Bibliographic record
Abstract
INTRODUCTION AND GREETINGSAS THE NEWLY APPOINTED ASSOCIATE EDITOR for Independent Teacher column in The Journal of Singing, I am delighted to join Editor in Chief Richard Sjoerdsma's staff, and to continue the excellent work of the former Associate Editor Carl Swanson.I have maintained a private studio since beginning my Master of Music degree in 1979. Concurrently, since 1991 I have taught at the university level and in a variety of other teaching environments such as community music schools, accelerated high school programs, a performing arts high school, and during the summer of 2010, as a visiting professor at Mahidol University in Bangkok, Thailand.The variety and longevity of my teaching experiences bring many perspectives to Independent Teacher column, and I look forward to exploring with you important issues relevant to independent teachers. Since independent teachers make up over two-thirds of NATS membership, our input and experiences are invaluable. We have so much to learn from each other and to share with voice teachers in all venues.I am a classically trained soprano and in 2006 completed my Doctor of Education degree and research on music theater voice pedagogy and styles at Teachers College, Columbia University. Consequently, I teach contemporary commercial music (CCM) and classical singing.You have probably received an email asking you to submit articles and your ideas for articles to me for Independent Teacher column. I strongly encourage you to communicate to me what topics you want to read and learn about in the column. Guest authors will be invited to write two of five annual columns. I look forward to hearing from you.For my inaugural column, I chose to showcase a new and exciting national music assessment system launched last year in the United States called the Carnegie Hall Royal Conservatory Achievement Program. I was introduced to The Achievement Program (TAP) at the 2012 NATS Conference in Orlando, Florida, where TAP was a lead sponsor at the convention conference.THE ACHIEVEMENT PROGRAM, AN OVERVIEWAre you a studio voice teacher that would benefit from a systematic, yet flexible and inclusive approach to teaching voice, a program that includes assessments held to a very high national standard for your students, created through a partnership between Carnegie Hall and the Canada's Royal Conservatory, and endorsed by NATS? Perhaps The Achievement Program (TAP), a nationwide music assessment program launched in 2011, could serve your needs. A few months after TAP was announced, NATS entered into a special new partnership to help support the development of the program throughout the United States. TAP was the lead sponsor at the 2012 NATS National Conference in Orlando, Florida, where the program's newly revised voice syllabus and vocal repertoire series were introduced to teachers across the country. exciting partnership represents our shared commitment to music engagement in communities across the United States, said Dr. Jennifer Snow of The Achievement Program. Both of our organizations believe in providing students of all ages with the comprehensive resources that they need to develop their musical skills and establish a lifelong love of music. We look forward to collaborating with NATS members across the United States to support ongoing excellence in music education.With this partnership, TAP becomes an official assessment vehicle of NATS. NATS Executive Director Allen Henderson explains: Just as student auditions and some other events might be considered assessment programs for NATS, we agreed that this could also be considered such. Although not run or owned by NATS, it is a program we take seriously and consider important in creating a variety of methods for assessing the progress of students of NATS members. This enthusiastic partnership is based on the premise that every singer needs appropriate literature to enable his or her voice to reach its full potential. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.004 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.004 | 0.001 |
| Scholarly communication | 0.007 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.705 | 0.398 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".