Adjudicator Handbook 2011-2012
Transcription
Adjudicator Handbook 2011-2012
Our mission is to educate and inspire all people to understand and value the art of vocal music, and its lifelong impact on the human spirit. Adjudicator Handbook 2011-2012 2 MSVMA Adjudication Handbook Introduction Solo & ensemble and choir festivals are among the most attended vocal music activities sponsored by MSVMA. If the adjudication sheets for all the various festivals in the 15 MSVMA district and state festivals were collected and counted, they would number over 10,000 for last year alone. The relatively small group of MSVMA adjudicators has a tremendous impact on the direction, values, and accomplishments of vocal music education programs in Michigan. We are pleased that you have accepted the responsibility and challenge of this task, and we thank you for sharing your expertise with our vocal music students and teachers. As you prepare for festival adjudication, please use the following checklist to guide you in your decisions and evaluations. It is our goal to arm adjudicators with the necessary tools that will make all adjudication throughout Michigan consistent with the MSVMA educational philosophies. The adjudication philosophy of MSVMA has evolved to reflect the following: The festival environment maintains the integrity of musical excellence, while providing a student-centered, interactive learning assessment. When students and teachers leave the festival experience, they should be inspired to return. The experience and process of performing and learning should be the most important aspects of the festival. At the conclusion of the festival experience, students and teachers should know what they did well and have ideas for growth and improvement. Adjudicators need to assess contextually, balancing the MSVMA rubrics with the uniquely situated knowledge of each choir or singer. Our goal is to promote healthy vocal technique, expressive musical interpretation of traditional choral music and art song literature, musical literacy, and a lifelong love of singing in young people. The MSVMA Adjudication Committee Ginny Kerwin, Adjudication Supervisor Nancy Bray, Scheduling Coordinator Cathy Brodie Bob Cindric Greg Cleveland 3 Getting Started - A Checklist Pre-Festival In advance of the festival, return your contract to the MSVMA office. Plan to arrive at the festival site early so the adjudicator's meeting can begin promptly. Be helpful and considerate in making the festival run smoothly. For choral festivals, make sure you understand the procedures for music distribution, adjudication sheet pick up, audience rapport and introduction of the choirs. Remember, you are being contracted and paid by MSVMA to serve. Use the MSVMA nametag provided. Keep track of your mileage and expenses for completion of the Independent Contractor Invoice at the conclusion of the festival. In Performance Room For solo & ensemble, consider greeting performers in a friendly but professional manner. You might ask the student, "Is this your first time at S&E?", "Have you been to S&E before?", etc. Help make the performers feel as relaxed and focused as possible. Try to use the students’ and directors’ names when possible. Ask the singers to introduce themselves and their selections. For choral festivals, make sure all adjudicators are in place before the choir begins to sing. Watch the performers for at least a short time to assess their presentation. It is appropriate to applaud at the conclusion of the performance. Remember to stay on time and keep to the schedule. 4 Completing Adjudication Rubrics - A Checklist Begin with a positive comment. Direct comments to the students, not the teacher. The festival supervisor will provide notepaper and envelopes for you to write a personal note to the director or teacher, if necessary. Avoid faulting students for teacher shortcomings. If you need to write a constructive criticism, give a suggestion for improvement. In the narrative portion, make every effort to write in a professional manner. Highlight the strengths of the performance as well as the suggested areas for improvement. Include rehearsal techniques and pedagogical ideas. Make sure you have clearly signed all adjudication forms. Consider keeping track of your ratings on a separate schedule. This could be helpful later if there is a discrepancy. Solo and Ensemble Festival For each element there are four bulleted areas of focus. Circle the focus area descriptors that match the overall performance of each selection. There must be at least one bullet highlighted or circled for each descriptor. Assign an overall number for each element summarizing the circled descriptors. The festival supervisor will bring to the attention of the adjudicators extreme discrepancies in their overall results. If time allows use the rubric elements as a guideline for writing the narrative. Keep in mind one or two areas to address in the clinic. Choral It is appropriate to confer with other adjudicators while writing sheets. Be willing to use your own judgment calls when necessary. For each element there are four bulleted areas of focus. Circle the focus area descriptors that match the overall performance of each selection. There must be at least one bullet highlighted or circled for each descriptor. Assign an overall number for each element summarizing the circled descriptors. The festival supervisor will bring to the attention of the adjudicators extreme discrepancies in their overall results. 5 Conducting Clinics - A Checklist During the performance consider one or two ideas to highlight in the clinic. Begin with a positive comment. Time will only allow choosing one or two items to address based on the performance. The clinic festival component is an opportunity to engage students and directors. It should not be just another forum for reading your written comments. You might consider asking questions like "When does your choir rehearse?", "How long have you been working on these pieces?", or "Is this a select choir or open-to-all group?" You might consider involving the students in the assessment of their performance. Use their answers as you develop the focus of the clinic. Try to assess the attention, anxiety and fatigue levels of the singer(s) and adjust the clinic accordingly. Reinforce the efforts of the director or teacher whenever possible. Sometimes just hearing the same thing from another adult will help the students hear and accept the suggestion. Look for an opportunity to let students know you noticed their hard work. Encourage the director to be involved in the process. Allow enough time to end with a brief positive conclusion. 6 Adjudicating Sight Reading Choral festival sight reading is designed to evaluate our students' sight reading ability. To be successful, preparation prior to festival is a must. It is also highly recommended that sight reading be a regular part of daily class/ ensemble rehearsals. MSVMA recommends that students and directors select and adhere to a sight reading method with which they are comfortable and have success. Whether a group is singing for final rating or comments only, the choir is required to sight read. (Choirs singing for comments only may request a sight reading clinic.) This applies to both high school and junior high/middle school choirs. Levels and Voicing High School: All choirs must sight read at the same voicing (Unison, 2-part, SAB, etc.) and proficiency level (Primary, Intermediate, Advanced) as their required performance selection. A choir may sight read at a more complex divisi or higher proficiency level. If the voicing of the required selection is different than the printed sight reading example, the director and adjudicator will determine the appropriate voicing. Jr High/Middle School: All choirs must sight read at the same voicing (Unison, 2-part, SAB, etc.) as their required selection. Directors may choose the sight reading proficiency level for their choir. General Information The MSVMA Sight Reading Rubric defines the criteria for adjudication. Sight reading exercises will be printed in the appropriate clef for each voice. In the case of unison exercises involving male voices the exercise will be printed in both clefs. Each exercise will be eight measures in length. Directors should choose a tempo at which the group can succeed. General Rules and Procedures When the choir enters the room, the singers will organize themselves in any arrangement of their choice. The sight reading books will remain closed. The adjudicator will confirm with the director the level and voicing to be read. The singers will open the sight reading books when instructed to do so. The director and singers may discuss all of the exercises at the beginning of the session, or may address each exercise separately. The director and singers may discuss any of the musical elements of the exercises, but the director may not sing, clap, or in