The 46th Annual Sunshine Coast Festival of the Performing Arts

entries close February 15

april 15 – may 12, 2019

www.coastfestival.com

Encouraging Excellence . Offering Opportunities

S Y L L A B U S2019

Table of Contents

About The SCFPA 3

People of The SCFPA 4

Festival Schedule 5

General Rules 6–7

Programme Procedure 8

Submitting Entries 9

Fees and Limits 10

Class Descriptions 11–17

Awards and Scholarships 18

Festival Adjudicators 19–22

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The Sunshine Coast Festival of the Performing Arts is the longest running annual festival on the Sunshine Coast.

Purpose

The purposes of this society are:

• To promote the advancement of performing arts excellence and appreciation on the Sunshine Coast

• To support community access to music and the arts

Aims and Philosophy

• The Festival provides opportunities for amateur musicians, dancers and speech/drama artists to perform for appreciative audiences and receive expert adjudication. Professional adjudicators review performances ranging from solos to 75-member musical ensembles from community groups and local schools.

• The Festival fosters a supportive environment for amateurs in the performing arts to improve skills and receive constructive evaluation

• The Festival and its sponsoring society aim to foster education in the performing arts through workshops, awards and scholarships.

• The Festival provides the opportunity for award-winning Sunshine Coast performers to participate in provincial and national festivals.

Community and Business Support

Festival acknowledges the support of many individuals and businesses on the Sunshine Coast without whom this important work could not continue.

The Festival is operated by a non-profit society, the Sunshine Coast Festival of the Performing Arts (SCFPA). Participants are required to have an annual Festival membership, payable at registration or on the website. Membership is also available to the public. Membership numbers affect the Festival’s eligibility to apply for grants and funding.

Festival schedules and programmes are usually available online or in print at Coast outlets (see page 8) approximately one month before Festival classes begin. Performers enjoy having enthusiastic audiences at all Festival events. Admission to events is free but donations are greatly appreciated.

Festival sponsorship opportunities are available and welcome! Please contact the SCFPA President or Fundraising Coordinator Shannon Geue (see page 4).

About The SCFPA

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Management

Performances shall be under the management of the Board of Directors. Any questions shall be referred to the Board by mail. The decision of the Board shall be final.

Complaints or protests must be submitted in writing within two weeks following the performance in question. They must be accompanied by a non-refundable fee of $10 and addressed to the Festival Board:

Sunshine Coast Festival of the Performing Arts PO Box 1043 Sechelt, BC V0N 3A0

Acceptance of an entry into the Sunshine Coast Festival of the Performing Arts will release any responsibility of the Festival’s Board of Directors, staff and volunteers from any claims, demands, damages, actions or causes of action arising out of or in consequence of any loss, injury or damage to any participant or any participant’s property incurred while attending or participating in the Sunshine Coast Festival of the Performing Arts.

Board of Directors

Interim President: Kit Artus, 604-885-1990, k.artus@icloud.com Interim Vice-President: Lynn Blair, secheltlynn@hotmail.com Secretary Treasurer: Jim Chisholm, scfpa.treasurer@telus.net Members at large: Janice Brunson, Sarona Mynhardt, David Poon, Bill Walkey, Pamela Wood

Discipline Coordinators

Piano: David Poon, 778-462-2181, dporgan@gmail.com Strings: Varya Rubin, 604-886-0337, varyarubin@gmail.com Brass & Woodwinds, Bands: Janice Brunson, 604-885-7019, jbrunson@dccnet.com Guitar: Janice Brunson Voice, Choirs: Sarona Mynhardt, vivavoce@saronamynhardt.com Folk Instrumental: Michelle Bruce, 604-885-8303, mbruce140@gmail.com Dance: Johanna Waldorf, waldorfballet@gmail.com Speech and Dramatic Arts: Sandi McGinnis, 604-886-0143, w3wombwebworks@gmail.com

Work Area Coordinators

Adjudicators: Kit Artus, 604-885-1990, k.artus@icloud.com Festival Documents: Terry Andrews, 604-886-7422, terifest@telus.net Volunteers: Tess Apedaile, 604-740-0313, tessandleroy@gmail.com Fundraising: Shannon Geue, 604-885-6493, geue@telus.net Promotion/Advertising: Lynn Blair, secheltlynn@hotmail.com Webmaster: Edmund Arceo, 604-883-9279, edmund@spiderplus.com

People of The SCFPA

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Deadline for Entries February 15

Programme March 2019 (available online at www.coastfestival.com)

Folk April 15–16, Sunshine Coast Arts Centre

Dance April 17–18, Heritage Playhouse

Strings April 23–24, St. John’s United Church

Voice April 25–26, St. John’s United Church

Choirs April 25–26, Calvary Baptist Church

Piano April 29–May 1, Sunshine Coast Arts Centre

Speech Arts May 1, Sunshine Coast Arts Centre

Bands May 2, Chatelech Theatre

Brass & Woodwinds May 3, St. John’s United Church

Guitar May 3, St. John’s United Church

Highlights Concert May 12, Heritage Playhouse

Venues

Sunshine Coast Arts Centre: 5714 Medusa St, Sechelt Heritage Playhouse: 662 North Rd, Gibsons St. John’s United Church: 5085 Davis Bay Rd, Sechelt Calvary Baptist Church: 711 Park Rd, Gibsons Chatelech Secondary School Theatre: 5904 Cowrie St, Sechelt

