There was no money of course, so the
participants underwrote the orchestra. After this experience, the group decided to formalize what would be-
come the HCS. The group went on to perform Bachs Magnificat and the Britten Ceremony of Carols in the
2nd season. In the 3rd year, Lara Hoggard led Mendelssohns Elijah with 90 singers. The goal was to select mu-
sic that would challenge the singers and attract other great singers. Currently we have 112 singers in the choir.
Within those 112, there are 45 individuals with music degrees, 17 of which are advanced, including two doc-
torates.

AJ: What is the typical rehearsal/performance schedule for a given season?

DC: Around mid-August, we begin with rehearsals every Monday evening, 7:30pm-9:30pm. We also have a
fall retreat, which includes a Friday night rehearsal, Saturday morning, afternoon, and evening rehearsal, Sun-
day morning worship service followed by one final rehearsal. Typically our fall concert is around the last week
in October. We offer our Christmas concert on a Friday night, Saturday afternoon, and Sunday afternoon. We
have one major concert in the spring.

AJ: What are general challenges you face, and what strategies are used to provide solutions to these is-
sues?
DC: Our patronage is primarily comprised of an older group. The appreciation of the arts is graying. One of
our chief challenges is to continually find ways to attract younger patrons and involve them in our choir. We
also have to find creative ways to attract young folks to join our choir. A second challenge always seems to be
finances. We constantly work for more creative ways to financially support our group. Sometimes, other local
arts groups are vying for one pot of money. Monies are simply not always available.
One way weve worked to incorporate younger patrons and families is by offering a Cookies and Carols
concert on the Saturday morning of our Christmas concert weekend. This concert is free and open to anyone,
but is primarily for families with small children. We typically used Mack Wilbergs 12 Days of Christmas and
incorporate the children in the audience to help present that piece. We use fun repertoire, carols everyone
knows. At the conclusion of the concert, everyone receives a Christmas ornament and free cookies made local-
ly in Hickory. This concert always draws many young families and its so much fun.

Continued on page 14
page 14
A Conversation with J. Don Coleman
(continued from page 13)
A second idea for involving younger participants is
to use childrens choir. Works such as Rutters
Mass for the Children and many others incorporate
childrens choir. This offers the children an oppor-
tunity to sing with a large chorus and full orchestra,
which for some is a brand new experience. Weve
also started a summer childrens choral camp. The
cost is $20 per week.
Finally, the HCS works to develop relationships
with local elementary, middle and high school mu-
sic teachers in the area. These teachers can apply for
grants with the HCS to purchase music for their
concerts. This is a great way for parents to see the
involvement of the HCS in the local community.
AJ: What are current challenges you face in regards to
recruitment?
DC: We are continually challenged to find good young-
er voices. Because of so many diverse opportunities that
are available that were not accessible 30 years ago, we
struggle in the age bracket of the 25-40 year-old individ-
ual. Repertoire is the biggest draw for us to increase the
participation of younger voices. We usually audition ap-
proximately 20 people per year and typically take only
eight. This past year the average age of those who audi-
tioned dropped ten years. It is our strong intent that we
never take a voice that will not strengthen the choir.
One suggestion to help recruitment is to bring in a
guest conductor. Every few years, we invite a guest con-
ductor, someone who can help the choir grow musically.
We want the very best. In the past weve had:
Anton Armstrong for Haydns Creation
Eric Nelson for Mozarts Requiem
Weston Noble for Poulencs Gloria
Mack Wilberg for Haydns Te Deum and various
arrangements
Sir David Wilcocks for Faures Requiem
Earl Rivers for Mozarts Great Mass in C
AJ: What ideas could you offer for building your choir
in regards to morale, community involvement, and pro-
motion of the choral art?
DC: We have singers that come from a 9-county area.
Many arrive far earlier than when rehearsal begins to
catch up and fellowship with each other. All of this to
Carolina Caroler
say that creating a family-like atmosphere can help more
than anything in building morale. The choir is very close
to each other musically and personally.
AJ: Are there certain choral pedagogy techniques that
youve found particularly helpful in building the voice?
DC: We spend a lot of time in the initial rehearsals doing
voice placements of individual singers. This has changed
the complete sound of the group. We also continually
work on listening. People tend to not listen as well as they
like to sing. We work on not over-singing. Furthermore,
we concentrate on a blended sound that is supported. We
work toward a correct placement of the tone, a more for-
ward placement.
AJ: Has failure shaped your experience with the choir
in any way?
DC: We once performed the Mozart Great Mass in C,
the expanded version. This was perhaps too much for our
choir at that time, lots of notes. Also, one Christmas con-
cert I programed 70%-75% Latin text. One of our faithful
patrons kindly remarked about the lack of recognized lan-
guage.
Finally, in regards to your choristers, you have to be
very mindful that folks come from broad musical back-
grounds. As Ive worked with singers, sometimes Ive
been too quick to judge the bad musical habits that some
of them bring. The community choir experience is one
that is built over time and with a great deal of patience.
AJ: What is the greatest lesson youve learned from
your time with the HCS?
DC: If Im not continuing to learn everyday, if Im not
reaching out to become better and learn from others, then
Im not growing. Ive got to be sure that Im growing and
learning and imparting the right things to my singers.
AJ: Is there any advice or wisdom you could offer fel-
low community choir conductors?
DC: Understand where your choir is musically and emo-
tionally and develop them from that point. Dont expect
them to grow from hymn singing to imitative counter-
point immediately. Growth comes over time. Always
keep expectations high. Encourage your singers when
they do well, but require that they continually stretch
themselves.
Summer 2015 page 15

