Classical Crossover Instrumental Music

DEFINITION, RULES AND GUIDELINES: CLASSICAL CROSSOVER MUSIC

DEFINITION

Crossover music describes a style of music where two different styles are mixed:

1. a) resulting from a mixture of two different artistic categories or styles, or from
2. b) aspects of one category becoming popular in another.

A simple example is Pavarotti’s large contemporary style concerts where opera music amongst others were presented in the same style as a contemporary Pop or Rock show.

Other examples are music with a strong “Classical” feel pertaining to the style of the music, instrumentation and orchestration, but also with contemporary characteristics (e.g.  music performed by people like Josh Groban (“You raise me up”); the music of Richard Clayderman that is music with a “Classical” feel, but is intended for or appreciated by a wide public, and “could be regarded as oversimplified for the sake of greater accessibility.”  Music from various Broadway productions like “The Sound of Music”, “Showboat”, and also music from productions like “Phantom of the Opera” falls in this category.  It is important to note that the classical or traditional style of the music is the determining factor for inclusion in this category. If music sounds contemporary then it is contemporary and should be presented in the section for contemporary music.

This includes the composition of new, modern works in a “classical style” with contemporary elements. In the final analysis the performance should then have a strong classical feel. Therefore one would not associate a strong rock or belting element with the performance of music in this category.

Teacher, trainers and participants should take careful note of the definition of Classical Crossover Music as applicable to this Prospectus of the National Eisteddfod of South Africa®:

Generally speaking, Crossover music describes a style of music where two different styles are mixed. For the purposes of this Prospectus, Crossover Music will mean a style of music played in a classical style with popular music instrumentation, harmony and rhythm.  The label Classical Crossover music will be used to describe the music in this category. This includes the composition of new, modern works in a “classical style” with contemporary elements. In the final analysis the performance should then have a strong classical feel. Therefore one would not associate a strong rock or belting element with the performance of music in this category.

The performance of any  classical composition that would normally require piano or orchestral accompaniment,  can be entered as a CLASSICAL CROSSOVER item that will allow for the use of backing tracks and sound equipment (an important feature of contemporary music!).

COPIES OF MUSIC

• In line with the tradition in classical music, a copy of all music to be presented in this section must be submitted to the adjudicator’s assistant prior to the performance. Although the purpose is not that the candidate is expected to perform the music exactly as notated in this category, it would provide the adjudicator with an indication of what is to be expected.

CORRECT ENTRY NUMBER

• It is the responsibility of the participant/teacher to select and provide the correct entry number on the entry form.
• The National Eisteddfod Academy accepts no responsibility if the candidate was entered incorrectly.
• It is of particular importance to note the difference between items that need to be performed with live accompaniment (acoustical) and those items that will require backing tracks.
• Instruments will not necessarily be available at venues where items which require backing tracks have been scheduled. Likewise will items which require live accompaniment be scheduled at venues suitable for that purpose only.
• Once the entries have been scheduled, any changes to incorrect entries will be subjected to the payment of a penalty fee of 00 per incorrect entry.

BACKING TRACKS

• Backing Tracks refers to the accompaniment of a vocal or instrumental performance with a pre-recorded “backing track” that can only be used when the appropriate sound equipment is available.
• No original music may be used as backing tracks (singing with the artists) (Copyright infringement!) Participants are advised to invest in proper backtracks.
• Backing Tracks should be provided on CD or memory stick only.
• Great care should be taken in handling CD’s as scratched and dirty CD’s often fail to play. It is advisable to have a backup copy available at all times.
• Only use Writeable CD’s (CD-R) for this purpose.
• Backing track CD’s should be handed to the sound technician at the beginning of a particular session.
• Backing track CD’s should be clearly labelled with the participant’s name, item number and particular track number.
• It is the responsibility of the participant to collect backing track CD’s at the end of each session. CD’s that were not collected will eventually be destroyed by the sound technician once adjudication in a particular region has been completed.

SETUP & SOUND CHECKS

It is the participant’s responsibility to arrange well in advance of the performance time for the necessary times for set-up and sound checks if required.

SCHEDULING OF CROSSOVER MUSIC ITEMS

• The National Eisteddfod Academy reserves the right to schedule Crossover Music items with backing tracks at suitable venues where the necessary equipment will be available.
• If the number of entries received in the backing track category does not warrant the renting of the appropriate equipment / venue, participants will participate in the nearest NEA Festival where the necessary equipment is available. Alternatively, participants may provide their own equipment.

TIME LIMITS

• Any performance should stay within the prescribed timeframe.
• The NEA does not disqualify participants, but exceeding the allocated time limit could result in the termination of a performance.

 TABLE C : GRADES AND TIME LIMITS