Diction for Singers

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DICTION FOR SINGERS:

A COMPREHENSIVE ASSESSMENT OF BOOKS AND SOURCES

DOCUMENT

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Musical Arts in the Graduate

School of The Ohio State University

Cynthia Lynn Mahaney, B.M., M.A.

* * * * *

The Ohio State University 2006

Document Committee: Approved by Professor Emeritus, Eileen Davis, Adviser

Dr. Karen Peeler ______

Dr. R. J. David Frego Adviser Graduate Program in Music

ABSTRACT

A common dilemma for today’s college voice professor is how to teach vocal diction effectively to the undergraduate student in the limited time allotted to these courses in a college music program. The college voice professor may rely on familiar and previously used texts, though other excellent resources have become available in the last decade. It is the purpose of this study to identify the diction books and supplemental sources currently used in the United States, and provide assessment of their suitability for teaching undergraduate voice students. A survey was conducted to determine which books and sources college professors currently use in vocal diction classes. The survey concentrated primarily on diction instruction resources for the

Italian, German, and French languages, since these are the first languages that need to be mastered by the undergraduate voice student. The survey instrument was sent to all

1,733 institution members of the College Music Society in the United States. The 118 completed surveys which were returned formed the basis of this study. From the 118, twenty-two interviews were conducted with instructors who used different diction texts.

The questions for both the survey and the interviews deal with the accuracy and accessibility of the books and sources used by the diction instructor, and the preferred structure and activities for this type of course. For results of the survey which featured a

ii number of respondents, a bar graph format provides easy visibility. The most frequently used texts and supplemental sources are discussed in depth and are included in an annotated bibliography. Survey results indicated that Diction for Singers by Joan Wall,

Robert Caldwell, Tracy Gavilanes, and Sheila Allen, is the textbook most widely used, with 60% of respondents naming it as their primary text. Supplemental sources identified and evaluated by respondents included books other than diction texts; dictionaries, song anthologies, recordings, software programs, and websites. The conclusion of the document offers ideas and options for the lyric diction instructor based on the results of the surveys and interviews, and suggestions for future research to survey a more representative sample of vocal institutions.

iii

Dedicated to my husband and son

ACKNOWLEDGMENTS

I wish to thank my adviser, Eileen Davis, for her tireless help, encouragement, expertise, and guidance in the area of vocal diction, as well as for her countless hours of help with proofreading and editing.

I am also appreciative of the other members of my committee, Dr. Karen Peeler and Dr. R. J. David Frego, for their ongoing support and advice.

I would also like to thank Dr. Nancy Jantsch for suggesting conducting a survey, as well as other suggestions and advice.

I very much appreciate all of the instructors who filled out and returned my survey, and those professors who agreed to be interviewed. Their time and willingness to provide information has made this document possible.

For help with typing and editing my document I would like to thank Connie

Parkinson, Andrea Crago, and Alicia Rivers.

I am very grateful for my dear friend Diane Borgic for her ongoing encouragement and support, and her many hours of reading and editing.

I also thank my sister-in-law, Jody King, for help with mailing the survey, as well as members of Broad Street United Methodist Church in Columbus, Ohio.

Finally, I must thank my husband Steve and son Jimmy for their understanding and support while I spent countless hours working on this document. v

VITA

July 14, 1959………………………………..Born – Lima, Ohio

1981……………………………...………….B.M., Vocal Performance, Ohio University, Athens, Ohio

1982…………………………………………M.A., Vocal Pedagogy, The Ohio State University, Columbus, Ohio

1984…………………………………………Adjunct Voice Professor, Otterbein College, Westerville, OH

1984 - 1985………………………………....Adjunct Voice Professor, Saint Mary’s College, Notre Dame, IN

1985 – 2006………………………………....Private voice instructor, Columbus, Ohio

1990-1991, 2000-2006……………………...Doctoral student in vocal performance, The Ohio State University

2002 – 2006………………………………….Adjunct Music Professor, Ohio Dominican University, Columbus, Ohio

2002-2006……………………………………Adjunct Voice Professor, Kenyon College, Gambier, OH

FIELDS OF STUDY

Major Field: Music

Studies in: Applied Voice with Marajean Marvin Hulling, 1990-1991; Eileen Davis, 2000-2004.

Studies in: Vocal Literature, Diction, and Opera, 1990-1991; 2000-2001.

TABLE OF CONTENTS

Page Abstract…………………………………………………………………………………ii Dedication……………………………………………………………………………....iv Acknowledgments……………………………………………………………………….v Vita……………………………………………………………………………………...vi List of Figures…………………………………………………………………….…….xi List of Tables………………………………………………………………………...... xvi List of Symbols………………………………………………………………….…...xxvi Glossary……………………………………………………………………………...xxvii

Chapters:

1. Introduction……………………………..…………………………………..…...1

1.1 Introduction……………………………………………………………….…1 1.2 Problem……………………………………………………………………...2 1.3 Purpose……………………………………………………………………....2 1.4 Significance of Study…………………………………………………….….3 1.5 Research Questions………………………………………………………….3 1.6 Summary of Chapter Content………………………………………………..4 1.7 Summary of Appendices and Bibliography…………………………………5

2. Selected Annotated Bibliography…………………..……………………..….…6

2.1 Introduction………………………………………………………………...6 2.2 Diction Books: French……………………………………………………...7 2.3 Diction Books: German…………………...………………………….…...15 2.4 Diction Books: Italian…………...…………………………………….…..20

vii 2.5 Diction Books: IPA…………………………………...…………….….....24 2.6 Supplemental Books…………………………………………...….………26 2.7 Supplemental Dictionaries………………..…………………………….....36 2.8 Supplemental Music………………………………...……...………….….38 2.9 Software/ Videos…………………...……...……………………………...41 2.10 Websites…………………………………………………………………..42 2.11 Articles…………………………………………………………………....45 2.12 Dissertations……………………………………………………………....51

3. Survey: Methodology and Results…………………………….………..……....54 3.1 Introduction………………………………………………………………...54 3.2 Survey Instrument……………………………………………………….…54 3.3 Survey Population……………………………………………………….…55 3.4 Collection of Data……………………………………………………….…55 3.5 Data Analysis and Results………………………………………………....55

4. Interviews………………………………………………………………….….145 4.1 Introduction…………………………………………………………….…145 4.2 Interview Questions……………………………………………………....145 4.3 Method of Interview……………………………………………………...146 4.4 The Interviewees……………………………………………………….....146 4.5 Data Analysis and Results………………………………………………..149

5. Summary, Conclusions, and Recommendations……………………………...249 5.1 Introduction…………………………………………………………….…249 5.2 Summary and Conclusions……………………………………………..…249 5.3 Recommendations………………………………………………………...270 5.4 Future Research……………………………………………….…………..271

Appendices Appendix A: Survey Questions…………………………………………….....274 Appendix B: Bar Graphs of Results of Survey Questions……………….…...281 viii Appendix C: Sample of Script for Initiating Contact with Interviewees…..…367 Appendix D: Sample of Consent Form for Interviewee……………………...369 Appendix E: Interview Questions…………………………………………….371

Bibliography…………………………………………………………………………..374 Diction Texts………………………………………………………………….375 Supplemental Sources………………………………………………………...378 Books……………………………………………………………….....378 Singing Diction………………………………………………..378 General Singing…………………………………………….....380 General Language……………………………………………..380 Song Interpretation…………………………………………....381 Pronunciation……………………………………………….....382 Translation………………………………………………….....385 IPA Transcription……………………………………………..387 Libretti…………………………………………………….…..388 International Phonetic Alphabet……………………………....390 Song Anthologies……………………………………………………..392 Workbooks…………………………………………………………....392 Dictionaries…………………………………………………………....392 Books……………………………………………………….....392 General…………………………………………..…....392 Pronunciation………………………………………....394 Musical and Vocal Terms…………………………….395 Online………………………………………………………....396 Congress Reports…………………………………………………...... 397 Journal Articles……………………………………………………….398 Dissertations/Thesis………………………………………………………...... 406 Software……………………………………………………………....410 Audio Recordings……………………………………………………..410 Pronunciation and Speech………………………………….....410 Non-Singing Diction………………………………………….411 ix Videos…………………………………………………………………412 Websites……………………………………………………………....412 General Languages…………………………………………....412 Pronunciation……………………………………………….....415 Fonts…………………………………………………………..416 IPA………………………………………………………….....417 General Diction……………………………………………….418 Singing………………………………………………………...418 Translation and Terms………………………………………...419

LIST OF FIGURES

Figure Page

1 Question 1: What type of period does your institution have: quarters, semesters, or another type?...... 282

2 Question 2: How many weeks of class are there in your quarter/semester?.....283

3 Question 3: How long is one class period?...... 284

4 Question 4: How many times a week is your class held?...... 285

5 Question 5: How long is the class period?...... 286

6 Question 6: How many hours of credit are allotted to each class?...... 287

7 Question 7: Do you have an undergraduate degree program in vocal performance?...... 288

8 Question 8: What degrees(s) do your students obtain in the vocal area?...... 289

9 Question 9: Do you have a graduate degree program in vocal performance?...290

10 Question 10: Are your diction classes required for the undergraduate program?...... 291

11 Question 11: Are your diction classes required for the graduate program?...... 292

12 Question 12: Is this class a requirement in any other degree program? If so, which ones?...... 293

13 Question 13: Do you offer graduate level diction class?...... 294

14 Question 14: In which of the following languages do you currently offer vocal diction classes? (Check all that apply.): Italian, French, German, English, Latin, Spanish, Russian, International Phonetic Alphabet, and/or Other…………....295

xi 15 Question 15: Which languages are taught for the entire quarter/semester?...... 296

16 Question 16: Are any languages combined in the same quarter/semester?...... 297

17 Question 17: If so, what are they?...... 298

18 Question 18: How much time in the quarter/semester is allotted to each language?...... 299

19 Question 21: How many vocal diction instructors do you have?...... 300

20 Question 22: What textbooks do you use for each of the following languages? Italian Diction Textbooks……………………………………..………….…...301

21 Question 22: What textbooks do you use for each of the following languages? French Diction Textbooks…………………….…………..…………………..302

22 Question 22: What textbooks do you use for each of the following languages? German Diction Textbooks…………………….…………………………..…303

23 Question 22: What textbooks do you use for each of the following languages? International Phonetic Alphabet Textbooks…………………….…..……...…304

24 Question 22: What textbooks do you use for each of the following languages? Spanish Diction Textbooks……………………..………………..……………305

25 Question 22: What textbooks do you use for each of the following languages? Russian Diction Textbooks…………………………………….……..………306

26 Question 22: What textbooks do you use for each of the following languages? Latin Diction Textbooks………………………………………...……………307

27 Question 22: What textbooks do you use for each of the following languages? Other [English] Diction Textbooks………………………….………..………308

28 Question 24: If so, please indicate these sources:……………….……………309

29 Question 25: How effective do you find the Italian books and sources you currently use? Wall:………………………………..………………………….310

30 Question 25: How effective do you find the Italian books and sources you currently use? Moriarty:…………………………………..…………………..311

31 Question 25: How effective do you find the Italian books and sources you currently use? Colorni:…………………………………….………………….312

xii 32 Question 25: How effective do you find the Italian books and sources you currently use? Adams:…………………………………………….…………..313

33 Question 25: How effective do you find the supplemental Italian books and sources you currently use? Colorni:…………………………………………..314

34 Question 26: How effective do you find the French books and sources you currently use? Wall:……………………………….………………………….315

35 Question 26: How effective do you find the French books and sources you currently use? Moriarty:………………………………………………………316

36 Question 26: How effective do you find the French books and sources you currently use? Grubb:…………………………………………………………317

37 Question 26: How effective do you find the French books and sources you currently use? Adams:...………………………………………………………318

38 Question 26: How effective do you find the French books and sources you currently use? Cox:……………………………………………………………319

39 Question 26: How effective do you find the supplemental French books and sources you currently use? Grubb:…………………………………………....320

40 Question 26: How effective do you find the supplemental French books and sources you currently use? Bernac:…………………………………………...321

41 Question 27: How effective do you find the German books and sources you currently use? Wall:…………………………………………………………..322

42 Question 27: How effective do you find the German books and sources you currently use? Moriarty:………………………………………………………323 . 43 Question 27: How effective do you find the German books and sources you currently use? Adams:………………………………………………………...324

44 Question 27: How effective do you find the German books and sources you currently use? Odom:…………………………………………………….…...325

45 Question 27: How effective do you find the German books and sources you currently use? Cox:……………………………………………………………326

46 Question 27: How effective do you find the supplemental German books and sources you currently use? Odom:……………………………………….…...327

xiii 47 Question 27: How effective do you find the supplemental German books and sources you currently use? Cox:………………………………………..…….328

48 What do you like about the Wall book?...... 329

49 What do you like about the Moriarty book?...... 330

50 What do you like about the Grubb book?...... 331

51 What do you like about the Odom book?...... 332

52 What do you like about the Colorni book?...... 333

53 What do you like about the Cox book?...... 334

54 What do you like about the Adams book?...... 335

55 What do you NOT like about the Wall book?...... 336

56 What do you NOT like about the Moriarty book?...... 337

57 What do you NOT like about the Grubb book?...... 338

58 What do you NOT like about the Colorni book?...... 339

59 What do you NOT like about the Cox book?...... 340

60 Question 37: Do you change anything or add anything to the books or sources?...... 341

61 Question 38: If so, what do you do?...... 342

62 Question 39: Do you find any inconsistencies or inaccuracies in the books or sources you use?...... 343

63 Do you find any inconsistencies or inaccuracies in the Wall book?...... 344

64 Wall: If so, list them here:………………….…………………………………345

65 Do you find any inconsistencies or inaccuracies in the Moriarty book?...... 346

66 Moriarty: If so, list them here:…………………...……………………………347

67 Question 41: Are the books authoritative, reflecting current knowledge?: Yes…………………………………………………………………………….348

xiv 68 Question 41: Are the books authoritative, reflecting current knowledge?: No...... 349

69 Question 42: How long have you used these books and sources?...... 350

70 Question 43: Have you used other books in the past?...... 351

71 Question 44: If so, what were they?...... 352

72 Question 46: Do you write your own tests, quizzes, or worksheets?...... 353

73 Question 47: Do the textbooks you use include enough oral, written, and vocal practice? Yes:………………………………………………………………....354

74 Question 47: Do the textbooks you use include enough oral, written, and vocal practice? No:………………………………………………………………...... 355

75 Question 48: Do the textbooks you use have clear explanations? Yes:……....356

76 Question 48: Do the textbooks you use have clear explanations? No:………..357

77 Question 49: Do the textbooks you use have an accessible format? Yes:…….358

78 Question 49: Do the textbooks you use have an accessible format? No:……..359

79 Question 50: Do you order the books for your students?...... 360

80 Question 51: Are they purchased at a bookstore? Online? By phone?...... 361

81 Question 8 (Part I): What degree(s) do your students obtain in the vocal area?...... 362

82 Question 2 (Part II): Which languages have you taught?...... 363

83 Question 8 (Part II): What texts do you use currently to teach Italian, German and French diction?...... 364

84 Question 34: Do you have to teach more than one language in the class per semester? Which ones?...... 365

85 If so, what is that order?...... 366

LIST OF TABLES

Table Page

3.1 Comments for “Liberal Arts College or University” and for “Private College,” from Question 50………………………………………………….....56

3.2 Results for Question 2: How many weeks of class are there in your quarter/semester?...... 57

3.3 Results for Question 3: How long is one class period?...... 58

3.4 Comments: Question 3: How long is one class period?...... 58

3.5 Results for Question 4: How many times a week is your class held?...... 59

3.6 Comments for Question 4: How many times a week is your class held?...... 59

3.7 Results for Question 5: How long is the class period?...... 59

3.8 Comments for Question 5: How long is the class period?...... 60

3.9 Results for Question 6: How many hours of credit are allotted to each class?...... 60

3.10 Comments for Question 6: How many hours credit are allotted to each class?..61

3.11 Comments for Question 7: Do you have an undergraduate degree program in vocal performance?...... 61

3.12 Question 8: What degrees(s) do your students obtain in the vocal area?...... 62

3.13 What are the areas of emphasis?...... 62

3.14 Comments for Question 8: What degrees(s) do your students obtain in the vocal area?...... 63

xvi 3.15 Comments for Question 9: Do you have a graduate degree program in vocal performance?...... 63

3.16 Results for Question 10: Are your diction classes required for the undergraduate program?...... 64

3.17 Comments for Question 10: Are your diction classes required for the undergraduate program?...... 64

3.18 Comments for Question 11: Are your diction classes required for the graduate program?...... 65

3.19 Comments for Question 12: Is this class a requirement in any other degree program? If so, which ones?...... 66

3.20 Comments for Question 13: Do you offer graduate level diction class?...... 67

3.21 Question 14: In which of the following languages do you currently offer vocal diction classes? (Check all that apply.): Italian, French, German, English, Latin, Spanish, Russian, International Phonetic Alphabet, and/or Other…………..…67

3.22 Comments for Question 14: In which of the following languages do you currently offer vocal diction classes? (Check all that apply.): Italian, French, German, English, Latin, Spanish, Russian, International Phonetic Alphabet, other…...... 68

3.23 Question 15: Which languages are taught for the entire quarter/semester?...... 69

3.24 Comments for Question 15: Which languages are taught for the entire quarter/semester?...... 69

3.25 Question 17: If so, what are they? (Two languages)…………………………...70

3.26 Question 17: If so, what are they? (Three languages)………………………….71

3.27 Question 17: If so, what are they? (Four or more languages)………………….71

3.28 Comments for Question 17: If so, what are they?...... 72

3.29 Results for Question 18: How much time in the quarter/semester is allotted to each language?...... 73

3.30 Question 18: How much time in the quarter/semester is allotted to each language?...... 73

xvii 3.31 Question 19: Do you use a listening lab?...... 74

3.32 Comments for Question 20: Are your students required to record themselves?.75

3.33 Comments for Question 21: How many vocal diction instructors do you have?...... 76

3.34 Diction Textbooks……………………………………………………………...77

3.35 Supplementary Books and Sources…………………………………………….78

3.36 Results for Italian Diction Textbooks…………………………………………..79

3.37 Comments for Italian Diction Textbooks………………………………….…...79

3.38 Results for French Diction Textbooks………………………………………….80

3.39 Results for German Diction Textbooks……………………………………...... 81

3.40 Comments for German Diction Textbooks…………………………………….81

3.41 Results for International Phonetic Alphabet Textbooks……………………….82

3.42 Comments for International Phonetic Alphabet Textbooks…………………....82

3.43 Results for Spanish Diction Textbooks………………………………………...83

3.44 Comments for Spanish Diction Textbooks…………………………………….83

3.45 Results for Latin Diction Textbooks…………………………………………...84

3.46 Comments for Latin Diction Textbooks…………………………………….…84

3.47 Results of Other [English] Diction Textbooks…………………………………85

3.48 Results of Question 24: If so, please indicate these sources:…………………..86

3.49 Comments for Question 24: If so, please indicate these sources:……………...87

3.50 Results of: What do you like about the Wall book?...... 104

3.51 Comments for: What do you like about the Wall book?...... 105

3.52 Results for: What do you like about the Moriarty book?...... 106

xviii 3.53 Comments for: What do you like about the Moriarty book?...... 106

3.54 Reasons for: What do you like about the Grubb book?...... 107

3.55 Comments for: What do you like about the Grubb book?...... 108

3.56 Comments for: What do you like about Odom’s book?...... 109

3.57 Results for: What do you like about the Colorni book?...... 110

3.58 Comments for: What do you like about the Colorni book?...... 110

3.59 Comments for: What do you like about the Cox book?...... 111

3.60 Comments for: What do you like about the Adams book?...... 112

3.61 Comments for: What do you NOT like about the Wall book?...... 115

3.62 Comments for: What do you NOT like about the Moriarty book?...... 117

3.63 Comments for What do you NOT like about the Grubb book?...... 118

3.64 Comments for: What do you NOT like about the Colorni book?...... 120

3.65 Comments for: What do you NOT like about the Cox book?...... 121

3.66 Comments for: What do you NOT like about the Adams book?...... 121

3.67 Comments for Question 38: If so, what do you do?...... 124

3.68 Comments for Question 40: If so, list them here………..…………………….125

3.69 Comments for: Wall: If so, list them here: …..……………………………….127

3.70 Comments for Question 41: Are the books authoritative, reflecting current knowledge?: Yes……………………………………………………….……..130

3.71 Comments for Question 41: Are the books authoritative, reflecting current knowledge?: No……………………………………………………………….131

3.72 Results for Question 42: How long have you used these books and sources?..132

3.73 Comments for Question 42: How long have you used these books and sources?...... 133

xix 3.74 Comments for Question 43: Have you used other books in the past?...... 134

3.75 Results for Question 44: If so, what were they?...... 134

3.76 Comments for Question 44: If so, what were they?...... 135

3.77 Comments for Question 45: Why did you switch?...... 135

3.78 Results of Question 47: Do the textbooks you use include enough oral, written, and vocal practice? Yes. Which textbooks?...... 138

3.79 Results for Question 47: Do the textbooks you use include enough oral, written, and vocal practice? No. Which textbooks?...... 139

3.80 Results for Question 48: Do the textbooks you use have clear explanations? Yes. Which textbooks?...... 140

3.81 Results for Question 49: Do the textbooks you use have an accessible format? Yes. Which textbooks?...... 142

3.82 Results for Question 49: Do the textbooks you use have an accessible format? No. Which textbooks?...... 143

3.83 Comments for Question 51: Are they purchased at a bookstore? Online? By phone?...... 143

3.84 Comments at the end of the survey…………………………………………...144

4.1 Comments for Question 1 (Part I): What type of institution do you have?...... 150

4.2 Comments for Question 6 (Part I): How many hours credit is allotted to each class?...... 151

4.3 Comments for Question 7 (Part I): What degree(s) do your students obtain in the vocal area?...... 152

4.4 Comments for Question 8 (Part I): Are your diction classes required for the undergraduate program?...... 152

4.5 Comments for Question 9 (Part I): If so, for what degree programs?...... 153

4.6 Comments for Question 2 (Part II): Which languages have you taught?...... 153

4.7 Comments for Question 3 (Part II): Have you taught both graduate and undergraduate students?...... 154

xx 4.8 Comments for Question 4 (Part II): Why do you think it is important for singers to study vocal diction?...... 155

4.9 Comments for Question 5 (Part II): What do these courses offer students that they are unable to get in their private lessons or coaching sessions?...... 158

4.10 Comments for Question 6 (Part II): How important do you believe proper diction is in the various languages as compared to the other aspects of vocal technique (i.e., breath management, expression, tone, etc.)?...... 160

4.11 Comments for Question 7 (Part II): What do diction classes offer the student of singing in his/her overall education and preparation as a performing artist?....163

4.12 List of Interviewees and Diction Texts……………………………………….166

4.13 Comments for Question 8 (Part II): What texts do you use currently to teach Italian, German and French diction?...... 166

4.14 Comments for Question 9 (Part II): Why did you choose those texts?...... 168

4.15 Comments for Question 10 (Part II): What has frustrated you regarding these texts?...... 173

4.16 Comments for Question 11: How effective have they been in aiding your teaching? Very Effective……………………………………………………...179

4.17 Comments for Question 11: How effective have they been in aiding your teaching? Somewhat Effective………………………………………………..180

4.18 Comments for Question 11: How effective have they been in aiding your teaching? Not Effective…………………...…………………………………..181