The South Dakota Chorale

(continued from page 5)

4. What have been some of the most notable projects that the SD Chorale has undertaken? What have
been your favorite projects?
There are some obvious high points including our two commercial recordings and especially the ACDA per-
formance at the Mormon Tabernacle in February, which are exciting artistic projects. However, one of the
most fulfilling project to date was a collaboration with two high schools a few years ago. We invited them to
perform their own set of 3 songs and they also prepared two pieces to sing along with us. We went into each
high school to rehearse with them the morning before the performance and Ill never forget the looks on their
faces when they began singing with the SDC singers. I dont think they ever imagined their voice could con-
tribute to such a rich and powerful sound, and it was so awesome to see them kick it up a notch. The teachers
said the kids were somewhat dragging about having to do this extra mini-concert but then, after our rehearsal,
they were pumped up and texting family and friends about how cool the concert was going to be. I believe it is
incredibly important for professional ensembles, both orchestral and choral, to remember that perpetuating our
art form is just as important as performing our annual concerts.

5. South Dakota is a long way from North Carolina, and also from Texas where you were living when you
founded the choir. Why did you start your group there? How have you organized your work so that you
are able to make the commute back and forth?
Yes, it is indeed a long distance! I lived and worked in South Dakota for several years and also completed
my undergraduate work there. During my time in South Dakota I came to know many musicians and commu-
nity members who were interested in seeing the choral community grow. At the beginning, I was just a cata-
lyst to bring the right singers and supporters together to make it happen. I commute back and forth a few times
per year and usually have very full days of business meetings, new auditions, and rehearsals for whatever con-
cert we are producing at the time. As I have said, I believe SD was in need of top-notch organization that
could add to the growing music scene and compliment the success of other choral ensembles. I thought it was
also important for SDC to model a high-standard of singing, demonstrate that professional singing was a pos-
sible career path, and also, more importantly, advocate for support of choral arts. There is a lot of work for us
to do yet, but I am very pleased with the work we have done and the direction we are going.

6. What major projects do have coming up? Will there be opportunity for collaboration between Duke
choirs and the SD Chorale?
Next season highlights will be Monteverdi Vespers and another exciting project performing two Masses for
choir and organ by composer Marcel Tyberg, who was tragically killed at Auschwitz during the Holocaust.
His music had been largely unknown until the Buffalo Philharmonic recorded a few of his symphonies a few
years back. We will perform these Masses for the first time since Marcel played them for friends a few days
before his capture and our recording will hopefully help the rest of the world to know this incredibly beautiful
music.
I certainly hope a collaboration will emerge between Duke and SD Chorale and I think both organizations
have a similar mission for uplifting choral arts and enriching the cultural life of our communities. I have some
ideas that would bridge the two organizations and hopefully something will develop in the near future.
page 16 Carolina Caroler

The American Choral Directors Association is focusing on mentoring as a

way to assist our membership in encouraging lifelong professional growth
and identifying resources and allies.

