I: Overview of Music Performance Assessments

1. What is a Music Performance Assessment?

Music Performance Assessment (MPA) events are sponsored by the Florida Vocal Association (FVA) under the supervision of the Florida School Music Association (FSMA).

2. Description of MPA Events and Student Eligibility

Solo and Ensemble (S&E) MPA, and Concert MPA are the two annual FVA District assessment opportunities for Florida’s secondary schools that are members of FSMA.

If first qualified at the district-level to do so, high school singers may participate at the State Solo and Ensemble and the State Concert MPA. In unusual instances that will be described later in this document, some middle school/junior high students may also be eligible to perform at State MPAs.
There are no grade-point requirements for participation at an FVA MPA.
A student participating in any FVA activity must be considered a registered student of the school, or home-schooled and an active participant in the choral program of their registered school (regular school day and/or extracurricular activities.)
All students who participate in district and state music performance assessments must be enrolled in the school that registers the students for entry, or if not enrolled in the school, students must be regular attendees of the organization that is listed on the MPA entry form when a corresponding course is not offered at the participating school.
The students listed on an entry form are enrolled students of the school, or if not enrolled in the school, are regular members of the organization on the form when a corresponding course or activity is not offered at the participating school. To be eligible, students must be in grades 6 through 12.
When an FVA member teaches a piano class at their school as part of their duties, and when that director also registers vocal performance entries at the District S&E and also a choir(s) at the District Concert MPA, they will be permitted to register piano students who are enrolled and participating in the keyboard class to perform in the piano solo category at their District S&E MPA, but may not register any of the keyboard students as vocal performance entries unless those students are also enrolled in a vocal performance class at the school where they take piano.
1. A keyboard student in grades 9-12 who is awarded a Superior at the District level is eligible to perform a piano solo at the State Solo and Ensemble MPA.
Solo and Ensemble MPA events are for soloists, both vocal and piano, as well as duets, trio, quartets, or other ensembles that have sixteen (16) or fewer members. All of the aforementioned entries must also sing in a choir at their District Concert MPA.
Concert MPA events are for choirs. As of the 2022–2023 school year, a Choir is defined as a group entered at an FVA District / State Concert MPA consisting of twelve (12) or more eligible students.
1. At the discretion of the District Chair (District MPA)/Executive Director (State MPA) the group may perform with fewer than the required number of singers.
Most districts provide opportunities for student conductors adjudication at their District S&E MPA while other districts may adjudicate student conductors at their District Concert MPA. Any student conductor who qualifies for the State MPA will perform at the State S&E event where the other S&E entries from their school perform.
Junior high and middle school students may participate in music performance assessments on the component district level but not those on the state level.
1. Eighth grade students who are members of a combined school’s large ensemble (FVA concert chorus) that qualifies for a state music performance assessment, may participate in a State Concert MPA when at least 50% of the students in that concert chorus are 9th-12th grade students.
2. Although allowed to participate in a choir at Concert MPA when they make up 50% or less of that choir, seventh and eighth grade students may NOT participate in State Solo & Ensemble events under any circumstances.

Participation at an FVA MPA by Students without Access to a Vocal Music Performance Class at their School

Any student who participates in a District and/or State music performance assessment must be enrolled in the school that registers the students for entry, or if not enrolled in the school, students must be regular attendees of the organization that is listed on the MPA entry form when a corresponding course is not offered at the participating school.
1. A student can only participate in an MPA from one school.
2. A student must be a regular member of the vocal music performance program at the school where they participate in MPA.
If a student desires to transfer to another school or a Home Education Music Cooperative during the school year, the student must complete a transfer form, signed by the music director of the school in which the student is enrolled and by the receiving music director, and submit to the FSMA for approval.
Any student who performs in an FVA Music Performance Assessment must adhere to the rules and regulations that govern that MPA.
It is the duty of a school’s director to ensure that all FVA MPA rules and regulations are followed at their school, even when a teacher is not a Full Active Member of the Association.

3. Participation at Both the District S&E and District Concert MPA

If a school’s students perform at a District Solo and Ensemble MPA, they must also participate at the District Concert MPA.

Any student who performs at their District S&E, must also perform in a choir at the District Concert MPA.
The names of all students registered to perform at their District S&E must also appear on the MPA Online roster as students who are registered for and will perform at their District Concert MPA.
When a school has student(s) that perform at their District S&E MPA but not at their District Concert MPA, that school may be sanctioned the FVA Ethics Committee, including the possibility of losing the opportunity to perform at subsequent MPAs.
Upon a request from the school’s director, and with the recommendation of the district chair in the district where a request for an exemption to this rule is received, the FVA president may, in rare instances, grant an exemption from performing at the District Concert MPA for one school year.

4. The Purpose of an MPA

The purpose of MPAs is to offer a performance experience with trained adjudicators who provide quality feedback and a rating based on an established rubric approved by the FVA Executive Board. At the Choral MPA, there is an additional evaluation of the chorus’ sight-reading of a rhythmic exercise and a melodic exercise based on an established rubric. These exercises are based on an FVA board-approved sight-reading rubric found within this document.

5. Memberships Needed for a School to Perform at MPA

Schools, not directors, are members of FSMA. To participate in any FVA MPA, the participating school must be a member of FSMA.

Each spring schools will receive FSMA membership payment information for the next school year.
New directors can go online to the FSMA website about school FMEA membership and also to check if their school has paid the be an FMSA member for the current school year.
The deadline for a school to be a member of FSMA is on or about September 15.
If a school/district misses the deadline, a school’s principal/district official may mail a “letter of hardship” appeal to FSMA. The FSMA Appeals Committee will meet to consider the appeal.
Every school district determines whether individual schools in the district will pay for their own school membership fee or if the district will pay for the school’s FSMA membership. A discounted membership fee is given when a school district pays for all the schools in the school district.
MPA is an FSMA sanctioned event.
Organization, managing, and hosting of District MPAs is the responsibility of the FVA district chairs.
The FVA Executive Director manages all state-level MPAs.
Being an FVA member by the time school begins is the way to best ensure receipt of MPA information and details about FMEA, FSMA, and FVA.

6. Reasons to Participate in an FVA MPA

The opportunity to perform in a non-competitive setting designed to be a positive musical and learning experience.
The opportunity to see, listen, and learn from other schools’ performances.
The opportunity to improve artistry, musically, and vocally with expert adjudicators.
The opportunity to hear quality music performed by variety of school choruses.
The opportunity for soloists and small vocal groups to perform and receive on-site feedback that enhances the opportunity for personal growth as a musician and performer.
The opportunity for teachers to demonstrate and improve their skills as a teacher and a conductor.

7. District MPA Registration

Each of FVA’s 17 districts has its own calendar of MPA events that includes dates, locations, fee amounts, deadlines and other MPA participation data. To find your FVA district, district chair, and district calendar, go to fva.net

Choral directors should be a member of both the Florida Vocal Association and the Florida Music Education Association, where membership in NAfME is included. School membership allows access to MPA Online where MPA registration takes place.
Individuals are FVA and FMEA members. Schools are FSMA members. Joining FVA at the same time you join FMEA is highly recommended because it saves you time and allows you to immediately begin receiving FVA information from your district chair.
FVA.net requires no password in order to access general MPA information.
FVA members are responsible for reading the MPA materials sent to them by their district chair. State MPA information will be sent to high school directors by the FVA Executive Director.
First-time users of MPA Online, while also trying to understand MPA rules and policies, may find some aspects of registering for MPA confusing and sometimes intimidating. To get help, new FVA directors should contact their district chair.
Directors should expect that their district chair will notify them in ample time to allow them to plan and organize for the MPA registration process and MPA deadlines. To obtain help in navigating MPA Online or to better understand any materials sent by email, directors should contact their district chair. It is especially important to review any new materials that arrive from your district chair when it arrives to avoid the confusion and the possibility of missing vital information and deadlines.
There is no limit to the number of choirs a school may register for a District or State Concert MPA.
No student may participate in more than three choirs at any FVA Concert MPA.

8. MPA Entry Fees and Singing Out-of-District Considerations

MPA entry fees are determined by each District Chair for District events and by the Executive Director for State events.

Fees are set by each district chair who collaborates with the FVA Business Manager and the FVA Finance Chair to help ensure that MPA events are financially solvent.
In addition to the fee set for each entry a school must pay to participate in a district MPA, the FVA Executive Board has also set a per-student assessment of $1.25 for any event in which they appear.
1. This money is utilized to assist in paying District and State expenses.
2. The FVA District will be assessed $1.25 each time a student performs.
3. These funds will be deducted from each district account at the end of the school year.
4. Districts are assessed for student entries that appear within the MPA Online system when the registrataion window closes for the MPA event.
No one, including the district chair, may remove an entry after the registration window closes.
A school’s entries that have already been entered into MPA Online, may be edited, added to, or removed before the registration window closes. Entries removed from MPA Online before the registration deadline will not be charged to the school.
1. Payment for all MPA entries is always due with registration for any MPA.
2. Payment may be made by check, purchase order, or credit card, credit card being the preferred payment method.
3. It is reasonable to expect that payment from a school that requisitions a check or pays by a purchase order may not be immediately received due to payment logistics.
4. However, no entry may perform at any MPA in cases where registration fees have not been received.
Most districts allow extra time for literature entry, the titles and composers for their entries.
The district chair may assess any school that performs out-of-district the full assessment amount that their "home" district would have collected had the school performed in their assigned district in addition to the MPA entry fees assessed by the district where they desire to transfer.
At no time may any MPA assessment fees be transferred from one district to another.
When the window registering on MPA Online has closed, a school is required to pay for all entries that remain in the system even when some or all these entries do not perform at an MPA.
No registration fees are refundable for any reason without the approval of the Executive Board.

9. Late MPA Registration and Performance Music Entry Consequences

It is imperative that all a school’s MPA entries be entered in MPA Online by the deadline published by the district or state event chair.

No scheduling is possible until all schools eligible for the MPA event have registered their entries in MPA Online.

A school that misses the registration deadline for their MPA, but still desires to bring entries to an MPA, will have two of the following options that may or may not be made available to them at the sole discretion of the event chair:
1. Be denied an extended registration and not be allowed to perform or,
2. Allowed to register and pay a fine up to double the original entry fee.
Reopening the MPA registration window is an inconvenience for the event chair.
No registrations will be allowed 48 hours after the original registration deadline has passed.
No adjudication sheets can be printed until the entry’s performance literature has been entered into MPA Online.
At the discretion of the event chair, fines up to twice that of the original entry fee may be assessed for late musical literature entry by the director into MPA Online.

