NATS Student Auditions: Greater Philadelphia Chapter

G GREATER PHILADELPHIA CHAPTER NATS Student Auditions: Greater Philadelphia Chapter Saturday, October 27, 2018 Boyer College of Music and Dance Temple University (Main Campus) Philadelphia, PA Marcus DeLoach, President Lawrence Indik, Vice President and Auditions Chair Nancy Jantsch, Secretary-Treasurer Katherine Mallon-Day, Assistant Auditions Chair Lawrence Indik and Kim Robson, On-site Coordinators Kim Robson, Regulations Consultant

CONTENTS page 2 Schedule of Events 3 Registration Information and Contacts 3 Rules and Regulations (3) Mission Statement (4) Category, Repertoire, Age, and Time Requirements (5) Audition Terminology (6-7) Eligibility and Procedure (Staff Pianists) 8 Adjudication 9 NATS Auditions Rating/Scoring System 9 Recognition and Awards 9 Honors Concert 10 Fee Schedule 10 Venue Information (10) Directions (11) Parking (11) Campus Map (11) Campus Safety 12 Appendix A: Code of Ethics 13 Appendix B: NATS Policy on Copyright Laws 14 Appendix C: Resolution of Repertoire and Copyright Violations 15 Appendix D: Judging Waiver 16 Appendix E: NATS Audition Rubric 18 Appendix F: NATS Student Auditions Adjudication Form SCHEDULE OF EVENTS 11:30-12:00 Registration Opens 12:00-12:30 Judges Meeting 12:30-1:00 Lunch Break 1:00-4:30 Student Auditions 4:30-5:30 Break 5:30-7:00 GP NATS Honors Concert and Awards Presentation * There will be several other free events presented by the host institution during the audition day, which teachers and students may choose to attend. 2

REGISTRATION INFORMATION AND CONTACTS Teachers and Students must register and submit all fees by first logging in at the following address and then selecting "NATS Auditions Registration". https://www.nats.org/cgi/page.cgi/members_home.html *** Registration closes at midnight on October 12, 2017 *** Questions or concerns should be directed to: Lawrence Indik, Auditions Chair Lindik@temple.edu (preferred) / 215-204-8336 RULES AND REGULATIONS Mission Statement In alignment with the goals of the National Association of Teachers of Singing, the mission of the NATS Student Auditions: Greater Philadelphia Chapter is to: Inspire and encourage students and teachers to continue their dedication to, and growth in, the art of singing Create a collegial and supportive atmosphere that encourages excellent artistic singing Provide constructive, written feedback from a panel of experienced and impartial adjudicators Recognize and honor outstanding performances 3

Category, Repertoire, Age, and Time Requirements Category * 1 High School Music Theater Women 2 High School Music Theater Men Length of Study Age Limit Time No limit 14-19 8 No limit 14-19 8 3 High School Women No limit 14-19 8 4 High School Men No limit 14-19 8 5 Lower College Music Theater Women 6 Lower College Music Theater Men 7 Lower College /Independent Studio Women 8 Lower College/ Independent Studio Men 9 Upper College Music Theater Women 10 Upper College Music Theater Men 11 Upper College/ Independent Studio Women 12 Upper College/Independent Studio Men 13 Advanced College/ Independent Studio Women 14 Advanced College/Independent 0-2 years post high school 0-2 years post high school 0-2 years post high school 0-2 years post high school 3-5 years post high school 3-5 years post high school 3-5 years post high school all as undergraduate 3-5 years post high school all as undergraduate 4+ years post high school 4+ years post high school 22 10 22 10 22 10 22 10 25 12 25 12 25 12 25 12 22-30 15 22-30 15 Repertoire (all memorized) ^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, and one additional art song or aria Three contrasting selections from classical repertoire: one art song in English, one art song in a foreign language, and one additional art song or 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 aria or art song, one art song in English, and one foreign language art song Three contrasting selections from classical repertoire: one aria or art song, one art song in English, and one foreign language art song 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. 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. Four contrasting selections from classical repertoire: one aria, one art song in English, one foreign language art song, and one additional selection. At least three languages must be represented. Four contrasting selections from classical repertoire: one aria, one art song in English, one foreign language art song, and one additional selection. 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, and 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, and one additional selection 4