2019 Festival Schedule

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General Rules

1. All classes are open to amateur performers who are residents of the Sunshine Coast. An amateur is a performer whose principle source of livelihood is not obtained from the practice of or from solo performances in the category in which he or she is participating. Community ensembles containing professional musicians may enter the festival (in open classes only) if these musicians rehearse regularly with the ensembles.

2. For solo classes excluding Concerto and Performer’s Choice, repertoire must be chosen from current accepted Canadian syllabi where applicable: Royal Conservatory of Music (RCM) www.rcmexaminations.org Conservatory Canada (CC) www.conservatorycanada.ca Victoria Conservatory of Music (VCM) www.vcm.bc.ca BC Conservatory of Music (BCCM) www.bccmusic.ca Where there is a discrepancy between grades, the current RCM syllabus prevails.

3. In solo classes where age groups or distinct grades are specified, entrants may enter only one level for each discipline. This level should be the highest applicable level.

4. Entrants may perform up to one piece from the next higher grade level; however, this piece must be entered at the same grade level as his or her other pieces.

5. In all classes with age limits, the age of the entrant is taken as of December 31st of the previous festival year.

6. Entrants may not perform a piece more than once (even across multiple classes, disciplines or years).

7. Entrants up to and including Grade 7 may enter the same classes and grade level for two years, except award winners and successful exam candidates (for the previous year) who must proceed to the next level.

8. Entrants in Grades 8, 9, and 10 may enter the same classes and grade level for two years regardless of awards received.

9. Entrants who have completed a discipline’s grades, are at a post-secondary education level, or are 19 years of age or over may enter at the open level of a discipline to be eligible for the provincial festival.

10. Suitable dress and appropriate stage decorum will enhance each performance.

11. Additional rules which are specific to each discipline are included in the lists of available classes shown on pages 11–17.

12. Simplified arrangements of standard editions will be allowed in the Performer’s Choice class only.

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13. ‘Non-syllabus’ selections must meet the accepted standard for suitability of style and level of difficulty at each grade level. Material from method books may only be used in Preparatory classes.

14. Repeat signs may be observed or not, but exceeding time limits for any class may result in disqualification.

15. Memorization is desirable but not mandatory. However, entrants should be aware that an adjudicator’s decision may be influenced by memorization. Sonata class and ensemble entries need not be memorized.

Photocopies

1. Photocopying of copyright music for the purpose of performance is illegal.

2. All entrants must provide original copies of published music or a properly authorized copy with a letter of permission from the copyright holder (composer or publisher).

3. The use of unauthorized copies will result in disqualification of the entrant.

4. This restriction applies to music used by the entrants, accompanists and music given to the adjudicators. Where required, page turners are allowed (parents or teachers are permissible page turners).

5. Each competitor must submit an original copy/score of the music selections to the adjudicator’s secretary prior to the class in which he/she is to perform. Competitors must number the first bar of each line in their score(s).

6. All copyrights regarding music must be observed. Photocopies or manual copies of copyrighted material will not be accepted. The adjudicator must be given a complete original score of music under copyright for the duration of the performance. If original scores are not available, a letter is required from the publisher giving permission for copying. If the selection is generally considered to be in the public domain, a letter confirming this fact is required from the publisher along with permission to copy. The use of music downloaded from the Internet is permissible as long as it is accompanied by receipts for the number of copies downloaded. If membership in a site provides free use of the material downloaded, proof of membership must be provided. Music downloaded from the free website www.imslp.org is permitted. Please write the full URL of the work being performed on the first page of all parts and copies being used. The Federation of Canadian Music Festivals does allow photocopies for the purposes of page turns, but the full score must still be present at the performance venue, in addition to an original copy for the adjudicator.

General Rules (CONTINUED)

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Programme Procedure

1. Performance order and times will be provided in the official programme available online at www.coastfestival.com.

2. The Board reserves the right to reschedule any performance if special circumstances warrant.

3. Individual performance schedules are approximate and may change due to withdrawals or other circumstances which may arise. Entrants should be in the venue at least 15 minutes before their scheduled performance time. Note that venue pianos are not available for rehearsal purposes.

4. The Board reserves the right to disqualify any entrant who is not ready to perform when called by the adjudicator’s secretary. Entrants who must withdraw from a class are requested to inform the appropriate Discipline Coordinator (see page 4) in advance.

5. The Board assumes no responsibility for supplying or arranging accompanists or page turners. Entrants must make their own arrangements as required. Recorded accompaniment is permitted only for dance classes.

