22 apuntó y dispaJ ó con tanto acíelto, que de los muchos enemigos que estaban juntos, se vielOn sa1it cOlúendo pocos Con la confusión y estJago que causó este tilo con bala y metlalla, pudo uno de los dicl10s caúbes mansos escapalse al Castillo, en donde asegutó el desttoso glandc quc hizo el cañona7o, y que entle los mueHos uno había sido un ynglés de los ptincipales, a quien le dió una hala en el pecho"13 En 17HO, Ing1atetta intenta otla invasión, esta vez más poderosa El plan aplObado pot el gabinete bJitánico husca la conquista de Nicalagua, desde San Juan de Nicaragua hasta El Realejo, "cortando así la conmnícacíón entre los tellitoJios espafJ.o1es de América del Notte y de! Sur, y tomando posesión de la legión entera, la única en la que se pueden unit los dos océanos pll1 medio de un canal" 14 Más de dos mil soldados ingleses y vatios centenates de zambo-misquitos enttan pot el tío San Juan el 14 de matZü al mando del COlOnel John Polson, y 520 tcfUelzos llegan de Jamaica un mes después al mando del Btigadiel Genetal Stephen Kcmble que asume la jefatul a El capitán Horatio Nelson al mando de la fragata Hi11{hinbrook, se enftenta a la mueHe en el San Juan, su ptimeta campaña, con la misma sangre ftía con que lo halá años después en la última, en Ttatalgar El Castillo de la Inmaculada se linde al fin el 29 de ablil, peto 500 soldados españoles en una glan empalizada llamada Fuettc San Catlos les ciellan el paso a los invasores en la entl ada al lago Aniquilados pOl la disentelÍa y fiebtes ttopica1es, los lestos de la expedición se lctitan en 1781 sin haber cumplido su misión Dutante su travesía pOI el San Juan en 1780, el teniente John Campbcll, ingenielO de194 Regimiento de las fuel zas invasOlas, sondea las aguas y elabora un plano del lío desde e! puetto hasta el Castillo En dicho plano vemos dibujada pOl plimeta vez la isla Concepción en la bifUlcación del ColOJado, en la que los ingleses colocan un tesguardo y batetía que llaman "Cook's Post" Además vemos la boca del San Juan en la bahía totalmente limpia, sin isla ni obstlucción alguna (Véanse en las páginas 20 y 21 la bifutcación del Colo- rado )' el plano de la bahía, ampliados del mapa dibujado pOl Campbell) En 1780 e! estuario sigue siendo "un pueHo espacioso, donde los balcos más grandes pueden yacet con la mayot segutidad" L, Al abandonat Nicalagua en 1781, los ingleses dejan tles baleos avetiados-e1 Hotatio, el TT et1us y el SUClers-que hunden a plOpósito en un punto estratégico "pala obstruit el puelto de San Juan" 16 Los tles navíos hundidos loglan su cometido cuando enseguida se fotman islas que obstl uyen la boca del río y aceletan el ploceso que en unas cuantas décadas deHa y ciega la bahia Rocas y arena volcánica LADESCRIPCIÓN GENERAL DEL RÍ o SAN JUAN en el Repotte delJefe de la Expedición de Reconocimiento de dicho tÍo, Comandante de la Marina de Estados Unidos Edwald P Lull (fecha 25 de octuble de 1873), tladucida al español e insclta a(luí en la página 63, divide al San Juan en cinco secciones 1 Veintiocho millas de ancho lío, pto10ngación del lago 2 Diecinueve millas de tocas en cinco lauda1es Toro, Castillo, Mico, Balas y Machuca 3 Veinte millas de Aguas Muettas entl e tI laudal de Machuca y la confluencia del San Catlos 4 Tteinta y siete y media millas desde el San Callos hasta la bifutcación del Colorado El afluente San Callos baja de las altll1as costal1icenses 'T entrega al San Juan grandes cantidades de atenas volcánicas Ftente a la confluencia y en adelante el San Juan cambia b1l1scamcnte de ealáctel está lleno de bajíos y bancos de alena Río abajo, el afluente Salapiquí, de calácter y tamaño similal al San Catlos y asimismo plOveniente de las montañas costalticenses, entlega al San Juan otra cuota de atenas volcánicas tlece millas antes de sepmalse el eololado 5 El delta, en que el Bajo San Juan gita hacia el noHe y cmsa catolce millas hasta el antiguo puerto mientlas el Colmado sigue hacia el este hasta desembocal en el mal La ptimeta y telcela secciones no han suftido cambios de impmtancia desde que Alonso Caleta navegó el DesaguadelO en 1531) La segunda sección se dice gue petdió fondo y los laudales dificultan más la navegación desde que glandes telletnotos levantaton las lOcas a mediadios del Siglo XVII a Levy en la página 62) La cuaHa sección se ha deteiÍOlado un poco y la quinta muc1úsimo Las are- nas volcánicas del San Catlos y Sarapiquí son pa1 tículas livianas que la tauda cOlliente acallea en suspensión hasta el mal, peto que al petdel fuelza y velocidad se sedimentan fmmando bajíos eislas sobre ttoneos, ramas