NYU  Steinhardt  Music  and  Performing  ArtsProgram  in  Vocal  Performance

Vocal  Performance  Recital  Procedure

Revised  for  2012/13

MPAVP-­UE  Recital

MPAVP-­GE  Colloquy

Instructor:  Dianna  Heldman

Contents:

Objective

Procedure  Check  List

Writing  Your  Program

Content  Requirements

Duration  Requirements

Suggested  methodology  in  writing  a  program

Assisting  Artists/Pianists

Initial  Submission:  DUE  THE  SEMESTER  BEFORE  YOUR  RECITAL

Required  information

Formatting  your  program

Requesting  a  date/time  and  venue

Cover  Sheet  -­‐  for  your  submission

Scheduling  your  rehearsal(s)

Recital  Hearings

Changing  your  program

Content

Order

Final  Submission  DUE  NO  LATER  THAN  3  WEEKS  PRIOR  TO  YOUR  PERFORMANCE  DATE.

Required  information

Formatting  your  program  for  printing

Piano  Etiquette

Simulated  Weapon  Policy

Grading

Objective

A  vocal  performance  recital  presents  you  with  both  an  opportunity  and  a  challenge.    It  differs  from

other  staged  performances  as  it  relies  on  the  performer’s  ability  without  the  benefit  of  a  story  line

from  start  to  finish,  costumes,  sets,  orchestrations,  lighting  and,  with  the  exception  of  ensembles,

other  performers.    It  is  a  test  of  a  singer’s  ability  not  only  to  utilize  and  display  the  technique,  the

knowledge,  and  the  performance  skills  you  have  acquired  during  your  time  of  study,  but  also  to

sustain  those  skills  throughout  the  course  of  a  single  program.

Procedure  Check  List

(Please  follow  instructions  pertaining  to  each  of  these  steps  very  carefully)

_____ Make  sure  you  are  registered  for  Recital  or  for  Graduate  students:  Colloquy

_____ Complete  and  turn  in  your  approved  initial  program  submission  by  the  end  of  the  semester

prior            to  your  recital  performance.

Hard  copy  only:  completed  cover  sheet,  program  page,  biographies  for  you  and  your  pianist,

translations  and  for  MT:  xerox  copy  of  character  study  scene.

_____ Receive  approval  and  your  assigned  performance  date,  time  and  location.

_____ Schedule  your  Dress  Rehearsal.

_____ All  changes  in  content  must  be  resubmitted  by  four  weeks  before  your  performance  date.

_____ Submit  your  final  approved  program  for  printing  three  weeks  prior  to  your  performance  date.

This  is  your  final  submission  and  will  be  printed  as  you  submit  it  -­‐  it  is  strongly  recommended  that

you  have  your  teacher  proof  this  prior  to  submission.

One  document  as  an  MSWord  email  attachment  or  shared  Google  Document:  program  page,

biographies  and  *translations  (see  below)

_____ *Print  out  and  copy  your  translations.  This  applies  to  all  recitals  with  >  4  pieces  in  a  foreign

language.  Those  with  <  4  pieces  in  a  foreign  language  must  submit  their  translations  to  be  included  in  the

program.

_____ Pick  up  your  programs  from  the  12th  floor  to  be  folded  when  you  receive  notification  that

they  are  ready  (between  1  week  and  48  hours  prior  to  your  performance  depending  on  the  volume  of

recitals  in  that  given  time)

Writing  Your  Program

Content  Requirements:

Classical  Voice  recitals  must  include  selections  from  the  following  four  periods  of  music

history  –  Baroque,  Classical/Early  Romantic  (1750-­‐1850),  Late  Romantic,  and  20-­‐21st  Century.

You  are  required  to  sing  in  English,  Italian,  French,  and  German.  Certain  language

substitutions  will  be  considered  upon  request.  Recitalists  may  present  an  operatic  character

study  following  the  parameters  outlined  in  the  music  teacher  requirements,  omitting  the

spoken  dialogue  element.

Music  Theatre  recitals  must  include  a  cross-­‐section  of  repertoire  from  all  eras  studied.  They

must  include  the  following  three  components  –  a  character  study,  a  music  theatre  set,  and  a

classical  set.

