Adjudicator Handbook 2011-2012

Transcription

Our mission is to educate and inspire all people to understand and value
the art of vocal music, and its lifelong impact on the human spirit.
Adjudicator Handbook
2011-2012
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MSVMA Adjudication Handbook
Introduction
Solo & ensemble and choir festivals are among the most attended vocal music
activities sponsored by MSVMA. If the adjudication sheets for all the various festivals in
the 15 MSVMA district and state festivals were collected and counted, they would
number over 10,000 for last year alone. The relatively small group of MSVMA
adjudicators has a tremendous impact on the direction, values, and accomplishments
of vocal music education programs in Michigan. We are pleased that you have
accepted the responsibility and challenge of this task, and we thank you for sharing
your expertise with our vocal music students and teachers. As you prepare for festival
adjudication, please use the following checklist to guide you in your decisions and
evaluations. It is our goal to arm adjudicators with the necessary tools that will make
all adjudication throughout Michigan consistent with the MSVMA educational
philosophies.
The adjudication philosophy of MSVMA has evolved to reflect the following:

The festival environment maintains the integrity of musical excellence, while
providing a student-centered, interactive learning assessment.

When students and teachers leave the festival experience, they should be inspired
to return.

The experience and process of performing and learning should be the most
important aspects of the festival.

At the conclusion of the festival experience, students and teachers should know
what they did well and have ideas for growth and improvement.

Adjudicators need to assess contextually, balancing the MSVMA rubrics with the
uniquely situated knowledge of each choir or singer.

Our goal is to promote healthy vocal technique, expressive musical interpretation of
traditional choral music and art song literature, musical literacy, and a lifelong love
of singing in young people.
The MSVMA Adjudication Committee
Ginny Kerwin, Adjudication Supervisor
Nancy Bray, Scheduling Coordinator
Cathy Brodie
Bob Cindric
Greg Cleveland
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Getting Started - A Checklist
Pre-Festival

In advance of the festival, return your contract to the MSVMA office.

Plan to arrive at the festival site early so the adjudicator's meeting can begin
promptly. Be helpful and considerate in making the festival run smoothly. For choral festivals, make sure you understand the procedures for music distribution, adjudication sheet pick up, audience rapport and introduction of the choirs. Remember,
you are being contracted and paid by MSVMA to serve.

Use the MSVMA nametag provided.

Keep track of your mileage and expenses for completion of the Independent Contractor Invoice at the conclusion of the festival.
In Performance Room

For solo & ensemble, consider greeting performers in a friendly but professional
manner. You might ask the student, "Is this your first time at S&E?", "Have you
been to S&E before?", etc.

Help make the performers feel as relaxed and focused as possible. Try to use the
students’ and directors’ names when possible. Ask the singers to introduce themselves and their selections.

For choral festivals, make sure all adjudicators are in place before the choir begins
to sing.

Watch the performers for at least a short time to assess their presentation. It is appropriate to applaud at the conclusion of the performance.

Remember to stay on time and keep to the schedule.
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Completing Adjudication Rubrics - A Checklist

Begin with a positive comment.

Direct comments to the students, not the teacher. The festival supervisor will provide notepaper and envelopes for you to write a personal note to the director or
teacher, if necessary. Avoid faulting students for teacher shortcomings.

If you need to write a constructive criticism, give a suggestion for improvement.

In the narrative portion, make every effort to write in a professional manner.

Highlight the strengths of the performance as well as the suggested areas for improvement. Include rehearsal techniques and pedagogical ideas.

Make sure you have clearly signed all adjudication forms. Consider keeping track
of your ratings on a separate schedule. This could be helpful later if there is a discrepancy.
Solo and Ensemble Festival

For each element there are four bulleted areas of focus. Circle the focus area descriptors that match the overall performance of each selection. There must be at
least one bullet highlighted or circled for each descriptor.

Assign an overall number for each element summarizing the circled descriptors.

The festival supervisor will bring to the attention of the adjudicators extreme discrepancies in their overall results.

If time allows use the rubric elements as a guideline for writing the narrative.

Keep in mind one or two areas to address in the clinic.
Choral

It is appropriate to confer with other adjudicators while writing sheets. Be willing to
use your own judgment calls when necessary.

For each element there are four bulleted areas of focus. Circle the focus area descriptors that match the overall performance of each selection. There must be at
least one bullet highlighted or circled for each descriptor.

Assign an overall number for each element summarizing the circled descriptors.

The festival supervisor will bring to the attention of the adjudicators extreme discrepancies in their overall results.
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Conducting Clinics - A Checklist

During the performance consider one or two ideas to highlight in the clinic.

Begin with a positive comment.

Time will only allow choosing one or two items to address based on the performance.

The clinic festival component is an opportunity to engage students and directors. It
should not be just another forum for reading your written comments. You might
consider asking questions like "When does your choir rehearse?", "How long have
you been working on these pieces?", or "Is this a select choir or open-to-all group?"
You might consider involving the students in the assessment of their performance.
Use their answers as you develop the focus of the clinic.

Try to assess the attention, anxiety and fatigue levels of the singer(s) and adjust
the clinic accordingly.

Reinforce the efforts of the director or teacher whenever possible. Sometimes just
hearing the same thing from another adult will help the students hear and accept
the suggestion. Look for an opportunity to let students know you noticed their hard
work.

Encourage the director to be involved in the process.