6. Either before their class begins, or when called immediately prior to their individual performance, entrants will take their scores (photocopies are not acceptable, see page 7) to the adjudicator’s secretary. Entrants must wait to receive a signal from the adjudicator before beginning their performance. Scores shall be retrieved from the secretary before leaving the venue.

7. Adjudications will be given to the entrants at the conclusion of each class.

8. Adjudication comment sheets, certificates and published music will be given to each entrant after the adjudication of each class.

9. Marks will be distributed to the entrants’ teachers, who then provide results to students in their studios at their discretion.

10. Only Festival Coordinators, adjudicators’ secretaries and members of the Festival Board may communicate with the adjudicator. Failure to comply could result in an entrant’s disqualification.

11. The audience and other entrants are requested to avoid entering or leaving the venue during a performance or adjudication.

12. Flash photography is not permitted in performance venues. Non-flash photography and videography must not be disruptive or shared publicly. Please ensure that all cell phones and electronic devices remain silent for the duration of any class.

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Submitting Entries

ALL ENTRIES AND PAYMENTS MUST BE SUBMITTED BY 11:59PM, FEBRUARY 15, 2019.

NO LATE ENTRIES WILL BE ACCEPTED.

1. The official entry form is available online at www.coastfestival.com/entry. All entries must be submitted by February 15, 2019.

2. Each entrant may submit multiple entries provided they are for different classes.

3. One entry is to be submitted per duet, duo, or ensemble performance.

4. Teacher’s contact information is required for all non-adults (under 19 years old) registering for solo classes.

5. Please refer to the General Rules (see pages 6–7) before submitting entries. Teachers are responsible for entering selections in the correct class (see pages 11–17) and grade/age level.

6. Changes of selection or TBAs (to be announced) are permitted only for school ensemble entries.

7. Questions should be directed to the Discipline Coordinators (see page 4) before submitting entries.

8. The Festival Board reserves the right to reject any entry which is not fully, correctly and legibly completed.

9. All fees must be received before participation in the Festival can be confirmed. Please pay online via the online entry form at www.coastfestival.com/payment, or provide a cheque payable to the Sunshine Coast Festival of the Performing Arts.

10. All cheques must be mailed to: Sunshine Coast Festival of the Performing Arts PO Box 1043 Sechelt, BC V0N 3A0

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Fees and Limits

Fees*

Annual Individual Membership: $10 Annual Family Membership: $25

Preparatory, Junior: $15 Intermediate: $20 Senior: $25 Open: $30 Duet/Duo/Trio: $30 Ensembles (4+): $35 Choirs: $50

*Funds available to assist with registration fees if necessary. Please write directly to the President for more information.

Time Limits

Solo Classes

Preparatory: 2 minutes Junior: 3 minutes Intermediate: 5 minutes Senior: 15 minutes Open: 20 minutes

Recital and Concert Group

Junior: 20 minutes Intermediate: 30 minutes Senior: 40 minutes Open: 50 minutes

Choral Classes

15 minutes

Speech and Dramatic Arts

Junior: 4 minutes Intermediate: 5 minutes Senior: 7 minutes

Dance

Solos/Duos/Trios: 3 minutes Song & Dance: 4 minutes Groups: 5 minutes

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Class Descriptions

Piano; Strings; Brass & Woodwinds; Classical Guitar; Harp

All entrants should enter in the highest applicable level (grade/age).

Junior: Grade 1–4 or (14 years old and under) Intermediate: Grade 5–7 (17 years old and under) Senior: Grade 8–10 (23 years old and under) Open: ARCT (over 23 years old)

Baroque: selection in the style of the Baroque period (up to 1750) as written by J.S. Bach, Couperin, Handel, Telemann, Scarlatti, Vivaldi, et al. or pieces written in a definite baroque style by later composers.

Classical: selection in the style of the Classical period (circa 1750–1825), including Sonatinas, Sonatas, Theme and Variations and other forms as written by J.C. Bach, Beethoven, Clementi, Diabelli, Haydn, Mozart, et al. or pieces written in a definite classical style by later composers.

Romantic: selection in the style of the Romantic period (circa 1800–1900), as written by Brahms, Chopin, Grieg, Mendelssohn, Schumann, Tchaikovsky et al.

Post-Romantic: selection in the style of the Romantic period composed after 1900, as written by Debussy, Grechaninov, Kabalevsky, Ravel, Scriabin, Sibelius et al.

Canadian: selection by Canadian composers (excluding opera, oratorio, folk song and popular music), including Archer, Coulthard, Fleming, Louie, Niamath, Poole et al.

20th/21st Century: selection composed after 1900 that does not fall into any of the above categories, as written by Bartók, Copland, Hindemith, Norton, Prokofiev, Schönberg et al.

Etude/Vocalise: selection composed as a technical exercise and titled “Etude”, “Study”, “Vocalise” or similar; or music selected for its merit as a technical exercise and listed under “Technical Requirements” by an approved syllabus.

Concerto: one or more movements of a Concerto, Concertino, Concert Piece or similar. The orchestral part must be played on piano.

