Chapter Auditions

 

CONTENTS

 

Registration Information and Contacts………………………………...........3

Mission Statement…………………………………………………………………….3

Category, Repertoire, Age, and Time Requirements…………………....4

Audition Terminology…………………………………………………...................7

Eligibility and Procedure……………………......................................................8

Adjudication……………………………………………………………………………10

NATS Auditions Rating/Scoring System……………………………………10

Recognition and Awards………………………………………………................11

Honors Concert……………………………………………………………………….11

Fee Schedule…………………………………………………………………………...11

Appendix A: Code of Ethics………………………………………………………12

Appendix B: NATS Policy on Copyright Laws…………………………….14

Appendix C: Judging Waiver…………………………………………………….16

Appendix D: NATS Audition Rubrics…………………………………...........17

Appendix E: NATS Student Auditions Adjudication Form…………..19

Appendix F: NATS African American Spiritual and 

Iberian and Latin American Song Initiative……………………………….19

Appendix G: NATS American Negro Spiritual Category……………...19

Appendix H: Video Recording Instructions……………………………….22

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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 November 9, 2020***

 

 

Questions or concerns should be directed to:

Corbin Abernathy, Auditions Chair

cbrabthy@gmail.com / 267-978-9249

 

 

 

 

 

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

 

 

 

 

 

 

 

 

 

 

 

 

       

 

Category, Repertoire, Age, and Time Requirements

 

Category *

Length of Study

Age Limit

Time

Repertoire (all memorized)

1

&

1A

(14-15)

High School Music Theater Treble Voice

(Soprano, Mezzo-soprano, Contralto, Countertenor)

No limit

14-19

 

1A: 14-15

8 minutes

*Three contrasting music theater selections from musicals(including film musicals), revues and operettas, 

music theater song minutes cycles or music theater song literature. Only one selection may be chosen from operetta or music theater song literature.

2

High School Music Theater TBB Voice

(Tenor, Baritone, Bass)

No limit

14-19

8 minutes

Three contrasting music theater selections from musicals(including film musicals), revues, operettas, music theater song minutes cycles or music theater song literature. 

Only one selection may be chosen from operetta or 

music theater song literature.

3

& 3A

High School Classical Treble Voice

No limit

14-19

3A: 14-16

8 minutes

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

4

High School Classical TBB Voice

No limit

14-19

8 minutes

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

5

Lower Music Theater Treble Voice

0-2 years post high school

22

10 minutes

Three contrasting music theater selections from musicals (including film musicals), revues, operettas, music theater 

song cycles or music theater song literature. Only one

selection may be chosen from operetta or music theater song literature.

6

Lower Music Theater TBB Voice

0-2 years post high school

22

10 minutes

Three contrasting music theater selections from musicals (including film musicals), revues, operettas, music theater 

song cycles or music theater song literature. Only one

selection may be chosen from operetta or music theater song literature.

7

Lower College/

Independent Studio Classical Treble Voice

0-2 years post high school

22

10 minutes

Three contrasting selections from classical repertoire: 

one aria or art song, one art song in English, and one foreign language art song

8

Lower College/

Independent Studio Classical TBB Voice

0-2 years post high school

22

10 minutes

Three contrasting selections from classical repertoire: 

one aria or art song, one art song in English, and one foreign language art song

9

Upper College Music Theater Treble Voice

3-5 years post high school all as undergraduate

25

12 minutes

Four contrasting music theater selections from musicals (including film musicals), revues, operettas, music theater 

song cycles or music theater song literature. Only one 

selection may be chosen from operetta or music theater 

song literature.

10

Upper Music Theater TBB Voice

3-5 years post high school all 

 

as undergraduate

25

12 minutes

Four contrasting music theater selections from musicals (including film musicals), revues, operettas, music theater 

 

 

song cycles or music theater song literature. Only one

selection may be chosen from operetta or music theater 

song literature.

11

Upper College/

Independent Studio Classical Treble Voice

3-5 years post high school – all as undergraduate

25

12 minutes

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.