any way perform the 7 exercise for the students. The director’s role after the discussion period is limited to giving tempi and conducting the choir. The director may use unvoiced assistance in maintaining a steady tempo (ie. clapping, snapping, tapping). The director is discouraged from giving verbal assists during the performance. Oral assistance from the director will be evaluated in light of the overall performance. Rhythmic exercises should be sung using an effective reading system. (Clapping is not permitted). Directors may not illustrate or conduct any rhythmic or melodic patterns during the performance. The director may transpose the key to best support the vocal abilities of the choir. The director should inform the adjudicator of the key change. Beginning pitches may be given vocally, by piano, or by pitch pipe. Establishing the key The key may be established by having the students sing a few scales or chord patterns. Intervals contained in the exercise may be sung as long as they are not done in the sequence of the written material. (For example, random intervals or patterns such as 1-3-5-3-1, 1-4, etc. may be sung by the students in preparation, and directors may call attention to places where these occur in the exercise. They may not however, be systematically rehearsed in the sequence in which they appear.) All singers are allowed to discuss and sing with their neighbors during the prep time, as long as the director is not assisting by illustrating intervals or rhythms. This practice of “neighboring” is limited to 2 or 3 students. The “neighboring” groups may not join together and prepare as one voice section. The performance should be sung using an effective reading system. Performance Instructions Each ensemble will read three exercises. Exercise #1 will sung with rhythm only. Exercise #1 will be performed with melody and rhythm. Exercise #2 will be sung with rhythm only of the starred line. Exercise #2 will be performed with melody and rhythm. Exercise #3 will be performed with both melody and rhythm. 8 2011-2012 MSVMA (Pilot) District Solo & Ensemble Festival SOLO PERFORMANCE Event Order or Time of Appearance________ Event No.________ Date_________________ Name of Soloist_________________________ _________ Age__________ Grade_________ Voice Classification____________________________ Director_________________________ School________________________________ City__________________________________ Selections: Selection #1_________________________________________________ Required Source___________________________________ Selection #2__________________________________________________ INSTRUCTIONS TO JUDGES 1. The Adjudicator listens and provides written narrative feedback on the last page of this evaluation sheet. 2. On the inside pages of this evaluation sheet, the adjudicator circles the focus area descriptors that match the overall performance of each selection. There must be at least one bullet highlighted or circled for each descriptor. 3. The Adjudicator assigns a number that best describes the singer’s performance based on the descriptors for each element. 4. The office personnel total the points and assign the appropriate rating as explained below. 5. A “Comments Only” rating is given by circling the appropriate descriptor(s) rather than listing the numbers. REMEMBER TO LISTEN WITH AN EAR FOR WHAT IS AGE AND DEVELOPMENTALLY APPROPRIATE. Final Determination Superior Excellent Good Fair Poor 6-8 total 9-14 total 15-20 total 21-26 total 27-30 total 9 Copyright 2011 Michigan School Vocal Music Association Presentation Interpretation Language Elements Musical Elements Breath Tonal Beauty 5 4 3 The Tonal Beauty: is forced and/or unsupported is very tense is unfocused & lacks resonance lacks projection has incorrect vowel placement The Tonal Beauty: is frequently forced and/or unsupported is frequently tense requires more focus & resonance frequently lacks projection has frequent errors in vowel placement The Breath: has no depth has no support lacks breath management lacks correct posture lacks body alignment The Breath: frequently requires more expansion needs more diaphragmatic support lacks breath management for most phrases requires posture adjustments requires alignment adjustments The Breath: occasionally requires more depth & expansion has some unsupported air & lack of energy lacks breath management for some phrases displays balanced posture most of the time uses good body alignment most of the time The Musical Elements Display: many pitch errors many rhythmic or rest errors poor intonation lack of marked tempo poor memorization The Musical Elements Display: frequent pitch errors frequent rhythmic or rest errors inconsistent intonation inconsistent tempos frequent memory lapses The Musical Elements Display: some pitch errors few rhythmic or rest errors some intonation inconsistencies some tempo variance a few memory lapses The Language Elements: have incorrect pronunciation have no clear consonants have no syllabic stress have no understanding of text have no observance of diphthongs The Language Elements: have frequent errors in pronunciation have a lack of clear consonants have little syllabic stress have little understanding of text have diphthongs that are incorrectly sung The Language Elements: have some errors in pronunciation have some articulated consonants have some syllabic stress have some text understanding have diphthongs that are inconsistently sung. The Interpretation Demonstrates: no use of dynamics & phrasing The Interpretation Demonstrates: little use of dynamics & phrasing The Interpretation Demonstrates: some use of dynamics & phrasing no agility & expressiveness no understanding of style little agility & expressiveness little understanding of style some agility & expressiveness some errors in style no articulations little articulation some articulations no connection of vocal line little connection of vocal line some connection of vocal line The Presentation Shows: little facial expression little characterization of text little stage presence & poise inappropriate literature frequent imbalance between soloist & accompaniment 10 The Presentation Shows: some facial expression some characterization of text some stage presence & poise literature which does not support the ability of the singer acceptable balance between soloist & accompaniment The Presentation Shows: no facial expression no characterization of text no stage presence & poise unacceptable literature lack of balance between soloist & accompaniment The Tonal Beauty: is somewhat forced and/or unsupported has some tension is sometimes unfocused has some projection has some errors in vowel placement 2 1 The Tonal Beauty: is vibrant most of the time is free of tension most of the time is often resonant with proper placement is projected with energy most of the time displays excellent vowel placement most of the time The Tonal Beauty: is vibrant is free of tension is resonant with proper vowel placement is projected with energy displays exemplary vowel placement The Breath: has deep, low & expanded intake of air most of the time has proper diaphragmatic support most of the time has excellent management of exhalation most of the time uses balanced posture most of the time is produced with excellent body alignment The Breath: is produced with a deep, low & expanded intake of air is produced with proper diaphragmatic support is produced by exemplary management of exhalation is produced with balanced posture (legs, feet, chest & torso) is produced with exemplary body alignment (head, chin, neck, shoulders & arms) The Musical Elements Display: accurate pitches most of the time accurate note & rest values most of the time excellent intonation consistent tempo with sense of pulse most of the time excellent memorization of all musical elements The Musical Elements Display: accurate pitches accurate note & rest values exemplary intonation consistent tempo with strong sense of steady pulse exemplary memorization of all musical elements The Language Elements: have accurate pronunciation most of the time have clear consonants most of the time have use of excellent syllabic stress most of the time show clear understanding of the text diphthongs correctly performed most of The Language Elements: are pronounced accurately in all languages show clearly articulated consonants have exemplary use of syllabic stress show exemplary understanding of the text have diphthongs correctly performed all of the time the time. The Interpretation Demonstrates: excellent use of dynamics & phrasing which are appropriate to style, notation and text excellent expressiveness appropriate understanding of style, tone color & agility correct articulations (staccato, legato ornamentation, etc.) an excellent connected vocal line with phrasing that creates fitting rise & fall of the music notation The Presentation Shows: excellent facial expression & physical engagement emotional connection & characterization of the text proper stage presence & poise mostly age appropriate literature excellent balance between soloist & accompaniment The Interpretation Demonstrates: exemplary dynamics which are appropriate to style, notation & text exemplary expressiveness exemplary understanding of style, tone color & agility exemplary articulations (staccato, legato, ornamentation, etc.) an exemplary connected vocal line with phrasing that creates fitting rise & fall of the musical notation The Presentation Shows: exemplary facial expression & physical engagement exemplary emotional connection & characterization of the text exemplary stage presence & poise age appropriate literature 11 accompaniment exemplary balance with Overall Determination _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Strengths of this performance are: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Areas for improvement are: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Additional comments may be placed in a separate envelope for the director . Signature of Adjudicator_____________________________________ 12 Printed Name_____________________________________________ 2011-2012 MSVMA (Pilot) District Solo & Ensemble Festival ENSEMBLE PERFORMANCE Event Order or Time of Appearance________ Event No.