Performer’s Choice: selection of any kind. Entries in this class will not be eligible for any awards not specific to this class.

Popular Music: selection of popular music, including covers, own composition, and improvisation. Music scores are not required if the arrangement has not been published. Entries in this class will not be eligible for any awards not specific to this class.

Concert Group: three contrasting selections of music from different musical eras (excluding opera, oratorio, folk song and popular music). This class gives entrants an opportunity to perform their solos back-to-back. Each solo will be adjudicated and marked separately. (Entry fee for this class is double: three adjudications for the price of two!)

Sightreading: the adjudicator will provide music for the entrant to study for a few minutes, then perform.

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Class Descriptions (CONTINUED)

Composition: selection composed by the entrant and unpublished. The composer or a performer of his or her choice may perform the work.

Duet: selection for two performers on the same instrument, entered at the level of the more advanced performer.

Family Duet: selection for two performers on the same instrument where one performed is the teacher/parent/mentor of the other, entered at the level of the student/child/mentee.

Collaboration: selection for two performers on different instruments, entered at the level of the more advanced performer. Music may not be performed by the entrants in any other class in the festival.

Piano only

Duo: selection for two performers on two pianos

Strings only

Unaccompanied Bach: selections from suites and partitas for solo violin and violoncello composed by J.S.Bach, BWV 1001–1012.

Sonata: two contrasting movements from a Sonata.

Voice

Junior: 14 years old and under Intermediate: 18 years old and under Senior: 28 years old and under Open: over 28 years old

Canadian Art Song: selection by a recognized Canadian composer of Art Song.

English Art Song: selection by a non-Canadian composer of Art Song originally written in English.

Lieder: selection by a composer of Lieder sung in German. Intermediate, Senior, and Open levels only.

Art Song: selection by a non-Canadian composer of Art Song sung in the original language. Any language except English and German.

Sacred: selection composed with sacred text. No selections from oratorios, masses, or other major liturgical works.

Spirituals: selection of religious or emancipatory song from African American oral tradition.

Folk Song: selection of music of the people handed down through the ages.

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Opera/Oratorio: Senior and Open levels only.

Vocal Variety: selection of any kind, including light opera, operreta, opera, and oratorio.

Performer’s Choice: selection of any kind, including jazz, Disney, and popular music. Entries in this class will not be eligible for any awards not specific to this class.

Popular Music: selection of popular music, including covers, own composition, and improvisation. Music scores are not required if the arrangement has not been published. Entries in this class will not be eligible for any awards not specific to this class.

Recital Group: two or more selections of music from the same musical era (excluding opera, oratorio, folk song and popular music). This class gives entrants an opportunity to perform their solos back-to-back. Each solo will be adjudicated and marked separately. (Entry fee for this class is double.)

Concert Group: three contrasting selections of standard classical repertoire, not exceeding a performance time of 12 minutes. Intermediate and Senior levels only. (Entry fee for this class is double: three adjudications for the price of two!)

Musical Theatre: up to two contrasting selections of musical theatre. Choreography, costumes, and props (limited to one chair and one other piece) are encouraged but not required. Costume changes will be limited to 5 minutes.

Folk Instrumental

Instrumentation may include: strings, woodwinds, brass, or piano. A medley of tunes is considered one entry. Multiple entries in the same classes are permitted. Music scores are not required if performed without printed music.

Canadian: selection of music including Métis, Ottawa Valley, French Canadian, or Canadian Old Time tunes.

Celtic: selection of music including Scottish, Irish, English, Welsh, or Cape Breton tunes.

Old Time/Bluegrass: selection of music including American Old Time or Bluegrass.

Other Folk Styles: selection of folk music in styles not listed above, including Brazilian choros, Klezmer, and Swing.

Class Descriptions (CONTINUED)

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Dance

Preparatory: 6–9 years old Junior: 10–12 years old Intermediate: 13–15 years old Senior: 16–20 years old Open: over 20 years old

Music for Dance

Music for dances must be submitted electronically in MP3 format for the 2019 festival.

Instructions for Dance Music Submission:

1. Please submit each piece of music INDIVIDUALLY in a separate email in a .mp3 or .m4a format to dance.coastfestival@gmail.com no later than March 17, 2019.

2. Label each music file with performer’s name, category/age/discipline, and the name of the dance. Example: Jane Smith, Solo - Senior - Ballet Pointe, Esmeralda

3. For each email include the subject line: performer’s name, category/age/discipline, name of the dance, running time and whether the dance starts on or off stage. Example: Jane Smith, Solo - Senior - Ballet Pointe, Esmeralda, 2 minutes 30 seconds, starts ON stage

4. Please bring a backup CD, USB, or IPod for each piece of music to the festival.

Classical

Demi-Pointe: Dance based on any method of classical ballet technique (e.g., Cecchetti, R.A.D., Vaganova).

Pointe: Dance based on any method of classical ballet technique (e.g., Cecchetti, R.A.D., Vaganova).