Studio Men 15 **Adult Women No limit 22+ 10-12 from the classical repertoire. At least three languages must be represented. 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 **Adult Men No limit 22+ 10-12 Three contrasting selections from classical repertoire. One art song in English. One art song in a foreign language. One additional art song or aria. 17 **Adult Music Theater Women No limit 22+ 10-12 Three Contrasting Music Theater Selections from staged Broadway or Off-Broadway productions. 18 **Adult Music Theater Men No limit 22+ 10-12 Three Contrasting Music Theater Selections from staged Broadway or Off-Broadway productions. 19 Youth No limit 11-14 6 th -8 th grade 8 Two or three contrasting age appropriate selections from classical repertoire. 20 Youth Music Theater No limit 11-14 6 th -8 th grade 8 Two or three contrasting age appropriate 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. ^High school age categories and younger in Chapter and District auditions may require two or three selections as best serves the needs and tradition of the Chapter or District. Regional and National Auditions will require three selections from High School Categories. *Students who self identify as transgender or gender fluid must choose one audition category in Classical and/or Music Theater based on their gender identification at the time of the chapter or regional audition, and select repertoire linked and associated with the gender of that category throughout the corresponding audition season. **Adult categories are intended for serious adult a vocational musicians. NATS teacher members who meet the requirements of a student audition category---age and years of study--- may enter student auditions through the NATS member with whom they are currently studying, but they may not enter themselves in the audition. If they enter their students in the audition, they must be available to adjudicate a category as well. *** Chapter, District, and Regional time limits may vary due to size of the auditions or other considerations. If the total length of the selections exceeds the time limit, singers will present as much of their repertoire as the determined time limit allows. With the exception of judicious cuts, selections are generally heard in their entirety until the time limit has been reached. *** 5

**** Under the advisement of the Auditions Chair and Officers, a Category may be merged into an adjacent Category or split into an identical Category, dependent on the number of applicants. A merge will be considered when a Category has less than four entrants and a split when a Category has an unprecedented number of entrants. **** ***** NATS Student Auditions: Greater Philadelphia Chapter winners are not passed onto the NATS National Student Auditions: Eastern Region level. GP NATS adheres to the same rules, but there is no through-line, such as the one that exists between the Eastern Region and the National level of the Student Auditions. Therefore, any GP NATS student wishing to participate in the NATS National Student Auditions must first apply to the NATS Student Auditions: Eastern Region. ***** 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, zarzuela, 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, and music theater selections must be sung in the original or standard published key. Music Theater selections in college categories and older must be sung in the original or standard published key. High school singers and younger may use published transposed keys to accommodate voice change issues only. Any published transposition must retain the composer's intention and style of music, and preserve the character being portrayed in the story and lyrics. 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. Published arrangements of folk songs, spirituals, and traditional hymn tunes in English are widely accepted as a part of the classical genre. Students in classical categories may present one selection of this type to fulfill the English art song requirement 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 a single verse or verses of a selection are not allowed. In the case of strophic pieces, all verses should remain that are traditionally included. All repertoire must be from the score of a book show written or intended for a fully realized musical production. The production may be a musical (including film musicals), revue, or MUTH song cycle. A fully realized production includes blocking/acting, dance, costumes, sets, pit orchestra or piano, lighting, sound, or a combination of the aforementioned elements. Revues should thread back to the original production. Various online resources are available to confirm whether a particular selection was written/intended for a fully realized musical production, and teachers are encouraged to consult these resources. Singers should ensure that contrasting selections represent the spectrum of their vocal and dramatic abilities. This should be exhibited by selecting pieces of varying style periods (pop/rock, contemporary, Golden Age, operetta), composers, and employing a variety of vocalism (belt, mix, legit when selecting repertoire for the auditions.). (Singers may choose only one operetta aria as one of their selections.) Any student may register to sing for comment only. 6

ELIGIBILITY AND PROCEDURE A. Active GP NATS members may enter students provided the member is in good standing at both the national and chapter levels. All participating members are required to do the following: complete and submit required online application forms in a timely manner; ensure that all requirements are met; serve as adjudicators and/or act in other capacities as requested; ensure that students and collaborative pianists adhere to the NATS Copyright Policy. [Pianists may not play from photocopied music.] (see Appendix B). 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 online 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"(see Appendix A). C. Registration and all fees relating to teachers, students, and pianists will be processed online at https://www.nats.org/cgi/page.cgi/members_home.html. *** Registration closes at midnight on October 12, 2017*** Questions or concerns should be directed to: Lawrence Indik, Auditions Chair Lindik@temple.edu (preferred) / 215-204-8336 D. All teachers who enter students are required to attend the auditions and be available to adjudicate. If unable to attend, a teacher must file a Judging Waiver (see Appendix D), pay a Judging Waiver Fee of $25.00 (in addition to the Registration Fee) or supply a qualified substitute judge, and may enter only five (5) students. The substitute judge may not teach or register any student participating the Auditions. A Judging 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. Teachers over the age of 65 and/or in ill health may request a Judging Waiver without fee or penalty, by sending an email request to the Auditions Chair, Lawrence Indik, Lindik@temple.edu. 7

