Who'd be an adjudicator

Discussion in 'The Adjudicators' Comments' started by Dave Payn, Sep 24, 2004.

  1. Dave Payn

    Dave Payn Active Member

    I dunno, if you look on 4 bars rest, you'll see some 4th section nonentity getting on his soapbox trying to put the world to rights with lower section adjudication, and now Iwan Fox likening the Open results to an overthrow of a dictator.... whatever next?
  2. Laserbeam bass

    Laserbeam bass Active Member

    It would seem that the only qualifications for being an adjudicator wannabe, is that you sit in the audience of a contest and spout out a load of **** about, who you want to win, and who you think shouldn't be in the frame. 4barsrest seem to have down to a fine art :ranting2:
  3. Anglo Music Press

    Anglo Music Press Well-Known Member

    I've sent them a reply! I hope they publish it!

    Who'd be an adjudicator?? Very good question!! We need the best in the box, but there is a danger we will drive them away and they will have to find a better way to spend their weekends (eg with their families or in the open air!!!!) Hm.....:D
  4. Dave Payn

    Dave Payn Active Member

    'twas a wee bit of irony in my lead post ;-) I did stop short of lambasting the ability to judge of an adjudicator, just asking for an prior insight! :) Unfortunately 4br lately have taken to questioning the right of certain people to actually sit and judge in the first place. (Notably, this year's Europeans)
  5. nickjones

    nickjones Active Member

    I would love to be an adjudicator , just look for the best band , hey we all know we cant have 22 winners on the day..
    still people would only say " what has that "£$"£"£$" done to become an adjudicator , which is true ) :)
    I heard this morning that Gav Saynor is to be a judge at the URDD National Eistedffodd..I think one of the biggest youth organisations in Europe..
  6. PeterBale

    PeterBale Moderator Staff Member

    I think the main problem with the Europeans was due to the absence of any adjudicators' remarks, so that it was difficult to see how and why they came to the decisions they did. At least having read some of the remarks from the Open, we can see what they felt was good/not so good (even if we may still disagree ;) )
  7. brassneck

    brassneck Active Member

    My gripes about the adjudication process has been noted before, and Dave Payn is in some agreement. The amount of preparation bands put in for a contest that involves travelling and accommodation is getting greater all the time. As less income fills bands' accounts, costs for everything else rise. By the way, I have every sympathy for a judge who has to sit for a lengthy period of time listening to, maybe, the same work for 'X' number of performances. But, what does a middle or lower placed band learn from their experience if the comments are not constructive but very generalised? Even a small rating section covering general issues such as intonation, balance, sound, dynamics etc. included at the bottom of the adjudicator's sheet (headed 'improvements to be made'?) can be of use to the conductor or band. These ratings do not necessarily have to be included as part of the final score. 'The Open' experience begs one question from me..... If the adjudication process was based on bands reading and executing what the composer's original intentions were on the score, would a technically superior performance which is poorly interpreted be judged worse than a error-strewn, but musically well-directed performance? Where do you strike the compromise between the two? This is where I feel that a panel of judges must get together in advance of a contest to discuss and agree on the criteria used, and explain to the competitors and audience the processes of their decision-making to stop the boos and reactions we saw in Birmingham. Yeh, who would want to be an adjudicator?