Neo-classical: Dance based on any method of classical ballet technique in the style of the 20th- and 21st-centuries. Original choreography should be plotless and musically driven without narrative or mime. Dancer’s movements should be the main artistic medium.

Contemporary Ballet: Incorporates classical ballet techniques with greater range of movements which may not adhere to strict body lines for classical ballet. This style includes non-traditional movements, such as more relaxed steps, floor work and turned in legs, etc., to portray the concept of being fore innovative, free and earth-bound. The physical interpretation of the theme that the choreographer envisioned allows for more expressive emotions and feelings.

Interpretive Ballet: Dancers must use ballet technique incorporating the body as the medium of the expression and interpretation of the music in order to portray an intangible thought or mood, real or imaginary. This category should express an idea but not tell a story.

Class Descriptions (CONTINUED)

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Demi-Character: Dancer portrays a story/idea/concept/impression while performing ballet technique from the waist down and character from the waist up.

Character: Ballet technique with stylized movement. The dancer must portray a specific character, real or fictitious for the duration of the entire solo, and must incorporate the whole body but not tell a story.

Modern

Modern: A stylized dance form with its foundations on a technically based discipline such as Graham, Limon, Cunningham, Humphrey and Horton etc. Dance that rejects the limitations of classical ballet, was formulated from natural rhythms, and which favours movement derived from contraction and release, breath, suspension, fall and recovery, weightedness, and dynamism. Movement may or may not be related to the music.

Interpretive Modern: Dance that uses a recognized/codified modern technique to tell a story, express a feeling, interpret a character, behaviour, or emotional state. Movement should be related to the intent of the music.

Contemporary Modern: Free movement of dance encompassing various dance disciplines with modern technique as its underlying base, such as the choreography of William Forsythe, Wayne McGregor, Akram Khan, Ohad Narin (Gaga), Hofesch Shechter (Release Technique), etc. - a constantly evolving style of movement that gives physicality to human ideologies and concepts with emphasis on engaging the whole body.

Interpretive Contemporary: Dance that uses contemporary movement vocabulary from stylized to pedestrian (with modern technique as its basis) to tell a story, express a feeling, interpret a character, behaviour, or emotional state; eg. Pina Bausch (Tanztheater Wuppertal). Movement should be related to the intent of the music while the choreography must engage the whole body.

Stage

Tap: Arms are complementary and coordinated to the footwork. The rhythm of percussion is articulated through the feet and the entire body. The emphasis is on the clarity and shading of sounds, whether they are regular rhythm or syncopated. No dubbing of tap sounds permitted in accompaniment.

Jazz: Dance technique based on isolation of the body and/or contraction release

Lyrical Jazz: A dance that is generally performed to slower tempos and interprets the intent of that piece of music. This category MUST use soft jazz technique and style utilizing facial and body emotion to portray an idea, story, mood or feeling.

Acrodance: A routine that combines dance technique along with precision acrobatic elements that appears to seamlessly blend the two mediums together within a dance context. Routine must contain 50% acrobatic elements that are appropriate for age and level of training. All acrobatic skills should be performed in a safe manner.

Class Descriptions (CONTINUED)

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Variety: Dance suitable for a stage or musical production, cabaret, a review, live theatre, etc. Contents must be predominately dance, choreography should have a character base to it without straight line work; must be composed of a diversified vocabulary of steps and may utilize any dance genre. Live voice is not permitted; lip- synching is permitted.

Song and Dance: A routine suited to stage production. Equal effort in dancing, live singing and acting will be an integral part of the overall performance. No recorded vocals are permitted. Song and dance solos may be four (4) minutes in length.

Hip Hop/Street Dance: A constantly evolving form of dance that relies on individualism and personal style and emphasizes the expressive power of movement----should include but not be limited to choreography that incorporates a blend of contemporary funk and street style with jazz technique. May include moves such as gliding, popping, locking, waving, and utilize house, old school, and new school. May also include gymnastics/power moves or any series of tricks or stunts as long as music, costumes, and lyrics are age appropriate.

All

Student Choreography

Choral

Each choir will have 40 minutes, which includes time for walk on, an adjudicated performance, and a clinic. Choirs should prepare 2 songs (maximum 12 minutes). Our festival focus is positive, and instructive feedback. Our clinician will have 25 minutes to comment and work with each Choir.

Elementary School Choir: 8 or more singers, all attending the same school Secondary School Choir: 8 or more singers, all attending the same school Community Choir–Junior: all singers 14 years old and under Community Choir–Intermediate: all singers 18 years old and under Community Choir–Open: singers of any age Chamber Choir: 16 or fewer singers

Bands

Elementary School Band Beginners Elementary School Band Second Year Secondary School Band Beginners Secondary School Band Advanced (2 or 3 years) Secondary School Band Senior Community Band School Junior Jazz Band School Senior Jazz Band Community Jazz Band

Class Descriptions (CONTINUED)

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Speech and Dramatic Arts

Preparatory: under 11 years old Junior: 11–13 years old Intermediate: 13–16 years old Senior: 15–23 years old Open: over 24 years old

To be eligible for nomination to the Provincial Festival, an entrant must present in each of the Poetry, Prose, and Drama classes.