E. GP NATS members may enter up to ten (10) of their own students in the auditions. Members may not enter another teacher's students as it is considered unethical. Violation of this policy will result in the disqualification of all concerned. F. Collaborative pianists are valued and respected colleagues who help ensure successful auditions. Auditioning students are required to use a GP NATS staff pianist for a fee. The fee, paid during online registration, will include the audition as well as the Honors Concert, if applicable. The staff pianist who plays for a student in the Honors Concert may not necessarily be the same as their audition. Rehearsals with staff pianists are not included, but may be negotiated independently for an additional fee. Voice teachers may never serve as pianists under any circumstances. After GP NATS staff pianist assignments have been made, students are required to get their music to the pianist one week prior to the audition. It is the singers and teachers responsibility to provide all necessary documentation for legally obtained sheet music and, if questioned, communicate effectively in auditions settings. Staff pianists will not be required to serve as the arbiter of correct adherence to the NATS Copyright Policy. G. No repertoire changes are allowed after online registration submission under any circumstances. H. All arias (oratorio and opera), songs, and musical theater selections must be sung from memory in accordance with category repertoire rules (see above). I. All singers and pianists must perform from lawful editions and observe and obey all laws in compliance with NATS Policy on Copyright Laws [Pianists may not play from photocopied music.] (see Appendix B). J. Upon registration for the Student Auditions, all participants agree to release the use of their voice and image to GP NATS for the purpose of marketing only. Audio or video recording of auditions by students, teachers, parents, GP NATS, or any other person is strictly prohibited. Violation of this policy will result in instant disqualification of all concerned. K. Any student in any Category, regardless of age or length of study may, with his or her teacher's permission, choose to sing for comment only. Students taking this option will indicate so during online registration and on their Student Auditions Adjudication Form (see Appendix F). When singing for comment only, students may present any or all prepared selections, so long as they adhere to the time limit of the applicable Category. 8

ADJUDICATION NATS members who register students to audition are expected to serve as adjudicators as necessary to run successful auditions. Adjudicators will be expected to review NATS Adjudicator training materials, be familiar with the current adjudication rubrics (see Appendix E), and attend the judges meeting at the start of the audition day. Adjudicators will write comments that reinforce a spirit of cooperation and mutual concern. The comments should motivate the student in the pursuit of vocal artistry and technique through aural assessment in a supportive climate. All comments should be consistent with the NATS Audition Regulations. While it is expected that all panels are made of NATS members, occasions may exist where non-nats member industry professionals serve as adjudicators. Singers in all categories will sing one song of their choice and then songs selected by the adjudicators, within the time limits. Those with the highest rankings will receive the awards. Should there be more than one first place winner, the awards for the first and second places will be pooled and divided equally among the winners. All will be called First Place Winners. This regulation holds for ties in all the places. The Adjudicator s sole responsibilities are to hear the performance, write comments, and rank and score. Each Adjudicator will make as comprehensive a critique as time allows, acknowledge achievement, and encourage improvement. Adjudicators will not consult or discuss the evaluation of students during the auditions either verbally or on paper. Adjudicators are not required to assign high ratings if, in their opinion, no student has earned them, and no Adjudicator will be asked to change a student s ranking. If there is a suspected rules or guidelines violation, one Adjudicator will notify the Regulations Consultant after the Audition is completed. The Regulations Consultant will then inform the Auditions Chair who will make a ruling on the matter. The decision of the Auditions Chair is final (see Appendix C). 9