y demás obstáculos en su camino En un PlOClSO natuta1 se han depositado paulatinamente en el lecho del SanJuan a ttavés de los siglos Puo además, ttes intervenciones de la mano del homble aceleralOn el ptoceso que en 1859 cegó el antiguo puetto de San Juan de Nicalagua e hizo intlansitable el Bajo San Juan en el delta Como vimos arriba, el p1Ímel cambio blusco en el delta ocurle a finales del Siglo XVII, cuando el Colmado de plOnto se convieae en el ramal principal siendo antes inexistente o a lo sumo mucho menOl que el Tame y e! Bajo San Juan Asimismo vimos que la tladición achaca ese cambio a la intelvención de la mano del homble La segunda intervención es el hundimiento en diciembte de 1780 de los tles balcos ingleses pala obstluil el pueao, cuyo efecto estudiatemos en seguida La Reina de los Mares y el Rey Mosco LA MOSQUITIA o COSTA ATLÁNTICA es una región muy difctente al lesto de Nicaragua La sabana en el nOlcste y la p1uvioselva tlopical que desciende de la cOldilleta centlal hacia la costa del Mal Catibe, es la mOlada de los misquitos, su mus y lamas, ttibus indígenas que viven de la caza y de la pesca en un ambiente salvaje e inhóspito que los conquistadores españoles no están plOpensos a penetlat En la costa del mal y en las bocas de los lÍos, los n<ltivos entlan en contacto con tlaficantes y pob1adOJes ingleses, y con escla- vos africanos, y ya a finales del siglo XVII, los habitantes del nOleste de Nica- lagua son zambo-misquitos, una laza distintiva, mezcla de indio y afticano Durante el período colonial, los zambo-misquitos (o simplemente zambos) son aliados de los anglosajones en sus incursiones contla las posesiones españolas POl el Tlatado de PalÍs de 1783 y la Convención de Madtid de 1786, Gran Bletaña lcconoce la sobetanía de España sobte la Mosquitia, y los pobladoles ingleses supuestamente abandonan la tegión Dejan tras sí una dinastía zambo-misquita que comien7a en 16H7 cuando se llevan a Jamaica al cacique ptincípal y lo coronan "tey" A este ley JClemías Primero le ponen de cotona un gOttO atado con un lazo, y sus mentores ingleses le hacen fitmar "un documento tidícu10 en e! que se complOmete a t1 atal con amabilidad a todo súbdito btitánico que llegue a su teino, plOdigándole plátanos, pescado y toltuga" Dicho documento queda así en los anales de la diplomacia como el primel "natado de amistad" anglo-misquito 17 La dinastía de Jeremías a su debido tiempo engendra a Jotge Segundo, quien combate alIado del capitán HOLatia Nelson en dtío San Juan en 1780 La línea de sucesión permanece oscuta, pelO se dice que más tatde en 1815, en Belice, las autotidades btitánicas cotonan aJ01ge Fedetico Augusto "ley de la Costa y Nación Mosquita", en 1825 le sucede Robetto Catlos Pedetico, y ttas un intetvalo de seis años de "tegentes" btitánicos, Jorge Guillelmo Clalence sube al tJono el 1ll de mayo de 1845 De Inglatetta le envían la bandera y el emblema de su Nación Mosquita o Mosquitia, y el nuevo tey, mozalbete de 15 años, vive en la tesidencia de su tut01 inglés en la que ondea el pabellón btitánico Sus teales súbditos no llegan a dos mil, y no tienen aldea ni easelío excepto en la plOpia playa La capital, Bludields, con toda su comalca, en dieiemble de 1847 tiene menos de 600 habitantes, contando a los bebés de pecho y a 110 emigrantes plusianos, lumbo a Texas, vatados en la costa Los sumus y tamas putos-los towka, caoba, woolva y atlas ttibus 4ue ocupan el tcttitotio entte la costa y los poblados españoles-no leconocen
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VOICE STUDENTHANDBOOK 2019-2020
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TABLE OF CONTENTS Introduction 3
Applied Lessons 4
Voice Department Announcements 6
Department Orientation 6
Technical Standards 7
Master Classes 7
Opera Theater and Performance Technique and Ensembles 8
Voice Competitions 14
Voice Juries 15
Recitals 18
Vocal Coaching 20
Contact Information 23
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INTRODUCTION Dear Voice Students:
Welcome to Manhattan School of Music! These are important years in your development as an artist and as a person. I wish you every success in your endeavors and I am here to assist you in any possible way. This document is designed to answer frequently asked questions about the voice department. You are responsible for knowing and following all the information contained in this handbook, along with all school policies and procedures. Should you have any questions or concerns about any details included here, please consult your major teacher or the departmental chair.
