Essentials in
Youth

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Show Your Support For Music Education

Barbershop Harmony Sampler For Music Educators

Youth Policy Statement

Three GREAT Resources to Promote Barbershop Harmony to Youth!

Five Do's and Don'ts for Building a Relationship with High Schools

Vocal Spectrum reaches new heights

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Youth In Harmony Resource Manual

Everything you'll need to know about running a successful Youth In Harmony program in your chapter.

Youth In Harmony:

The basis for reaching young singers

1.1 The purpose of the Youth In Harmony program

1.1.1 Fulfilling our vision

The Youth In Harmony (YIH) program is the implementation of the latter portion of our Society's vision statement:

The Society is to be an ever-growing fraternity of barbershop-style singers, leading the cause of encouraging vocal music in our schools and communities.

When we can assist in preserving and encouraging vocal music in our educational systems, particularly through the introduction of barbershop-style harmony and the joys of singing it, we take a major step in furthering recreational singing in communities of the future, while encouraging recreational singing activities in present-day communities.

This manual focuses on various support activities in which Society members can take active roles within educational systems. Because this entails direct contact with school administrators and music educators, it is crucial that our approach be supportive and complementary to existing programs, not interfering or contradictory.

1.1.2 Investment in the future

The entire YIH program is a multi-faceted effort to reach teachers, administrators, students, and the community. We can help teachers "teach" our style. We can help administrators understand the importance of music education as an integral part of a student's learning experience. Presenting our type of music to young men in the schools can reap a number of benefits. The musical lessons learned from being associated with barbershop singing are of lasting value to the general education of each student. This is also excellent public relations opportunity for your chapter and barbershopping, which is also beneficial to the community. Not only will more people become knowledgeable about barbershop music, but information about our style will be disseminated to the general public through these young men.

Students who become interested in barbershopping through the YIH program could form a nucleus that will encourage even more young men. A student may wish to participate in a Harmony Explosion or Youth Harmony Camp, or sing in a local festival, in addition to participating in his own school vocal program. In a college or university, the student may form a quartet for the MBNA America Collegiate Barbershop Quartet Contest.

1.2 History of the YIH program

The Youth In Harmony program was created by Abe Gould in the mid-1960s for high school-aged young men. Abe was not a musician, but he felt that young men should have the opportunity to sing harmony in and out of school. He, through sheer love and energy, developed a program in the Alhambra and San Gabriel high schools (east of Los Angeles, California) for the young men, with their choral music teachers' cooperation, to sing four-part barbershop harmony. In the early 1970s, Robert Johnson, who was then our Director of Music Education and Musical Activities, helped the Society adopt YIH as a full-fledged program. Its purpose was to introduce students to this style of choral music to help make singing a lifelong activity. YIH has evolved through the years to include the following activities: Harmony Explosion and Youth Harmony Camps, Youth Harmony Workshops, MBNA America Collegiate Barbershop Quartet Contest, music teacher education, festivals and clinics, national MENC: The National Association for Music Education and ACDA (American Choral Directors Association) involvement, elementary, junior high and high school activities, and YIH chairman training. The organizational structure of support is established.

1.2.1 MENC: The National Association for Music Education agreement

SPEBSQSA and MENC have maintained a long and healthy working relationship. In 1971, MENC approved the inclusion of a barbershop quartet category in school music contests and endorsed SPEBSQSA involvement in school music programs. In 1991, the two organizations reaffirmed their commitment to mutual efforts in music education. It reads:

"MENC and SPEBSQSA share a joint interest in the involvement of young men in the joys of vocal music. Because barbershop harmony can be a lifelong commitment, it is reasonable that some high school students may wish to join a local barbershop chapter. This can be an enhancement to the musical development of the student, but should not be at the expense of his commitment to the local school program. It is every bit as important for the barbershop chapter to fully support the music programs in the schools."

The Society is also taking an active role in supporting the National Coalition for Music in the Schools, sponsored by MENC and the ACDA.

In 1990, the U.S. Congress passed legislation that created the Goals 2000 Education Act, which is designed to set minimum requirements for the arts (including music) in our education systems. SPEBSQSA, along with other music organizations, is an active supporter of this program and has offered to take an active role in this effort.

1.3 How to get involved

1.3.1 The music educator

There are more than 55,000 music educators who are members of MENC charged with the responsibility to teach their students music from the last 500 years. Amid the time constraints of rehearsals, performances, fund-raisers, classes, etc., choices have to be made about what to teach. Many music educators are aware that our Society exists but they are not aware of its strong educational focus.

Educators of vocal music at all levels, from elementary to collegiate, can benefit from our clinics, workshops, school visits and educational techniques, including warm-up techniques and rehearsal strategies. We can help them use barbershop music and techniques with existing groups to attract more young men into their vocal music programs. This also increases music sources for the educator and can generate enthusiasm in students.

Music educators are not looking for more work and responsibility. Many face ever-shrinking budgets or complete loss of programs in their schools. Some have little or no interest in our style of music. If we are to successfully enroll educators and their students in YIH programs, we must be willing to take the initiative to seek to understand how we can be helpful to them, do some careful analysis of what we can offer, and make responsible decisions about how to be most effective.

1.3.2 Supporting YIH

There are many ways for individuals and chapters to support YIH. No one program fits all circumstances. There are many variables, including chapter and individual resources, music educator expectations and needs, as well as community needs. A chapter should choose the most appropriate activity to meet and support local needs as effectively and responsibly as possible.

Chapter involvement can be as simple as providing funds to help purchase music for a school, or as complex as sponsoring a clinic or festival. It can be as involved as sponsoring a high school or college quartet, or staging a multi-chapter fund-raising concert -- or as simple as writing a check to Harmony Foundation in support of SingAmerica and SingCanada programs for young singers.

The important thing is to keep the vision clearly in mind. Believe in the cause. Know it is important. Accept the challenge. Know you can make a difference. And remember these two basic precepts:

< We're here to support the idea and importance of music education, specifically choral music, as part of a well-rounded education -- not to dictate to the music educator how it is done.

< By exposing young men to the joys of our art form, we set the stage for their possible involvement in the barbershop hobby at some point in the future.

1.4 Purposes and goals of YIH

The purpose of the YIH program is to encourage and actively promote the joyful experience of singing, in general, and singing in the four-part barbershop style, in particular, among young male singers and their teachers across the United States and Canada. [Please note, that while our focus is primarily on young male singers, interested female singers should be included, when possible, and information about female barbershop singing organizations should be made available to interested music educators.]