A  music  theatre  set  is  a  grouping  of  songs  built  around  either  a  single  composer,

lyricist  or  topic.  While  songs  may  be  linked  together,  these  sets  are  not  intended  to

become  medleys.  The  cohesive  nature  of  this  set  may  tell  a  story,  exhibit  the  scope

of  a  composer’s  or  lyricist’s  style,  present  varying  opinions  on  a  topic  or  be  realized  as

“diary  entries”.  The  challenge  of  this  set  it  to  be  able  to  transition  from  one  song  to

the  next  fluidly  and  with  reason.

A  classical  set  is  a  grouping  of  works  that  demonstrate  your  knowledge  of  both

classical  repertoire  and  vocal  production.    All  classical  music  must  be  performed

exactly  as  written.  Classical  music  includes:  Art  Songs  (non  theatrical  works)  and  arias

from  operatic  or  oratorio  repertoire.  Please  do  not  choose  “cross-­‐over”  repertoire  to

fulfill  this  component  –  if  in  doubt,  please  ask.  With  few  exceptions,  most  operetta

repertoire  does  not  fulfill  this  requirement.

A  character  study  links  together  both  sung  and  spoken  material  for  a  single  character

from  a  show  and  must  include  at  least  ten  (10)  minutes  of  solo  sung  material  for  the

character.    The  purpose  is  to  provide  an  opportunity  for  you  to  live  on  stage  under

rich  and  full  circumstances,  strongly  pursuing  an  objective  which  brings  you  into

contact  with  another  character  or  characters  with  whom  you  have  a  strong  and  visceral

relationships.    As  you  select  your  material,  bear  in  mind  that  the  purpose  of  the

character  study  is  not  to  piece  together  a  complete  show,  but  rather  to  find  material

from  a  show  which  gives  you  the  chance  to  showcase  the  tools  you  have  mastered  in

your  Acting  classes,  Song  Analysis  classes,  and  other  performance  classes  in  the

program.  You  are  encouraged  to  incorporate  other  artists  from  this  program  in  this

portion  of  your  recital.  Undergraduates  and    graduate  students  are  limited  to  five  (5)

assisting  artists.

Duration  Requirements:

Junior  Recital  –  No  less  than  30  and  no  more  than  35  minutes  of  music.

Classical  Senior  Recital  –  No  less  than  45  and  no  more  than  50  minutes  of  music.

Classical  Masters  Recital    –  No  less  than  55  and  no  more  than  60  minutes  of  music.

Music  Theatre  Senior  Recital    –  No  less  than  35  and  no  more  than  40  minutes  of  music  and

approximately  10  minutes  of  text.    Total  duration  can  be  no  more  than  50  minutes.

Music  Theatre  Masters/  6th  Year  Certificate  Recital    –  No  less  than  45  and  no  more  than  50

minutes  of  music  and  approximately  10  minutes  of  text.    Total  duration  must  not  exceed  60

minutes.

Doctoral  Recitals  –  No  less  than  60  minutes  of  music

Suggested  Methodology:  (Steps  for  putting  together  a  program)

Writing  a  program  can  be  overwhelming  at  first.    As  an  exercise,  start  with  your  current  repertoire  list

and  follow  these  steps:

1)  Add  to  your  repertoire  list,  a  list  of  songs  you  would  like  to  do  on  your  recital.

2)  Look  for  common  elements  that  exist  in  this  combined  list  such  as  songs:  from  a  specific

era,  from  a    cycle,  by  a  composer,  by  a  librettist  or  poet,  with  similar  texts  or  themes,  in  the

same  language,  from  the  same  show/character  etc.  and  begin  to  arrange  the  songs  into  these

groups  according  to  their  similarities.

3)  Once  you  have  grouped  them,  look  for  complete  sets  and  partial  ones  that  you  would  like

to  add  to.  A  complete  set  should  include  songs  that,  while  having  a  common  element  such  as

those  above,  vary  in  tempo  and  tonality  and  flow  easily  from  one  to  another.

4)  Determine  how  well  what  you  have  so  far  meets  the  repertoire  requirements  listed  and

what  is  missing.

