NATIONAL ASSOCIATION OF TEACHERS OF SINGING EASTERN REGION CONFERENCE AND STUDENT AUDITIONS. March 9-11, 2018

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1 NATIONAL ASSOCIATION OF TEACHERS OF SINGING EASTERN REGION CONFERENCE AND STUDENT AUDITIONS March 9-11, 2018 Swope School of Music at West Chester University 817 S. High Street West Chester, PA Emily Bullock and Randall Scarlata, Site Coordinators Lori McCann, Eastern Region Governor Stephen Ng, Auditions Chair Debra Field, Auditions Assistant Mary Saunders-Barton and Robert McIver, Guest Artists PACKET CONTENTS Page 2 Schedule of Events (subject to change) 6 Lodging Information 8 Rules and Regulations 8 Purpose 8 Eligibility and Procedure 9 Adjudication and Structure of Auditions 10 Fee Schedule 11 Performer Registration Worksheet 12 Teacher Registration Worksheet Appendix Categories and Repertoire Requirements, Audition Terminology For further information, contact: Lori McCann mccannl@montclair.edu Stephen Ng sng@wcupa.edu/

2 FRIDAY, MARCH 9 11:00am 12:00-12:45pm 1:00-6:00pm 5:30-6:30pm SCHEDULE OF EVENTS Subject to change an updated schedule will be available at the conference Registration opens Judges meeting (Ware Recital Hall) Student Auditions Preliminary Round (Various locations) Modular Scenic Design with Russell Franks (Location TBA) A space- and time-saving technique using dimensional lumber, creating flexible and reconfigurable sets. Russell Franks has enjoyed an international career both as a singer and director. He has performed to critical acclaim not only for his portrayals on the operatic stage but also for his interpretations of oratorio and song on the concert stage. He has sung over forty major operatic roles and performed in over a thousand concerts. He not only specializes in the stage direction of Baroque and Classical opera but has also staged the operas of Puccini, Bernstein, Dvořák, J. Strauss, Poulenc, Ibert, and Smetana. Mr. Franks holds a bachelor's degree in voice performance and church music from Stetson University and a master's degree in voice performance from the University of Cincinnati College-Conservatory of Music. Mr. Franks currently teaches voice and is director of Opera Theatre at Stetson University in DeLand, Florida, and is resident Stage Director and Production Designer for Vero Beach Opera. EVENING MASTER CLASS 7:30-9:30pm Finding the Sound for the Song with Mary Saunders-Barton (Madeleine Wing AdlerTheatre) An interactive master class designed to explore the many different sounds heard on Broadway today. The audience participants will experiment with making these sounds, and then a few singers will have an opportunity to try out these sounds on their audition songs. Mary Saunders-Barton is a Penn State Professor Emeritus, currently residing in New York where she maintains a professional voice studio. In recent seasons her students have been seen on Broadway in Book of Mormon, Newsies, The King and I, Beautiful, Chicago, Kinky Boots, Mamma Mia, School of Rock, Wicked, Sunset Boulevard, Bandstand, A Bronx Tale, and Miss Saigon among others, and in many tours and regional productions. Mary is a 2018 recipient of a Lifetime Achievement Award from the Contemporary Commercial Music Vocal Pedagogy Institute at Shenandoah University. SATURDAY, MARCH 10 8:00-9:00am Region board meeting All district governors/chapter presidents are invited to attend (Location TBA) 9:15-9:45am 10:00am - 2:30pm Judges meeting (Ware Recital Hall) Student Auditions Semi-final Round (Various locations) 2