________ Date____________________ Name of Ensemble_______________________________________________________________ Number of Singers______________________ Voicing ________________________________ School________________________________ City__________________________________ Grades (√) ___6___7___8___9___10___11___12 Director _____________________________ Selections: Selection #1____________________________Composer/Arranger______________________ Selection #2____________________________Composer/Arranger______________________ INSTRUCTIONS TO JUDGES 1. The Adjudicator listens and provides written narrative feedback on the last page of this evaluation sheet. 2. On the inside pages of this evaluation sheet, the adjudicator circles the focus area descriptors that match the overall performance of each selection. There must be at least one bullet highlighted or circled for each descriptor. 3. The Adjudicator assigns a number that best describes the singer’s performance based on the descriptors for each element. 4. The office personnel total the points and assign the appropriate rating as explained below. 5. A “Comments Only” rating is given by circling the appropriate descriptor(s) rather than listing the numbers. REMEMBER TO LISTEN WITH AN EAR FOR WHAT IS AGE AND DEVELOPMENTALLY APPROPRIATE. Final Determination Superior Excellent Good Fair Poor 6-8 total 9-14 total 15-20 total 21-26 total 27-30 total 13 Copyright 2011 Michigan School Vocal Music Association Interpretation Elements Diction Elements Rhythm Elements Pitch Elements Tone Quality Elements 5 Tone is forced, unsupported, or Tone is frequently forced, spread. Vowels need to be shaped correctly. Tone requires properly produced breath energy. Tone needs resonance and focus. unsupported, or spread. Vowel shaping requires more consistency most of the time. Tone requires more breath energy most of the time. Tone requires more consistent resonance and vitality throughout. Frequent errors in pitches are evident. Inaccurate chord tuning, especially at Pitches are predominantly incorrect. Chord tuning is inaccurate. Pitches lack a sense of tonal center. Pitches lack a sense of melodic and harmonic intervallic relationships. 3 Tone is occasionally forced, unsupported, or spread. Vowel shaping requires more consistency. Breath support and management are inconsistent. More consistent resonance and vitality, especially in extreme ranges or in difficult passages, are required Occasional errors in pitches are evident.` phrase endings, is evident. Tonal center needs to be more apparent. Many inconsistencies are evident in the melodic and harmonic intervallic relationships. Chord tuning requires more Many errors occur in note and/or rest Frequent errors occur in note and/or Occasional errors occur in note and/or values. Performance lacks rhythmic energy and/or a sense of steady pulse. Inaccurate attacks and releases occur. Appropriate tempi are not observed. rest values. Rhythmic energy and sense of steady pulse are compromised by rushing and/or dragging. Attacks and releases require better accuracy. Appropriate tempi are rarely observed. The pronunciation of consonants and Pronunciation of consonants and Language-appropriate pronunciation vowels is inaccurate. Enunciation of text needs to be precise and stylistically appropriate. Beginning and ending consonants require articulation. Diphthongs are not observed. vowels requires much more accuracy/ consistency. Enunciation of text needs to be clearer, more precise, and stylistically appropriate. Beginning and ending consonants require articulation most of the time. Diphthongs are incorrectly sung. of consonants and vowels requires more consistency/accuracy. Enunciation of text is clear, precise, and stylistically appropriate some of the time. Beginning and ending consonants require better articulation. Diphthongs are inconsistently sung. Phrasing needs to be more apparent. Notated dynamics are either under or Phrasing requires attention. Usage of dynamic ranges is inaccurate. Word and syllabic stresses are not being observed. Style requires attention. Tonal balance and sense of ensemble Presentation Elements 4 are needed. Stage deportment, including stage entrance/exit, posture, and attention to conductor distracts from the effectiveness of the performance. The text is not enhanced by facial expression and physical involvement. Selection of literature is inappropriate for the strengths and/or abilities of the ensemble. over stated. Text requires attention to syllabic and word stress. Appropriate style is not apparent. Lapses in tonal balance and blend occur. Attention to proper stage deportment, including stage entrance/exit, posture, and attention to conductor is needed. The use of facial expression and physical involvement to enhance the text is inconsistent. Selection 14 of literature limits the strengths and/or abilities of the ensemble. consistency. Ensemble exhibits occasional lapses in a sense of tonal center. Ensemble exhibits some inconsistencies in the melodic and harmonic intervallic relationships. rest values. Rhythmic energy and sense of steady pulse are compromised by rushing and/or dragging. Attacks and releases require more consistent accuracy. Appropriate tempi are observed some of the time. Phrasing is sometimes appropriate to notation and text. Dynamics are observed most of the time. Syllabic and word stress are observed most of the time Performance is stylistically appropriate some of the time. Proper balance predominates; minor lapses may occur during extended registers and/or changing dynamic levels. More attention to proper stage deportment, including stage entrance/exit, posture, and attention to conductor is necessary. The text is enhanced by facial expression and physical involvement some of the time. Selection of literature may limit the strengths and/or abilities of the choir ensemble. 2 Tone is free (unforced), vibrant, and age appropriate most of the time. Vowel formation is consistently unified most of the time. Breath support and management are deep, low, and fully expanded most of the time. Excellent placement and focus of tone results in good resonance and energy. Pitches are correct most of the time. Good chord tuning with adjustments is 1 Tone is free (unforced), vibrant, and age appropriate. Vowel formation is consistently unified. Breath support and management are deep, low, and fully expanded. Exemplary placement and focus of tone results in superior resonance and vitality. Pitches are correct. Chord tuning is outstanding; adjustments are being made most of the time. Ensemble exhibits a strong sense of tonal made instantly. Ensemble exhibits outstanding sense of tonal center most of the time. Ensemble exhibits a solid sense of center. Ensemble exhibits outstanding sense of melodic melodic and harmonic intervallic relationships. Note and rest values are executed correctly most of the time. Consistent rhythmic energy and obvious sense of steady pulse are evident, and minor inconsistencies are corrected. Attacks and releases are performed correctly most of the time. Appropriate tempi are observed most of the time. Pronunciation of consonants and vowels is correct and language-appropriate most of the time. Enunciation of text is clear, precise, and stylistically appropriate most of the time. Beginning and ending consonants are appropriately articulated. Diphthongs are correctly performed most of the time. Phrasing is appropriate to notation and text. Dynamics are observed. Syllabic and word stress are observed. Performance is stylistically appropriate most of the time. and harmonic