Allow enough time to end with a brief positive conclusion.
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Adjudicating Sight Reading
Choral festival sight reading is designed to evaluate our students' sight
reading ability. To be successful, preparation prior to festival is a must. It is
also highly recommended that sight reading be a regular part of daily class/
ensemble rehearsals. MSVMA recommends that students and directors select and adhere to a sight reading method with which they are comfortable
and have success. Whether a group is singing for final rating or comments
only, the choir is required to sight read. (Choirs singing for comments only
may request a sight reading clinic.) This applies to both high school and
junior high/middle school choirs.
Levels and Voicing
High School:
All choirs must sight read at the same voicing (Unison, 2-part, SAB, etc.)
and proficiency level (Primary, Intermediate, Advanced) as their required
performance selection. A choir may sight read at a more complex divisi or
higher proficiency level. If the voicing of the required selection is different
than the printed sight reading example, the director and adjudicator will determine the appropriate voicing.
Jr High/Middle School:
All choirs must sight read at the same voicing (Unison, 2-part, SAB, etc.) as
their required selection. Directors may choose the sight reading proficiency
level for their choir.
General Information
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The MSVMA Sight Reading Rubric defines the criteria for adjudication.
Sight reading exercises will be printed in the appropriate clef for each
voice. In the case of unison exercises involving male voices the exercise
will be printed in both clefs.
Each exercise will be eight measures in length.
Directors should choose a tempo at which the group can succeed.
General Rules and Procedures
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When the choir enters the room, the singers will organize themselves in
any arrangement of their choice. The sight reading books will remain
closed.
The adjudicator will confirm with the director the level and voicing to be
read.
The singers will open the sight reading books when instructed to do so.
The director and singers may discuss all of the exercises at the beginning of the session, or may address each exercise separately.
The director and singers may discuss any of the musical elements of the
exercises, but the director may not sing, clap, or in any way perform the
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exercise for the students.
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The director’s role after the discussion period is limited to giving tempi
and conducting the choir.
The director may use unvoiced assistance in maintaining a steady tempo
(ie. clapping, snapping, tapping).
The director is discouraged from giving verbal assists during the performance. Oral assistance from the director will be evaluated in light of the
overall performance.
Rhythmic exercises should be sung using an effective reading system.
(Clapping is not permitted).
Directors may not illustrate or conduct any rhythmic or melodic patterns
during the performance.
The director may transpose the key to best support the vocal abilities of
the choir. The director should inform the adjudicator of the key change.
Beginning pitches may be given vocally, by piano, or by pitch pipe.
Establishing the key
 The key may be established by having the students sing a few scales or
chord patterns. Intervals contained in the exercise may be sung as long
as they are not done in the sequence of the written material. (For example, random intervals or patterns such as 1-3-5-3-1, 1-4, etc. may be
sung by the students in preparation, and directors may call attention to
places where these occur in the exercise. They may not however, be
systematically rehearsed in the sequence in which they appear.)
 All singers are allowed to discuss and sing with their neighbors during
the prep time, as long as the director is not assisting by illustrating intervals or rhythms. This practice of “neighboring” is limited to 2 or 3
students.
 The “neighboring” groups may not join together and prepare as one
voice section.
 The performance should be sung using an effective reading system.
Performance Instructions
 Each ensemble will read three exercises.
 Exercise #1 will sung with rhythm only.
 Exercise #1 will be performed with melody and rhythm.
 Exercise #2 will be sung with rhythm only of the starred line.
 Exercise #2 will be performed with melody and rhythm.
 Exercise #3 will be performed with both melody and rhythm.
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2011-2012 MSVMA (Pilot)
District Solo & Ensemble Festival
SOLO PERFORMANCE
Event Order or Time of Appearance________ Event No.________ Date_________________
Name of Soloist_________________________ _________ Age__________ Grade_________
Voice Classification____________________________ Director_________________________
School________________________________ City__________________________________
Selections:
Selection #1_________________________________________________
Required Source___________________________________
Selection #2__________________________________________________
INSTRUCTIONS TO JUDGES
1. The Adjudicator listens and provides written narrative feedback on the last page of this evaluation
sheet.
2. On the inside pages of this evaluation sheet, the adjudicator circles the focus area descriptors that
match the overall performance of each selection. There must be at least one bullet highlighted or
circled for each descriptor.
3. The Adjudicator assigns a number that best describes the singer’s performance based on the
descriptors for each element.
4. The office personnel total the points and assign the appropriate rating as explained below.
5. A “Comments Only” rating is given by circling the appropriate descriptor(s) rather than listing the
numbers.
REMEMBER TO LISTEN WITH AN EAR FOR
WHAT IS AGE AND DEVELOPMENTALLY APPROPRIATE.
Final Determination
Superior
Excellent
Good
Fair
Poor
6-8 total
9-14 total
15-20 total
21-26 total
27-30 total
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Copyright 2011
Michigan School Vocal Music Association
Presentation
Interpretation
Language
Elements
Musical
Elements
Breath
Tonal
Beauty
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4
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The Tonal Beauty:
 is forced and/or unsupported
 is very tense
 is unfocused & lacks resonance
 lacks projection
 has incorrect vowel placement
The Tonal Beauty:
 is frequently forced and/or
unsupported
 is frequently tense
 requires more focus & resonance
 frequently lacks projection
 has frequent errors in vowel
placement
The Breath:
 has no depth
 has no support
 lacks breath management
 lacks correct posture
 lacks body alignment
The Breath:
 frequently requires more expansion
 needs more diaphragmatic support
 lacks breath management for most
phrases
 requires posture adjustments
 requires alignment adjustments
The Breath:
 occasionally requires more depth &
expansion
 has some unsupported air & lack of
energy
 lacks breath management for some
phrases
 displays balanced posture most of the
time
 uses good body alignment most of the
time
The Musical Elements Display:
 many pitch errors
 many rhythmic or rest errors
 poor intonation
 lack of marked tempo
 poor memorization
 frequent pitch errors
 frequent rhythmic or rest errors
 inconsistent intonation
 inconsistent tempos
 frequent memory lapses
 some pitch errors
 few rhythmic or rest errors
 some intonation inconsistencies
 some tempo variance
 a few memory lapses
The Language Elements:
 have incorrect pronunciation
 have no clear consonants
 have no syllabic stress
 have no understanding of text
 have no observance of diphthongs
 have frequent errors in pronunciation
 have a lack of clear consonants
 have little syllabic stress
 have little understanding of text
 have diphthongs that are incorrectly
sung
 have some errors in pronunciation
 have some articulated consonants
 have some syllabic stress
 have some text understanding
 have diphthongs that are
inconsistently sung.
The Interpretation Demonstrates:
 no use of dynamics & phrasing
 little use of dynamics & phrasing
 some use of dynamics & phrasing


no agility & expressiveness
no understanding of style
 little agility & expressiveness
 little understanding of style
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some agility & expressiveness
some errors in style