The goals of the YIH program are:

< To encourage and support vocal music education of all types (not limited to barbershop) in the elementary schools, junior high schools, high schools and colleges in our communities

< To provide a performance outlet, which could include competition or festivals for these singers, and to develop an awareness of singing as a lifelong recreational activity

< To raise the awareness among teachers and education administrators that barbershop harmony is a viable musical art form that can help them to expand and improve their vocal music curriculum

< To serve and be recognized as a valuable resource in support of goals we share with the National Coalition for Music Education

IMPORTANT NOTE


< To foster the establishment of groups of barbershop harmony singers at local schools as an integral part of the school music curriculum, and to provide the environment in which young singers can develop greater self-confidence, improved performance skills and a learn the value of teamwork

This program is NOT intended to be an active membership recruitment vehicle for students

or their music educators. Our first responsibility is to promote the importance of finishing their education, with singing as an important activity. Music educators are busy shaping the minds and viewpoints of their students and this is a tremendous responsibility. We never wish to give the impression that we are vying for students' time to the detriment of the school programs. If a positive working relationship is established with the teacher, the teacher will then become a partner in our efforts for music education preservation. If we have done our jobs properly, many of the students of today will surely become the adult barbershoppers of tomorrow.

1.5 Organization

The YIH program is administered under the following organizational structure:

Society Board of Directors

Society Student Activities Committee (Consists of YIH and Collegiate Activity)

Society Student Activity Sub-Committees

District Board of Directors

District Vice President YIH

District YIH Committee

Chapter Board of Directors

Chapter YIH Vice President or Coordinator

1.5.1 The District VP for YIH

The District VP for YIH activities coordinates all district youth activities, and must coordinate with the following district personnel:

< District Vice President for Contest & Judging (for high school and college quartet adjudications and/or contests).

< District Treasurer (for collection of contributions and disbursement of funds).

< Chapter YIH VP/chairman. This member need not be a voting member of the chapter board of directors, but should be the person responsible for coordinating the chapter’s YIH activities.

< District Vice President for Music and Performance (to coordinate visits to schools by Society Music Specialists.)

1.5.2 Chapter YIH VP/Chairman job description

The YIH VP/chairman for a chapter should be an individual who is generally aware of the music educators' curriculum and philosophy. His functions should be to promote YIH programs to all elementary, junior and senior high schools, and colleges in the area. This promotion includes:

< Becoming aware of the music educators' curriculum and philosophy

< Communication with music educators

< Visits to local schools and music educators

< Providing resource materials to music educators

< Investigating and offering assistance to music educators when requested, and as appropriate

< Acting as liaison between the chapter and the district YIH vice president

< Attending local school music programs and providing written articles and reports for chapter, division, and district newsletters about YIH activities

< Assisting in the coordination of visits to the schools by Society staff with division/district YIH chairmen/VPs

Qualifications

When seeking to find a person to serve as YIH VP/chairman, at any level, consider the following qualities, skills and characteristics. The form shown on the next page, titled “Questions for Potential YIH Chairman,” will be of value in seeking candidates for this position.

< Good communication skills, in general, and especially with music educators and students

< Good interpersonal (“people”) skills, particularly with students

< Musical knowledge (basic)

< Barbershop knowledge and experience

< Sales skills

< Patience and persistence

< Initiative and energy

< Organizational skills, able to resource the right people

< Willingness and eagerness to attend YIH training opportunities, such as COTS and HEP Schools

< Able to commit the necessary time to achieve success.

Questions for Potential YIH VPs/Chairmen

1. Do you have any YIH experience? yes _______ no _______

If yes, year___________ chapter_______________________________________

2. How long have you been a member of the Society? __________________________

3. What do you perceive the YIH program to be?______________________________

___________________________________________________________________

4. Do you have any barbershop quartet experience? yes___________ no __________

If yes, quartet name_____________________ highest level of competition_______

5. What is your barbershop chorus experience? Highest level of competition? ________________

6. Do you have any directing experience? yes ______ no ______ number of years ______

7. What chapter offices have you held? _______________________________________

8. Do you have any coaching experience? yes________ no________ If yes, with whom?_______

______________________________________________________________

9. Additional schools/seminars sponsored by SPEBSQSA that you have attended (check all that apply)

Harmony College___ Directors College___ District HEP___ COTS___

Judging Seminar___ Coaches Seminar___ Directors Seminar___ CDWI___

other________________________________________________________________

10. Do you have any teaching experience? yes_______ no________

If yes, at what levels and for how long?______________________________________

11. Have you held any administrative positions in any other organizations? yes_____ no_____

If yes, what positions and where? _______________________________

12. How do you feel the experience you have gained in your personal or professional life could benefit your efforts in introducing the YIH program to music educators and schools in your area? _______________________________________________________________________

_______________________________________________________________________

13. Have you ever been involved with any other youth organizations? If yes, which?_____________ _______________________________________________________________________

14. Describe the contact you have with the schools in your area._____________________________

_______________________________________________________________________

15. We believe that a chapter YIH program, as it is developed, will require a minimum of ____ hours per mo/wk/yr. Can you dedicate this amount of time? yes_______ no________

Division YIH VP/ chairman job description (if district has a division structure)

< Promote YIH to all chapter boards of directors to encourage the selection of qualified chapter YIH chairmen

< Act as coordinator for all YIH activities in the assigned division/area

< Work with chapter YIH chairmen to coordinate Society staff visits to local schools

< Interview and recommend for approval potential chapter YIH candidates who are suggested or nominated by the chapters in the division

< Administer and coordinate divisional YIH activities with the district YIH vice president, district Music and Performance vice president and any host chapter(s)

< Act as a resource to music educators for information about local, division and district barbershop activities

< Promote the appearances of YIH quartets and ensembles on chapter shows within the division/area

1.6 Working with music educators and school administrators

1.6.1 Coordination among Barbershoppers

It is important to note that it is possible for some schools in densely populated regions to overlap areas served by more than one chapter. Chapters are encouraged to join forces in cooperative and collaborative programs wherever and whenever possible. However, it is vitally important that each school or school district have a single point of contact with our Society. Multiple chapters contacting the same school gives the impression that we are not well organized and may create an additional coordination burden for the music educators, as they are normally unfamiliar with our organizational structure. A chapter may request that it be named as the "primary contact" for a particular school. This request should be made to the district YIH VP, who will coordinate such assignments and maintain records of which schools are assigned to each chapter.

1.6.2 How public schools are organized

In addition to the individual schools, most public schools are part of a school district that plans curricula, controls budgets and coordinates the activities for the schools. In general, three types of school districts exist:

< Unified school districts

< High school districts

< Elementary school districts.

Unified school districts include elementary through high school grades. High school districts usually include grades 9-12, but may also include grades 7 and 8. Elementary school districts include grades Kindergarten through 6 or Kindergarten through 8. All public school districts will generally have a person who is responsible for the curriculum or education services covering each subject at all grade levels. Larger school districts may have someone with responsibility for fine arts, all arts, or on rare occasions, music. Communication with this district level person may provide additional support for contacting individual schools, or leads for contacting particular schools where interest may be high. This is also the person to contact to set up a meeting with a group of choral music educators.