5)  When  arranging  the  program  order,  consider  the  following:

a.  Open  the  recital  with  a  piece  you  are  very  comfortable  singing.

b.  Recitals  do  not  need  to  follow  a  chronological  order.  They  do  however  need  to  be

arranged  in  an  order  that  you  can  sing  comfortably  from  start  to  finish.

c.  If  you  have  an  intermission,  end  the  first  half  with  something  that  makes  the

audience  want  a  little  more.

d.    If  you  choose  to  sing  an  encore,  remember  that  an  encore  is  meant  to  thank  the

audience  for  their  attention.  Be  careful  when  programming  something  sentimental  as

emotions  can  run  at  the  surface  during  performances  and  it’s  not  possible  to  cry  and

sing  at  the  same  time.

e.    Once  you  have  a  rough  draft  of  your  program,  practice  it  as  a  whole.  Try  rearranging

pieces  within  the  sets  and  the  sets  themselves  –  you  may  find  a  better  order  for  your

voice.

Assisting  Artists/Pianists

Guest  artists  may  be  invited  to  participate  in  your  recital  in  duet,  small  ensemble,  or  scene  material.

You  must,  however,  adhere  to  the  following  guidelines:

Juniors  may  include  one  guest  artist  and  are  encouraged  to  do  joint  recitals  with  other

juniors.

Seniors  may  include  up  to  five    guest  artists.  These  artists  may  participate  in  no  more

than  15  minutes  of  performance  time.

Graduate  students  may  include  up  to  five  guest  artists.    These  artists  may  participate

in  no  more  than  20  minutes  of  performance  time.

Recitalists  may  include  additional  accompanying  instruments  for  those  works  where  it  is  deemed

appropriate.  There  is  no  time  limit  for  additional  accompanying  instruments  in  performance.

Your  pianist  is  your  primary  collaborative  artist.  Please  make  sure  you  choose  a  pianist  that  can  play

your  repertoire  well  and  has  the  time  available  to  work  with  you.  The  department  generously

provides  your  accompanist  with  a  $250.00  stipend  that  is  paid  directly  to  them  upon  completion  of

the  performance.  When  discussing  your  pianist’s  fee,  please  take  this  money  into  account.  Please

note  that  pianists  who  are  not  American  or  hold  a  valid  Green  Card  may  not  be  eligible  for  this

stipend.  All  accompanists  must  complete  a  voucher  for  services  to  receive  this  and  are  to  be  referred

to  Prof.  Heldman  to  do  so.

Initial  Submission:

Your  initial  submission  must  be  submitted  in  hard  copy  during  the  semester  prior  to  the  recital.

 The  initial  submission  must  contain:

1.  A  completed  cover  sheet

2. The  program  page  formatted  as  below

3. Biographies  for  you,  your  pianist  and  your  assisting  artists

NB:  Biographies  for  all  assisting  artists  should  be  no  longer  than  three  or  four  sentences.

4.  Translations

5. MT  ONLY:  xeroxed  copy  of  the  scene  work  for  a  character  study

Formatting  your  program:  THE  PROGRAM  PAGE  MUST  BE  FORMATTED  IN  THIS  FASHION

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Sr.  Music  Theatre  Recital:  Donna  Divina Hans  Klavier,  Pianist

When  Will  my  Life  Begin?  (Tangled) Alan  Menken  &  Glenn  Slater 3:40

Do  it  Again  (The  French  Doll) George  Gershwin    &  Buddy  DeSylva 1.10

On  the  Steps  of  the  Palace  (Into  The  Woods) Stephen  Sondheim 2:15

Feelings  (The  Apple  Tree) Jerry  Bock  &  Sheldon  Harnick 1.10

How  Could  I  Ever  Know?  (The  Secret  Garden) Lucy  Simon  &  Marsha  Norman 1:45

If  I  Were  a  Bell  (Guys  and  Dolls) Frank  Loesser

2:35

Warm  All  Over  (Most  Happy  Fellow) 2:05

Baby,  It’s  Cold  Outside  (Neptune’s  Daughter) 3:00

Steven  Stupenda,  Baritone

Canciones  Clasicas Fernando  Obradors

1.  La  mi  sola,  Laureola  (Ponce) 2:30

5.  Con  amores,  la  mi  marde  (Anchieta) 2:10

6.  Del  Cabello  mas  sutil  (Dos  Cantares  populares)  (Traditional) 2:40

~Intermission~

Character  Study:  Lili  (Carnival) Bob  Merrill

Act  I,  scene  i 2:35

A  Very  Nice  Man 2:05

Act  I,  scene  ii 1:40

Mira 3:06

Act  I,  scene  iv 0:30

Yes,  My  Heart 3:00

Act  I,  scenes  vi  and  vii 3:45

Golden  Delicious/Love  Makes  the  World  go  ’Round 2:45

Act  II,  scene  ii 2:10

I  Hate  Him 2:40

Paul:    Stephen  Stupenda,        Marco  the  Magnificent:    Jared  Marcus,

Grobert,:  Bryan  Smith        Jaquot:  Marvin  Denison

Total  time  of  first  half:    25:00,          Total  time  second  half:  24:30,            Total  time  of  dialogue  10.10              Total

