national association of teachers of singing...

2018 Eastern Region Conference and Student Auditions

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NATIONAL ASSOCIATION OF TEACHERS OF SINGING

EASTERN REGION CONFERENCE AND STUDENT AUDITIONS

March 9-11, 2018

Swope School of Music at West Chester University

817 S. High Street West Chester, PA 19383

Emily Bullock and Randall Scarlata, Site Coordinators Lori McCann, Eastern Region Governor

Stephen Ng, Auditions Chair Debra Field, Auditions Assistant

Mary Saunders-Barton and Robert McIver, Guest Artists

PACKET CONTENTS Page 2 Schedule of Events (subject to change) 6 Lodging Information 8 Rules and Regulations 8 Purpose 8 Eligibility and Procedure 9 Adjudication and Structure of Auditions 10 Fee Schedule 11 Performer Registration Worksheet 12 Teacher Registration Worksheet Appendix Categories and Repertoire Requirements, Audition Terminology

For further information, contact:

Lori McCann [email protected]

Stephen Ng

[email protected]/610-738-6495


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SCHEDULE OF EVENTS Subject to change – an updated schedule will be available at the conference

FRIDAY, MARCH 9 11:00am Registration opens

12:00-12:45pm Judges’ meeting (Ware Recital Hall)

1:00-6:00pm Student Auditions Preliminary Round (Various locations)

5:30-6:30pm Modular Scenic Design with Russell Franks (Location TBA) A space- and time-saving technique using dimensional lumber, creating flexible and reconfigurable sets.

Russell Franks has enjoyed an international career both as a singer and director. He has performed to critical acclaim not only for his portrayals on the operatic stage but also for his interpretations of oratorio and song on the concert stage. He has sung over forty major operatic roles and performed in over a thousand concerts. He not only specializes in the stage direction of Baroque and Classical opera but has also staged the operas of Puccini, Bernstein, Dvořák, J. Strauss, Poulenc, Ibert, and Smetana. Mr. Franks holds a bachelor's degree in voice performance and church music from Stetson University and a master's degree in voice performance from the University of Cincinnati College-Conservatory of Music. Mr. Franks currently teaches voice and is director of Opera Theatre at Stetson University in DeLand, Florida, and is resident Stage Director and Production Designer for Vero Beach Opera.

EVENING MASTER CLASS 7:30-9:30pm “Finding the Sound for the Song” with Mary Saunders-Barton (Madeleine Wing AdlerTheatre)

An interactive master class designed to explore the many different sounds heard on Broadway today. The audience participants will experiment with making these sounds, and then a few singers will have an opportunity to try out these sounds on their audition songs.

Mary Saunders-Barton is a Penn State Professor Emeritus, currently residing in New York where she maintains a professional voice studio. In recent seasons her students have been seen on Broadway in Book of Mormon, Newsies, The King and I, Beautiful, Chicago, Kinky Boots, Mamma Mia, School of Rock, Wicked, Sunset Boulevard, Bandstand, A Bronx Tale, and Miss Saigon among others, and in many tours and regional productions. Mary is a 2018 recipient of a Lifetime Achievement Award from the Contemporary Commercial Music Vocal Pedagogy Institute at Shenandoah University.

SATURDAY, MARCH 10 8:00-9:00am Region board meeting – All district governors/chapter presidents are invited to

attend (Location TBA)

9:15-9:45am Judges’ meeting (Ware Recital Hall)

10:00am - 2:30pm Student Auditions Semi-final Round (Various locations)


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WORKSHOPS AND PRESENTATIONS

10:00-10:50am ‘Free Your Body, Free Your Voice’ with Heather Gardner (Rm 141) Start your day Saturday with an Alexander Technique-based floor class! We will use the principles of the Alexander Technique to find greater ease in body, breath and voice. Come and explore how freeing your body from habit and tension can help you find greater freedom in your voice, prevent vocal fatigue, find a greater range, and improve the quality of your sound! Heather Gardner teaches voice and the Alexander Technique, and maintains studios in West Philadelphia and Midtown Manhattan. She received a Bachelor’s Degree from The Eastman School of Music, a Master’s Degree from Rutgers University, and is an AmSAT-certified Alexander Technique teacher, graduating from the Balance Arts Center in New York City.