With best wishes,
Maitland Peters Voice Department Chair
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APPLIED LESSONS
Your Teacher
At Manhattan School of Music, you will be given and are entitled to twenty-eight one-hour private lessons with your major teacher in the course of one school year. Some teachers give one lesson each week. Others, given the nature of other performance and teaching commitments, offer two-hour lessons and/or lessons at differing intervals. Others still have teaching associates or substitutes to give lessons at times when they are unable to do so. Make certain that you understand your teacher’s lesson schedule plan. If you are concerned that you are not receiving the requisite number of lessons or have a problem with the frequency of your lessons, please notify the department chair.
In addition, you will be given a SYLLABUS at the beginning of each semester by your teacher. It is imperative that you read and understand what will be required of you in your lessons and preparation.
Your voice teacher is among the most vital sources in helping you make academic and career decisions, both large and small. As in any relationship, sometimes there are misunderstandings or personality conflicts that can cause difficulties. Should issues arise which require discussion and/or resolution, you are encouraged to discuss these problems directly with your teacher as they occur. In order to thrive vocally and professionally, it is necessary to have a positive and encouraging relationship with your teacher. At the same time, it is an important step to be able to develop a skill level of maturation in conflict resolution through open discussion of the problems you find untenable. Should you find the unresolved issues and/or have the sense that you cannot discuss these problems with your teacher, you are open and encouraged to discuss them with the department chair or the Provost.
Change of Teacher
Students may request a change of teacher before Add/Drop. For the fall semester of 2019/2020 year that is by September 18th, 2019. This is an important decision to be thought over carefully and thoroughly. Student decisions to change teachers are often the result of miscommunication or lack of communication with the current teacher. You are therefore encouraged to discuss the matter with your teacher and/or with the departmental chair and the Dean of Students. If you wish to change teachers, you must obtain a Change of Teacher Request Form from the
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Provost’s office. Complete instructions are on the form. School policy prohibits any action against a student by a former teacher and the previous teacher is excluded from grading a jury of former students.
Attendance Policy
Private lessons constitute the core performance study for every student. If a student needs to cancel a studio lesson for any reason, the student should immediately inform the studio teacher. In cases of documented illness or other emergency, the teacher will attempt to make up missed lessons at a mutually convenient time. The studio teacher is not obligated to adjust lesson times or make up lessons that were canceled for non-illness/ non-emergency reasons. Any student who has two consecutive unexcused absences in his or her private lessons will be required to see the Dean of Students before lessons may resume.
Professional Leave
No student may be absent from the school for professional engagements unless permission for such absence is granted by the Dean of Students well in advance of all such engagements. Students who wish to pursue a professional opportunity over several days must apply for a professional leave, using the form available in the Dean of Students office. Typically, the professional leave may not extend for more than two weeks.
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VOICE DEPARTMENT ANNOUNCEMENTS Important interdepartmental announcements and special comp ticket offers will be sent out to your official school email address from the Voice Department’s Gmail address. Please add [email protected] to your ‘contacts/safe list’.
Bulletin Board
The Voice Department Bulletin Board is located on the third floor in the hallway along with all the departmental bulletin boards. Check it regularly for departmental notices as well as performance announcements.
Opera Theater Mailing List
Important messages about ensembles, auditions and events are regularly sent to all voice students. It is imperative that you check you MSM email regularly.