no articulations
 little articulation

some articulations

no connection of vocal line
 little connection of vocal line

some connection of vocal line
The Presentation Shows:
 little facial expression
 little characterization of text
 little stage presence & poise
 inappropriate literature
 frequent imbalance between soloist
& accompaniment
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 some facial expression
 some characterization of text
 some stage presence & poise
 literature which does not support the
ability of the singer
 acceptable balance between soloist
& accompaniment
 no facial expression
 no characterization of text
 no stage presence & poise
 unacceptable literature
 lack of balance between soloist &
accompaniment
The Tonal Beauty:
 is somewhat forced and/or
unsupported
 has some tension
 is sometimes unfocused
 has some projection
 has some errors in vowel
placement
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1
The Tonal Beauty:
 is vibrant most of the time
 is free of tension most of the time
 is often resonant with proper placement
 is projected with energy most of the time
 displays excellent vowel placement most
of the time
The Tonal Beauty:
 is vibrant
 is free of tension
 is resonant with proper vowel placement
 is projected with energy
 displays exemplary vowel placement
The Breath:
 has deep, low & expanded intake of air
most of the time
 has proper diaphragmatic support most of
the time
 has excellent management of exhalation
most of the time
 uses balanced posture most of the time
 is produced with excellent body
alignment
The Breath:
 is produced with a deep, low & expanded intake
of air
 is produced with proper diaphragmatic support
 is produced by exemplary management of
exhalation
 is produced with balanced posture (legs, feet,
chest & torso)
 is produced with exemplary body alignment
(head, chin, neck, shoulders & arms)
 accurate pitches most of the time
 accurate note & rest values most of the
time
 excellent intonation
 consistent tempo with sense of pulse
most of the time
 excellent memorization of all musical
elements
 accurate pitches
 accurate note & rest values
 exemplary intonation
 consistent tempo with strong sense of steady
pulse
 exemplary memorization of all musical
elements
 have accurate pronunciation most of the
time
 have clear consonants most of the time
 have use of excellent syllabic stress most
of the time
 show clear understanding of the text
 diphthongs correctly performed most of
are pronounced accurately in all languages
show clearly articulated consonants
have exemplary use of syllabic stress
show exemplary understanding of the text
have diphthongs correctly performed all of the
time
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the time.
 excellent use of dynamics & phrasing
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which are appropriate to style, notation
and text
excellent expressiveness
appropriate understanding of style, tone
color & agility
correct articulations (staccato, legato
ornamentation, etc.)
an excellent connected vocal line with
phrasing that creates fitting rise & fall of
the music notation
 excellent facial expression & physical
engagement
 emotional connection & characterization
of the text
 proper stage presence & poise
 mostly age appropriate literature
 excellent balance between soloist &
accompaniment
 exemplary dynamics which are appropriate to
style, notation & text
 exemplary expressiveness
 exemplary understanding of style, tone color &
agility
 exemplary articulations (staccato, legato,
ornamentation, etc.)
 an exemplary connected vocal line with
phrasing that creates fitting rise & fall of the
musical notation
 exemplary facial expression & physical
engagement
 exemplary emotional connection &
characterization of the text
 exemplary stage presence & poise
 age appropriate literature
11 accompaniment
 exemplary balance with
Overall
Determination
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Strengths of this performance are:
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Areas for improvement are:
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Additional comments may be placed in a
separate envelope for the director .
Signature of Adjudicator_____________________________________
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Printed Name_____________________________________________
2011-2012 MSVMA (Pilot)
District Solo & Ensemble Festival
ENSEMBLE PERFORMANCE
Event Order or Time of Appearance________ Event No.________ Date____________________
Name of Ensemble_______________________________________________________________
Number of Singers______________________
Voicing ________________________________
School________________________________
City__________________________________
Grades (√)
___6___7___8___9___10___11___12 Director _____________________________
Selections:
Selection #1____________________________Composer/Arranger______________________
Selection #2____________________________Composer/Arranger______________________
sheet.
3. The Adjudicator assigns a number that best describes the singer’s performance based on the
numbers.
Final Determination
Superior
Excellent
Good
Fair
Poor
6-8 total
9-14 total
15-20 total
21-26 total
27-30 total
13
Copyright 2011
Interpretation
Elements
Diction
Elements
Rhythm
Elements
Pitch
Elements
Tone Quality
Elements
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 Tone is forced, unsupported, or
 Tone is frequently forced,
spread.
 Vowels need to be shaped correctly.
 Tone requires properly produced
breath energy.
 Tone needs resonance and focus.
unsupported, or spread.
 Vowel shaping requires more
consistency most of the time.
 Tone requires more breath energy
most of the time.
 Tone requires more consistent
resonance and vitality throughout.
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 Frequent errors in pitches are evident.
 Inaccurate chord tuning, especially at
Pitches are predominantly incorrect.
Chord tuning is inaccurate.
Pitches lack a sense of tonal center.
Pitches lack a sense of melodic and
harmonic intervallic relationships.
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 Tone is occasionally forced,
consistency.
 Breath support and management are

inconsistent.
More consistent resonance and
vitality, especially in extreme ranges
or in difficult passages, are required
 Occasional errors in pitches are
evident.`
phrase endings, is evident.
 Tonal center needs to be more
apparent.
 Many inconsistencies are evident in
the melodic and harmonic intervallic
relationships.
 Chord tuning requires more
 Many errors occur in note and/or rest
 Frequent errors occur in note and/or
 Occasional errors occur in note and/or
values.
 Performance lacks rhythmic energy
and/or a sense of steady pulse.
 Inaccurate attacks and releases occur.
 Appropriate tempi are not observed.
rest values.
 Rhythmic energy and sense of steady
pulse are compromised by rushing
and/or dragging.
 Attacks and releases require better
accuracy.
 Appropriate tempi are rarely
observed.
 The pronunciation of consonants and
 Pronunciation of consonants and
 Language-appropriate pronunciation
vowels is inaccurate.
 Enunciation of text needs to be precise
and stylistically appropriate.
 Beginning and ending consonants
require articulation.
 Diphthongs are not observed.
vowels requires much more accuracy/
consistency.
 Enunciation of text needs to be
clearer, more precise, and stylistically
appropriate.
require articulation most of the time.
 Diphthongs are incorrectly sung.
of consonants and vowels requires
more consistency/accuracy.
 Enunciation of text is clear, precise,
and stylistically appropriate some of
the time.
require better articulation.
 Diphthongs are inconsistently sung.
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 Phrasing needs to be more apparent.
 Notated dynamics are either under or
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Phrasing requires attention.
Usage of dynamic ranges is
inaccurate.
Word and syllabic stresses are not
being observed.
Style requires attention.
 Tonal balance and sense of ensemble
Presentation
Elements
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are needed.
 Stage deportment, including stage
entrance/exit, posture, and attention to
conductor distracts from the
effectiveness of the performance.
 The text is not enhanced by facial
expression and physical involvement.
 Selection of literature is inappropriate
for the strengths and/or abilities of the
ensemble.
over stated.
 Text requires attention to syllabic and
word stress.
 Appropriate style is not apparent.
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Lapses in tonal balance and blend
occur.
Attention to proper stage
deportment, including stage
entrance/exit, posture, and attention
to conductor is needed.
The use of facial expression and
physical involvement to enhance the
text is inconsistent.
Selection
14 of literature limits the
strengths and/or abilities of the
ensemble.
consistency.
 Ensemble exhibits occasional lapses
in a sense of tonal center.
 Ensemble exhibits some
inconsistencies in the melodic and
rest values.
and/or dragging.
 Attacks and releases require more
consistent accuracy.
 Appropriate tempi are observed some
of the time.
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Phrasing is sometimes appropriate to
notation and text.
Dynamics are observed most of the
time.
Syllabic and word stress are
observed most of the time
Performance is stylistically
appropriate some of the time.
Proper balance predominates; minor
lapses may occur during extended
registers and/or changing dynamic
levels.
More attention to proper stage
to conductor is necessary.
The text is enhanced by facial
expression and physical involvement
some of the time.
Selection of literature may limit the
strengths and/or abilities of the choir
ensemble.
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 Tone is free (unforced), vibrant, and age
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
appropriate most of the time.
Vowel formation is consistently unified
most of the time.
Breath support and management are
deep, low, and fully expanded most of the
time.
Excellent placement and focus of tone
results in good resonance and energy.
 Pitches are correct most of the time.
 Good chord tuning with adjustments is
1
appropriate.
 Vowel formation is consistently unified.
 Breath support and management are deep, low,
and fully expanded.
 Exemplary placement and focus of tone results
in superior resonance and vitality.
 Pitches are correct.
 Chord tuning is outstanding; adjustments are
being made most of the time.
 Ensemble exhibits a strong sense of tonal
made instantly.
 Ensemble exhibits outstanding sense of tonal
center most of the time.
 Ensemble exhibits a solid sense of
center.
 Ensemble exhibits outstanding sense of melodic
melodic and harmonic intervallic
relationships.
 Note and rest values are executed
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
correctly most of the time.
Consistent rhythmic energy and obvious
sense of steady pulse are evident, and
minor inconsistencies are corrected.
Attacks and releases are performed
correctly most of the time.
Appropriate tempi are observed most of
the time.
 Pronunciation of consonants and vowels
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