12

Upper College/

Independent Studio Classical TBB Voice

3-5 years post high school – all as undergraduate

25

12 minutes

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.

13

Advanced College/

Independent Studio Classical Treble Voice

4+ years post high school

22-30

15 minutes

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.

14

Advanced College/

Independent Studio Classical TBB Voice

4+ years post high school

22-30

15 minutes

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.

15

**Adult Treble Voice

No limit

22+

10-12 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

**Adult TBB Voice

No limit

22+

10-12 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.

17

**Adult 

Music Theater Treble Voice

No limit

22+

10-12 minutes

Three contrasting age appropriate music theater selections 

from musicals (including film musicals), revues and 

operettas, music theater song cycles or music theater song literature. Only one selection may be chosen from 

operetta or music theater song literature.

18

**Adult 

Music Theater 

TBB Voice

No limit

 

22+

10-12 minutes

Three contrasting age appropriate music theater 

selections from musicals (including film musicals), revues, operettas, music theater song cycles or music theater song literature. Only one selection may be chosen from 

operetta or music theater song literature.

19

Youth

No limit

 

11-14

6th-8th

grade

 

 

 

8 minutes

Two or three contrasting age appropriate selections 

from classical repertoire.

20

Youth
Music

Theater

            No limit

 

11-14

6th-8th

grade

8 minutes

Two or three contrasting age appropriate music theater 

selections from musicals (including film musicals), revues, operettas, music theater song cycles or music theater song literature. Only one selection may be chosen from 

operetta or music theater song literature.

21

CCM Treble

No limit

18+

10-12 minutes

Three contrasting selections from jazz, pop, rock, or other repertoire. Singers may specialize in a particular genre 

and have contrasting selections within the chosen genre 

OR may select repertoire from more than one genre. 

22

CCM TTB

No limit

18+

10-12 minutes

Three contrasting selections from jazz, pop, rock, or other repertoire. Singers may specialize in a particular genre 

and have contrasting selections within the chosen genre 

OR may select repertoire from more than one genre.

23

High School American Negro Spirituals

No Limit

14-19

8 minutes

Three American Negro Spirituals contrasting by composer, tempo and text.

*See publications list

24

First Through Third Year College Age American Negro Spirituals

0-3 Years post High School

23

10 minutes

Three American Negro Spirituals contrasting by composer, tempo and text.

*See publications list

25

Fourth/Fifth Year College Age and Graduate Age American Negro Spirituals

4+ years post High School

30

12 minutes

Four American Negro Spirituals contrasting by composer, tempo and text.

*See publications list

 

*Art Songs in English must have English as the original language of the song.

 

 

*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 avocational musicians.

 

**As per the new National Guidelines, Countertenors are now considered Treble Voices and are therefore included in Classical categories 7, 11, 13 and 15.

 

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 the 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. ***

**** 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. *****

 

 

 

 

 

AUDITION TERMINOLOGY

Aria

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.

24/26/28 Italian Art Songs and Arias

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.

Memorization Original Languages

All repertoire, including oratorio, must be sung from memory.

Selections should be sung in their original language or in translation if warranted by common performance practice.

Transposition

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.

Classical Repertoire/Categories

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

Judicious Cuts

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.

Music Theater Selections

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.)

Comment Only

 Any student may register to sing for comment only.

 

 

 

 

 

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 November 9, 2020***

Questions or concerns should be directed to:
Corbin Abernathy, Auditions Chair

cbrabthy@gmail.com / 267-978-9249

 

 

D.  All teachers who enter students are required to be available to adjudicate. If unable to attend, a teacher must file a Judging Waiver (see Appendix D), pay a Judging Waiver Fee of $75.00 (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 in the Auditions. A Judging Waiver may be granted for no more than two consecutive years, after which time the teacher must attend the auditions and adjudicate 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 Corbin Abernathy, Auditions Chair, at cbrabthy@gmail.com / 267-978-9249

 

E.  GPNATS members may enter up to fifteen 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. Voice teachers may never serve as pianists under any circumstances. It is the singers’ and teachers’ responsibility to provide all necessary documentation for legally obtained sheet music and, if questioned, communicate effectively. 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. 