VOICE DEPARTMENT ORIENTATION All new voice students should plan to attend the voice department orientation meetings:
Undergraduate: TBA Graduates: TBA
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TECHNICAL STANDARDS
Courses of Study
The Manhattan School of Music Voice Department offers the following degrees and programs in Voice:
Bachelor of Music (BM) Master of Music (MM) Doctor of Musical Arts (DMA) Professional Studies Certificate Artist Diploma
It is your responsibility to know the requirements of your particular course of study, jury requirements and proceed in a timely manner towards completion. You can access the Voice Degree Sequence Plans via the Manhattan School of Music Website at http://www.msmnyc.edu/Instruction-Faculty/ Academic-Departments/Voice. A more thorough break down is available in the Manhattan School of Music Course Catalog.
Master Classes
There are numerous master classes given by visiting artists throughout the school year. Students wishing to perform in a master class must first consult with their teacher. If the teacher believes the master class to be a valuable experience for the student, the teacher will submit the student’s name for consideration. Some of the master classes will require an audition from those people whose names were submitted by the voice faculty; other master classes will be based on teacher referral solely, with no audition.
Each master class will have specific repertoire requirements. If selected for a master class, students must present the same repertoire as presented in the audition.
For daytime master classes, juries, and auditions, there is a standard dress code that is important to follow:
Men: Dark suit or jacket, dress slacks with shirt and tie, or dress shirt and tie and dress slacks with or without a tie. Be sure the jacket and slacks fit you well, not too tight. You need room to breathe. Polished dress shoes and your hair styled to be out of your eyes.
Women: Audition-type dress – length at the knee or below. Never above the knee. Or a knee length or longer skirt and blouse. Please wear hose/nylons and shoes at a comfortable height (no more than 2”) to keep your posture balanced. Style your hair so that it is off your face and and out of eyes. Hair that is on the face, casts a shadow and hides your face. When singing a “pants role” aria, pants are acceptable.
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When planning your clothing, it is preferable to have dresses with sleeves. The light reflects on your skin and distracts from your face. Your arms will receive the light and take away from your facial and expressive presentation.
Opera Theater
Headed by Dona D. Vaughn, Artistic Director, the program is internationally known for its excellence. Each year two fully staged productions are presented, which span the classical and contemporary repertoire. Students have an opportunity to work with leading professional directors and participate in a comprehensive outreach training program.
Other important elements of the opera program are the Opera Workshop and Opera Lab, which provide appropriate venues for singers to develop stagecraft and dramatic interpretation as well as gain additional performance experience.
The Manhattan School of Music Opera Theater produces two fully staged operas with orchestra, one scenes program, two educational outreach programs and one contemporary opera workshop each academic year. The Manhattan School of Music Opera Theater are open to all Masters, Professional Studies, and Doctoral vocal performance majors.
The Opera Theater’s performances for the 2019-20 academic year will include:
Fall Mainstage Opera I DUE FIGARO, Saverio Mercadante Spring Mainstage Opera MARTHA, Friedrich von Flowtow Senior Opera Theater MOSCOW, CHERYOMUSHKI, Op 105, D. Shostakovich Opera Outreach TBA
Opera Scenes
Jonathan Brandani, Conductor Laura Alley, Director The Riverside Theatre
Fall Opera Scenes include:
CENDRILLON, Jules Massenet Act I, Scenes 3, 5, 6
DIE ENTFÜHRUNG AUS DEM SERAIL, W. A. Mozart Act II Quartet
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UN BALLO IN MASCHERA, Giuseppe Verdi
AKHNTEN, Philip Glass Act II, Scene 4 Act III, Scene 1
Opera Scenes repertoire is subject to change following Fall 2019 Opera Theater audition results.
Discover Opera! Mark Janas, Music Director Gordon Ostrowski, Director TBA
Amato Opera-In-Brief: LeAnn Overton, Music Director Gordon Ostrowski, Director TBA
Spring Cabaret Shane Schag, music director Andy Gale, director April 22, 2019. Miller Recital Hall
You will be notified about specific materials needed for auditions and callbacks. Official dates and times for said auditions and callbacks will be provided at a later date.
Scholarship students: please note it is the policy of the department that all scholarship students are encouraged to audition for all opera productions and accept whatever role offered.
Auditions for the spring semester productions will be held later in the first semester. You must remain in town for the duration of this week to be considered for the spring semester productions.
All singers have the opportunity to participate in various Performing Ensembles and Performance Technique Courses. These offerings, for which you may audition or sign up, are listed below. Please follow the instructions for each individual offering. Please note these offerings are subject to change and any updates will be sent by email.