4.19 Comments for Question 12: How accessible have they been to the undergraduate student? Very Accessible……………………………………………………..182

4.20 Comments for Question 12: How accessible have they been to the undergraduate student? Somewhat Accessible……………………………………………….185

4.21 Comments for Question 12: How accessible have they been to the undergraduate student? Not Accessible……………………………………………………....186

4.22 Comments for Question 13: Do they include an audio component? No...……188

4.23 Comments for Question 13: Do they include an audio component? Yes……..188

xxi 4.24 Comments for Question 14: Do they include transcription exercises for the student? No……………………………………………………………………190

4.25 Comments for Question 14: Do they include transcription exercises for the student? Yes…………………………………………………………………...190

4.26 Comments for Question 15: Do they include quizzes or tests? No……….…..191

4.27 Comments for Question 15: Do they include quizzes or tests? Yes………...... 192

4.28 Comments for Question 16: Do they include music and songs? No………….193

4.29 Comments for Question 16: Do they include music and songs? Yes…………193

4.30 Comments for Question 17: Do they include poems or texts? No…………....194

4.31 Comments for Question 17: Do they include poems or texts? Yes…………...194

4.32 Comments for Question 18: Do you write your own tests and quizzes? Yes...195

4.33 Comments for Question 19: Do you have them transcribe music they are currently working on in their lessons? No………………………………….....196

4.34 Comments for Question 19: Do you have them transcribe music they are currently working on in their lessons? Yes…………………………………...197

4.35 Comments for Question 20: Do you have your students work in a listening lab? Are they required to submit pre-recorded tapes for your evaluation? No/No...... 198

4.36 Comments for Question 20: Do you have your students work in a listening lab? Are they required to submit pre-recorded tapes for your evaluation? Yes/No………………………………………………………………………...199

4.37 Comments for Question 20: Do you have your students work in a listening lab? Are they required to submit pre-recorded tapes for your evaluation? Yes/Yes……………………………………………………………………….199

4.38 Comments for Question 21: In your classes, do the students sing at some point during the course? Yes………………………………………………….201

4.39 Comments for Question 22: Who chooses the songs? You? Voice Teacher? Students?...... 202

4.40 Comments for Question 23: Are these songs from the textbook? Some……...203

xxii 4.41 Comments for Question 23: Are these songs from the textbook? Yes…….….204

4.42 Comments for Question 24: Are the students graded on the quality of their diction when singing? No……………………………………………..………204

4.43 Comments for Question 24: Are the students graded on the quality of their diction when singing? Yes………………………………………..…………...204

4.44 Comments for Question 25: Do your students read texts or poetry aloud? Yes…………………………………………………………………………….205

4.45 Comments for Question 26: Do they read as a group or individually? Both…...... 206

4.46 Comments for Question 27: Are the students required to do IPA transcriptions? Yes………………………………………………………………………...…..207

4.47 Comments for Question 30: How much time is spent on oral pronunciation?...... 212

4.48 Comments for Question 32: Are there other ways the student is assessed? If so, what are they?...... 213

4.49 Comments for Question 33: Do you wish your class was constructed in another way?...... 215

4.50 Comments for Question 34: Do you have to teach more than one language in the class per semester? Which ones?...... 218

4.51 Comments for Question 35: Are the students required to study the languages in a certain order? No……………………………………………….………...219

4.52 Comments for Question 35: Are the students required to study the languages in a certain order? Yes……………………………………………….……….219

4.53 Comments for: If so, what is that order?...... 220

4.54 Comments for Question 36: If you could design this course however you wanted, what would you do differently?...... 221

4.55 Comments for Question 37: What advice would you give professors or instructors teaching vocal diction for the first time?...... 223

4.56 Comments for Question 38: What are the important aspects of Italian that must be addressed?...... 225

xxiii 4.57 Comments for Question 38: What are the important aspects of German that must be addressed?...... 226

4.58 Comments for: Question 38: What are the important aspects of French that must be addressed?...... 227

4.59 Comments for Question 39: How closely do you work with the other voice teachers?...... 229

4.60 Comments for Question 40: Do you offer seminars, master classes, or workshops in diction?...... 230

4.61 Comments for Question 41: Are you considered an expert in this field? No…231

4.62 Comments for Question 41: Are you considered an expert in this field? Yes…………………………………………………………………………….232

4.63 Comments for: Question 42: What difficulties have you encountered in teaching these courses?...... 233

4.64 Comments for Question 43: How do you deal with the grammar, conjugation, stress, and other aspects particular to the language?...... 235

4.65 Comments for Question 44: What aspects of the Italian language do you not cover because of time constraints?...... 238

4.66 Comments for Question 45: Are there aspects of the languages that you do not cover because they are inaccessible to the undergraduate student?: No……...239

4.67 Comments for: Question 45: Are there aspects of the languages that you do not cover because they are inaccessible to the undergraduate student?: Yes……..240

4.68 Comments for Question 46: What aspects of the languages do the students find overwhelming or difficult? How do you address this?: Italian...... 241

4.69 Comments for Question 46: What aspects of the languages do the students find overwhelming or difficult? How do you address this?: French...... 242

4.70 Comments for Question 47: How do you know if your teaching and the class have been successful?...... 243

4.71 Comments for: Question 48: What is your ultimate goal in teaching this class?...... 245

xxiv 4.72 Comments for Question 49: What do you hope that students will gain from this class?...... 247

5.1 Texts listed under the different categories……………………………...……..269

xxv

1LIST OF SYMBOLS

IPA Symbol English Italian German French

/ɑ/ dark “ah” father ------âme /a/ bright “ah” ---- madre Vater dame /e/ closed “e” chaotic sera See été /ɛ/ open “e” bed bello Bett belle /i/ closed “i” see si sie ici /ɪ/ open “i” hit ----- ich ----- /o/ closed “o” boa t dove Boo t tôt /ɔ/ open “o” dog fuori doch donner /ɘ/ schwa about ------habe je /u/ closed “u” hoo t subito gut tou t /ʊ/ open “u” put ----- und ---- /ø/ closed “o-slash” ------schön deux /y/ closed “y” ------für du /æ/ broad “ah” cat ------/ʌ/ short “uh” but ------/ç/ ich-laut ------ich ----- /ɲ/ “n-y” ------ogn i ----- agn eau /ŋ/ “n-g” sing anc ora sing en ----- /x/ ach-laut ------ach ----- /ʎ/ “g-l” ----- egl i ------/ɥ/ “u-i” glide ------oui

1 Source consulted: A Singer’s Guide to Languages by Marcie Stapp. xxvi

2GLOSSARY

1. apocopation: The elimination of the final vowel of a word, usually done in Italian. An example is: amore becomes amor .

2. buccal: Relating to the cavity of the mouth.

3. diacritics: A modifying mark near or through an orthographic or phonetic character.

4. diphthong: Literally meaning “two sounds.” Refers to two vowel sounds in a row that are part of a gliding speech sound that involves moving from one vowel to another, such as the two vowel sounds in the word “toy.”

5. diphthongize: To change into a diphthong or pronounce as a diphthong.

6. elision : A French term for the process of “eliding” two words together by eliminating the final mute E of one word and combing it with the next word that begins with a vowel or mute H, such as in “elle est.”

7. elya : The term for the sound / ʎ/, such as in the Italian word gli .

8. enya : The term for the sound / ɲ/, such as in the Italian word ogn i.

9. glottal stop: a speech sound produced by interruption of the breath flow by closure of the glottis.

2 Sources consulted were: Webster’s New Collegiate Dictionary , A Handbook of Diction for Singers by David Adams, and Sing French: Diction for Singers by Eileen Davis. xxvii 10 . liaison : The sounding of a normally silent final consonant in a French word and “linking” it to the following word that begins with a vowel or unaspirated H.

11. lied : A German art song.

12. monophthong: A vowel sound that through its duration has a single articulatory position

13. prosody: A particular system or style of versification.

14. syntax: The way in which words are put together to form phrases.

15. transcribe: To transfer words into sound symbols by use of the International Phonetic Alphabet.

16. transcription: The process of transcribing.

17. tonic accent: The heavy stress patterns of speech often heard in English. Can also be heard in other languages, such as German and Italian.

xxviii

CHAPTER 1

INTRODUCTION

1.1 Introduction

In Richard Miller’s book On the Art of Singing, he describes a performance in which the singer’s diction was completely unintelligible, and her tone production suffered significantly. He summarizes: “Diction does not exist as a separate entity from tone.” 3 This connection helps to explain why the topic of lyric diction continues to gain importance in the world of vocal pedagogy. In fact, lyric diction is one of the most important facets of teaching singing today.

Undergraduate voice students in the United States study Italian, German, and

French songs and operatic arias to enhance both vocal tone and diction. In order to pronounce and sing foreign words accurately, students learn the International Phonetic

Alphabet (IPA) in lyric diction classes. For the teacher of lyric diction, the choice of diction books and the way the subject is taught are of major importance.

3 Richard Miller. On the Art of Singing . New York: Oxford University Press, 1996, 27.

1 1.2 Problem

The major challenges encountered by the vocal diction instructor are teaching the numerous and varied sounds in the IPA, choosing the best diction resources from among the many available, and providing effective instruction in the limited time allotted to these courses in a college music program.

With so many demands on their time, college diction professors may be overwhelmed by these challenges. They may rely on texts that are familiar without investigating others. Their books may have become outdated as new approaches were adopted in the teaching of vocal diction. It is important that the professor remain abreast of the most current and acceptable approaches to teaching this subject.

In the last decade, several excellent texts and other sources have become available. (In this document the terms “other sources” and “supplemental sources” refer to books other than diction texts, dictionaries, song anthologies, recordings, software programs, and websites.) The diction instructor therefore has a broader range of options from which to choose the most useful texts and sources for his or her individual class situations.

1.3 Purpose

It is the purpose of this document to identify the diction books and supplemental sources currently used in the United States, and provide an assessment of their suitability for teaching undergraduate voice students. The structure of the courses was also taken into consideration, such as how many times a week the class meets, for how

2 long, which languages are being taught, how many languages are being taught in one term, and other factors pertinent to the course design.

1.4 Significance of Study

The significance of this study is that it provides current information on diction books and sources being used in this country, and an assessment of their effectiveness in various pedagogical settings. Therefore, this document will serve as a resource for books and sources that reflect the most current information on this subject, and that best suit the individual class situations.

1.5 Research Questions

The following questions are investigated and are summarized in Chapter 5:

1. What is the perceived importance of the study of vocal diction?

2. What is the structure of the diction class?

3. What are the important aspects of the Italian, German and French languages in regard to vocal diction for singing?

4. What are the difficulties encountered by the students in these classes?

5. Which languages are being taught?

6. How many weeks/hours of instruction are allotted for each language?

7. What diction texts are currently being used for the Italian, German, and French diction classes?

8. What other sources are used to supplement the texts?

9. How effective are the texts and sources?

3 10. Does the instructor change or add anything to the texts and sources?

11. Regarding the texts, are they accurate or inaccurate? Do they reflect current knowledge?

12. What is the makeup of the text?

13. Have other texts been used in the past?

In order to answer the research questions, surveys were sent to all 1,733 institution members of the College Music Society in the United States, and were directed to the Vocal Diction Instructor. This survey was conducted to determine which books and sources college professors currently use in vocal diction classes. The survey concentrated primarily on diction instruction resources for the Italian, German, and

French languages, since these are the first languages that need to be mastered by undergraduate voice students.

1.6 Summary of Chapter Content

Chapter 2 is a selected annotated bibliography of books and sources most mentioned in the survey. Chapter 3 is a description of the methodology and a presentation of the results. Chapter 4 presents and discusses interviews that were conducted with a select group of respondents from the survey. Chapter 5 includes discussion of the research questions, conclusions, and recommendations on how to implement the findings.

4 1.7 Summary of Appendices and Bibliography

Appendices contain pertinent information to support this document, including a sample of the survey, bar graphs of most results, a script used for setting up the interviews, the interview consent form, and the interview questions. This is followed by a resource bibliography of diction books and sources, which is the result of a comprehensive search by the author. It lists over 600 books and sources on topics relating to vocal diction, and includes all of the sources mentioned in the surveys and interviews.

Although not an exhaustive bibliography on the subject of vocal diction, it includes sources beyond the more familiar and commonly used ones, in addition to all those mentioned in the surveys and interviews for this study. It is arranged in alphabetical order by author or editor in the following categories: diction texts, other sources: books

(singing diction, general singing, general language, song interpretation, pronunciation, translation, IPA transcription, libretti, IPA), song anthologies, dictionaries (general, pronunciation, musical and vocal terms, online), workbooks, conference proceedings, articles, dissertations/thesis, software, recordings, videos, and websites (general languages, pronunciation, fonts, IPA, general diction, singing, and translation and texts).

CHAPTER 2

SELECTED ANNOTATED BIBLIOGRAPHY

2.1 Introduction

Before examining the results of the survey, it is first important to assess the books and sources pertinent to this study. In this way, the reader will have an overview of the literature that will be discussed and referred to in the chapters about the surveys and interviews.

The following selected annotated bibliography reflects the books and sources most mentioned in the surveys on the French, German, and Italian languages. Other languages, such as English and Latin, are not included in this chapter as it is the scope of this document to focus mainly on the French, German, and Italian languages. Also included are a few books and sources on the International Phonetic Alphabet, or IPA, as it will be referred to for the remainder of this document. Each book and source is described to provide the reader with an overview about that book or source. Citations of these sources can be found in the bibliography.

This chapter is divided into twelve sections: sections two through five list diction texts, sections six through ten list the materials mentioned as supplemental sources on the survey, and sections eleven and twelve list articles and dissertations which offer information about diction sources and materials. The supplemental sources

6 include books, dictionaries, music, software, and websites. The source mentioned most often is listed first, followed by the one mentioned next, and so forth, ending with the source mentioned the least. Next to each source is the number of respondents out of the

118 surveyed that currently use that source. For example, 69/118 shows that sixty-nine respondents out of the118 surveyed use this particular book. Generally, the sources included are those used by two or more respondents in the survey/interview process. In addition, other sources are included which, though not mentioned in the survey, make a significant contribution to the field. These are designated by an asterisk.

2.2 DICTION TEXTS: FRENCH

69/118 Diction for Singers: A Concise Reference for English, Italian, Latin,

German, French, and Spanish Pronunciation (Wall et al., 1990) is designed, as the title suggests, as a concise reference to help singers with correct pronunciation when learning songs and arias in English, Italian, Latin, German, French, and Spanish. As a textbook, this book is also ideal for the undergraduate diction course, as it contains all of these languages in one book. It uses the International Phonetic Alphabet and is designed to easily locate a sound or spelling in a particular language. Using “at-a-glance charts,” common letter groups are given along with correct pronunciation, rules that govern that pronunciation, as well as exceptions and examples of that sound. “Special

Features” sections of each language, as well as margin notes with relevant tips and traditions, are specifically geared for the English-speaking singer. Producing certain sounds is explained in detail, as well as common traps and mistakes encountered by

English-speaking singers. A prior understanding of and familiarity with the IPA is 7 assumed, and the reader is referred to another book by Joan Wall called International

Phonetic Alphabet for Singers: A Manual for English and Foreign Language Diction

(see section 2.5). This book is written in a straightforward manner that is easy to understand.

(Number not known) Diction for Singers Teacher’s Pack: Listening Lab &

Sample Tests (Wall et al., 1992), as a supplement to the text Diction for Singers, can be purchased from the publisher for an additional fee. It provides five audio cassette tapes for each of the following languages: German, French, Italian, Spanish, and Latin. The tapes correspond to those sections of the text, giving examples of all the important sounds of each language, first vowels and then consonants. The individual sounds are pronounced and then example words are also pronounced. There is space after each pronunciation for the student to echo the sound, though at times there is not enough time to do so. Though a good quality recording, it sounds as if it is recorded on a home cassette recorder, and at times you can hear the page turns.

In addition to the tapes, sample tests, quizzes, and worksheets are given for the six languages—English, Italian, Latin, French, German, and Spanish. Masters are provided with suggested point values as well as answer keys. Permission is given to copy as needed for class use only. The major points of each language as covered in the book are tested and include definitions, rules, and transcriptions. This entire teacher’s pack should be a great time saver for the teacher who utilizes this text in his or her classroom.

25/118 Singing in French: A Manual of French Diction and French Vocal

Repertoire (Grubb, 1979). A staple of French diction classes since 1979, this text is not

8 only designed as a classroom text, but also as a reference for the private vocal studio.

Useful to singers, teachers, and coaches alike, this manual focuses on the pronunciation of the French language is it pertains to singing. Thomas Grubb, well-known diction expert, pianist, and coach, approaches the subject based on his years of teaching the subject at the Manhattan School of Music and the Curtis Institute of Music. As one who collaborated with the eminent French baritone, Pierre Bernac, and also having lived and studied in France, this American brings his experience to bear in teaching this often difficult and mysterious language to the English-speaking singer.

Grubb rightly points out that different types of diction require specialized approaches. Singing diction is one. Grubb’s approach focuses on pronouncing and singing the sounds of the language, by offering detailed descriptions of how to pronounce the various sounds, providing oral exercises that are “intoned,” musical excerpts, and written work. Examples are demonstrated in the accompanying recording.

Focus is on obtaining the legato flow of the language, and preparing and singing French songs and arias. Helpful and unique aspects include a listing of French songs and operatic arias organized by voice type, and a list of and pronunciation for proper nouns found in French vocal literature and song excerpts. Grubb points out that this manual is useful to any diction class, regardless of the time allotted. He suggests that focus must first be on the pronunciation and singing of the sounds of the language, and mastering the legato flow. Next, the focus is on applying these skills to singing and performing

French literature. Information is also given on the rules of the language, including an alphabetical listing of the vowels and consonants as a quick reference. This is an important and valuable text, and is as pertinent and current today as it was in 1979.

9 11/118 Diction: Italian Latin French German. . .The Sounds and 81 Exercises for Singing Them (Moriarty, 1975) is a standard diction text. Though containing some errors and outdated notions, it is still a valid staple of the singing diction class. The eighty-one exercises allow the student to practice the individual sounds as they appear in isolated words of the appropriate languages. It includes detailed descriptions of how to produce the individual sounds, including common traps faced by English-speaking singers. The emphasis of the first part (Forming and Practicing the Sounds) is placed on learning the IPA of the individual sounds, and how to produce them with each sound reinforced by exercises on the facing page. These numbered exercises are then referred to in other parts of the text. Part Two (Applying the Sounds) focuses on specific information of each individual language (Italian, Latin, French, and German) including the rules governing the pronunciation of the language, spellings, syllabification, diphthongs, elision ( liaison ), stressed syllables, troublesome words, glides, and samples texts. Dictionaries are discussed and an index of sounds in the back has an overall reference for the sounds (vowels, then consonants) as they appear in each language, page numbers, and exercise numbers. The most blatant errors occur in the discussion of elision (he does not use the term liaison ), and other types of linkage in the French language. Despite this and other considerations, this text is often used today with great success. The exercises and the thorough explanations make this still a worthwhile diction text.

9/118 The Singer’s Manual of German and French Diction (Cox, 1996) provides a concise guide to pronunciation of the German and French languages for the performance of vocal literature. This text uses the IPA and presents the language sounds 10 and spelling for German and French. The author recommends supplementing this book with oral and listening work, as well as listening to native singers such as Dietrich

Fischer-Dieskau and Gérard Souzay. As part of this work, the student is encouraged to work with a tape recorder and listen to his or her own voice.

The appendices include common German prefixes and prepositions used as prefixes (which can affect the pronunciation), sample transcriptions of German texts and French texts, and exercises in “adjacent” vowel sounds in French. This small, concise, and clear text of German and French diction is a valuable text.

7/118 A Handbook of Diction for Singers: Italian, German, French (Adams,

1999) is best used for a graduate level diction class given the detail that is covered.

However, the author suggests that it may be used for an undergraduate level diction class if used selectively. It is intended for voice teachers, vocal coaches, conductors, and, of course, singers. It can also be used for self-study and reference. The author uses the most current knowledge of Italian, German, and French diction, presenting each language in a thorough and concise way.

The important aspects of each language that need to be mastered are presented at the beginning of each chapter. The distinctive sound characteristics and unique color of each language are emphasized. The rules of the language are presented in a clear and concise way. The explanations are geared for the English-speaking singer. Musical examples and suggestions are also given. This handbook is highly recommended for any voice teacher and serious singer.

3/118 French Lyric Diction Workbook: A graded method of phonetic transcription which employs frequently used words from French art song literature 11 (Montgomery, 2004). This series of workbooks includes a student manual, an instructor manual, and an answer key, all sold separately. As the subtitle explains, it is a graded method using over 6,000 words taken from standard French art song literature. The workbook categorizes the words according to French speech sounds and is arranged in five units, each highlighting a specific group of symbols. The focus is on recognizing the elements of the French language. To help the student, each speech sound is described. Included are pronunciation instructions, transcription exercises, and rules for transcription. There are opportunities for in-class application and individual assignments. Common exceptions to the rules are found throughout the text “with a review of rules and list of exceptions . . . provided for easy reference” (p. iii, Preface).

The units culminate with exercises, “which allow students to enunciate short phrases and lyrics from French art song literature” (p. iii, Preface).

There is an “Introductory Notes” page which includes terms, the characteristics of the French language, and suggestions which summarizes important information. This is followed by a “Pronunciation Guide” which uses large print, a classification of symbols in an easily accessible chart and worksheets to reinforce learning. The book is spiral-bound so that pages may be taken out. Each unit highlights a different French speech sound, which is described, followed by enunciation exercises, rules, and transcription class work. There is a review after every few units. Also included are many lyrics of songs, summary charts, and word lists. This source, created for the lyric diction class, is full of practices and worksheets and may serve as a supplement to a diction text, or even as a diction text itself. It truly has much of what an instructor may need for teaching, including daily opportunities for in-class enunciation.

12 2/118 The Singer’s Guide to Languages (Stapp, 1996) provides tools to pronounce, transcribe, and translate vocal texts and is designed for individual use; however, it also makes an excellent classroom text. Written by an accomplished vocal coach and translator, this text fills a void in current diction literature. Rather than requiring the student of singing to memorize many pronunciation rules and exceptions, the student instead is given translation tools and tips which often determine pronunciation, relying heavily on dictionaries. Concepts of grammar are given in a concise, clear, and understandable manner. These concepts are often missing or incomplete in a singer’s education. The International Phonetic Alphabet is used as the basis for understanding the English, Italian, French, and German languages, addressing the “problems of lyric diction from a singer’s point of view.” (Inside cover)

A concise chart of the International Phonetic Alphabet is presented, featuring each sound, with examples in each language as appropriate. Sounds are classified and terms are defined, and a helpful and easy-to-learn method of transcribing and translating is presented for each language, as well as an extensive listing of verbs, verb endings, and other common words often encountered. This text takes the mystery out of translating.

1/118 Sing French: Diction for Singers (Davis, 2003), is a thorough text.

Designed as a text for the French diction class by one who has taught French undergraduate diction for over thirty years, the “mystery” of the French language is revealed and explained in a straightforward and practical manner.

Appendices 1 and 2 (vowels and combinations, consonants) provide a quick reference for students needing to find pronunciations and spellings. Answers for the 13 numerous exercises are found in Appendix 3; and Appendix 4 contains a piano/vocal score, in two keys each, of the seven songs covered in the text. CDs are included in which the author herself pronounces and sings the seven songs, examples, and exercises.