11:00am - 12:00pm ‘A Simple Acting Method for Small Opera Programs’ with Russell Franks (Rm 141)

(Bio can be found on previous page.) 12:30 – 1:50pm ‘Using a Healthy Speaking Voice’ with Elizabeth Grillo, Ph.D, CCC-SLP,

CFP (Rm 141) The Global Voice Therapy Model (GVTM) is used to facilitate a healthy speaking voice for all communication needs. The GVTM has four components: 1) stimulability testing to determine the most effective voice production techniques, 2) treatment hierarchy, 3) new versus old voice, and 4) additional methods that augment and support the target voice. Estill’s Figures and Qualities are used as stimulabilty testing in the GVTM. The presentation will discuss the GVTM and offer opportunities to apply concepts with attendees. Elizabeth U. Grillo, Ph.D., CCC-SLP, CFP is an associate professor in the Department of Communication Sciences and Disorders at West Chester University (WCU). After earning a Bachelor of Music in Voice Performance from Indiana University, she pursued a career change to speech-language pathology by earning an M.S. at Teachers College Columbia University and a Ph.D. at the University of Pittsburgh. Her clinical expertise is in voice disorders and in medical speech-language pathology. Currently, her research related to voice is addressing aerodynamic measures, the Global Voice Prevention and Therapy Model, apps, and telepractice. Her research has been supported by grants at WCU and an R15 from the National Institute on Deafness and Other Communication Disorders of the National Institutes of Health.

2:00 - 2:50pm ‘Masterclass on Schubert Style’ with Randall Scarlata (Ware Recital Hall) A class investigating the cusp-composer Franz Schubert, and how to best represent both his Classical and Romantic qualities. The class will address both performance and musicological issues. Two-three singer/pianist duos will be chosen for this class. Hailed for his warm, expressive sound and winning way with the audience, baritone Randall Scarlata has been praised by the New York Times as “an intelligent and communicative singer” with a “compelling desire to bring texts to life.” The Daily Telegraph (London) adds “Randall Scarlata sings with the assurance of one with nothing to prove.” Mr. Scarlata is a former Fulbright Scholar who has appeared as a soloist at important venues across the world. He was a winner of the International Schubert Lied


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competition in Vienna, the International Brahms competition in Hamburg, the Naumburg Competition, Joy in Singing, Young Concert Artists International Competition, and the Alice Tully Debut Recital Award. He is particularly well known for his performances of German Lieder and American Art Song, having worked closely with composers such as Ned Rorem, George Crumb, Lee Hoiby, Richard Danielpour, Samuel Adler, Lori Laitman, Daron Hagen, and Paul Moravec. He serves on the faculty of West Chester University, as well as SUNY Stony Brook, and is co-artistic director of the AlpenKammerMusik festival in Carinthia, Austria.

3:00 - 3:50pm ‘Korean Art Songs based on Arirang, a famous traditional song’ with In Young Lee (Ware Recital Hall)

Western music history in Korea began with the arrival of American missionaries in Korea in the 1880s. Unlike traditional Korean music, Western music initially stood tall as the new music culture to emulate and listen to, not only for musicians but also for the rest of Korean society. Korean music society has always had a clear separation between those who perform traditional music and Western music. In the past twenty years, globalization and the free sharing of music and ideas have created an enthusiasm in Korea for fusing elements of both Korean traditional music and western music into art songs. Ambitious Korean composers have begun composing new Korean songs using western compositional techniques with instruments, folksongs, and modal and rhythmic elements from Korean traditional music. On December 5, 2012, the song Arirang was selected for the UNESCO List of Intangible Cultural Heritage of Humanity in appreciation of its having been recreated and transmitted widely over many generations and regions in Korea, and because of its diversity in being easily sung by the public with just the “Arirang Arirang Arariyo” refrain. This spiritual tune touches the souls of the people in that it is part of the Korean identity, and is the integral expression of a nation of people. Since then, it has gained in significance and has achieved a more universal recognition. Although Arirang was just a folk song in early Korean history, it is now representing the essence of Korean culture. The songs represented in this concert are all Arirangs from different regions, in different musical styles, but all having some connection with the traditional Arirang theme. The general approach to singing in Korean traditional music is also much different than that of vocal training in the Western world. This new fusion of style – a folksong steeped in history through the lens of a western musical perspective – is enjoyable to explore as a singer. West Chester University Professor, Carl Cranmer, is the pianist for this event. In Young Lee has garnered widespread acclaim in Korea and the United States as a dynamic singer of Opera and Art song. As an Opera performer, Dr. Lee was a member of the Korean National Opera for two years, and has sung in the United States with the Des Moines Metro Opera, Chestnut Hill Operalogue, Baisley Powell Elebash Opera Company, and Temple Opera Theatre. Dr. Lee achieved world recognition as a Finalist in the Fifth Luciano Pavarotti International Voice Competition held in Philadelphia. Ranging from standard belcanto operas to twentieth-century operas, she performed as Violetta in La traviata, the Governess in The Turn of the Screw, Susanna in Le nozze di Figaro, Adina in L'elisir d'amore, Rosalinda in Die Fledermaus, Thérèse in Les mamelles de Tirésias, and Mimi in La Bohéme. Dr. Lee received her Doctoral degree in vocal performance, and her Master of Music and Professional Studies degrees in Opera from Temple University. She also has her Master of Music and Bachelor of Music degrees in vocal performance from prestigious Seoul National University. Her dissertation, "The English Diction Guide for Korean Singers," which is already being used by many Korean teachers and singers in the United States, was translated into Korean, and published and distributed in Korea in the fall of 2007.