intervallic relationships. Note and rest values are executed correctly. Consistent rhythmic energy and strong sense of steady pulse are evident. Attacks and releases are performed correctly. Appropriate tempi are observed consistently Pronunciation of consonants and vowels is correct and language-appropriate. Enunciation of text is clear, precise, and stylistically appropriate. Beginning and ending consonants are sensitively articulated. Diphthongs are correctly performed. Phrasing is appropriate to notation and text Tonal balance among and between sections, including accompaniment, is apparent. An understanding of stage deportment, including stage entrance/exit, posture, and attention to conductor is displayed. The text is enhanced by facial expression and physical involvement most of the time. Selection of some of the literature supports the strengths and ability levels of the ensemble . creating forward moving musical lines with fitting rise and fall. Dynamics are observed and applied to enhance the expressiveness of the musical phrase. Syllabic and word stress enhance the phrasing and the meaning of the text. Performance is stylistically appropriate. Tonal balance among and between sections, including accompaniment, is outstanding. Professional stage deportment, including stage entrance/exit, posture, and attention to conductor is displayed. Facial expression and physical involvement are appropriate to the text and style of the music. Selection of all of the literature supports the strengths and ability levels of the ensemble. 15 Overall Determination _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Strengths of this performance are: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Areas for improvement are: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Additional comments may be placed in a separate envelope for the director . Signature of Adjudicator_____________________________________ 16 Printed Name_____________________________________________ 2011-2012 MSVMA District Choral Festival PERFORMANCE Event Order or Time of Appearance________ Event No.________ Date_________________ Name of Choir_________________________ Number of Singers______________________ School________________________________ City__________________________________ Grades (√) ___6___7___8___9___10___11___12 Director _________________________ Selections: Required__________________________________________ Voicing _________Level__________ Selected__________________________________________ Voicing _________ INSTRUCTIONS TO JUDGES 1. The Adjudicator listens and provides written narrative feedback on the last page of this evaluation sheet. 2. On the inside pages of this evaluation sheet, the adjudicator circles the focus area descriptors that match the overall performance of each selection. There must be at least one bullet highlighted or circled for each descriptor. 3. The Adjudicator assigns a number that best describes the choir’s performance based on the descriptors for each element. 4. The office personnel total the points and assign the appropriate rating as explained below. 5. A “Comments Only” rating is given by circling the appropriate descriptor(s) rather than listing the numbers. REMEMBER TO LISTEN WITH AN EAR FOR WHAT IS AGE AND DEVELOPMENTALLY APPROPRIATE. Final Determination Superior Excellent Good Fair Poor 24-32 total from performance and sight reading 33-56 total from performance and sight reading 57-79 total from performance and sight reading 80-107 total from performance and sight reading 108-120 total from performance and sight reading 17 Copyright 2011 Michigan School Vocal Music Association Interpretation Elements Diction Elements Rhythm Elements Pitch Elements Tone Quality Elements 5 Tone is forced, unsupported, or Tone is frequently forced, spread. Vowels need to be shaped correctly. Tone requires properly produced breath energy. Tone needs resonance and focus. unsupported, or spread. Vowel shaping requires more consistency most of the time. Tone requires more breath energy most of the time. Tone requires more consistent resonance and vitality throughout. Frequent errors in pitches are evident. Inaccurate chord tuning, especially at Pitches are predominantly incorrect. Chord tuning is inaccurate. Pitches lack a sense of tonal center. Pitches lack a sense of melodic and harmonic intervallic relationships. 3 Tone is occasionally forced, unsupported, or spread. Vowel shaping requires more consistency. Breath support and management are inconsistent. More consistent resonance and vitality, especially in extreme ranges or in difficult passages, are required Occasional errors in pitches are evident.` phrase endings, is evident. Tonal center needs to be more apparent. Many inconsistencies are evident in the melodic and harmonic intervallic relationships. Chord tuning requires more Many errors occur in note and/or rest Frequent errors occur in note and/or Occasional errors occur in note and/or values. Performance lacks rhythmic energy and/or a sense of steady pulse. Inaccurate attacks and releases occur. Appropriate tempi are not observed. rest values. Rhythmic energy and sense of steady pulse are compromised by rushing and/or dragging. Attacks and releases require better accuracy. Appropriate tempi are rarely observed. The pronunciation of consonants and Pronunciation of consonants and Language-appropriate pronunciation vowels is inaccurate. Enunciation of text needs to be precise and stylistically appropriate. Beginning and ending consonants require articulation. Diphthongs are not observed. vowels requires much more accuracy/ consistency. Enunciation of text needs to be clearer, more precise, and stylistically appropriate. Beginning and ending consonants require articulation most of the time. Diphthongs are incorrectly sung. of consonants and vowels requires more consistency/accuracy. Enunciation of text is clear, precise, and stylistically appropriate some of the time. Beginning and ending consonants require better articulation. Diphthongs are inconsistently sung. Phrasing needs to be more apparent. Notated dynamics are either under or Phrasing requires attention. Usage of dynamic ranges is inaccurate. Word and syllabic stresses are not being observed. Style requires attention. Tonal balance and sense of ensemble Presentation Elements 4 are needed. Stage deportment, including stage entrance/exit, posture, and attention to conductor distracts from the effectiveness of the performance. The text is not enhanced by facial expression and physical involvement. Selection of literature is inappropriate for the strengths and/or abilities of the ensemble. over stated. Text requires attention to syllabic and word stress. Appropriate style is not apparent. Lapses in tonal balance and blend occur. Attention to proper stage deportment, including stage entrance/exit, posture, and attention to conductor is needed. The use of facial expression and physical involvement to enhance the text is inconsistent. Selection 18 of literature limits the strengths and/or abilities of the ensemble. consistency. Ensemble exhibits occasional lapses in a sense of tonal center. Ensemble exhibits some inconsistencies in the melodic and harmonic intervallic relationships. rest values. Rhythmic energy and sense of steady pulse are compromised by rushing and/or dragging. Attacks and releases require more consistent accuracy. Appropriate tempi are observed some of the time. Phrasing is sometimes appropriate to notation and text. Dynamics are observed most of the time. Syllabic and word stress are observed most of the time Performance is stylistically appropriate some of the time. Proper balance predominates; minor lapses may occur during extended registers and/or changing dynamic levels. More attention to proper stage deportment, including stage entrance/exit, posture, and attention to conductor is necessary. The text is enhanced by facial expression and physical involvement some of the time. Selection of literature may limit the strengths and/or abilities of the choir ensemble. 