NATS AUDTIONS RATING/SCORING SYSTEM All Student Auditions use the same scoring system, enabling scoring data comparisons across all NATS Regions. Scoring is based on a national standard. The scoring system is developed to allow for objective as well as subjective measures of a singer s performance. Further, it is structured to provide more detailed guidance to adjudicators as they seek to provide appropriate and constructive feedback to singers. All NATS auditions use the official NATS Student Auditions Adjudication Form (see Appendix F). Adjudicators will be instructed in the proper scoring at the Judges Meeting on the audition day. More detailed information can be found at http://www.nats.org/nsaresources.html under the Regulations link. RECOGNITION AND AWARDS GP NATS values the accomplishment of students, pianists, and members and recognizes them with the distribution of certificates and monetary awards. The monetary values of the awards cannot be determined prior to the auditions as they are based on the total income from student entry fees and the Categories in a given year. The total income from the entry fees will be divided by the number of adjudicated Categories, and then into specific awards. When possible, 1 st, 2 nd, and 3 rd place awards will be presented. There is no monetary award for an Honorable Mention, though they may also be awarded. GP NATS may additionally chose to bestow Special Awards in the form of certificates and/or monetary awards, as deemed appropriate by the Officers and Board. Audition results will be posted in the registration area as they become available. If possible, they will also be posted on our Facebook page on the audition day. Eventually, they will be posted in our auditions page on www.greaterphiladelphianats.org. HONORS CONCERT At the end of the audition day, winners of the adjudicated Categories will receive their awards. This will be followed by an Honors Concert of the First Place Winners for the membership in Rock Hall Auditorium. All participants of the Student Auditions, especially First Place Winners, are encouraged to support and attend this celebratory event. Any Winners who choose not to attend the Honors Concert will have their checks mailed to them at GP NATS convenience before November 1, 2018. (continued on next page) 10

FEE SCHEDULE STUDENT ENTRY FEE All Categories STAFF PIANIST FEE All Categories $18.00 (+ $18.00 for each additional category) $25.00 (per student audition) TEACHER FEES Registration Fee (required) $20.00 Box Lunch Fee (optional) $8.00 (ordered from Jimmy John s) Judging Waiver Fee $25.00 (in addition to the registration fee) VENUE INFORMATION Our auditions are being hosted generously by Temple University s Boyer College of Music and Dance located on the Main Campus. All audition day activities will take place in Presser Hall, located at 2001 N. 13th Street Philadelphia, PA 19122, with the exception of the Honors Concert, which will be in Rock Hall Auditorium, located at 1715 North Broad Street, Philadelphia, PA 19122 (second floor). DIRECTIONS http://arts.temple.edu/visitors SEPTA subway: The Cecil B. Moore/ Temple station (orange/broad Street line) is at the corner of North Broad Street and Cecil B. Moore Avenue. SEPTA Bus: The "4" and "16" buses stop on Broad Street at Cecil B. Moore Avenue, Montgomery Avenue, Polett Walk, and Norris Street. The "23" bus stops on 12th Street (southbound) and 11th Street (northbound) at Polett Walk, Montgomery Avenue, and Cecil B. Moore Avenue. SEPTA Regional Rail: All lines stop at Temple University Station, located at 10th and Berks Streets. Driving: Enter 1801 N. Broad St., Philadelphia, PA 19122 in Mapquest or Google Maps for the Liacouras Garage, 1859 N. 11th St. Philadelphia, PA 19122 for the Montgomery Avenue Garage, or 2001 N. 13th St., Philadelphia, PA 19122 for Presser Hall. 11

PARKING In addition to metered street parking, there are two public parking garages on the Main Campus. The Liacouras Garage (nearer to Rock Hall) is located at North 15th Street, between Montgomery and Cecil B. Moore Avenues. Parking is $15/entry (cash only). The Montgomery Avenue Garage (nearer to Presser Hall) is located on 11th St., between Montgomery and Berks. Parking is $15/entry or $3/hour (credit cards and cash accepted). CAMPUS LOTS https://campusoperations.temple.edu/parking-transportation/garages-lots CAMPUS MAP http://route.temple.edu CAMPUS SAFETY http://www.temple.edu/safety/crime/safety-tips.asp GP NATS recommends students unfamiliar with the campus and surrounding area bring a parent or guardian with them on the audition day. While Temple has the highest safety rating of any of Philadelphia s public universities, it is still located in an urban area and student safety is a priority. 12

Appendix A: NATS CODE OF ETHICS This Code of Ethics is established by NATS in order that its members may understand more clearly their ethical duties and obligations to their students, other teachers, and the general public, as well as to promote cooperation and good fellowship among the members. I. Personal Ethical Standards 1. Members will strive to teach with competence through study of voice pedagogy, musicianship, and performance skills. 2. Members will present themselves honestly, in a dignified manner, and with documented qualifications: academic degrees, professional experience, or a combination of both. 3. Members will faithfully support the Association and are encouraged to participate in its activities. II. Ethical Standards Relating to Students 1. Members will respect the personal integrity and privacy of students unless the legal or academic system requires disclosure. 2. Members will treat each student in a dignified and impartial manner. 3. Members will clearly communicate all expectations of their studios including financial arrangements. 4. Members will respect the student's right to obtain instruction from the teacher of his/her choice. 5. Members will offer their best voice and music instruction and career advice to all students under their instruction. They will complete the full number of lessons and amount of time paid for by each student in accordance with studio policies. 6. Members will not make false or misleading statements regarding a student's hopes for a career or 7. guarantees of performances or favorable contracts. III. Ethical Standards Relating to Colleagues 1. Members will refrain from making false claims regarding themselves or their students and from making false or malicious statements about colleagues or their students. 2. Members will render honest and impartial adjudication at NATS auditions and/or NATS competitions and students will not be requested to disclose names of present or former teachers until after the event. 3. Members will disclose at NATS events the name of a student's previous voice teacher if the student has studied with the current teacher for less than eight months. 4. When a member's expertise warrants collaboration, members will work collegially with other professionals (i.e., voice therapists, speech pathologists, and medical practitioners). 5. Rules and regulations of any accredited academic institution take precedence over the NATS Code of Ethics, should there be a conflict. This version of the Code of Ethics approved by the NATS Board of Directors in July 2014. 13

