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Schnitzel

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  • Your Drum Corps Experience
    Greeneville (TN) Presidents (1974)
  • Your Favorite Corps
    The one on the field!
  • Your Favorite All Time Corps Performance (Any)
    Too hard to choose - which of your children do you love most?
  • Your Favorite Drum Corps Season
    The next one!
  • Gender
    Male

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  1. Pretty sure Scott writes the entire battery.
  2. Excellent point - I can assure you that the judges get very annoyed when their focus is distracted by staff members trying to "lead the crowd." We all know what that is: loud clapping at a spot where the audience reaction has been slow/muted/non-existent, yelling out encouragement disproportionately to everyone else, etc.. IMO: it's like anything else - it's fine to actually react to a performance, but some take it too far. I have a friend who is a veteran corps/band judge, and he says he always pays attention to where each group's "rooting section" is, and then he discounts any reaction from them during their team's performance. Back-in-the-day, so much of the staff paroxysms were on the track and much less disruptive. Perhaps DCA and DCI should make better plans for "upstairs staff," and leave the newbies to hype on the field.
  3. 1. https://judgesacademy.com/academy-central/ https://www.facebook.com/MarchingRoundtable https://www.facebook.com/JudgesAcademy 2. Yes. Clinics are sometimes held by the major acronym arts orgs: DCI, DCA, WGI, etc.. Most active judges pursue these things individually as well, as part of their lifestyle and professional development. You might be interested in the number of anecdotes concerning the use of "celebrity judges" in drum corps. You don't see that much, for good reasons. If you're interested, I could send you a document that discusses the latest trends in assessment (judging) applied to competition systems. It's a bit techno-geek, but really interesting if you're into this stuff - as you obviously are. Finally, thanks for posting the link to that article - it will be very helpful!
  4. While there's no doubt that the Equal Advantage Scoring System has helped negate some of the issues of performance order, it hasn't negated them. Here's an excerpt from a Judges Academy document on the subject: "Recent innovative practices in Scoring Theory have been widely adopted and accepted as successful at increasing the validity of rating and ranking groups. “Equal Opportunity Scoring” allows judges to “hold” numbers over longer periods of time during the assessments. This provides a more consistent scoring potential to all groups and has proven to assist judges with problematic scoring dynamics, particularly at events with many participants. But even this evolutionary practice does not deal with the adjudicator’s actual perception and recall through the implementation of the Impression/Analysis/Comparison Model. This method of achievement-based assessment is widely taught and adopted by most major competitive organizations in the US, and increasingly world-wide." Oversimplified, judges compare achievements horizontally through time. The order of events influences the I-A-C model.
  5. For my two cents (if my opinion is actually worth that much), I just hope that no corps participant )be they performers, administrators, designers, or teaching staff) ever think about "if so-and-so isn't here, then we can get a place higher!" That is pretty much as antithetical to excellence and achievement as you can possibly get. Where do you get satisfaction from that? We're all fortunate to have Kidsgrove make all the "extra" efforts it takes to contribute to DCA in such an excellent way. Anyone that doesn't see that has a real personal issue. If all you want is a trophy, they don't cost much at stores . . .
  6. While it's certainly true that "what's entertaining" is a subject of great and constant debate in DCA, DCI, WGI, BOA, USBands, and a myriad of other amateur marching music acronym associations, we would do well to remember which constituents invest the most time and money into these activities: that would be the performing members. What do THEY find most valuable that will engage an audience that is worth the performer's' investment? No doubt that a portion of the audience is there to support the members as much or more than be entertained. That doesn't mean that they have to be bored - just engaged in some way by a variety of concepts and approaches to the medium. Hopefully, they'll always be vets and others who like this stuff for what it is - a niche activity.
  7. Do tell. How does this work? I'm truly and sincerely interested. Might explain some statistics I read on this site.
  8. Hope you didn't go to see the Mini's @ WCs - TWO Malagas in 5 groups!
  9. Were it only that simple . . . it's not.
  10. My assumption, which may be incorrect, was that the latecomers would be filling holes or additions (usually to brass) that would make the corps better - thereby being a value-added thing for the members who have "been there" all Summer. I would think it very problematic if someone came in to replace a vet who didn't want to be replaced. Did that really ever happen? How could a corps recruit future members in that scenario? Incomplete Junior Corps are very candid about recruiting new members during a tour, but in an attempt to fill their blanks. I'm sure they don't demand full (retroactive) dues from these people, if not waiving everything except pro-rated tour fees, if even that. It's the parable of the prodigal son, right?
  11. What was the philosophy behind that limitation? You would think that beyond any negative motivation to set a restriction like that, it would be difficult (and awkward) to enforce.
  12. Lee Carlson of Palm Springs, CA is the new AD. Another Visualist.
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