2 1 Tone is free (unforced), vibrant, and age Tone is free (unforced), vibrant, and age appro- appropriate most of the time. Vowel formation is consistently unified most of the time. Breath support and management are deep, low, and fully expanded most of the time. Excellent placement and focus of tone results in good resonance and energy. Pitches are correct most of the time. Good chord tuning with adjustments is priate. Vowel formation is consistently unified. Breath support and management are deep, low, and fully expanded. Exemplary placement and focus of tone results in superior resonance and vitality. Pitches are correct. Chord tuning is outstanding; adjustments are being made most of the time. Ensemble exhibits a strong sense of tonal made instantly. Ensemble exhibits outstanding sense of tonal center most of the time. Ensemble exhibits a solid sense of me- center. Ensemble exhibits outstanding sense of melodic lodic and harmonic intervallic relationships. Note and rest values are executed most of the time. Consistent rhythmic energy and obvious sense of steady pulse are evident, and minor inconsistencies are corrected. Attacks and releases are performed correctly most of the time. Appropriate tempi are observed most of the time. Pronunciation of consonants and vowels is correct and language-appropriate most of the time. Enunciation of text is clear, precise, and stylistically appropriate most of the time. Beginning and ending consonants are appropriately articulated. Diphthongs are correctly performed most of the time. Phrasing is appropriate to notation and text. Dynamics are observed. Syllabic and word stress are observed. Performance is stylistically appropriate most of the time. and harmonic intervallic relationships. Note and rest values are executed correctly. Consistent rhythmic energy and strong sense of steady pulse are evident. Attacks and releases are performed correctly. Appropriate tempi are observed consistently Pronunciation of consonants and vowels is correct and language-appropriate. Enunciation of text is clear, precise, and stylistically appropriate. Beginning and ending consonants are sensitively articulated. Diphthongs are correctly performed. Phrasing is appropriate to notation and text Tonal balance among and between sec tions, including accompaniment, is apparent. An understanding of stage deportment, including stage entrance/exit, posture, and attention to conductor is displayed. Facial expression and physical involvement are appropriate to the text and style of the music most of the time. Selection of some of the literature supports the strengths and ability levels of the ensemble . creating forward moving musical lines with fitting rise and fall. Dynamics are observed and applied to enhance the expressiveness of the musical phrase. Syllabic and word stress enhance the phrasing and the meaning of the text. Performance is stylistically appropriate. Tonal balance among and between sections, including accompaniment, is outstanding. Professional stage deportment, including stage entrance/exit, posture, and attention to conductor is displayed. Facial expression and physical involvement are appropriate to the text and style of the music. Selection of all of the literature supports the strengths and ability levels of the ensemble. 19 Overall Determination _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Strengths of this performance are: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Areas for improvement are: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Additional comments may be placed in a separate envelope for the director . Signature of Adjudicator_____________________________________ 20 Printed Name_____________________________________________ 2011-2012 MSVMA District Choral Festival SIGHT READING Event Order or Time of Appearance________ Event No.________ Date_________________ Name of Choir_________________________ Number of Singers______________________ School________________________________ City__________________________________ Grades (√) ___6___7___8___9___10___11___12 Director _________________________ Selections: Required__________________________________________ Voicing _________Level__________ Sight Reading Level _________________________________ INSTRUCTIONS TO JUDGES 1. The Adjudicator listens and provides written narrative feedback on the last page of this evaluation sheet. 2. On the inside pages of this evaluation sheet, the adjudicator circles the focus area descriptors that match the overall sight of each requirement. There must be at least one bullet highlighted or circled for each descriptor. 3. The Adjudicator assigns a number that best describes the choir’s performance based on the descriptors for each element. 4. The office personnel total the points and assign the appropriate rating as explained below. 5. A “Comments Only” rating is given by circling the appropriate descriptor(s) rather than listing the numbers. REMEMBER TO LISTEN WITH AN EAR FOR WHAT IS AGE AND DEVELOPMENTALLY APPROPRIATE. Final Determination Superior Excellent Good Fair Poor 24-32 total from performance and sight reading 33-56 total from performance and sight reading 57-79 total from performance and sight reading 80-107 total from performance and sight reading 108-120 total from performance and sight reading 21 Copyright 2011 Michigan School Vocal Music Association Rhythm & Melody Rhythm & Melody Rhythm & Melody OTHER FACTORS Exercise #3 Performance Exercise #2 Performance Exercise #2 Rhythm Only Starred Line Exercise #1 Performance Exercise #1 Rhythm Only Unison 5 4 Many errors occur in note and rest values. Frequent errors occur in note and rest values. Occasional errors occur in note and rest values. Rhythmic energy and a sense of steady pulse are not evident. Rhythmic energy and a sense of steady pulse are compromised. Consistent rhythmic energy and a sense of steady pulse are emerging. Tempo is not appropriate. Tempo is rarely appropriate. Tempo is appropriate some of the time. Many errors occur in pitches/note values/rest values. Tonal center is not apparent. Intonation is inaccurate. Rhythmic energy and a sense of steady pulse are not evident. Tempo is not appropriate. Frequent errors in pitches/note values/ rest values are evident. Tonal center needs to be more apparent. Intonation is frequently inaccurate. Rhythmic energy and a sense of pulse are compromised. Tempo is rarely appropriate. Pitches/note values/rest values are correct most of the time. Ensemble exhibits occasional lapses in a sense of tonal center. Intonation is occasionally inaccurate. Consistent rhythmic energy and a sense of steady pulse are emerging. Tempo is appropriate some of the time. Many errors occur in note and rest values. Frequent errors occur in note and rest values. Occasional errors occur in note and rest values. Rhythmic energy and a sense of steady pulse are not evident. Rhythmic energy and a sense of steady pulse are compromised. Consistent rhythmic energy and a sense of steady pulse are emerging. Tempo is not appropriate. Tempo is rarely appropriate. Tempo is appropriate some of the time. Many errors occur in pitches/note values/rest values. Tonal center is not apparent. Intonation is inaccurate. Rhythmic energy and a sense of steady pulse are not evident. Tempo is not appropriate. Frequent errors in pitches/note values/ rest values are evident. Tonal center needs to be more apparent. Intonation is frequently inaccurate. Rhythmic energy and a sense of pulse are compromised. Tempo is rarely appropriate. Pitches/note values/rest values are correct most of the time. Ensemble exhibits occasional lapses in a sense of tonal center. Intonation is occasionally inaccurate. Consistent rhythmic energy and a sense of steady pulse are emerging. Tempo is appropriate some of the time. Frequent errors in pitches/note values/ rest values are evident. Tonal center needs to be more apparent. Intonation is frequently inaccurate. Rhythmic energy and a sense of pulse are compromised. Tempo is rarely appropriate. Many errors occur in pitches/note values/rest values. Tonal center is not apparent. Intonation is inaccurate. Rhythmic energy and a sense of steady pulse are not evident. Tempo is not appropriate. A reading system is not apparent Use of a reading system is in place, but needs to be more apparent. Use and understanding of a reading system is in place. Concentration of the ensemble is not evident. Concentration of the ensemble needs to be more apparent. Concentration of the ensemble predominates. Use of phrasing and expression is not apparent. Use of phrasing or expression is apparent. Use of phrasing and expression is apparent. The ensemble performs with constant assistance from director. The ensemble performs with frequent 22 assistance from director. The ensemble performs with occasional assistance from director. 