Time  49:30

Encore:  I  think  I  May  Want  To  Remember  Today Richard  Maltby  &  David

Shire

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Example:  Graduate  Classical  Voice  Recital

Abigale  Sparling,  Soprano Max  Midroit,  Pianist

Tornami  a  vagheggiar  (Alcina) George  F.  Handel 4:55

Victor  Hugo

Oh  quan  je  dors Franz  Liszt 4:30

Enfant,  si  j’etais  roi 3:10

Spanisches  Leiderbuch

Spanishes  Lied Johannas  Brahms 2:20

In  dem  schatten  meiner  Locken Hugo  Wolf 2:15

Sagt,  seid  Ihr,  feiner  Herr 1:50

Teif  im  Herzen  trag  ich  Pein Robert  Schumann 2:10

Intermission

Songs  of  the  Clown  (Shakespeare) Erick  Wolfgang  Korngold

Come  Away  Death 2:05

O  Mistress  Mine 2:00

Adieu,  good  man  devil 0:55

Four  Shakespeare  Songs

Desdemona’s  song 3:00

When  birds  do  sing 2:45

Grosse  Messe  in  c-­‐Moll Wolfgang  A.  Mozart

Et  incarnatus  est 8:00

Domine  Deus 8:38

Quonium 3:50

Benedictus 5:30

Emily  Rose,  Mezzo  Soprano

Joseph  Turro,  Tenor

David  Howell,  Baritone

Total  Time  58:20

Formatting  Information

-­‐Italics  are  used  for  larger  works  such  as  song  cycles  and  shows

-­‐Librettists  and  poets  for  classical  repertoire  are  listed  in  parenthesis  after  the  work.  One  may

also  list  them  as  (Traditional)  or  (Anonymous).

-­‐When  presenting  more  than  one  song  from  a  larger  set,  list  the  larger  work  in  italics,  indent

and  list  the  selections  you  are  presenting.  If  these  selections  are  numbered,  you  may  include

the  numbers.

Format  for  Translations:

Caro  mio  ben                                                                              Dear,  my  beloved

Caro  mio  ben,  credimi  amen                              Dear,  my  beloved,  believe  me  at  least,

senza  di  te,  languisce  li  mio  cor                      that  without  you,  my  heart  languishes.

Il  tuo  fedel  sospira  ognor.                                        You,  faithful  one,  sighs  always.

Cessa,  crudel,  tanto  rigor!                                          Cease,  cruel  one,  so  much  severity!

                                                                                                                           Translation:  John  Glenn  Paton

Foreign  Language  on  the  left,  translation  on  the  right.  If  you  have  less  than  four  songs  in  a  foreign

language  and  they  are  to  be  included  in  your    printed  program,  it  is  very  important  that  you  type

straight  across  and  not  use  the  column  feature  as  column  formatting  will  not  cut  and  paste.  Please

note  that  all  translations  must  be  cited.

If  you  are  printing  and  providing  your  translations,  it  is  a  good  idea  to  to  keep  complete  songs  listed

on  one  page  to  avoid  the  audience  all  turning  the  page  in  the  middle  of  a  song.

Requesting  a  date/time  and  venue:

On  the  Cover  Sheet  you will  see  the  opportunity  to  list  three  dates  and  times  that  you  would

like  to  do  your  recital.  These  requests  must  be  cleared  with  your  assisting  artists  and  your  teacher

prior  to  submission.  To  help  you  with  this,  you  should  check  with  Prof.  Heldman  about  the  availability

of  the  space  you  are  requesting  in  advance.  You  are  welcome  and  encouraged  to  list  any  and  all

available  dates  on  the  reverse  side  of  the  form.