Poetry: Any form of poetry where the language is moulded into some kind of design, including lyric, narrative, dramatic, slam, or free verse.

Prose: Any non-metrical selection from a story, novel, essay, or similar writing that forms a concise unit where the speaker is the narrator.

Drama: Any selection from a play taken from the words of a single character, including monologue, scene, humour, tragic, improvisation, mime, or story telling.

Shakespeare: Speech of one character from a play by William Shakespeare.

Performer’s Choice: Anything that does not fall into the above categories, including sacred (any type), speech (original or scripted, solo or ensemble), original prose, multiple performers, rap, persuasive, moral, or political. Self-written work must be submitted to the Speech and Dramatic Arts coordinator no later than two weeks before the performance. This is to enable the adjudicator to become familiar with the participant’s work.

Class Descriptions (CONTINUED)

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Awards, certificates and scholarships are given to encourage and assist performers in the pursuit of excellence in the performing arts. They are awarded based on the adjudicators’ decisions.

To be eligible for a solo award, a performer must participate in the same discipline in at least two solo classes other than Popular Music, Performer’s Choice, Sightreading, Improvisation and Composition; or perform at least two solo selections in Folk Instrumental; or perform in at least one solo class in Speech and Dramatic Arts; or participate in a Concert Group class.

The performer’s top two assessments of 85%+ are averaged for the overall awards in the Junior, Intermediate and Senior sections of each discipline. All other awards are earned with the highest assessment in their respective classes or an adjudicator’s recommendation.

Additionally, the Festival sends its most promising young artists between the ages of 10 and 28 to participate in the annual Provincial Festival. The five-day event encompasses special master classes, lectures, coaching, workshops, technique classes and adjudications. More information is available at www.bcprovincials.com. Ensemble classes are for adjudication only. Annual Awards include (but are not limited to):

$300 SCFPA Sue Milne Memorial Award for Choir $250 Sunshine Coast Credit Union Scholarship for Piano, Strings, Vocal, and Brass & Woodwinds $250 BCRMTA Barbara Cattanach Award for the top combined marks in two classical disciplines $250 Adaskin Award for the top combined marks in Piano and Strings, under age 15 $200 Coast Recital Society Award for Piano, Strings, Vocal, and Brass & Woodwinds $100 for the top marks in Senior classes for each discipline $100 Grace Notes Music Studio Early Music Prize $75 for the top marks in Intermediate classes for each discipline $75 for the top marks in Concerto classes for each discipline $75 Montgomery Music Prize for piano music by a French composer $50 for the top marks in Junior classes for each discipline $50 for the top marks in Duet classes for each discipline $50 for the most promising young performer in each discipline Piano Tuning Award for Composition

Awards and Scholarships

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2019 Festival Adjudicators

ALEXANDER DUNN GUITAR

Canadian classical guitarist Alexander Dunn has performed to enthusiastic acclaim in Canada, the USA, Cuba, New Zealand, Mexico, Brasil, Southeast Asia, Japan, China, South Africa, Western and Eastern Europe, and Russia. In solo recital, concerto, and chamber music he is consistently praised for his expressive musicality. He has been a featured soloist with orchestras including the Vancouver Symphony, CBC Vancouver Radio Orchestra, Victoria Symphony, Winnipeg Symphony, Pacific Baroque Orchestra, La Jolla Symphony, Malaga Sinfonico, San Francisco Conservatory Orchestra, New England Symphony, and many major US orchestras as guest artists with Los Romeros.

Feature recitals at major music festivals include the Aspen Music Festival, Darmstadt’s Ferienkurs für Neue Musik, Salzburg’s Sommerakademie der Hochschule Mozarteum, Vancouver New Music, International Guitar and Lute Institute, Stetson International Guitar Workshop, Guitar Foundation of America International Conference, Northwest Guitar Festival, the Paracho Festival de Guitarra, the Vancouver Festival, Early Music Society of the Islands, Canadian Broadcasting Company Festival de Printemps, Zihuatenejo International Guitar Festival, Boston GuitarFest, Appalachian Guitar Festival, and many others. He has collaborated with numerous musicians on nineteenth-century instruments and vocalists and is regarded as one of the finest performers on period guitars. A new music enthusiast, Mr. Dunn has played works of Ligeti, Maxwell Davies, Carter, and many others at major music festivals, and adventurous contemporary works at home and abroad.