Working with and through the state or provincial director of music education is also a possibility that often yields great results. Seeking to secure permission to use specific programs related to barbershop harmony may not only be gained, but also endorsed at the state/provincial level. This provides peer credibility and can open possibilities for the local chapter’s or district’s YIH efforts. The Sunshine district has been highly successful in developing and growing its barbershop outreach program in this manner (see Appendix for details).

At the collegiate level, the structure is usually:

< Chancellor

< Dean of the College of Fine Arts

< Music Department Chairman

< Faculty/Professor

Contacts may be initiated at either end, but remember that the teacher in the classroom or rehearsal hall usually controls his or her own domain.

1.6.3 Don’t forget private schools and home-school groups

All private, faith-based/parochial schools and home-school programs should be included in all chapter and district youth outreach initiatives. Such schools are often inadvertently omitted from the chapter or district YIH activities because the main focus of the chapter or district YIH program is placed only on public school programs. A barbershop relationship with a home-school program may be very advantageous to the particular home-school program and will prove rewarding to the chapter or district, as well. Be sure to include all schools in your YIH activities.

1.6.4 Working with education administrators

Depending on the size of the county or jurisdiction, there may be one person responsible for fine arts or music education. This person can be a valuable ally in helping to promote your YIH program, since he or she has direct contact with all school districts in the jurisdiction. The coordinator of music for the jurisdiction will be familiar with those schools that have vocal music programs, as well as those where barbershop will be welcomed or declined. Always ask for permission to use the superintendent’s, administrator’s or principal's name as a reference when making school or music educator contacts.

An additional resource at every school is the principal. Before making contact with a music educator, it is wise to speak with the principal to explain why you would like to visit the music educator and what you hope to accomplish. If you sell the program to the principal, it will be easier to sell to the music educator. The principal may refer you to an assistant principal or vice principal having curriculum or extra-curricular responsibilities for the school so that you can introduce yourself to the music educator. You may have to sell this person on your program as well, in order to have a chance at successfully offering barbershop support in the school. They will be very interested in knowing that it will not cost the school anything to participate.

TIP: If you already have experienced success working with a music educator, ask the educator for a referral to other music educators who might be interested in hearing about the YIH program, and barbershop harmony, in general. Ask if your contact will allow you use his/her name when you contact the new educators.

1.6.5 What about the young women?

Because most educators have responsibility for both men's and women's vocal programs, and because it is quite common for a typical high school choir to have three or four times as many young women as young men, the question may come up: "This is fine for my guys, but what about my young women?" Sweet Adelines International has a very polished Young Women in Harmony program. Cooperation with local Sweet Adelines International or Harmony Inc. chapters is encouraged when providing programs for young women at the high school level.

1.7 A chapter-level YIH program

level YMIH program

Determining the activity best suited to your chapter

There are a number of steps to take before you embark on a YIH program to determine the extent to which the chapter should commit itself. Involve the chapter members in deciding which activity and level of involvement is appropriate for your chapter. Each member should understand the various youth outreach programs in which the chapter may become engaged, the goals of those programs, how each program works and what program limitations exist. This analysis will determine the best method of support for your chapter to undertake.

Because of the difference in membership size and available talent among chapters, some things can be done more easily by some chapters than others. Sponsoring major events takes a lot of manpower, coordination, time and effort. On the other hand, many of the activities available to chapters do not involve a major organizational requirement and are of nominal expense. Simply providing music, learning tapes, scholarships, etc., can be very beneficial to a school without the burden of involving individual and already overworked chapter members directly in YIH support activities.

The chapter YIH chairman should be very carefully selected. He will be directly contacting music educators and students, and first impressions with those educators are critical and will last a very long time. He should be well-organized and able to make the necessary contacts and arrangements, as well as carry out the requisite follow-through that will bring success to your program. Once your chapter YIH VP/chairman is in place, he should investigate which school or schools can most benefit from your proposed support. He may wish to form a team to assist in this project.

The more the chapter YIH VP/Chairman knows about the school system, its choral program and teachers, the better he can select the most appropriate activity for a particular school. To help him assess the school system and choral program, the chapter YIH VP/Chairman should:

< Attend school concerts, musicals and other programs.

< Talk with the music educators about the choral or music programs to determine if there is an interest in barbershop music.

< Determine the school board's attitude toward arts programs, since the school board has control over which programs will be funded and which will not.

1.7.1 More preparation work -- a three-step process

1. Identify your chapter's strengths

Some chapters have more resources than others. Some have more performing units available than others. Perhaps some even have local music educators who are also members. It is critical for the chapter to identify areas in which it can be most effective in supporting our Society vision statement in the world of music education. Chapter strengths can lie in non-music areas, as well. Perhaps your chapter has organizational talents and could serve as host for a festival or clinic. Perhaps your chapter budget could support students and teachers attending a Harmony Explosion Camp or high school quartet adjudication or contest. Determine where your chapter’s strengths lie and how to apply them to the variety of activities included in the YIH program.

2. Identify the music educator's needs

Sometimes barbershoppers have a tendency to offer the music educator support that capitalizes on the chapter’s strengths, but does not meet the educator’s needs. If a chapter wants to introduce a quartet adjudication or contest into a school or school district, but the music educator is struggling with developing a choir program because the budget is so low that it is difficult to even purchase any music, there probably won't be any interest in a barbershop quartet adjudication or contest. On the other hand, if that same chapter offers funds so the music educator can purchase music, not necessarily barbershop music, his/her immediate needs may be met and a positive working relationship could well be established. First, find out what the music educator needs.

Music educators are very busy people. In addition to their classroom activities, they may be responsible for several performing groups and must provide music for concerts and other activities. They are not looking for more work or responsibility. Instead, they often are seeking musical experiences that are worth the time and effort that are required to implement them. Music educators are charged with educating students with music literature covering numerous centuries, and they have a vast number of choices besides barbershop harmony. In addition, they are probably working on a schedule made out months in advance. Unfortunately, a few may not have a high opinion of the barbershop style, based on past experience with local barbershop groups. These may seem like formidable obstacles as you begin to make contact with local music educators.

However, many music educators are interested in whatever support their community can provide to their music program. We are part of that community. Experience indicates that barbershopping is becoming recognized by educators as a very effective way to get more young men interested in music activities, as well as a way to strengthen their performance, interpretive and ear-training skills. In this day and age, music educators look for ways to attract more young men into their programs. So whether a particular music educator "likes" barbershop, if approached with sensitivity to his/her needs, most music educators will be very receptive to your suggestions and offers of assistance to support their existing programs in any way that you can.