 

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.

 

L. GPNATS 2020 Student Auditions are conducted by video submission. Please see https://www.nats.org/NSA_-_You_Tube_Round_Video_Submissions.html and/or Appendix H for comprehensive instructions on how these videos should be made. Once your students’ videos have been recorded, instructions in AuditionWare will guide you through the application process. Should you run into any problems you cannot solve with the resources on the nats.org website or AuditionWare, please contact Corbin Abernathy, Auditions Coordinator. 

 

 

 

 

 

 

 

 

 

 

 

 

 

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 D), and watch the judges’ meeting before adjudicating video auditions. 

 

• 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 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, the Adjudicator will notify the Regulations Consultant. 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).

 

 

NATS AUDITIONS 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 Training. 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 value 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, 1st, 2nd, and 3rd place awards will be presented. There is no monetary award for an “Honorable Mention,” though they may also be awarded. GPNATS may additionally choose 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 on November 21. If possible, they will also be posted on our Facebook page that day. Eventually, they will be posted on our auditions page on www.greaterphiladelphianats.org.

 

 

HONORS CONCERT

Winners of will receive their awards through the mail after November 21. A virtual Honors Concert of the First Place Winners will be available for the membership to view on November 21. All participants of the Student Auditions, especially First Place Winners, are encouraged to support and attend this celebratory event. 

 

FEE SCHEDULE

 

STUDENT ENTRY FEE

All Categories $18.00 (+ $18.00 for each additional category)

 

TEACHER FEES

Registration Fee (required) $20.00

Judging Waiver Fee $75.00 (in addition to the registration fee)

 

 

 

 

 

 

 

 

Appendix A:

NATS CODE OF ETHICS

 

These ethical guidelines are established by the Association to outline Members’ ethical duties and obligations to students, colleagues and the general public, and to promote professional cooperation and productive relationships among its Members. 

 

I. Personal Ethical Standards

 

  1. Members shall present themselves honestly, in a dignified and professional manner, and with documented qualifications. These may include appropriate academic degrees, awards, professional affiliations, and teaching and performing experience.
  2. Members shall strive to teach with competence by demonstrating knowledge of voice pedagogy, musicianship, familiarity with a variety of vocal repertoire, as well as performance skills.
  3. Members should strive for continued growth in professional competencies.
  4. Members shall faithfully support the Association and are encouraged to participate in and contribute to its activities and mission.
  5. Members should abide by copyright laws and guard against encouraging or allowing infringement thereof.
  6. Members shall exhibit responsible and ethical behavior when using print, digital and social media associated with the profession and the studio.
  7. Members should be artistic resources for their communities.

 

 

II. Ethical Standards Relating to Students

 

  1. Members should avoid all types of discriminatory practices. Appropriate guidelines are set forth in statutes such as Title IX of the Education Amendments of 1972 and the Canadian Human Rights Act.
  2. Members should maintain appropriate boundaries in psychological, emotional, and personal contact with students, including insinuations that could be construed as sexual advances, even when a student may encourage or request such interaction.
  3. Members should respect the privacy and personal integrity of students, not disclosing confidential information except to the extent that a particular legal or academic system requires disclosure.
  4. Members should clearly communicate and comply with their studio policies and expectations in a timely and concrete manner.
  5. The relationship between teacher and student shall be established, maintained and terminated in a respectful, professional manner.
  6. Members should respect a student's prerogative to obtain instruction from any teacher(s) of their choice, including concurrent study with another teacher(s). Transparency should be maintained among all parties.
  7. Members should offer their best instruction and career advice to every student under their supervision, and should treat each student in a respectful and impartial manner while taking into account individual differences in ability, learning styles and motivation.
  8. Members should refrain from making exaggerated claims or misleading statements concerning a student's prospects for a professional career in music. They should not guarantee performances, professional positions or favorable contacts unless they can fulfill those promises.