Appendix B: NATS POLICY ON COPYRIGHT LAWS The National Association of Teachers of Singing endorses a strict policy regarding copyright laws. *** The use of photocopied music is prohibited at all NATS sponsored events, from the national to the chapter level. *** Exceptions are: 1. Music that is out of print, still under copyright law, with permission from a publisher. 2. Sheet music or books for which the copyright has expired, but available in CD format. (e.g., CD Sheet Music). Performers must be prepared to present proof of ownership upon request. 3. Sheet music purchased legally from an online vendor. Such music should have either a separate page proving the performer has purchased such OR a copyright notice at the bottom of the music that includes the performer s name. Performers must be prepared to present proof of ownership upon request. 4. Music available from approved public domain websites. Performers should take particular care when accessing these sites as some do not guarantee that all works are indeed in the public domain. Current approved online public domain sites are: www.imslp.org www.sheetmusicarchive.net www.jscholarship.library.jhu.edu/handle/1774.2/2085 14

Appendix C: VERIFICATION OF REPERTOIRE AND COPYRIGHT VIOLATIONS As stated in the NATS Statement of Best Practices, the Auditions Chair is expected to engage and educate adjudicators on matters regarding scoring and conduct. The integrity of NATS Student Auditions is only as good as the integrity of the adjudication process and those adjudicators who participate. To this end, no one should adjudicate who has not been fully briefed on all adjudication procedures. This briefing should take place prior to the start of the Student Auditions and be given a sufficient amount of time to ensure that integrity. Every effort will be made not to impact the opportunity for a student to perform if they have paid their entry fee. No Adjudicator is authorized to disqualify a student during the audition time. Each student is to be assessed impartially and fully as if all regulations have been met. VERIFICATION OF REPERTOIRE As students register for the Auditions they must print a copy of their repertoire list from the Audition Ware program. The list will be presented the day of Auditions at the check in table with the original scores or valid downloads that the pianist will use. Valid downloads will document a legal right to use the music in the form of a CD Sheet Music approval form or other accepted documentation (e.g., publisher approval letter, public domain notice). After the scores and/or downloads are inspected, the repertoire list will be stamped as valid repertoire, or singing for comments only. This list will be presented to the Judges before the student sings. We hope that taking care of this at registration will eliminate problems in the judging room. REPERTOIRE VIOLATIONS The repertoire verification process described above should eliminate questions of repertoire impropriety in the audition room. If, however, an adjudicator suspects a potential repertoire violation, the following list of steps should be taken: 1. When suspicious of a violation, Adjudicators should write a note on a separate sheet of paper from the comment sheet. 2. Rankings, scorings, and comments on the student should proceed as if there were no violation. 3. When the auditions are completed, all Adjudicators should consult the Auditions Chair (or Regulations Consultant) about the potential violation. 4. The Auditions Chair (and/or Regulations Consultant) may research the issue or consult others before making a final ruling. 5. If it is determined that a violation exists, the Auditions Chair (or Regulations Consultant) will make every effort to discuss the violation with the student s teacher prior to notifying the student. This is not to be done by the Adjudicators. 6. Final scores will be revised if, in fact, a violation has occurred. COPYRIGHT VIOLATIONS If xerographic copies or unbound music are being used by the pianist, an Adjudicator has the right and responsibility to request the student to provide proper copyright approval prior to their performance in the form of a CD Sheet music approval form or other accepted documentation (e.g., publisher approval letter, public domain notice). If proper documentation can be provided, the student may proceed normally. However, if the student does not provide the proper documentation the following list of steps should be taken. 1. When suspicious of a violation, Adjudicators should write a note on a separate sheet of paper from the comment sheet. 2. Rankings, scorings, and comments on the student should proceed as if there were no violation. 3. When the auditions are completed, all Adjudicators should consult the Auditions Chair (or Regulations Consultant) about the potential violation. 4. The Auditions Chair (and/or Regulations Consultant) may research the issue or consult others before making a final ruling. 5. If it is determined that a violation exists, the Auditions Chair (or Regulations Consultant) will make every effort to discuss the violation with the student s teacher prior to notifying the student. This is not to be done by the Adjudicators. 6. Final scores will be revised if, in fact, a violation has occurred. 15