is correct and language-appropriate most
of the time.
Enunciation of text is clear, precise, and
stylistically appropriate most of the time.
Beginning and ending consonants are
appropriately articulated.
Diphthongs are correctly performed most
of the time.
 Phrasing is appropriate to notation and
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

text.
Dynamics are observed.
Syllabic and word stress are observed.
Performance is stylistically appropriate
most of the time.
and harmonic intervallic relationships.
 Note and rest values are executed correctly.
 Consistent rhythmic energy and strong sense of
steady pulse are evident.
 Attacks and releases are performed correctly.
 Appropriate tempi are observed consistently
 Pronunciation of consonants and vowels is
correct and language-appropriate.
 Enunciation of text is clear, precise, and
stylistically appropriate.
 Beginning and ending consonants are
sensitively articulated.
 Diphthongs are correctly performed.
 Phrasing is appropriate to notation and text
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 Tonal balance among and between
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sections, including accompaniment, is
apparent.
An understanding of stage deportment,
including stage entrance/exit, posture,
and attention to conductor is displayed.
The text is enhanced by facial expression
and physical involvement most of the
time.
Selection of some of the literature
supports the strengths and ability levels
of the ensemble .
creating forward moving musical lines with
fitting rise and fall.
Dynamics are observed and applied to enhance
the expressiveness of the musical phrase.
Syllabic and word stress enhance the phrasing
and the meaning of the text.
Performance is stylistically appropriate.
 Tonal balance among and between sections,
including accompaniment, is outstanding.
 Professional stage deportment, including stage


conductor is displayed.
Facial expression and physical involvement are
appropriate to the text and style of the music.
Selection of all of the literature supports the
strengths and ability levels of the ensemble.
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Overall
Determination
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16
Printed Name_____________________________________________
2011-2012 MSVMA
District Choral Festival
PERFORMANCE
Name of Choir_________________________ Number of Singers______________________
School________________________________ City__________________________________
Grades (√)
___6___7___8___9___10___11___12 Director _________________________
Selections:
Required__________________________________________ Voicing _________Level__________
Selected__________________________________________ Voicing _________
sheet.
3. The Adjudicator assigns a number that best describes the choir’s performance based on the
numbers.
Final
Determination
Superior
Excellent
Good
Fair
Poor
24-32 total from performance and sight reading
17
Copyright 2011
Interpretation
Elements
Diction
Elements
Rhythm
Elements
Pitch
Elements
Tone Quality
Elements
5
 Tone is forced, unsupported, or
 Tone is frequently forced,
spread.
 Vowels need to be shaped correctly.
 Tone requires properly produced
breath energy.
 Tone needs resonance and focus.
consistency most of the time.
 Tone requires more breath energy
most of the time.
 Tone requires more consistent
resonance and vitality throughout.




 Frequent errors in pitches are evident.
 Inaccurate chord tuning, especially at
Pitches are predominantly incorrect.
Chord tuning is inaccurate.
Pitches lack a sense of tonal center.
Pitches lack a sense of melodic and
3
 Tone is occasionally forced,
consistency.
 Breath support and management are

inconsistent.
More consistent resonance and
vitality, especially in extreme ranges
or in difficult passages, are required
 Occasional errors in pitches are
evident.`
phrase endings, is evident.
 Tonal center needs to be more
apparent.
 Many inconsistencies are evident in
the melodic and harmonic intervallic
relationships.
 Chord tuning requires more
 Many errors occur in note and/or rest
 Frequent errors occur in note and/or
 Occasional errors occur in note and/or
values.
 Performance lacks rhythmic energy
and/or a sense of steady pulse.
 Inaccurate attacks and releases occur.
 Appropriate tempi are not observed.
rest values.
and/or dragging.
 Attacks and releases require better
accuracy.
 Appropriate tempi are rarely
observed.
 The pronunciation of consonants and
 Pronunciation of consonants and
 Language-appropriate pronunciation
vowels is inaccurate.
 Enunciation of text needs to be precise
and stylistically appropriate.
require articulation.
 Diphthongs are not observed.
vowels requires much more accuracy/
consistency.
 Enunciation of text needs to be
clearer, more precise, and stylistically
appropriate.
require articulation most of the time.
 Diphthongs are incorrectly sung.
of consonants and vowels requires
more consistency/accuracy.
 Enunciation of text is clear, precise,
and stylistically appropriate some of
the time.
require better articulation.
 Diphthongs are inconsistently sung.


 Phrasing needs to be more apparent.
 Notated dynamics are either under or



Phrasing requires attention.
Usage of dynamic ranges is
inaccurate.
Word and syllabic stresses are not
being observed.
Style requires attention.
 Tonal balance and sense of ensemble
Presentation
Elements
4
are needed.
 Stage deportment, including stage
conductor distracts from the
effectiveness of the performance.
 The text is not enhanced by facial
expression and physical involvement.
 Selection of literature is inappropriate
for the strengths and/or abilities of the
ensemble.
over stated.
 Text requires attention to syllabic and
word stress.
 Appropriate style is not apparent.




Lapses in tonal balance and blend
occur.
Attention to proper stage
to conductor is needed.
The use of facial expression and
physical involvement to enhance the
text is inconsistent.
Selection
18 of literature limits the
strengths and/or abilities of the
ensemble.
consistency.
 Ensemble exhibits occasional lapses
 Ensemble exhibits some
inconsistencies in the melodic and
rest values.
and/or dragging.
 Attacks and releases require more
consistent accuracy.
 Appropriate tempi are observed some
of the time.