3 Pitches/note values/rest values are correct most of the time. Ensemble exhibits occasional lapses in a sense of tonal center. Intonation is occasionally inaccurate. Consistent rhythmic energy and a sense of steady pulse are emerging. Tempo is appropriate some of the time. 2 1 Note and rest values are performed correctly. Note and rest values are performed correctly by the entire ensemble. Consistent rhythmic energy and an obvious sense of steady pulse are evident and minor inconsistencies are corrected. Consistent rhythmic energy and a strong sense of steady pulse are evident. Tempo is appropriate. Tempo is appropriate most of the time. Pitches/note values/rest values are performed correctly. Ensemble exhibits a strong sense of tonal center. Intonation is strong most of the time. Consistent rhythmic energy and an obvious sense of steady pulse are evident and minor inconsistencies are corrected. Tempo is appropriate most of the time. Pitches, note values, and rest values are performed correctly by the entire ensemble. Ensemble exhibits an outstanding sense of tonal center. Intonation is outstanding. Consistent rhythmic energy and a strong sense of steady pulse are evident. Tempo is appropriate. Note and rest values are performed correctly. Note and rest values are performed correctly by the entire ensemble. Consistent rhythmic energy and an obvious sense of steady pulse are evident and minor inconsistencies are corrected. Consistent rhythmic energy and a strong sense of steady pulse are evident. Tempo is appropriate . Tempo is appropriate most of the time. Pitches/note values/rest values are performed correctly. Ensemble exhibits a strong sense of tonal center. Intonation is strong most of the time. Consistent rhythmic energy and an obvious sense of steady pulse are evident and minor inconsistencies are corrected. Tempo is appropriate most of the time. Pitches, note values, and rest values are performed correctly by the entire ensemble. Ensemble exhibits an outstanding sense of tonal center. Intonation is outstanding. Consistent rhythmic energy and a strong sense of steady pulse are evident. Tempo is appropriate. Pitches/note values/rest values are performed correctly. Ensemble exhibits a strong sense of tonal center. Intonation is strong most of the time. Consistent rhythmic energy and an obvious sense of steady pulse are evident and minor inconsistencies are corrected. Tempo is appropriate most of the time. Use and understanding of a reading system is apparent and effective. The entire ensemble makes effective use of a reading system. The ensemble exhibits concentration. The entire ensemble exhibits concentration. Phrasing and expression are appropriately performed. The ensemble performs independently. Pitches, note values, and rest values are performed correctly by the entire ensemble. Ensemble exhibits an outstanding sense of tonal center. Intonation is outstanding. Consistent rhythmic energy and a strong sense of steady pulse are evident. Tempo is appropriate. Phrasing and expression are effectively and artistically performed. The entire ensemble23 performs independently. Overall Determination ________________________________________________ ________________________________________________ ________________________________________________ Unison ________________________________________________ ____________________________________________________________ ________________________________________________ Exercise #1 ________________________________________________ Performance ________________________________________________ Rhythm & Melody ________________________________________________ ____________________________________________________________ ________________________________________________ Exercise #2 ________________________________________________ Rhythm Only ________________________________________________ Starred Line ________________________________________________ ____________________________________________________________ ________________________________________________ Exercise #2 ________________________________________________ Performance ________________________________________________ Rhythm & Melody ________________________________________________ ____________________________________________________________ ________________________________________________ Exercise #3 ________________________________________________ Performance ________________________________________________ Rhythm & Melody ________________________________________________ ____________________________________________________________ ________________________________________________ ________________________________________________ OTHER ________________________________________________ FACTORS ________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Exercise #1 Rhythm Only Additional comments may be placed in a separate envelope for the director . Signature of Adjudicator_____________________________________ Printed Name_____________________________________________ 24 Sample Adjudication Sheet MSVMA Regional High School Honors Choir Audition Name____________________________ Category Total Score Voice Part_______________ Maximum Points Points Awarded Points Deducted 25 __________ __________ 10 10 15 __________ __________ __________ __________ __________ __________ 20 __________ __________ 10 __________ __________ 6. Pitch Accuracy 7. Rhythm Accuracy 5 5 __________ __________ __________ __________ TOTAL POINTS POSSIBLE 100 TOTAL POINTS AWARDED TOTAL POINTS DEDUCTED Required audition selection 1.Tone Quality (supported, free, focused) 2.Technical Accuracy Pitch Rhythm 3. Intonation (% of in-tune singing) 4. Memorization (% of piece memorized) 5. Musicianship (phrasing, dynamics, diction) Sight Reading Comments: (optional) 25 Michigan School Vocal Music Association Sample Adjudication Sheet MSVMA 6-7-8-9 Honors Choir Audition ____________ Total Score Category Maximum Points Tone Quality (blend, uniformity, balance) 30 Memorization (% of piece memorized) 20 Pitch Accuracy 15 Rhythmic Accuracy 15 Intonation 10 Points Awarded ____________ ____________ ____________ ____________ ____________ Points Deducted ____________ ____________ ____________ ____________ ____________ Interpretation (phrasing, dynamics) TOTAL POINTS POSSIBLE: Comments: (optional) TOTAL POINTS TOTAL POINTS ____________ ____________ 10 100 AWARDED DEDUCTED Sample Adjudication Sheet MSVMA State High School Honors Choir Audition _______________ Total Score Name __________________________________________ Voice Part _____________________ Assigned to: SATB TTBB SSAA ................................................................................ Category Maximum Points Points Awarded Points Deducted Tone Quality 25 ____________ ____________ Memorization (% of piece memorized) 20 ____________ ____________ Pitch Accuracy 15 ____________ ____________ Rhythm Accuracy Intonation Interpretation (phrasing, dynamics) TOTAL POINTS POSSIBLE: Comments: (optional) 15 15 10 100 26 ____________ ____________ ____________ ____________ ____________ ____________ TOTAL POINTS AWARDED TOTAL POINTS DEDUCTED State Solo and Ensemble Festival SOLO Event Order or Time of Appearance________Event No._______Date__________ Name of Singer_____________________Age___________Grade_____________ Voice Classification___________ Director________________________________ School_____________________ Required Collection ______________________ Selections: Required________________________________________________ Selected________________________________________________ Selections used at District S&E 1.______________________2.___________________ Performance time not to exceed 8 minutes Rate each category (1=Excellent, 2=Good, 3=Fair, 4=Poor) TONE QUALITY vowel purity resonance vitality focus PITCH ELEMENTS correct pitches overall intonation chord tuning RHYTHM ELEMENTS correct note and rest values rhythmic energy steadiness of tempo tempo changes VOCAL TECHNIQUE diction (pronunciationenunciation-articulationdiphthongs) attacks and releases flexibility breath management INTERPRETATION/PRESENTATION phrasing dynamics/style expressiveness balance between voice and accompaniment appearance/poise TOTAL 5-7 = Division I 8-12 = Division II 13-17 = Division III 18-20 = Division IV Is this solo to be considered for Michigan Youth Arts Festival? If yes, the MYAF box must be checked, and the director’s and soloist’s signatures must appear on the application. Sight reading must be sung at the intermediate or advanced level. Rating Check here if you do not want this rating posted. YES NO PERFORMANCE OBSERVATIONS and INSTRUCTIONAL NARRATIVE _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ (Continue on back) 27 Michigan School Vocal Music Association 21 ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Additional comments may be placed in a separate envelope for the director . Signature of Adjudicator_____________________________________ Printed Name_____________________________________________ 28 22 State Solo and Ensemble Festival Sight Reading Event Order or Time of Appearance___________ Event Date ______________ Name of Singer _________________________ Voice Classification ______________________ School ________________________________ Director _______________________________ SOLO Rating Event No.__________ Use no + or - signs MYAF Consideration (√) _____yes _____no Check here if you do not want this rating posted ____ Level Read (√) Previous participation in State Solo and Ensemble Festivals: Grade 9 Sight Reading Level__________ Rating__________ Grade 10 Sight Reading Level__________ Rating__________ Grade 11 Sight Reading Level__________ Rating__________ Current Sight Reading Level__________ (To be considered for Michigan Youth Arts Festival you must read at the Intermediate or Advanced level) A. Explain the key signature (2 points) Primary __________ Intermediate __________ Advanced __________ FOR JUDGE’S USE ONLY _____ B. Explain the time/meter signature (2 points) _____ C. Explain the tempo marking (1 point) _____ D. Explain the dynamic markings (1 point) _____ E. Tell the pitch names of the exercise in whatever system the student uses i.e. letter names, movable or fixed do, numbers (3 points) _____ F. Performance 2 points are allotted per measure (16 points possible) PERFORMANCE indicates correct 1 point per _____ Measure Number Pitch Rhythm 1. TOTAL POINTS __________ 2. 