Appendix D: JUDGING WAIVER MEMBER Name: Email: Phone: Address: I wish to be released from my NATS Student Auditions: Greater Philadelphia Chapter judging responsibilities for the following reason(s): SUBSTITUTE ADJUDICATOR Name: Email: Phone: Address: I understand that if I do not attend I must supply a qualified substitute adjudicator or pay a $20 Judging Waiver Fee (in addition to the Registration Fee) and may only enter five (5) students in the Auditions. member signature date Email this completed form as a PDF to: Lawrence Indik, Auditions Chair at Lindik@temple.edu. *** Judging Waivers must be received by October 12, 2018 *** 16

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range.%onsets%are%immediate%most% of%the%time%but%occasionally%either% tighten%the%tone%or%allow%excess% breath%in%the%sound.%offsets%have% occasional%extra%air%or%extraneous% noise.%tuning%is%mostly%accurate.%the% flexibility%and%warmth%of%the%voice%is% sometimes%evident%in%the% performance.% Resonance%is%complete,%ringing% chiaroscuro%throughout%range.% Onsets%are%immediate%and% promote%clear,%complete%timbre%at% all%times.%offsets%are%silent%and% allow%rebound%in%the%breath% system.%tuning%is%always%accurate.% The%flexibility%and%warmth%of%the% voice%is%fully%evident%in%the% performance.% Breathing/Alignment:%% Inhalation%is%easy,%full%and% efficient.%exhalation%provides% stability,%support,%vibrancy,%and% vocal%energy.%buoyant%alignment% assists%a%balanced%engagement% of%the%tone.% Inhalation%is%often%noisy%or%insufficient.% Exhalation%does%not%provide%stability,%and% the%singer%tenses%or%collapses%in%the%body.% The%singer%requires%extra%breaths%to% complete%phrases.%buoyancy%is%occasional.% Inhalation%is%mostly%easy%and% sufficient.%exhalation%provides% stability,%support,%and%vocal%energy% some%of%the%time,%with%some% collapsing%in%the%body%at%the%ends%of% phrases.%buoyancy%is%developing.% Inhalation%is%silent,%easy%and% sufficient%all%of%the%time.%exhalation% provides%support,%balanced% stability,%and%energized%phrasing.% Alignment%is%buoyant.% Language/Diction:' Languages%are%sung%with% accurate%pronunciation%and% effective%articulation,%with% idiomatic%inflection%beyond%basic% phonetics.%the%singer%displays% thorough%understanding%and% communication%of%the%text.%% Languages%are%often%inaccurate%in% pronunciation%and%articulation,%and%lack% idiomatic%characteristics.%%the%singer%often% does%not%communicate%the%meaning%of%the% text.% Some%languages%are%accurate%in% pronunciation%and%articulation,%and% demonstrate%idiomatic% characteristics.%the%singer% communicates%the%meaning%of%much% of%the%text.% All%languages%are%accurate%in% pronunciation%and%articulation,%and% demonstrate%idiomatic% characteristics.%the%singer% communicates%the%meaning%of%all% text.% Musicianship:' Pitches%and%rhythms%are% accurate.%the%markings%of%the% composer,%editor,%or%arranger% are%observed%and%presented% with%idiomatic%style.% Performance%is%easily%sung%from% memory.% Many%pitches%and%rhythms%are%inaccurate.% Attention%to%the%score%is%unclear%or%lacks% understanding.%the%style%requires%further% study.%memorization%is%incomplete%with% several%errors.% Pitches%and%rhythms%are%accurate% most%of%the%time.%most%of%the% markings%in%the%music%are%observed,% and%much%of%the%style%presented%is% idiomatic.%memorization%is%natural% and%complete%with%some%errors.% All%pitches%and%rhythms%are% accurate.%the%markings%of%the% music%are%observed,%and%the%style% presented%is%idiomatic.% Memorization%is%natural%and% complete.% Artistry'/'Expression:' The%physical%life,%musicality,%and% vocalism%of%the%singer%fully% express%the%music%and%story,%and% engage%the%listeners%in%a% fulfilling%aesthetic%experience.% The%singer%has%difficulty%making%physical,% musical%and%vocal%choices,%and%their% individual%artistry%does%not%engage%the% listeners%in%the%entire%performance.%the% performance%is%expressive%and%meaningful% some%of%the%time.% The%physical,%musical%and%vocal% choices%made%by%the%singer%allow% their%individual%artistry%to%engage% the%listeners%in%part%of%the% performance.%the%performance%is% personally%expressive%and% meaningful%most%of%the%time.% The%physical,%musical%and%vocal% choices%made%by%the%singer%allow% their%individual%artistry%to%engage% the%listeners%in%the%entire% performance.%the%performance%is% personally%expressive%and% meaningful%all%of%the%time.% Ensemble:'COMMENT'ONLY' The%singer%and%pianist%are%well% rehearsed,%and%coordinate%their% efforts%toward%the%same%artistic% goals%in%the%performance.% The%singer%and%pianist%seem% unsynchronized,%and%the%artistic%goals%of% the%performance%were%unclear.% The%singer%and%pianist%are% coordinated%in%their%efforts%toward% the%same%artistic%goals%in%the% performance%some%of%the%time.% The%singer%and%pianist%are%fully% coordinated%in%their%efforts%toward% the%same%artistic%goals%in%the%entire% performance.% Appendix(E: 16