Who Can Participate?

The American Choral Directors Association (ACDA) Mentoring Program
is open to ACDA members across the country. The program is available to
all students, choral teachers, and choral conductors, whether employed or
still searching for a position. Mentors and mentees (or protgs) must be
ACDA members (Active, Student, Retired, or Life categories all qualify).
To Get Started
Mentees register online, are approved (once we verify their membership), review the ACDA Mentoring Guide to un-
derstand what the program is, and then fill out an online profile. Mentees must re-enroll in each new mentoring session
they would like to participate in.
Mentors register, and then complete an online profile to become part of the searchable pool of mentors. Once mentors
register, they stay in the program indefinitely they can take themselves in and out of the searchable pool as they wish,
and identify the maximum number of mentees they are willing to work with at one time. The matching program works
best when we have many mentors with a variety of interests and experiences. We ask for mentors patience during the
wait for a good match.

How ACDA Mentoring Works

The match process is driven by the mentees - for their protection and to ensure commitment. They apply to the pro-
gram, search the pool, and request a mentor. Mentors are notified when someone requests them. They then review the
mentees profile, and decide whether to accept or decline the match. Up until the time a mentor accepts a mentees re-
quest, profiles remain anonymous and no personal contact information is exchanged. Once a mentor accepts a request,
each party receives an email with the other partys name and contact information.
Resources on the ACDA Mentoring website provide guidance to mentors and mentees regarding setting goals and ex-
pectations, and identifying topics for discussion. We stay in touch with participants via email to check on progress and
help them maintain forward momentum. The program lasts approximately six months, and at the end of that period, the
relationships are released. We encourage those participants who wish to stay in contact to do so.

For more information and to get started, visit http://mentoring.acda.org. Questions? Contact Sundra Flansburg, direc-
tor of membership development (405-232-8161, ext. 200 or sflansburg@acda.org).

ACDA Deadlines - A Handy Chart

Event Dates Registration/Application Other

NC ACDA
September For discounted rate, one month Online and on-site
Fall Conference
18-19 prior to the event registration available
UNC Charlotte

Singers added after

September
North Carolina Sings! July 15 Aug. 1 as space is
19 available

2016 ACDA Southern

March 9-12 acdasouthern.org
Division Conference
Summer 2015 page 17

Tr e a s u r e r s R e p o r t
Carolyn Hall, NC ACDA Treasurer
page 18 Carolina Caroler
Summer 2015 page 19

Carolina Caroler
North Carolina American Choral Directors Association
545 Couch Drive
Oklahoma City OK 73102-2207

www.ncacdaonline.org

In this Issue: State Conference; NC SINGS!; South Dakota Chorale; and more...

Editors Note
Nathan Leaf, Newsletter Editor
I never cease to be
amazed by the many
and varied talents of
the people in our pro-
fession. It is truly a joy
to be able to interact
with so many people
possessed of such an array of skills and
experiences. I always hope that in some
way those talents will rub off on me, or
at least help to inform my work and
enable me to reach my full potential. It
is our hope that the newsletter can ena-
ble this process, at least in some small
way, for everyone who reads it. Happy
Summer!
~Nathan
The Carolina Caroler is the official newsletter of the North Carolina chapter of
the American Choral Directors Association. Articles and advertisements may be
submitted to: Nathan Leaf at njleaf@ncsu.edu. Articles may be submitted via email
as Word documents. Times New Roman, or similar, with font size 11 is preferred.
Please do not double space after punctuations (periods)a practice held back in
the days of typewritersit is not necessary with word processing.
Issue Deadline Publication
Fall June 15 July 15
Spring Dec. 15 Jan. 15
Summer April 15 May 15
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materials proposed for distribution.
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