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Fall 2019 Performance Technique Plan
MM singers are required to complete two semesters of Performance Technique classes in their first year. First year MM students and second year MM students who have not fulfilled this requirement will be given priority for enrollment in Performance Technique courses. Second year MM students, PS students, and undergraduates may participate in Performance Technique courses as class capacity allows. Please note that students are not permitted to audit Performance Technique classes.
Opera Workshop
Opera Workshop (ESL)
Performance and Audition Skills
Preparing an Operatic Role
Revealing the Actor-Singer Within
Stagecraft for Opera and Song
Vocal Performance Class
Dona D. Vaughn
Dona D. Vaughn
Neil Rosenshein
Mignon Dunn
Catherine Malfitano
Ashley Putnam
Cynthia Hoffmann
Fall and Spring
Fall and Spring
Fall and Spring
Fall and Spring
Fall and Spring
Fall and Spring
Fall and Spring
Performance Technique Course Instructor Offering Available
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Fall 2019 Performing Ensembles Plan:
All MM voice majors are required to take at least one Performing Ensemble per semester. Students may not enroll in more than two Performing Ensembles per semester. Please note that students are not permitted to audit Performing Ensembles.
The Mainstage Opera, Opera Scenes, and Opera Repertoire Ensemble casting will be determined by the Opera theater auditions.
Contemporary Opera Ensemble, Singers and Collaborative Pianists Seminar, Singers’ and Pianists’ Seminar, and Baroque Aria Ensemble will have separate auditions.
Songs of the Romantic Period, Russian Romances and Ballads, and rosters will be determined by auditions and preferences in December/January.
Mainstage Opera
Opera Scenes
Opera Repertoire Ensemble
Contemporary Opera Ensemble
Opera Outreach
Baroque Aria Ensemble
Musical Theater Lab
Dona D. Vaughn
Dona D. Vaughn
Tom Muraco
Miriam Charney
Various
Ken Cooper
Carolyn Marlow
Fall and Spring
Fall
Full Year
Full Year
Spring
Fall and Spring
Spring
Performing Ensembles Instructor Offering Available
Singers and Collaborative Pianists Seminar
Singers and Pianists Seminar
Songs of the Romantic Period
Russian Romances and Ballads
Instrument and Voice Duo or Trio
Ken Merrill
Warren Jones
Raymond Beegle
Raymond Beegle
Various
Full Year
Full Year
Fall and Spring
Fall and Spring
Fall and Spring
Additional Performing Ensembles Instructor Offering Available
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Vocal Ensembles for Undergraduate Singers
Undergraduate singers are permitted to take Performance Technique Courses and Performing Ensembles only if they have credit room, and so long as they do not conflict with required coursework.
These courses are 1 credit each; fulfillment details will be resolved by the Office of the Registrar. These offerings, for which you may audition or sign up, are listed below. Please follow the instructions for each individual offering. Please note these offerings are subject to change and any updates will be sent by email.
Complementing the Performance Technique classes are Performing Ensembles that place students on the stage.
Performance Technique Offerings for the 2018-19 academic year include:
SP1070.M2 Revealing the Actor/Singer within Instructor: Catherine Malfitano
SP1070.H1 Vocal Performance Class Instructor: Cynthia Hoffmann
SP1070.R2 Performance and Audition Skills - Instructor: Neil Rosenshein
SP 1070.P2 Stagecraft for Opera and Song Instructor: Ashley Putnam
VX1090.11 Opera Repertoire Ensemble Instructor: Thomas Muraco
VX1090.13 Singers’ and Pianists’ Seminar Instructor: Warren Jones
Vocal Ensembles for Graduate Singers
The following group of Performance Technique Courses is designed to prepare students for on stage performances. Matriculating MM voice majors are required to take one course from this list each semester during their first year.
Complementing the Performance Technique classes are Performing Ensembles that place students on the stage. All MM voice majors are required to take at least one course from the following list. See curriculum grid for specific degree requirements and credit limitations.
If you are a first year MM Voice student: you must enroll in a minimum of one and a MAXIMUM OF TWO Performing Ensembles. You must enroll in one Performance Technique course per semester.
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If you are a returning MM Voice student: your curricular grid will stay the same. You can audition for and enroll in up to three of these courses (Performing Ensembles or Performance Technique Courses) if you have room in your schedule. A MAXIMUM OF THREE IS PERMITTED. If you are not placed in an ensemble through audition and do not sign up for a small ensemble, you will be assigned one.