3. Determine the appropriate activity

Once the chapter has analyzed its strengths and assessed the music educator’s needs, the next step is to match an activity that will likely provide the most success for both groups. Some of the activities are passive or supportive in nature, requiring little effort on the part of the chapter, while other activities are quite involved.

1.7.2 Introducing the program

Music educators develop attitudes toward barbershop music and barbershop singers based on previous experiences. When discussing how to best help the music educator, the barbershopper may be confronted with some obstacles. Below are some points of consideration when presenting an overview of our style and what it has to offer to an interested music educator. This is followed by some of the objections potentially encountered as well as some suggestions that may help to overcome the objections.

Reasons for using barbershop in your school program:

< Attracts young men into choral program

< Creates additional performing ensembles

< Minimal work for the teacher

< Support materials available

< Minimal or no cost

< Assistance from chapter is available

< Promotes ear training, performance skills, teamwork, music interpretation skills

< Students will have an additional performance outlet

< Barbershoppers serve as strong, positive role models

< Provides challenging opportunities for students interested in being challenged

< Learning is practically self-taught

< Reinforces good vocal techniques

< Rekindles a cappella singing

< Stepping stone in learning harmony

< Provides additional PR opportunities for the school music program

Objections Counter-Answers

"I don't have time." "Perhaps it won't take as much as you think, let's take a quick look at this..."

"This is for young men only." "Why not give them a more focused outlet. Sweet Adelines International or Harmony, Inc. have similar programs for young women."

"No one influences my students." "I believe you may have misunderstood me, we would never interfere with your program. What we want to offer you is some assistance."

"I don’t have the budget." "We are prepared to assist you with that as well, the cost is truly minimal."

"Who cares?" "The students are the ones that suffer. We're all losing money in the arts and we're all on the same team. Let's get together; continuance gives the school program validity."

"Isn’t barbershop for older men?" "Younger members are more abundant every day. The increased demand for the Introduction to Barbershop Singing for Youth songbook is proof of that. There are teenagers in the top ten competitors of our international competition."

"My principal may not approve of this." "Let's talk to him/her together and explain what we’re proposing."

"Students don't have the time." "Students will make time for things they believe are worthwhile and that they enjoy."

1.7.3 Hints for success: Do’s and don'ts

Whenever you are in contact with a music educator, regardless of the level, adhere to the following basic principles:

Do

< Seek first to understand what the music educator needs/wants before attempting to explain what you want.

< Adapt your social and personal interaction skills for best and most effective communication.

< Be positive, enthusiastic and energetic.

< Be diplomatic. Don't try to teach the music educator.

< Know what the YIH program is all about (an awareness of product knowledge).

< Have a good quality live quartet or video taped quartet for demonstration.

< Be prepared for the presentation.

< Know the person with whom you will speak.

< Send your best representative.

< Always know what your chapter representatives are doing, for better quality control.

< Be in touch with internal and external media (email, phone, letters). You must communicate.

< Have business cards.

< Recognize philosophical differences between the YIH philosophy and the music educator’s philosophy and be sensitive to resistance or negative attitudes.

< Develop and improve your communication skills.

< Follow-up.

< Be sensitive to the music educator’s schedule and pressures of the day/semester/year.

< Be on time and look professional.

Don't

< Send uninformed or unqualified individuals to represent the program.

< Don't send a pick-up quartet or one that sings with poor quality into the school to demonstrate.

< Don't actively recruit students to become members of the Society.

< Don't overstay your welcome.

< Don't try to tell the music educator everything you know in one visit.

Music Educators report a number of “turn-ons” and “turn-offs” regarding barbershop harmony. Be aware of these.

Turn-ons:

• Free tickets to barbershop concerts

• Free coaching for students by qualified coaches, if desired by educator

• Invitation for school group(s) to perform at chapter shows or rehearsals

• High-level and accomplished quartets performing for students

• Qualified coaches working with students on “hip” music, NOT just Barberpole Cat tunes

• Adjudications and festivals instead of contests

• Invitations to attend district HEP Schools, e.g., Harmony College East/Northeast/Pow-wow/Sizzle, etc.

• Inviting the girls’ quartets and ensembles to participate in adjudications and festivals

• Friendly barbershoppers who engage the students and tell them they are good and ask to sing a tag with them

• The Harmony Explosion music series and other more "youthful" arrangements, i.e., arrangements of old and new songs that are attractive to young people

• Scholarships to Harmony College/Directors College and traditional summer music educator continuing education workshops

• Society arrangers who are eager to work with educators and respond promptly to requests for assistance with arrangements

• Financial assistance for school choral programs and activities

• Barbershoppers who attend school concerts, fundraisers and support school music programs in any way they can

• Well-planned visits by Society Music Specialists

• Barbershoppers who understand that barbershop is an EXTRA activity and not required by the school education standards

Turn-offs

• Pushy barbershoppers

• Quartets that sing poorly

• Well-meaning barbershoppers who talk to teachers like barbershop should be a priority in the school music program

• KIBBERS who cannot accept the new "jazzier" arrangements

• Invitations to party rooms where alcohol is served

1.8 YIH activities for chapters and districts

Some activities are as easy as providing materials, subscriptions to music series or even invitations to perform. Others require extensive and focused chapter involvement to establish, such as camp participation, providing coaching, or sponsoring festivals or adjudications/contests.

1.8.1 Supportive methods

< Provide music and/or learning tapes to music educators and students.

< Provide a subscription to the Music Premiere Series.

< Provide a subscription to The Harmonizer.

< Provide a legal recording of the national anthem and/or CDs of quality barbershop music.

< Provide complimentary tickets to chapter shows.

< Provide scholarships for the teachers to attend district HEP Schools, Harmony College or Directors College.

< Learn the school’s concert schedule and regularly attend school concerts or musicals. (The school music performance calendar can often be found on the school’s website.)

< Invite the school's singing group(s) to perform on your chapter shows, regardless of whether they are a barbershop group.

< Donate certificates, trophies or music scholarships.

< Offer to help with logistics for their upcoming musical or concert – e.g., build sets, design/print the program, make costumes, pick up supplies during the day when establishments are open and educators and students are busy at school, offer to usher, work backstage, run the lights/sound, etc.

1.8.2 Active methods

< Plan a Harmony Explosion (HX) or Youth Harmony Camp presentation for the music educator and students.

< Arrange a Society staff or district liaison visit with the music educator.

< Provide resources for coaching and musical assistance.

< Facilitate a music education seminar.

< Hold an open house (sample invitation in appendices).

< Sponsor a college quartet to the CBQC.

< Organize a festival or high school/collegiate quartet adjudication or contest.

< Organize an in-class presentation by a quality quartet or clinician.

< Provide a guest lecturer for a segment of a curriculum.

< Get involved with a local Boy Scout troop (see appendices).