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4:00 – 5:00pm Lecture Recital: The Many Faces of Mezzo: Witches, *itches, and Boys (Ware Recital Hall)

Dr. Emily Bullock and Dr. Vincent Craig will perform and talk about literature (opera, music theater, and art song) which is descriptive of the varying roles in which mezzo-sopranos are generally cast. Emily A. Bullock (Mezzo-soprano), Assistant Chair of Vocal/Choral, Associate Professor of Voice and Opera at West Chester University, is a regional, national and international performer. She is also an award-winning opera director, clinician and adjudicator. Dr. Bullock has performed many solo recitals throughout the United States. Dr. Bullock recorded the orchestral songs of Samuel Barber with the Russian Philharmonic, and, more recently, Honegger’s “King David” with the West Chester choirs and chamber ensemble. She is currently recording works of composer Valerie Crescenz. In 2010, the International Gilbert and Sullivan Festival awarded her Best Director for “The Sorcerer”. Some of Dr. Craig’s many performances include appearances in New York City at the Lincoln Center Library, Steinway Hall, Federal Hall, in Philadelphia at the Kimmel Center, Settlement Music School, and in Washington D.C. at the State Department. While enrolled at the La Guardia High School of Music and the Arts in New York he was a piano student of Jascha Zayde. He won the Scott Joplin Award from the Brooklyn Opera Society and a scholarship from the Brooklyn Chapter of the Links. He was praised in the New York Amsterdam News for his “style, great technical assurance and panache” after a performance of the George Walker Piano Sonata No. 1. Vincent Craig is currently the Music Director of the Main Line Unitarian Church in Devon, Pa., and is an Associate Professor of Piano at the School of Music in the College of Visual and Performing Arts at West Chester University of Pa., where he was the Frederick Douglass Artist in Residence.

EVENING MASTER CLASS 5:30 – 8:00pm Robert McIver (MWAT)

Robert McIver: BM, Oberlin College Conservatory of Music; MM and DMA, West Virginia University; further studies, Westminster Choir College (Walter Johnson Voice Scholarship). Studied with Richard Miller, Jon Crain and James Benner. Conductor, Westminster Festival Choir (1973, 1974). Director, Evansville Philharmonic Chorus and Evansville Chamber Singers (1983-90). Conductor, Owensboro Civic Chorus (1993-97). Conductor, Kentucky Wesleyan Singers (1981-97). Clinician for Westminster Choir College summer session (1975-87). Minister of music to churches in Cranford, NJ, and Owensboro, KY. Conductor of numerous choral festivals and workshops throughout the United States. Master Classes throughout the United States. Master Teacher for the National Association of Teachers of Singing Intern Program (Summer, 2004). Compositions published by Warner Bros., Choristers Guild, National Music, and Hinshaw. Visiting professor, University of North Carolina-Greensboro (Fall 1994). Faculty member, Westminster Choir College (1972-81), Kentucky Wesleyan College (1981-1997), Eastman (1997-).