10. Student Rosters

Creating student rosters to register for MPA can take a significant amount of time and organization. It is highly recommended that directors collect and organize this data before trying to register entries on MPA Online.

Directors must use their username and password to sign into the MPA Online system.

Before a director can register any entry for any FVA MPA, it will be necessary to enter all their students' names who will participate in any MPA into the MPA Online system.
Before registering students into the MPA Online system, directors must know the following information for every student participating in any MPA:
1. Name
2. Grade
3. Voice part
Do not wait until the registration deadline for the MPA begin organizing student data; the process can be quite time consuming.
There are two methods for entering student data into the online system.
1. Follow the instructions on the main screen of MPA Online if the director has fewer student performers. This method involves manually entering each student’s information one at a time.
2. Alternatively, all student information from a school can be entered onto a formatted spreadsheet provided at MPA Online. When all the student data has been entered offline, the entire spreadsheet can be uploaded to the school’s MPA Online account. Once uploaded, this student information can be accessed via a dropdown list at MPA Online to populate each MPA entry registration.
  1. New students, or students that you may have missed initially, can be manually added into the online system up until the registration window closes for the event.
  2. Once the student data is in the online system, it will not be necessary re-enter that information again during the school year. For each event, student information can be accessed from the data uploaded previously.
  3. When initially entering data into the MPA Online system do not use prefixes such as Mr., Ms., Dr., or suffixes such as Jr., PhD., MME, or III when making name entries.
  4. In cases where there may be eligibility questions, students’ names entered into the MPA Online system should reflect what is on file with the school district.

NEVER USE ALL CAPS or ALL LOWER-CASE LETTERS WHEN ENTERING DATA.

11. Music Utilized for Assessment

Is It Legal?

Any school performing music that has been purchased online, or any other music that is used at any FVA MPA that has been photocopied/is a facsimile of an original file, and will be used by adjudicator(s), must present copies of receipts of purchase which includes then date and number of copies purchased, or when performing CPDL, commissioned musical works, or other music obtained without cost or receipt, a coversheet or other proof of the music’s origin must be uploaded to at least four weeks prior to the MPA event.

Only sheet music purchased from a music distributor or independent publisher, or music downloads (referred herein as e-Print music), legally purchased by a school/district/teacher/organization, music that adheres to use/performance restrictions prescribed for rehearsal and MPAs, will be accepted for use by the FVA at its MPAs.

Failure to completely comply with the polices outlined in this section of the Omnibus may result in an entry to be prohibited from performing at an FVA MPA.

An entry from a school that does not present “legal” music copies (music that meets copyright requirements) will in every situation be prohibited from performing.

It is the sole responsibility of the director to read, apply, and ask for any needed clarification regarding the following MPA requirements for music that will be presented for use at an MPA:

Sheet music refers to "hard copies" of music printed, purchased from, and/or distributed by a music publisher, retail music source, copyright owner, or any other music vendor.
1. Sheet music may never be photocopied for use at an MPA unless documented/written permission from the person/company owning the copyright is obtained and presented to the FVA MPA event chair for approval, before the deadline set for music literature to be entered into MPA Online for the event where the music will be used.
2. Entries using photocopied/e-Print music at a District MPA, who qualify for the State MPA, must again provide proof of legitimacy before being allowed to perform.
Music downloaded from an online music source (e-Print music), or music obtained from any other source that owns the copyright to the music, may be photocopied and used at an FVA MPA, but only when the proper documentation is presented to the event chair before the MPA Online literature entry deadline. The same permission documentation required for performance eligibility must also be attached to all copies provided by an entry for every adjudicator evaluating the entry at any FVA MPA.
1. One score of each song to be performed is required at a Solo & Ensemble MPA.
2. Four scores of each song to be performed are required at a Concert MPA.
Music in the public domain (e.g., music from the CPDL free online music library) may be used at an FVA MPA but most show evidence of the source of the music (cover sheet as proof of source stapled to the front cover of every score used by an MPA adjudicator).
While accompanists/pianists/instrumentalists may not always be asked to prove that they are in possession of legal copies of the music during an MPA, the following are FVA requirements:
1. Legal copies must be in the possession of the pianist/instrumentalist. Failure to present legal copies of the music to an MPA official when asked to do so will result in the MPA entry not being able to perform and possible sanctions by the FVA Ethics Committee.
2. A school will assume full legal responsibilities when it intentionally misleads MPA officials about the legitimacy of any music it uses at an FVA MPA.
All scores provided to adjudicators must match what is performed, with the exception of Vocal Solo scores when the key is different, but the scores are otherwise identical.
Manuscript scores may be used only when:
1. A letter of permission is attached from the composer/arranger allowing permission for that particular performance and,
2. When the district chair has approved the music in advance of the MPA literature deadline.
Print-on-Demand/e-Print scores may be used with a copy of an itemized purchase receipt.
1. A receipt must show a purchase for at least 50% of the singers registered to perform in the MPA entry. The receipt must also show that scores were purchased for the conductor, accompanist, and any other person requiring a score during a performance.
2. e.g. A receipt for ePrint music scores where a school enters 40 students, 1 conductor, 1 accompanist, and 1 violist must show a minimum of 23 e-Print scores.
3. A receipt for e-Print music must show that the music was purchased at least 4 weeks before the MPA performance.
In instances where music is backordered, photocopied and used for rehearsals and is intended to be used for an FVA MPA, the director must provide evidence that the music was ordered at least 4 weeks before the MPA performance and adhere to the rule regarding photocopied music found in this section of the Omnibus.

It is the director’s responsibility to contact the District Chair/State Executive Director if there are questions or concerns about an original score to be used at an FVA MPA.

12. Co-Curricular vs. Extra-Curricular

Students registered in a Florida Department of Education music performance class, or its equivalent subject in a private or home school setting, are considered “co-curricular” rather than “extra-curricular” by the State of Florida.

A Music Performance Assessment (MPA) is a co-curricular skills assessment activity.
A minimum grade point average is not a requirement of the FSMA for MPA participation.

13. Student Eligibility Based on Grades

While each school establishes its own academic standards for their students, FSMA Board of Directors, a governing body that includes school superintendents, principals, and school members, unanimously endorse the policy of student participation at MPA by every student enrolled in a music performance class.*

Administrators across the state have embraced the policy of allowing music student growth to be measured at an FVA MPA just as they do in supporting students in their schools’ academic classes.

(Prohibiting a student from taking a test in Biology because they have a low-grade average in Calculus would be like preventing a music student from attending an MPA because they are struggling with social studies.)
For more information, refer to the Every Student Succeeds Act.

14. Who May Perform at an FVA MPA?

Students who perform at a District S&E (i.e., soloists, pianists, ensemble members, or student conductors) must perform in a chorus at their District Choral MPA.
An exception to this rule is when a school has not participated in their district’s Concert MPA the previous three consecutive school years, or when a school has never entered their district’s S&E MPA. This participation exemption only applies to the school year in which the exemption is made.

15. FSMA/FVA Student Classifications

Ninth (9th) grade are considered by the FSMA/FVA to be high school students.
All sixth-eighth (6th–8th) grade students are considered Junior High/Middle School (JH/MS) students.
JH/MS students may participate the District MPA, but not at the State MPA level except in the following situations:
1. Seventh and eighth (7th-8th) grade students who are members of a 7th–12th grade school’s combined chorus that qualifies for the State MPA may participate in the chorus at State if at least 50% of the choir’s members are 9th-12th grade students.
2. There is no situation where a sixth (6th) grade student may participate in a State MPA event.
3. There is no situation where seventh or eighth (7th-8th) grade student may participate in any State Solo & Ensemble event.

16. MPA Student Block Listening Requirements

A critical part of every FVA MPA occurs when students listen and observe other Concert MPA performances.

Where a listening component is a required part of an FVA Concert MPA, all students must listen to the other choirs within their assigned performance block(s) except during the time when they are warming up, performing, or sight-reading.
It is the director’s responsibility plan for MPA in a way that will allow students to remain for the entire length of the block where they perform.
Directors will provide an adequate level of supervision to help guarantee that their students will not miss any performances that occur in their assigned block.
No student may leave the MPA during the performance block to go to the restroom or for water without being accompanied by a chaperone and must return to the performance area before the next chorus performs.
No student may leave the MPA performance venue/site/campus until all schools in their block are dismissed.
Any infraction of this listening policy may result in sanctions by the event chair and possible other sanctions the FVA Ethics Committee determines to be necessary.

17. Code of Conduct for FVA MPAs

Anyone who attends an FVA MPA is expected to follow the observe the policies for the MPA including the MPA Code of Conduct.

The school’s director is responsible for the behavior of all students, chaperones, and any other adult, representative, or visitor from their school at an MPA. Failure to adhere to the Code of Conduct can be reported to the school’s principal, the FVA Ethics Committee, and the FSMA.
MPA officials are responsible for enforcing the FVA MPA Code of Conduct and will take necessary steps to make sure an MPA is a safe, orderly, and educational event.

17.1. MPA Code of Conduct Expectations

That performances will be free from talking or any other unnecessary noise, or any other behavior that could distract from or disrupt a performance or those listening to a performance.
That every student, chaperone, and teacher from the same school will sit together in a space place reserved exclusively for them except for when they perform/sight-read, or until the block ends.
That no student in at the MPA will possess a cell phone or anything other object that could distract others or interfere with a performance.
That everyone is shown courtesy and respect.
That no performance is disturbed by anyone entering, exiting, or moving around the venue.
That no one will distract or visually obscure anyone else by taking photos or videos.
That performance venues, warm-up areas, and other spaces are food and drink-free.
That no one does damage, takes anything that does not belong to them, or leaves trash or personal belongings behind with they leave.
That everyone does their part to make the MPA a safe, orderly, and educational event.
That nothing illegal is brought to the MPA.

17.2. When Inappropriate Student Behavior Occurs at an MPA

When the conduct of a student, or students, conflicts with the MPA Code of Conduct, the school’s director will be expected to immediately correct the misbehavior.

When a school’s director is not immediately available to stop disruptive student behavior, it will be the duty of an MPA official to act in the place of the director to attempt to stop the undesirable behavior.

17.3. Examples of Inappropriate Behavior at an MPA

Examples of undesirable student behavior may include, but are not limited to: . Talking or making noise during a performance, . Not sitting in assigned place, . Harassing or bullying another person, . Eating or drinking in prohibited areas, . Being outside the auditorium during a performance, . Use of vulgar, insulting, or threatening language, . Physical assault, . Possessing dangerous or illegal items or substances. . Destroying or defacing property, . Taking items belonging to others, . Possessing a cell phone or any other electronic devices while in the performance area, . Not staying with a chaperone or teacher, . Any act that disrupts or interferes with a performance or the safe and orderly operation of the MPA.