2 Making contact

The Youth In Harmony chairman should be the sole contact with a music educator. Other individuals should refer all information to him. Lack of coordination in dealing with the schools and music educators can cause major problems for future contact and activities. As mentioned previously, referrals are always preferable to cold calls. Ask any music educators with whom you may have had positive contact in the past if they can refer you to any of their colleagues who may be interested in hearing more about barbershop harmony.

Initial contact non-referrals should be through formal correspondence. Follow up with a phone call to arrange for a personal visit. If you wish to present recommendations from other music teachers, testimonials are on file at the Society office. Note, however, that many music educators discard mail that appears to be “junk” of mass mail. Hand-address any correspondence and indicate in the lower left corner that is “dated material” or “critical”.

If the music educator appears disinterested, don't press the issue. Leave materials (such as a copy of the music educator video (part number 4023) and/or the music educator packet (part number 4271) along with your name, address and phone number. The music educator may decide to look it over during free time and want to talk more about it later. If you leave the music educator video and your contact information, plan to pick the tape up the following week. When you pick the tape up, bring a music educator packet along as a gift.

As follow-up, send a thank-you note and inquire about school performances you and the chapter can attend. Be sure to put the music educator’s name on the chapter's mailing list so that he/she can learn more about your chapter and what you do in the community.

2.1 Identify schools in your area

Prepare a list of all schools in your area. Gather information about each school, including its full name, street address and telephone number, and confirm. Be sure to also include parochial and private schools, as well as home school “groups”. We often just think about the public schools and never share our resources with the others.

2.1.1 Contact the district YIH Vice President

To avoid duplication of effort, be sure to check with the district YIH Vice President. If the school you select is already served by another chapter, stop. Start the process again by finding another school that is not already served by a chapter. If you and the district YIH VP are not sure whether the school is already served by a chapter, ask the music educator if he/she is already working with a representative from the barbershop Society in the local area. If so, contact that barbershop representative and see how you can coordinate your efforts in the area.

2.1.2 Call each school for more information

For each school identified, make a brief telephone call to the school office to determine if the school has a choral music program (be sure to differentiate choral music from the band program). If the school has a choral program, ask for the name and correct spelling of the instructor. Also ask if there is a direct-dial telephone number for the instructor. (Some school districts prohibit the giving of this information over the phone. If that happens, you may need to make an appointment to meet with the principal at the school before contacting the music educator, directly.) However, if you are successful, do not contact the instructor yet. Instead, this information will allow you to contact the instructor by mail, so that the instructor is not placed in an awkward position or made to feel pressured. Accumulate all of the information into an organized list for easy reference. Although a computerized version makes this information easy to work with for mass-mailings, a manual method can be used with equally good results. You should also keep a separate sheet for each school to log a chronological history of activity at that school. Hand-address all initial correspondence!

2.1.3 Mail an introductory letter to each instructor

Your first official contact with the music educator should be brief (only one page) and professional. It should be a personalized letter with the educator's correct name, title and address (rather than a form letter), neatly typed on Society stationery (Stock No. 3501). Remember that you don't get a second chance to make a first impression. (A sample contact letter can be found in Appendix 1.)

2.1.4 Make initial telephone contact with the music teacher

One to two weeks after mailing the introductory letter, call the music educator. Be sure to be sensitive to the educator's busy schedule. S/He will probably be teaching a class during normal school hours and may not be able to come to the phone. Alternatively, you may catch the educator between classes, and s/he may not be able to talk for an extended period of time. Again, be brief and to the point. Confirm that s/he has received the letter of introduction and ask if s/he would like to find out more about the YIH program. Unless the educator asks for a lot of detail during that conversation, be prepared to offer to send some more information that s/he can review at her/his convenience (e.g., the music educator video (part number 4023)). Also, be prepared for a response that s/he is not interested at this time (most schools have their yearly programs set very early in the school year or late in the previous school year). Offer to send some additional information. If you have been sensitive to the situation, very few music educators will refuse to learn more about the program. If you still find that the educator does not want anything to do with our program, thank him/her for his/her time and make a note not to bother him/her any further.

2.1.5 Forward the school information to the Society headquarters office

The Society headquarters maintains a database of elementary, middle/junior high, high school and college music teachers who have expressed interest in Barbershop harmony, and sends out periodic mailings to keep them informed of nationwide YIH activities. By providing the educator's name, school name, address and phone number to the Society headquarters, you ensure that your local school will be added to the list and will stay “in the loop.” Send the information in writing to the Music Department. It is easiest to mail or fax a copy of the chronological history sheet for each school. The Society will then send a kit of YIH materials directly to the instructor. This kit will include a list of songs specially arranged for younger voices, and a copy of the Harmony Marketplace catalog, which describes the music and other educational materials that are available.

2.1.6 Send a supplement kit of printed materials.

One to two weeks (at the same time as the follow up phone call) after mailing the introductory letter, send a supplemental kit of printed information to the instructor. This kit will vary based on your local activities, but it might include the following items:

< The music educator video (part number 4023) for review and collection by you later.

< A cover letter, thanking him/her for his/her interest in Barbershop harmony.

< A copy of The Harmonizer (July/August 94) article featuring The Management quartet.

< Information regarding local high school activities or the MBNA America Collegiate Barbershop Quartet Contest.

< A brief definition of the barbershop style (such as the Foreword of the Contest and Judging Handbook).

< The YIH Music Educator Packet (part number 4271)

2.1.7 Determine costs

Many of the activities available to chapters are of nominal expense; others are more expensive. The cost of providing songbooks, learning tapes, scholarships, etc., can vary based on the school and activity. Once an activity is selected, have a clear understanding of the costs that are necessary to support it.

2.1.8 Implementation procedures

Scope and sequence

< Select of coordinator

< Determine the chapter’s strengths

< Contact district YIH VP and other local YIH Chairmen to coordinate which schools you are planning to contact

< Determine music educator’s needs

< Select an activity or initiative that you will pursue

< Identify the criteria for your presentation

< Schedule and deliver your presentation

< Report your activity to the district YIH VP and document your activities for ongoing reference

< Follow-up with the music educator – if you promise something, you’d better deliver it!

Contacts in the music education profession

< Music educator

< Jurisdictional music supervisor

< Principal, if required

< Other school officials or music educators, if known, for initial contact

< School district officials, if required, for multiple school programs

< Community musical organizations

< Officers and committee chairs of professional music organizations

Contacts in barbershop circles

< Chapter officers

< District/division YIH chairman

< DVPs and chapter counsellors

< Society headquarters

< Association of International Champions (AIC)

< Sweet Adelines International headquarters, Director of Education

2.1.9 Things to consider for success

< School calendars

< Chapter or district calendars and previous commitments

< ACDA/MENC and state/provincial music educator conventions

< Society staff travel schedule

2.1.10 Methods of contact

It is the job of the chapter YIH VP/chairman to make the first contact with the music educator regarding the program. Others in the chapter should refer all information to the YIH VP/chairman. Lack of coordination in dealing with the schools, music educators and the students can cause the program to fail before it starts. Methods of contact are as follows:

< Correspondence

< Phone call

< Personal visit, noting any recommendations or referrals from other music teachers

< Brochures or self-designed flyers

< School district mailing (mailing list may be acquired through the local university or college music department).