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SUNDAY, MARCH 11 8:30 – 9:15am Eastern Region Membership Meeting – All region members are invited to attend

(Ware Recital Hall)

9:30 – 9:45am Judges’ Meeting – All teachers are expected to judge the finals. (MWAT)

10:00am STUDENT AUDITIONS FINAL ROUND (MWAT)

2:15pm (approx.) Winners Ceremony and Photos (MWAT)

3:00pm Depart for home

Lodging Information West Chester, PA

Hotel rates are guaranteed until February 9, 2018. Please mention “NATS reserved rooms” when booking. Swope School of Music (#1 on the map) S. High St. and E. Campus Dr. West Chester, PA 19382 Parking in the lot outside of the School of Music and in the adjacent garage will be free for the duration of the conference. Quality Inn and Suites (#2 on the map – 5 min drive to Swope) 610-692-1900 943 S. High St. West Chester, PA 19382 *** $89.49/night, 2 Doubles; $94.49 for 2 Queens: Breakfast buffet included. Brinton Hotel and Suites (#3 on the map – 10 min drive to Swope) 484-301-9232 1516 Wilmington Pike West Chester, PA 19382 *** $94 and $103+ tax/night. Best Western Plus – Concordville Hotel (#4 on the map – 15 min drive to Swope) 610-358-9400 675 Conchester Highway Glen Mills, PA 19342 *** $102+tax/night- includes hot breakfast.


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(Lodging cont’d) Hotel Warner (#5 on the map – 5 min drive to Swope) 610-692-6920 120 N. High St. West Chester, PA 19380 *** $169/night.


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RULES AND REGULATIONS

PURPOSE

A. To offer students of member teachers of NATS:

1. Encouragementtowardmorediligentstudyinthepreparationofappropriaterepertoire;2. Anopportunitytoperformunderconditionsdesignedtoprovidethemostcompleteandtotal

considerationforthestudent,andonewhichwillideallycombinethebestelementsofnon-competitiveandcompetitiveperformance;

3. Aspecificgoal,stimulatingthedesireandincentiveforvocalandmusicalself-improvement;4. Anopportunitytosingbeforequalifiedandimpartialjudges,andtoreceivecarefulandconstructive

criticism;5. Opportunitiesforpublicappearancebyoutstandingstudents;6. Recognitionofachievementandtalentbyappropriateawards.

B.ToprovideopportunitiesforprofessionalgrowthforNATSmembersthroughthesharingofideas,encounteringnewrepertoire,hearingotherteachers’studentsonanannualbasis,andparticipatingincarefullyconsideredevaluations.

ELIGIBILITY AND PROCEDURE

A. Any student currently studying with an active member in good standing at the national and district or chapter level of NATS is eligible. B.Ifthestudenthasbeenstudyingwiththesponsoringteacherforlessthaneight(8)months,acknowledgmentmustbemadeofthestudent'sformervocalstudybothontheapplicationandinanypublicannouncements.TheNATSCodeofEthicsprovidesthat"Itisunethicaltoclaimasapupilonehavingstudiedlessthaneightmonthswithateacherexceptwheretherehasbeennoprevioustraining."C.Allregistrationandpaymentoffeesforteachers,performersandaccompanistsmustbedoneonlineonlyatwww.nats.org.Hardcopiesandchecksarenotaccepted.YoucanfindregistrationinstructionsonceyouhaveloggedintoyourNATSaccount.

**RegistrationandpaymentoffeesmustbecompletedbyendofdayFebruary5,2018**

D.TeachersmustparticipateintheAuditions.AllteacherswhoenterstudentsmustattendandbeavailabletoadjudicateortoassistintheAuditionsforallrounds(Friday-Sunday).AtthediscretionoftheAuditionsChair,teachersovertheageof65and/orinillhealthmaybeexcusedfromadjudication.Ifunabletoattend,theteachermustsupplyaqualifiedsubstitutejudgeforbothFridayandSaturday,ORsubmitaRequestforJudgingWaiverandpaytheappropriatefee.Ineithercase,theteachermayenteronly2students.Inaddition,awaivermaybegrantedfornomorethantwoconsecutiveyears,afterwhichtimetheteachermustattendtheAuditionsinordertoenterstudents.E.NATSmembersmayenteronlytheirownstudentsintheAuditions.Enteringanotherteacher'sstudents,forwhateverreason,isunethicalandwillresultinthedisqualificationofallconcerned.F.Theauditioningstudentisresponsibleforbringinghis/herownaccompanist;suchanarrangementistothedecidedadvantageofthesinger.Schedulingmakesitimpracticalforoneaccompanisttoplayformorethan10students.Teachersmaynotaccompanytheirownstudents.Professionalstaffaccompanistswillbe