3 WORKSHOPS AND PRESENTATIONS 10:00-10:50am Free Your Body, Free Your Voice with Heather Gardner (Rm 141) Start your day Saturday with an Alexander Technique-based floor class! We will use the principles of the Alexander Technique to find greater ease in body, breath and voice. Come and explore how freeing your body from habit and tension can help you find greater freedom in your voice, prevent vocal fatigue, find a greater range, and improve the quality of your sound! Heather Gardner teaches voice and the Alexander Technique, and maintains studios in West Philadelphia and Midtown Manhattan. She received a Bachelor s Degree from The Eastman School of Music, a Master s Degree from Rutgers University, and is an AmSAT-certified Alexander Technique teacher, graduating from the Balance Arts Center in New York City. 11:00am - 12:00pm A Simple Acting Method for Small Opera Programs with Russell Franks (Rm 141) (Bio can be found on previous page.) 12:30 1:50pm Using a Healthy Speaking Voice with Elizabeth Grillo, Ph.D, CCC-SLP, CFP (Rm 141) The Global Voice Therapy Model (GVTM) is used to facilitate a healthy speaking voice for all communication needs. The GVTM has four components: 1) stimulability testing to determine the most effective voice production techniques, 2) treatment hierarchy, 3) new versus old voice, and 4) additional methods that augment and support the target voice. Estill s Figures and Qualities are used as stimulabilty testing in the GVTM. The presentation will discuss the GVTM and offer opportunities to apply concepts with attendees. Elizabeth U. Grillo, Ph.D., CCC-SLP, CFP is an associate professor in the Department of Communication Sciences and Disorders at West Chester University (WCU). After earning a Bachelor of Music in Voice Performance from Indiana University, she pursued a career change to speech-language pathology by earning an M.S. at Teachers College Columbia University and a Ph.D. at the University of Pittsburgh. Her clinical expertise is in voice disorders and in medical speech-language pathology. Currently, her research related to voice is addressing aerodynamic measures, the Global Voice Prevention and Therapy Model, apps, and telepractice. Her research has been supported by grants at WCU and an R15 from the National Institute on Deafness and Other Communication Disorders of the National Institutes of Health. 2:00-2:50pm Masterclass on Schubert Style with Randall Scarlata (Ware Recital Hall) A class investigating the cusp-composer Franz Schubert, and how to best represent both his Classical and Romantic qualities. The class will address both performance and musicological issues. Two-three singer/pianist duos will be chosen for this class. Hailed for his warm, expressive sound and winning way with the audience, baritone Randall Scarlata has been praised by the New York Times as an intelligent and communicative singer with a compelling desire to bring texts to life. The Daily Telegraph (London) adds Randall Scarlata sings with the assurance of one with nothing to prove. Mr. Scarlata is a former Fulbright Scholar who has appeared as a soloist at important venues across the world. He was a winner of the International Schubert Lied 3