Chamber music assignments are based on student requests. Information can be found in this document and request forms can be picked up outside room 441, beginning September 4.
Performance Technique Courses:
LP 1876.V2 Graduate Performance Technique Courses Opera Workshop (ESL) Instructor: Dona D. Vaughn
LP1876.V1 Opera Workshop Instructor: Dona D. Vaughn
LP1877.V1 Opera Lab (Advanced Professional) Instructor: Dona D. Vaughn
SP1070.M2 Revealing the Actor/Singer Within Instructor: Catherine Malfitano
SP1070.H1 Vocal Performance Class Instructor: Cynthia Hoffmann
SP1070.R2 Performance and Audition Skills Instructor: Neil Rosenshein
SP 1072 P2 Stagecraft for Opera and Song Instructor: Ashley Putnam
Performance Ensemble Offerings:
LP1871.O1 Mainstage Opera (by semester) LP1872.O1 Opera Scenes (fall only) Instructor: Dona D. Vaughn
LP1872.O1 Discover Opera! Instructors: Mark Janas and Gordon Ostrowski
LP1872.S1 Spring Cabaret Instructors: Shane Schag and Andy Gale
LP1872.B1 Amato Opera-In-Brief Instructors: LeAnn Overton and Gordon Ostrowski
CM1070.C5 Baroque Aria Ensemble Instructor: Dr. Kenneth Cooper
LP1870 Contemporary Opera Ensemble Instructor: Miriam Charney
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VX1090.11 Opera Repertoire Ensemble Instructor: Thomas Muraco
VX1090.13 Singers’ and Pianists’ Seminar Instructor: Warren Jones
VX1090.15 Accompanying Singers Seminar Instructor: Ken Merrill
Guitar and Voice Duo – Chamber Music Instructor: Coaches and times vary
Instrument and Voice Duo or Trio – Chamber Music Instructor: Coaches and times vary
CM1070 Russian Romances and Ballads – Chamber Music Instructor: Raymond Beegle
CM1071 Songs of the Romantic Period – Chamber Music Instructor: Raymond Beegle
CONCERTO COMPETITION The Fried-Eisenberg Concerto Competition takes place in the spring semester. Information and audition requirements will be distributed in December.
ADES VOCAL COMPETITION The Ades Vocal Competition is held each spring and is open to graduating singers who are completing their formal studies and plan to begin building their careers following graduation. Information regarding the Competition will be distributed in January. Singers must be recommended by their voice teacher.
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VOICE JURIES All voice majors must take a jury exam in order to pass, receive credit, and have a scholarship rating. Recital juries will be held for all graduation recitals.
Jury Guidelines
Musical selections should represent differing styles, periods, languages, and tempi. The school will pay for your lesson accompanist to play for your jury. If you choose to use an outside pianist, the school will not pay for this other pianist.
Undergraduate Student Requirements
Freshmen—3 selections including Italian and Classical English (no musical theater), must begin with Italian.
Sophomores—4 selections including German, Italian, and Classical English (must begin with German).
Juniors—5 selections including French, German, Italian, and Classical English (must begin with French).
Seniors—Presentation of a recital jury. The Recital Jury must consist of 50-55 minutes of music consisting of groups of Italian, German, French and Classical English songs and not more than one aria. It must be completely memorized. You may include a group of musical theater songs as long as you meet the Classical English Songs Requirement.
Graduate Student Requirements
First year—6 or 7 selections including a contemporary piece and no more than two operatic arias. All languages must be included (Classical English, French, German, and Italian).
Second year— All graduating students must present a recital jury. The Recital Jury must consist of 55-60 minutes of music consisting of groups of Italian, German, French and Contemporary English songs and not more than two arias. It must be completely memorized. Should chamber music be included on the program, it must be memorized if there are less than 2 instruments (piano not included) playing.
If you are not graduating, you must present a standard first year jury.
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Professional Studies Requirements
Professional Studies students must present a recital. The recital must be at least an hour in length, and it must contain repertoire in at least three of the four Lyric Languages including an English piece from the standard classical concert repertoire (arias from an opera or oratorio, art song, etc). Recital may also have a theme.
Recital Juries
During recital juries, the faculty will hear 15 minutes of music from each recitalist’s program. Please make arrangements in the Office of the Registrar. Students must arrange for their lesson (or another accompanist) to play for their jury. Please make 12 copies of your list of selections for the adjudicators. DO NOT make copies of the music.