2.1.11 Methods of follow-up with school contact up with school contact

< Phone call or personal visit

< Place the music teacher and/or students' names on chapter mailing list

< Thank you note, include an inquiry about performances you and your chapter can attend.

Ideally, the chapter YIH VP/chairman should report chapter activities directly to the district YIH VP each month. The chapter YIH VP/chairman should keep all of his contact information in a database of some kind for easy access and sorting. List the vocal music educator(s) with address(es) and phone number(s).

As the chapter YIH VP/chairman makes personal contacts, it is important that he immediately log the details of the conversation for reference, as well as to describe the music educator's receptiveness to the program. Details such as date of contact, number of students in the vocal music program, number of ensembles, materials provided, any music program needs that may be identified by the music educator during conversation, and results of the contact or action required should also be included in the log.

2.1.12 Publicity for events

Below is a list of ideas you might consider to publicize YIH activities in your area. Some of them are easy to accomplish, while others require more time and money. In any case, you want to let the public know about your activities and your involvement in the community. YIH activities can be interesting community news items and can gain public support for the school, chapter and Society. Don’t underestimate the value of your support for youth music in the community. Notifying the local press of a youth quartet or choir that will appear on your show or that you sponsored a local group to attend a festival or workshop are examples of events worthy of publicity.

< Flyers

< Radio interviews

< Newspaper interviews, articles and photos

< Society publications, local chapter bulletins and district magazines

< Professional music journals (Music Educators Journal, Teaching Music,The Choral Journal, and divisional/state music education journals)

< Cable TV interviews

< TV news interviews

< School newspaper articles

< The Harmonizer

< School bulletin boards (music educator's responsibility)

< Daily school announcements (music educator's responsibility)

< Intercom messages (music educator's responsibility)

< Notice of chapter meeting time and place (chapter's responsibility).

2.2 Financial support

YIH, like any worthwhile project, does have costs associated with it. Financial support of the program is another way your chapter can become involved in a positive way. There are several ways you can accomplish this.

< Contributions to Harmony Foundation, SingAmerica and SingCanada

< Contributions to a district fund (if established)

< Local support

SingAmerica and SingCanada were established in 1995 to support vocal music education in our schools and recreational singing in our communities. While this support is not exclusively for barbershop harmony, a significant number of projects funded through SingAmerica and SingCanada are for YIH (introducing barbershop harmony to young men). Harmony Foundation, the Society's associated foundation, oversees all fundraising for SingAmerica and SingCanada, as well as the rest of our charitable mission, which includes the Heritage Hall Museum of Barbershop Harmony and the Society's Endowment Program.

A number of grants have been made since 1996 which support YIH projects across the Society, and a substantial portion of the SingAmerica funds have been used to support the Harmony Explosion Camps. Chapters that wish to help send students and their teachers to HX Camps should do so by sending their contributions to Harmony Foundation and indicating that the donation is to be used as a scholarship for that purpose. The chapter receives credit for the donation and the funds are transferred to the HX camp account.

Some districts have established YIH funds to help support district camps and/or other district outreach activities. Your chapter's contributions to the district fund are important to sustaining efforts district-wide. (See Appendix 7 for a sample grant application form for district funds).

Of course, your chapter may wish to support a local school or school group directly. One of the easiest ways to support local school music is through joint performances where school choirs and barbershopper chapters share a program, and funds raised go to the school’s music activities. Often a simple donation by the barbershop chapter, to enable the school choir to buy music, equipment, uniforms, or to finance travel to a festival is greatly appreciated. A chapter might "adopt" a school choir, ensemble or quartet and develop a long-term relationship.

It is important to maintain a balance in your financial support. Certainly, supporting local school music programs has a direct, positive public relations impact for your chapter. Contributing to a district fund also provides a sense of regional identification. Supporting SingAmerica and SingCanada allows for bigger projects to be funded, organizational recognition, and an opportunity to place funds where they can do the most overall good.

Also, remember that the Society has an overall charitable mission that includes our support of youth outreach initiatives and projects, as well as the Heritage Hall Museum. The best way to support the entire mission, including YIH projects through SingAmerica and SingCanada, is to make chapter, quartet and individual contributions to the Harmony Foundation General Fund, which in turn funds all of our charitable outreach projects.

2.2.1 How to raise funds

There are many ways to raise funds and contributions for your support of YIH and SingAmerica or SingCanada through Harmony Foundation. Some of these include:

< Donate or earmark a percentage of annual show proceeds, the proceeds from one or more performances per year, or a special show you stage to benefit SingAmerica or YIH.

< Collect "proud money" or "happy bucks." Provide an opportunity at each chapter meeting night for members to contribute money as an opportunity to brag about a special event or accomplishment. In exchange for this opportunity, the proud member makes a contribution to the fund.

< Include a charitable patron list in the show program. Invite your show patrons to help support our charitable mission. For a nominal fee (e.g. $10), list their names on a special page in your annual show program as supporters.

< Sell entertainment books, pizzas, fruit, hold garage sales, etc.

< Hold auctions/raffles.

< Enlist your local service clubs' help. Your local Rotary, Kiwanis, Lions, Elks, Moose, Masons, Knights of Columbus, etc., may be looking for a good cause to support. Tell them about our charitable mission and ask if they would like to help us.

< Pass the Harmony Foundation bucket at chapter meetings for general fund donations.

2.2.2 Sponsorships and grants from outside sources

Chapters are also encouraged to seek grants or sponsorships from local or area foundations, arts councils or corporations. Of course, you will want to select those groups with which you would proudly want to associate the good name of barbershop harmony and your chapter. Society regulations state that all grants and sponsorships must be approved by Harmony Foundation. This is only to protect your chapter and the Society's tax exempt status and to guarantee that the granting body or proposed sponsor is appropriate for your chapter. National and international foundations and corporations should only be approached with Harmony Foundation approval.

2.2.3 Non-financial support

School music events, such as concerts, solo and ensemble contests and other programs, often need manpower. Many chapters have found that by volunteering their time for these events they have shown local music educators that the Society is, indeed, concerned about the success and continuation of school music programs. This goodwill gesture certainly paves the way for the music educators considering the inclusion of barbershop harmony in their school music programs.

Simply supporting music education in your community can have a powerful impact. Because of the Society’s and your chapter's non-profit tax status, we must be careful not to openly endorse political causes. However, individual members can speak out in favor of music education at school board meetings and other public forums.