Phrasing is sometimes appropriate to
notation and text.
Dynamics are observed most of the
time.
Syllabic and word stress are
observed most of the time
Performance is stylistically
appropriate some of the time.
Proper balance predominates; minor
lapses may occur during extended
registers and/or changing dynamic
levels.
More attention to proper stage
to conductor is necessary.
The text is enhanced by facial
expression and physical involvement
some of the time.
Selection of literature may limit the
strengths and/or abilities of the choir
ensemble.
2
1
 Tone is free (unforced), vibrant, and age appro-



appropriate most of the time.
Vowel formation is consistently unified
most of the time.
Breath support and management are
deep, low, and fully expanded most of the
time.
Excellent placement and focus of tone
results in good resonance and energy.
 Pitches are correct most of the time.
 Good chord tuning with adjustments is
priate.
 Vowel formation is consistently unified.
 Breath support and management are deep, low,
and fully expanded.
 Exemplary placement and focus of tone results
in superior resonance and vitality.
 Pitches are correct.
 Chord tuning is outstanding; adjustments are
being made most of the time.
 Ensemble exhibits a strong sense of tonal
made instantly.
 Ensemble exhibits outstanding sense of tonal
center most of the time.
 Ensemble exhibits a solid sense of me-
center.
 Ensemble exhibits outstanding sense of melodic
lodic and harmonic intervallic relationships.
 Note and rest values are executed most of



the time.
Consistent rhythmic energy and obvious
sense of steady pulse are evident, and
minor inconsistencies are corrected.
Attacks and releases are performed correctly most of the time.
Appropriate tempi are observed most of
the time.
 Pronunciation of consonants and vowels



is correct and language-appropriate most
of the time.
Enunciation of text is clear, precise, and
stylistically appropriate most of the time.
Beginning and ending consonants are
appropriately articulated.
Diphthongs are correctly performed most
of the time.
 Phrasing is appropriate to notation and



text.
Dynamics are observed.
Syllabic and word stress are observed.
Performance is stylistically appropriate
most of the time.
and harmonic intervallic relationships.
 Note and rest values are executed correctly.
 Consistent rhythmic energy and strong sense of
steady pulse are evident.
 Attacks and releases are performed correctly.
 Appropriate tempi are observed consistently
 Pronunciation of consonants and vowels is
correct and language-appropriate.
 Enunciation of text is clear, precise, and stylistically appropriate.
 Beginning and ending consonants are sensitively articulated.
 Diphthongs are correctly performed.
 Phrasing is appropriate to notation and text



 Tonal balance among and between sec


tions, including accompaniment, is apparent.
An understanding of stage deportment,
including stage entrance/exit, posture,
and attention to conductor is displayed.
Facial expression and physical involvement are appropriate to the text and style
of the music most of the time.
Selection of some of the literature supports the strengths and ability levels of
the ensemble .
creating forward moving musical lines with
fitting rise and fall.
Dynamics are observed and applied to enhance
the expressiveness of the musical phrase.
Syllabic and word stress enhance the phrasing
and the meaning of the text.
Performance is stylistically appropriate.
 Tonal balance among and between sections,
including accompaniment, is outstanding.
 Professional stage deportment, including stage


entrance/exit, posture, and attention to conductor is displayed.
Facial expression and physical involvement are
appropriate to the text and style of the music.
Selection of all of the literature supports the
strengths and ability levels of the ensemble.
19
Overall
Determination
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20
Printed Name_____________________________________________
2011-2012 MSVMA
District Choral Festival
SIGHT READING
Name of Choir_________________________ Number of Singers______________________
School________________________________ City__________________________________
Grades (√)
___6___7___8___9___10___11___12 Director _________________________
Selections:
Required__________________________________________ Voicing _________Level__________
Sight Reading Level _________________________________
sheet.
match the overall sight of each requirement. There must be at least one bullet highlighted or
3. The Adjudicator assigns a number that best describes the choir’s performance based on the
numbers.
Final
Determination
Superior
Excellent
Good
Fair
Poor
21
Copyright 2011
Rhythm & Melody
Rhythm & Melody
Rhythm & Melody
OTHER
FACTORS
Exercise #3
Performance
Exercise #2
Performance
Exercise #2
Rhythm Only
Starred Line
Exercise #1
Performance
Exercise #1
Rhythm Only
Unison
5
4

Many errors occur in note and rest
values.
Frequent errors occur in note and rest
values.

Occasional errors occur in note and
rest values.

Rhythmic energy and a sense of steady 
pulse are not evident.
Rhythmic energy and a sense of
steady pulse are compromised.

Consistent rhythmic energy and a
sense of steady pulse are emerging.

Tempo is not appropriate.

Tempo is rarely appropriate.

Tempo is appropriate some of the
time.

Many errors occur in pitches/note
values/rest values.
Tonal center is not apparent.
Intonation is inaccurate.
Rhythmic energy and a sense of steady

Frequent errors in pitches/note values/
rest values are evident.
Tonal center needs to be more
apparent.
Intonation is frequently inaccurate.
Rhythmic energy and a sense of pulse
are compromised.

Pitches/note values/rest values are
correct most of the time.
Ensemble exhibits occasional lapses
Intonation is occasionally inaccurate.
time.

Many errors occur in note and rest
values.

Frequent errors occur in note and rest
values.

Occasional errors occur in note and
rest values.

Rhythmic energy and a sense of steady 
Rhythmic energy and a sense of
steady pulse are compromised.




time.

values/rest values.

apparent.
are compromised.

time.

apparent.
are compromised.


values/rest values.

A reading system is not apparent

Use of a reading system is in place,
but needs to be more apparent.

Use and understanding of a reading
system is in place.

Concentration of the ensemble is not
evident.

Concentration of the ensemble needs
to be more apparent.

Concentration of the ensemble
predominates.
Use of phrasing and expression is not
apparent.

Use of phrasing or expression is
apparent.

Use of phrasing and expression is
apparent.
The ensemble performs with constant
assistance from director.

The ensemble
performs with frequent
22
assistance from director.

The ensemble performs with
occasional assistance from director.















3
























time.
2
1

Note and rest values are performed
correctly.

correctly by the entire ensemble.

Consistent rhythmic energy and an
obvious sense of steady pulse are evident
and minor inconsistencies are corrected.

Consistent rhythmic energy and a strong
sense of steady pulse are evident.


Tempo is appropriate.
Tempo is appropriate most of the time.

performed correctly.
Ensemble exhibits a strong sense of tonal
center.
Intonation is strong most of the time.