18. Consequences for Student Misbehavior

Bad student behavior has no place at an FVA MPA.

Schools and the FVA have a responsibility to make sure misbehavior is identified and corrected when it occurs.

For first time non-destructive/non-physical offenses, a verbal warning/reprimand will be issued to students and to the director. If that or similar misbehavior persists, the school can be sanctioned from further participation in the MPA, required to leave the MPA site, and can be sanctioned by the FVA Ethics Committee using the procedures described below and also later in this Omnibus in the section entitled Consequences for Violating MPA Rules or Policies.

The FVA Ethics Committee may impose sanctions that could include, but are not limited to:

Probation or suspension of the school and/or the director from FVA sponsored interscholastic activities/events, including participation in all-state auditions, for a period of time to be determined by the Ethics Committee.
Requirements for additional student supervision that exceeds FSMA/FVA requirements.
The presence of a school administrator at all MPAs during the period the school is on probation.
A monetary fine levied by the Ethics Committee and approved by the Executive Board will be used for the FVA district to hire additional site security.

It should be noted that acts of violence, sexual misconduct, possession of illegal materials or weapons, or any behavior that is meant to harm, threaten, or intimidate anyone at an MPA will be immediately referred to the law enforcement officer on duty at the MPA site.

19. MPA Chaperones

The responsibility of student supervision falls squarely on the shoulders of the director who must select and train chaperones to remain proactive in their duties the entire time students are on the MPA campus.

Any person who acts as an MPA chaperone must meet their school district’s requirements for MPA chaperones, including FSMA sexual misconduct prevention training by their school’s director and providing a signed affidavit to affirm the training.
1. Chaperones who have been screened and approved by their school district to supervise minors are exempt from this requirement.
Chaperones are expected to follow the same Code of Conduct as their students.
It is the chaperone’s duty and responsibility to continuously supervise students while they are at an MPA. Any person listed as a chaperone, who has been counted to meet their school district required ratio of chaperone to students, must demonstrate that they are actively supervising the students from their school.
Schools will comply with their school district requirement of approved chaperone to students ratio.
Directors, assistant directors, pianists, instrumentalists, bus drivers, or other adults who are not actively supervising students in the performance area may not be counted as part of the minimum number of chaperones required for supervising students and should not appear on a school’s chaperone list.
The director’s failure to provide proof that the required number of chaperones for any FVA event can result in the immediate sanction of the school from participation in the MPA.
1. The MPA event chair will contact the school’s principal when a director does not provide required chaperone documentation or when the school is found to falsify their chaperone list.
2. Directors found not to have provided an adequate number of chaperones or who knowingly provided inaccurate or misleading chaperone information can be referred to the Ethics Committee for possible sanctions.
3. It is important to know that the school holds membership in FSMA which means if there is a pattern of lack of institutional control regarding following the rules and regulations of the FVA and FSMA — ultimately the school principal’s responsibility — not only can the chorus be sanctioned by FVA, but FSMA can also sanction the other music components at the school as a result of the violations of one of them.

20. Director Absence from an MPA

When possible, a director should contact the District Chair (District MPA)/Executive Director (State MPA) - (event chairs) - as soon as they know they cannot be at the MPA.

When the director is unable to contact the District Chair/Executive Director due to extraordinary circumstances, and when the school request that MPA entries perform at the MPA, the school’s principal, or the principal’s representative, will contact the District Chair/Executive Director.
When a school’s choral director must be absent from an FVA MPA, the principal of the FSMA member school may designate someone else to assume the responsibilities the school’s choral director. FSMA does not require the replacement to be an FMEA or FVA member.
The following requirements must be met for a school to perform at an MPA without its choral director:
1. A letter on school letterhead where the school principal designates the person who will (1) conduct the school’s choirs at Concert MPA as well as (2) the person in charge of the school’s students and adults as the official FSMA representative of the member school, even if that person does not conduct the school’s choirs at the MPA.
2. The school will be responsible for student supervision as defined by their school district, students to chaperone ratio.
3. Required MPA materials from the school such as chaperone lists, MPA music, and any other items required by the District Chair/Executive Director, must be presented at the registration desk the same as they would be if the director were present.
4. The school will participate in all parts of the MPA including performing the required amount of literature, sight-reading (at a District Concert MPA), and fulfill any block listening requirements.

21. Ethics and the FVA MPA

Ethical responsibility for an FVA member starts with observing FVA MPA rules and making sure all adults and students from their school do the same.

FVA members and any other music professional acting in an official capacity at any MPA will adhere to the FVA Code of Ethics (located in the FVA Bylaws), as well FVA MPA rules and policies specific to the MPA.
Adults at an FVA MPA representing the FSMA member school will observe FVA and FSMA rules, regulations, and policies, including chaperones and other adults performing duties for a school, or individuals who are contracted by the FVA in any MPA support capacity.
Members are also expected to adhere to copyright laws as well as all FVA policies that address legal music copies at MPAs.
Safety at MPAs is both a regulatory and ethical responsibility of the director.
1. Providing for adequate student supervision, which adheres to their school district’s student-to-chaperone ratio requirements, is an FVA regulation that places the responsibility for the behavior of a school’s students, and the actions of the adult personnel from their school, directly on a school’s director.
2. Directors must meet basic FSMA/FVA supervision number requirements.
3. It is also the director’s responsibility to provide training for the adults who will supervise their students, know what to do to keep them safe, and who are able to supervise students while the school’s director is fulfilling other duties.

22. MPA Entry Fees Amounts Explained

Entry fees are assessed for an MPA to pay the expenses for the event.

MPA is not intended to be a for-profit event.
1. However, some MPA event assessments may be set at an amount to compensate for possible shortfalls in income of other the district’s MPAs.
2. At the end of some fiscal years there is MPA surplus money, while in other years, the district may spend more than it takes in for their MPAs, a situation that FVA endeavors to prevent. It is always reasonable to establish a district MPA budget that will pay district MPA expenses.
Calculating MPA fee amounts should always be a collaboration between the district chair and the FVA business manager. While input from members of the district is welcome, final MPA event fees must reflect an amount that will allow the district to pay its bills and maintain the positive district bank balance identified by the FVA business manager.
Each district’s MPA fees will be evaluated by the district chair and business manager at the end of each MPA season, and before the start of the new fiscal year, for any needed adjustment. At no time will FVA allow a district to set its assessments at an amount that could place the district in financial distress.
Schools with a small number of entries may be charged a minimum entry fee that is more than actual cost of the school’s actual entry assessment.
1. While not common, a minimum entry fee is sometimes assessed help the district pay MPA expenses.
2. When a minimum participation fee charge is necessary, district directors will be informed before the close of an MPA’s registration window.

23. Per-Student Assessment

When a district sets its entry fees, it must consider the component support fee of $1.25 per entry that each district will be assessed after all MPAs are completed but should be planned for when setting MPA fees.

Districts are assessed $1.25 each time a student performs. The $1.25 per-student assessment is included in the fee for each entry.

If a student performs in four different choruses at a Concert MPA, FVA will assess the district a total of $5.00 for that student.
If a student at the district Solo and Ensemble MPA sings a vocal solo, plays a piano solo, sings as a member of a trio, and later performs in two special category entries, the district will be assessed a total of $6.25 for that student.

24. Paying for What You Register

After a school’s entries have been entered into MPA Online (a process that includes identifying the students from a dropdown list that the director entered previously into the online system), and after the MPA registration window for that event closes, the school will be assessed, and payment is immediate due for each of the entries that remain in the FSMA MPA Online system.

FVA allows for no refunds for entries cancelled after the MPA registration window closes.
Neither the District Chair nor the Executive Director (State MPA) may override the FSMA MPA Online system to remove a school’s entries after the MPA registration window closes. However, a school will not be assessed either the registration fee, or the per student assessment fee, if the director deletes entries before the registration window closes.
No refunds will be given for any entry that fails to appear to perform at an MPA.
Assessment calculations will take place at the same time an MPA registration window closes.
No entry may perform at an MPA unless registration fees have been received by the event chair.
Any fees not paid by a school during the school year they were assessed will be carried over to the next school year.
In the event a new director is hired at a school that owes an MPA debt, the debt will still be owed by the FSMA member school and must be paid in full before a school can register for an FVA event, including All-State.
It is imperative for the FSMA member school’s director to be proactive in making sure the school has paid MPA assessment fees before arriving at an MPA to perform.

25. MPA Music Selection - Choosing Repertoire

FVA hires adjudicators who represent the training and experience that qualifies them to make judgements regarding whether music presented at MPA is appropriate when adjudications evaluate a performance based on the various elements found in an FVA MPA adjudication rubric.

Directors are encouraged to carefully consider their repertoire choices for MPA events. Choosing inappropriate literature may result in sanctioning of the event. The term “art music” is used in this document to describe music that comes from the Western European tradition, sacred or secular, as well as music of other cultures and folk traditions that have been formally arranged for performance by a choir, ensemble, or vocal soloist. Performance opportunities for Musical Theatre, Vocal Jazz, Popular music, Pop a cappella, Barbershop, and Gospel music exist at Solo & Ensemble MPA as Special Category Events.
If the director is unsure about the propriety of literature, the director is advised to contact the District Chair for approval. Clinics on selecting repertoire are often available at the FMEA Professional Development Conference in January and the FVA Summer Professional Development Conference in July. The difficulty of the repertoire is not a factor in the MPA adjudication process.
A rubric is simply a tool that allows adjudicators to compare the standards of performance FVA has set with an actual MPA performance.
Sometimes music presented for adjudication does not allow a solo, an ensemble, or a chorus to adequately demonstrate the musical and vocal skills the rubric describes for assessment.
An FVA adjudicator is required to listen to a performance and then determine how that performance compares to the rubric. Some music simply does not allow an adjudicator to compare a performance to the rubric.
Music inappropriate for use at MPA is not limited to any genre or style of music.
Some “classical” vocal music from musical periods such as the Renaissance, Baroque, Classic, Romantic music periods cannot be compared to the rubric any more than some pop, jazz, or rock music can.
The key to selecting MPA assessment literature is to choose age/voice/language/experience appropriate music that allows an adjudicator to evaluate/assess a performance using the FVA adjudication rubric.
There are events where music that is not considered appropriate for an MPA would be acceptable to sing in a different concert setting.
The same music, or another arrangement of the same music by the same composer, may not be performed at the same MPA by any other chorus from the same school in the same school year, including music sung at the State Concert MPA where another choir from the same school — although that choir may not be performing at the State MPA — has performed in that same year at an FVA MPA.
Repeating a Piece at MPA
1. High Schools - Three (3) MPA years must pass after a song, or an arrangement of the same song by the same composer/arranger, is eligible to be performed again at an MPA. This rule helps ensure that no student in the school when the song was first performed will sing the same song at an FVA MPA.
  1. MPA Year 1 – the year the music is performed at MPA.
  2. During MPA Year 2, Year 3, and Year 4, any music performed in Year 1 at MPA may not be performed.
  3. In Year 5, when 4 full years have passed since the music was last performed, the music that was used in Year 1 may be performed again at an FVA MPA.
2. Middle Schools – Two (2) MPA years must pass after a song, or an arrangement of the same song by the same composer/arranger, is eligible to be performed again at an MPA.
3. Directors are highly encouraged to introduce music that their choirs have not previously performed at MPA in order to expand their own and their students’ musical horizons.