Providing a performance opportunity for a school singing group on your annual show will not only give the group exposure, but may result in added audience members (family and friends of the schools singers) for your show.

2.2.4 Additional financial support opportunities

In addition to applications for grants and collecting funds at chapter meetings, you might consider giving the school program the tools to acquire funds on their own with some assistance from you. For example, if you tend to not sell all of the seats at your annual shows, you might give your “adopted” school or schools a set number of tickets to sell to your upcoming show. The school music program would keep the funds received for any tickets they are able to sell. This is a mutually advantageous arrangement for both your chapter and the school music programs. This works especially well if the school music group is invited to perform on the chapter show. The benefit to the school music program is that it realizes 100% return for all the tickets it sells and has a performance opportunity that introduces the school program to a barbershop audience that might not be fully aware of the school’s music program and the talented students who go to school there. The chapter benefits in many ways, as well:

< Traditionally unsold seats are sold, resulting in a larger audience;

< Ticket sales by students bring a different audience to your show than you might otherwise have (parents, family members, friends, etc.), thus exposing a new group of music lovers to barbershop harmony;

< A portion of the adult men who attended the show due to ticket sales by the school music students may be interested in visiting your chapter and possibly joining;

< The chapter’s image in the community is improved by contributing to and promoting the school music programs and the chapter becomes better known in the community.

Remember, the key to success in the PR business is not what you know or who you know, but who knows you. The better known you and your chapter are in your community, the more willing people will be to help support you and your philanthropic endeavors.

3 Elements of the YIH program

3.1 Clinics and festivals

Festivals are one of the most positive and successful methods of introducing barbershop to a large number of students and teachers at one time. A festival is a non-threatening environment where the students and can sing in a large group, usually with a quality chorus, and the music educators can observe qualified clinicians instruct, rehearse, and conduct traditional as well as barbershop music. Remember, that most music educators are not familiar with Barbershop Harmony, as it is not generally taught in collegiate choral music programs. It has been from successful festivals that many young quartets have developed and flourished and. (See Appendices 12-16 for sample forms for festivals, clinics, competitions, etc.).

The festival is usually held on a weekend, with a school district, school or combination of schools as hosts. The important ingredients are:

< A host school district or combination of high schools with a "critical mass" of male singers. Usually 50-100 students works well for this type of event.

< A championship-level barbershop chorus of approximately equal size.

< A clinician/teacher whose skill in working with students and teachers is well-respected.

3.1.1 Festival activities

< Music for two to four songs is provided in advance to the participating schools.

< Qualified coaches from the participating chapter or area, if available, may visit the schools to help in the learning process.

< On the given Saturday, the young men show up in the morning and are rehearsed as a group by the clinician.

< That afternoon, the barbershop chorus arrives and rehearses separately and with the young men.

< That evening, the two groups put on a combined show, with funds raised going to support the local school or school district's music education programs.

< Experience with this approach in other districts has led to a greater demand for additional festivals and a surge in membership interest by the fathers of the students participating. If a festival is successful and builds a positive image for the chapter and Society, other Youth In Harmony events may be equally successful. These would include the MBNA America Collegiate Barbershop Quartet Contest, high school quartet contests, and participation in a Harmony Explosion or Youth Harmony Camp project.

3.1.2 Clinic activities

A clinic is more of a show-and-tell event for existing school groups (male and female) and an opportunity for many ensembles, including barbershoppers, to share their talents. The important ingredients of a clinic are:

< A host school or school district, which may include more than just high school groups – preferably more than 100 singers in all

< A barbershop chorus, with above-average musical ability, but not necessarily international championship credentials, as co-host

< A venue where everybody can come together for a day or weekend event

< Classes or instructional sessions, with qualified barbershop clinicians teaching basic singing skills as well as barbershop basics.

Participation by a Sweet Adelines International or Harmony Incorporated chapter is also desirable, to provide similar educational experiences for the young women involved. Whatever other vocal styles are represented by the individual school groups, combined performances at the conclusion of such a festival can be an unforgettable experience for the singers, both young and old.

3.2 High school and elementary school activities

The organizational structure of high school and elementary school activities is dependent on the project the chapter wishes to sponsor. There are many activities that are successful with students of these ages. Quartet contests and chorus workshops are two popular activities, particularly for high school students. As mentioned earlier, the likelihood of a successful quartet contest is contingent on the teacher's comfort level and the students' adaptation to the style. You may be more successful if you sponsor a festival or clinic before embarking into the competitive nature of our hobby. (See Appendix 6 for a sample curriculum for a week-long high school project).

3.2.1 Elementary level programs

Singing is an active part of an elementary school curriculum. Studies indicate that by the third grade, most boys are deciding whether singing is a "cool" thing to do. Due to the limits of the voice, children of this age level find it nearly impossible to produce the four parts required in traditional Barbershop Harmony. Nevertheless, the exposure to barbershop singing for students at this age group is planting the seed for future interest and involvement in singing groups in junior and senior high school, and college. They might even be interested in singing Barbershop Harmony at some point.

School performances by chapter quartets can have a very positive impact on these students. Students at this age are easily entertained and they particularly relate to seniors quartets as “grandfather” figures. These young students are impressionable and enthusiastic. A “Seniors Quartet Elementary School Package”, which provides a sample script and recommended songs for such a program, is available from the Music Specialists at Society headquarters. Additional materials that are available include the songbook Introduction To Barbershop Singing For Youth ( stock no. 4082), which contains 10 popular, traditional American songs and is arranged in one, two or three parts with optional piano accompaniment.

Another highly successful program is one that was developed by the Cherry Capital Chorus in Traverse City, Michigan. Their program “Get Northern Michigan Singing…Again” utilized the “Get America Singing…Again” songbook (part no. 6030), a chapter quartet, the chapter’s chorus and music educators and students from the Traverse City area. The songbook of 40 traditional American folk songs, developed in partnership with MENC, was distributed to various elementary schools in the Traverse City area in preparation for a joint festival of elementary singers from numerous schools. The program was embraced by music educators, principals, students and barbershoppers and was highly successful. Additional information about the Traverse City program is available from the music department at Society headquarters.

At various times, barbershoppers have been invited to direct elementary school groups or choirs. In many school districts, budget cuts have reduced or eliminated regular music programs. It's better to provide the singing experience as volunteers than to have the young people miss out on the opportunity altogether. But we must remember, and remind our school officials, that we are a supportive resource, and not a substitute for regular, full-time, professionally guided music instruction. Clearly, through occasional visits and sing-along assemblies, we can contribute a great deal to the augmentation, enhancement and/or strengthening of the vocal music experience for young people.

If children aren't exposed to the joys of singing at the elementary level, they are much less likely to be interested in joining a junior or senior high school choir or adult singing activity later on.