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availableattheconferenceforanadditionalfee.Thefeewillincludeplayinginallroundsoftheauditionsbut,becauseofschedulingproblems,rehearsalsmaynotbepossible.Pleaseindicateduringtheonlineregistrationprocessifaprofessionalstaffaccompanistisdesired.Forsingersusingtheprofessionalstaffaccompanist,NOREPERTOIRECHANGESareallowedaftertheregistrationperiodhasclosed.Again,itistothedecidedadvantageofthesingertobringhis/herownaccompanist.G.Forsingerswhobringtheirownaccompanists,substitutionsinrepertoirearepermitteduptothedayofthepreliminaryroundaslongastherequirementsaremet.H.Timingsforeachselectionmustbeincludedduringtheonlineregistrationprocess.I.Allsingersandaccompanistsmustperformfromlawfuleditionsandobserveandobeycopyrightlaws.Pleasecontacttheconferencechairifyouhaveanyquestionsregardingcopyrightrequirements.RefertotheNATSPolicyonCopyrightLawsformoreinformationfoundatwww.nats.org/copyright_info.html.J.Allselectionsmustbesungfrommemory,includingoratorioarias.Noparticipantwillbeallowedtosingwithmusic.K.Norepertoirechangesareallowedoncethestudenthassunginthepreliminaryround.Thesamerepertoireisusedforall3roundsoftheregionstudentauditions.Shouldastudentadvancetothenationalstudentauditions,thesamerepertoireusedattheregionauditionsmustbesunginthenationalauditions.Norepertoirechangeswillbeallowedbetweenregionalandnationalauditions.NOTE:Anystudentmay,withtheteacher'spermission,choosetosingforcommentonlywithinanyclassification.Thisinformationshouldbeindicatedduringtheregistrationprocessandontheadjudicationsheets.Norestrictiononageorlengthofstudyshouldapply.Thestudentwillbepermittedtosingallpreparedselections,providedtheyfallwithintimeguidelines.

ADJUDICATIONANDSTRUCTUREOFAUDITIONS

TheprincipalpurposeoftheAuditionsistogiveeachstudentafullhearingbeforequalifiedandimpartialjudges,aswellastheopportunitytoreceivecarefulandconstructivecriticism.Evaluativecommentsandideasareofgreatvaluetostudentsandteachers.Eachjudgeshouldmakeascomprehensiveacritiqueastimeallows,acknowledgingachievementandencouragingimprovement.Commentsthatwouldbeembarrassingtotheteacherordiscouragingtothestudentmustbeavoided;nooneshouldbecriticizedtothepointofhumiliationordefeat.SincetheAuditionsareimportanttotheparticipatingstudentswhohavemadeasignificantinvestmentintime,energy,andmoney,theexperienceshouldbepositiveandrewarding.Therealcompetitionisbetweenthestudentandhis/herownself-imageorself-imposedgoals.ThepreparationfortheAuditionsandthewrittenconstructivecriticismsarefarmorevaluablethananyawardorhonorgiventothestudent.PRELIMINARYROUND

1. Singersinallclassificationswillsingonesongofhis/herchoiceandthensongsselectedbytheadjudicatorswithinthetimelimits.

2. Duringthepreliminaryround,adjudicatorswillwriteconstructivecommentsandascorebetween70and100ontheirscoringsheets.Thesesheetswillbemadeavailablepriortothestartofthenextroundinorderthatthesingersmaybenefitfromthewrittencomments.

3. NOREPERTOIRECHANGESmaybemadeforthedurationoftheregionstudentauditionsonceastudenthassunginthepreliminaryround.


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SEMIFINALROUND1. ALLstudentswhohavereceived2scoresof90oraboveoranaveragescoreof90oraboveinthe

preliminaryroundwilladvancetothesemifinalround.Thereisnolimitonthenumberofsemifinalists.

2. Eachstudentwillsingoneselectionofhis/herchoiceinitsentiretyandthensongsselectedbytheadjudicatorswithinthetimelimits.Thetimeallottedforthesemifinalroundforthefollowingagecategorieswillbereducedby2minutes:highschool,lowercollege,uppercollege,adult,andmusictheater.Theadvancedcategorieswillbereducedby3minutes.