Piano accompaniments are provided for both keys for practice and classroom use.

This thorough text provides an all-encompassing source for the French diction course. Teachers will find that this unique approach will allow the student to readily learn and master the beauty and intricacies of singing the French language.

1/118 A Singer’s Manual of Foreign Language Dictions (Sheil, 2004) includes seven languages in one book, the most languages in one book found to date. The languages are Roman Church Latin, Italian, German, French, Spanish, Russian, and

Hebrew. There is also a chapter on the International Phonetic Alphabet which provides a detailed description of each IPA symbol used for those languages, including English.

For each language, the rules of pronunciation are presented. When using the IPA, brackets are eliminated for ease of reading. Included in the Russian chapter is the

Cyrillic alphabet, and the Hebrew chapter includes the service texts.

A German aria is also included in the text that is transcribed as a spoken exercise, and a Russian transcribed aria with music. No other exercises are used. The author includes a helpful list of recommended dictionaries, glossary of terms, and diagrams. The author, Richard Sheil, is emeritus professor of music at the State

University of New York College at Fredonia and has taught foreign language diction since 1949. A foreword by Sylvia Plyler of the College Conservatory of Music at the

University of Cincinnati gives insight to the text, as someone who has used it exclusively for twenty-five years. She claims “this manual stimulates the imagination

14 and creativity of the teacher to supplement and augment the material with literature appropriate to the level of the class.” (Foreword, page x)

1/118 Liaisons Dangereuses and Other Aggravations of French Diction for

Singers (Stormes, 2004). A course packet for the French diction course at Butler

University in Indianapolis, Indiana, this text includes most of the material needed to teach the course. In addition to the syllabus, this course packet, as stated on the front cover, contains “A Modest Compilation of Guidelines and Rules for Impeccable Diction

Soutenue .” These guidelines and rules include French syllabification, stress, and accents; a detailed listing and description of the French vowel and consonant sounds, including spelling and word examples; liaison and elision ; anomalies of French diction, and grammar and verb conjugations. Also included are an IPA chart, names and transcriptions of French composers, French singers of note, lengthy vocabulary list, defined French musical terms, and the text to Les Nuits d’été. There are also assignments that are included after each section. (Other required texts for this course include David Adams’ A Handbook of Diction for Singers (optional), Pierre Bernac’s

The Interpretation of French Song, and (editors) Carol Kimball and Richard Walters’

French Song Anthology. )

2.3 DICTION TEXTS: GERMAN

70/118 Diction for Singers (Wall, 1990): description on page 7.

16/118 German for Singers: A Textbook of Diction and Phonetics (Odom, 1981).

This text gives singers a systematic approach to pronouncing any German word, and promotes the use of the IPA in their scores. The first part of this text focuses on the IPA 15 and learning the symbols and sounds, both in English and German. The remaining chapters focus on the individual sounds in German, lists exceptions to rules governing these sounds, provides pronunciation exercises using words from vocal literature, and ends with simple folk songs or art songs that provide examples of the sounds learned.

Texts of other art songs are included in the appendices for further study and preparation.

Also included are many helpful diagrams and charts, including a chart of IPA sounds of the letters found in German words in alphabetical order. This chart, found at the beginning of the book, also includes positions in the word, word examples in German, and page numbers where detailed information can be found in the text.

This text is designed to be used for a three-hour class in German diction, and can be used first in a sequence since it covers the basics of IPA and transcriptions. It can also be used for a two-hour class by eliminating Part One and most of the transcription exercises in Part Two. This is a wonderful text for German diction, with clear explanations, numerous exercises, texts, and songs.

14/118 Diction (Moriarty, 1975): description on page 10.

9/118 The Singer’s Manual for German and French Diction (Cox, 1996): description on page 10.

6/118 A Handbook of Diction for Singers (Adams, 1999): description on page

11.

2/118 German Lyric Diction Workbook: A graded method of phonetic transcription which employs frequently occurring words from German art song literature (Montgomery, 2005). This series of workbooks includes a student manual, an instructor manual, and an answer key, all sold separately. As the subtitle explains, it is a 16 graded method using over 4,000 words taken “from the lyrics of over 1,200 art songs set by Schubert, Schumann, Brahms, and Wolf” (p. iii, Preface). The workbook categorizes the words according to German speech sounds and is arranged in five units, each highlighting a specific group of symbols. The focus is on recognizing the elements of the German language. To help the student, each speech sound is described. Included are pronunciation instructions, transcription exercises, and rules for transcription. There are opportunities for in-class application and individual assignments. Common exceptions to the rules are found throughout the text “with a review of rules and list of exceptions . . . provided for easy reference” (p. iii, Preface). The units culminate with exercises, “which allow students to enunciate short phrases and lyrics from German art song literature” (p. iii, Preface).

There is an “Introductory Notes” page which includes terms, the characteristics of the German language, and suggestions, which summarize important information.

This is followed by a “Pronunciation Guide” which uses large print, and a classification of symbols in an easily accessible chart and worksheets to reinforce learning. The book is spiral-bound so that pages may be taken out. Each unit highlights a different German speech sound, which is described, followed by enunciation exercises, rules, and transcription class work. There is a review after every few units. Also included are many lyrics of songs, summary charts, and word lists. This source, created for the lyric diction class, is full of practices and worksheets and may serve as a supplement to a diction text, or even as a diction text itself. It truly has much of what an instructor may need for teaching, including daily opportunities for in-class enunciation.

17 2/118 Gateway to German Diction: A Guide for Singers (Paton, 1999), a new

German text, is specifically designed for singers, and is very complete and easy to use and access. It appears to be designed with the beginner in mind: someone with no diction or German background. The premise of this book is to “consider diction always in relation to meaning, both poetic and musical. Every example, word or phrase, is translated. Every basic sound is presented in a phrase of music that can be sung immediately and also related to the complete song found in a coordinated Gateway song anthology” (Preface, page 4). The author intends for this text to be useful throughout the singer’s performance career.

The sounds of the German language are presented in a simple, logical order.

Spellings can be located through an alphabetical index. Background material on the

German language is presented as well as an overview of phonetic concepts. A complete

IPA chart is included as well as a chart of the phonemes in German. An accompanying

CD has all example words spoken by a native German speaker who is also a trained actor. The material may be studied in a different order if preferred. Folk songs are included for group singing. Exercise materials and worksheets are available separately for an additional cost. Truly an important, thorough, and welcomed addition to German diction, this text is useful for singers, teachers, coaches, and, of course, in the diction classroom. John Glenn Paton has used his significant training and career as a singer and professor to provide a useful and complete text.

(number not known) Gateway to German Diction Teacher’s Supplemental

Materials (Paton, 1999). As a companion to Paton’s Gateway to German Diction: A

Guide for Singers, this set of supplementary materials for the teacher includes reading

18 guides, worksheets, quizzes, and articulation practice sheets for each chapter. Also included are a transcription exercise, final exams, and a performance evaluation form.

Masters are given with permission to copy, as are the keys. Advantage of the reading guides is to assist the student to learn and master the information. This set of supplementary materials is a great help to the teacher and a big time-saver.

2/118 The Singer’s Manual of Foreign Language Diction (Stapp, 1991): description on page 13.

1/118 Hochdeutsch for Singers (Stormes, 2000) has the subtitle “A Modest

Compilation of Guidelines and Rules for Impeccable German Pronunciation” which describes very well this succinct course packet designed by Sheridan Stormes for her

German diction classes at Butler University in Indianapolis, Indiana. Revised in 2000, this course packet may be purchased by contacting the author, and is very inexpensive.

It includes a homemade IPA chart, a listing of the IPA vowels and consonants and example words for each sound in English, Italian, German, French, and Spanish; a description of the tongue and lip positions for the mixed vowels; consonant pairs of the voiced and unvoiced sounds; rules for and descriptions of German syllabification; word stress; open, closed, and neutral vowels; diphthongs; glottal stops; and a detailed description of the German consonant sounds. Common prefixes and suffixes are listed, as are common monosyllable words, and a vocabulary list. Three assignments are included, one involving a report on a German or Austrian singer from a given list. Also included are well-known song texts ( not transcribed) such as “An die Freude” and

“Erlkönig.” This course packet provides an efficient set of guidelines and rules for the

German diction class. 19 1/118 A Singer’s Manual of Foreign Language Dictions (Sheil, 2004l): description on page 14.

2.4 DICTION TEXTS: ITALIAN

71/118 Diction for Singers (Wall, et al, 1990): description on page 7. Note:

Unstressed Es and Os are closed, except as allowed for vocal ease.

27/118 Singer’s Italian: A Manual of Diction and Phonetics (Colorni, 1970) is designed for the English speaker who wishes to sing in Italian. This diction text focuses on pronunciation and singing the language. After a general discussion of symbols including a chart of sounds and IPA symbols, suggestions are made for practicing. Each sound is presented and discussed, with directions for pronunciation and suggestions for the English speaker. Exercises to be sung and spoken are provided for sufficient practice of these sounds. This is followed by discussion of the rules governing the sounds and other considerations of the language such as stress, accents, apocopation, syllabification, etc. Words in context are discussed next, and important considerations of singing the language are discussed, such as vowels sharing one note, phrasal doubling, etc. Excerpts from songs and operas are used to demonstrate these considerations.

Evelina Colorni, a well-known Italian diction expert, has drawn on her vast experience as teacher and coach, and from her work with experts such as Zingarelli and

Toscanini. Her text focuses on pronunciation and singing the language and provides many opportunities for practicing and honing these skills. However, all words taken from song and opera literature are transcribed but not translated, so these must be supplemented. The author recommends that unstressed E’s and O’s be sung open, 20 differing from colloquial Italian, to stress the most resonant way of singing. Also she only uses the dark “ah” sound to represent all A’s, even though this is contradictory to

Zingarelli and current understanding of the use of the brighter /a/. Her suggestions for the English speaker are helpful and insightful, and with minor adjustments this text would be effective in the classroom.

16/118 Diction (Moriarty, 1975): description on page 10. Note: John Moriarty uses open vowel sounds for unstressed E’s and O’s when they occur after a stressed syllable, but are closed when they occur before a stressed syllable.

8/118 A Handbook of Diction for Singers (Adams, 1999): description on page

11. Note: David Adams uses the closed E and O for the unstressed E’s and O’s, as in speech. Exceptions can be made for vocal ease.

2/118 Italian Lyric Diction Workbook: A graded method of phonetic transcription which employs frequently occurring words from Italian art song literature

(Montgomery, 2005) Note: for the unstressed E’s and O’s, Cheryl Montgomery suggests using the open E and O. This workbook is a graded method of phonetic transcription which employs frequently occurring words from Italian art song literature.

This series of workbooks includes a student manual, an instructor’s manual, and an answer key, all sold separately. As the subtitle explains, it is a graded method using over 2,000 words taken from the lyrics of over 800 art songs and the phonetic transcriptions are based on Evelina Colorni’s Singer’s Italian. It also includes lyrics from over 35 standard songs which are transcribed and translated. The workbook categorizes the words according to Italian speech sounds and is arranged in five units, each highlighting a specific group of symbols. The focus is on recognizing the elements 21 of the Italian language. To help the student, each speech sound is described. Included are pronunciation instructions, transcription exercises, and rules for transcription. There are opportunities for in-class application and individual assignments. Common exceptions to the rules are found throughout the text “with a review of rules and list of exceptions. . . provided for easy reference” (p. iii, Preface). The units culminate with exercises, “which allow students to enunciate short phrases and lyrics from Italian art song literature” (p. iii, Preface).

There is an “Introductory Notes” page which includes terms, the characteristics of the Italian language, and suggestions, which sums up important information. This is followed by a “Pronunciation Guide” which uses large print, a classification of symbols in an easily accessible chart, and worksheets to reinforce learning. The book is spiral- bound so that pages may be taken out. Each unit highlights a different Italian speech sound, which is described, followed by enunciation exercises, rules, and transcription class work on many pages. There is a review every few units. Also included are many lyrics of songs, summary charts, and word lists. This source, created for lyric diction class, is full of practices and worksheets and may serve as a supplement to a diction text, or even as a diction text itself. It has much of what an instructor may need for teaching, including daily opportunities for in-class pronunciation.

2/118 The Singer’s Manual of Foreign Language Diction (Stapp, 1991): description on page 13. Note: for the unstressed E’s and O’s, Marci Stapp suggests using closed E or O. However, exceptions are allowed for vocal ease.

1/118 Gateway to Italian Diction: A Guide for Singers (Paton, 2004) in Part I has an introduction to general diction including terms, a background of the Italian 22 language, and the characteristic patterns and sounds in Italian. Part Two focuses in more detail on the sounds of the Italian language. Each sound is thoroughly investigated and explained: “how it is produced, the ways it is spelled, how it combines with other sounds in diphthongs or consonant clusters, and the pitfalls it presents to a singer. Each sound is exemplified in a phrase chosen from Gateway to Italian Art Songs, a companion anthology” (back cover).

Diagrams and illustrations are not included as it is felt these would only add confusion and tension for the singer. Instead, the exact placement and shape of the articulators are explained for each sound, encouraging the student to rely on sensation and hearing for accuracy. To support the latter, a CD recording, recorded by a native

Italian speaker, is included which contains example words for the student to listen to and emulate. Every word is translated to help the student to understand the meaning of each word, as that is the purpose of singing: communication. Popular songs are included for group singing and for added insight into the culture.

Also included is an alphabetical key, a list of words and their meanings for open and closed E’s and O’s, a complete IPA sheet, and the phonemes of Italian. For the unstressed E’s and O’s, Paton recommends using the closed pronunciation. John Glenn

Paton brings his significant experience, knowledge, and insight to bear on this new diction text.

(Number not known) Gateway to Italian Diction, Teacher’s Supplementary

Materials (Paton, 2004). As a companion to Paton’s Gateway to Italian Diction: A

Guide for Singers, this set of supplementary materials for the teacher includes reading guides, worksheets, quizzes, and articulation practice sheets for each chapter. Also

23 included are a transcription exercise, final exams, and a performance evaluation form.

Masters are given with permission to copy, as are the keys. The reading guides assist the student to learn and master the information. This set of supplementary materials is a great help to the teacher and a big time-saver.

1/118 A Singer’s Manual of Foreign Language Dictions (Sheil, 2004l): description on page 14. Note: the author recommends using the closed E or O when unstressed.

2.5 DICTION TEXTS: IPA

37/118 Diction for Singers (Wall et al, 1990): description on page 7.

36/118 International Phonetic Alphabet for Singers: a manual for English and foreign language diction (Wall, 1989). This large text (8 ½” x 11”, 226 pages) focuses on helping singers learn, understand, and sing the IPA symbols. English is used as the primary language for learning these symbols. This text is intended to be used for language diction and vocal pedagogy courses, or as supplementary material for the private studio and other situations.

This workbook is a “training manual written specifically for singers to learn the symbols, sounds, and transcriptions of the basic IPA” (p. 7). Each chapter has

“descriptive comments about individual language sounds, how they are physically produced, their major characteristics, and common problems” (p. 7). These problems are described with the English-speaking singer in mind, including notes about regional dialects. Exercises are included in each chapter to practice the sounds by whispering, speaking, and singing. Also included are vocalizes and transcriptions of English words 24 and nonsense words. At the end of each chapter are worksheets to practice the sounds learned. The symbols are presented progressively, so it is important to use the book in the order written.

It is emphasized that the singer must have a thorough knowledge of the IPA to be successful singers and communicators. This text does a thorough job in presenting the material in a clear and concise manner, making it accessible to singers of all levels.

It also allows the teacher ample material with which to help the student be successful in reading, writing, and articulating the IPA symbols. This text lays the foundation for more detailed study of vocal lyric diction.

(Number not known ) Teacher’s Pack for IPA for Singers (Wall, 1992) consists of listening lab tapes and sample tests. It has all of the exercises from the book recorded on the tape. It is designed to be used in a listening lab for students to practice the various sounds. It primarily uses English, but it does include some sounds of German,

French, and Italian. There is often not enough time allowed to repeat the word. Most of the examples are spoken, and a few are sung. This is a good tool for students to practice the sounds.

6/118 Diction (Moriarty, 1975): description on page 10.

2/118 The Singer’s Manual of Foreign Language Diction (Stapp, 1991): description on page 13.

1/118 A Singer’s Manual of Foreign Language Dictions (Sheil, 2004): description on page 14.

25 2.6 SUPPLEMENTAL BOOKS

The following texts were mentioned in the surveys as being used as supplements to the main texts. Though some of these are diction texts and have already been discussed, this shows the number of respondents who use them as supplements.

32/118 Diction for Singers (Wall, 1990): description on page 7.

29/118 Singing in French (Grubb, 1979): description on page 8.

22/118 IPA for Singers (Wall, 1992): description on page 24.

19/118 Singer’s Italian (Colorni, 1970): description on page 20.

18/118 Diction (Moriarty, 1975): description on page 10.

16/118 German for Singers (Odom, 1981): description on page 18.

14/118 The Interpretation of French Song (Bernac, 1976) is considered the standard work on this subject. The Interpretation of French Song was written by Pierre

Bernac, who was not only a distinguished singer and expert in the French mélodie, but is also considered the outstanding authority on this subject. Eighteen French composers are discussed, along with almost 200 songs, which include the greater part of each composer’s output. Included are the French texts with line-for-line English translations by Winifred Radford, notes on pronunciation, and “simple but detailed suggestions for performance and interpretation” (back cover). Also included are the chapters on

“Performance and Interpretation of Vocal Music,” “On Singing French,” and “The

Interpretation of French Mélodies.” This important book is considered essential for all serious singers and teachers of singing and lyric diction.

26 8/118 A Handbook of Diction for Singers (Adams, 1999): description see page

11.

8/118 Phonetic Readings of Songs and Arias (Coffin, et al., 1982).Volume VI in the series of aids for the singer and teacher of singing called The Singer’s Repertoire,

Coffin’s Phonetic Readings of Songs and Arias has become a staple of the diction teacher’s reference library. As Coffin aptly puts it, the private teacher bears the responsibility for building repertoire and teaching diction on an individual basis. To that end, this book is recommended in order to provide oral assignments by learning to pronounce the words of the song before even learning the music. The student is encouraged to read the lyrics aloud with the appropriate stress and flow of the language, then adapt them to music.

This reference provides IPA transcriptions for 413 Italian, German, and French lyrics taken from The Singer’s Repertoire. Each language is introduced by presenting a summary of the problems of diction and the sounds of the language represented by IPA symbols in chart form. The texts are then presented in alphabetical order by the composer’s last name. Notes are made in the transcriptions showing stress, liaisons and elisions, length of vowels, and glottal stops. An index in the back provides easy access in finding an individual song.

The pronunciation dictionaries recommended are: Italian: Zingarelli; German:

Siebs; and French: Fouché (though actually a treatise on pronunciation). Contributing authors include Ralph Errolle (Italian), Werner Singer (German), and Pierre Delattre

(French). Though not without mistakes, this resource is still considered a standard and helpful resource for any diction teacher. 27 5/118 Gateway to German Diction. (Paton, 1999): description on page 18.

3/118 Opera Libretti (Castel). Nico Castel’s many volumes of opera libretti are a welcome addition to the libretti literature because they go beyond mere translation, and also include word-for-word IPA transcriptions. In each volume there is a helpful and up-to-date guide to the IPA, and notes about the transcriptions and pronunciation.

These volumes are written by someone who is “considered the authority on multilingual lyric diction both here in the United States and internationally” (xi, “About the

Author,” French Volume I). Mr. Castel’s expertise is well-known through his association with many prominent music schools and opera companies around the world.

As such, these volumes are an invaluable addition to any music library.

The following is the list of the first fifteen volumes in the series:

I. “Complete Puccini Libretti” (two volumes, second printing)

II. “The Complete Verdi Opera Libretti” (four volumes)

III. “The Libretti of Mozart’s Completed Operas” (two volumes)

IV. “French Opera Libretti” (three volumes)

V. “Italian Verismo Opera Libretti” (one volume)

VI. “Italian Belcanto Opera Libretti” (three volumes)

Each volume contains detailed information on the IPA for that language, including an IPA chart listing the symbol, representative words, IPA transcriptions, and approximate English equivalent. Vowels and consonants are listed by type. Also included are notes about the IPA transcriptions and detailed information on the pronunciation of the languages. When necessary, the reader is referred to other sources for more detailed information. 28 Each opera libretto includes a description of the opera including sources of the libretto, first performances, the setting, the characters, and the plot. Each word of the text has the IPA transcription above it and the translation below it. Also included are copies of original publicity flyers for each opera.

These volumes are essential for music libraries so that the college student may have easy access to their contents. Also, professional singers and teachers may choose to have these in their personal libraries. They represent cutting-edge knowledge and information on pronunciation. With these volumes, Nico Castel makes available his formidable knowledge and insight based on decades of involvement in professional opera as both a singer and linguist.

3/118 The Singer’s Manual for German and French Diction (Cox, 1996): description on page 10.

3/118 The Fischer-Dieskau book of Lieder: the texts of over 750 songs in

German/ chosen and introduced by Dietrich Fischer-Dieskau; with English translations by George Bird and Richard Stokes (Fischer-Dieskau, 1976). This English translation of

Fischer-Dieskau’s book, Texte deutscher Lieder, as the title implies, contains the original text of over 750 songs, translated into English side-by-side with the German.

This book is to be used as a reference for translation of German poems, with suggestions on how to interpret the German lied by renowned German singer Dietrich

Fischer-Dieskau. It also includes the history and development of the lied, including notes about German composers and individual songs. It explains how and why the art form developed, and why, in the lied , the piano is just as important as the vocal line.

The prevailing attitude was that the music serves the poetry, and is equal to it. Also 29 included is “German Song – An Essay,” which delves into the philosophical differences of composers.

The texts are arranged alphabetically by the actual German title or first line, even by the articles (i.e., der [the] is before des [the]). Song cycles are kept together and are found under the title of the cycle. The names of the poet and composers are given, and also additional composers are listed if they set the same poem, though this is not complete. Dates and opus numbers of the compositions are given. Additions made to the poems are shown in brackets. Strophic songs of great length only include the verses most often sung. Though the translations are side-by-side, care is given to make sure the

English makes sense, so it is not a literal translation.

A quote from the author helps to summarize this most important art form:

“Music and poetry have a common domain. . . the landscape of the soul. Together they have the power to lend intellectual form to what is sensed and felt, to transmute both into a language that no other art can express. The magic power that dwells in music poetry has the ability ceaselessly to transform us” (p. 28, 1976). This is an important resource from a renowned singer.

3/118 Adventures in Singing: A Process for Exploring, Discovering, and

Developing Vocal Potential. (Ware, 1998) is designed for class voice and the beginning singer, and discusses all aspects of singing, including diction. Its chapter on diction provides a good overall explanation of vowels, consonants, and IPA in layman’s terms.

Included are IPA charts for English, French, German, and Italian vowels and consonants, as well as helpful exercises for strengthening diction.

30 Also valuable to the diction teacher is the collection of songs (with accompaniments) that include folk songs, art songs, and arias in English, German,

Italian, Spanish, French, and Latin. The foreign language song texts are transcribed into a three-line format and also give background information on the songs and composers.

This is a valuable supplement for the diction class.

2/118 Phonetics and Diction in Singing: Italian, French, Spanish, German

(Adler, 1967) is a handbook is drawn from the author’s previous work The Art of

Accompanying and Coaching (1965), and provides illustrative examples from the standard song and opera literature in Italian, French, Spanish, and German. These examples are used to help define and illustrate the diction and phonetic points and rules of each language.