4 competition in Vienna, the International Brahms competition in Hamburg, the Naumburg Competition, Joy in Singing, Young Concert Artists International Competition, and the Alice Tully Debut Recital Award. He is particularly well known for his performances of German Lieder and American Art Song, having worked closely with composers such as Ned Rorem, George Crumb, Lee Hoiby, Richard Danielpour, Samuel Adler, Lori Laitman, Daron Hagen, and Paul Moravec. He serves on the faculty of West Chester University, as well as SUNY Stony Brook, and is co-artistic director of the AlpenKammerMusik festival in Carinthia, Austria. 3:00-3:50pm Korean Art Songs based on Arirang, a famous traditional song with In Young Lee (Ware Recital Hall) Western music history in Korea began with the arrival of American missionaries in Korea in the 1880s. Unlike traditional Korean music, Western music initially stood tall as the new music culture to emulate and listen to, not only for musicians but also for the rest of Korean society. Korean music society has always had a clear separation between those who perform traditional music and Western music. In the past twenty years, globalization and the free sharing of music and ideas have created an enthusiasm in Korea for fusing elements of both Korean traditional music and western music into art songs. Ambitious Korean composers have begun composing new Korean songs using western compositional techniques with instruments, folksongs, and modal and rhythmic elements from Korean traditional music. On December 5, 2012, the song Arirang was selected for the UNESCO List of Intangible Cultural Heritage of Humanity in appreciation of its having been recreated and transmitted widely over many generations and regions in Korea, and because of its diversity in being easily sung by the public with just the Arirang Arirang Arariyo refrain. This spiritual tune touches the souls of the people in that it is part of the Korean identity, and is the integral expression of a nation of people. Since then, it has gained in significance and has achieved a more universal recognition. Although Arirang was just a folk song in early Korean history, it is now representing the essence of Korean culture. The songs represented in this concert are all Arirangs from different regions, in different musical styles, but all having some connection with the traditional Arirang theme. The general approach to singing in Korean traditional music is also much different than that of vocal training in the Western world. This new fusion of style a folksong steeped in history through the lens of a western musical perspective is enjoyable to explore as a singer. West Chester University Professor, Carl Cranmer, is the pianist for this event. In Young Lee has garnered widespread acclaim in Korea and the United States as a dynamic singer of Opera and Art song. As an Opera performer, Dr. Lee was a member of the Korean National Opera for two years, and has sung in the United States with the Des Moines Metro Opera, Chestnut Hill Operalogue, Baisley Powell Elebash Opera Company, and Temple Opera Theatre. Dr. Lee achieved world recognition as a Finalist in the Fifth Luciano Pavarotti International Voice Competition held in Philadelphia. Ranging from standard belcanto operas to twentieth-century operas, she performed as Violetta in La traviata, the Governess in The Turn of the Screw, Susanna in Le nozze di Figaro, Adina in L'elisir d'amore, Rosalinda in Die Fledermaus, Thérèse in Les mamelles de Tirésias, and Mimi in La Bohéme. Dr. Lee received her Doctoral degree in vocal performance, and her Master of Music and Professional Studies degrees in Opera from Temple University. She also has her Master of Music and Bachelor of Music degrees in vocal performance from prestigious Seoul National University. Her dissertation, "The English Diction Guide for Korean Singers," which is already being used by many Korean teachers and singers in the United States, was translated into Korean, and published and distributed in Korea in the fall of

5 4:00 5:00pm Lecture Recital: The Many Faces of Mezzo: Witches, *itches, and Boys (Ware Recital Hall) Dr. Emily Bullock and Dr. Vincent Craig will perform and talk about literature (opera, music theater, and art song) which is descriptive of the varying roles in which mezzosopranos are generally cast. Emily A. Bullock (Mezzo-soprano), Assistant Chair of Vocal/Choral, Associate Professor of Voice and Opera at West Chester University, is a regional, national and international performer. She is also an award-winning opera director, clinician and adjudicator. Dr. Bullock has performed many solo recitals throughout the United States. Dr. Bullock recorded the orchestral songs of Samuel Barber with the Russian Philharmonic, and, more recently, Honegger s King David with the West Chester choirs and chamber ensemble. She is currently recording works of composer Valerie Crescenz. In 2010, the International Gilbert and Sullivan Festival awarded her Best Director for The Sorcerer. Some of Dr. Craig s many performances include appearances in New York City at the Lincoln Center Library, Steinway Hall, Federal Hall, in Philadelphia at the Kimmel Center, Settlement Music School, and in Washington D.C. at the State Department. While enrolled at the La Guardia High School of Music and the Arts in New York he was a piano student of Jascha Zayde. He won the Scott Joplin Award from the Brooklyn Opera Society and a scholarship from the Brooklyn Chapter of the Links. He was praised in the New York Amsterdam News for his style, great technical assurance and panache after a performance of the George Walker Piano Sonata No. 1. Vincent Craig is currently the Music Director of the Main Line Unitarian Church in Devon, Pa., and is an Associate Professor of Piano at the School of Music in the College of Visual and Performing Arts at West Chester University of Pa., where he was the Frederick Douglass Artist in Residence. EVENING MASTER CLASS 5:30 8:00pm Robert McIver (MWAT) Robert McIver: BM, Oberlin College Conservatory of Music; MM and DMA, West Virginia University; further studies, Westminster Choir College (Walter Johnson Voice Scholarship). Studied with Richard Miller, Jon Crain and James Benner. Conductor, Westminster Festival Choir (1973, 1974). Director, Evansville Philharmonic Chorus and Evansville Chamber Singers ( ). Conductor, Owensboro Civic Chorus ( ). Conductor, Kentucky Wesleyan Singers ( ). Clinician for Westminster Choir College summer session ( ). Minister of music to churches in Cranford, NJ, and Owensboro, KY. Conductor of numerous choral festivals and workshops throughout the United States. Master Classes throughout the United States. Master Teacher for the National Association of Teachers of Singing Intern Program (Summer, 2004). Compositions published by Warner Bros., Choristers Guild, National Music, and Hinshaw. Visiting professor, University of North Carolina-Greensboro (Fall 1994). Faculty member, Westminster Choir College ( ), Kentucky Wesleyan College ( ), Eastman (1997-). 5

