iRubric: VOICE JURY ASSESSMENT: MASTER RUBRIC

Singer demonstrates no facilitation of healthy breath management technique. Lack of proper breath management skill is reflected by poor singing posture and/or the inability to attain a suitable level of
diaphragmatic/inter-costal antagonism (i.e., support). Examples include the inability to sing required phrase lengths, insufficient support of the tone, and the overuse or underuse of the breathing mechanism.

Singer demonstrates a preliminary
understanding of proper posture and breath management; however, the application and integration of these concepts is noticeably inconsistent. For example, while the student may present proper expansion at the beginning of a phrase, he/she may collapse near the end of the phrase.

Singer executes a healthy singing posture and the balanced, muscular coordination resulting in good breath management skills. Discrepancies, however, are sometimes evident—particularly when other aspects of the singer’s vocal technique are uniquely challenged (e.g., the final high note of a song.)

Singer skillfully synthesizes all aspects of breath management, demonstrating the balanced coordination of posture, breath flow, and breath support. Evidence of such coordination consists of proper posture; the steady, energized release of breath as heard in the singer’s ability to perform both short and long phrases regardless of other technical demands; and the consistent ease with which the singer accomplishes both inhalation and exhalation.

Singer achieves only a minimal amount of resonance. The tone is often obstructed and unbalanced (bright-dark), lacks the presence of singer’s formant (“ring”), and is inconsistent throughout the singer’s full range. Lack of proper modification during registration events may result in abrupt laryngeal adjustments and undesirable changes in vocal color.

Singer shows progress towards the
consistent presence of a healthy,
unhindered, resonant vocal tone. A developing skill level, however, continues to be identified by overly bright and/or dark tones; the inconsistent presence of singer’s formant; and a novice ability to manage key registration shifts. (e.g., the singer may carry chest voice too high.)

The singer regularly produces a tone whereby the voice is constructively
enhanced through resonance. A proficient skill level is evidenced by an unobstructed, resonant tone, that is balanced in color; the presence of singer’s formant; and the proper adjustments necessary for blending vocal registers; however, limitations and
inconsistencies are sometimes present when the singer is confronted with extreme technical/ musical demands.

Singer consistently produces a tone whereby the voice is constructively enhanced through resonance. Exemplary skill level is evidenced by an unobstructed, resonant tone, which is
balanced in color; the consistent presence of singer’s formant (“ring”); and the proper blending of vocal registers. Exemplary management of registration allows for adjustments in the passaggio when necessitated by the individual’s own vocal dimensions. Optimum resonance is maintained regardless of most technical/musical demands.

Singer does not articulate the artistic nuances notated in the music, such as dynamic markings, phrasing, and other diacritical markings. The singer does not apply artistic interpretation and musical imagination into the performance.

Singer demonstrates an emergent, though not yet consistent, attention to the
integration of artistic nuances notated in the music, such as dynamic markings, phrasing, and other diacritical markings. While the singer may intend an artistic interpretation, technical development often hinders its integration into performance.

Singer regularly incorporates the artistic nuances notated in the music, including the performance of dynamics, the shaping of phrases, and attention to various diacritical markings. A proficient level of musical expression, however, is characterized by limitations revealed when the singer is confronted with extreme technical/musical demands. Such a performance also shows insufficient artistic interpretation.

Singer skillfully and consistently articulates the artistic nuances of the music, including the performance of dynamics, the shaping of phrases, and the application of various diacritical markings. Additionally, a hallmark of exemplary musical expression is the
incorporation of the singer’s personal artistic interpretation and musical imagination.

Singer demonstrates no knowledge of the suitable application of stylistic elements specific to both the period and genre of the piece performed. An unacceptable
performance, for example, may lack attentiveness to appropriate
ornamentation.

Singer shows an awareness of period and genre-specific style, but has only minimally or incompletely incorporated these elements (ornamentation, tuning, straight tone, portamenti, etc.) into performance.

Singer competently incorporates stylistic elements appropriate to both the period and genre of the piece performed; however, the performance of these elements lacks complete technical integration, especially when confronted with difficult
technical/musical demands.

Singer skillfully incorporates stylistic elements specific to both the period and genre of the piece performed. This includes, but is not limited to, the appropriate application of: ornamentation, tuning, straight-tone, vibrato, portamenti, etc.

Singer consistently mispronounces the text of the pieces performed. The singer presents little or no awareness of correct singer’s diction.

Singer demonstrates an emergent
understanding of the correct articulation and enunciation of the languages performed; however, some errors are present, especially when various phonemes are foreign to the singer’s native language. Underdeveloped technical facility may also obstruct proper phonetic production.

Singer knowledgeably articulates and enunciates the appropriate diction for all pieces performed; however, when
confronted with difficult technical demands proper phonetic production is hindered.

Singer accurately articulates and enunciates the appropriate diction for all pieces performed. An exemplary performance of correct diction favors proper lyric diction for singing as opposed to standard spoken diction.