Jury Dates and times for the 2019-2020 School Year will be announced by the Registrar. *Please check your student email for your specific jury date and time.
Jury for Non- Graduating Students Sophomore Continuation Jury Advanced Standing Jury
In rare cases, undergraduate students may accelerate their program in performance by means of an Advanced Standing jury. A successful Advanced Standing jury will allow a student to graduate early, provided all other academic requirements are also met early. Advanced standing can only be granted for one semester. To start the process, the student submits a petition for advanced standing to the Registrar’s office. This petition must indicate the approval of both the major teacher and the department chair and must be turned in no later than March 1 of the academic year in which the advanced standing jury is to take place.
Professional Studies or Doctor of Musical Arts
Contact Doctoral Studies Department
Jury Comments
Students have a right to see their jury comments and scores. They may elect to allow their teacher to see them.
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Grading System
All juries are graded on a 10-point scale. The student’s jury grade is the average of all scores received at the jury (excluding those of the primary teacher and any teacher who has previously taught the student at MSM).
Jury Postponement
The Provost’s office will only consider a student petition requesting postponement of a jury in extreme medical conditions (documented by a physician), sudden family emergencies, or other exceptional circumstances. In all other cases, any student who fails to sing a scheduled jury will receive an F for that jury. A failed jury may result in academic probation or dismissal from MSM. A postponed jury must be successfully completed not later than the first two weeks of the subsequent semester.
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RECITALS
Scheduling Recitals
A graduation recital and/or jury, if required, must take place within the last two semesters of major lessons. A date for the recital must be applied for with the Scheduling Office. The recital program must be approved by the major teacher and the department chair, and a copy of this program must be submitted to the Office of the Registrar as part of the student’s graduation requirement.
Adjudication of Recitals
All Bachelors, Masters, and Professional Studies graduation recitals are to be adjudicated by a faculty jury during established jury dates. It is your responsibility to contact the chairman of the department as soon as you have been assigned dates for your recital(s). It is strongly recommended that you have each performance audio recorded as documentation, which can be used for adjudications in case a problem arises which prohibits live adjudications. You should avoid requesting recital dates any later than May 1 of the year you intend to graduate.
Doctor of Musical Arts (DMA) Recitals
Doctoral students are required to perform 3 recitals while in residence at Manhattan School of Music. The first recital should be presented in the spring semester of the first year of study. The other recitals should be performed in the second year of study. The recitals should contain works of a high level of difficulty. The length of the recitals should be a minimum of ninety minutes, including the intermission. Consult the director of doctoral studies for other specific procedures and requirements.
Recording of Recitals
As mentioned above, it is strongly recommended that all graduation recitals be audio recorded. The quality of these recordings is important for the adjudication process. You should consult the Recording Studio for all pertinent information regarding recording services/policies. If the recital is to be adjudicated by audio recording, it is your responsibility to provide two CD copies of the recital as well as four programs to the department chair within a week after the recital has occurred. Junior year undergraduate voice students must present a half recital (approximately 30 minutes of music). The selected works must be contrasting in style and genre. Students are required to provide programs and translation packets
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for their audience. Please consult the recital packet (available at the Scheduling Office) for printing options.
Graduating undergraduate and graduate voice majors must perform a jury recital and a graduation recital (program approved by the department chair) in their final year of study.
Please review the time requirements below:
Undergraduate Junior Recital must be at least 25-30 minutes of music memorized.
At least 3 of the 4 Lyric Languages
Graduating Senior Recital must be 50-55 minutes of music memorized.
Groups of all 4 of the Lyric Languages
Masters Graduation Recital must be 55-60 minutes of music memorized.
Groups of all 4 of the Lyric Languages
Professional Studies Recital must be 60 minutes of music memorized.
At least 3 of the 4 Lyric Languages
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VOCAL COACHING
General Program Overview
The vocal coaching program is coordinated by the Chairman of the Accompanying Department, John Forconi. Each classical voice major is entitled to vocal coaching in every semester for which he or she is enrolled for full time study (twelve credit hours or more) or for at least full-time voice lessons if enrolled for fewer than twelve credit hours.
For those who are presenting a graduation jury and recital in a particular semester, these students are entitled to specialized coaching for the duo team of singer and pianist. Therefore, there are two types of coaching available to each classical voice major: Regular Coaching or Graduation Recital Coaching. The form for Regular Coaching is available on the Student Website at www.msmstudents.com. Before filling out the information on the Coaching Request Form, please read the following descriptions of each type of coaching along with procedures and responsibilities.