 

 

 

 

 

III. Ethical Standards Relating to Colleagues

 

  1. Members shall refrain from making defamatory or untrue negative public statements or judgments about colleagues or their students, either verbally or in writing.
  2. Members shall render honest and unbiased adjudication at auditions and competitions. If they are unable to do so, then they should recuse themselves.
  3. In cases where a Member determines that involving other professionals in a student’s instruction may be of benefit (for medical, technical, artistic, musical, pedagogical, or other reasons), Members shall strive to work collegially with these professionals.
  4. Rules and regulations of accredited academic institutions may at times take precedence over the Association’s Code of Ethics, should there be a conflict.
  5. Should ethical conflicts arise between Members and/or a NATS Entity, direct communication should be used to resolve problems among the involved parties. If the conflict cannot be resolved, the Association has a specific, detailed process for dealing with concerns.

 

 

 

This version of the Code of Ethics approved by the NATS Board of Directors in June 2018.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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.

 

  1. 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.

 

  1. 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.

 

  1. 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

Official NATS Copyright Policy for Use of Published Music

    1. NATS encourages its members, their students, accompanists and the general population to become educated about, and to comply with, all applicable copyright laws. Reproduction of a copyrighted work constitutes copyright infringement unless a license to reproduce such work has been obtained, the use is considered fair use, the work is in the public domain, or a valid exception to copyright infringement exists.
    2. NATS requires students, teachers and other participants in NATS affiliated events, auditions and competitions to affirm compliance with the NATS Copyright Policy, and to use only authorized reproductions of copyrighted works.

NATS Copyright Resource Center

Copyright Acknowledgement for Teachers, Singers, & Pianists

    1. Teachers will log into Auditionware to register their students as normal. As teachers register each singer, they will be asked to acknowledge the NATS CopyrightPolicy for each singer.  (This will simply be a box that teachers will check, right along with the singer’s Name, Category, Etc.)
    2. Once a Singer is registered for an event, the singer will receive an email from Auditionware with a link to an Acknowledgement page. (This email will go to the email entered for the singer by the teacher.  If the singer is under 18 years of age, it would be best to use a parent/guardian’s email address, as they will need to acknowledge.)  The singer (or parent/guardian) will click on the link, which will take them to the Acknowledgement, and there they will click and submit the Acknowledgement of copyright.
      1. Follow-up emails will be automatically sent from Auditionware at regular intervals leading up to an event, until the singer has submitted their copyright acknowledgement.
    3. Once registration closes for an event, each Collaborative Pianist who is playing for the event will receive an email from Auditionware with a link to an Acknowledgement page. Note: The collaborative pianist will only receive one email, regardless of the number of students for whom they are playing, rather than one email per student.  (This email will go to the email entered for the pianist by the teacher.  If the pianist is under 18 years of age, it would be best to use a parent/guardian’s email address, as they will need to acknowledge.)  The pianist (or parent/guardian) will click on the link, which will take them to the Acknowledgement, and there they will click and submit the Acknowledgement of copyright.
      1. Follow-up emails will be automatically sent from Auditionware at regular intervals leading up to an event, until the pianist has submitted their copyrightacknowledgement.
    4. Teachers, Students, and Pianists all need to complete their respective acknowledgements prior to the NATS event.
    5. Audition Coordinators will be able to export a report of Student and Pianist acknowledgements from Auditionware to confirm acceptance

Use of Tablets by Collaborative Pianists

    1. The use of iPads and tablets as musical scores for collaborative pianists during all levels of NATS auditions has been approved and are held to the same standards of copyright as any other musical score used for auditions.
      1. For clarification on appropriate use of tablets please visit the NATS Commonly Asked Copyright Questions for Teachers, Accompanists, and Studentsdocument located in the NATS Copyright Resource Center.

 

 

 

 

 

 

 

 

 

 

Appendix C:

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 $75 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:
Corbin Abernathy, Auditions Chair at cbrabthy@gmail.com.

*** Judging Waivers must be received by November 9, 2020 ***

 

Appendix D

NATS Audition Rubric Classical Categories

As adjudicators hear singers they should compare the singer’s performance against the general standard for the category they are adjudicating.