6 SUNDAY, MARCH 11 8:30 9:15am Eastern Region Membership Meeting All region members are invited to attend (Ware Recital Hall) 9:30 9:45am Judges Meeting All teachers are expected to judge the finals. (MWAT) 10:00am 2:15pm (approx.) 3:00pm STUDENT AUDITIONS FINAL ROUND (MWAT) Winners Ceremony and Photos (MWAT) Depart for home Lodging Information West Chester, PA Hotel rates are guaranteed until February 9, Please mention NATS reserved rooms when booking. Swope School of Music (#1 on the map) S. High St. and E. Campus Dr. West Chester, PA Parking in the lot outside of the School of Music and in the adjacent garage will be free for the duration of the conference. Quality Inn and Suites (#2 on the map 5 min drive to Swope) S. High St. West Chester, PA *** $89.49/night, 2 Doubles; $94.49 for 2 Queens: Breakfast buffet included. Brinton Hotel and Suites (#3 on the map 10 min drive to Swope) Wilmington Pike West Chester, PA *** $94 and $103+ tax/night. Best Western Plus Concordville Hotel (#4 on the map 15 min drive to Swope) Conchester Highway Glen Mills, PA *** $102+tax/night- includes hot breakfast. 6

7 (Lodging cont d) Hotel Warner (#5 on the map 5 min drive to Swope) N. High St. West Chester, PA *** $169/night. 7

8 A. To offer students of member teachers of NATS: RULES AND REGULATIONS PURPOSE 1. Encouragement toward more diligent study in the preparation of appropriate repertoire; 2. An opportunity to perform under conditions designed to provide the most complete and total consideration for the student, and one which will ideally combine the best elements of noncompetitive and competitive performance; 3. A specific goal, stimulating the desire and incentive for vocal and musical self-improvement; 4. An opportunity to sing before qualified and impartial judges, and to receive careful and constructive criticism; 5. Opportunities for public appearance by outstanding students; 6. Recognition of achievement and talent by appropriate awards. B. To provide opportunities for professional growth for NATS members through the sharing of ideas, encountering new repertoire, hearing other teachers students on an annual basis, and participating in carefully considered evaluations. ELIGIBILITY AND PROCEDURE A. Any student currently studying with an active member in good standing at the national and district or chapter level of NATS is eligible. B. If the student has been studying with the sponsoring teacher for less than eight (8) months, acknowledgment must be made of the student's former vocal study both on the application and in any public announcements. The NATS Code of Ethics provides that "It is unethical to claim as a pupil one having studied less than eight months with a teacher except where there has been no previous training." C. All registration and payment of fees for teachers, performers and accompanists must be done online only at Hard copies and checks are not accepted. You can find registration instructions once you have logged into your NATS account. **Registration and payment of fees must be completed by end of day February 5, 2018** D. Teachers must participate in the Auditions. All teachers who enter students must attend and be available to adjudicate or to assist in the Auditions for all rounds (Friday-Sunday). At the discretion of the Auditions Chair, teachers over the age of 65 and/or in ill health may be excused from adjudication. If unable to attend, the teacher must supply a qualified substitute judge for both Friday and Saturday, OR submit a Request for Judging Waiver and pay the appropriate fee. In either case, the teacher may enter only 2 students. In addition, a waiver may be granted for no more than two consecutive years, after which time the teacher must attend the Auditions in order to enter students. E. NATS members may enter only their own students in the Auditions. Entering another teacher's students, for whatever reason, is unethical and will result in the disqualification of all concerned. F. The auditioning student is responsible for bringing his/her own accompanist; such an arrangement is to the decided advantage of the singer. Scheduling makes it impractical for one accompanist to play for more than 10 students. Teachers may not accompany their own students. Professional staff accompanists will be 8