The handbook begins with a general discussion of phonetics and diction in singing and then proceeds to separate chapters on singing in Italian, French, Spanish, and German. There are charts and diagrams in the opening chapter, including an IPA chart of the sounds with representative word examples in each language. There are some mistakes in the chart and it does not reflect current knowledge. Also, the format is not easily referenced, forcing the student to read straight through it, and is positioned

“sideways.”

2/118 German for Musicians (Barber, 1985). An important book whose purpose is to teach German to those involved in music: singers, pianists, teachers, conductors, orchestral players, and research students. It helps the reader to acquire a working knowledge of the language, including speaking, reading, and general diction.

31 From the book cover: “Lessons 1-10 are a survival course for visits to German- speaking countries. In Lessons 11-20, virtually all the teaching material is closely connected with music extracts from opera libretti, composers’ letters, instructions in scores, and so on.” These latter lessons comprise Part 2, which provides the fundamentals of the German language. It uses exercises, and helps to teach the use of the dictionary. Each lesson covers elements of diction as well such as word stress, consonants, inseparable prefixes, vowels, and specifically diction for singers, concluding with a poem. It also has helpful notes about marking up a text, and suggestions for a shorthand way to do so. Part I, “Guide to Pronunciation,” also includes grammar. The twenty lessons are designed as a one-year course for German grammar.

Part 3 contains German texts, and Part 4 has reference material including musical vocabulary, sample contracts, letter of application, the Gothic alphabet, and summary and index of grammar. Interspersed are artists’ renderings and photographs of composers, singers, poets, and others.

This interesting and important book is an essential part of any singer’s or teacher’s reference library. It also includes a foreword by Dietrich Fischer-Dieskau.

2/118 French Lyric Diction Workbook (Montgomery, 2004): description on page 11.

2/118 German Lyric Diction Workbook (Montgomery, 2005): description on page 16.

2/118 Lieder Line by Line, and Word for Word (Phillips, 1980). As the title implies, this book provides a word-for-word translation of close to 800 songs by 32 Beethoven, Schubert, Schumann, Wagner, Brahms, Wolf, Mahler, and Strauss. The dates of the composers are given with the songs and the composers, presented in chronological order. No dates are given for the songs themselves. In the back is an index providing the titles and first lines of the songs as well as the titles of the song cycles. Besides the literal translations of the text, provided directly underneath, there are poetic translations to the side of each song text. No dates are given for the poets listed with the songs.

2/118 The Singer’s Manual of Foreign Language Diction (Stapp, 1991): description on page 13.

1/118 Grammar and Translation for the Italian Libretto (Berrong, 1996) is invaluable as a supplemental book for diction classes, or for any serious student, coach, or singer of Italian opera. As the title states, the purpose of this text is to teach grammar and translation for the Italian libretto. It assumes no prior knowledge of the language and is very user-friendly. It has filled a definite void in the literature, as it is written specifically with the operatic singer in mind. Even with study of the language in the typical language department in college, no other text or course can prepare the singer for the intricacies of translating the Italian libretto.

This text approaches teaching grammar in a unique way and “leaves no stone unturned” as described by Nico Castel on the back cover. All word examples, even the vocabulary lists that end each chapter, include words from Italian operatic libretti, mostly from Puccini’s La Bohème. Also at the end of each chapter are translation examples, which are set up as self-test exercises. Each chapter flows to the next and uses examples from both standard Italian and operatic Italian. It clearly explains the 33 idiosyncrasies of the Italian language, including usage and grammar, and operatic syntax. Dr. Berrong has studied and taught languages, primarily French and Italian, and was impelled to write this text based on his love of opera. His education, including a

Ph.D. from Cornell University, and his many years of teaching, currently at Kent State

University, as well as his many publications, qualify him as an expert in this field.

1/118 Sing French: Diction for Singers (Davis, 2003): description on page 13.

1/118 A Singer’s Manual of Foreign Language Dictions (Sheil, 2004): description on page 14.

* “Diction and Vocal Repertoire: Reference Tools for the Choral Conductor”

(Barefield, 2002). This article, located in the Research Memorandum Series, number

181, gives a partial list of diction books and vocal repertoire books that can serve as reference tools for the choral conductor. Each book is listed in alphabetical order by the author’s last name under the following headings: Diction, Additional Diction Texts,

Repertoire Studies, Song and Aria Texts, and Additional Reference Texts. Brief descriptions are given for each except those listed under the “Additional” category.

Reference is made to where the resources may be found.

* Traité de Prononciation Française (Fouché, 1969).This treatise on French pronunciation, though written in French, is still very accessible to the lay person. The

Introduction describes how to pronounce the various sounds, uses diagrams, and uses the IPA. Part 1 focuses on vowels and Part 2 on consonants. Each sound and its spelling is examined, the rules governing the sounds are explained, and many word examples are provided. There is also a lengthy chapter on liaisons . There is a chart of the sounds that

34 include the spelling, position, pronunciation, examples and page numbers. In the back is an index of words, table of contents, and a pull-out table of French sounds.

A standard for many years and one used by renowned French experts such as

Pierre Bernac, Thomas Grubb, and Nico Castel; this reference is truly the definitive word on French pronunciation and should be a mainstay of the teacher’s and singer’s library.

* The Ring of Words: An Anthology of Song Texts (Miller, 1973). Focusing on the poetry, this text features over 300 poems by 108 German, French, Italian,

Scandinavian, Spanish, and Russian poets. The poems were chosen based on standard song literature. They are arranged by language, and then in alphabetical order by the poet’s last name. The birth and death dates are given for each poet, and also brief background information. Each poem is translated into English line-for-line on the facing page. The translations are as close to the original poem as possible, yet readable. The various settings of the poem are mentioned, with comments and notes about any change of text. Alternate versions of several poems occur in the Appendix, as well as an index of composers, titles, and first lines of the poems.

An Introduction discusses the history and development of the art song and also the composers and poets in various countries, including England and America.

Individual poets and composers are discussed, as is the challenge of setting poetry to music. The author contends that the quality of the song is closely related to the poetry.

This book is an important resource for translations and appreciation of the poetry of song literature.

35 2.7 SUPPLEMENTAL DICTIONARIES

2/118 Webster’s New World Italian Dictionary (Love, 1992). This dictionary is unusual because the sounds are illustrated by the use of IPA. Most other Italian dictionaries do not transcribe the sounds. Though the Italian language is phonetic, having an up-to-date and accurate Italian dictionary, such as this one, is very important.

An IPA chart of consonants and vowels at the beginning provides representative words in both Italian and English when appropriate. It is both an Italian to English and English to Italian dictionary, with over 100,000 contemporary words and phrases. At the back, there is a chart of Italian verbs and English verbs. Conjugations are given. No proper nouns or names are included.

2/118 Dictionnaire de la pronunciation française (Warnant, 1968). Considered one of the most important and authoritative dictionaries of pronunciation of the French language, Warnant’s text is one of the most highly recommended by diction editor

Leslie De’Ath in his article “Dictionaries of Pronunciation: A Bibliographic Guide for

Musicians – Part II” (Journal of Singing, March-April 1999). Written in French, this text is “based on authoritative texts on French phonology” (De’Ath, 1999, p. 7), such as

Nyrop, Martinon, Grammont, Bruneau, and Fouché. It is the most thorough and

“provides the best treatment of style soutenu (formal poetic style) and its differences from conversation courante (conversational style)” (De’Ath, 1999, p. 6) French, including proper names. It uses IPA for its transcriptions and includes an extensive introduction with remarks on articulation, phonetics, syllabification, and liaison . Worth noting is that all R’s are transcribed as /R/, a sound not used in singing. The text uses ( ) to show “the obligatory syllables in poetic verse and singing” (De’Ath, p. 7). It includes 36 helpful diagrams and charts, including conjugated verbs. This text is very user-friendly and a valuable addition to the reference library of the singer and the teacher of singing and diction.

1/118 Duden Aussprachewörterbuch (Mangold, 2000).Written in German, this pronouncing dictionary is the sixth volume of a series of twelve volumes on the standard work of German speech/language. As Leslie De’Ath explains in his article

“Dictionaries of Pronunciation: A Bibliographic Guide for Musicians – Part II”

(Journal of Singing, March-April 1999): “Duden is a large German lexicographic firm that has produced many standard dictionaries in all formats” (p. 9). This dictionary, which focuses on Standard German speech (Hochsprache), uses the IPA for transcription and is very useful because of the great number of words (over 130,000), including a large coverage of proper names. The detailed introduction (pp. 9-29) includes a chart of IPA sounds and symbols, diacritics, a chart of foreign sounds, consonant and vowel charts, explanations of pronunciation with diagrams of each sound, rules for pronunciation, and even charts of the sounds of many foreign languages.

The new 2000 edition includes even more words and expands the foreign language sections with color formatting. This is an important resource for any diction teacher.

1/118 Deutsche Aussprache: reine and gemässtige Hochlautung mit

Aussprachewörterbuch (Siebs, 1969). A well-known pronunciation dictionary, this

1969 19 th edition is the most recent, yet still valuable. Concerning itself with the

Hochsprache , or more stylized German of theater and music, this edition lists two pronunciations for each word: reine (pure) and gemässtige (moderate), the latter 37 concerned with more moderate treatments of the schwa , R’s, and voiceless renditions of certain consonants. The dictionary section is preceded by an extensive discussion of phonetics, phonology, IPA transcriptions, and detailed descriptions of pronunciations of vowels and consonants. It employs the dark / ɑ/ for the “a” and the diphthongs are / ɑe/,

/ɑo/ , and / ɔø/ . For R it uses /r/ / ʀ/ and / ʁ/ and occasionally / ɐ/. This dictionary also has an audio component of three 45 rpm records. Foreign words and proper names are interspersed with the other words. This is an important source for the serious singer of

German lieder.

* Il Nuovo Zingarelli: Vocabolario della Lingua Italiana. (Zingarelli, 1988).

Though the Italian language itself is phonetic by nature, this dictionary, one of the few that uses IPA, is a very helpful source for pronunciation, especially proper names,

“obsolete and antiquated words, esp. verb forms. . . .” (John Glenn Paton, dictiondomain website), phrases, dialects, abbreviations, etc. A non-translating Italian-

Italian dictionary, (written in Italian), it is considered to be one of the most respected

Italian dictionaries, with over 127,000 words and 4,300 illustrations. This text is an important source for the diction teacher and serious student of singing.

2.8 SUPPLEMENTAL MUSIC

6/118 26 Italian Songs and Arias: An Authoritative Edition Based on Authentic

Sources (Paton, 1991). A welcomed anthology and authoritative edition of Italian songs and arias of the Baroque and Classical periods, this updates many former volumes, including the well-known Twenty-Four Italian Songs and Arias. This anthology goes back to the original sources and corrects many mistakes that were made in earlier 38 publications of the same songs. As a result, some songs may be very different from the versions printed previously. The composers’ original intentions and style have been preserved as well as possible, so that today these songs may be performed as the composer meant them to be.

Additional information is provided in order to assist the singer in presenting a historically correct and well-prepared performance. Included in this anthology is information on the roots of the Baroque style, the evolution of Classical and Romantic styles, and information on singing and accompanying in the Italian style. Each song includes the following: an IPA transcription and literal English translation, an idiomatic translation suitable for program notes, the poetic idea, background about the song, and source of the music for this edition. Suggestions are made in the actual music editorially, including suggested ornaments. In the Italian text of the song the open E’s and O’s are indicated with the IPA symbols of / ɛ/and /ɔ/ printed in the text. Enhancing the edition are copies of original manuscripts, maps of Italy showing the cities where the songs originated, and notes about the sounds of Italian with a key to the IPA. This volume is truly an important mainstay of any young singer’s repertoire.

5/118 Gateway to German Lieder; an Anthology of German Song and

Interpretation (Paton, 2000).This anthology of German Lieder contains forty-eight songs by Beethoven, Loewe, Schubert, Hensel, Mendelssohn, R. Schumann, Liszt, Lang,

Franz, C. Schumann, Cornelius, Brahms, Wolf, and Strauss. Many are well-known and others not as familiar, including songs by three women composers: Josephine Lang,

Clara Schumann, and Fanny Mendelssohn Hensel. Unusual in this anthology is that it brings together several types of information about the songs, composers, and poets. The 39 translation of the text allows the student to discover the poetic meaning, while the transcription of the text into IPA helps the student to practice reciting the text. Also provided is important historical information about the composer, the song, and the poet.

Each song includes a three-line format of the text: IPA above, and word-for- word translation below. Also included is the poetic and musical background of the song, the range, translation of the musical terms, poetic translation, sources, and even breath marks. For reference, there is a chart of the German phonemes transcribed into IPA.

Also included is a set of two accompaniment CD recordings. This anthology is available in both high and low keys and may be used as a supplement to Paton’s Gateway to

German Diction or used separately as an anthology. This anthology is a thorough addition to the list of song anthologies, which aids the singer in preparing a complete and musical performance.

2/118 The Lieder Anthology (Sanya and Walters) is a collection of sixty-five diverse songs by thirteen major composers of German Art Song. It is designed with the young singer in mind, and is meant as a singer’s introduction to lieder . Several factors were considered when choosing these songs, including vocal range, pedagogical usefulness, recital programming, and historical significance. Also included, in addition to the main composers of lieder, are three women: Fanny Mendelssohn Hensel, Alma

Schindler Mahler, and Clara Wieck Schumann.

The preface provides a historical background of German lieder, and some observations for interpretation. Each song includes composer and poet dates, the original key, background of the composer and song, and a line-by-line translation. The anthology is available in low or high voice from the publisher.

40 2/118 The French Song Anthology (Kimball/Walters, 2001) is an important anthology, available in high or low voice, and collects sixty-one songs of several prominent French composers from Berlioz to Viardot, including Bizet, Debussy,

Duparc, Fauré, Hahn, Poulenc, and Ravel, to name a few.

Each song is preceded by important information about the song, composer, and poet, and includes line-by-line translation, but no IPA. The preface of this anthology describes the French song, or mélodie, and its historical development. The former chanson and romance were principally written for salons and private concerts in homes.

The mélodie , defined by its clarity, elegance, subtlety, and sensuality eventually moved into the professional concert hall.

Background is given about important poets, composers, and singers, and their contributions to the art form. In fact, it was French poetry which “was a dominant factor in defining the development of the mélodie ” (page 5, Preface). This is an important anthology and a great addition to the studio or diction class.

2.9 SOFTWARE/VIDEO

*Ensemble Diction: Language and Style, Principles and Application (Jordan,

1995) is a delightful video recording which “Teaches general principles of diction while presenting specific ways to apply those concepts to any choral situation” (jacket information). In addition to diction classes designed specifically for the choral director, techniques are then applied to the choral group in a rehearsal situation, allowing the student to hear first-hand the dramatic effect changes in sung diction can make to the sound and beauty of choral singing. This is a worthwhile video and a delight to watch.

41 1/118 A Singer’s Guide to the IPA: a Multimedia Course in the International

Phonetic Alphabet (Jensen, 1999) is a CD-ROM developed by Dr. Karen Jensen of

Canada. This multimedia course in IPA contains interactive exercises for learning vocal physiology and the sounds and symbols of English, Italian, French, and German.

1/118 Learn French Now! Learn German Now! Learn Italian Now! (2004).This award-winning language learning software contains eight CDs, including an audio CD.

Three CDs progress from beginner to advanced and also include flash-cards of over

1,000 words and phrases, grammar basics, multilingual word processor, and a full hour of audio lessons on the bonus audio CD. Unique to this software is playing a word or phrase to hear it pronounced and see the sound displayed in wave form, pitch, fricatives, and vowel displays. Then, the student may record their voice and can see and hear how it compares to the native speaker. Also, the student is given the meaning of individual words and phrases. Activities for pronunciation include “Listen and Speak,” (described above), words, and sentences. Other categories include “Theater,” “Reading,”

“Activities,” and “Conversation.” A fun way to learn pronunciation and receive immediate feedback, this would be a great tool for diction classes.

2.10 WEBSITES

2/118 The Diction Domain™.com. http://www.dictiondomain.com/ . This website is managed by “The Diction Divas” Dr. Candace Magner and Dr. Yvonne

Dechance and “is dedicated to providing information about language diction for singing.

It contains a database of links to websites, books, and other resources.” This statement from the home page of the website describes its purpose, and is “primarily intended as a 42 reference for singers and teachers of singing diction” (home page of the website). This website emphasizes materials and resources that would benefit singers and teachers of vocal diction including articles, recordings, software, and fonts, in addition to books and websites. Also included is a representation of theatre diction and linguistics sources.

The lists are considered broad-based and provide a starting point for further research. Languages covered include Asian, Celtic, English, Germanic, Greek, French,

Hebrew, Italian, Latin, Russian, Scandinavian, Slavic, and Spanish. Additional languages include Basque, Catalan, Esperanto, Hawaiian, Portuguese, and African— even Elvish! The sources are listed under each type of reference (articles, books, etc.).

Then, under websites, they are listed in the following categories: Diction-specific, Font, and General Language. Also included are Diction Domain Resources (created for the

Diction Domain), IPA Resources, “Links We Like,” and “Supersites,” which are the diction related websites that they consider particularly outstanding. These are highlighted in the other lists as well as with star icons. Most sources include a short description. This is a truly comprehensive and fun website that will complement any diction class.

2/118 The Aria Database. http://www.aria-database.com/ariadbse.htm .This database of over 1,000 operatic arias includes translations and aria texts, particulars of the role, aria, and opera including synopsis, sound files, recordings (amazon.com), and where to find the aria. This database is designed for both singers and opera fans, and includes many opera books and full opera translations. This is a helpful website.

2/118 The Lied and Art Song Texts Page. http://www.recmusic.org/lieder/ .

43 This website, created by Emily Ezust as a free public service, includes a tremendous number of texts (over 18,000) used in lieder and other classical art songs. Many are translated and songs in fifteen languages are represented. Songs may be indexed by composer, poet, first line, title, and language. Translations are line-by-line and are side- by-side. Translations into other languages besides English are also included. This large resource is worth investigating.

2/118 The IPA Source Website. http://ipasource.com . This website has hundreds of art songs and opera arias that are translated word-for-word and transcribed into IPA in a three-line format. They are listed by language and poet and include various settings by different composers. You may search for art songs by composer, poet, collections, or title (French, German, and Italian). You may search opera arias by voice type and language or anthology. The Twenty-four Italian Songs and Arias are also included. There is an explanation of the Fach System (the German opera system of categorizing voice types), including a list of roles and explanation for each type. There are links to libretti information and the reader is also directed to Nico Castel’s complete opera libretti volumes. Other resources at this site include Latin texts, Latin, French,

Italian, and German diction help, vowel and consonant charts, translation and transcription help, information on translation dictionaries, IPA resources for your computer, links to important resources for singers, reading lists, and MP3 text recordings of well-known songs. This is a great resource for the diction class.

44 2.11 Articles

“Dictionaries of Pronunciation: A Bibliographic Guide for Musicians: Part I”

(English) (De’Ath, Journal of Singing, January/February 1999). In the first part of this two-part article, Mr. De’Ath provides general information and a detailed annotated bibliography of Dictionaries of Pronunciation, or D of P, for the English language, and guidelines for their use. The fact that these important sources are overlooked as a practical tool for the singer and teacher of singing has prompted this article.

First, the argument is made for these dictionaries, since they contain no definitions, only IPA transcriptions. The questions addressed are: Why would a native

English speaker need to have this type of dictionary, especially when a regular dictionary also lists the pronunciation? And: Why would a native English speaker need to know how to pronounce words in their own language? In addition to the obvious advantage a D of P would have for an English as a second language (ESL) student, the author addresses the previous questions. To the first question, Mr. De’Ath lists several reasons for having a D of P: it focuses on the phonology of the language, has more complete coverage of proper nouns, includes transcriptions of inflected forms of words such as plurals, conjugation of verbs, etc.; other dictionaries often lack reliable phonetic coverage, and they are more compact.

To answer the second question, the author suggests a D of P will help with the pronunciation of foreign borrowings, and to standardize pronunciation when many variants exist for any given word. The article goes on to explain possible nomenclature.

The IPA is by far the system of choice.

45 The annotated bibliography includes the three most highly recommended D of P, which are Daniel Jones, Kenyon and Knott, and John C. Wells; specialized word-lists,

British-based, American-based, and historical (pre-1850). Information included in the annotations includes publisher information, number of words, nomenclature base and peculiarities of transcription. This article provides important information often overlooked by the teacher of singing.

“Dictionaries of Pronunciation: A Bibliographic Guide for Musicians: Part II

(languages other than English)” (De’Ath, Journal of Singing, March/April 1999). Part II continues the survey of dictionaries of pronunciation (D of Ps) for other languages.

These dictionaries differentiate between stage pronunciation and colloquial speech. In

French these terms are soutenu (formal) and courante (colloquial). These differences are also made in the German language. For the latter, it is particularly helpful to know how to speak the language in a more natural way, since many German operas use spoken dialogue.

The list of dictionaries chosen represents the languages which have at least one

D of P of use to vocal literature. The languages included are French, German, Italian,

Russian, and several other languages ranging from Bulgarian to Ukrainian.

Unfortunately, D of P’s were not found for Spanish, Latin, or Hebrew. The most highly recommended dictionaries are listed first, including publisher information, nomenclature base, and peculiarities of transcription. The information listed here is of great service to both the singer and the teacher of singing and diction.

“French Diction: a Primer” (Richard Berry, Choral Journal, October 1996).

This article “. . .provides a guide to the diction and pronunciation of the French

46 language in vocal and choral literature. Recommends helpful resources and tools, explains vowels and consonants, and sets out some basic rules. This article includes charts showing phonetic symbols and examples of sounds, a list of spellings, and a pronunciation for two French song texts in the standard repertoire” (International Index to Music Periodicals, IIMP Number 0022897). One resource listed is Thomas Grubb’s book Singing in French as an example of diction books. The only specific tools mentioned are the IPA and a French dictionary, though no specific ones are mentioned, as well as recordings. The transcriptions have some mistakes.

“Il Dittongo and Ioto in Italian” (De’Ath, Journal of Singing, March/April 2005).

In this article, the author explains the analysis of vowel sequences of the Italian language by supplementing writings on Italian lyric diction with details from grammarians. The terms diphthong (dittingo) and two syllables (ioto) are often confused in the Italian language.

These terms are explained in detail using word examples and how they may occur in music. Since misplaced stress or differences in vowel length can affect the meaning of the word, knowledge of the difference between a ‘dittongo’ and an ‘ioto’ is crucial in order for the text to be intelligible. Rules are given to govern the pronunciation of Italian vowel sequences, accompanied by matrixes, tables, and other helpful tools. This is a detailed article that will provide guidance in understanding this often overlooked aspect of Italian lyric diction.

“Language and Diction: Materials for Teaching a Lyric Diction Class, Part

One” (De’Ath, Journal of Singing, September/October 2005). The importance of conveying to students the principles of lyric diction, despite the constraints of varying

47 student backgrounds and limited class time, is a challenge for teachers of vocal diction.

To that end, materials are presented which are designed to supplement standard course texts that cover the five languages: Italian, Latin, German, French, and English.