STANDARD

Developing 70-79

Advancing 80-89

 

Accomplished 90-100

 

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 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 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 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.

 

 

NATS Audition Rubric Musical Theater Categories

(Go to https://www.nats.org/_Library/NSA_Files/NATS_Rubric_Music_Theater_MUTH_July_30.pdf)

 

 

 

 

 

 

Appendix E

NATS Audition Adjudication Form

(Go to https://www.nats.org/_Library/NSA_Files/Adjudication_Form_with_rep_2019_July_8_rev.pdf)

Appendix F

African American/ Iberian and Latin American Art Song Initiative.

 

At the national level of competition, singers must in the future include a piece from the African American and Iberian and Latin American Art Song initiative requirements. GPNATS encourages all singers to include a song from this very important repertory for the 2020 Auditions.

Appendix G

NATS American Negro Spiritual Category

Held every other year, in odd-numbered years

Category Info

Beginning in the fall of 2020, The American Negro Spirituals Category will be added to regularly scheduled regional student auditions with the top five regional winners advancing to the NSA rounds, as with all other NSA-eligible categories. Chapters are also eligible and encouraged to add this competition to chapter auditions. Where applicable, Chapter auditions serve as qualifying rounds for advancement into region auditions. The American Negro Spirituals Category will alternate with the Hall Johnson Spirituals Category nationally, with the Hall Johnson Category offered in even numbered years.

Although most of the composers of the spirituals we now sing are unknown, the melodies and lyrics have been arranged by hundreds of arrangers in many different styles. The spirituals approved for performance in NATS auditions are the classical arrangements of the North American Negro Spirituals and arranged by classical North American composers. The terminology for singing in the American Negro Spirituals category is outlined and defined in the classical Audition Terminology.

While the American Negro Spirituals’ geneses are of and by African Americans, they tell the stories in music of the history of our country. NATS encourages all singers to explore, study, and perform these beautiful songs.

History

The American Negro Spirituals are the folk songs created by the enslaved Africans after their arrival in North America between 1619 and 1860. Although slavery ended with Abraham Lincoln signing the Emancipation Proclamation, which went into effect January 1, 1863, the enslaved people in Texas did not receive the notice until June 19, 1865, hence the Juneteeth Celebration.

The songs created and sung by enslaved women, men and children were born in North America and recant with dignity, resolve and sometimes joy, their stories of life, death, faith, hope, escape, and survival. These melodies and stories have been passed down orally from generation to generation in the plantation fields, in churches and in camp meetings and have presently taken their places on concert hall stages and recital series around the world. Some may wonder why NATS has chosen to use the classification American Negro Spiritual as opposed to a more updated term, and perhaps more contemporary classification like African-American Spirituals. Dr. Everett McCorvey, Founder of the American Spiritual Ensemble and a researcher in this area, comments: “The term American Negro Spirituals speaks to the history, the suffering, the hope and the resolve of a people who were able to sing through their suffering and tell and re-tell their heroic stories of triumph and survival through these songs. It is a story and a history that hopefully will never be forgotten. And while the songs were born out of this very dark period in our American History, these songs are now sung, celebrated, and revered all around the world. While some of the language in the music is updated in order to be sung in a more contemporary style and to remove the barrier of dialect, the melodies, the sentiment and the stories of the spirituals are over 400 years old and need to be sung and remembered. I would encourage teachers and singers to be comfortable with calling the melodies what they are. They are American Negro Spirituals. Please feel free to call them Negro Spirituals or just Spirituals or American Negro Spirituals, but the ultimate goal is for these melodies to be celebrated and sung by all.