26. Consequences for Violating MPA Rules or Policies

MPA INFRACTIONS

Violations of stated rules or regulations outlined in the MPA Omnibus will be referred to as infractions.

The term infraction will be used to identify violations at an MPA event in FVA records and communications. The FVA will act on infractions after being processed by the District Chair and or the FVA Ethics Committee. A sanction will be the action that FVA takes in response to a given infraction. The presiding FVA officer (District Chair) at the MPA will act on any violations and impose the appropriate sanction. The MPA is an event that is sanctioned by the Florida School Music Association.

Steps for Processing Infractions
1. An infraction is identified at the MPA event and reported to the District Chair
2. The District Chair will decide the type of infraction and the immediate appropriate action to take (sanction).
3. The District Chair will record the infraction and sanction and communicate the event to the MPA Chair and Ethics Committee using the infraction report before the end of the FVA event. The report will include a recommendation for additional action from the District Chair beyond the immediate sanction that was imposed at the MPA event. Additionally recommended actions from the District Chair will be considered by the MPA Chair and Ethics Committee.
4. If deemed necessary by the MPA Chair, the Ethics Committee will confer after reading the report and determine if any additional actions are necessary beyond the sanction that was imposed by the District Chair.
5. The Ethics and MPA Committee Chairs will report the sanction to the Board and any other parties deemed appropriate. Reporting may include a letter to the Director, letter to Administration, FSMA report, FSMA Board, etc.
Types of Infractions and Guiding Principles
1. FVA is committed to providing experiences that provide quality musical and professional growth to its members and participants of events such as MPA. Therefore, when deciding on appropriate sanctions in each infraction scenario, the FVA officer will prioritize the following:
  - The safety and wellbeing of students and participants.
  - Access to adjudication comments to entrants if the performance is allowable. *This may exclude grades and final ratings.
  - That no other entrants are unduly affected in their performance or learning experience expected at an MPA as outlined in the MPA Omnibus or other FVA Rules and Regulations.
2. Infractions will be categorized as either technical/performance or behavioral. Sanctions will align with the type of infraction that is recorded.

*Examples* of Infractions
Technical/Performance Infractions	Behavior Infractions
Conductor accompanies for their own choir	Student/Adult Misconduct
Original scores not used	Cell phone use/disruption
Insufficient ratio of copies of music used	Disruptive Behavior
Time Infractions	Supervision
Repertoire Choice
Memorization
Director Singing with students
Sight Reading Room Procedures/Rules

SANCTIONS. Below are sanctions that may be imposed on the director or school. After reviewing infraction reports, the ethics committee may take additional actions beyond those given by the District Chair or revise the imposed sanctions if deemed appropriate based on factors such as intent, recurrence and previous sanctions.

*Examples* of Infractions
Sanction/Action	Description/Outcome
Letter to Director indicating infraction and actions to remedy the violation – Sanction redacted.	Notification sent to the director detailing the infraction and steps to resolve it; the sanction is removed.
Letter to Director indicating infraction and actions to remedy the violation – Sanction stands.	Notification sent to the director detailing the infraction and steps to resolve it; the sanction remains in effect.
Letter to Director and Administration indicating infraction and actions to remedy the violation – Sanction redacted.	Notification sent to both the director and administration; sanction is removed.
Letter to Director and Administration indicating infraction and actions to remedy the violation – Sanction stands.	Notification sent to both the director and administration; sanction remains in effect.
The entry or entries may not perform.	Final rating of MPA event is recorded as DQ.
The entry performed and violation occurred in the adjudication room.	Final rating of MPA event is recorded as DQ after performing.
Final rating of MPA event will be changed to “C/O” Comments Only for FSMA Report.	Sanction communicated to Director and Administration.
Final rating of MPA event is published on FSMA Report with indicator highlighting violation.	Sanction communicated to Director and Administration.
Director becomes ineligible to register participants in future MPAs for a specified time.	Sanction communicated to Director and Administration.
Director is no longer in good-standing and loses membership for specified time.	Sanction communicated to Director and Administration.
Director is no longer in good-standing and loses membership indefinitely.	Sanction communicated to Director and Administration.
Violation sent to FSMA Board for review to determine member-school sanctions.	FSMA Board reviews and determines further sanctions on the member school as needed.
*Loss of good standing	Loss of privileges allotted to the member.

Special notes on Disqualification (DQ) as a sanction:

Instance 1
The sanction of Disqualification (DQ) is reserved for entries that have not turned in all appropriate paperwork and have not paid all fees or penalties associated with the MPA. The District Chair will inform the entrant that they are disqualified prior to the event if possible so the entrant does not attend the event. If the entrant attends, they cannot perform.

Instance 2
The sanction of Disqualification (DQ) is reserved for entries that try to perform with copied music that is not in accordance with copyright policies. Copyright violations may happen during registration or at the performance venue. Regardless of when the copyright violation is discovered by or reported to the District Chair, the entrant/entries will be disqualified and will NOT receive ratings – only comments if performance already took place.

Instance 3
The sanction of Disqualification (DQ) is reserved for entries that have exhibited repeated infractions that had previously received a less severe sanction (ex. Verbal reprimand, letter, warning, C/O, etc.).

SANCTIONS. Sanctioning an FVA member or a member school is an extremely serious matter that the Association does not take lightly, and is applied only after investigation and due process has been afforded an individual and/or school.

Most sanctions apply to, but not limited to:
1. Failure to follow the policies, rules, or regulations found in the MPA Omnibus or provided by the event chair,
2. Violating FSMA policies, rules, and regulations,
3. Providing music that breaks copyright law,
4. Failure to provide adequate student supervision,
5. Disruptive, threating, or other student or adult misbehavior while at the MPA
The lack of awareness of published/communicated FVA District or State MPA rules and policies is no excuse when any action violates FVA or FMSA rules, policies, or regulations. Any individual or school can be required to leave the FVA site for violating any rules or regulations of FVA or FSMA.
It is the duty of the FVA Ethics committee to investigate, act on, and impose the appropriate sanction, sanctions describe in the FVA Bylaws that include but are not limited to:
1. Warnings.
2. Official Reprimands.
3. Probation.
4. Loss or suspension of FVA membership.
5. Suspension of an adult, student, or school from participation in an FVA event(s).
6. Requiring additional student supervisors from a school.
7. Requiring a school administrator be onsite at an FVA event(s).
8. Limiting the number of students and/or entries that may participate in an FVA event.
9. Monetary fine equal to the cost to hire additional site security or repair damaged property at an MPA event facility.

27. MPA Ratings, Including Superior with Distinction Designation

FVA MPA events employ a rating system that represents five different levels that assigned to reflect how an entry’s performance matches the criteria of the evaluation rubric used of the various types of entries.
Superior with Distinction is a Concert MPA rating for District Middle School MPAs and State Concert MPAs. It is a rarely-awarded rating at any FVA MPA. A chorus can be awarded a Superior with Distinction even if there are minor defects in the performance. Still, a performance with distinction represents a near-perfect performance on every level.
A Superior with Distinction should be only awarded for the rarest of performances for district middle school choirs and state high school choirs, not just at that particular event, but compared to an amazing performance of a chorus anywhere.
To award a chorus for anything less than near-perfection would cheapen the award and dishonor the truly magnificent performances of choruses that have earned distinction in the past.
FVA MPA adjudication sheets will include a box for the adjudicator to check for a Superior with Distinction. A performance with distinction is designated SD, for Superior with Distinction.
Superior, Excellent, Good, Fair, and Poor are the possible ratings. The entire word for these ratings should be written out when the final rating is assigned, rather than what has been done in the past when only S, E, G, F, P were placed into the rating box by some adjudicators.
Some adjudicators first adjudicated using the Roman numerals I, II, III, IV, and V to assign ratings. It is important to know that these symbols do not align with the current MPA system, and that terms such as "Festival" and "Contest" are no longer used to describe a music performance assessment. With the new system came a rubric with well-defined criteria with which an adjudicator who uses the rubric correctly can assess a performance in terms that are much less ambiguous than with past systems.
At a District Choral MPA a total of four ratings are used to calculate a final rating: the three concert performance ratings and the rating assessed by the sight-reading adjudicator.
For consistency in adjudication, one of the most important duties of the district chair is to review the rubric, criteria for each rating, the adjudication sheet, and how, if used as trained/instructed, come together for a rating.
Included in this discussion will be the need for adjudicators to confer when needed about a performance before assigning a rating. This means the three Concert MPA adjudicators should be encouraged by the district chair/executive director (State MPA) to confer when one or more of the adjudicators indicates they want to discuss a performance. Conferring should not be confused with collaborating to agree together on a rating. This practice is discouraged.
Finally, the district chair/executive director must discuss the assigning a Superior with Distinction at both state and district MPA. One of the most important parts of that discussion must be that adjudicators are expected to confer prior to awarding a Superior with Distinction.

27.1. Superior with Distinction at Middle School District MPAs and the State MPA

A Superior with Distinction is an incredibly unique recognition for a performance that transcends even the most outstanding Superior Concert MPA performances. When the Superior with Distinction was first conceived, it was intended to recognize the rarest of the rarest choral performances. The recognition was not established to honor best choir of the MPA block, or the MPA day, or the even the entire MPA unless a choir’s performance represents one comparable to the finest singing for that age group/voicing anywhere, not only in Florida, but anywhere choral music is performed. To award a Superior with Distinction for anything less would cheapen the award for those who truly deserve FVA’s highest award for choral performance.