He holds a Masters Degree in Performance from the San Francisco Conservatory of Music and a Ph.D. in Musicology from the University of California, San Diego, where he was a protégé of Pepe Romero; his extensive summer studies were at the Aspen Music Festival under Oscar Ghiglia and the Salzburg Mozarteum. He is a guest instructor at universities and conservatories around the world, is a member of the College of Examiners for the Royal Conservatory Toronto, serves as a board member for the Guitar Foundation of America, and currently heads what is considered one of Canada’s top guitar programs at the University of Victoria. (alexanderdunn.ca)

GORDON STOBBE AND JJ GUY FOLK

Gordon Stobbe is considered one of Canada’s master fiddlers and was recently appointed to the “Order of Canada.” He plays several instruments including fiddle, mandolin, guitar, and clawhammer banjo. He is interested in Canadian traditional music, especially as it is expressed in the wide variety of fiddle styles. He feels strongly about preserving the Canadian fiddle heritage and was given the Lifetime Achievement Award from the Canadian Grand Masters Fiddling Association for Outstanding Contribution to Old Time Fiddling in Canada. Along with co-creating and hosting 8 seasons of the variety program “Up Home Tonight” on the ATV/CTV network, he has also been commissioned to compose and record scores for CBC radio dramas.

JJ Guy is an award winning Saskatchewan fiddler whose music is steeped in tradition, performs and teaches across Canada and with youth in the Canadian North. He has been featured at festivals, concerts and fiddle camps from New Brunswick to British Columbia and all stops in between. JJ has released 8 albums and as a result of his hard work and dedication, he was nominated by the SCMA as “fiddler of the year” and winner of the People’s Choice Award at the 2013 Canadian Grand Masters.

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SUSAN DE BURGH PIANO

Susan de Burgh began her studies on Salt Spring Island with Doris Crofton, and continued on scholarship at the Victoria Conservatory of Music with Robin Wood. Further studies were with Frank Mannheimer in Minnesota, and at the Dartington School of Music, England. Susan teaches at the Victoria Conservatory, in the Camosun College Program, and in her home studio. She is also the Artistic Director of the VCM Summer Piano Academy each July at the University of Victoria. Susan’s students have been accepted for continuing studies at McGIll, UBC, UVIC, the University of Toronto, and The University of Western Ontario.

Susan has examined for many years for the Royal Conservatory of Music, travelling from Markham, Ontario to Whitehorse, to Hawaii, and all points in between. She has adjudicated over forty music festivals in western Canada, including the Provincial Finals of Alberta and Manitoba.

Susan has performed with all instruments, choir, and solo voice, and has played orchestral piano, celeste, and harpsichord with the Victoria Symphony, Victoria Chamber Orchestra, and the Sidney Classical Orchestra. She has played Bach, Mozart, and Beethoven concerti with the Sidney Classical Orchestra, and all the Bach and Mozart duo piano concerti. Recent performances include the Poulenc Double Concerto in D Minor and Carnival of the Animals with her duo partner Edwin LeBarron, and the Bach Solo Concerto in D Minor.

Susan has had works written for her by Peter Jancewicz, Lorna Paterson, and Joan Hansen. Currently, the well- known Victoria composer David Clenman is writing a work for Susan and Ed to perform.

2019 Festival Adjudicators (CONTINUED)

KATHRYN CASWELL STRINGS

Canadian born violinist, Kathryn Caswell was a member of and toured Internationally with The Metropolitan Opera Orchestra for 34 years. She began her violin studies in Vancouver at age 7, and as a student of David Zafer she graduated from University of Toronto in 1994. Kathryn was a member of the National Youth Orchestra of Canada and was Concertmaster for 3 years.

Kathryn was awarded a Canada Council Grant to study in New York with renowned violinist Itzhak Perlman in 1995, and while in New York she helped found the first all-female professional string quartet in North America, The Primavera String Quartet.

In 1997 the Primavera won the prestigious Naumburg Chamber Music Competition, making their debut at Alice Tully Hall, Lincoln Center. The Primavera participated in the International String Quartet Academy and performed at Wigmore Hall London.

During her career Kathryn has studied and performed with many acclaimed musicians such as William Primrose, Eugene Lahner, Donald Weilerstein, Andy Dawes, Zoltan Szekely, David Zafer, Lorand Fenyves, and Felix Galamir and Cecil Aronowitz. Kathryn has performed with the Toronto Symphony, Hamilton Philharmonic, National Ballet of Canada, American Symphony, Aspen Music Festival, and the Grand Teton Music Festival.

Kathryn lives in Halfmoon Bay with her husband Kevin Roy, a renowned violist.

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ADAM JONATHAN CON VOICE

Dr. Adam Jonathan Con is Head of Music Education, Graduate Choral Conducting and conductor of the 170-voice UVIC Chorus at the University of Victoria. He served in similar capacities at the Bob Cole Conservatory of Music, California State University, Long Beach, at Wittenberg University in Springfield, Ohio and at Georgia Southern University in Statesboro, Georgia.

Dr. Con earned a Bachelor’s Degree in Music Education (Secondary Instrumental and Choral) and a Master’s Degree in Music Education (Elementary) from the University of British Columbia. At Florida State University, he earned a Doctorate of Philosophy in Music Education (Choral Conducting Emphasis) studying with Rodney Eichenberger, Andre Thomas, Clifford Madsen and Judy Bowers.

