Click on a name for that student's profile and list of repertoire records. Names in Red are students the logged in juror has already evaluated.
Friday, May 9 | |||
| Name | Report form | start time | end time | Nathan Harward | No | 2:00 pm | 2:10 pm | Antonio Gamez | No | 2:10 pm | 2:20 pm | Zachary Burns | No | 2:20 pm | 2:30 pm | Courtney Williams | No | 2:30 pm | 2:40 pm | Michael OBrien | Yes | 3:00 pm | 3:10 pm | Chris Blair-Chipman | No | 3:10 pm | 3:20 pm | Erik Zeinner | Yes | 3:20 pm | 3:30 pm | Jorge Castaño | Yes | 3:40 pm | 3:50 pm |
|---|---|---|---|
| Standard | 4 | 3 | 2 | 1 |
| Tone Resonance and timbre are appropriate to the style, with balanced chiaroscuro throughout range. Onset and offset are clean, clear and balanced allowing for vibrancy. Tuning is accurate throughout range. Dynamic flexibility is present; singer has the ability to make subtle changes appropriate to style and character. |
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. | Resonance is developing, chiaroscuro through some of the 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 incomplete, chiaroscuro not evident in vocal range. Onsets are often delayed and with extra noise or air much of the time. Offsets have extra air or extraneous noise much of the time. Tuning is often problematic. The flexibility and warmth of the voice is not fully evident in the performance. | Resonance is undeveloped chiaroscuro not evident in vocal range. Onsets are not present and with extra noise or air much of the time. Offsets have extra air or extraneous noise of the time. Tuning is consistently problematic. The flexibility and warmth of the voice is not evident in the performance due to lack of core sound. |
| 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 silent, easy and sufficient all of the time. Exhalation provides support, balanced stability, and energized phrasing. Alignment is buoyant. | 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 still noisy there is an emerging sense of breath. Students appear to be taking lower and more connected breaths but have not mastered how the breath muscles work to support the sound. | 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. |
| 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. |
All languages are accurate in pronunciation and articulation, and demonstrate idiomatic characteristics. The singer communicates the meaning of all text. | Some languages are accurate in pronunciation and articulation, and demonstrate idiomatic characteristics. The singer communicates the meaning of much of the text. | Few languages are accurate in pronunciation and articulation, and demonstrate idiomatic characteristics. The singer is working to communicate the meaning some of the text proper articulation of each language needs work. | Languages are often inaccurate in pronunciation and articulation, and lack idiomatic characteristics. The singer often does not communicate the meaning of the 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. |
All pitches and rhythms are accurate. The markings of the music are observed, and the style presented is idiomatic. Memorization is natural and complete. | 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. | 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. | Most 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. |
| 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, 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. | 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 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 singer is not making physical, musical and vocal choices, and their individual artistry does not engage the listeners in the entire performance. The performance is not expressive and meaningful. |
| Pitch/ Intonation | Rhythm/ Tempo | Technique | Expression | Interpretation/ Style | |
| Criteria | Correct notes, accurate intonation | Rhythm and tempo | Fingering, tone production, breathing etc. | Dynamics, articulations, expression etc. | Confident presentation, stylistically appropriate, interpretive nuances artistically executed etc. |
| 4.0 - Superior | All pitches performed correctly with accurate intonation. | All rhythms performed correctly; appropriate and consistent tempo. | Appropriate technique was demonstrated. | All dynamic, articulation and expressive marks were performed correctly. | Performed with confidence and no hesitation; presented work in a stylistically appropriate, sensitive performance. |
| 3.0 - Excellent | Almost all pitches performed correctly with accurate intonation, but a few errors. | Almost all rhythms performed correctly, but a few errors; generally appropriate and consistent tempo. | Appropriate technique was often demonstrated, but with a few lapses. | Almost all dynamic, articulation and expressive marks were performed correctly. | Performed with confidence but a little hesitation; presented work mostly in a stylistically appropriate, sensitive performance. |
| 2.0 - Satisfactory | Many pitches performed correctly with accurate intonation, but with several errors. | Many rhythms performed correctly, but with several errors; minimally acceptable tempo but with inconsistencies. | Appropriate technique was mostly demonstrated, but with several lapses. | Many dynamic, articulation and expressive marks were performed correctly. | Performed with notable moments of hesitation, but was able to complete selection; presented work with lapses in style and sensitivity. |
| 1.0 - Needs improvement | Some pitches performed correctly with accurate intonation, but with many errors | Some rhythms performed correctly, but many errors; performed a tempo that was not prescribed. | Appropriate technique was sometimes demonstrated, but with many lapses. | Some dynamic, articulation and expressive marks were performed correctly. | Performed with many moments of hesitation and unable to complete selection; style and sensitivity are largely lacking. |
| Pitch Organization | Rhythmic Organization | Formal Organization | Technique | Expression | |
| Criteria | Appropriate and consistent use of chords and scales | Appropriate use of rhythm and tempo | Clear structure; takes the listener into consideration | Orchestration; notation and score | Clarity of communication, stylistic integrity |
| 4.0 Excellent |
Language is consistent and appropriate. | Rhythmic patterns and tempo are consistently appropriate. | Formal organization is evident and made clear. | Writing is idiomatic; score notation is clear | Music is communicated clearly and is stylistically consistent. |
| 3.0 Satisfactory |
Language is mostly consistent and appropriate, but with some lapses. | Rhythmic patterns and tempo are mostly appropriate, but with some lapses. | Formal organization is mostly evident and clear, but with some lapses. | Writing is mostly idiomatic, score notation is clear, but with some lapses. | Music is mostly communicated clearly and is stylistically consistent, but with some lapses. |
| 2.0 Needs improvement |
Language is sometimes consistent and appropriate, but with many lapses. | Rhythmic patterns and tempo are sometimes appropriate, but with many lapses. | Formal organization is sometimes evident and made clear, but with many lapses. | Writing is sometimes idiomatic; score notation is sometimes clear, but with many lapses. | Music is sometimes communicated clearly and is stylistically consistent, but with many lapses. |
| 1.0 Must address |
Language is rarely consistent and appropriate; confusing | Rhythmic patterns and tempo are rarely appropriate; confusing | Formal organization is lacking; unclear | Writing is rarely idiomatic; score notation is confusing. | Music is rarely communicated clearly and is stylistically inconsistent. |