3. Duringthesemifinalround,adjudicatorswillwriteconstructivecommentsandascorebetween70and100ontheirscoringsheets.Thesesheetswillbemadeavailablepriortothestartofthenextround.

FINALROUND

1. Thetopthreestudentsfromeachcategorywilladvancetothefinalround,regardlessofnumericalscore.

2. Eachstudentwillsingonesongofhis/herchoicewithatimelimitoffiveminutesperstudent.3. Nowrittencommentswillbeprovidedinthisround.4. ALLTEACHERS,regardlessofwhetherornotoneormoreoftheirstudentshasadvancedtothefinal

round,willserveasjudgesforthefinalround.Winnersineachcategorywillberankedaccordingtothenumberofvotesreceived.

5. Awardsandcertificateswillbeannouncedanddistributedafterallcategorieshaveperformedandallvotesaretallied.First,secondandthirdplace(andoccasionallyfourthplace)willbeawardedattheconclusionofthefinalround.

ADVANCEMENTTOTHENATIONALSTUDENTAUDITIONS

1. RepertoireusedattheregionauditionsMUSTbeusedinthenationalauditions.NOREPERTOIRECHANGESareallowed.

2. Thetopfivestudentsineachcategorywillbeeligibletoadvancetothenationalstudentauditions.Thisnumberincludesthethreestudentswhoparticipatedintheregionfinalsaswellasthenexttwohighestscorersinthecategory.

ONLINEREGISTRATIONANDWEBSITEINFORMATION(www.nats.org) ThenewNATSAuditionsRegistrationsystemisdesignedinpartnershipwithAuditionwareanditscreatorBradMills.ThisisthesystemthattheEasternRegionhasusedinthepastandisnowaccessiblethroughthenationalwebsiteonly.Instructionsforenteringthesystemaswellascompletingtheregistrationprocessareincludedinthedocument“AccessingtheNATSAuditionsRegistrationSystem”.Youcanfindtheseinstructionsbyvisitingwww.nats.org,loggingintoyouraccount,andclickingonthelinkbelowthegreenregistrationbutton.Fee Schedule Payment of all fees will be made at the completion of the registration process on the NATS website.

Teacher Registration Fee - $30

Judging Waiver - $75 (required if a teacher is sending students but not attending)

Student Registration Fee (for all students) - $25 per student per category

Staff Accompanist Fee - $40 per student per category


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PERFORMER REGISTRATION WORKSHEET (Online registration and payment required – this form is for personal use only)

ONLINE REGISTRATION AND PAYMENT OF ALL FEES MUST BE COMPLETED BY FEBRUARY 5, 2018.

Name _____________________________________________________ Category ______________________________ Address ___________________________________________________ Birth date ______________________________ ___________________________________________________________ Total Length of Study ___________________ (Total years or semesters of study) Phone _____________________________________ Email _________________________________________________ School _____________________________________________________________________ Selection Major Work (if applicable) Composer Timing Key _____________________________________ ______________________________ ______________ ________ ______ _____________________________________ ______________________________ ______________ ________ ______ _____________________________________ ______________________________ ______________ ________ ______ _____________________________________ ______________________________ ______________ ________ ______ ACCOMPANIST’S NAME ________________________________________ PHONE _____________________ EMAIL _______________________________________________________ Note: Professional staff accompanists are available for a fee of $40. If you require a professional staff accompanist, please indicate that when registering online. You will have at most only a short rehearsal with the provided accompanist, so it is advantageous to bring your own if possible. ❒ This student needs a staff accompanist (be sure to request one during online registration). FEES FOR THIS STUDENT:

Registration fee ($25 per category) ____________

Staff accompanist fee ($40 per category) ____________

TOTAL FOR THIS STUDENT ____________

❒ I have received payment from this student. ❒ I understand that all accompanists must play from legal copies during the student auditions. (See the NATS copyright policy at http://www.nats.org/copyright_info.html) Name of previous teacher within the last 8 months ________________________________________________


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TEACHER REGISTRATION WORKSHEET (Online registration and payment required – this form is for personal use only)

ONLINE REGISTRATION AND PAYMENT OF ALL FEES MUST BE COMPLETED BY FEBRUARY 5, 2018.