His invitations to conduct and present workshops include events such as the Foro Coro Americano in Argentina, National American Orff-Schulwerk Conference, Podium: Canadian National Choral Conducting Symposium, the Canadian National GALA Conference, the National Canadian Orff-Schulwerk Conference, the Manitoba Provincial Music Educator’s Conference, the Alberta Provincial Music Educator’s Conference, the British Columbia Provincial Music Educator’s Conference, the British Columbia Choral Federation Chorfest and Youth Choir, the Unitarian Universalist Musicians National American Conference, Ohio State Music Educator’s Conference, the Georgia State American Choral Directors Association Conference, and the Georgia Music Educator’s Conference.

2019 Festival Adjudicators (CONTINUED)

DAVID GAGNON BRASS & WOODWINDS

Born in Quebec, David P. Gagnon joined the Canadian Forces Reserve in Sherbrooke in 2003 where he played and eventually conducted until 2012 when he was accepted as a Regular Force member with the Naden Band of the Royal Canadian Navy and moved to Victoria. Since then apart from playing saxophone in the ensemble and as a soloist, you can see him as the Drum Major in front of the Band on parade or in the recording studio when needed. Mr. Gagnon has also helped produce all of the latest recordings of the Naden Band: Snapshots of Excellence, Portraits of Excellence, and Undercurrents, which features the music of Robert Buckley.

In Quebec, David performed with his saxophone quartet and a variety of big bands and concert bands. He taught saxophone, flute and clarinet and conducted elementary to high school level bands. He also toured Quebec with the well-known singer Dan Bigras conducting his big band and performing at the Montreal Jazz Festival. David is involved in the Vancouver Island musical community as an adjudicator and guest conductor.

Mr. Gagnon studied saxophone and recording at the College de Sherbrooke before graduating from McGill University in Music with Honors in Music Technology. He completed his Master of Music Degree in Conducting under the supervision of Dr. Gerald King in 2016, where he had the opportunity to conduct the UVic Wind Symphony as well as saxophone and trombone ensembles.

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CHANTELLE NORRIS DANCE

Chantelle Norris completed her formative ballet training in Calgary, Alberta, under the guidance of respected classical educators such as, Tara Silvaggio (Alberta Ballet School & RWB ), Elaine Werner Hutchison (former teacher with the RWB ), and ballet master Brian MacDonald (former Artistic Director, Royal Swedish Ballet). As a dancer, Chantelle trained at the Alberta Ballet School, Royal Winnipeg Ballet School, Banff Centre for the Performing Arts, and the National Ballet School of Canada.

Before locating to Vancouver Island in 2006, Ms. Norris was ballet Director of “Expressions the Dance Gallery” in Strathmore, AB. There she began her CBTS with the Royal Academy of Dance under the detailed guidance of Umran Sumen, former leading soloist with The National Ballet Company of Turkey. In 2006 she was awarded Associate of the Royal Academy of Dance, then continuing on to obtain her Associate Diploma of the Imperial Society of Teacher’s of Dancing under Lorraine Blake (FISTD/Examiner). Chantelle had the privilege of travelling to Chichester, England in 2009 and 2011, to obtain direct mentorship from ISTD syllabi creators Lyn Richardson (ISTD Senior Examiner) and Teresa Theodoulou (Vice Chair of the ISTD Modern Committe). She has currently obtained her Intermediate and Advanced 1 Cecchetti examinations and is working toward her Associate in December 2018.

Over her 12 years on Vancouver Island, Chantelle’s creative, award-winning choreography and classical knowledge has gained her respect in the community, classroom and on the stage. Many of her students have gone on to dance full-time with prestigious ballet schools such as the Royal Winnipeg Ballet and the National Ballet of Canada, and have received coveted top placements at international ballet competitions such as, the Youth American Grand Prix. She is currently Artistic Director of the Kirkwood Academy Pre-Professional Program, an enriched program for talented and driven students to train in classical ballet, as well as a guest teacher for various schools both local and abroad.

In 2016, Chantelle created ‘Nanaimo Contemporary Ballet’ to serve as a platform for emerging young ballet dancers to expand on their neo-classical knowledge and skills. She is passionate about creating meaningful contemporary work for students and audiences which stokes discussion, critical thinking and most importantly, a love for the arts. The company is now entering it’s 3rd season and enjoyed a sold out performance in Vancouver in January 2018. Chantelle is also the Owner and Director of Shoreline Dance Academy in Powell River, BC.

2019 Festival Adjudicators (CONTINUED)

THOMAS JONES DRAMATIC ARTS

Thomas Jones has worked with many of Vancouver’s most innovative companies including Axis Theatre, The Electric Company, Only Animal, Pi Theatre and Boca del Lupo. Thomas has also performed in a dozen productions with the Caravan Farm Theatre and Runaway Moon in the North Okanagan. He’s performed in and created Mask, Puppetry, Kabuki, Improv, Clown and Bouffon shows, and he’s performed in venues as varied as snowy fields and opera houses. Thomas currently tours his solo show about Woody Guthrie called “Woody Sed” and plays banjo and guitar with ‘Rogue Crows’. See woodysed.com and roguecrows.com.