For a Choir of Distinction to be awarded, at least two of the three adjudicators must concur that the performance merits a Superior with Distinction rating.
1. Adjudicators will confer to discuss the merits of the performance being considered as a Performance of Distinction.
2. After conferring, adjudicators should make their own decision about whether a Performance of Distinction has occurred.
The selection of a Choir of Distinction for a middle school chorus is the same manner high school choirs are chosen for the award at the State MPA, recognized only when the highest standards of technical and artistic performance have been surpassed.
The Performance of Distinction must have been recognized as one that is an example of what all other choirs should work to emulate, but rarely achieve.
- Superior with Distinction-rated choirs and their directors are honored each July at the FVA Summer Professional Development Conference.**

27.2. Superior-Rated Sight-Reading with Distinction Designation

The Sight-Reading Adjudicator may only assign a district MPA choir a Superior with Distinction rating when it combines both the required technical aspects of sight-reading with a performance that consistently demonstrates musicality and artistry.

It is only possible to earn Superior with Distinction sight-reading rating by sight-reading an exercise with an SD designation. Refer to the chart in the sight-reading section to review eligible exercises.
When a director chooses a sight-reading exercise designated SD, the sight-reading adjudicator will assess the reading of that exercise just like any other exercise but will only assign an SD rating when the technical, musical, and artistic characteristics of the performance reflect the criteria of a Superior with Distinction sight-reading performance.
When a director chooses a sight-reading exercise designated as a Superior with Distinction exercise, and the adjudicator determines that the performance does not warrant assigning a SD rating, the adjudicator will assess the performance and assign a rating based strictly on the sight-reading rubric.
A stage performance rating of “Superior with Distinction” does not count any more than a “Superior” rating when calculating a choir’s overall or “Final” rating.

28. Accompaniment and Conducting Guidelines as they relate to Performance Music and the FVA Event

If the piano part of a song indicates that it is to be used “for rehearsal only,” if the obvious intent of the arranger/composer is that the song be performed a cappella, or when the song is stylistically, traditionally, and historically performed without instrumental accompaniment, accompaniment may not be used.
If accompaniment is written as a part of a song and when there is no indication on the music that it should not be used during performance, it cannot be omitted from the MPA performance.
Instrumentalists/pianists who possess copyright-protected music that has been photocopied to make it easier to use while performing, or use an electronic device containing downloaded copies of the original music in the place of original music, original copies of the music for each pianist/instrumentalist must also be in their possession during the MPA performance.
A school’s director may accompany their students at a Solo & Ensemble MPA.
At a Concert MPA, the FSMA member school’s principal-appointed representative, presumably the school’s choral director, will conduct the school’s choruses, including when the regular director is unable to attend the MPA to conduct the school’s choral entries.
1. It is permissible for the school’s assigned university/college choral intern to conduct the school’s concert MPA with the permission of the school’s principal.
2. Persons conducting a chorus at an FVA Concert MPA must be a member of FMEA and FVA, with the exception of a current college intern.
As of 2024–2025, the following vocal amplification policy is in place.
1. Solo & Ensemble entries in special category where the standard performance practice requires vocal amplification, such as vocalists performing with amplified instruments, e.g., electric guitar, bass, keyboard, and drum set, may use a microphone to amplify the vocalist.
2. It is the responsibility of the school, not the host site, to provide the appropriate functioning equipment to make the performance possible.
3. Setup, performance, and breakdown time shall not exceed a total of twenty (20) minutes.
4. The adjudicator will adjudicate the vocal performance based on elements in the rubric and adjudication sheet.
Conductors, pianists, and any other instrumentalists that accompany, may conduct/play from a score.
The director may never sing with their chorus during an MPA performance and may be referred to the FVA Ethics Committee for violating this regulation.

29. Things to Do Before an MPA

A director will be responsible for accomplishing the following tasks before any FVA MPA.

Read the entire FVA MPA Omnibus to ensure that all MPA rules, regulations, and policies are known and followed. Continuously read all new emails and any other correspondence relating to MPA.
Before the deadline to register for an MPA, make sure your MPA Online username and password are working and that you can assess MPA Online.
Select and train non-district vetted adults who will be serving in any capacity with the school’s MPA team, including accompanists, chaperones, instrumentalists, or other positions of support, then collect and director-sign completed FSMA Sexual Misconduct Affidavit from these individuals for presentation to the district chair upon checking in at any FVA MPA.
Adhere strictly to MPA student entry, literature, and payment deadlines to avoid costly financial penalties and a chance of being locked out of FSMA MPA Online when the deadline occurs.
1. Prepare your student entry list, either to enter into MPA Online manually, or by downloading the FSMA entry spreadsheet template provided, entering the data on that spreadsheet, and uploading to MPA Online.
2. Have information needed on hand to enter repertoire into MPA Online including Title (enter the data exactly as you want it to be shown on adjudication sheet – no “ ” needed.), composer, arranger, and voicing.
After completing the online registration process:
1. Print all forms and have your principal sign the student roster form.
2. Prepare and print announcer cards/sheets that you will bring with you to Concert MPA, found on fva.net.
3. Organize music copies and arranged and deliver within the schedule established by event chair.
  1. Number every measure for all four (4) copies of you Concert MPA music and one (1) numbered copy of each Solo and Ensemble MPA song for the adjudicator.
  2. Number the accompanist’s music for easy reference during post-performance clinic time.
  3. Place your school’s name on the front cover of every piece of music you provide for any FVA MPA.
  4. When performance alterations are made by the director to any published music used at an FVA MPA, first make sure these changes do not infringe on copyright, inform your district chair of the changes for district/event chair approval prior to submitting your music on MPA Online, and make note of any changes to printed music you plan to make by attaching a note to the front cover of each copy of the music intended for use by adjudicators
Complete the online Auxiliary Form and submit it to your district chair.

\* Please note that changes a director may desire may not be legal, or may not be acceptable to the district chair, who may reject the changes; or by an adjudicator who may comment on, or whose category grade/final rating may reflect disapproval of the changes.

Communicate to the District Chair any questions including school-specific scheduling concerns as early in the process as possible, being aware that not every scheduling request may be accommodated. It is the responsibility for the school to exhaust all efforts to accommodate the MPA schedule rather than the FVA having to inconvenience many schools to accommodate your school.

\* It is the responsibility of the school to exhaust all efforts to accommodate the MPA schedule, rather than FVA inconveniencing many schools to accommodate your school.

Study the Sight-Reading Assessment rubric, then select sight-reading exercises for each choir that performs at MPA. Choirs appearing for Comments Only must also sight-read at a district-level Concert MPA, but may do so without a rating.
1. Procedural Change as of 2024-2025: Any school performing music that has been purchased on-line, or any other music that is used at any FVA MPA that has been photocopied/is a facsimile of an original file, and will be used by adjudicator(s), must present copies of receipts of purchase which includes then date and number of copies purchased, or when performing CPDL, commissioned musical works, or other music obtained without cost or receipt, a coversheet or other proof of the music’s origin must be uploaded to MPA Online at least four weeks prior to the MPA event.

30. Concert MPA Repertoire and Performance Expectations

Any choir that performs at a District Concert MPA must sing at least two songs from memory, but as described previously, may sing more if the time provided for concert performance allows.

Use of All-State Music at MPA
1. High School choirs and ensembles may perform pieces from that school year’s Middle School All-State repertoire but may not perform any songs, or arrangements of the same song, in the year the high school music is used for All-State.
2. Middle School choirs and ensembles may perform pieces from that school year’s High School All-State repertoire but may not perform any songs, or arrangements of the same song, in the year the middle school music is used for All-State.
3. When a 7th or 8th grade student from a 6-12 or an 8-12 school performs in a high school choir or ensemble, that choir or ensemble may not use any repertoire from that year’s All-State.
At least one of the songs selected for each choir for MPA must come from either the FVA Music List, the UIL List, or be approved by the District Chair. Links to the prescribed music lists can be found on the FVA website.
Music selected for a concert entry are expected to contrast in style, culture, historical music period, and language.
Appropriate repertoire should also allow singers to demonstrate age-appropriate vocal range and versatility, exceptional technic al musicianship, musicality, and healthy vocal techniques.
1. While the difficulty of repertoire is not a criterion listed or defined in any MPA rubric, the expectation of adjudicators is that the choice of music should be age-appropriate literature chosen to encourage vocal and music growth of the student-performers.
2. Any music selected for a Concert MPA should reflect traditional choral music literature which may include arrangements of folk songs, Spirituals, choruses from operas or oratorios, “classic choral” music from any musical period, choral arrangements of “art” songs, and other music that allows adjudicators to compare the total performance of the choir to all parts of the MPA rubric.
3. Most arrangements of popular, jazz, musical theater do not allow adjudicators to assess the level at which a choir achieves the criteria found in the MPA rubric.
The concert rubric criteria include a consistent demonstration of good Tone Quality, Technical Preparation, and Musical Effect, skills that may not be demonstrated consistently when a choir performs rock, pop, jazz or other popular music media in the style that popular music requires.
Some classic popular songs, from various vocal genre, including songs not considered traditional literature, and songs from cultures from around the world not typically or traditionally sung by Western choirs have been arranged, or rearranged, and set for choirs in “classical” choral style that may be considered appropriate for MPA performance.
Performance opportunities for traditional musical theater, vocal jazz, pop/pop a cappella, barbershop, and gospel music, in the style of those musical genres, are appropriate for a Solo & Ensemble MPA where the solos and ensembles can be registered as Special Category or as Musical Theater/Vocal Jazz entries. However, these genres of music are not appropriate for Concert MPA, nor may they be sung in combination with “traditional” ensembles or vocal solo entries.
There are many examples of quality choral literature found in past programs from District and State MPAs.
1. However, a director who chooses music from these past programs, or for any music chosen for MPA, should consult with their district chair, mentor teacher, other experienced teachers, or the FVA MPA Chair to get advice about what may be appropriate for their particular school.
2. Past programs can be found on MPA Online www.flmusiced.org/mpaonline without logging in the site by clicking on “Ratings, Programs and Event Dates by District”.
3. Directors seeking help in choosing appropriate MPA repertoire for their choirs are encouraged to attend the FMEA Professional Development Conference in January and the FVA Summer Professional Development Conference in July, where music reading sessions and sessions specifically designed to help a director to select MPA music are offered.
Song cycles and works by one composer published under one cover will be counted as one selection regardless of the number of movements performed. Exceptions to this rule include extended works appearing under one cover that are approved by both the district chair/executive director and the MPA chair.
Any soloist or member of an ensemble featured in songs performed by a choir at a Concert MPA must also be member of that chorus as chorus membership is defined by FVA and FSMA.
Choirs will perform without the aid of electronic amplification. Any soloist or small ensemble that performs with a choir must also perform without electronic sound enhancement.
A director who had a choir(s) that qualified for the State MPA, may change one or all (or none) of the songs that the choir sang at their District MPA to perform at the State MPA.