Please  note  the  following  specifics  in  your  requests:

779  -­‐  Anyone  can  request  this  space,  all  CV  juniors  will  perform  in  this  space

Provincetown  Playhouse  -­‐  All  Sr.  and  Grads.  may  request  this  space.  All  fall

performance  MT  seniors  will  perform  in  this  space.  Please  note  that  a  grand  piano  is

not  always  available  for  this  venue.

Blackbox  Theatre  -­‐  All  MT  grads  will  perform  in  this  space  pending  availability.  It  may

be  used  for  spring  MT  Sr  and  graduate  CV  recitals  pending  availability.

Shorin  Recital  Hall  -­‐  is  only  available  for  about  10  days  in  the  first  two  weeks  of  May.

All  CV  Seniors  and  Grads  may/will  perform  in  this  space.

Off  Campus  Performing  Venus:  Any  student  may  request  to  perform  in  an  off  campus  venue

but  the  date  and  time  must  be  cleared  before  a  reservation  is  made  to  avoid  conflicting  with

another  recital.

Once  your  date  and  time  have  been  confirmed,  an  equipment  request  form  will  be  submitted  on

your  behalf  and  a  copy  will  be  sent  to  you.  You  are  encouraged  to  print  this  out  and  put  it  in  your

binder  as  this  is  proof    that  you  will  have  the  technical  assistance  and  space  for  your  recital.

Scheduling  your  Rehearsal(s):

You  are  responsible  for  scheduling  a  dress  rehearsal  that  you  and  your  assisting  artists  can  attend.

The  department  will  allow  you  to  schedule  this  by  submitting  a  space  request  form.  To  do  so  -­‐go  to

http://steinhardt.nyu.edu/music/facilities  and  choose  facilities  tab  from  the  upper  right  hand  part  of

the  menu.  From  this  drop  down  menu,  choose  “facilities.”  Another  menu  will  appear  on  the  left  part

of  the  screen.  Choose    “Space/equipment  Request”  You  will  be  directed  to  a  form  that  you  can

complete  to  request  rehearsal  time  and  space.  Choose  Professor  Heldman  from  the  dropdown  menu

for  approving  faculty  member.

Recital  Hearings:

A  recital  hearing  may  be  requested  by  the  voice  teacher  or  the  recitalist.  If  it  is  decided  that  a  hearing

is  warranted,  the  student  and  pianist  are  asked  to  present  material  from  their  recital  in  front  of  two

or  three  faculty  members.  This  material  is  chosen  by  the  panel  and  must  be  memorized.  Hearings  are

scheduled  3  weeks  prior  to  the  performance  date.  Often  students  use  a  hearing  to  make  sure  they

are  prepared  in  advance.  If  you  or  your  teacher  decide  that  a  hearing  is  to  be  scheduled,  one  of  the

parties  must  contact  Prof.  Heldman  4  weeks  prior  to  your  performance  date.  If  It  is  determined  in  a

hearing  that  a  student  is  not  adequately  prepared,  the  recital  may  be  postponed  or  rescheduled  at  a

later  date.

Changing  your  program  after  the  initial  submission:

It  is  expected  that  the  content  of  your  program  may  change  as  you  continue  to  work  with  your

teacher.    As  you  explore  new  repertoire  and  choose  to  replace  some  of  the  repertoire  on  your  initial

submission,  please  pay  very  close  attention  to  the  requirements  and  the  process  by  which  you

formatted  and  formulated  the  initial  submission  -­‐  especially  the  time  element.  All  changes  of

content  require  that  you  resubmit  your  entire  initial  submission  including  the  cover  sheet  which

must  be  signed  by  your  teacher.  If  you  are  changing  the  order  and  there  is  no  content  change,  you  do

not  need  to  resubmit  your  program.  Changes  in  content  and  resubmission  will  only  be  accepted  up  to

4  weeks  before  your  performance  date.

Final  Submission:

Your  final  submission  is  what  gets  printed  in  the  program.  This  is  to  be  sent  to  Prof.  Heldman  no  less

than  three  weeks  prior  to  your  performance  date.  It  is  to  be  one  document  as  a  Word  attachment  or

as  a  shared  Google  Document  to  dh24@nyu.edu

Undergraduates  must  include:  Program  page  exactly  as  formatted  in  the  initial  submission  with  the

times  and  encore  removed,  translations  if  you  have  four  or  less  songs,  biographies  of  all  performing.