The purpose is to “cover introductory material in the form of general information about linguistics and phonetics, and phonemic inventories of the major languages of Western vocal art music.” (p. 61). These supplementary materials, developed by the author and used in his introduction to diction class, consist of charts, tables, graphs, and other materials. They include a table of linguistic terms (not defined),

IPA phonetic symbols with model words in seven languages, common diacritics, consonants of English, French, German, Italian, ecclesiastical Latin, and Spanish presented in a chart form arranged by manner and place of articulation with IPA symbols and special notes about the sounds; and vowel quadrangles for each language and vowel sounds, including diphthongs. These table, graphs, and charts should prove very helpful to the teacher of diction in conveying the particulars and overall understanding of lyric diction.

“Materials for Teaching a Lyric Diction Class, Part Two” (De’Ath, Journal of

Singing, November/December 2005). As a follow-up to his earlier article (Part I), Leslie

De’Ath has put together a number of tables that should prove helpful for the student of diction. These tables, designed as supplementary material to the standard course text, go a long way in helping “de-mysticize” English, German, French, and Italian diction rules.

Often, these rules prove difficult and confusing to learn and memorize. Examples of these rules include those for: the French “h-muet ” (the mute H) and “h-aspiré ” (the

48 aspirated H), French final consonants: silent or sounded, and Italian closed or open E or

As a result of using these tables, the student is able to learn these complex situations thoroughly. Thanks to Leslie De’Ath, these tables clarify the information for both the teacher and student of lyric diction.

“The Merits and Perils of the IPA for Singing” (De’Ath, Journal of Singing,

March/April 2001). The IPA is discussed at length in this article, including its history as well as other types of transcriptions that have been outmoded. “Perils” that are discussed include narrow versus broad transcriptions, problem orthographic letters such as “R” or “L,” problems classifying vowels, using the same symbol to represent different sounds (French /e/ versus Italian /e/ ), and its limitations as a system to deal with prosody, connecting words, etc.

The “merits” of IPA include the use of these symbols as a tool and starting point, especially when understanding or eliminating regionalisms, historical diction, and foreign diction. Ultimate success for using IPA as a tool for sung diction will depend on a singer’s articulation habits and awareness, as well as individualized coaching to help bridge the gap between the written answer and a convincing performance.

“On Teaching an Italian Diction Class” (David Adams, Journal of Singing,

November 2004). “After more than twenty years of teaching diction classes, the author has come to some conclusions about what is essential and what is less important to emphasize in a limited amount of time . . .It is important that diction classes impart tools and skills so that the student can continue to refine expertise in performing the language” (www.nats.org/cgi-bin/ji/display_ji.pl). Regarding application of phonetic

49 symbols, / ɑ/ and /a/ sounds, vowel length, open/closed E and O, double consonants, diphthongs, and triphthongs among other issues are discussed. The author also relates how he constructs his diction class, including a discussion of secco recitative, (“dry” recitation, a vocal style designed to reflect natural speech, found in Italian operas) and how it was used as a final exam.

“Perspectives on Italian Lyric Diction” (De’Ath, Journal of Singing, May/June

2005). In a straightforward manner, this article deals with “six aspects of Italian phonology that are often less completely dealt with in the existing literature on lyric diction” (p. 503). Those aspects are: Italian phonemics, unphonetic letters, syntactic doubling, execution of double consonants, textural rhythm and recitative, and bibliographic resources. “The aim is to fill in gaps by supplying supplemental information or clarifying detail” (p. 503). This is done by discussing and detailing each aspect, using charts and graphs and explaining the rationale. Reference is made to dictionaries and books as well as different dialects. This article should prove helpful to the teacher of Italian lyric diction regarding these aspects, as well as to clear up any confusion therein. A helpful listing of bibliographic resources is included.

“Unstressed E’s and O’s in Italian Lyric Diction: A Comparison of Diction

Texts” (Andrew Adams, Journal of Singing, March/April 2003). This article bravely takes on the hotly debated subject of open or closed unstressed E’s and O’s of Italian.

To do so, “the author compares the theories of the most substantial texts published in the twentieth century that discuss Italian lyric diction. Similarities and differences among the various approaches were examined, particularly noting how the various writers have influenced each other. Some of the linguistic phenomena that underlie the 50 debate is discussed, and finally, the author’s approach in teaching this topic.”

(www.nats.org/cgi-bin/ji/diplay_ki.pl )

The texts discussed include Colorni’s Singer’s Italian, Errolle’s Italian Diction for Singers, Adler’s The Art of Accompanying and Coaching, Moriarty’s Diction,

Coffin’s Phonetic Readings of Songs and Arias, Wall’s Diction for Singers, Stapp’s The

Singer’s Guide to Languages, Castel’s phonetic transcriptions, and Adams’ A

Handbook of Diction for Singers. In this important and revealing article, the author comes to somewhat of a conclusion, but also advocates listening to recordings.

2.12 DISSERTATIONS

“Phoneticism Module: The Development of a HyperCard Interactive

Multimedia Tutorial-Drill Software Program for Use in Voice Diction” (Dechance,

1994). “This computerized HyperCard-hypermedia program for use in French diction studies consists of tutorials, pronunciation guidelines, transcription drills, sample song texts, recordings of spoken texts, and transcriptions into the International Phonetic

Alphabet. The module is not bound to any specific voice diction textbook, but instead reflects common problem areas in articulation and pronunciation for singers. These areas were chosen through a survey of available literature, concentrating on vocal diction texts, but also including works on spoken diction, diction for the theater, and linguistics. The development of the diction module, its content, and design considerations are described; then computer-assisted instruction in general is addressed, together with its educational rationale. An introduction to and overview of the software are provided, along with operating instructions” (The author, from the Abstract).

51 “A Research and Reference Guide for the Study of Vocal Pedagogy: Selected

Works from 1967 to 1991” (Duggan, 1992). This helpful guide includes annotations of important references, including “Diction and Phonetics” (Chapter 4), and “Interpretive

Guides and Translations of Vocal Texts” (Chapter 5). Among the diction texts discussed are those by Colorni, Cox, Grubb, Odom, Moriarty, and Adler. Texts using phonetic transcription include those by Coffin, Magner, and Rohinsky. Books offering translations include those by Fischer-Dieskau, Miller, Paquin, and Phillips. Other sources include Bernac, Meister, LeVan, and Singher.

“A National Survey of Undergraduate Vocal Diction Requirements in Music

Education Degree Programs” (Volk, 1998). According to the abstract, the purpose is “to evaluate the present state of vocal diction requirements in undergraduate music education choral programs” (p. iv). As the title implies, a national survey was conducted to carry out the above purpose and sent to the Director of Choral Activities, Chairman of Music Education, and the diction class professor at a sample size of institutions.

Three hundred twenty-four surveys were sent and there was a 65% response rate. It was discovered that vocal diction was considered very important, but that the students are being prepared only moderately well as future choral directors in the area of diction.

English and Latin diction was considered most important, followed by German and

Italian, with French being a distant last. However, English and Latin diction were the least often taught. Two-thirds of the students were not required to take any diction instruction, and only 15% of music education instrumental degree program students were required to do so, though also being certified for choral direction. The main reason

52 for the lack of requirement was that there were “too many hours already in the music education degree program” (p. iv).

The document includes a review of literature, the methodology and results, concludes that there are serious inconsistencies in the requirements, and recommends that national standards be defined and adopted and then implemented by NASM,

ACDA, and MENC in order “to promote uniformity and consistency of vocal diction requirements” (p. v) among institutions that prepare future choral directors and music educators.

CHAPTER 3

SURVEY :

METHODOLOGY AND RESULTS

3.1 Introduction

The researcher designed this study to identify the diction books and sources currently used in the lyric diction classes at colleges and universities across the country, and provide assessment of the suitability of those books and sources for the teaching of those classes. Although emphasis was placed on diction books covering Italian, German, and French languages; information on other languages was collected as well. This chapter describes the survey instrument (3.2), study population (3.3), collection of data

(3.4), data analysis, and results (3.5).

3.2 Survey Instrument

The researcher designed a three-part questionnaire (see Appendix A): Part I:

“General questions about your institution,” Part II: “General questions about your diction course,” and Part III: “Questions about the diction books currently being used.”

These questions ask for specific answers about the design of the diction course or courses, and about the diction books and sources being used to teach that course.

Surveys were addressed to the Vocal Diction Instructor of each institution. 54 3.3 Study Population

These were mailed to all institutional members of the College Music Society, assuring that a broad-based study would result. To obtain these institutional names and addresses, labels were purchased from the College Music Society, and then those members in the United States were selected. This resulted in a mailing of 1,733 surveys.

3.4 Collection of Data

The survey and a pre-addressed, postage paid business reply envelope was mailed to each of those members. An 8 ½” by 14” tri-fold survey was used, with the introduction and instructions on the survey. Questions were on the front and back of the one-page questionnaire. The surveys were mailed on April 18, 2005. No deadline was stated, and no follow-up was conducted. As of December 31, 2005, the survey collection was deemed complete.

3.5 Data Analysis and Results

As of December 31, 2005, 141 completed surveys were received, seven were returned by the post office as invalid. Of the 134 remaining surveys, sixteen indicated that there was no vocal diction class at their institution, and their answers were not included in the results. The remaining 118 surveys, or 7% of the total surveys mailed, were used for the results of this study.

Of the 118, fifty-three were from a university, twenty-five were unknown, twenty from a liberal arts college or university, fourteen from a private college, four from a community or junior college, and one from a college conservatory. Information

55 about the type of institution was obtained from question number 50 (see Appendix A), which asks if the respondent would grant permission to be interviewed. Of those willing to be interviewed, twenty-two were chosen and interviews were conducted. The interviews will be covered in Chapter 4.

The following are comments received regarding the type of institution:

Comments for “Private College”: We are a Christian Liberal Arts University where students have many credits required OUTSIDE their discipline. As such, we can only “afford” this one 2-credit course! We are a small Catholic Institution. Comments for “Private College”: Christian

Table 3.1: Comments for “Liberal Arts College or University” and for “Private College,” from Question 50: Do I have permission to interview you? If so, please list your name, and institution, address, phone number, and e-mail address so that I may contact you by the end of May to arrange an interview.

The data for each research question was analyzed using the SurveyGold computer software program. Use of this program is in agreement with the stated copyright laws posted at the creator’s website. Permission was also granted via e-mail from the creator Chuck Boudreau. The IPA symbols used in this chapter as well as the whole document were purchased from Tavultesoft Keyman.

The answers to most questions are presented in a bar graph form, which are found in Appendix B. These answers are summarized in the following pages. When appropriate, comments and results are listed in tables. Information about the participants

56 in the survey has been kept confidential. The reader is reminded that not all respondents chose to answer all of the questions.

Part I: General questions about your institution

1. What type of period does your institution have: quarters, semesters, or another type?

“Semesters” received 110 responses, “quarters” seven, and “other” one, for a total of 118. Comments under “other” period indicated “trimesters.” Please refer to

Figure 1.

2. How many weeks of class are there in your quarter/semester?

The results were:

Number of Responses Number of Weeks 50 15 32 14 19 16 8 10 5 12 4 13 Total: 118

Table 3.2: Results for Question 2: How many weeks of class are there in your quarter/semester?

Please refer to Figure 2. Comments included “Plus finals weeks,” and “one week final exams.”

57 3. How long is one class period?

There were 120 responses. The results were:

Number of Responses Number of Minutes 77 50 20 60 6 80 5 75 4 90 4 55 3 120 1 53 Total: 120

Table 3.3: Results for Question 3: How long is one class period?

The reason for 120 responses is that some listed more than one response, as indicated in the comments for this question*, listed in Table 3.4. Also see Figure 3.

Flexible: some quarters, diction class meets 1 day/week for 2 hours. (1 comment) meets 2 days/week for 1 hour. (2 comments) *MWF: 50; TR: 75. (2 comments) *MWF: 60 minutes, TR: 90 minutes or 1:15 2x per week. (2 comments)

Table 3.4 Comments: Question 3: How long is one class period?

Part II: General questions about your diction course(s)

4. How many times a week is your class held?

There were 119 responses. The results were:

58 Number of Respondents Times per week 96 2 14 1 8 3 Total: 119

Table 3.5: Results for Question 4: How many times a week is your class held?

The reason there were 119 responses is that answer *”2” and “3” were each tallied once by one respondent. Comments follow in Table 3.6. Please refer to Figure 4.

* 2 or 3. (1 comment) There can be a 4th hour as a lab. (1 comment) Undergrad: 3, 50 min; Grad: 2, 75 min. (2 comments)

Table 3.6: Comments: Question 4: How many times a week is your class held?

5. How long is the class period?

There were 121 responses. The results were:

Number of Responses Minutes of Class 72 50 21 60 7 90 6 75 5 80 4 120 1 53 1 100 Total: 121

Table 3.7: Results for Question 5: How long is the class period?

59 There were a total of 121 responses. The reason for this is because some registered more than one response, as noted below. Comments are listed in Table 3.8. Please refer to Figure 5.

*If 2 times: 90 minutes; if 3 times: 60 minutes. (2 comments) *Sometimes it meets 2x a week for 1:15 (1 comment) *Undergrad: 3, 50 min.; Grad: 2, 75 min. (2 comments)

Table 3.8 Comments for Question 5: How long is the class period?

6. How many hours of credit are allotted to each class?

There were 121 responses. The results are as follows:

Number of Responses Credit Hours of Class 59 1 45 2 12 3 2 .5 2 .25 1 4 Total: 121

Table 3.9: Results for Question 6: How many hours of credit are allotted to each class?

The reason there were 121 is that there was more than one response. Some credit hours were tallied more than once, as displayed in the comments, which are listed in Table

3.10. Please refer to Figure 6.

60 1: undergraduate. 2: graduate. (2 comments) 2 for English, 1 for Italian, 1 for French/German. (2 comments) Diction sequence is 2 classes, total of 2 hours. (1 comment) Per language, 4 languages. (1 comment) Undergrad: 3, Grad: 2. (2 comments)

Table 3.10: Comments for Question 6: How many hours of credit are allotted to each class?

7. Do you have an undergraduate degree program in vocal performance?

Of the 118, a high majority, 101, answered “yes” and seventeen answered “no.”

Comments follow in Table 3.11. Please refer to Figure 7.

Comments for “No”: In development. (1 comment) In music. (1 comment) Just music major. (1 comment) Not specifically. (2 comments) Comments for “Yes”: One. (1 comment) With emphasis in performance and/or pedagogy. (1 comment)

Table 3.11: Comments for Question 7: Do you have an undergraduate degree program in vocal performance?

8. What degrees(s) do your students obtain in the vocal area?

There were thirteen degrees and eighteen areas of emphasis mentioned. The following tables list the degrees and areas of emphasis with the number of respondents:

61 Number of Responses Degrees 73 Bachelor of Music 67 Bachelor of Arts 50 Bachelor of Music Education 10 Master of Music 9 Bachelor of Science 5 Associates in Music 4 Master of Arts 2 Doctorate of Musical Arts 2 Bachelor in Music Therapy 2 Bachelor of Fine Arts 2 Bachelor of Liberal Arts 1 Bachelor of Music Theory

Table 3.12: Question 8: What degrees(s) do your students obtain in the vocal area?

Number of Respondents Area of Emphasis 56 Vocal Performance 40 Music Education 11 Music 11 Sacred Music 5 Music Therapy 4 Music Theatre 4 Music Minor 2 Commercial Music 2 Vocal Pedagogy 2 Music Management 2 Not Applicable 1 Piano 1 Liberal Arts 1 Music Ministry 1 Sound Engineering Arts 1 Jazz Performance 1 Composition

Table 3.13: What are the areas of emphasis?

Please refer to Table 3.14 for comments, also Figure 8.

62 Also BAE. (2 comments) Church music. (6 comments) Church music (5 comments) Concentration in performance. (3 comments) Cultural. (4 comments) Education: oral emphasis; church music, general BA, no emphasis, but major is required. (5 comments) General. (2 comments) General music. (9 comments) General Music, Church Music. (4 comments) General Music, vocal emphasis. (1 comment) In Fine Arts in Music. (1 comment) In music or music ed. (2 comments) MA: mostly in music history or education. (4 comments) Mostly. (1 comment) Teaching certificate. (2 comments) Vocal. (5 comments) Vocal emphasis. (3 comments) Vocal minor. (6 comments) We are a 2-year school. (1 comment) Worship Arts. (4 comments)

Table 3.14: Comments for Question 8: What degrees(s) do your students obtain in the vocal area?

9. Do you have a graduate degree program in vocal performance?

Of the 118, seventy-six said “no” and forty-two said “yes.” Please refer to Table

3.15 for comments. Also see Figure 9.

Comments for “No”: In Music Education. (1 comment) Comments for “Yes”: Masters of Music. (2 comments)

Table 3.15: Comments for Question 9: Do you have a graduate degree program in vocal performance? 63 10. Are your diction classes required for the undergraduate program?

There were 118 responses. The results are as follows:

Number of Respondents Answer 100 Yes 15 No 2 N/A 1 Not Sure Total: 118

Table 3.16: Results for Question 10: Are your diction classes required for the undergraduate program?

Please refer to Table 3.17 for comments, and see Figure 10.

Comments for “No”: Elective. (2 comments) They have to complete it when they transfer. (1 comment) Virtually all vocal majors and minors do the diction sequence. (1 comment) Comments for “Yes”: 2 classes in the BM, 1 in the BME, and recommended for BA. (1 comment) 4 languages for performance (2 semesters), 2 languages for music ed. (1 semester). (1 comment) B.A.: no, B.M. (Music Ed.): English and Italian; B.M. (Vocal Performance): All. (2 comments) BA only. (1 comment) BM Vocal Performance Majors. (9 comments) BM- 2 semesters, BME- 1 semester. (1 comment) Called “Class Voice” or “Voice Proficiency.” (1 comment) For all BM degrees not for BA, but BA must take Diction sequence if planning a recital as capstone project. (1 comment)

Continued

Table 3.17: Comments for Question 10: Are your diction classes required for the undergraduate program? 64 Table 3.17 continued

BM in music education and BM in vocal performance/pedagogy. (1 comment) BM. Recently added class to BME vocal program. (1 comment) Performance and music ed only. Elective for others. (1 comment) Voice performance concentration. (1 comment) For vocal majors. (1 comment) For vocal music ed. (1 comment) In some degrees. (1 comment) Only for the vocal performance concentration; strongly recommended for Music Education majors. (1 comment)

11. Are your diction classes required for the graduate program?

Most respondents have no graduate program. Of those that did, fewer than half said that it was required. Of the 116 that responded, seventy-four said that it was “not applicable,” twenty-seven said “no,” and fifteen said “yes.” Please refer to Table 3.18 for comments, and see Figure 11.

Comments for “No”: But encouraged if weak in this area.. (1 comment) Currently elective. (1 comment) If needed to address deficiency. (2 comments) Not if had in undergraduate program (1 comment) Often done as a special project. (1 comment) Only for remedial work. (1 comment) Proficiency is required. (1 comment) Comments for “Yes”: If not taken as undergrad. (1 comment) If they do not pass a proficiency exam. (1 comment) Only if they are not proficient. (1 comment) Separate graduate diction course, 1 semester intensive. (1 comment)

Table 3.18 Comments for Question 11: Are your diction classes required for the graduate program? 65 12. Is this class a requirement in any other degree program? If so, which ones?

Of those that responded (114), a large majority, eighty-six, said “no” and twenty-eight said “yes.” When asked to list what other degree programs require vocal diction classes, “Music Education” received the most comments with twenty-five. This was followed by “Piano” (3), “Theatre” (2), and “Vocal Pedagogy,” and “Minor in

Music with Vocal Emphasis” with one response each. Please refer to Table 3.19 for comments, and see Figure 12.

As well as performance and BA. (2 comments) BM in performance, BA vocal emphasis, BM in music education. (2 comments) Choral music. (2 comments) Collaborative piano. (2 comments) Communication. (1 comment) Ed majors with Vocal Emphasis, undergrad piano and guitar. (1 comment) Music Teacher Certification. (2 comments) Music Theater minor or major programs. May fulfill hours. (2 comments) Not at this time. Once the MM program is in place, accompanying majors will be required to take diction as well. (1 comment) Not yet. (2 comments) Piano degrees. (2 comments) Piano students with vocal emphasis. (1 comment) Some pianists take it. (1 comment) Theater offers a speech and diction course. (1 comment) Vocal. (2 comments)

Table 3.19: Comments for Question 12: Is this class a requirement in any other degree program? If so, which ones?

13. Do you offer graduate level diction class?

A high majority, sixty-three out of 118, said that this question was “not applicable.” Of the fifty-five who said that is was applicable, forty-one said “no,” and

66 fourteen said “yes.” Comments, found in Table 3.20, reflect that this course is mostly taken by undergraduate students. Please refer also to Figure 13.

Comments for “No”: But diction is a part of a vocal pedagogy workshop. (1 comment) By arrangement. (1 comment) I wish we did. (1 comment) Not specifically. (1 comment) Only as a special project. (1 comment) Same as undergrad. (1 comment) Comments for “Yes”: Dual enrollment with undergrads. (1 comment) Offered occasionally as needed. Prefer to have grads sit in the basic class if possible and necessary. (1 comment) Separate graduate diction course, 1 semester intensive. (1 comment) Sometimes. (1 comment)

Table 3.20: Comments for Question 13: Do you offer graduate level diction class?

14. In which of the following languages do you currently offer vocal diction classes? (Check all that apply.): Italian, French, German, English, Latin, Spanish, Russian, International Phonetic Alphabet, and/or Other.

Results are as follows:

Number of Responses Language 117 Italian 115 French 115 German

Continued

Table 3.21: Question14: In which of the following languages do you currently offer vocal diction classes? (Check all that apply.): Italian, French, German, English, Latin, Spanish, Russian, International Phonetic Alphabet, and/or Other. 67 Table 3.21 continued

Number of Responses Language 90 English 84 IPA 45 Latin 12 Spanish 5 Russian Other: Polish, Czech, Portuguese (one respondent)

The comments give additional information on how the IPA is incorporated. Please see

Table 3.22 for comments, and Figure 14.

Also diction work during studio classes. (5 comments) English and IPA are taught in conjunction with Beginning Voice Class. (5 comments) IPA included in English portion. (6 comments) IPA used as pronunciation guide, but not taught separately. (6 comments) Portuguese, Polish, Czech on a rotating basis. IPA every quarter. (1 comment)

Table 3.22: Comments for Question 14: In which of the following languages do you currently offer vocal diction classes? (Check all that apply.): Italian, French, German, English, Latin, Spanish, Russian, International Phonetic Alphabet, other.

15. Which languages are taught for the entire quarter/semester?

A very large number of classes, seventy-nine, offer no language that is taught for the entire semester or quarter. This means that the rest combine at least two or more languages in one term. There were 111 responses. Those that do offer one language per term are as follows:

68 Number of Respondents Language 35 French 32 German 25 Italian 12 English 3 Russian 2 IPA 1 Latin 1 Spanish Total: 111

Table 3.23: Question 15: Which languages are taught for the entire quarter/semester?

The comments below mention details about these classes, including those that are for

Graduate level. Please see Table 3.24 for comments, and Figure 15.

2 semesters for French Diction. (4 comments) At Graduate level. (5 comments) One quarter every two years, alternating between Italian, French and German. (3 comments) We have only one Intro to Diction, for one semester. (1 comment)

Table 3.24: Comments of Question 15: Which languages are taught for the entire quarter/semester?

16. Are any languages combined in the same quarter/semester?

Related to the previous question most, or eighty-one out of one hundred, said

“yes,” meaning that more than one language is combined in one term, and only nineteen said “no” to this question. One person said, as a comment, that “some English is combined with Italian for the IPA.” Please see Figure 16.