3.3 High school quartet/ensemble events

There are many ways that high school quartets can demonstrate their skills and talents at singing barbershop harmony. Some chapters invite local high school quartets and ensembles to appear on their annual chapter show(s). Some districts invite high school groups to perform at their district conventions. Often, districts conduct annual high school quartet adjudications and contests The main difference between an adjudication and a contest is that at an adjudication, participants perform and judges determine how well they sing barbershop according to barbershop Society standards. Participants are rated as to how well they demonstrate their barbershop singing and performance skills. Music educators are most often interested in events that allow their students to have win/win experiences. At adjudications, we often find participants encouraging each other to do well, since more than one participant can earn the highest rating. Adjudications encourage participants to be the best that they can be at singing barbershop. Adjudications and contests both include evaluation sessions for every competing group with the judges after the main event has concluded.

Contests, on the other hand, are events where participants compete with each other to determine which group is the best at singing barbershop, regardless of how good those skills are. In contest settings, participants are ranked in first, second, third, fourth, etc. order, thus creating a win/lose environment. Often the winning group performs better than the rest of the groups in the competition, but the performers’ ranking frequently has little indication as to how well they perform barbershop. Many music educators and students find the contest scenario unpleasant, especially since they are not “experts” in the barbershop genre and are trying to learn as much as possible about it in as non-threatening an environment as possible.

3.3.1 Division/Regional preliminary adjudications/contests

Each division may conduct a preliminary adjudication/contest in January or February to determine eligibility for the district-level event. The number of entrants should be based on the time constraints at any particular venue. The scheduling of the division adjudication/contest should be the responsibility of the district YIH vice president, with input from the District VP for C&J and the district board of directors. Two divisions may elect to combine their efforts and hold one adjudication/contest if there is an insufficient number of high school quartets to justify separate events.

3.3.2 Eligibility

The high school adjudication/contest is designed to be as flexible as possible in order to encourage a maximum level of participation. The following is a summary of the rules of eligibility that you might consider for your event. In special circumstances, contact the district YIH VP for a ruling:

< The contest is for male quartets singing in the barbershop style. (Some districts also allow female quartets to participate.)

< Each member of the high school quartet must be a high school student (either public or private or equivalent home-school level) at the time of the adjudication/contest.

< A high school quartet member may be a SPEBSQSA member, but Society membership is not a prerequisite for eligibility. (It is encouraged that the quartet members not all be Society members, thereby exposing more non-members to the barbershop experience).

< In contests, championship high school quartets may or may not compete again the following year, providing all members are still high school students. (Allowing past champs to participate in the same configuration in subsequent years alters the “level” playing field and may discourage newer groups to participate if the same group continues to win. Give this some consideration.)

< In adjudication events, quartets are encouraged to continue to participate each year, even if they achieve the highest rating the previous year.

< An individual may sing in one quartet only. (In some districts, individuals are permitted to sing in multiple quartets/ensembles, especially when there is a shortage of one voice part in a particular school. Often, basses and tenors are hard to find.)

< Participants should register for the event not later than one week prior to the event.

3.3.3 Registration procedure

An entry form should be obtained from the District YIH VP or the District VP for C&J. Registration fees should be waived. (A sample entry form is found in Appendix 3.)

3.3.4 Order of appearance

The draw for order of appearance will be conducted by the District YIH VP prior to the contest. Each participant shall be notified of their performance order prior to arrival at the adjudication/contest site. Late entries shall be placed either first or last, at the discretion of the event administrator. Participants will sing in the order in which their names are drawn by lot, unless the event administrator excuses such appearances due to circumstances beyond the control of the participants. The event administrator will determine whether to give an excused participant the opportunity to appear after all other participants.

3.3.5 Rules and regulations

Two songs in the barbershop style must be sung at each round of the adjudication/competition. A quartet/ensemble may use the same songs at the division/preliminary adjudication/contest and the district adjudication/contest. A selected panel of judges will adjudicate all contests, using Society contest and judging rules. Certified SPEBSQSA judges should be used whenever possible in order to maintain the integrity of the barbershop judging standards. In no case should poor singing, excessive vibrato or out-of-tune singing be overlooked. Judges are discouraged from disqualification except for the reason of poor taste. All quartets must use arrangements that are suitable for Society competitions and which comply with international and US/Canadian copyright laws.

High school quartets will be responsible for their own travel, lodging and other expenses incurred while participating in the adjudication/competition(s), although chapters are urged to provide financial and other support for quartets/ensembles in their area.

3.3.6 Adjudication scoring summaries

Scoring summaries will be produced and distributed to the individual groups by the event administrator. They will contain the quartet name, the song titles, the total scores and ratings and the names of the judging panel. Ratings may be announced to the general audience however, scoring summaries are not to be shared with the audience or with other participants.

3.3.7 Contest scoring summaries

Scoring summaries will be produced and distributed by the event administrator in the same manner as other summaries. They will contain the order of finish, the quartet name, the school represented, the song titles, the total scores or ratings and the names of the judging panel.

3.4 MBNA America Collegiate Barbershop Quartet Contest

The purpose and philosophy of the MBNA America Collegiate Barbershop Quartet Contest is primarily designed to reach out to non-Society members and encourage them to learn more about the Society through participation in a competitive quartet event. Specifically, the purpose/mission of the CBQC program is to:

< To expose non-member, college-age men to the pleasures of barbershop harmony in support of the SPEBSQSA Vision Statement, which reads,

"The Society is to be an ever-growing fraternity of barbershop-style singers, leading the cause of encouraging vocal music in our schools and communities."

< To provide an equitable contest and prize structure that: supports these aims; provides fair competition among peers of like experience in the barbershop style; and recognizes the achievement of newcomers to barbershop harmony.

< To maintain and nurture that interest by encouraging participants to continue singing barbershop harmony, and to spread that excitement to their fellow students, friends, families and communities.

See the Society website for information regarding the latest CBQC rules and guidelines (www.spebsqsa.org).

3.4.1 Promotion and sponsorship

Each year, the Society sends flyers and posters to thousands of college music departments, music educators, fraternities, etc., announcing the next CBQC competition. Queries received as a result of that mailing get a packet of information from Society headquarters and are referred to the appropriate district YIH VP. The district YIH VP then passes these contacts along to a CBQC coordinator in each division (if one exists), who is responsible for individual follow-up. If there is no division level CBQC coordinator, then the district YIH VP is responsible for seeing that those interested in participating are given the necessary information and assistance. The intent is to screen the queries as to their interest and provide all those who are potential entrants with a host chapter or quartet that can provide them with encouragement and coaching support.

Chapter YIH chairmen are encouraged to make their own contacts with local college music departments and others to initiate college quartet development and involvement in the CBQC. Districts and/or chapters m