9 available at the conference for an additional fee. The fee will include playing in all rounds of the auditions but, because of scheduling problems, rehearsals may not be possible. Please indicate during the online registration process if a professional staff accompanist is desired. For singers using the professional staff accompanist, NO REPERTOIRE CHANGES are allowed after the registration period has closed. Again, it is to the decided advantage of the singer to bring his/her own accompanist. G. For singers who bring their own accompanists, substitutions in repertoire are permitted up to the day of the preliminary round as long as the requirements are met. H. Timings for each selection must be included during the online registration process. I. All singers and accompanists must perform from lawful editions and observe and obey copyright laws. Please contact the conference chair if you have any questions regarding copyright requirements. Refer to the NATS Policy on Copyright Laws for more information found at J. All selections must be sung from memory, including oratorio arias. No participant will be allowed to sing with music. K. No repertoire changes are allowed once the student has sung in the preliminary round. The same repertoire is used for all 3 rounds of the region student auditions. Should a student advance to the national student auditions, the same repertoire used at the region auditions must be sung in the national auditions. No repertoire changes will be allowed between regional and national auditions. NOTE: Any student may, with the teacher's permission, choose to sing for comment only within any classification. This information should be indicated during the registration process and on the adjudication sheets. No restriction on age or length of study should apply. The student will be permitted to sing all prepared selections, provided they fall within time guidelines. ADJUDICATION AND STRUCTURE OF AUDITIONS The principal purpose of the Auditions is to give each student a full hearing before qualified and impartial judges, as well as the opportunity to receive careful and constructive criticism. Evaluative comments and ideas are of great value to students and teachers. Each judge should make as comprehensive a critique as time allows, acknowledging achievement and encouraging improvement. Comments that would be embarrassing to the teacher or discouraging to the student must be avoided; no one should be criticized to the point of humiliation or defeat. Since the Auditions are important to the participating students who have made a significant investment in time, energy, and money, the experience should be positive and rewarding. The real competition is between the student and his/her own self-image or self-imposed goals. The preparation for the Auditions and the written constructive criticisms are far more valuable than any award or honor given to the student. PRELIMINARY ROUND 1. Singers in all classifications will sing one song of his/her choice and then songs selected by the adjudicators within the time limits. 2. During the preliminary round, adjudicators will write constructive comments and a score between 70 and 100 on their scoring sheets. These sheets will be made available prior to the start of the next round in order that the singers may benefit from the written comments. 3. NO REPERTOIRE CHANGES may be made for the duration of the region student auditions once a student has sung in the preliminary round. 9