                        – Dr. Everett McCorvey, Founder and Director
                           American Spiritual Ensemble

                           Artistic Director, National Chorale and Orchestra
                           New York, New York

                           Professor of Voice and Endowed Chair in Opera Studies
                           University of Kentucky
                           Lexington, Kentucky

Information

Music
• Both arrangements and compositions in the style of Negro Spirituals are acceptable
• Simplicity in melody is of utmost importance
• Historical meanings/reference and stories of text are also of chief importance
• Stories and the melodies of compositions must be reflective of the historical category
• Arrangements must reflect and respect the classical style in accompaniments with a vocal line respectful of the traditional melodies

 

Acceptable Arrangements
*See list of authorized repertoire below

Spirituals have been composed and arranged by a variety of people of every ethnicity and background. Our purpose in this category is to educate our students and colleagues about the beauty, simplicity, historical relevance and amazing wealth of music in this category that risks extinction of value and performance on the classical stage. Many questions have arisen regarding acceptability. In the effort to educate, we are listing some examples of discussions and considerations of spirituals composed and/or arranged by persons who are not African American.

• Robert MacGimsey, “Sweet Little Jesus Boy” a classic example of a non-black composer, raised on a plantation, fully immersed in black culture who has fully captured the spirit of the original Negro Spiritual
• Eli Villanueva 6 Spirituals set with island flavor, unusual, classical accompaniments, respecting and retaining the traditional melodies

 

Performance
We suggest students and teachers study the great performances through online resources and explore topics about great American composers, especially those of the 19th and 20th centuries.

• The American Negro Spiritual is to be sung in the classical art song tradition.
• Simplicity in melody and vocal line is of utmost importance.
• Strophic songs written with multiple verses may be sung with moderate embellishments after the original line has been established in both voice and accompaniment. Moderation is the key. Suggestions include varying tempo, dynamics and adding higher or lower pitches within the key in ending cadences.
• Strophic songs with multiple verses (more than 4-6) may eliminate some of the verses that do not change the story or historical content (not more than half of the verses may be dropped, for example if there are 5 verses, not more than 2 may be dropped.
• Classical singing delivery please, with proper technique – not musical theatre, gospel, and/or pop.

Official Repertoire

Arrangements in classical style of the North American Negro Spirituals, by composers similar to the style of Hall Johnson, R. Nathaniel Dett, Florence Price, Moses Hogan, Edward Boatner, Undine Smith Moore, James Weldon and J. Rosamond Johnson, Margaret Bonds and others. The classical style excludes Gospel, Blues, and Jazz music. (Click HERE for list of approved arrangements and collections.)

*Authorized scores of repertoire not found on the publications list, can be vetted/approved by contacting one of the following NATS members:

  1. Alexis Davis-Hazell adavishazell@ua.edu
  2. Barbara Hill-Moore bhmoore@mail.smu.edu
  3. Everett McCorvey mccorvey@uky.edu
  4. Marcia Porter MPorter@admin.fsu.edu

Eligibility

  1. This competition will only take place in odd-numbered years. Region auditions occur throughout the year with some regions holding the regional auditions in the Fall of the preceding year.
  2. Open to any singer who meets the requirements listed below:

CATEGORY NUMBER
AND TITLE

LENGTH OF STUDY

AGE LIMIT  

TIME                      

Voice Type

*REPERTOIRE:
all repertoire is sung from memory

16 High School
American Negro Spirituals

No limit

14-‐19

8 minutes

All

Three American Negro Spirituals contrasting by composer, tempo and text.
*See publications list

17 First Through Third Year College Age
American Negro Spirituals

0-‐3 years
post high school

23

10 minutes

All

Three American Negro Spirituals contrasting by composer, tempo and text.
*See publications list

18 Fourth/Fifth Year College Age and Graduate Age
American Negro Spirituals

4+ years
post high school

30

12 minutes

All

Four American Negro Spirituals contrasting by composer, tempo and text.
*See publications list

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 NSA-eligible categories. Chapters are also eligible and encouraged to add this competition to chapter auditions. Where applicable Chapter auditions serve as qualifying rounds for advancement into region auditions.

 

 

Appendix H

Video Recording Instructions:
Chapter, District, Regional and National Student Auditions

Recording Location

You should record your video in the spirit of a live audition or recital performance. You may record in a home, school, church, synagogue, recital hall, rehearsal room, or voice studio with good natural acoustics with or without an audience. You should dress professionally, as you would for a recital or live audition.