Pitches, note values, and rest values are
performed correctly by the entire
ensemble.
Ensemble exhibits an outstanding sense
of tonal center.
Intonation is outstanding.

correctly.

correctly by the entire ensemble.




Tempo is appropriate .

center.

ensemble.
of tonal center.
center.


Use and understanding of a reading
system is apparent and effective.

The entire ensemble makes effective use
of a reading system.

The ensemble exhibits concentration.

The entire ensemble exhibits
concentration.

Phrasing and expression are appropriately

performed.














The ensemble performs independently.













ensemble.
of tonal center.
Phrasing and expression are effectively
and artistically performed.
The entire ensemble23
performs
independently.
Overall
Determination
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Unison
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Exercise #1
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Performance
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Rhythm & Melody
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Exercise #2
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Rhythm Only
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Starred Line
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Exercise #2
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Performance
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Rhythm & Melody
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Exercise #3
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Performance
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Rhythm & Melody
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OTHER
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FACTORS
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Exercise #1
Rhythm Only
Printed Name_____________________________________________
24
Sample Adjudication Sheet
MSVMA Regional High School
Honors Choir Audition
Name____________________________
Category
Total Score
Voice Part_______________
Maximum
Points
Points
Awarded
Points
Deducted
25
__________
__________
10
10
15
__________
__________
__________
__________
__________
__________
20
__________
__________
10
__________
__________
6. Pitch Accuracy
7. Rhythm Accuracy
5
5
__________
__________
__________
__________
TOTAL POINTS POSSIBLE
100
TOTAL POINTS
AWARDED
TOTAL POINTS
DEDUCTED
Required audition selection
1.Tone Quality
(supported, free, focused)
2.Technical Accuracy
Pitch
Rhythm
3. Intonation
(% of in-tune singing)
4. Memorization
(% of piece memorized)
5. Musicianship
(phrasing, dynamics, diction)
Sight Reading
Comments: (optional)
25
MSVMA 6-7-8-9 Honors Choir Audition
____________
Total Score
Category
Maximum Points
Tone Quality (blend, uniformity, balance)
30
Memorization (% of piece memorized)
20
Pitch Accuracy
15
Rhythmic Accuracy
15
Intonation
10
Points Awarded
____________
____________
____________
____________
____________
Points Deducted
____________
____________
____________
____________
____________
Interpretation (phrasing, dynamics)
TOTAL POINTS POSSIBLE:
TOTAL POINTS
TOTAL POINTS
____________
____________
10
100
AWARDED
DEDUCTED
MSVMA State High School Honors Choir Audition
_______________
Total Score
Name __________________________________________ Voice Part _____________________
Assigned to: SATB TTBB SSAA
................................................................................
Category
Maximum Points Points Awarded Points Deducted
Tone Quality
25
____________
____________
Memorization (% of piece memorized)
20
____________
____________
Pitch Accuracy
15
____________
____________
Rhythm Accuracy
Intonation
Interpretation (phrasing, dynamics)
TOTAL POINTS POSSIBLE:
15
15
10
100
26
____________
____________
____________
____________
____________
____________
TOTAL POINTS
AWARDED
TOTAL POINTS
DEDUCTED
State Solo and Ensemble Festival
SOLO
Event Order or Time of Appearance________Event No._______Date__________
Name of Singer_____________________Age___________Grade_____________
Voice Classification___________ Director________________________________
School_____________________ Required Collection ______________________
Selections: Required________________________________________________
Selected________________________________________________
Selections used at District S&E 1.______________________2.___________________
Performance time not to exceed 8 minutes
Rate each category
(1=Excellent, 2=Good, 3=Fair, 4=Poor)
TONE QUALITY
vowel purity
resonance
vitality
focus
PITCH ELEMENTS
correct pitches
overall intonation
chord tuning
RHYTHM ELEMENTS
correct note and rest values
rhythmic energy
steadiness of tempo
tempo changes
VOCAL TECHNIQUE
diction (pronunciationenunciation-articulationdiphthongs)
attacks and releases
flexibility
breath management
INTERPRETATION/PRESENTATION
phrasing
dynamics/style
expressiveness
balance between voice and
accompaniment
appearance/poise
TOTAL
5-7 = Division I
8-12 = Division II
13-17 = Division III
18-20 = Division IV
Is this solo to be considered for Michigan Youth Arts
Festival? If yes, the MYAF box must be checked, and
the director’s and soloist’s signatures must appear on
the application. Sight reading must be sung at the
intermediate or advanced level.
Rating
Check  here
if you do not
want this rating
posted.
YES
NO
PERFORMANCE OBSERVATIONS and INSTRUCTIONAL NARRATIVE
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(Continue on back)
27
21
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28
22
Sight Reading
Event Order or Time of Appearance___________
Event Date ______________
Name of Singer _________________________
Voice Classification ______________________
School ________________________________
Director _______________________________
SOLO
Rating
Event No.__________
Use no + or - signs
MYAF Consideration (√) _____yes _____no
Check here if you do not want this rating posted ____
Level Read (√)
Previous participation in State Solo and Ensemble Festivals:
Grade 9
Sight Reading Level__________ Rating__________
Grade 10
Grade 11
Current
Sight Reading Level__________
(To be considered for Michigan Youth Arts Festival
you must read at the Intermediate or Advanced level)
A. Explain the key signature (2 points)
Primary __________
Intermediate __________
Advanced __________
FOR JUDGE’S USE ONLY
_____
B. Explain the time/meter signature (2 points) _____
C. Explain the tempo marking (1 point)
_____
D. Explain the dynamic markings (1 point)
_____
E. Tell the pitch names of the exercise in
whatever system the student uses i.e.
letter names, movable or fixed do,
numbers (3 points)
_____
F. Performance
2 points are allotted per measure
(16 points possible)
PERFORMANCE
 indicates correct
1 point per 
_____
Measure
Number
Pitch
Rhythm
1.
TOTAL POINTS
__________
2.
3.
Rating Scale:
I
21-25 points
II
16-20 points
III 11-15 points
IV 0-10 points
4.
5.
6.
Signature of Adjudicator__________________________
Printed Name__________________________________
7.
8.
TOTAL
29
23
30
ENSEMBLE
Rating
Event Order or Time of Appearance______Event No._________Date_________
Name of Ensemble______________________Grades () ___9___10___11___12
Number of Singers_____Voicing_____School____________________________
Director_____________________________Performance time not to exceed 8 minutes
 here
Selections: 1._____________________________ () a cappella:___yes___no Check
if you do not want
this rating posted.
2._____________________________ () a cappella:___yes___no
District Solo & Ensemble Selections 1._______________________2._______________________
Rate each category
TONE QUALITY
vowel purity
resonance
vitality
focus
PITCH ELEMENTS
correct pitches
overall intonation
chord tuning
RHYTHM ELEMENTS
correct note and rest values
rhythmic energy
steadiness of tempo