3. Rating Scale: I 21-25 points II 16-20 points III 11-15 points IV 0-10 points 4. 5. 6. Signature of Adjudicator__________________________ Printed Name__________________________________ 7. 8. TOTAL 29 Michigan School Vocal Music Association 23 30 State Solo and Ensemble Festival ENSEMBLE Rating Event Order or Time of Appearance______Event No._________Date_________ Name of Ensemble______________________Grades () ___9___10___11___12 Number of Singers_____Voicing_____School____________________________ Director_____________________________Performance time not to exceed 8 minutes here Selections: 1._____________________________ () a cappella:___yes___no Check if you do not want this rating posted. 2._____________________________ () a cappella:___yes___no District Solo & Ensemble Selections 1._______________________2._______________________ Rate each category (1=Excellent, 2=Good, 3=Fair, 4=Poor) TONE QUALITY vowel purity resonance vitality focus PITCH ELEMENTS correct pitches overall intonation chord tuning RHYTHM ELEMENTS correct note and rest values rhythmic energy steadiness of tempo tempo changes VOCAL TECHNIQUE diction (pronunciationenunciation-articulationdiphthongs) attacks and releases flexibility breath management INTERPRETATION/PRESENTATION phrasing dynamics/style expressiveness balance among voices appearance/poise TOTAL 5-7 = 8-12 = 13-17 = 18-20 = Division I Division II Division III Division IV Is this ensemble to be considered for Michigan Youth Arts Festival? If yes, director’s signature must appear on the application, sight reading must be sung at the intermediate level, and at least one selection must be a cappella. YES NO PERFORMANCE OBSERVATIONS and INSTRUCTIONAL NARRATIVE _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ _____________________________________ 31 (Continue on back) Michigan School Vocal Music Association 25 ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Additional comments may be placed in a separate envelope for the director . Signature of Adjudicator_____________________________________ Printed Name_____________________________________________ 32 26 State Solo and Ensemble Festival Sight Reading ENSEMBLE Rating Event Order or Time of Appearance__________ Event No._______________ Event Date ______________ Name of Ensemble___________________________ No. of singers_____________ Voicing__________ Grades ___9 ___10 ___11 ___12 School____________________________ Director__________________________ Check here if you do not want this rating posted ______ Michigan Youth Arts Festival Candidate (check): _____yes _____no (INTERMEDIATE REQUIRED FOR MYAF CONSIDERATION) Sight reading level (check): _____Primary _____Intermediate Use no + or - signs Level Read ( check) Primary __________ Intermediate __________ FOR JUDGE’S USE ONLY Rate each descriptor (1=Excellent, 2=Good, 3=Fair, 4=Poor) RHYTHM ELEMENTS Correct Note and Rest Values __________ Feeling of Pulse __________ Tempo - Appropriate and Steady __________ PITCH ELEMENTS Correct Pitches __________ Feeling of Tonality __________ Intonation __________ OTHER Technique (movable or fixed do using solfege, numbers, letter names, or neutral syllable(s) __________ Concentration of group members __________ Expression, phrasing, tone, quality __________ TOTAL __________ Signature of Adjudicator _______________________________________ Final Rating Scale I 9-15 points II 16-22 points III 23-29 points IV 30-36 points Printed Name ________________________________________________ Additional comments may be placed in a separate envelope for the director. 33 Michigan School Vocal Music Association 27 34 THE NUTS AND BOLTS OF THE JUDGING SCENE OR ALL THE BASICS Before the Festival 1. Fill out the Availability Forms & Questionnaires. Return to the MSVMA office. 2. Return the contracts that you are issued to the MSVMA office as soon as possible. If you cannot accept one or more of the contracts, please write boldly across the sheet that you can’t accept. Do not sign contracts you reject. Sign all accepted contracts. If you are forced to renege on a contract, contact Nancy by email immediately: [email protected] 4. File your contracts. It is your responsibility to be there. 5. You should receive information packets from the District Manager at least a week prior to the event. Email Nancy if this has not happened. The packet will include maps, directions, meeting time, and hotel accommodations. If you get sick at the last minute, or have an emergency that makes it impossible to fulfill your contract – call Nancy’s cell: 734 255 1846. The Day of the Festival 1. Arrive on time. 2. Sign all sheets for the day at the morning meeting. 3. Be nice to the District Manager. They are underpaid (volunteers), over-worked and busy. They often have singers performing that day, which only adds to their stress. 4. Be flexible. Go with the flow. Do anything and everything you can to keep the festival going as smoothly as possible. 5. Stay on Schedule. At S&E, you will need to pare down your clinic time in order to leave time to write and give the rating. Do not clinic right up until the next singer arrives. A judge who is running late plays havoc with the entire festival schedule. Remember that each singer, accompanist, and director may be in other events that are not listed on your schedule. 6. Turn in your sheets in a timely fashion. 7. Be friendly. A scowling judge makes performers more nervous than they already are. Even if the performance is lacking, you need to be kind and polite. Be professional. 8. Strive for tact. It is better to say, “the over-all intonation of the choir tends to sag at times” rather than “this choir sings frightfully out of tune”. Directors are putting themselves and their singers on the line by performing for you. Be gentle and encouraging. Use a balance of “Well Done” and “Needs Work”. 9. Suggest different ways of doing things, rather than focusing on improving the way they are doing it. 35 Write legibly. 1. Be sure the numbers in the box agree with your written comments. Do not write in glowing terms about their tone and then give them a 2 or 3 in that category. Directors want consistency. 2. You need to be able to listen, watch, and write at the same time. In order to facilitate this try: Putting a + or – beside the phrases next to the box. It may help you remember what you especially liked or disliked about the performance. You can elaborate later. Watch the choir for a minute or two before you start to write. You will often see the reasons for what you hear. Use key words near each box to remind you of what you want to discuss in more detail. Strive for the big picture. It is probably not too helpful to say that the A vowel in measure 93 was too spread. But, you might say that the A vowel tends to be too spread throughout the performance, or it is too spread in the higher ranges, or it is too spread in one section of the choir. Then write or clinic on several ways to improve the shape and placement of the vowel. If you are the clinician at Choral Festival, concentrate on one or two concepts to work on with the choir. It is far more helpful to delve deeply into a few concepts than to briefly touch on many concepts. The trick is being able to create the “teachable moment” in the clinic based on what you heard in the performance. Do not touch any of the students. This is an MSVMA policy. When judging younger singers Encourage age appropriate sound. It is important to know the difference between a tone that is immature and one that is supported incorrectly. A 12-year old voice and an 18-year-old voice do not sound the same. Young voices can do dynamic variation and should be expected to do so, but it often won’t be as pronounced as it is with older singers. Use a positive approach at all times. After the Festival Fill out the Festival Evaluation Form and mail to the MSVMA office. If you do a lot of judging and want to hold these evaluations until the end of the year – fine. Call or email Nancy if you encounter any serious problems at a festival. 