Recording Instructions

Recording

  • You should record a separate unedited video for each selection on your repertoire list.
  • Your camera should record from a fixed position as if three adjudicators were seated in front of you.
  • You should face straight forward to the camera as you would appear to adjudicators in a live audition.
  • Your video recordings must clearly show your face and most of your body from the knees upward.**     
      1. **Singers, pianists, and teachers should follow the health guidelines/regulations issued by their institution/venue wherever they are recording.  Therefore, during this pandemic, masks are allowed to be worn in NATS audition videos.  
  • To view a short video of best practices for recording a quality audition video click HERE.

 

Accompanist

  • You may sing with a live pianist, your teacher, or recorded accompaniment in your video entries.
  • If your teacher is your accompanist, they should not be in view in the video.
  • Accompanists must play from authorized copies that are compliant with the NATS Copyright Policy.
  • The accompanist may use a page turner who is not the singer’s teacher.

Due to the unprecedented nature of the times in which we find ourselves, with growing travel restrictions, school closings (and/or transitions to online instruction), and wide-spread health concerns, we know it will be nearly impossible for many to meet and record videos with live accompanists during this time.  Therefore, during this crisis NATS will allow students to record audition videos using pre-recorded tracks such as found on Appcompanist, Hal Leonard’s Virtual Library, or other similar sources that offer piano-only accompaniments.  YouTube Karaoke Tracks are also acceptable, as long as they are piano only.  NO orchestrated tracks or tracks with other instruments or voices will be acceptable, and would result in disqualification.  It will also be acceptable to use tracks that are recorded by your teacher or your pianist (who know you and your interpretation).  Additionally, in this extreme circumstance, should student and teacher be in the same location, a teacher may accompany a singer in the recording, but the teacher should not be visible in the recording directly or on any reflected surface (mirror, piano surface, etc.).  Please note that this will not be an accepted precedent for future auditions, but is rather an isolated exception necessitated by a highly unusual global crisis.  Because of this, videos will not be required to show the pianist.  All other guidelines outlined in the video submission guidelines at https://www.nats.org/NSA_-_You_Tube_Round_Video_Submissions.html will apply and must be followed.

 

 Performance

  • Introduce each selection at the beginning of the video. Introduce yourself by saying: “My Name is__________; “I will sing—Title of Composition---by—Composer—and if appropriate—from---Title of Work”. (The identity of your teacher, school, and region should not be revealed.)
  • You must perform each of your selections from memory on your recording. CAUTION: In viewing your tablet or phone during the recording, if you give the impression you are using music for your audition, you may be disqualified.

Preparing the YouTube Video

 

Settings

  • Please note that you must select "unlisted" in the Privacy settings found under the broadcasting and Sharing Options section when uploading your video file to YouTube.
  • If you select "private," adjudicators will not be able to access your submission(s). If you select “Public”, you may encounter copyright issues with YouTube.

 

Video Titles and Notes

  • Each video title should contain the singer’s name and the name of the local, regional, or national audition based on the audition for which you are submitting the video (i.e. Jane Doe – Eastern Region NATS). If the same video is used for a different audition, the video title MUST be changed to reflect the new audition.  (i.e. From the Eastern Region to the National Preliminary Round.)
  • In the YouTube “Notes” section, please include the Title, Composer, and Larger Work (if applicable).
  • YouTube Channel Titles & Images must NOT reveal Teacher, School, or Studio affiliations.

 

Submission

  • In the application, provide the web link/address for each video that corresponds to the appropriate repertoire selection – either 3, 4, or 5 total selections, depending on your audition category.
  • Please double check the links you provide for each video before submitting your application.

Invalid Videos

The following video problems would make them invalid.

  • Videos revealing the teacher’s identity, the region of the singer, or the school they attend.
  • Videos with “private” sharing options (see above).
  • Videos that pan and zoom during performances.
  • Videos using recording equipment that alters the acoustics of the venue or the sound quality of the singer by adding/subtracting reverb or altering the pitches being sung.
  • Videos that are digitally altered.

Location

United States
US

Comments

forms 2020 auditions