%%%%%%%% 2015,%NATS,%Inc.% NATS'Audition'Rubric' 'Music'Theater'Categories As%adjudicators%hear%singers%they%should%compare%the%singer s%performance%against%the%general%standard% for%the%category%they%are%adjudicating. STANDARD' Lowest'70=79' Average'80=89' Best'90=100' '''''Tone:%Singer%shows%mastery%of%the% vocal%technique%required%for%their% chosen%selections%(belt*,%mix*,%and/or% legit*),%and%has%the%ability%to%make% subtle%changes%appropriate%to%the% style%and%character.%changes%in% registration%are%relatively%smooth%and% even.%refer%to%the%faq%for%additional% explanation.%% '''''''Belt:%This%high'energy%sound%is% often%described%as% called, %or% brassy, %an%outgrowth%of%mix.%%while% it%must%be%possible%to%be%vibrant%in%a% belt,%vibrato%is%a%stylistic%choice.%% '''''''Mix:%This%sound%is%often%described% as% speech'like, %and%may%be%light%or% heavy%based%on%the%needs%of%the% character.%this%sound%is%clearly% distinguishable%from%typical%classical% timbre.% '''''''Legit:%This%sound%is%often% described%as% lyrical, % sweet, %and% round, %employing%similarities%to% classical%singing,%but%able%to%move% easily%to% mix %as%needed.%% For'audio'examples'of'each'style,' refer'to:'nats.org/nsaresources.html% The%singer%shows%little%mastery%of%the% vocal%technique%required%for%their% chosen%selections%(belt,%mix,%and/or% legit),%and%makes%few%appropriate% choices%in%keeping%with%the%style%and% character.%changes%in%registration%are% abrupt%or%uneven%much%of%the%time.% The%singer%shows%mastery%of%the% vocal%technique%required%for%some% of%their%chosen%selections%(belt,%mix,% and/or%legit),%and%makes%some% appropriate%choices%in%keeping%with% the%style%and%character.%changes%in% registration%are%smooth%and%even% some%of%the%time.% The%singer%shows%mastery%of%the% vocal%technique%required%for%all%of% their%chosen%selections%(belt,%mix,% and/or%legit),%and%makes% appropriate%choices%in%keeping% with%the%style%and%character.% Changes%in%registration%are%smooth% and%even.% Breathing/Alignment:%% Inhalation%is%easy,%full%and%efficient.% Exhalation%provides%stability,%support,% and%vocal%energy.%the%alignment% assists%a%balanced%engagement%of%the% tone%and%is%appropriate%for%the% character.% Inhalation%is%often%insufficient.% Exhalation%does%not%provide%stability,% and%the%singer%tenses%or%collapses%in% the%body.%the%singer%requires%extra% breaths%to%complete%phrases.% Buoyancy%is%occasional%or%may%not%be% appropriate%for%the%character.% Inhalation%is%mostly%easy%and% sufficient.%exhalation%provides% stability,%support,%and%vocal%energy% some%of%the%time,%with%some% collapsing%in%the%body%at%the%ends%of% phrases.%buoyancy%is%developing%or% somewhat%appropriate%for%the% character.% Inhalation%is%easy%and%sufficient%all% of%the%time.%exhalation%provides% stability,%support,%and%vocal% energy.%alignment%is%buoyant%and% appropriate%for%the%character.% Language/Diction:' The%text%is%sung%with%accurate% pronunciation%and%effective% articulation%in%the%style%or%vernacular% appropriate%to%the%character.%the% singer%displays%thorough% understanding%and%communication%of% the%lyric.%% The%text%is%pronounced%inaccurately% or%with%articulation%inappropriate%to% the%character.%the%singer% communicates%little%of%the%meaning%of% the%lyric.% The%text%is%pronounced%well%and% articulated%easily%as%appropriate%to% the%character%some%of%the%time.%the% singer%communicates%the%meaning% of%the%lyric%some%of%the%time.%%% The%text%is%pronounced%well%and% articulated%easily%as%appropriate%to% the%character%all%of%the%time.%the% singer%fully%communicates%the% meaning%of%the%lyric.% Musicianship:' Pitches%and%rhythms%are%accurate.%The% markings%of%the%composer%are% observed%and%presented%with% idiomatic%style.%performance%is%easily% sung%from%memory.% Many%pitches%and%rhythms%are% inaccurate.%attention%to%the%score%is% unclear%or%lacks%understanding.%the% style%requires%further%study.% Memorization%is%incomplete.% Pitches%and%rhythms%are%accurate% most%of%the%time.%most%of%the% markings%in%the%music%are%observed,% and%much%of%the%style%presented%is% idiomatic.%memorization%is%natural% and%complete%with%some%errors.% All%pitches%and%rhythms%are% accurate.%the%markings%of%the% music%are%observed,%and%the%style% presented%is%idiomatic.% Memorization%is%natural%and% complete.% Artistry/Expression:' The%physical%life,%musicality,%and% vocalism%of%the%singer%fully%express% the%music%and%story,%and%engage%the% listeners%in%a%fulfilling%aesthetic% experience.% The%physical%life,%musical%and%vocal% choices%made%by%the%singer%often%do% not%communicate%the%intentions%of% the%character,%and%do%not%engage%the% listeners%in%the%entire%performance;% gestures%are%missing%or%resemble% mannerisms%and%are%not%integral%to% the%character%and%situation.% The%physical%life,%musical%and%vocal% choices%made%by%the%singer% communicate%the%intentions%of%the% character%some%of%the%time,%and% engage%the%listeners%in%part%of%the% performance;%gestures%are% sometimes%genuine%and%integral%to% the%character%and%situation.% The%physical%life,%musical%and%vocal% choices%made%by%the%singer%clearly% communicate%the%intentions%of%the% character,%and%engage%the%listeners% in%the%entire%performance;% gestures%are%genuine%and%integral% to%the%character%and%situation.%% Ensemble:'COMMENT'ONLY' The%singer%and%pianist%are%well% rehearsed,%and%coordinate%their% efforts%toward%the%same%artistic%goals% in%the%performance.% The%singer%and%pianist%seem% unsynchronized,%and%the%artistic%goals% of%the%performance%are%unclear.% The%singer%and%pianist%are% coordinated%in%their%efforts%toward% the%same%artistic%goals%in%the% performance%some%of%the%time.% The%singer%and%pianist%are%fully% coordinated%in%their%efforts%toward% the%same%artistic%goals%in%the%entire% performance.% 17