31. Solo & Ensemble MPA - Specific Information

MIDDLE SCHOOL S&E MUSIC REQUIREMENTS	SENIOR HIGH SCHOOL S&E MUSIC REQUIREMENTS
Vocal Solo — 1 Song	Vocal Solo — 2 Songs
Piano Solo — 1 Song	Piano Solo — 2 Songs
Ensembles — 1 Song	Ensembles — 2 Songs
Special Category — 1 Song	Special Category — 2 Songs
Student Conductor — 1 Song	Student Conductor — 1 Song

MIDDLE SCHOOL S&E MUSIC REQUIREMENTS

SENIOR HIGH SCHOOL S&E MUSIC REQUIREMENTS

Vocal Solo — 1 Song

Vocal Solo — 2 Songs

Piano Solo — 1 Song

Piano Solo — 2 Songs

Ensembles — 1 Song

Ensembles — 2 Songs

Special Category — 1 Song

Special Category — 2 Songs

Student Conductor — 1 Song

31.1. ENSEMBLES

Ensemble entries (including duets, trios, quartets (but not Barbershop quartets), sextets, etc.) should choose to perform “classic” or “traditional music” that best fits the Ensemble rubric.
Ensemble Type Descriptions
1. Small Ensembles are defined as performing groups of 3-7 singers who perform without a conductor.
2. Large Ensembles are defined as performing groups of 8-16 singers who perform without a conductor.
Ensemble Performance Policies
1. An ensemble may not increase in size between District MPA and State MPA. However, student substitutions may be made by the director when deemed necessary.
2. All ensemble music must be sung from memory.
3. Senior High (9-12) ensembles, and any ensemble containing a 9th grade student from a 6-12 grade school, or a junior high/middle school must perform two (2) songs.
4. Middle School ensemble containing only grade 6-8 students are required to only perform one song.
5. Music used by an All-State high school choir may be performed by a middle school solo and ensemble entry made up exclusively of grade 6-8 students during the same school year.
6. All-State Middle School repertoire may be performed by a high school ensemble made up solely of students from the 9th-12th grade in the same school year.
7. Ensembles from a school may not perform music at their district or at the State MPA that will be/has also been used by a Concert entry during the same school year.
8. Neither small nor large ensemble entries from the same school may sing the same song.
9. A song sung by an ensemble at MPA may not be repeated for the next two years by any ensemble where a singer who performed the song previously is a member.
10. The total time of set-up and performance may not exceed the time established by the event chair.
No more than one ensemble may sing the same arrangement of the same song at an MPA.

31.2. VOCAL SOLO

Vocal Solos, what is often described as traditional vocal musical literature, should be art songs, folk music, arias, and other songs, classic, traditional, and modern music that when performed allow the performance to best be assessed using the FVA rubric criteria for “traditional” Vocal Solos.
Solos are defined as an entry with only one (1) singer.
Soloists in grades 6-8 will perform one song.
Singers in grades 9-12 will perform two stylistically contrasting songs. The two songs should be contrasting in style, written by different composers, and one song should, but is not required to be, in a language other than Spanish or English.
Vocal solo performances must be performed from memory.
The total time of set-up and performance may not exceed the time established by the event chair.
No more than three students from the same school may sing the same arrangement of the same song at an MPA.
A student may not perform a “classic style”/ “traditional” art song/folk song and a solo considered to be Special Category in the same performance.

31.3. PIANO SOLO

Piano soloists will perform what is considered “art” music literature typically used to train classical pianists.
Piano solos are defined as a performance with only one (1) pianist.
Piano soloists in grades 6-8 will perform one song.
Piano soloists in grades 9-12 will perform two stylistically contrasting songs.
Piano solos must be performed from memory.
Music used in one year may not be used by the same student in any subsequent year.
Total performance time may not exceed 15 minutes.

31.4. STUDENT CONDUCTOR

Student conductors will be evaluated using music that is considered appropriate at a Concert MPA.

A student conductor entry is defined as one (1) conductor conducting one song. A performance will consist of a small demonstration choir that should be tailored to a small space such as an ensemble room or classroom. It is the responsibility of the teacher of the student conductor entry to inquire about the size of the space where adjudication will take place so the demonstration choir can fit into the performance space.
Songs selected may be accompanied by piano or performed a cappella.
1. Music scores may be used by the conductor and the members of the ensemble being conducted.
2. Any music used by any person at an FVA MPA must meet the copyright requirements of FVA and FSMA, adherent to applicable copyright laws.
3. Music may not be chosen from any song of the same arrangement/by the same composer from any all-state chorus in the same school year.
  1. The student conductor may not select music rehearsed by their director during the current school year.
  2. Any song selected for adjudication must have both (1) at least one tempo change and (2) a variety of dynamic levels.
  3. No one song may be conducted by more than one student conductor from the same school.
The student conductor will be expected to manage all aspects of setup, instruction, conducting, while in the performance area.
1. A student may be asked by their adjudicator to demonstrate various conducting patterns (4, 3, 2).
2. The student may expect to be provided constructive criticisms of the entry’s actual conducting techniques and instructions to the demonstration choir.
3. While the student conductor does not require the memorization of the music, it is suggested.
4. The student conductor should be able to identify key signatures and be familiar with basic terminology if quizzed by the adjudicator.
During preparation, the student’s choral director may critique the techniques of the student conductor, but should neither interpret the music nor conduct the demonstration choir with the music chosen by the student conductor.
Students who qualify with a Superior rating at the district level will be adjudicated at the State Solo and Ensemble MPA.
Only students who perform at their District Concert MPA in a choir from their school will be eligible to enter as a student conductor entry. Failure to adhere to this policy will result a referral to the FVA Ethics Committee for possible sanctions for the student, the school’s choral director, and in certain circumstances as determined by the FSMA, to the school itself.

31.5. SPECIAL CATEGORY

Because FVA advocates and encourages healthy vocal production, correct/health/age-appropriate tone production is imperative and adjudicated over any other aspect of a performance of any FVA MPA entry.

Special Category is defined by FVA as quality performances by a musical theater/Show Choir/vocal jazz vocal soloist or a vocal ensemble that features popular/pop music, a cappella, music from Broadway musicals/musical theater, gospel solos or small or large ensembles/choirs, barbershop choir, barbershop quartets, world music mediums, and other non-traditional performances that does not adhere to the characteristics of what is commonly referred to as Art Music.
Special Category soloists and ensemble entries must perform from memory.
No soloist or member of a Special Category entry may repeat the same song/song arrangement by the same composer/arranger in any subsequent year they enter an FVA Solo and Ensemble MPA.
No Special Category entry may be conducted by the choral director or a member of the ensemble.
The total time of performance allowed for a Special Category entry will be determined by the event chair, but may not exceed fifteen (15) minutes.
A Special Category Ensemble is defined as a group of a minimum of two (2) singers and a maximum of 40 singers.
A Special Category Solo is defined as a performance of one singer.
High school entries, students in grades 9th-12th must perform minimum of two songs or for a minimum total of ten minutes of music.
Grades 6-8 entries from any school grade configuration (Jr. High, Middle, 6-12, 8-12) will sing one song.
The director may accompany their school’s Special Category entries.
All Special Category entries must provide the adjudicator with hard copies of musical charts or sheet music that contains traditional musical notation each vocal line. Alterations and/or improvisations that occur during a performance must be clearly marked in the score.
Special Category entries may use instrumentation/pre-recorded accompaniment that compliments, but does not overpower or distract from the vocal performance, the primary focus of the adjudication.
Amplification for Special Category
1. Electronic amplification of the voice with use of a microphone is acceptable for soloists when it is common practice for the genre. The adjudicator will determine the appropriateness of vocal amplification for any entry they hear.
2. As of 2024-2025, the following vocal amplification policy is in place. Solo and Ensemble entries in special category where the standard performance practice requires vocal amplification, such as vocalists performing with amplified instruments (i.e.) electric guitar, bass, keyboard, and drum set, may use a microphone to amplify the vocalist. It is the responsibility of the school, not the host site, to provide the appropriate functioning equipment to make the performance possible. Set-up, performance, and breakdown time shall not exceed a total of twenty (20) minutes. The adjudicator will adjudicate the vocal performance based on elements in the rubric and adjudication sheet.
Choreography is acceptable when it is appropriate for the style of the music being performed, as determined by the adjudicator.
Pre-recorded, taped, and/or pre-programmed accompaniments may be utilized in Special Category performances. Any pre-recorded accompaniment must be solely instrumental, containing no added vocals whatsoever.
While an acoustic piano will be provided in the performance area for any special category entry upon request, it is the duty of the entry/school/director to provide all equipment needed for the performance, including electronic instruments and equipment, extension cords, music stands, props, and any other items needed to accommodate the performance.
A total of twenty minutes will be allowed a special category ensemble (2-40 students) for setup, performance, and breakdown of props and equipment.
At the discretion of the event chair, when there are two or more ensembles scheduled to perform in consecutive order, a ten (10) minute set-up period may be allowed prior to the first entry.
High School Special Category entries earning a Superior are eligible for State Solo & Ensemble MPA.
Any printed music used for adjudication and by accompanying instruments must be legal originals or copies that adhere to copyright laws. Failure to comply with the copyright requirements of FVA/FSMA will result in an entry being denied an opportunity to perform at MPA.
Special fee schedules may be assigned to Special Category entries due to the extra expense often associated with accommodating Special Category performances.
Adjudicators will utilize the same Special Category adjudication sheet for both solo and ensemble Special Category performances.
Schools are encouraged to use the FVA MPA Music List/Music Theatre Resource List fva.net/mpa/music-list when choosing repertoire for musical theatre or vocal jazz entries.