Name __________________________________________________ NATS ID# ______________________________ Address ________________________________________________ Phone _________________________________ _______________________________________________________ Email __________________________________ Indicate private studio or name of institution: __________________________________________________________________ STUDENT NAME CATEGORY TIMING ACCOMPANIST (Accompanists may play for no more than 10 students) ________________________________________________ _____________ _______ ___________________________________ ________________________________________________ _____________ _______ ___________________________________ ________________________________________________ _____________ _______ ___________________________________ ________________________________________________ _____________ _______ ___________________________________ ________________________________________________ _____________ _______ ___________________________________ ________________________________________________ _____________ _______ ___________________________________ ________________________________________________ _____________ _______ ___________________________________ ________________________________________________ _____________ _______ ___________________________________ ________________________________________________ _____________ _______ ___________________________________ FEE CALCULATOR You will be responsible for collecting all fees from your students and paying the total sum for your studio at the time of online registration. The website will calculate the fees for you. However, for your convenience, the following is provided: Teacher registration fee ($30) _______________

Judging waiver fee if applicable ($75) _______________

Student registration fees ($25 per student per category) # of students x $25 = _______________ Staff accompanist fees ($40 per student per category) # of students x $40 = _______________

TOTAL DUE _______________

All fees are paid at the conclusion of registration. Payment is made online through the NATS website using a credit card.

2018EasternRegionRepertoireRequirements

Category

Length of

StudyA

ge Lim

itT

ime

Repertoire: ALLrepertoireissungfrom

mem

ory

High School M

usic Theater

IAL

ower H

igh School Music

Theater W

omen (9th &

10th G

rade)N

o limit

14-168 m

inutes

Three Contrasting M

usic Theater Selections from scores of book

shows w

ritten or intended for fully realized musical productions.

(a musical, revue, song cycle or operetta) O

nly one selection may

be an operetta aria.

IIAL

ower H

igh School Music

Theater M

en (9th & 10th

Grade)

No lim

it14-16

8 minutes

Three Contrasting M


shows w





IBU

pper High School M

usic T

heater Wom

en (11th &

12th Grade)

No lim

it16-19

8 minutes

Three Contrasting M


shows w





IIBU

pper High School M

usic T

heater Men (11th &

12th G

rade)N

o limit

16-198 m

inutes

Three Contrasting M


shows w




be an operetta aria.H

igh School Classical

IIIAL

ower H

igh School Wom

en (9th &

10th Grade)

No lim

it14-16

8 minutes

Three contrasting selections from classical repertoire. O

ne art song in English. O

ne art song in a foreign language. One

additional art song or aria.

IVA

Low

er High School M

en (9th &

10th Grade)

No lim

it14-16

8 minutes





IIIBU

pper High School W

omen

(11th & 12th G

rade)N

o limit

16-198 m

inutesThree contrasting selections from

classical repertoire. One art

song in English. One art song in a foreign language. O

ne additional art song or aria.

IVB

Upper H

igh School Men

(11th & 12th G

rade)N

o limit

16-198 m


classical repertoire. One art

song in English. One art song in a foreign language. O

ne additional art song or aria.


Low

er College M

usic Theater

VL

ower C

ollege Music

Theater W

omen

0-2 years post high school

2210 m

inutes

Three Contrasting M


shows w





VI

Low

er College M

usic T

heater Men


2210 m

inutes

Three Contrasting M


shows w




be an operetta aria.L

ower C

ollege Classical

VIIA

First Year

College/Independent Studio

Wom

en


2210 m


classical repertoire. One aria or

art song. One art song in English. O

ne foreign language art song.

VIIIA

First Year


Men


2210 m





VIIB

Second Year


Wom

en


2210 m





VIIIB

Second Year


Men


2210 m





Upper C

ollege Music T

heater

IXU

pper College M

usic T

heater Wom

en

3-5 years post high school all

as undergraduate25

12 minutes

Four Contrasting M


shows w





XU

pper College M

usic T

heater Men


as undergraduate25

12 minutes

Four Contrasting M


shows w






Upper C

ollege Classical

XIA

Third Y

ear C

ollege/Independent Studio W

omen


as undergraduate25

12 minutes

Four contrasting selections from classical repertoire. O

ne aria. O

ne art song in English. One foreign language art song. O

ne additional selection. A

t least three languages must be represented.