69 17. If so, what are they?

This question was not in the original survey but is added here to further clarify which languages are being taught in one term, and in what combination. The following are the results that reflect what was written for the original question.

There were 137 responses. Several respondents had more than one response.

The order of the languages presented is in alphabetical order and does not necessarily reflect the order in which the languages are taught. IPA is listed separately here and reflects those who checked that category. However, it can be assumed that IPA is used in most, if not all, of the courses, since it is present in the diction texts that are used.

Some of the respondents listed it as a separate part of the course. Please see the comments for this question, listed in Tables 3.25, 3.26, and 3.27 for more details regarding the order and progression of the languages. The results are as follows:

Number of Respondents Two Languages 35 French/German 22 English/Italian 4 Italian/German 3 English/German 3 English/French 3 Italian/Latin 2 Italian/French 2 Italian/IPA 1 English/IPA 1 Polish/Czech 1 Spanish/Portuguese Total: 77

Table 3.25: Question 17: If so, what are they? (Two languages)

70 Number of Respondents Three Languages 7 English/Italian/Latin 6 French/German/Italian 4 English/Italian/IPA 3 German/IPA/Italian 2 French/German/IPA 2 French/Italian/Latin 1 Latin/Spanish/French 1 IPA/Italian/Latin 1 German/Italian/Spanish 1 English/Italian/Spanish 1 English/German/Latin 1 English/Italian/German Total: 30

Table 3.26: Question 17: If so, what are they? (Three languages)

Number of Respondents Four or More Languages 7 English/IPA/Italian/Latin 4 English/French/German/Italian 2 English/Italian/Spanish/Latin 2 French/Latin/Spanish/IPA 1 Italian/Latin/German/French 1 French/German/Italian/Latin/Spanish 1 French/German/Italian/IPA/Latin 1 English/IPA/Italian/Latin/Spanish 9 English/French/German/IPA/Italian/Latin 2 English/French/German/IPA/Italian/Spanish/Latin Total: 30

Table 3.27: Question 17: If so, what are they? (Four or more languages)

Please see Figure 17 for a visual display of the breakdown of languages and Table 3.28 for comments.

71 1 semester IPA with English and Italian, followed by 1 semester German and French. (2 comments) 7 weeks: Italian & IPA and 7 weeks: German. (1 comment) And IPA. (1 comment) Diction I: English and Italian; Diction II: German and French. (2 comments) English/Italian in the Fall, French/German in the Spring. (7 comment) Fall: English/Italian/German, Spring: Latin/Spanish/French. (3 comments tallied) First Semester: English/Latin/German, Second Semester: French and Italian. (2 comments) First Semester: IPA and Italian. Second Semester: German and French. (2 comments) First Semester: IPA/English/Italian/Spanish/Latin. Second Semester: French/German. (2 comments) First Semester: Italian gets most of the time. Second Semester: German and French. (2 comments) Through the language department. (1 comment) Undergrad. (1 comment) Undergrad: English and Italian. Grad: English, Latin, Italian, German, French. (2 comments) Undergrad: Fall: English/Italian/Latin, Spring: German and French. (2 comments)

Table 3.28: Comments for Question 17: If so, what are they?

18. How much time in the quarter/semester is allotted to each language?

For this question, there were 151 responses. The reason that there were so many more responses is because many had more than one answer to this question. For instance, if they had a 15 week semester, but taught three languages, the responses could be 2 weeks (Latin), 5 weeks (Italian) and 8 weeks (French). The following answers also reflect when only one language was taught in a term, for instance, French for 15 weeks in a 15 week semester. The results are as follows:

72 Number of Responses Number of weeks 24 7 19 3 17 7 ½ 17 5 16 8 11 4 11 2 10 6 10 15 5 16 5 10 3 1 1 14 1 11 1 9 Total: 151

Table 3.29: Results for Question 18: How much time in the quarter/semester is allotted to each language?

Please see Figure 18. For a list of comments, please see Table 3.30. These comments describe more in detail how many weeks each of the languages receives.

1 week for Latin. Others, 7-8 weeks. (2 comments) 2 60 minute classes per week. (1 comment) 2 classes for Latin (1 week). (3 comments) 2 hours a week. (1 comment) 2 weeks for IPA, English, Italian, German, 1 for Latin, 4 for French. (2 comments) 2-3 weeks. (2 comments) 2/5 3/5 each semester (English/German, Italian/French). (3 comments) 3 1/2 weeks about. (1 comment)

Continued

Table 3.30: Question 18: How much time in the quarter/semester is allotted to each language?

73 Table 3.30 continued

4 weeks each for French and German, 3 weeks for Italian and English, 1 week for Latin. All are part of a single introductory diction course. (3 comments) 5 weeks: English and German; 10 weeks: Italian and French. (2 comments) 6 weeks Italian, 1 day Latin, 8 weeks English; 9 weeks French, 5 weeks German. (4 comments 7 1/2 weeks each for Italian and German. 5 weeks for Latin and Spanish, 10 weeks for French. (3 comments) English/Italian: 7 weeks, It/Fr/German: 5 weeks. (1 comment) Fall Semester: IPA: 3 weeks, English: 5 weeks, Italian/Latin: 6 weeks. In the spring: German: 7 weeks and French: 7 weeks. (1 comment ) First Term: 40% English (IPA), 40% Italian, 20% Spanish. Second Term: 50% German, 50% French. (3 comments) French and German. (1 comment) German and French take longer. Usually only 5 classes for English. (1 comment) IPA, Latin, Italian: 2 weeks each. French and German: 5 weeks each. (2 comments) IPA: 2 weeks; Spanish and Latin: 2 weeks; English and Italian: 5 weeks each. French and German: 7 weeks each. (3 comments) Italian, French and German for 8 weeks, Latin and Spanish for 2 weeks. (2 comments) Italian/Latin: 15 hours, German: 15 hours, French: 15 hours. (2 comments) One week for Latin. (1 comment) Several weeks. (1 comment) Spanish: 7, Portuguese: 3, Polish and Czech: 5. (3 comments)

19. Do you use a listening lab [in your classes]?

Of the 114 responses, ninety-two said “no,” and twenty-two said “yes.” Please refer to Table 3.31 for comments.

Comments for “No”: But I do have required listening for the course and we often do comparative listening in class. (1 comment) Comments for “Yes”: For a small amount of listening to a CD Rom. (1 comment)

Table 3.31: Question 19: Do you use a listening lab? 74 20. Are your students required to record themselves?

This question also received 114 responses. Ninety-five said “no,” and nineteen said “yes.” This indicates that nineteen of the twenty-two who use a listening lab for their class have their students record themselves. Please refer to Table 3.32 for comments.

Comments for “No”: However, they are recorded in voice lessons. (1 comment) However, this will change now that you have planted the idea in my head. Thank you! (1 comment) It’s a good idea. (1 comment) It is recommended. (1 comment) This is a good suggestion. (1 comment) Comments for “Yes”: Perform in class. (1 comment) Strongly encouraged. I record final exams. (1 comment)

Table 3.32: Comments for Question 20: Are your students required to record themselves?

21. How many vocal diction instructors do you have?

There were 117 responses to this question. Most of those, or ninety-one, said that they have “one” vocal diction instructor. This indicates that at most of these schools, the responsibility of teaching vocal diction depends on just one person. Nineteen said they have “two,” three responded with “three,” two said “four,” two said “five,” and one said “six.” Please refer to Figure 19. For comments, please refer to Table 3.33.

75 Comments for “1”: One teaches the class. All 4 teachers work with diction in the studio. (1 comment) It rotates among several faculty. (I comment) New faculty may take on some in the future. (1 comment) Others as load considerations dictate. (1 comment) Comments for “2”: 3 beginning in 2005-2006. (1 comment) Comments for “3”: 2 teach undergrad, 1 teaches graduate. (1 comment)

Table 3.33: Comments for Question 21: How many vocal diction instructors do you have?

Part III: Questions about the diction books currently being used

For the following questions about textbooks and other sources, and indeed for the remainder of this document. Table 3.34 lists those books and sources using the title and author’s name. The titles which are abbreviated are marked with an asterisk.

Complete information on the books and sources may be found in the Bibliography at the end of the document. Next to each is the “code name” that will be used, usually the author’s last name. For instance, for the book Diction by Joan Wall, the “code name” is

“Wall.” Whenever this book is referred to in questions or answers, the name “Wall” will be used. The same code names will be used in the interview questions and answers

(Chapter 4) as well as in the summary and conclusion chapter (Chapter 5). For a list of these code names consult Table 3.34 (Diction Textbooks) and Table 3.35

(Supplementary Books and Sources) for details.

76 Title Author/Editor Code Name *A Handbook of Diction for Singers David Adams Adams A Singer’s Manual of Spanish Lyric Diction Nico Castel Castel *Singing in Czech Timothy Cheek Cheek *Singer’s Italian Evelina Colorni Colorni *Manual of German and French Diction Richard Cox Cox *Singing in English Richard Cox Cox/English Sing French: Diction for Singers Eileen Davis Davis Italian Diction for Singers Ralph Errolle Errolle *French Diction for Singers Stephen Farish Farish American Diction for Singers Geoffrey Forward Forward *Singing in French Thomas Grubb Grubb *Latin Pronunciation William Hall Hall *Singer’s Liturgical Latin Robert Hines Hines *Singing and Communicating in English Kathryn LaBouff LaBouff The Singer’s Manual of English Diction Madeleine Marshall Marshall *Diction John Moriarty Moriarty *German for Singers William Odom Odom *Gateway to German Diction John Glenn Paton Paton/German *Gateway to Italian Diction John Glenn Paton Paton/Italian *A Manual of Foreign Language Dictions Richard Sheil Sheil The Singer’s Guide to Languages Marcie Stapp Stapp *Hochdeutsch for Singers Sheridan Stormes Stormes/German *Liaisons Dangereuses Sheridan Stormes Stormes/French *To Sing in English Dorothy Uris Uris *Diction for Singers Joan Wall, et al. Wall *International Phonetic Alphabet Joan Wall Wall/IPA

Table 3.34: Diction Textbooks

77 Title Author/Editor Code Name Phonetics and Diction in Singing Kurt Adler Adler *Vox Latina: a guide Sidney Allen Allen German for Musicians Josephine Barber Barber The Interpretation of French Song Pierre Bernac Bernac *Grammar and translation for the Italian Richard Berrong Berrong Phonetic Alphabet Francis Cartier Cartier Foundations for Singing Van Christy Christy Phonetic Readings of Songs and Arias Berton Coffin, et al. Coffin *The Correct Pronunciation of Latin Michael DeAngeles DeAngeles *Book of Lieder Dietrich Fischer-Dieskau Fischer-Dieskau Traité de Pronunciation Française Pierre Fouché Fouché *Handbook of the IPA Handbook Handbook A Singer’s Guide to the IPA Karen Jensen Jensen A French Song Companion Graham Johnson, Stokes Johnson The Pronunciation of English Daniel Jones Jones *Pronouncing Guide to French, German Jones, Smith, Walls Jones, Smith & Walls Selected Songs and Arias Sergius Kagen Kagen A Pronouncing Dictionary John Kenyon, T. Knott Kenyon & Knott Duden Aussprachewörterbuch Max Mangold Duden *Pronunciation Guide for Choral Literature William May, Craig Tolin May& Tolin *Singing Early Music Timothy McGee McGee The Ring of Words Phillip Miller Miller English Lyric Diction Workbook Cheryl Montgomery Montgomery/English French Lyric Diction Workbook Cheryl Montgomery Montgomery/French German Lyric Diction Workbook Cheryl Montgomery Montgomery/German Italian Lyric Diction Workbook Cheryl Montgomery Montgomery/Italian *Voice Tradition and Technology Garyth Nair Nair *Lieder Line by Line Lois Phillips Phillips Phonetic Symbol Guide Pullum and Ladusaw Pullum & Ladusaw *German: How to Speak Joseph Rosenberg Rosenberg *Deutsche Aussprache Theodor Siebs Siebs Practical Method of Italian Singing Nicola Vaccai Vaccai Adventures in Singing Clifton Ware Ware *Dictionnaire de la pronunciation Léon Warnant Warnant *Il Nuovo Zingarelli Nicola Zingarelli Zingarelli

Table 3.35: Supplementary Books and Sources

78 22. What textbooks do you use for each of the following languages? (Italian, French, German, International Phonetic Alphabet, Spanish, Russian, Latin, and Other.) If none, write none. Please include title and author.

For this question, the results are broken down by language textbook.

Italian Diction Textbooks:

There were 133 responses. The reason for the additional answers is that some use more than one book. Please refer to Figure 20. Please refer to the comments, Table

3.37, for more information. The results are as follows:

Number of Responses Name of Italian Diction Text 71 Wall 27 Colorni 16 Moriarty 8 Adams 2 Montgomery/Italian 2 Stapp 1 Coffin 1 Errolle 1 Paton/Italian 1 Sheil 1 Own Notes 1 None 1 Wall/IPA Total: 133

Table 3.36 Results for Italian Diction Textbooks

Adams: Graduate. (2 comments) Also Great Art Songs of Three Centuries. (1 comment) Shopping for one book, possibly Colorni, Errolle, perhaps Adams. (1 comment)

Table 3.37: Comments for Italian Diction Textbooks

79 French Diction Textbooks:

There were 136 responses. As with the previous question, the reason for the additional answers is that some use more than one book. Two comments for “French

Diction Texts” said: “Grubb: Graduate.” Please refer to Figure 21. The results are as follows:

Number of Responses French Diction Text 69 Wall 25 Grubb 11 Moriarty 9 Cox 7 Adams 3 Montgomery/French 3 N/A 2 Own Notes 2 Stapp 1 Stormes/French 1 Davis 1 Sheil 1 Farish 1 Coffin Total: 136

Table 3.38: Results for French Diction Textbooks

German Diction Textbooks:

There were 132 responses. As with the previous questions, the reason for the additional answers is that some use more than one book. Please refer to comments in

Table 3.40. Also see Figure 22. The results are as follows:

80 Number of Respondents German Diction Texts 70 Wall 16 Odom 14 Moriarty 9 Cox 6 Adams 4 Other 2 N/A 2 Own Notes 2 Stapp 2 Paton/German 2 Montgomery/German 1 Stormes/German 1 Sheil 1 Coffin Total: 132

Table 3.39: Results for German Diction Textbooks

Duden: Das Aussprachewörterbuch. (1 comment) Fischer-Dieskau Book of Lieder. (2 comments) Not known. (1 comment) Odom: Graduate. (2 comments) Wrote my own. Didn’t like any I’ve seen so far. (1 comment)

Table 3.40: Comments for German Diction Textbooks

International Phonetic Alphabet Textbooks:

There were 125 responses. As with the previous questions, the reason for the additional answers is that some use more than one book. Please refer to Table 3.42 for comments, and see Figure 23.

81 Number of Respondents IPA Diction Texts 37 Wall 36 Wall/IPA 19 N/A 7 None 6 Moriarty 4 Own Notes 3 Coffin 2 Stapp 2 Montgomery/English 1 Christy 1 Uris 1 Sheil 1 Odom 1 Marshall 1 Handbook 1 Forward 1 Other 1 Adams Total: 125

Table 3.41: Results for International Phonetic Alphabet Textbooks

Marcie Stapp’s Card game. (1 comment) Homemade IPA chart. (1 comment)

Table 3.42: Comments for International Phonetic Alphabet Textbooks

Spanish Diction Textbooks:

There were 117 responses. Please refer Table 3.44 for comments, and see Figure

24. The results are as follows:

82 Number of Respondents Spanish Diction Texts 100 N/A 13 Wall 2 None 1 Own Notes 1 Castel Total: 117

Table 3.43: Results for Spanish Diction Textbooks

Also with Spanish department. (1 comment) None. Professor expertise and IPA. (1 comment) Not covered in class, but also recommend Wall. (1 comment) Refer to Castel when coaching. (1 comment) Relate to Italian when teaching Spanish. (1 comment)

Table 3.44: Comments for Spanish Diction Textbooks

Russian Diction Textbooks:

There were 117 responses. Please refer to Figure 25. One comment was:

“professor expertise and IPA.” Almost unanimous, 113 out of 117, said that this question was “not applicable,” which indicates that very few offer this language as part of their diction course. Three said “none,” and one said “not known.”

Latin Diction Textbooks:

There were 120 responses. As with the previous questions, the reason for the additional answers is that some use more than one book. Please refer to Figure 26, and

Table 3.46 for comments. The results are as follows:

83 Number of Respondents Latin Diction Texts 71 N/A 32 Wall 5 Other 5 None 3 Sheil 3 Moriarty 1 Hines Total: 120

Table 3.45: Results for Latin Diction Textbooks

Latin According to Roman Usage. (1 comment) McGee: Singing Early Music. (1 comment) None. (1 comment) None. Professor expertise and IPA. (1 comment) Notes from Liber Usualis. (1 comment) Relate to Italian diction. (1 comment) Make up my own. (1 comments)

Table 3.46: Comments for Latin Diction Textbooks

*Other [English] Diction Textbooks:

There were 129 responses. As with the previous questions, the reason for the additional answers is that some use more than one book. Please refer to Figure 27. The two comments were: “designed my own text,” and “own version.”

*( For this question in the survey, “other” was listed as the choice. However, all who responded answered this by listing their English diction textbooks. So, the following answers reflect the English diction textbooks used by the respondents).

84 Number of Respondents English Diction Texts 40 Wall 34 N/A 21 Marshall 19 Wall/IPA 3 Uris 3 None 2 Own Notes 1 Stapp 1 Montgomery/English 1 La Bouff 1 Kenyon & Knott 1 Jones 1 Forward 1 Cox/English Total: 129

Table 3.47: Results of Other [English] Diction Textbooks

23. Do you supplement these books with other sources?

Of the 117 responses, a very high majority, 109, said that they did supplement their diction textbooks with other sources. Only eight said that they did not.

24. If so, please indicate these sources:

For this question, there was a very high rate of response, with 289 responses.

Given that only 109 indicated that they supplemented with other sources, this indicates that most use two or more supplemental sources. For a detailed visual display of the results, please refer to Figure 28, and Table 3.49 for comments.

There was a wide variety of types of supplementary sources listed for this question. These responses included diction texts, books, song anthologies, recordings, dictionaries, software, personal handouts, poetry books, song and choral texts,

85 translation books, IPA books, master classes, worksheets, workbooks, and websites.

The following is a summary of those results:

Number of Respondents Supplemental Source 29 Grubb 24 Song Anthologies 20 Recordings 20 Dictionaries 20 Colorni 18 Moriarty 16 Odom 14 Bernac 14 Personal Handouts 14 Marshall 8 Coffin 8 Adams 6 Other 5 Websites 5 Song Texts 5 Paton/German 5 Kenyon & Knott 5 IPA 4 Wall 3 Uris 3 Fischer-Dieskau 3 Cox 3 Castel’s IPA Renderings 3 Worksheets 2 Barber 2 N/A 2 Ware 2 Wall/IPA 2 Stapp 2 Software 2 Poetry Books 2 Phillips

Continued

Table 3.48: Results of Question 24: If so, please indicate these sources:

86 Table 3.48 continued

2 Montgomery/French 2 Latin Texts 2 Adler 1 Translation Books 1 Rosenberg 1 Pullum & Landusaw 1 Master Classes 1 Kagen 1 Handbook 1 Forward 1 Errolle 1 Davis 1 Cox/English 1 Choral Texts 1 Berrong Total: 289

All of the specific sources above are listed in the Bibliography. Most of those receiving two or more responses were discussed in Chapter 2. The following table, Table 3.49, lists these sources more specifically, especially those that were grouped together more generally, such as “song anthologies.”

Twenty-four Italian Songs and Arias . (1 comment) French Art Song Anthology - Kimball/Walters. (2 comments) Gateway to German Lieder . (Paton) (5 comments) 26 Italian Songs and Arias . (Paton) (6 comments) Lieder Anthology . (Sanya-Hal Leonard) (3 comments Johnson. (1 comment) Among others. (3 comments) Appropriate Dictionaries. (1 comment)

Continued

Table 3.49: Comments for Question 24: If so, please indicate these sources: 87 Table 3.49 continued

Basic texts in each language. (1 comment) Verb dictionaries. (1 comment) Cassell’s dictionaries in all languages. (1 comment) CDs. (5 comments) Dover “Listen and Enjoy” poetry series. (1 comment) Guest appearances and master classes with native speakers. (1 comment) Children’s poetry books and stories in German, French and Italian. (1 comment) Choral texts and song texts. (1 comment) Course packet of miscellaneous information including DVDs and CDs. (1 comment) Created internally. (1 comment) Dictionaries: paperback. (2 comments) Song Anthologies: Gateway to Italian Art Song (Paton). (2 comments) Drill sheets. (3 comments) For listening and IPA (2 comments) Gateway to French Art Songs by Paton. (1 comment) IPA Source Website. (2 comments) Art Song and Aria Website. (2 comments) Software: Karen Jensen’s CD rom. (1 comment) IPA transcriptions. (3 comments) Italian, German and French Dictionaries: must purchase a dictionary with IPA symbols for each language. (1 comments) Johnson and Stokes for translations. (1 comment) Jones, Smith, & Walls. (1 comment) Lieder and Chanson recordings. (7 comments) Mozart’s Twelve Songs for German . (Alfred) (1 comment) Vaccai’s Practical Method for Italian . (1 comment) Fauré’s 50 Songs . (Hal Leonard) (1 comment) Musical scores and repertoire. (3 comments) Nair. (1 comment) Any French Dictionary. (1 comment) Older German Dictionary. (1 comment) English Diction and IPA. (1 comment) Online resources linked through www.dictiondomain.com. These are very effective. (1 comment) Own pronunciation tapes, videos. (2 comments) Own worksheets. (2 comments) Oxford Dictionary . (1 comment) Pronouncing Dictionary (musical theater, brown in color). (1 comment) Readings from assorted textbooks. (1 comment) Recordings are of native speakers. (1 comment)

Continued 88 Table 3.49 continued

Song texts are phoneticized. (1 comment) Recordings of native speakers speaking poems and recordings of native and non-native singers singing. (1 comment) Several Internet sources used for all languages. (2 comments) Song Anthology I by Anne and William Leyerle. (1 comment) Song texts and translations. (1 comment) Structure of Singing by Richard Miller. (1 comment) Tapes I have made. (1 comment) www.dictiondomain.com. (2 comments) The IPA Chart from Stapp. (1 comment) The Phonetic Alphabet by Cartier. (1 comment) To hear vowels and diphthongs : http://www.paulmeier.com/ipa/dipthongs.html. To hear consonants : http://paulmeier.com/ipa/consonants.html. (1 comment) The International Alphabet Association: http://www2.arts.gla.ac.uk/IPA/ipa.html . The alphabet: http://www.arts.gla.ac.uk/ipa/ipachart.html . (1 comment) The Diction Domain: http://www.scaredofthat.com/dictiondomain/DDwelcome.html. (2 comments) Internet Resources for Voice and Speech Professionals. (1 comment) http://www.vasta.org/publications/Internet_resources.html Liber Usualis. (1 comment) Transparent Language Software in (Learn Italian Now Series, etc.) Italian, German and French. Use it during class on the computer. Gives visual and audio feedback. Also available in listening lab. (1 comment) Various Italian vocal literature. (1 comment) Warnant. (2 comments) Duden. (1 comment) Siebs. (1 comment) McGee. (1 comment) Allen (Classical Latin). (1 comment) DeAngeles (Roman Latin). (1 comment) De’Ath. (1 comment) Webster’s New World Italian Dictionary . (2 comments)

The following questions are about the effectiveness of the books and sources that are currently being used. These questions ask the respondents to give their opinion by checking “very effective,” “somewhat effective,” and “not effective.” They are asked

89 to give their opinion regarding the Italian, French, German, and other books and sources that they are using. Since the focus of this document is on the Italian, French, and

German languages, the responses regarding the “other” books and sources (Question

28), or English, are not included.