31.6. Solo and Ensemble Music and Accompaniment Guidelines

Pre-recorded accompaniment will be allowed for District- and State-level Solo and Ensemble MPAs when:
1. A soloist or duet makes use of professional recordings provided by the publisher or other accompaniment provider who has permission to record the accompaniment and who is in compliance with other copyright laws.
2. Two (2) “legal copies” of the printed music are provided by any FVA Solo and Ensemble MPA entry no matter the category or type of accompaniment for those entries.
3. Inserts frequent time stamps (minute/second indicators) into the printed music that correspond to any recording used by the entry to aid the adjudicator in coordinating the recording and the score with the performance.
4. The director/director’s appointee provides any necessary accompaniment recordings and provides someone to operate the equipment used to play the accompaniment. It is the responsibility of the teacher/student to solve any logistical issues so the time for performance and adjudication are not affected. Set-up and performance must not exceed the time allowed for the solo.
5. Recordings used for the MPA assessment are downloaded and ready to play at the beginning of the assessment time slot.
  1. Accompaniment sourced and played directly from the Internet may not be used for assessment.
  2. Recording may not contain any vocals and recording must match instrumental score notation.
  3. Playback device should be behind the performer(s), as is done during All-State auditions (see All-State Omnibus). Use of phones as a playback device is highly discouraged.
  4. A non-industry recording used for any Solo & Ensemble entry that is not defined by FVA as a Special Category entry, must match the printed score and does not contain any enhancements meant to assist the performer.
Traditional/non-Special Category ensemble entries will use live accompaniment. A live accompaniment is considered to be when a person produces live accompaniment on the musical instrument designated in the printed music for the music being performed in the room for the MPA while the MPA entry performs.
Live accompaniment is required for any State-level MPA entry except for Special Category entries which will adhere to the same accompaniment requirements enforced by at District MPAs.
No entry using illegally obtained or duplicated music that violated copyright law may perform at any FVA MPA. Any school or director who uses illegal music at any FVA MPA, even when the use of these materials is discovered after any period of time after the event, the director can be referred to the FVA Ethics Committee for possible sanctions and the school can be referred to the FMSA Executive Director for referral to the Executive Board and possible school sanctions.
Directors may accompany their school’s entries at any FVA Solo and Ensemble MPA event.

32. At the MPA

In order to have the best and most educationally beneficial Concert MPA possible there are many duties, jobs, and expectations that everyone involved with the event must do.

A school that does not have the number of chaperones required by their school district may not enter the MPA venue.
1. Each director will present the FSMA-required Sexual Misconduct proof-of-training affidavit for adults designated as "chaperones" who are not already officially recognized by their school district as being a "legally" screened district employee or volunteer.
Scheduling and busing issues will be directed to the District Chair for possible, but not guaranteed resolution
1. It is common for every choir to be allowed ten (10) minutes in a warm-up room.
2. Warm-up time may vary from event to event, but ten (10) minutes is guaranteed for warm-up, and more time may be allotted by the districted.
3. It is very important to note that time allowed in the warm-up room starts with the first student entering the room and ends with students leaving the warm-up room for performance at the end of the time allotted.
Choral MPAs are organized into performance blocks of multiple choirs.
1. Every singer is expected to stay for the entire block in which they are performing, remain in the auditorium unless warming up, performing, or sight-reading as has been stated earlier in this Omnibus.
2. Failure to adhere to this extremely important component of the MPA learning experience will result in sanctions and referral to the FVA Ethics Chair.
All students who sing on stage at a District MPA must also sight-read with the choir(s) in which they perform.
1. Failure for any student to sight-read with their choir in which they perform is grounds for sanctions for their choir.
2. No one but the adjudicator, director and students from the school that is being assessed, student intern, or person authorized by the District Chair to do so may be in the sight-reading room during the sight-reading process.
Upon arrival at an MPA site, and before entering the performance venue, all student cell phones must be collected, turned off, and stored in accordance with school policy. A student found to be in possession of a cell phone or other electronic device while in the MPA auditorium is grounds for sanctions of the choir in which the student is registered to perform.
At a District MPA it is common for the district chair to allow fifteen (15) minutes on stage, time that includes entering the stage, performance, and clearing the stage for the next choir.
1. In some districts, and at State, time is often allotted for choirs to work on stage with a clinician after they perform.
2. In cases where the district does not add extra time for each performance slot, it is extremely important to tailor the repertoire of each choir to allow time for the stage clinician to work.
At District MPA each choir will usually go directly from the stage to the sight-reading room unless directed to do otherwise by the District Chair. Fifteen (15) minutes, or the time allotted by the District Chair for sight-reading will include travel time from the stage to the sight-reading room.
All students, chaperones, and any other adult who represents the FSMA member school will adhere to the MPA Code of Conduct printed in this Omnibus.
1. Most common distractions occur when students have not been required to turn over their cell phone to their chaperones or when student misbehavior resulting from a lack of supervision occurs.
2. Chaperones are required to carry out their duties to supervise students from their school which includes continuously monitoring their student to help insure they are safe and respectful of those around them.
3. In some very special cases chaperones may accompany students to the warm-up room, but they should not, unless the school’s director has received permission for them to do so, enter the warm-up room.

33. After the MPA

When leaving the MPA each director will be given the following materials for each of their choirs:

One (1) original Concert MPA Performance adjudication sheet from each of the three Concert Adjudicators,
One (1) Sight-Reading adjudication sheet, an audio recording of the MPA performance or an internet link to access the performance, and in most cases, recorded adjudicator comments.
Awards for outstanding MPA performances are sometimes available.
1. Districts will provide a plaque for a choir that earns an overall Superior rating.
2. If multiple choirs from one school earn overall Superior ratings, the school will receive one plaque and will be responsible for purchasing additional plaques for the additional Superior-rated choirs.
3. A director will be presented an order form for purchasing Superior medals for the students registered in any overall District rated Concert or Solo and Ensemble MPA entry.
4. At check-out, directors with State Solo and Ensemble soloists who earned a Superior rating will be given Superior medals.
5. State Concert Choirs who earn a Superior rating will be able to purchase Superior medals.
6. Medals order forms to purchase Superior performances for Ensembles and Concert entries will be available at check-out.
In an effort to make FVA MPAs more effective tools for both teachers and students, FVA provides for and welcomes both positive and negative feedback on adjudicators and their effectiveness at MPA Online.

II: MPA SIGHT-READING PROCEDURES & POLICIES

MPA Sight-Reading Procedures (2017) Sight-Reading Criteria and Distinction Charts (2024) **
1. Sight-Reading Procedures and Rules
  1. As of 2024-2025, choirs will sight-read the voicings performed on stage. If different voicings are performed, the director may choose the song with the fewest voices written of the two selections. Sight-reading restrictions based on experience level and combining of classes will no longer be a consideration when choosing sight-reading District MPA sight-reading exercises.
  2. Directors are to select their sight-reading examples for their groups and have their selections recorded by the chairman at check-in.
  3. Spectators, including chaperones, are not permitted in the sight-reading room.
  4. Students are to enter the room prepared to go to a predesignated seating arrangement and should not rearrange themselves between exercises.
  5. The adjudicator will welcome the group with an introduction, confirm the selected exercises with the director(s), and provide a time to answer any questions regarding procedures.
  6. Only the director or adjudicator can instruct students to open sight-reading books to designated exercises.
  7. The adjudicator should offer feedback following performances, and it is at their sole discretion to request any subsequent performance of passages for the purpose of further evaluation and/or clarification.
2. Rhythmic Exercise
  1. The rhythmic exercise is performed first.
  2. If the director wishes to establish a pitch or chord for rhythm reading, they are to do so before instructing students to open their books.
  3. The rhythmic exercise must be performed verbally such that the attack, duration and release of pitch is clear to the adjudicator. Any verbal system such as counting, singing, or recitation of syllables is acceptable.
  4. Only the accuracy of the performance is to be adjudicated, and not the correct usage of any chosen reading methodology.
  5. Clapping, snapping or any other body percussion for the performance of rhythm is not allowable.
  6. The chorus and director have one minute to study the rhythmic exercise. The one minute of study begins once the adjudicator has determined that students are on the correct exercise and student study has begun.
  7. Study time may be utilized in any variety of scenarios such as individual student rehearsal, sectional rehearsal, director led rehearsal or silent study time as long as the director and/or student leaders do not actualize any rhythms verbally or nonverbally for the purpose of demonstration for the group.
  8. During study time, the director and/or student leaders are permitted to provide verbal feedback and/or description provided they do not actualize or indicate the performance of any rhythm.
  9. During study time, directors are permitted to actualize (verbalize, snap, clap, etc.) a steady pulse and/or conduct a standard beat pattern to pace student study.
  10. Once prompted that study time is complete by the adjudicator, directors may count in the chorus audibly.
  11. During student performance, the director shall not give any audible or non-verbal assistance to the chorus and may only use a STANDARD CONDUCTING PATTERN, (i.e. no Kodaly hand signs or directing of rhythmic patterns through any form of sub-division.) A final cut-off should be indicated.
  12. The director is not permitted to speak during the performance of the exercise.
3. Melodic Exercise
  1. The melodic exercise is performed second.
  2. The director should establish the key before instructing students to open the sight-reading books to the melodic exercise.
  3. Directors may use the keyboard and/or sing along with their group to establish the key and to provide starting pitches.
  4. Establishment of key may include the ascending and descending form of the scale (or chromatic scale) along with some form of arpeggiated skips of significant tonal harmonies. The vocal patterns may also be supported by piano accompaniment.
  5. The chorus and director have two minutes to study the melodic exercise. The two minutes of study begins once the adjudicator has determined that students are on the correct exercise and student study has begun.
  6. Study time may be utilized in any variety of scenarios such as individual student rehearsal, sectional rehearsal, director led rehearsal, or silent study time as long as the director and/or student leaders do not actualize any melodic material or rhythms verbally or nonverbally for the purpose of demonstration for the group.
  7. During study time, the director and/or student leaders are permitted to provide verbal feedback and/or description provided they do not actualize or indicate the performance of any pitch or rhythm.
  8. During study time, directors are permitted to actualize (verbalize, snap, clap, etc.) a steady pulse or conduct a standard beat pattern to pace student study.
  9. For isolating a section of study, directors may establish pitches for starting homophonic voicings at measures one (1), five (5), 9 (nine) and/or thirteen (13). These pitches are not to be provided in any real-time rehearsal or performance. 24
  10. Once prompted that study time is complete by the adjudicator, directors may count in the chorus audibly.
  11. During student performance, the director shall not give any audible or non-verbal assistance to the chorus and may only use a STANDARD CONDUCTING PATTERN, (i.e. no Kodaly hand signs or directing of rhythmic patterns through any form of sub-division.) A final cut-off should be indicated.
  12. The director is not permitted to speak during the performance of the exercise.
4. Sight-Reading Superior with Distinction
  1. The Sight-Reading Superior with Distinction rating (SD) can be awarded to outstanding sight-reading performances on the choir’s initial attempt, where the choir sings with exemplary tone, phrasing and utmost precision on exercises marked as eligible for Superior with Distinction.
  2. The Sight-Reading Superior with Distinction rating has the effect of raising the specific stage rating of S E E (only) to an overall Superior rating.
  3. A choir that receives S E E on stage and S in sight-reading earns an overall Excellent.
  4. A choir that receives S E E on stage and SD in sight-reading earns an overall Superior.
  5. A choir that receives any other Excellent stage rating besides S E E, and an SD in sight-reading earns an Excellent.
  6. Middle School Distinction Sight-Reading exercises contain arpeggiated skips.
  7. High School Distinction Sight-Reading exercises contain arpeggiated skips and stepwise chromatics.
5. Types of Exercises
As of 2024–2025, choirs will sight-read the voicings performed on stage. If different voicings are performed, the director may choose the song with the fewest voices written of the two selections. Sight-reading restrictions based on experience level and combining of classes will no longer be a consideration when choosing sight-reading District MPA sight-reading exercises.**

Refer to the two-page chart to see the minimum requirements for choosing melodic exercises for sight-reading at District MPA. . A director has the option to choose a higher voicing in the sight-reading room than what is required. . Any exceptions to these procedures must be requested and granted in writing from the district chair at least 4 weeks prior to MPA. . Eligible sight-reading exercises for Superior with Distinction are noted in the Distinction chart. . Middle School Distinction exercises contain arpeggiated skips. . High School Distinction exercises contain arpeggiated skips and stepwise chromatics.