10 SEMIFINAL ROUND 1. ALL students who have received 2 scores of 90 or above or an average score of 90 or above in the preliminary round will advance to the semifinal round. There is no limit on the number of semifinalists. 2. Each student will sing one selection of his/her choice in its entirety and then songs selected by the adjudicators within the time limits. The time allotted for the semifinal round for the following age categories will be reduced by 2 minutes: high school, lower college, upper college, adult, and music theater. The advanced categories will be reduced by 3 minutes. 3. During the semifinal round, adjudicators will write constructive comments and a score between 70 and 100 on their scoring sheets. These sheets will be made available prior to the start of the next round. FINAL ROUND 1. The top three students from each category will advance to the final round, regardless of numerical score. 2. Each student will sing one song of his/her choice with a time limit of five minutes per student. 3. No written comments will be provided in this round. 4. ALL TEACHERS, regardless of whether or not one or more of their students has advanced to the final round, will serve as judges for the final round. Winners in each category will be ranked according to the number of votes received. 5. Awards and certificates will be announced and distributed after all categories have performed and all votes are tallied. First, second and third place (and occasionally fourth place) will be awarded at the conclusion of the final round. ADVANCEMENT TO THE NATIONAL STUDENT AUDITIONS 1. Repertoire used at the region auditions MUST be used in the national auditions. NO REPERTOIRE CHANGES are allowed. 2. The top five students in each category will be eligible to advance to the national student auditions. This number includes the three students who participated in the region finals as well as the next two highest scorers in the category. ONLINE REGISTRATION AND WEBSITE INFORMATION ( The new NATS Auditions Registration system is designed in partnership with Auditionware and its creator Brad Mills. This is the system that the Eastern Region has used in the past and is now accessible through the national website only. Instructions for entering the system as well as completing the registration process are included in the document Accessing the NATS Auditions Registration System. You can find these instructions by visiting logging into your account, and clicking on the link below the green registration button. Fee Schedule Payment of all fees will be made at the completion of the registration process on the NATS website. Teacher Registration Fee - $30 Judging Waiver - $75 (required if a teacher is sending students but not attending) Student Registration Fee (for all students) - $25 per student per category Staff Accompanist Fee - $40 per student per category 10

11 PERFORMER REGISTRATION WORKSHEET (Online registration and payment required this form is for personal use only) ONLINE REGISTRATION AND PAYMENT OF ALL FEES MUST BE COMPLETED BY FEBRUARY 5, Name Address Category Birth date Total Length of Study (Total years or semesters of study) Phone School Selection Major Work (if applicable) Composer Timing Key ACCOMPANIST S NAME PHONE Note: Professional staff accompanists are available for a fee of $40. If you require a professional staff accompanist, please indicate that when registering online. You will have at most only a short rehearsal with the provided accompanist, so it is advantageous to bring your own if possible. This student needs a staff accompanist (be sure to request one during online registration). FEES FOR THIS STUDENT: Registration fee ($25 per category) Staff accompanist fee ($40 per category) TOTAL FOR THIS STUDENT I have received payment from this student. I understand that all accompanists must play from legal copies during the student auditions. (See the NATS copyright policy at Name of previous teacher within the last 8 months 11

12 TEACHER REGISTRATION WORKSHEET (Online registration and payment required this form is for personal use only) ONLINE REGISTRATION AND PAYMENT OF ALL FEES MUST BE COMPLETED BY FEBRUARY 5, Name Address NATS ID# Phone Indicate private studio or name of institution: STUDENT NAME CATEGORY TIMING ACCOMPANIST (Accompanists may play for no more than 10 students) FEE CALCULATOR You will be responsible for collecting all fees from your students and paying the total sum for your studio at the time of online registration. The website will calculate the fees for you. However, for your convenience, the following is provided: Teacher registration fee ($30) Judging waiver fee if applicable ($75) Student registration fees ($25 per student per category) # of students x $25 = Staff accompanist fees ($40 per student per category) # of students x $40 = TOTAL DUE All fees are paid at the conclusion of registration. Payment is made online through the NATS website using a credit card. 12