36 ADJUDICATION - JUST THE FACTS for New Adjudicators A guide to getting through the Fall Adjudicator’s Packet for the first time. Read the letters from Ginny and Nancy. There is often new information contained in these letters. Fill out the Adjudicator Availability Forms. Select the dates and sites of your choice. You may be willing to go to all districts listed on the same date. X all those slots. You may be willing to go to only one of the sites listed on a given date. X only that slot. Priority will be given to a judge who can do both days of a two-day festival. After all the districts have been assigned their judges, a contract will come to you from the MSVMA office for the events you have been assigned to judge. Return those contracts (signed). If you are unable to honor a contract, please return it unsigned. The contracts are usually sent electronically in early November. Generally, judges are not assigned to adjudicate in the district where they live or teach. Exception to this would be if you move away from a district or retire from teaching. In these situations, we request a waiting period of 5 years, Reimbursement: An “Independent Contractor Invoice will be given to you at the festival by the District Manager (DM). You will be paid $185.00 for a 5-8 hour day. Overtime is paid at $25.00 per hour. Less than 5 hours is paid at $25.00 per hour. Friday night festivals are often under 5 hours. They start at 4:00 and end at 9:00 with an hour off for dinner. We do not pay for dinner or lunch breaks, but do pay for mid-morning and mid-afternoon breaks. 1. Mileage is currently paid at .50 cents per mile. Put your round trip mileage in the appropriate blanks. 2. The DM will arrange and pay for your hotel accommodations. You will be notified a week or so before the event as to which hotel is being used. Hotels are provided the evening before an event if the event starts early in the morning. Hotels are provided the evening of the 1st day if there is a 2nd day to the festival. Hotels are not provided at the end of the festival. 3. Many meals are provided on site. Those that are not, please submit the receipt to the DM. Allowance is $15.00 per day for breakfast and lunch combined and $15.00 for dinner. Many hotels provide breakfast. 4. You will be paid on site at District events and be reimbursed a week or so later after State events. Receipts are required for meals. 5. Maps and directions will come from the DM. These will tell you how to get to the hotel and to the event site. Change of date Please do the best you can to determine which dates you can judge. Finding replacements is not always easy. But, it is necessary sometimes due to illness, a change in schedule, or other issues that come up in life. We just ask that changes be made only in an emergency or when critically necessary. The DM will typically send you a list of all judges for a festival. This makes it easier to arrange carpooling if another judge lives near you and you are inclined to share rides. You are not allowed to judge in your own district. If you have any further questions, please email Nancy Bray at [email protected] 37 Michigan School Vocal Music Association ADJUDICATOR EVALUATION FORM Please reflect upon your festival experience and submit this form to MSVMA, Adjudication Supervisor, P.O. Box 1131, Big Rapids MI 49307-1131 or FAX 231-592-9345. Evaluations will be accepted only from an MSVMA member who was present in the room during the adjudication. Evaluators will not be identified to the adjudicator/s. Submit the evaluation online, one for each group, soloist, and adjudicator. Name of Festival ___________________________________________________ Date of Festival ____________ ___ Performer or Performance Group____________________________________________________________________ Adjudicator __________________________________________________________________________________ ___ School _______________________________________ MSVMA Member____________________________________ Were you present in the room for the adjudication? Yes__________ No __________ CLINIC 1. 2. 3. 4. 5. 6. Were the adjudicator’s comments considerately delivered? Were you and your students effectively engaged in the clinic experience? Did the adjudicator provide valuable techniques and suggestions? Was the adjudicator’s basic approach positive and encouraging? Was the adjudicator prompt? Did the adjudicator keep to the schedule? Yes__________ Yes__________ Yes__________ Yes__________ Yes__________ Yes__________ No __________ No __________ No __________ No __________ No __________ No __________ Yes__________ Yes__________ Yes__________ Yes__________ Yes__________ Yes__________ Yes__________ No __________ No __________ No __________ No __________ No __________ No __________ No __________ WRITTEN ADJUDICATION 1. 2. 3. 4. 5. 6. 7. Was the adjudication sheet easy to read? Were the adjudicator’s comments musically accurate? Was the adjudicator's basic approach constructive? Were the comments detailed? Was the adjudicator as thorough as time permitted? Were the comments consistent with the rating? Will the adjudicator’s comments help you and your students in the future? Additional comments may be submitted to the MSVMA Adjudication Supervisor [email protected]. 38 39 STEPS AND PROCESS TO BECOMING AN ADJUDICATOR (It is very common for individuals to attend both.) Attend a Fall Clinic October 8, 2011 If you are a solo judge: Attend the Solo In-Service Day Date and Location TBD If you are a choral judge: Attend the Choral In-Service Day Date and Location TBD The Adjudication Committee meets in June each year to review the written sheets from the in-service days. Recommendations for MSVMA certification are submitted to the Executive Board at their July meeting. In late summer, all prospective adjudicators receive notification from the Executive Director of their certification status along with adjudication availability information for the coming festival season. 40 2011-2012 MSVMA Independent Contractor Invoice effective July 1, 2011) ( Please fill out the form completely, attach all bills and send the completed form to the appropriate District Manager, Supervisor or Executive Director. This invoice will not be paid in full without proper documentation. SERVICES Adjudication (See note at bottom of form) Other Services Event ________________Date_________________ Location______________________ Hours from _______________ to __________________ Event ____________________Date_________________ Location______________________ Hours from _______________ to ___________________ Amount _________ Date______ Event__________________________________ Type of Service__________________________ Amount _________ Food (Itemize on back of form)__________________________________________ Amount _________ (Meal allotment is as follows: breakfast and lunch $15.00 combined maximum; dinner $15.00 maximum) - remember to include receipts (alcoholic beverages will not be reimbursed) Lodging Attach receipts)___________________________________________ Amount _________ (Maximum housing allotment is $65.00 per person, per night, unless arrangements are made by the District Manager or event Supervisor) Postage________________________________________________________ Amount _________ Telephone______________________________________________________ Amount _________ (Include copy or photocopy of bill with calls marked indicating name of person or institution called ) Travel 1. Date_______Destination____________________Rd. Trip Miles_______ @.50per mile =________ 2. Date_______Destination____________________Rd. Trip Miles_______ @.50 per mile = ________ 3. Date_______Destination____________________Rd. Trip Miles_______ @.50 per mile = ________ 4. Date_______Destination____________________Rd. Trip Miles_______ @.50 per mile = ________ 5. Date_______Destination____________________Rd. Trip Miles_______ @.50 per mile = ________ TOTAL _________ Miscellaneous (attach receipts)_______________________________________ = Amount _______ Amount _________ Please describe the miscellaneous amounts on the lines below. _________________________________________________________________________ _________________________________________________________________________ _________________________________________________________________________ Event/Function: _________________________________________________ (Check should be made payable to) Name: Address: City-ZIP: Phone # TOTAL _________ _____________________________ _____________________________ _____________________________ _____________________ Email address ________________________ Signature of Independent Contractor ______________________________ Date________ Signature of Supervisor __________________________________________ Adjudication: Honors Choir, District Festivals, State Solo and Ensemble A basic daily rate of $185 will be paid for Adjudication services. This includes ½ hour of pre-festival instruction time and mid a.m. and mid p.m. breaks. Meal breaks are not included. (A basic 41 daily rate is defined as over 5 hours and not more than 8 hours in length.) A service fee of $25 per hour will be paid for any time up to and including 5 hours, and for any extra required time. The service fee will be $25.00 per hour or part thereof for Honors Choir Auditions. 39 42