New for 2025 MPA Sight-Reading Rhythmic Exercises: . There are six levels of rhythmic difficulty from which to choose. . Each level has two choices of identical rhythmic criteria.

New for 2025 MPA Sight-Reading Melodic Exercises: . Every phrase begins on a new line, with the exception of pick-up notes. . Intervals on an individual voice line are no larger than a fourth. . Stepwise chromatics are limited to fi, si, and te.

34. Superior with Distinction-Eligible Sight-Reading Exercises

Exercise Number	Middle School	High School	Voicing
14	YES		SSA
15	YES	YES	SSA

17	YES		SSAA
18	YES	YES	SSAA
19	YES	YES	SSAA

22	YES		TTB

23	YES		TTBB
24	YES	YES	TTBB

27	YES		SAB

30	YES		SATB
31	YES		SATB
32	YES	YES	SATB
33	YES	YES	SATB
34	YES	YES	SATB

Exercise Number

Middle School

High School

Voicing

YES

SSA

YES

SSA

YES

SSAA

YES

SSAA

YES

SSAA

YES

TTB

YES

TTBB

YES

TTBB

YES

SAB

YES

SATB

YES

SATB

YES

SATB

YES

SATB

YES

SATB

35. Individual Adjudicator Ratings Possibilities

Superior Excellent Good Fair Poor

Superior	Excellent	Good	Fair	Poor
`AAA`	`AAC`	`ABE`	`AEE`	`DEE`
`AAB`	`AAD`	`ACD`	`BDE`	`EEE`
	`AAE`	`ACE`	`BEE`
	`ABB`	`ADD`	`CCE`
	`ABC`	`ADE`	`CDD`
	`ABD`	`BBD`	`CDE`
	`ACC`	`BBE`	`CEE`
	`BBB`	`BCC`	`DDD`
	`BBC	`BCD`	`DDE`
		`BCE`
		`BDD`
		`CCC`
		`CCD`

AAA

AAC

ABE

AEE

DEE

AAB

AAD

ACD

BDE

EEE

AAE

ACE

BEE

ABB

ADD

CCE

ABC

ADE

CDD

ABD

BBD

CDE

ACC

BBE

CEE

BBB

BCC

DDD

`BBC

BCD

DDE

BCE

BDD

CCC

CCD

36. Concert Ratings in Every Possible Combination

Superior Excellent Good Fair Poor

Superior	Excellent	Good	Fair	Poor
`SSS`	`SEE`	`SGG`	`SFF`	`SPP`
`SSE`	`SEG`	`SGF`	`SFP`	`EPP`
`SSG`	`SEF`	`SGP`	`EFF`	`GPP`
`SSF`	`SEP`	`EGG`	`EFP`	`FPP`
`SSP`	`EEE`	`EGF`	`GFF`	`PPP`
	`EEG`	`EGP`	`GFP`
	`EEF`	`GGG`	`FFF`
	`EEP`	`GGF`	`FFP`
		`GGP`

SSS

SEE

SGG

SFF

SPP

SSE

SEG

SGF

SFP

EPP

SSG

SEF

SGP

EFF

GPP

SSF

SEP

EGG

EFP

FPP

SSP

EEE

EGF

GFF

PPP

EEG

EGP

GFP

EEF

GGG

FFF

EEP

GGF

FFP

GGP

37. Final Rating Performance and Sight-Reading Ratings Combined

Superior Excellent Good Fair Poor

Superior	Excellent	Good	Fair	Poor
Perf SR	Perf SR	Perf SR	Perf SR	Perf SR
`S S`	`S G`	`E F`	`G P`	`P F`
`S E`	`S F`	`E P`	`F G`	`P P`
`E* SD`	`S P`	`G E`	`F F`
	`E S`	`G G`	`F P`
	`E E`	`G F`	`P S`
	`E G`	`F S`	`P E`
	`G S`	`F E`	`P G`

Perf SR

S S

S G

E F

G P

P F

S E

S F

E P

F G

P P

E* SD

S P

G E

F F

E S

G G

F P

E E

G F

P S

E G

F S

P E

G S

F E

P G

* The Sight-Reading Superior with Distinction (SD) rating has the effect ofraising the specific stage rating of
“S E E” (only) to an overall Superior rating.

A choir that receives “S E E” on stage and “S” in sight-reading, earns an overall Excellent.
A choir that receives “S E E” on stage and “SD” in sight-reading, earns an overall Superior.
A choir that receives any other Excellent stage rating besides “S E E”, and an “SD” in sight-reading, earns an overall Excellent.

38. Use of Comments Only

A director may request to perform for only comments, but no rating (Comments Only), at a District Concert MPA, but not at a State Concert MPA.
1. A director’s request to perform for Comments Only must be made to the District Chair no later than at check-in at the MPA site.
2. Because Concert MPA is an event designed specifically for choirs to be assessed and be given a rating based on performance, unless there is a compelling reason for a choir to request to sing for Comments Only, the District Chair has a responsibility to deny a school’s request to sing for Comments Only.
Any school that sings for Comments Only will follow all other MPA rules and regulations, including musical literature rules, chaperone policies, FSMA misconduct policies, and student behavior expectation rules.
“Comments Only” is not an available option for any Solo & Ensemble entry at either the District or State level.

III: State MPAs (High School Only)

39. State Registration

State MPA registration for High School Choral, Solo, and Ensemble events that have earned a Superior at the District level are eligible for State MPA. Schools must register State MPA entries by the deadline set on MPA Online. Please note that State Choral registrations are due no later than March 18. Some districts with later District Choral MPAs may need to work with the Executive Director on scheduling for State Choral MPA.

40. State Repertoire

For State Choral MPA, choirs perform three contrasting art music selections and do not sight-read. A clinic is provided for each choir after the MPA performance. For State Solo & Ensemble MPA, the number of selections performed stays the same, but it is acceptable to switch out repertoire between District and State.

41. State Location Assignments

North

Districts 1–5

Central

Districts 6–12, 19

South

Districts 13–18

Requests to attend out of the assigned site should be submitted to the Executive Director by January 15.

Locations for State MPAs will be announced by the Executive Director.

Appendix A: Sight-Reading Criteria rev. May 2026

Appendix B: MPA Forms and Adjudication Forms with Rubrics

Refer to fva.net/forms for PDFs of the MPA Announcer Sheet, State MPA Announcer Sheet, and District Medals/Plaques Order Form. Refer to fva.net/adjudication for PDFs of the Adjudication Forms used for each entry type, and the corresponding rubric on the back.

Appendix C: Major changes in MPA Omnibus v2027.1

SR charts updated
Redundant texts were removed
Rules about repertoire repetition were added

2026.3
- Infractions Policy was implemented.
- Old sections 27, 28, 29, 32 were clarified.
2026.2
- Section 2 was clarified.
- previous Section 16 and 24 were redundant.
2026.1
- Sections 38–41 and Appendix A. Tables were updated to correct errors and to reflect the 2026 MPA Sight-Reading book.

Music Performance Assessment (MPA) Omnibus

I: Overview of Music Performance Assessments

1. What is a Music Performance Assessment?

2. Description of MPA Events and Student Eligibility

Participation at an FVA MPA by Students without Access to a Vocal Music Performance Class at their School

3. Participation at Both the District S&E and District Concert MPA

4. The Purpose of an MPA

5. Memberships Needed for a School to Perform at MPA

6. Reasons to Participate in an FVA MPA

7. District MPA Registration

8. MPA Entry Fees and Singing Out-of-District Considerations

9. Late MPA Registration and Performance Music Entry Consequences

10. Student Rosters

11. Music Utilized for Assessment

12. Co-Curricular vs. Extra-Curricular

13. Student Eligibility Based on Grades

14. Who May Perform at an FVA MPA?

15. FSMA/FVA Student Classifications

16. MPA Student Block Listening Requirements

17. Code of Conduct for FVA MPAs

17.1. MPA Code of Conduct Expectations

17.2. When Inappropriate Student Behavior Occurs at an MPA

17.3. Examples of Inappropriate Behavior at an MPA

18. Consequences for Student Misbehavior

19. MPA Chaperones

20. Director Absence from an MPA

21. Ethics and the FVA MPA

22. MPA Entry Fees Amounts Explained

23. Per-Student Assessment

24. Paying for What You Register

25. MPA Music Selection - Choosing Repertoire

26. Consequences for Violating MPA Rules or Policies

MPA INFRACTIONS

27. MPA Ratings, Including Superior with Distinction Designation

27.1. Superior with Distinction at Middle School District MPAs and the State MPA

27.2. Superior-Rated Sight-Reading with Distinction Designation

28. Accompaniment and Conducting Guidelines as they relate to Performance Music and the FVA Event

29. Things to Do Before an MPA

30. Concert MPA Repertoire and Performance Expectations

31. Solo & Ensemble MPA - Specific Information

31.1. ENSEMBLES

31.2. VOCAL SOLO

31.3. PIANO SOLO

31.4. STUDENT CONDUCTOR

31.5. SPECIAL CATEGORY

31.6. Solo and Ensemble Music and Accompaniment Guidelines

32. At the MPA

33. After the MPA

II: MPA SIGHT-READING PROCEDURES & POLICIES

34. Superior with Distinction-Eligible Sight-Reading Exercises

35. Individual Adjudicator Ratings Possibilities

36. Concert Ratings in Every Possible Combination

37. Final Rating Performance and Sight-Reading Ratings Combined

38. Use of Comments Only

III: State MPAs (High School Only)

39. State Registration

40. State Repertoire

41. State Location Assignments

Appendix A: Sight-Reading Criteria rev. May 2026

Appendix B: MPA Forms and Adjudication Forms with Rubrics

Appendix C: Major changes in MPA Omnibus v2027.1