tempo changes
VOCAL TECHNIQUE
diction (pronunciationenunciation-articulationdiphthongs)
attacks and releases
flexibility
breath management
INTERPRETATION/PRESENTATION
phrasing
dynamics/style
expressiveness
balance among voices
appearance/poise
TOTAL
5-7 =
8-12 =
13-17 =
18-20 =
Division I
Division II
Division III
Division IV
Is this ensemble to be considered for Michigan Youth Arts
Festival? If yes, director’s signature must appear on the application, sight reading must be sung at the intermediate level, and at least one selection must be a cappella.
YES
NO
PERFORMANCE OBSERVATIONS and INSTRUCTIONAL NARRATIVE
_____________________________________
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31
(Continue on back)
25
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32
26
Sight Reading
ENSEMBLE
Rating
Event Order or Time of Appearance__________
Event No._______________
Event Date ______________
Name of Ensemble___________________________ No. of singers_____________
Voicing__________
Grades ___9 ___10 ___11 ___12
School____________________________ Director__________________________
Check here if you do not want this rating posted ______
Michigan Youth Arts Festival Candidate (check): _____yes _____no
(INTERMEDIATE REQUIRED FOR MYAF CONSIDERATION)
Sight reading level (check): _____Primary
_____Intermediate
Use no + or - signs
Level Read ( check)
Primary __________
Intermediate __________
FOR JUDGE’S USE ONLY
Rate each descriptor
RHYTHM ELEMENTS
Correct Note and Rest Values
__________
Feeling of Pulse
__________
Tempo - Appropriate and Steady
__________
PITCH ELEMENTS
Correct Pitches
__________
Feeling of Tonality
__________
Intonation
__________
OTHER
Technique (movable or fixed do using solfege, numbers,
letter names, or neutral syllable(s)
__________
Concentration of group members
__________
Expression, phrasing, tone, quality
__________
TOTAL
__________
Signature of Adjudicator _______________________________________
Final Rating Scale
I
9-15 points
II
16-22 points
III 23-29 points
IV 30-36 points
Printed Name ________________________________________________
Additional comments may be placed in a separate envelope for the director.
33
27
34
THE NUTS AND BOLTS OF THE JUDGING SCENE
OR
ALL THE BASICS
Before the Festival
1. Fill out the Availability Forms & Questionnaires. Return to the MSVMA office.
2. Return the contracts that you are issued to the MSVMA office as soon as possible.
If you cannot accept one or more of the contracts, please write boldly across the sheet
that you can’t accept. Do not sign contracts you reject. Sign all accepted contracts.
If you are forced to renege on a contract, contact Nancy by email immediately:
corbinbray@comcast.net
4. File your contracts. It is your responsibility to be there.
5. You should receive information packets from the District Manager at least a week
prior to the event. Email Nancy if this has not happened. The packet will include
maps, directions, meeting time, and hotel accommodations.
If you get sick at the last minute, or have an emergency that makes it impossible to fulfill your contract – call Nancy’s cell: 734 255 1846.
The Day of the Festival
1. Arrive on time.
2. Sign all sheets for the day at the morning meeting.
3. Be nice to the District Manager. They are underpaid (volunteers), over-worked and
busy. They often have singers performing that day, which only adds to their stress.
4. Be flexible. Go with the flow. Do anything and everything you can to keep the festival going as smoothly as possible.
5. Stay on Schedule. At S&E, you will need to pare down your clinic time in order to
leave time to write and give the rating. Do not clinic right up until the next singer arrives. A judge who is running late plays havoc with the entire festival schedule. Remember that each singer, accompanist, and director may be in other events that are
not listed on your schedule.
6. Turn in your sheets in a timely fashion.
7. Be friendly. A scowling judge makes performers more nervous than they already
are. Even if the performance is lacking, you need to be kind and polite. Be professional.
8. Strive for tact. It is better to say, “the over-all intonation of the choir tends to sag at
times” rather than “this choir sings frightfully out of tune”. Directors are putting themselves and their singers on the line by performing for you. Be gentle and encouraging.
Use a balance of “Well Done” and “Needs Work”.
9. Suggest different ways of doing things, rather than focusing on improving the way
they are doing it.
35
Write legibly.
1. Be sure the numbers in the box agree with your written comments. Do not write in
glowing terms about their tone and then give them a 2 or 3 in that category. Directors
want consistency.
2. You need to be able to listen, watch, and write at the same time. In order to facilitate this try:
 Putting a + or – beside the phrases next to the box. It may help you remember
what you especially liked or disliked about the performance. You can elaborate later.
 Watch the choir for a minute or two before you start to write. You will often see the
reasons for what you hear.
 Use key words near each box to remind you of what you want to discuss in more
detail.
 Strive for the big picture. It is probably not too helpful to say that the A vowel in
measure 93 was too spread. But, you might say that the A vowel tends to be too
spread throughout the performance, or it is too spread in the higher ranges, or it is too
spread in one section of the choir. Then write or clinic on several ways to improve the
shape and placement of the vowel.
 If you are the clinician at Choral Festival, concentrate on one or two concepts to
work on with the choir. It is far more helpful to delve deeply into a few concepts than to
briefly touch on many concepts. The trick is being able to create the “teachable moment” in the clinic based on what you heard in the performance.
 Do not touch any of the students. This is an MSVMA policy.
 When judging younger singers
Encourage age appropriate sound. It is important to know the difference between a tone that is immature and one that is supported incorrectly. A 12-year
old voice and an 18-year-old voice do not sound the same. Young voices can
do dynamic variation and should be expected to do so, but it often won’t be as
pronounced as it is with older singers.
 Use a positive approach at all times.
After the Festival
Fill out the Festival Evaluation Form and mail to the MSVMA office. If you do a lot
of judging and want to hold these evaluations until the end of the year – fine.
Call or email Nancy if you encounter any serious problems at a festival.
36
ADJUDICATION - JUST THE FACTS
for New Adjudicators
A guide to getting through the Fall Adjudicator’s Packet for the first time.
Read the letters from Ginny and Nancy. There is often new information contained in these letters.
Fill out the Adjudicator Availability Forms. Select the dates and sites of your choice. You may be willing to
go to all districts listed on the same date. X all those slots. You may be willing to go to only one of the sites
listed on a given date. X only that slot. Priority will be given to a judge who can do both days of a two-day
festival.
 After all the districts have been assigned their judges, a contract will come to you from the
MSVMA office for the events you have been assigned to judge. Return those contracts (signed).
If you are unable to honor a contract, please return it unsigned. The contracts are usually sent
electronically in early November.
 Generally, judges are not assigned to adjudicate in the district where they live or teach.
Exception to this would be if you move away from a district or retire from teaching. In these
situations, we request a waiting period of 5 years,
Reimbursement:
