PERFORMANCE ASSESSMENT FORM

Tyler Clark TL 18
Student: ________________________________ Degree Option: ______________ Date: FA / SP: 20 _
Level: MUS _____ .001; _____ .002; _____ .004 JURY: ASJ
_________ RECITAL: SO JR SR
Please score each item from 4 – 1 using the following criteria:
4 = Highly competent; 3 = Competent; 2 = Minimally competent; 1 = Not competent

COMMENTS

TONE QUALITY/ 
BREATH CONTROL: 

    4        3        2        1    

INTONATION/ 
PITCH/ACCURACY: 

    4        3        2        1 

DICTION/ARTICULA­
TION/CLARITY: 

    4        3        2        1 

TECHNICAL FACILITY: 

    4        3        2        1 

RHYTHM: 

    4        3        2        1 

PHRASING/DYNAMICS/ 
EXPRESSION: 

   4        3        2        1 

Score: ____________________ 

Scales:      P     F 

Sight reading:      P     F   

Composite Score = 19
A-
OVERALL PERFORMANCE GRADE: ___________  Composite Grade = A-
(stage presence, commitment  
to text/character/music) Faculty Signature: ________________________________________________
Rebecca VonKamp
 PERFORMANCE ASSESSMENT FORM
Tyler Clark TL
Student: ________________________________ Degree Option: ______________ Date: FA / SP: 20 _
A. S.
Level: MUS _____ .001; _____ .002; _____ .004 JURY: _________ RECITAL: SO JR SR
Please score each item from 4 – 1 using the following criteria:
4 = Highly competent; 3 = Competent; 2 = Minimally competent; 1 = Not competent

COMMENTS

TONE QUALITY/ 
BREATH CONTROL:  Rend ‘il ereno al ciglio - Handel / Meine Liebe ist Grün - Brahms / Un Cygne - Barber /
Donne Mie, la fate a tanti - Mozart / Bright is the Ring of Words - Vaughn-Williams

    4        3        2        1     Beautiful tone; some really lovely timbre, especially in your middle and lower registers

Continue to work on connection to text and communication. Spend time with each text and
INTONATION/  work to tell the story of each song.
PITCH/ACCURACY: 
Work to warm the upper register, try adding internal vertical space

    4        3        2        1  Ensemble during the Brahms was problematic. This challenging accompaniment requires a lot
of security from the singer. Keep working to achieve that.

DICTION/ARTICULA­ Keep working to stretch the torso, lift the sternum and relax shoulders back; avoid collapse of
TION/CLARITY:  sternum.

Continue working for consistency with support; release your air more to truly carry the tone. At
    4        3        2        1  times the voice is under-support and sometimes the tone is “held” and not “spinning” enough.

TECHNICAL FACILITY: 
Sight Reading - Level 3A -

    4        3        2        1 

RHYTHM: 

    4        3        2        1 

PHRASING/DYNAMICS/ 
EXPRESSION: 

   4        3        2        1 

Score: ____19________________ 

Scales:      P     F 

Sight reading:      P     F    

OVERALL PERFORMANCE GRADE: ___________ 
A
(stage presence, commitment  
to text/character/music) Faculty Signature: ________________________________________________
Andrea Pope
 PERFORMANCE ASSESSMENT FORM
Tyler Tyler
Clark
Student: ________________________________
Clark TL Mus Ed
Degree Option: ______________ Date: FA / SP: 20 18 _
Level: MUS _____ .001; _____ .002; _____ .004 JURY: ASJ
_________ RECITAL: SO JR SR
Please score each item from 4 – 1 using the following criteria:
4 = Highly competent; 3 = Competent; 2 = Minimally competent; 1 = Not competent

COMMENTS

TONE QUALITY/ 
BREATH CONTROL: 

    4        3        2        1     Handel: Beautifully done. Could use more rounder vowels,

especially [u] and [o] where appropriate. I’d also like to hear a bit
INTONATION/  more attempt at Baroque style here.
PITCH/ACCURACY:  Brahms: As with the Handel you’re crooning a bit at the top of
your range. The next step will be to finesse the sounds you
    4        3        2        1  make at the top of the staff. The German schwa is going to be a
bit darker than the American, but not necessarily as pronounced
as the French.
DICTION/ARTICULA­
Barber:
TION/CLARITY: 
RVW: Your vibrato wants to alter you pitch at times. Seems to
happen in quieter sections where you underbreathe. Be aware
    4        3        2        1  that you have to breathe more efficiently the softer you sing,
which feels antithetical.
TECHNICAL FACILITY:  Mozart: Great presence here. I think my main concerns overall
are the shapes of certain vowels, making sure each piece has its
    4        3        2        1  own linguistic character, and making sure each era is
represented by appropriate stylistic singing.

RHYTHM: 

    4        3        2        1 

PHRASING/DYNAMICS/ 
EXPRESSION: 

   4        3        2        1 

Score: __________18
__________ 

Scales:      P     F 

Sight reading:      P     F   

A-
OVERALL PERFORMANCE GRADE: ___________ 
(stage presence, commitment  
to text/character/music) Jason Harris
Faculty Signature: ________________________________________________