To provide more detailed answers, these answers were further broken down into responses based on the text or source used. For instance, when a respondent checked

“very effective” for his or her Italian textbook, the Italian textbook listed for Question

22 was used for that response. Then all like textbooks and supplemental sources were grouped together, so that an overall picture of the effectiveness of each individual textbook and source could be determined. Therefore, each of the following questions is broken down by text and source, under each language. Reference is made to corresponding figures which contain a visual display of the results.

25. How effective do you find the Italian books and sources you currently use? Very Effective, Somewhat Effective, Not Effective?

Italian Diction Textbooks

There were 145 who responded to the question about the effectiveness of the

Italian textbooks and sources. This number is greater than the 133 who said in Question

22 that they use an Italian diction textbook. The reason for the larger number is that this also includes those who use supplemental sources, so some answered this question for more than one source. The following breaks down the responses according to the textbooks and sources used, with visual display for most answers.

90 Wall:

Sixty-four responded. According to Question 22, seventy-one use the Wall book for Italian diction. Not all who use the Wall book for Italian diction answered this question. Please refer to Figure 29.

Of the sixty-four who answered this question, thirty-two said that the Wall book is “very effective,” thirty-one “somewhat effective,” and one “not effective.” One comment was: “Berrong: somewhat effective.”

Moriarty:

Twenty-three responded. According to Question 22, sixteen use the Moriarty book for Italian diction. Please refer to Figure 30. The reason for more respondents than are listed in Question 22 is that some respondents also listed this book as a supplemental source. Both were combined in Figure 30.

Of the twenty-three, fourteen said that the Moriarty book is “very effective,” nine “somewhat effective,” and zero “not effective.” Comments are “Italian is too pat,” and “also Twenty-four Italian Songs and Arias .”

Colorni:

In Question 22, twenty-seven said they used the Colorni book for Italian diction, and all of them answered this question about its effectiveness. Of the twenty-seven, seventeen said that it was “somewhat effective,” and ten “very effective.” Please see

Figure 31. One comment for this question was: “Transparent Language Software also very effective.”

91 Adams:

Nine answered this question. For Question 22, eight said they used the Adams book for Italian diction as the main textbook. Eight also said that they use this book as a supplement to their diction course (Question 30). The number nine reflects the eight who use it as their main Italian diction text, and one who uses it as a supplement. The answers to this question are displayed in Figure 32. Of the nine, the majority, five, said that the Adams book was “somewhat effective.” Three said that is was “very effective,” and one said that it was “not effective.”

Montgomery/Italian:

Two people use this book as their main Italian diction textbook (Question 22), but just one answered this question regarding its effectiveness. That person said that it was “very effective” in teaching Italian diction.

Stapp:

Only one person answered this question in regards to the effectiveness of the

Stapp book in teaching Italian diction. In Question 22, two said that they used it as an

Italian diction textbook. In Question 30, two said they used it as a supplement. Only one person who uses it as an Italian diction book answered this question. The one person who answered this question said that the Stapp book was “very effective” in teaching

Italian diction.

92 Paton/Italian:

One person answered this question. The same person said in Question 22 that they use it as the main Italian diction textbook. That person said that Paton/Italian was

“very effective” in teaching Italian diction.

Sheil:

One person answered this question. That same person said that he or she used it as their Italian diction text in Question 22. This person said that this book was “very effective” in teaching Italian diction.

Coffin:

One person said in Question 22 that they use this as their Italian diction textbook.

That same person said that this source was “very effective” in teaching Italian diction.

Errolle:

Though one person said that they use this as their textbook for Italian diction

(Question 22), it was not their only textbook and they did not answer to its effectiveness for teaching.

Italian Supplemental Sources

The following answers reflect those who described the effectiveness of their supplemental sources used in teaching Italian diction. Twenty people answered these questions. These answers are also broken down by source.

93 Colorni:

Fourteen people responded to this answer. Twenty said that they use this source as a supplement in Question 30. Of the fourteen, ten said that Colorni was “very effective,” three “somewhat effective,” and one “not effective.” Please refer to Figure

33.

Wall/IPA:

Three respondents answered this question regarding the effectiveness of the

Wall/IPA book as a supplement for teaching Italian diction. One person said they used the Wall/IPA book as a text to teaching Italian (Question 22), and two said they use it as a supplemental source (Question 30). Of the three that answered this question, two said that it is “very effective,” and one “somewhat effective.” What is interesting is that the

Wall/IPA book mostly concentrates on English as a means of teaching the IPA.

However, it does have additional symbols for Italian, French, and German.

Paton/Italian:

Only one person commented on the effectiveness of this book as a supplement to teaching Italian diction. That person uses it as a textbook, and claims that the book is

“very effective” both as a supplement to teaching Italian diction, and as an Italian diction textbook.

94 26 Italian Songs and Arias (Paton):

Two people responded to this question regarding the effectiveness of this song anthology as a supplemental source for teaching Italian diction. Five mentioned this source in Question 30, which was grouped under “Song Anthologies.” Of the two, one said that it was “very effective,” and the other said that is was “somewhat effective.”

26. How effective do you find the French books and sources you currently use? Very Effective, Somewhat Effective, Not Effective?

French Diction Textbooks

Wall:

In Question 23, sixty-nine said they use the Wall book as their French diction textbook. Of those, sixty-one answered Question 32 regarding the effectiveness of this textbook. Of those, twenty-seven said that Wall is “very effective,” thirty-three

“somewhat effective,” and one “not effective.” Please refer to Figure 34.

Moriarty:

Fifteen people answered this question as to the effectiveness of Moriarty as a

French diction textbook. Of those, eleven said they use it as their main French diction textbook (Question 23), and four use it as a supplementary source (Question 30). Of those fifteen, ten said that it was “very effective,” and five “somewhat effective.” Of those that said it was “very effective,” five use it as a text and five use it as a supplement. All who said that it was “somewhat effective” use it as their French diction

95 text. Please see Figure 35. One comment for “very effective” was: “French Art Song

Anthology by Kimball/Walters.”

Grubb:

In Question 23, twenty-five people said they used the Grubb book as their

French diction textbook. Most of those, twenty-one people, responded to the effectiveness of using Grubb as their French textbook. Of those, fourteen said that it was “very effective,” and seven “somewhat effective.” Please refer to Figure 36. One comment for “very effective” was: “too much for half a semester.”

Adams:

Seven people in Question 23 said they use Adams as their French diction textbook. All seven responded to the effectiveness of this textbook. Of those, five said it was “very effective,” and two “somewhat effective.” Please see Figure 37.

Davis:

In Question 23, one person indicated that they use the Davis book as their

French diction textbook. And in Question 30, one person said they used the Davis book as a supplement. Both people responded to the effectiveness of this book. One person

(supplement) said it was “very effective,” and the other person (text) said that it was

“somewhat effective.”

96 Cox:

In Question 23, nine people said that they used Cox as their text for French diction. Of those, seven responded to the effectiveness of this text. Four said it was

“very effective,” and three “somewhat effective.” Please refer to Figure 38.

Stapp: Two people indicated in Question 23 that they use the Stapp book as their

French diction text. Of those, one remarked on the effectiveness of this text. That person said that Stapp was “very effective.”

Montgomery/French:

Three people indicated in Question 23 that they used the Montgomery/French workbook as their French diction text. Of those, two said this text was “very effective.”

Farish:

One person said in Question 23 that they use the Farish book as their French diction text. That person said this text was “somewhat effective.”

Stormes/French:

One person in Question 23 said they used this text as their French diction text.

That person said this text was “very effective.”

97 Sheil:

One person in Question 23 indicated that they use Sheil as their French diction textbook. That person said this text was “very effective.”

Coffin:

One person indicated in Question 23 that they use Coffin as their text for French diction. That person said this text was “very effective.”

French Supplemental Sources

Grubb:

Of the twenty-nine that said in Question 30 that they used the Grubb as a supplemental source, twenty-three of them responded to its effectiveness. Of those, nineteen said that Grubb was “very effective,” and four “somewhat effective.” Please see Figure 39.

Bernac:

Of the fourteen that said in Question 30 they use Bernac as a supplemental source, eleven of those responded to its effectiveness. Of those, eight said it was “very effective,” and three “somewhat effective.” Please see Figure 40. Two other supplemental French sources were also considered “very effective”: Warnant, and

Coffin.

98 Cox:

Four remarked on the effectiveness of the Cox book for French diction. Three use it as a supplement and one uses it as a text. Two said that it is “very effective,” and two said that it is “somewhat effective.”

Wall/IPA:

Two people remarked in Question 30 that they use the Wall/IPA text as a supplement. Both said this text was “very effective” as a supplement to French diction.

27. How effective do you find the German books and sources you currently use? Very Effective, Somewhat Effective, Not Effective?

German Diction Textbooks

Wall:

Of the seventy people that said they use the Wall text as their main text for

German diction in Question 24, sixty-one of those remarked to its effectiveness. Thirty- two said that it is “very effective,” twenty-eight “somewhat effective,” and one said

“not effective.” Please refer to Figure 41.

Moriarty:

In Question 24, fourteen respondents said they use Moriarty as their German diction text. Of those, thirteen responded to its effectiveness. In Question 30, eighteen responded that they use Moriarty as a supplemental text. Of those, five responded to its

99 effectiveness as a German supplement. Those five and the previous thirteen make up the total eighteen who responded to Moriarty’s effectiveness as a German text.

Of those, fourteen said that Moriarty was “very effective” (ten as a text, and four as a supplement), and four “somewhat effective,” (three as a text, and one as a supplement). Please see Figure 42. One comment said of Moriarty: “the book does

German the best.”

Adams:

Six respondents said they use the Adams book for German diction, according to

Question 24. All six responded to its effectiveness. Of those, four said that it was “very effective,” and two “somewhat effective.” Please refer to Figure 43.

Odom:

Of the sixteen people in Question 24 that said that they use Odom as their

German diction textbook, fifteen of them responded to the effectiveness of this text. Of those, twelve said that it was “very effective,” and three “somewhat effective.” Please refer to Figure 44.

Paton/German:

Two people said in Question 24 that they use the Paton/German book as their text for German diction. One said that it was “very effective,” and the other said that it was “somewhat effective.” A third person, who uses the Paton text as a supplement, also responded to this question and said that this text is “very effective.”

100 Cox:

Of the nine that said in Question 24 that they use the Cox for their German diction text, seven remarked to its effectiveness. Of those, four said that it was “very effective,” and three “somewhat effective.” Please see Figure 45.

Montgomery/German:

Of the two people that said in Question 24 that they use this text for German diction, one said it was “very effective,” and the other did not respond.

Coffin:

The one person in Question 24 said they use this as a German text, and this person said that it was “somewhat effective.”

Stapp:

In Question 24, two people said they use the Stapp book as their text for German diction. Both said that this text is “very effective” in teaching German diction.

Stormes:

One person said in Question 24 that they use this text as their German diction text, and said that this text was “very effective.”

101 Sheil:

One person said in Question 24 that they use this text as their German diction text and said that this text was “very effective.”

German Supplement Sources

Odom:

Of the sixteen people that said in Question 30 they use the Odom book to supplement their German diction class, fourteen of them responded to its effectiveness.

Of those, ten said that it was “very effective,” and four “somewhat effective.” Please see Figure 46.

Cox:

Of the four who said in Question 30 they use the Cox book as a supplement, three said it was “very effective,” and one “somewhat effective.” Please see Figure 47.

Wall/IPA:

Of the two people that said they use the Wall/IPA book as a supplement in

Question 30, both said that it was “very effective” as a supplemental source for German diction.

102 Paton/German:

Of the five people who said in Question 30 they use the Paton book as a supplement, four of them responded to its effectiveness as a supplement for German diction. Of those, three said it was “very effective,” and one “somewhat effective.”

The following German supplements received comments as to their effectiveness.

All were listed as “very effective”: Siebs, Fischer-Dieskau, Barber, Duden, and

Transparent Language software.

29. What do you like about these Italian textbooks?

30. What do you like about these French textbooks?

31. What do you like about these German textbooks?

32. What do you like about these other [English] textbooks?

The answers for the other [English] textbooks are not included in these results.

For these questions, answers were listed and organized according to the diction textbook. Like answers were grouped together as much as possible. This resulted in a bar graph display of these answers, which can be found in Figures 48-54. The following is a summary of those answers.

What do you like about the Wall book? (Figure 48)

Seventy-one answered this question. There were twenty-nine different answers using 150 responses. The seventy-one respondents gave two or more examples of why

103 they liked this text. In addition, nineteen comments from fifty-six respondents regarding this text are listed in Table 3.51. The results are as follows:

Number of Respondents Answers 18 Easy to use and reference 17 The way the material is organized 16 Clear rules 13 All languages in one book 12 Concise 11 Uses charts 8 Good introduction to diction for the undergrad 6 Not costly 5 Examples along with page reference 5 Singer’s text word examples 5 Very complete information 5 The detailed section on each letter 3 Use of IPA 3 Easy reading and comprehension 3 The manner in which it is simplified 3 Good overview of each language 2 Good to keep on the shelf as a reference 2 Pronunciation guidelines seem to reflect contemporary practice 2 Possible to cover this much material in such a short period of time 2 Correlates well with Coffin 1 Offers additional musical examples 1 End of chapter compilation of sounds 1 Helps student focus and work independently 1 Usable after class is over 1 Sound explanation of principles 1 Standardized tests 1 Easy to obtain 1 The guide at the beginning of each chapter 1 The workbook Total: 150

Table 3.50: Results for: What do you like about the Wall book?

104 Most of the reasons reflect its organization, clarity, ease of use, and conciseness.

Having all of those languages (English, Italian, French, German, Spanish, and Latin) in one book was very important. As was reflected in Question 16, more than one language must often be covered in one term.

A must for the limited time we have. (1 comment) All purpose. In place already. (3 comments) Charts are excellent. Good buy for students, since it contains all of the languages. (2 comments) Comprehensive. (5 comments) Consistency between languages due to using books by same author. (1 comment) Format. (7 comments) Easy layout of orthographical IPA and resource of pages listed. (7 comments) Good examples, easily navigated, clear charts. (3 comments) Good resource. (1 comment) I use all the books for all languages to acquire a larger volume and variety of examples and to help create exercises. (1 comment) In terms of basic pronunciation. (4 comments) Language pronunciation equivalents. (3 comments) Layout based on word spelling. (2 comments) Layout is clear. (2 comments) Organized so beginners can understand. (5 comments) Suitable for half a semester per language. (2 comments) The format. (2 comments) Well laid out. (3 comments) Well-presented format of vowels and consonants. (2 comments)

Table 3.51: Comments for: What do you like about the Wall book?

What do you like about the Wall/IPA book?

Just four people remarked on what they liked about this text, though at least thirty-six use this text, according to Question 22. There were three reasons given:

“includes chapter worksheets for English” (1), “very complete information” (2), and

105 “English text: excellent guide” (1). Most use this text for either English, IPA or both.

One comment was: “rules defined clearly.”

What do you like about Moriarty’s book? (Figure 49)

There were nine different reasons by twenty-five responses. The largest number of respondents that use this text is sixteen (Question 22). Therefore, most made at least two responses. Please refer to Table 3.53 for comments regarding this text. Those reasons were:

Number of Responses Reasons 6 It covers all languages 5 Clear 3 Simple to use 3 Seems most efficient for our readers 2 In more layman terms 2 Vowel chart 2 The organization 1 Well done 1 It works Total: 25

Table 3.52 Results for: What do you like about the Moriarty book?

Clear word examples. (1 comment) Complete, authoritative. (2 comments) Comprehensive. (5 comments tallied) Easy for students to understand specific rules which help students to approach correct pronunciation. (5 comments)

Continued

Table 3.53: Comments for: What do you like about the Moriarty book?

106 Table 3.53 continued

Concise, precise, good use of IPA. (4 comments) Rules for E and O well-presented. (4 comments) Format of vowels and consonants. (4 comments) First time with Moriarty. (1 comment) Rules defined clearly. (1 comment) This makes it cost effective for the student. (1 comment) Very complete. (1 comment)

What do you like about the Grubb book? (Figure 50)

The answers to the question included eleven different reasons indicated by thirty-five responses. The largest number of respondents that use this text is twenty-five

(Question 22). Therefore, many made at least two responses. Please refer to Table 3.55 for nine different comments by twelve respondents.

Number of Respondents Reasons 11 Well-written 7 Comprehensive 4 Easy to reference 3 Excellent appendices 3 Educated 2 Exercises 1 Productive teacher and author 1 Easy to obtain 1 Not costly 1 Vowels are talked about before consonants 1 Song examples Total: 35

Table 3.54: Reasons for: What do you like about the Grubb book?

107 Clarifies different aspects of French. (1 comment) Good explanation of sounds. (3 comments) I LOVE THIS BOOK! Everything! Its layout, its detail, practical examples, exercises, etc. (1 comment) Rules defined clearly. (1 comment) Specificity. (1 comment) The accuracy. (2 comments) Well-organized. (1 comment) Full of excellent supplementary material. (1 comment) Discussion of liaison, recitative style, repertoire, etc. (1 comment)

Table 3.55: Comments for: What do you like about the Grubb book?

What do you like about the Odom book? (Figure 51)

The answers to the question included eleven different reasons given by twenty- four responses. The largest number of respondents that use this text is sixteen (Question

22). Therefore, many made at least two responses. Please refer to Table 3.56 for comments regarding this text, which includes eight different comments by twelve respondents.

No one reason stood out. The two reasons that received the most responses were

“well-written” and “comprehensive,” with four each. Three reasons received three responses each: “CDs included,” “clarity of layout,” and “song examples.” The remaining reasons are as follows: “easy to reference” (2), “simple rules” (1), “educated”

(1), “easy to obtain” (1), “not costly” (1), and “vowels are talked about before consonants” (1).

108 It adds scores. (2 comments) CDs have diction modeling. (1 comment) Particular ordering of chapters. (1 comment) The detail. (4 comments) Clear and concise. (1 comment) Lots of musical examples to sing. (1 comment) Good CD. (1 comment) It’s ok. (1 comment)

Table 3.56: Comments for: What do you like about Odom’s book?

What do you like about the Paton/Italian book?

One person responded to this question, the same who said in Question 22 that he/she uses this book for Italian diction. That person gave three reasons for liking this book: “detailed rules,” “worksheets,” and “CD.”

What do you like about the Paton/German book?

Two people responded to this question, the same who said in Question 22 that they use this book for German diction. There were six reasons given, each reason received one response: “detailed rules,” “worksheets,” “CD,” “productive teacher and author,” “educated,” and “well-written.”

What do you like about the Colorni book? (Figure 52)

The answers to the question included fourteen different reasons indicated by thirty-nine responses. The largest number of respondents that use this text is twenty- seven (Question 22). Therefore, many made at least two responses. Please refer to Table

109 3.58 for comments regarding this text, which includes seven different comments by fourteen respondents. The reasons are as follows:

Number of Responses Reasons 8 Thorough 5 Concise 4 Clear 4 Well-written 3 Easy to reference 2 Exercises 2 Educated 2 Easy to obtain 2 Not costly 2 IPAs common singer’s vocabulary 2 Music and opera related word examples 1 I prefer the approach to open E and O 1 Productive teacher and author 1 It works Total: 39

Table: 3.57: Results for: What do you like about the Colorni book?

To summarize, this text is liked as an Italian diction text for singers because of its clarity, reference tools, exercises, and singer’s vocabulary.

Good layout. (3 comments) Lots of explanation of how to form sounds, copious examples in IPA. (3 comment) Practical. (1 comment) Rules defined clearly. (1 comment) Simplicity of presentation for undergraduate preparation. (2 comments) Specifics about actually saying certain sounds (tongue/teeth placement). (3 comments) Thorough in explaining the spellings of the language sounds as well as mouth positions for different sounds. (1 comment)

Table 3.58: Comments for: What do you like about the Colorni book? 110 What do you like about the Cox book? (Figure 53)

The answers to this question included thirteen different reasons indicated by eighteen responses. The largest number of respondents that use this text is nine

(Question 22). Therefore, most made at least two responses. Please refer to Table 3.59 for comments regarding this text, which includes six different comments by ten respondents.

The reason with the highest number of responses was “good summary pages,” with three responses. Those receiving two responses each were: “language flow,”

“descriptive,” and “it works.” The remaining reasons received one response each:

“appendix with quick reference,” “information is concise,” “consonants as presented by

IPA,” “vowels presented as they appear in the IPA,” “two languages in one book,”

“good description of mixed vowels,” “liaison examples,” “vocabulary,” and “musical examples.” In summary, this text is liked because of the summary pages, its descriptive, has concise information, easy to reference, how the vowels and consonants are presented, and it has two languages in one book.

Clarity. (1 comment) Simplicity of presentation for undergraduate preparation. (1 comment) Inexpensive. (3 comments) Good layout. (3 comments) Teaching them in this order has great relevance to the singer’s sense of tongue position, open/close pairings. I DETEST alphabetical organization of diction texts. (1 comment) Text is thorough in explaining the spellings of the language sounds, as well as mouth positions for different sounds. (1 comment)

Table 3.59: Comments for: What do you like about the Cox book?

111 What do you like about the Adams book? (Figure 54)

Please refer to Table 3.60 for comments regarding this text, which includes two different comments by two respondents. The answers to the question included eight different reasons indicated by twelve responses. The largest number of respondents that use this text is eight (Question 22). Therefore, most made at least two responses.

“Concisely laid out” received four responses, and “contemporary thinking” received two responses. The remaining reasons received one response each: “does not overwhelm,” “handy,” “vocabulary,” “music examples,” “descriptive,” and “appropriate for one semester.” In summary, this text is liked for its layout, reflecting current thinking, and is appropriate for one semester.

Fairly easy to use once the student begins to get a feel for the structure. It is also more accurate than other texts I’ve used. (1 comment) For undergraduates, needs to be supplemented. (1 comment)

Table 3.60: Comments for: What do you like about the Adams book?

What do you like about the Stapp book?

In Question 22, two people report using this text. However, just one reported what was liked about this text. Ten reasons were given: “reflects how singers are coached at the Met,” “comes closest to reflecting what world-class singers do,” “saves money,” “all they need in one book,” “real understanding of the text,” “beyond mere diction,” “explanation of IPA, grammar, syntax, and usage,” “covers all basic languages,” “user-friendly,” and “the most comprehensive.”

112 What do you like about the Montgomery books?

There were two people who indicated in Question 22 that they use these workbooks. One person gave the following reasons for liking this book, which applies to the English, Italian, French, and German workbooks: “numerous exercises,” and

“clear and concise rules.” A second person commented about the French workbook, adding an additional response to “numerous exercises.” In addition, that person had this to say about the text: “The students loved the exercises and their French was the best of any class I’ve taught!”

What do you like about the Davis book?

Just one person uses this book as a text for French diction. This person gave two reasons for liking this book: “CDs,” and “song anthology.” This is one of the few texts that have both.