Program Description— All classical voice majors who are not presenting a graduation recital will receive ten sessions of private coaching each semester with a voice department staff coach. There is a list of these coaches on the coaching request form you must access on this website. The coaches on the list are comprised of current accompanying majors, graduates of the accompanying program, and coaches from outside the school. There are several pages of bios for these coaches which you can also access on the student website. All first year (freshman) students will receive ten one half hour coaching sessions per semester unless you are a freshman transfer student. All others, including freshman transfer students, will receive ten, one-hour coaching sessions per semester.
On the Regular Vocal Coaching Request Form, you will be asked to choose four coaches in order of your preference. After you have emailed your responses to John Forconi, you will be assigned to one of the staff coaches you choose. We will try to honor your first choice if possible. This will be your coach for this semester. The coach will contact you to set up a suitable schedule to ensure that ten sessions will be completed in the semester. You will be asked to email your responses to this Regular Vocal Coaching Request each semester you are enrolled except in the semester you intend to present your graduation jury and recital. Coaching cannot begin before the chair of the accompanying department has received the Request Form responses. Coaching sessions usually begin in the fourth week of each semester.
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Communication— We will be checking with your coach and your major teacher throughout the semester regarding your progress and your participation in the program. If you have any questions or difficulties, please contact the Chairman of the Accompanying Department, John Forconi immediately.
Responsibilities— You will be expected to arrive at each coaching session on time and ready to work. Therefore, you should be warmed up and ready to sing. These sessions are meant to enhance your vocal progress; it is important that you use the time wisely. These sessions are not for note pounding. You should prepare as well as possible in terms of notes and rhythms. Last minute cancellations are unprofessional and cannot be accepted. It is your responsibility to attend each scheduled session. If you are unable to attend a particular session, please give your coach at least 24-hour notice – otherwise you will lose that session. Your coach will report frequent cancellations or absences. Please note that all ten coaching sessions must be completed before the official end of each semester. You cannot make up missed sessions in the next semester.
Junior Year Students— Junior year undergraduate voice majors are required to present a half recital (30 minutes of music) in their junior year. The request for a coach is the same as above. The coach will also serve as the pianist for the recital. Make sure you inform your coach of the recital date and time as soon as you have your first coaching session. The school will pay the coach separately for playing the recital. If you decide to have a pianist other than your regular coach play for this recital, the school will not pay for this other pianist.
Graduation Recital Coaching
Program Description—All classical voice majors who are presenting a graduation jury and recital in a particular semester will receive eight, one-hour sessions of private recital coaching with a recital coach. You do not receive the ten regular coaching sessions in the same semester. This recital coaching is intended for you and your pianist. Make sure that the pianist you choose is available to attend each of the coaching sessions with you. If you choose a pianist who is currently in the accompanying program or a graduate of the program, the school pays them an honorarium of $75.00 If you use a private accompanist, you should discuss their recital fee early in your rehearsal period.
On the Graduation Recital Coaching Request Form, there is a list of all the recital coaches available. These coaches have faculty status and their bios can be found in the school catalogue or on the school website. On
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the Graduation Recital Coaching Request Form, you will be asked to choose four coaches in order of your preference. After this form has been submitted, you will be assigned to one of the staff coaches you choose. We will try to honor your first choice if possible. You will receive an email and/or phone message from the chair of the accompanying department informing you of your recital coach. Coaching cannot begin before the chair of the accompanying department has received the Request Form responses.
After you have been informed of your recital coach, you must contact the coach and set up a schedule for both you and your pianist to attend the coaching sessions. If you have any questions or difficulties, please contact the Chairman of the Accompanying Department, John Forconi, immediately. You should begin the coaching sessions a minimum of six weeks before your recital/jury date. Therefore, you need to complete and return the request form at the beginning of the semester in which you intend to present the jury and recital. Last minute requests will not be honored, since no one will coach you and your pianist without sufficient time to complete the coaching sessions in a timely fashion.
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CONTACT INFORMATION If you need to contact Maitland Peters, Voice Department Chairman, you may do so in the following ways:
3. Stop by his studio, Room 701, on the hour or during scheduled office hours.
Questions about technique courses and ensembles can be directed to Christina Teichroew, Managing Director of Opera Theater and Musical Theatre at [email protected] or 917-493-4833.