13 2018 Eastern Region Repertoire Requirements Category High School Music Theater IA IIA IB IIB Lower High School Music Theater Women (9th & 10th Grade) Lower High School Music Theater Men (9th & 10th Grade) Upper High School Music Theater Women (11th & 12th Grade) Upper High School Music Theater Men (11th & 12th Grade) High School Classical IIIA IVA IIIB IVB Lower High School Women (9th & 10th Grade) Lower High School Men (9th & 10th Grade) Upper High School Women (11th & 12th Grade) Upper High School Men (11th & 12th Grade) Length of Study Age Limit Time Repertoire: ALL repertoire is sung from memory No limit minutes No limit minutes No limit minutes No limit minutes No limit minutes No limit minutes No limit minutes No limit minutes Three Contrasting Music Theater Selections from scores of book shows written or intended for fully realized musical productions. (a musical, revue, song cycle or operetta) Only one selection may be an operetta aria. Three Contrasting Music Theater Selections from scores of book shows written or intended for fully realized musical productions. (a musical, revue, song cycle or operetta) Only one selection may be an operetta aria. Three Contrasting Music Theater Selections from scores of book shows written or intended for fully realized musical productions. (a musical, revue, song cycle or operetta) Only one selection may be an operetta aria. Three Contrasting Music Theater Selections from scores of book shows written or intended for fully realized musical productions. (a musical, revue, song cycle or operetta) Only one selection may be an operetta aria. Three contrasting selections from classical repertoire. One art song in English. One art song in a foreign language. One additional art song or aria. Three contrasting selections from classical repertoire. One art song in English. One art song in a foreign language. One additional art song or aria. Three contrasting selections from classical repertoire. One art song in English. One art song in a foreign language. One additional art song or aria. Three contrasting selections from classical repertoire. One art song in English. One art song in a foreign language. One additional art song or aria.

14 2018 Eastern Region Repertoire Requirements Lower College Music Theater V VI Lower College Music Theater Women Lower College Music Theater Men Lower College Classical First Year VIIA College/Independent Studio Women First Year VIIIA College/Independent Studio Men Second Year VIIB College/Independent Studio Women Second Year VIIIB College/Independent Studio Men Upper College Music Theater 0-2 years post high school 0-2 years post high school 0-2 years post high school 0-2 years post high school 0-2 years post high school 0-2 years post high school minutes minutes minutes minutes minutes minutes Three Contrasting Music Theater Selections from scores of book shows written or intended for fully realized musical productions. (a musical, revue, song cycle or operetta) Only one selection may be an operetta aria. Three Contrasting Music Theater Selections from scores of book shows written or intended for fully realized musical productions. (a musical, revue, song cycle or operetta) Only one selection may be an operetta aria. Three contrasting selections from classical repertoire. One aria or art song. One art song in English. One foreign language art song. Three contrasting selections from classical repertoire. One aria or art song. One art song in English. One foreign language art song. Three contrasting selections from classical repertoire. One aria or art song. One art song in English. One foreign language art song. Three contrasting selections from classical repertoire. One aria or art song. One art song in English. One foreign language art song. IX Upper College Music Theater Women 3-5 years post high school all as undergraduate minutes Four Contrasting Music Theater Selections from scores of book shows written or intended for fully realized musical productions. (a musical, revue, song cycle or operetta) Only one selection may be an operetta aria. X Upper College Music Theater Men 3-5 years post high school all as undergraduate minutes Four Contrasting Music Theater Selections from scores of book shows written or intended for fully realized musical productions. (a musical, revue, song cycle or operetta) Only one selection may be an operetta aria.