XIIA

Third Y

ear C

ollege/Independent Studio M

en


as undergraduate25

12 minutes


ne aria. O




XIB

Fourth/Fifth Year


Wom

en


as undergraduate25

12 minutes


ne aria. O




XIIB

Fourth/Fifth Year


Men


as undergraduate25

12 minutes


ne aria. O




Advanced

XIII

Advanced


Wom

en

4+ post high school

22-3015 m

inutes

Five contrasting selections from classical repertoire. O

ne operatic aria. O

ne oratorio/cantata aria. One foreign language art song.

One art song in English. O

ne additional selection from the

classical repertoire. At least three languages m

ust be represented.

XIV

Advanced


Men

4+ post high school

22-3015 m

inutes

Five contrasting selections from classical repertoire. O

ne operatic aria. O

ne oratorio/cantata aria. One foreign language art song.

One art song in English. O

ne additional selection from the

classical repertoire. At least three languages m

ust be represented.A

dult (These categories are intended for serious adult avocational m

usicians.)

XV

Adult M

usic Theater

Wom

en and Men

No lim

it22+

10-12 minutes

Three Contrasting M

usic Theater Selections from Staged

Broadw

ay or Off-B

roadway productions.

XV

IA

dult Classical W

omen and

Men

No lim

it22+

10-12 minutes






XV

IIH

all Johnson Spiritual C

ategoryN

o limit

17-23 (college undergraduate)

10 minutes

Three contrasting selections chosen from the official list of H

all Johnson spiritual repertoire found at

https://ww

w.nats.org/H

all_Johnson_Spirituals_Com

petition.html.

Due to the generosity of the H

all Johnson Estate a $2000 award

will be given in each national conference year (even years) to the

best performance of a H

all Johnson Spiritual for the conferences from

2016-2036. All interested perform

ers will apply for this

category as part of regional student auditions with the top five

regional singers advancing to the NSA

rounds as with all other

categories.

Hall Johnson Spiritual C

ategory - Inevenyearsonly

Audition T

erminology

Aria

An aria is a solo taken from

an opera, oratorio, mass, cantata, operetta, or w

orks titled "concert aria". Oxford O

nline definitions w

ill be used for the purposes of this audition. For example, Purcell's selections from

the semi-operas and m

asques are considered songs.

24/26/28 Italian Art Songs

and Arias

The repertoire found in the 24/26/28 Italian Art Songs and A

rias 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 m

ay count as an art song O

NLY

, regardless of origin. Any repertoire found outside of these collections w

ill be considered only as the com

poser intended, as an art song OR

aria.M

emorization

All repertoire, including oratorio, m

ust be sung from m

emory.

Original L

anguagesSelections should be sung in original language or in translation if w

arranted by comm

on performance practice.

Transposition

All arias from

opera, oratorio, mass, cantata, operetta, w

orks titled "concert aria", or music theater selections m

ust be sung in the original key or an alternate key based on com

mon perform

ance practice.

Classical

Repertoire/C

ategories

The word "classical" in this context refers to art songs and arias from

the "classical" genre, not limited to the "C

lassical" period of M

ozart and Haydn. In other w

ords, no music theater, pop, soul, jazz, rhythm

and blues, etc. Folk song arrangements are

widely accepted as a part of the classical genre and w

ould be acceptable and appropriate audition repertoire for students in classical categories.

Judicious Cuts

Piano introductions, piano interludes, piano music after the vocal solo is com

pleted, and internal cuts of opera arias and music

theater selections are allowed as in com

mon perform

ance practice. Cuts of verse or verses of selections are not allow

ed. In the case of strophic pieces, all verses should rem

ain that are traditionally included.

Music T

heater Selections

All repertoire m

ust be from staged B

roadway and O

ff-Broadw

ay productions. The production may be a m

usical revue, or song cycle but M

UST have been staged A

ND B

roadway or O

ff-Broadw

ay. Various online resources are available to confirm

such status, and teachers are encouraged to confirm

them w

hen selecting repertoire. Singers should ensure that contrasting selections represent the spectrum

of their vocal and dramatic abilities. For exam

ple, this may be exhibited by selecting pieces of varying

style periods (pop/rock, contemporary, G

olden Age) and em

ploying a variety of vocalism (belt, m

ix, legit).C

omm

ent Only

Any student m

ay register to sing for comm

ents only and participate in the preliminary audition round.

national association of teachers of singing...

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