Graduates  must  include:  Program  page  exactly  as  formatted  in  the  initial  submission  with  the  times

and  encore  removed,  translations  if  you  have  four  or  less  songs,  biographies  of  all  performing,

Performance:

You  have  the  space  for  your  recital  for  a  duration  of  time  prior  to  the  start  (undergraduates  30

minutes,  graduates  60  minutes)  During  this  time  you  will  review  your  program  with  the  person

running  the  lights,  and  all  those  assisting  with  your  recital.  You  will  also  take  the  time  you  need    to

prepare  for  your  performance.

Piano  Etiquette:

A  piano  will  be  provided  and  tuned  for  your  performance.  Small  light  soft  sided  props  may  be  set  on

the  piano  if  necessary.  You  are  not  permitted  to  sit  or  lie  on  a  piano  and  under  no  circumstances  are

heavy,  sharp  sided  items  or  liquid  filled  containers  permitted  on  the  piano.  If  the  piano  requires

dusting,  please  use  the  dry  cloth  provided.  If  you  encounter  a  problem  with  a  piano,  please  make  the

faculty  aware  of  the  problem.

Simulated  Weapon  Request:

If  you  feel  you  are  in  need  of  a  weapon  for  the  purposes  of  your  character  study,  please  see  Prof.

Heldman.  New  York  University  strictly  prohibits  possession  of  simulated  firearms  and  weapons  in

and  around  any  facility  owned  or  controlled  by  the  University  except  when  the  bearer  is  in

possession  of  written  approval.  Please  see

http://www.nyu.edu/about/policies-­guidelines-­compliance/policies-­and-­guidelines/weapons-­-­simulated-­weapo

ns-­-­and-­theatrical-­use-­of-­weapons.html

Grading:

Recital  is  defined  a  a  “terminal  experience”  in  a  performance  degree.  As  stated  in  the  objective,  it  is

a  test  of  a  singer’s  ability  not  only  to  utilize  and  display  the  technique,  the  knowledge,  and  the

performance  skills  you  have  acquired  during  your  time  of  study,  but  also  to  sustain  those  skills

throughout  the  course  of  a  single  program.  You  are  graded  on  your  ability  to  fulfill  this  objective.

Undergraduates:

25%  Written  work  -­‐  program  submissions  (late  or  inaccurately  formatted  submissions

will  be  reflected  in  your  final  grade)

75%  Performance  in  fulfilling  the  objective  as  stated  above.

Graduates

30%  Written  work  -­‐  program  submissions  (late  or  inaccurately  formatted  submissions

will  be  reflected  in  your  final  grade)

60%  Performance  in  fulfilling  the  objective  as  stated  above.

Please  print  the  following  cover  sheet  to  be  attached  with  your  initial  submission:

COVER  SHEET:  Vocal  Performance  Recital  Initial  SubmissionThe  following  must  be  attached  to  this  sheet:  Correctly  formatted  program  page  with  timings,  translations,biographies.  MT  students  must  also  include  a  photo  copy  of  all  spoken  text/scene  work.

Name:  _________________________________________Date:  ________________

Accompanist:  _________________________________________

Recital  Partner  (if  doing  a  joint  recital):_____________________________________________

Performance  Venue  Requested:

Room  779_________  Provincetown  Theatre_________  *Black  Box  Theatre______  **Shorin_________*Master’s  Students  Only  **Please  ask  about  availability  in  May

My  accompanist,  and  all  assisting  artists  are  available  for  the  following  performance  dates/times:

First  Choice          Second  Choice                  Third  Choice

Date: Date: Date:

Time(s): Time(s): Time(s):

(  You  may  include  additional  information  pertaining  to  recital  dates  on  the  back  of  this  form)

Alternate  Venues:  I  have  made  tentative  arrangements  to  have  my  recital  at

___________________________________________  on___________________  at  ______________________.

(location)          (date)                    (time)

___________________________________________________________________________________Student’s  Signature Date

I  have  read  and  approve  of  all  the  attached  materials.  It  is  understood  that  content  may  change  as  study  progresses.

___________________________________________________________________________________Teacher’s  Signature Date

Do  not  write  in  this  box._____  Your  recital  program  is  not  approved.  Please  correct  according  to  the  direction  on  the  reverseside  of  this  form,  review  it  with  your  teacher,  and  resubmit.

Program  received________________________Recital  date  and  time___________________________Location______________________