15 2018 Eastern Region Repertoire Requirements Upper College Classical XIA Third Year College/Independent Studio Women 3-5 years post high school all as undergraduate minutes Four contrasting selections from classical repertoire. One aria. One art song in English. One foreign language art song. One additional selection. At least three languages must be represented. XIIA Third Year College/Independent Studio Men 3-5 years post high school all as undergraduate minutes Four contrasting selections from classical repertoire. One aria. One art song in English. One foreign language art song. One additional selection. At least three languages must be represented. XIB Fourth/Fifth Year College/Independent Studio Women 3-5 years post high school all as undergraduate minutes Four contrasting selections from classical repertoire. One aria. One art song in English. One foreign language art song. One additional selection. At least three languages must be represented. XIIB Fourth/Fifth Year College/Independent Studio Men 3-5 years post high school all as undergraduate minutes Four contrasting selections from classical repertoire. One aria. One art song in English. One foreign language art song. One additional selection. At least three languages must be represented. Advanced XIII XIV Advanced College/Independent Studio Women Advanced College/Independent Studio Men 4+ post high school 4+ post high school minutes minutes Five contrasting selections from classical repertoire. One operatic aria. One oratorio/cantata aria. One foreign language art song. One art song in English. One additional selection from the classical repertoire. At least three languages must be represented. Five contrasting selections from classical repertoire. One operatic aria. One oratorio/cantata aria. One foreign language art song. One art song in English. One additional selection from the classical repertoire. At least three languages must be represented. Adult (These categories are intended for serious adult avocational musicians.) Adult Music Theater Three Contrasting Music Theater Selections from Staged XV No limit minutes Women and Men Broadway or Off-Broadway productions. XVI Adult Classical Women and Men No limit minutes Three contrasting selections from classical repertoire. One art song in English. One art song in a foreign language. One additional art song or aria.

16 2018 Eastern Region Repertoire Requirements Hall Johnson Spiritual Category - In even years only XVII Hall Johnson Spiritual Category No limit (college undergraduate) 10 minutes Three contrasting selections chosen from the official list of Hall Johnson spiritual repertoire found at Due to the generosity of the Hall Johnson Estate a $2000 award will be given in each national conference year (even years) to the best performance of a Hall Johnson Spiritual for the conferences from All interested performers will apply for this category as part of regional student auditions with the top five regional singers advancing to the NSA rounds as with all other categories.

17 Aria 24/26/28 Italian Art Songs and Arias Memorization Original Languages Transposition Classical Repertoire/Categories Judicious Cuts Music Theater Selections Comment Only Audition Terminology An aria is a solo taken from an opera, oratorio, mass, cantata, operetta, or works titled "concert aria". Oxford Online definitions will be used for the purposes of this audition. For example, Purcell's selections from the semi-operas and masques are considered songs. The repertoire found in the 24/26/28 Italian Art Songs and Arias collections may be counted as an aria or an art song in the high school and lower college classical categories. For the singers in the upper college categories and beyond, these pieces may count as an art song ONLY, regardless of origin. Any repertoire found outside of these collections will be considered only as the composer intended, as an art song OR aria. All repertoire, including oratorio, must be sung from memory. Selections should be sung in original language or in translation if warranted by common performance practice. All arias from opera, oratorio, mass, cantata, operetta, works titled "concert aria", or music theater selections must be sung in the original key or an alternate key based on common performance practice. The word "classical" in this context refers to art songs and arias from the "classical" genre, not limited to the "Classical" period of Mozart and Haydn. In other words, no music theater, pop, soul, jazz, rhythm and blues, etc. Folk song arrangements are widely accepted as a part of the classical genre and would be acceptable and appropriate audition repertoire for students in classical categories. Piano introductions, piano interludes, piano music after the vocal solo is completed, and internal cuts of opera arias and music theater selections are allowed as in common performance practice. Cuts of verse or verses of selections are not allowed. In the case of strophic pieces, all verses should remain that are traditionally included. All repertoire must be from staged Broadway and Off-Broadway productions. The production may be a musical revue, or song cycle but MUST have been staged AND Broadway or Off-Broadway. Various online resources are available to confirm such status, and teachers are encouraged to confirm them when selecting repertoire. Singers should ensure that contrasting selections represent the spectrum of their vocal and dramatic abilities. For example, this may be exhibited by selecting pieces of varying style periods (pop/rock, contemporary, Golden Age) and employing a variety of vocalism (belt, mix, legit). Any student may register to sing for comments only and participate in the preliminary audition round.