Appendix(F: National!Association!of!Teachers!of!Singing! Student!Auditions!Adjudication!Form! Greater Philadelphia Chapter Singer!Name!or!#!Category! %%% Check!here!if!singing!for!comments!only % REPERTOIRE!! Title& &&&&Larger&Work& &&&Composer! 1. &&&&&&& &&&&&&& 2. &&&&&&& &&&&&&& & 3. &&&&&&& &&&&&&& & 4. &&&&&&& &&&&&&& 5. &&&&&&& &&&&&&& && ADJUDICATION& Offer!constructive!evaluation!and!score!taking!into!consideration!the!criteria!below!as!appropriate!to!category!of!the!singer.!!low!!!!!!!!!!!!!!!!!!!!!!!!!!!high! Tone%% % ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% Breathing/Alignment% Language%/%Diction% Musicianship%/%Accuracy% Artistry%/%Expression% ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% ''''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% %! Ensemble%(comment%only)%% '''''''''''''''''''/''''''''''''''''''''/''''''''''''''''''''% COMMENTS& SCORE% Adjudicator!!!!!Date!!!!!!! If!singing!for!comments!only! place!an!x!in!the!score!box Page%1%'%NATS%Auditions%Regulations%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 2015,%NATS,%Inc.% % %%%%%%%%%%%%%Version%1.0% %August%5,%2015% 18