 An “Independent Contractor Invoice will be given to you at the festival by the District Manager
(DM).
 You will be paid $185.00 for a 5-8 hour day. Overtime is paid at $25.00 per hour. Less than 5
hours is paid at $25.00 per hour. Friday night festivals are often under 5 hours. They start at
4:00 and end at 9:00 with an hour off for dinner. We do not pay for dinner or lunch breaks, but
do pay for mid-morning and mid-afternoon breaks.
1. Mileage is currently paid at .50 cents per mile. Put your round trip mileage in the
appropriate blanks.
2. The DM will arrange and pay for your hotel accommodations. You will be notified a week
or so before the event as to which hotel is being used. Hotels are provided the evening
before an event if the event starts early in the morning. Hotels are provided the evening
of the 1st day if there is a 2nd day to the festival. Hotels are not provided at the end of the
festival.
3. Many meals are provided on site. Those that are not, please submit the receipt to the
DM. Allowance is $15.00 per day for breakfast and lunch combined and $15.00 for
dinner. Many hotels provide breakfast.
4. You will be paid on site at District events and be reimbursed a week or so later after
State events. Receipts are required for meals.
5. Maps and directions will come from the DM. These will tell you how to get to the hotel
and to the event site.
Change of date
 Please do the best you can to determine which dates you can judge. Finding replacements is not
always easy. But, it is necessary sometimes due to illness, a change in schedule, or other issues that
come up in life. We just ask that changes be made only in an emergency or when critically necessary.
 The DM will typically send you a list of all judges for a festival. This makes it easier to arrange
carpooling if another judge lives near you and you are inclined to share rides.
 You are not allowed to judge in your own district.
If you have any further questions, please email Nancy Bray at corbinbray@comcast.net
37
ADJUDICATOR EVALUATION FORM
Please reflect upon your festival experience and submit this form to MSVMA, Adjudication Supervisor, P.O. Box 1131,
Big Rapids MI 49307-1131 or FAX 231-592-9345. Evaluations will be accepted only from an MSVMA member who was
present in the room during the adjudication. Evaluators will not be identified to the adjudicator/s.
Submit the evaluation online, one for each group, soloist, and adjudicator.
Name of Festival ___________________________________________________ Date of Festival ____________ ___
Performer or Performance Group____________________________________________________________________
Adjudicator __________________________________________________________________________________ ___
School _______________________________________ MSVMA Member____________________________________
Were you present in the room for the adjudication?
Yes__________ No __________
CLINIC
1.
2.
3.
4.
5.
6.
Were the adjudicator’s comments considerately delivered?
Were you and your students effectively engaged in the clinic experience?
Did the adjudicator provide valuable techniques and suggestions?
Was the adjudicator’s basic approach positive and encouraging?
Was the adjudicator prompt?
Did the adjudicator keep to the schedule?
Yes__________
Yes__________
Yes__________
Yes__________
Yes__________
Yes__________
No __________
No __________
No __________
No __________
No __________
No __________
Yes__________
Yes__________
Yes__________
Yes__________
Yes__________
Yes__________
Yes__________
No __________
No __________
No __________
No __________
No __________
No __________
No __________
WRITTEN ADJUDICATION
1.
2.
3.
4.
5.
6.
7.
Was the adjudication sheet easy to read?
Were the adjudicator’s comments musically accurate?
Was the adjudicator's basic approach constructive?
Were the comments detailed?
Was the adjudicator as thorough as time permitted?
Were the comments consistent with the rating?
Will the adjudicator’s comments help you and your students in the future?
Additional comments may be submitted to the
MSVMA Adjudication Supervisor
msvma@msvma.org.
38
39
STEPS AND PROCESS
TO BECOMING AN ADJUDICATOR
(It is very common for individuals to attend both.)
Attend a Fall Clinic
October 8, 2011
If you are a solo judge:
Attend the Solo In-Service Day
Date and Location TBD
If you are a choral judge:
Attend the Choral In-Service Day
Date and Location TBD
The Adjudication Committee meets in June each year to review the written sheets from the
in-service days. Recommendations for MSVMA certification are submitted to the Executive
Board at their July meeting. In late summer, all prospective adjudicators receive notification
from the Executive Director of their certification status along with adjudication availability information for the coming festival season.
40
2011-2012 MSVMA Independent Contractor Invoice
effective July 1, 2011)
(
Please fill out the form completely, attach all bills and send the completed form to the appropriate District Manager, Supervisor or Executive
Director. This invoice will not be paid in full without proper documentation.
SERVICES
Adjudication
(See note at bottom of form)
Other Services
Event ________________Date_________________ Location______________________
Hours from _______________ to __________________
Event ____________________Date_________________ Location______________________
Hours from _______________ to ___________________
Amount _________
Date______ Event__________________________________ Type of Service__________________________
Amount _________
Food (Itemize on back of form)__________________________________________
Amount _________
(Meal allotment is as follows: breakfast and lunch $15.00 combined maximum;
dinner $15.00 maximum) - remember to include receipts (alcoholic beverages will not be reimbursed)
Lodging Attach receipts)___________________________________________
Amount _________
(Maximum housing allotment is $65.00 per person, per night, unless
arrangements are made by the District Manager or event Supervisor)
Postage________________________________________________________
Amount _________
Telephone______________________________________________________
Amount _________
(Include copy or photocopy of bill with calls marked indicating name of person
or institution called )
Travel
1. Date_______Destination____________________Rd. Trip Miles_______ @.50per mile =________
2. Date_______Destination____________________Rd. Trip Miles_______ @.50 per mile = ________
TOTAL
_________
Miscellaneous (attach receipts)_______________________________________
= Amount _______
Amount _________
Please describe the miscellaneous amounts on the lines below.
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
Event/Function: _________________________________________________
(Check should be
made payable to)
Name:
Address:
City-ZIP:
Phone #
TOTAL _________
_____________________________
_____________________________
_____________________________
_____________________ Email address ________________________
Signature of Independent Contractor ______________________________
Date________
Signature of Supervisor __________________________________________
Adjudication: Honors Choir, District Festivals, State Solo and Ensemble
A basic daily rate of $185 will be paid for Adjudication services. This includes ½ hour of pre-festival instruction time and mid
a.m. and mid p.m. breaks. Meal breaks are not included. (A basic
41 daily rate is defined as over 5 hours and not more than 8
hours in length.) A service fee of $25 per hour will be paid for any time up to and including 5 hours, and for any extra required
time. The service fee will be $25.00 per hour or part thereof for Honors Choir Auditions.
39
42

Adjudicator Handbook 2011-2012

Transcription

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