What do you like about the Sheil book?

The one person who said they use this text in Question 22 listed three reasons for liking this book: “conciseness,” “clarity,” and accuracy.”

33. What do you NOT like about these Italian textbooks?

34. What do you NOT like about these French textbooks?

35. What do you NOT like about these German textbooks?

36. What do you NOT like about these other [English] textbooks?

113 Results for question 36 were not reported, since it is the scope of this document to focus on the Italian, German, and French languages. For these questions, answers were listed and organized according to the diction textbook. Like answers were grouped together as much as possible. This resulted in a bar graph display of these answers, which can be found in Figures 55-59. The following is a summary of those answers.

The texts not receiving any responses to this question are Wall/IPA, Montgomery, and

Sheil.

What do you NOT like about the Wall book? (Figure 55)

According to Question 22, seventy-one people use this textbook. There were thirty-eight reasons given for this question, representing 116 responses. Many people gave more than one reason. Table 3.60 also lists twenty comments.

The most common reason, with seventeen responses, was “mistakes throughout the book.” Next was related: “printing errors” with eleven responses. This was followed by: “no CDs with native speakers” (7), “inconsistencies in the text” (6), “would like more real examples from music” (5), “some contradictions to Colorni” (5), “some contradictions to Grubb” (4), “too general” (4), “no worksheets” (4), “wish it was accompanied by listening examples” (4), “a few errata” (4), “too much detail for the time we have” (4), “some contradictions to Odom” (3), and “lack of texts to read” (3).

The following reasons received two responses: “no exercises,” “rules too complex,” “not enough oral/aural practice,” “very poorly proofread,” “text IPA often conflicts with dictionaries,” “not much on application,” “not specific enough in the

French section,” “a bit broad for the German section,” “examples not translated,” “not

114 of value to advanced students,” “does not address exceptions,” and “poorly detailed

“English” section.”

The following received one response: “not well organized,” “layout does not work for teaching,” “no English translations for anything,” “does not include IPA key,”

“important pronunciation points are omitted,” “I have to hand out extensive errata sheets,” “not enough grammar suggestions,” “no song text examples,” “cost,” “doesn’t go beyond IPA and rules,” “southernisms,” and “would like it to use a song to teach the rules.”

There were more reasons (38) for not liking the book, as compared to liking the book (29). However, there were fewer responses for not liking (116) than liking (150).

The main reason for not liking the Wall text is the many mistakes and printing errors found in this book. Also, it contradicts with many established experts in the field, such as Colorni-Italian, Grubb-French, and Odom-German. (Some of the concerns reflect a desire for worksheets, recordings and examples. There is a teacher’s pack available for this text which contains tapes and example quizzes and tests. However, there is an additional cost for this. Please see Chapter 2 for details about this source).

All the rules and exceptions for E and O in Italian are somewhat frustrating, but I guess that is the nature of Italian Diction. (1 comment) Definition issues. (2 comments) Disagrees with Coffin on basic pronunciation. (1 comment) Errata, differences of opinion. (4 comments) German section can be convoluted. (1 comment)

Continued

Table 3.61: Comments for: What do you NOT like about the Wall book? 115 Table 3.61 continued

Gives only the basics. No refinement. (1 comment) Inconsistencies in IPA, errors/contradictions. (2 comments) Many typographical errors. (1 comment) No exercises for homework; no real way to gauge progress; no lab provided with the book. (2 comments) No listening. (1 comment) No new edition since 1994 to correct all of the errors! (3 comments) Not as complete as other languages. (Italian) in this book. (1 comment) Not enough of exceptions are included. Many errors. (2 comments) The French section is not always clearly explained; confusing for students. (1 comment) Too many specific rules to try and memorize. Not enough on application to music and singing. (3 comments) Unnecessarily thorough on some aspects. (E.G.: discussion of syllabification and stress is unnecessary for singers, especially beginners, because these issues are taken care of in the way the words are set in the music). (1 comment) Very basic level. (4 comments) Would like more support materials, tests, quizzes, songs, etc. Perhaps a Website where only what was needed could be accessed. Pst does sell a teaching guide, pronunciation tapes and such as a package, but this is expensive and contains much more than we can use in our limited time frame. (1 comment) You have to buy a separate book. (2 comments)

What do you NOT like about the Moriarty book? (Figure 60)

There were twelve reasons given with a total of eighteen responses. Sixteen people reported using this text in Question 22, so most just gave one reason. Comments can be found in Table 3.62, which lists six comments by six respondents.

The most common reason for not liking this text is “not easily accessible to the student” with five responses. There were two reasons that received two responses:

“needs oral exercises,” and “is often confusingly laid out.” The rest had one response:

“doesn’t always agree with single texts on diction,” “needs new edition,” “confuses elision and liaison ,” “too expensive,” “discrepancies in rules,” “more exercises needed,”

116 “it seems to use the same general approach,” “examples not translated,” and “there are errors.”

Though more reasons were given for not liking this book (12) than liking it (9), there were fewer responses: 18 verses 27. This seems to indicate that there are more positive aspects than negative ones.

Grammar coverage is too complex for introductory level. (1 comment) He refuses to correct this glaring mistake ( elision ), even in new editions. (1 comment) More musical examples. (1 comment) Needs to include repertoire. (1 comment) Nothing seems most efficient for our readers. (1 comment) To supplement learning the rules; wouldn’t have to make so many worksheets. (1 comment)

Table 3.62: Comments for: What do you NOT like about the Moriarty book?

What do you NOT like about the Grubb book? (Figure 57)

There were seven reasons given with sixteen responses. A total of twenty-five use this book (Question 22), so significantly fewer responded to this question. Table

3.63 lists three comments by six respondents.

The most common answer was “too complex for our time limitations” with four responses. Next, two answers had three responses each: “overly detailed” and “needs oral exercises.” These had two responses each: “could use a CD,” and “too difficult to easily absorb without any prior background in the language.” These had one response each: “not enough instruction on dictionary usage,” and “too expensive.”

117 Given that there were eleven reasons for liking this book with thirty-three responses, it can be said that this text had more positive aspects than negative ones. The main complaint was “too complex” or “too detailed” for the time limitations. This will need to be decided by the diction teacher if this book has too much detail for the time allowed.

Better for graduate students. (3 comments) Much more than we can cover in half a semester. (2 comments) Musical examples. (1 comment)

Table 3.63: Comments for: What do you NOT like about the Grubb book?

What do you NOT like about the Odom book? (No Figure)

There were four reasons given with five responses. Those reasons are: “too difficult to easily absorb without any prior knowledge of the language” (2), “hard to get across” (1), “chapters about pronunciation are complex” (1), and “R and CH chapters shouldn’t be separated throughout the text” (1).

Since sixteen use the book (Question 22) and only three different respondents listed reasons for not liking this text, and since eleven different reasons were given for liking the text with twenty-four responses (Question 31), there appear to be more positive reasons than negative for this text. However, the concerns mentioned should not be dismissed and considered carefully when choosing this text.

118 What do you NOT like about the Paton/Italian book? (No Figure)

The one person who uses this book mentioned one reason for not liking the book:

“hard to cover so much detail in 10 weeks.” This should be taken in consideration when choosing this book as a text for Italian diction.

What do you NOT like about the Paton/German book? (No Figure)

Three different people responded to this question, two of whom use this as their main diction text, one as a supplement. There were four different reasons given for not liking this text, with one response each. They are: “hard to cover this much detail in 10 weeks,” “words not translated,” “too expensive,” and “too difficult to easily absorb without prior knowledge of the language.” Six reasons were given for liking this text.

When choosing this text, this should be weighed with the four reasons for not liking this text.

What do you NOT like about the Colorni book? (Figure 58)

For this question, eleven reasons were given, with sixteen responses. Two reasons had three responses: “students find it tedious,” and “too difficult to easily absorb without prior knowledge of language.” One reason had two responses: “needs oral exercises.” The remaining reasons had one response each: “no accompanying multimedia,” “more explanations needed on some points,” “words transcribed within text,” “does not include definitions of words used,” “not enough on dictionary usage,”

“it would be nice to have an anthology with this book,” “closed /e/ for certain words,” and “layout not ‘user-friendly’.” Table 3.64 lists four comments by four respondents.

119 There were fourteen positive reasons for this text with thirty-nine responses.

Twenty-seven use this text for Italian diction. The number of negative reasons is significantly less, but should be considered when using this text.

Musical examples. (1 comment) Students read the transcriptions rather than the Italian. (1 comment) Too complex for undergraduate. (1 comment) Too many exceptions to the rules (but that is Italian, right?). (1 comment)

Table 3.64: Comments for: What do you NOT like about the Colorni book?

What do you NOT like about Cox’s book? (Figure 63)

For this question, there were five different reasons given with seven responses by six different people. Nine people use this text for their diction class (Question 22).

Those reasons receiving two responses are: “no listening examples of native speakers,” and “workbook would be useful.” The other reasons, with one response each are: “texts not from vocal literature,” “not easily accessible to the student,” and “seems to use a general approach.” The first two are suggestions and the last three are criticisms. There are three comments given by three respondents listed in Table 3.65.

There were thirteen reasons for liking this text with eighteen responses

(Question 31). This is considerably more than the reasons for not liking this text (5) and should be taken into consideration when choosing this text.

120 It would be nice to practice texts from vocal literature in the text. (1 comment) No accompanying multimedia. (1 comment) Would be helpful to have recordings of native singers and speakers to hear the nuances of the language. (1 comment)

Table 3.65: Comments for: What do you NOT like about the Cox book?

What do you NOT like about the Adams book? (No Figure)

There were ten reasons listed with eleven responses by six people. Eight of those list this as their diction text (Question 22). One reason had two responses: “no workbook.” The other reasons just had one response each: “prefer aural examples CD or website,” “really not a textbook,” “too compact at times,” “inconsistencies of IPA compared to books,” “does not include definitions of words used,” “not enough instruction on dictionary usage,” “sometimes too detailed for undergraduate,” “more graduate level,” and “too early to evaluate.” See Table 3.66 for comments.

Eight reasons with twelve responses were listed for the positive reasons, which is close to the number for the negative reasons. Both of these aspects need to be weighed carefully when choosing this text.

Italian is the weakest. (2 comments) Would like a few IPA drills. I always begin with English. It would be nice if the Adams included a bit of English. (1 comment)

Table 3.66: Comments for: What do you NOT like about the Adams book?

121 What do you NOT like about the Stapp book? (No Figure)

Two people responded to this question. Three reasons were given, with one response each: “our course is only 10 weeks,” “it is designed for a year-long (multi- semester) course,” and “the usual disagreement about details and exceptions in the rules.” For Question 34, just one person responded, but gave ten reasons why he/she liked the text. The main concerns seem to stem from the text being designed for a year- long course. This should be taken into consideration when using this book.

What do you NOT like about the Davis book? (No Figure)

One person responded to this question, the same one who uses this as their diction text. One reason was given: “layout of book makes it very hard to use.” This same person said the positive aspects were the CDs and the song anthology. This should be taken into consideration when weighing the positive aspects for this text.

37. Do you change anything or add anything to the books or sources?

Eighty-one of the 118 that were surveyed answered this question. Seventy-two said “yes,” and nine said “no.” Please see Figure 60. The one comment was: “varies from class to class.”

38. If so, what do you do?

As with the previous questions, responses were combined when possible. This resulted in forty-two different answers which had 164 responses. This averages two

122 answers per person, based on the eighty-one people who answered this question. Table

3.67 lists thirty-two comments with sixty responses. Please see Figure 61.

By far the most popular answer, with twenty-seven responses, was “supplement with worksheets, handouts, and homework.” Next, with fourteen responses, is “add an audio component, including recordings and listening assignments.” After this, two with nine responses are “add song transcription assignments,” and “I correct the mistakes in the Wall book.” Two had eight responses each: “mostly supplement with lectures,” and

“I show where experts disagree on issues with the Wall book.”

Two had seven responses each: “in-class singing,” and “add song anthologies.”

One had five responses: “supplement with grammar, vocabulary, and history.” Seven had four responses each. They are: “learn to use a dictionary,” “supplement with poems,” “add or modify exercises,” “create my own reading lists,” “write my own tests,” “use the Internet,” and “add oral drills.”

Three had three responses each: “add rules of usage,” “address technical challenges and stylistic issues,” and “supplement the Wall book with info from Colorni,

Grubb and Odom.” There are ten with two responses each: “modify schwa in all languages (English, German, and French),” “follow the rules in Colorni rather than the

IPA in 26 Italian Songs and Arias ,” “specific rules for the Italian are added to the Wall book,” “Colorni: change /e/ and / ɛ/, rules to match more spoken pronunciation,” “I have them record themselves singing and speaking,” “use song texts from Coffin,”

“occasionally simplify,” “add vowel charts,” and “should use diction books with music, suitable for all levels.”

123 A good dictionary is tops! (1 comment) Add children’s stories and poems in the languages. Videos of operas, opera libretti, and readings. (1 comment) Add IPA charts from Stapp’s book for French class. (1 comment) Add own personal understanding and experience in German and Italian since I speak both. (1 comment) Add own thoughts about singing as well as refer to spoken dialog verses lyric diction. (1 comment) Adopt American diction to Marshall book. Make some modification to Colorni. (2 comments) Also add various sources and scores. (1 comment) Add song texts. (3 comments) As well as Stapp, Moriarty, and Marshall. (1 comment) Change German schwa to “eh.” /ɛ/(2 comments) Compared to Adams. (1 comment) Created a supplemental workbook with Latin info and songs and arias to translate into IPA. (2 comments) Diphthong labels. (German) (1 comment) German diphthongs. (1 comment) Grubb: skip a lot of material. Create a lot of supplementary exercises. (1 comment) I change or ADD a great deal: I talk about the language and linguistics in general, historically. A great deal of comparison regarding the vernacular vis-à-vis. What is lyric and what does pitch do to concepts of diction; vowel modification and vocal concepts as well. (1 comment) I clarify the information. (2 comments) I interpret and give phonetic rules in handouts. (3 comments) I take the book (Wall) and condense the info, making a diction packet of examples. (2 comments) In-class exercises. Personal guidelines and ways of organizing rules. (2 comments) Model the sounds and have the students repeat. (1 comment) Occasional disagreements about rules (Colorni, Cox). Add own outlines. (2 comments) Require specific dictionaries for each language. (2 comments) Since I am fluent in all of these I teach from my experience. (1 comment) Songs to sing and phoneticize. (3 comments) Students work on songs in each language as a requirement of the course. (2 comments) Teach some Italian grammar so students know how to conjugate verbs and gain some basic vocabulary found in art song and arias. (2 comments) Texts and songs for reading. (7 comments) Use other diction books from language coaches. Add listening. (3 comments) Use own handouts for clearer explanations. (1 comment) Work with actual scores. Discuss. (3 comments)

Table 3.67: Comments for Question 38: If so, what do you do? 124 39. Do you find any inconsistencies or inaccuracies in the books or sources you use?

Eighty-one responded to this question. Twenty-six of those are represented on the visual display in Figure 62. Of those, twenty-two said “yes” and four said “no.” The remaining respondents are further broken down by text. The total eighty-one represents

68% of the 118 who answered this survey. This is a significant number that found inconsistencies or inaccuracies in the books or sources they used. Comments for this question are: (no): “Grubb, Colorni, Odom,” and (yes): “complex question,” and

“Odom.”

40. If so, list them here.

Table 3.68 lists the twenty-two answers to this question. The comments are grouped by text and language, which are highlighted in boldface. There are also general comments. Questions 39 and 40 have been further broken down after this table, so that the more popular texts can be further discussed. These were answered by the remaining fifty-nine respondents.

Adams : I correct mistakes on my power point. (1 comment) Adams : no. (1 comment) Adams : occasional typos, nothing heinous. (1 comment) Adams: yes, especially in the French. (2 comments) Adams : yes, inevitable typos. (1 comment) Colorni : Italian pronunciation of closed /e/. (1 comment) Cox : pronunciation rules not always outlined in summary tables. (1 comment)

Continued

Table 3.68: Comments for Question 40: If so, list them here: 125 Table 3.68 continued

French is a mess to teach since even the French speaking people disagree on many things, especially elision /liaison . (1 comment) Lack of differentiation between /a/ and / ɑ/ in French. (1 comment) Hines : somewhat effective. (1 comment) Something in each book (Colorni, Cox, Marshall). (1 comment) Inconsistencies from source to source (Grubb, Wall, Coffin, Duden ) but not within the same book. (1 comment) Occasionally/rarely ( Colorni, Odom, Grubb, Marshall ). (1 comment) Italian closed/open vowels will always be theory. I tell them to look in a dictionary. (1 comment) Italian open and closed E and O differ in dictionaries. German /a/ or / ɑ/ sometimes a problem. (1 comment) Open and closed E and O in Italian. (1 comment) The pronunciation of letter E with / ɛ/ or /e2/ in Italian. (1 comment) Many /i/ and /I/ in German. (1 comment) The inconsistencies are often due to regional differences across countries (Wall, Moriarty, Grubb). (1 comment) Odom: the symbols used for the “R”s are inconsistent. (1 comment) Only a couple. (1 comment) Pronunciations. (1 comment) There are numerous differences in approach to vowels. (1 comment) They abound throughout the field. (1 comment) Too many to list. (1 comment) Yes- the whole subject of Diction is a lesson in inconsistency! (e.g., Moriarty vs. Colorni on the topic of open/closed E and O in Italian.). (1 comment)

Do you find any inconsistencies or inaccuracies in the Wall book?

Forty people answered this question specifically about the Wall book. Thirty- nine said “yes,” and one person said “no.” This represents 56% of those who use this book (71), or the majority. Therefore, the majority who use this book find inconsistencies or inaccuracies for this book. Please see Figure 63.

126 Wall: If so, list them here:

Of the thirty-nine who said “yes,” seventy responses were given. Most give at least two reasons as to why the Wall text is inconsistent or inaccurate. Eleven reasons were given. As with earlier questions, responses with same or similar answers were grouped together. Please see Figure 64.

The reason with the most responses was: “mistakes in the orthographic words,” with sixteen. Next was: “some differences of opinion,” with eleven. The following are the remaining reasons with the number of respondents in parenthesis: “mistakes in the

IPA throughout each foreign language section” (10), “some typos” (9),”too many to mention” (7), “use of IPA is slightly different” (6), “poorly proofread” (4), “does not agree with Colorni or Grubb” (3), “only a couple” (2), “some definitions are incorrect”

(1), and “important pronunciation points are omitted” (1). The most often mentioned reason is the mistakes found in this book

In addition to these reasons, Table 3.69 lists comments for this question. There are twenty-three comments with thirty-five responses. Again, the mistakes are the most mentioned comment.

Contains many typos which have never been corrected in subsequent reprints. (2 comments) Different sources disagree on certain rules. (1 comment) Disagree with some IPA choices (particularly the diphthongs in German). No English translations for anything! (1 comment) Especially in French. (1 comment)

Continued

Table 3.69: Comments for: Wall: If so, list them here:

127 Table 3.69 continued

Full of errors. (2 comments) Full of typos and inaccuracies. (3 comments) German diphthongs. (1 comment) I give extra credit to the students for all the errata they find. (1 comment) In French. (2 comments) Italian closed/open vowels. (1 comment) Italian: Colorni: final E and O are open. In Wall, they are closed. (1 comment) Many inconsistencies, final E in Italian. (2 comments) Misspellings in IPA. (1 comment) Misusing / ɲ/ for / ŋ/. (1 comment) Needs a NEW edition. Have called publisher often! (1 comment) Open and closed vowels in Italian, liaison in French. (2 comments) Some misspellings of words. (1 comment) Some typos. (1 comment) There are always discrepancies versus matters of opinion which need to be covered together. Text is NO SUBSTITUTE for a competent teacher. (1 comment) Too much to say here. More than 10 minutes. (1 comment) Typos in German section. (1 comment) Wall differs from Paton in IPA symbols for German diphthongs. (1 comment) Whether to use /e/ or / ɛ/ in certain Italian situations; /s/ or /z/ in Latin. (2 comments)

Do you find any inconsistencies or inaccuracies in the Moriarty book ?

Ten people answered this question specifically about the Moriarty book, nine said “yes,” and one person said “no.” This represents 56% of those who use this book

(16), or the majority. Therefore, the majority who use this book find inconsistencies or inaccuracies for this book. Please see Figure 65.

Moriarty: If so, list them here:

Of the nine who said “yes,” seven responses were given, with four reasons. As with earlier questions, responses with same or similar answers were grouped together. Please

128 see Figure 66.

Three said that there were “inconsistencies in different phoneticized versions of the same text.” Two said “typos,” and one each said: “some IPA transcription mistakes,” and “use of IPA is slightly different from Colorni and Cox.” Comments for this question are: “some words I do not agree with,” and “very few.” Mistakes and differences of opinion seem to be the main concern with this text.

Do you find any inconsistencies or inaccuracies in the Grubb book?

Of the twenty-five who use this text for French diction, only five answered this question. Of those, two said “yes,” and three said “no.” This represents just 8% of those who use this book (25), or a minority. Therefore, the majority who use this book do not find inconsistencies or inaccuracies in this book.

If so, list them here:

Of the two who said yes, three responses were given and three reasons were given. Those reasons were, with one response each: “presentation of liaison confusing,”

“rules are given and immediately more exceptions are presented,” and “Gartside and

Grubb do not always agree.” There was one comment for this question: “Not for the most part. A few typos.”

41. Are the books authoritative, reflecting current knowledge?: Yes.

There were 160 responses to this question. One hundred fifty-four thought that this book was authoritative and reflected current knowledge. For those 154, there were

129 nineteen answers representing fifteen different diction texts. Of the 118 who filled out this survey, many use more than one book. Some did not answer this question. These answers were then broken down by text. Please see Figure 67.

By far, the most popular answer with fifty-one responses was the Wall book.

This was out of the seventy-one that use this book. The following are the remaining answers with the number of responses in parenthesis: Colorni (18), Moriarty (17),

Grubb (15), Marshall (11), Wall/IPA (8), Odom (7), Cox (7), Adams (6), “generally speaking” (3), Uris (3), “There is NO authoritative text based on current knowledge” (1),

Stapp (1), Sheil (1), Paton/Italian (1), Paton (1), “Moriarty’s book is outdated” (1),

Davis (1), and “Colorni’s book is very old” (1). Table 3.69 lists comments for this question. It has twenty-eight comments with forty-eight responses.

Also Errolle. (1 comment) Also Hines. (1comment) Apparently.(1 comment) As far as I am aware. (1 comment) As far as I know. I’m no expert on “current knowledge” in diction. (1 comment) Basically. (1 comment) But there are newer ones. Nico Castel. That has many nuances. (1 comment) Dated but useful. (1 comment) Depends who you talk to! (1 comment) Fairly accurate but not what I know to be actual usage. (1 comment) For the most part. (2 comments) For this course. Some details not employed. (1 comment) For undergraduates basic two credit course. (1 comment) I hope so! (1 comment) I suppose. (2 comments) I think so. (3 comment)

Continued

Table 3.70: Comments for Question 41: Are the books authoritative, reflecting current knowledge?: Yes. 130 Table 3.70 continued

I wish there was a better Italian resource. (1 comment) In German. (1 comment) More thorough than facile. (1 comment) Mostly. (1 comment) Overall. (1 comment) Paton: yes. (3 comments) Somewhat. (9 comments) Could use updating (Wall). (1 comment) The German section needs to be updated to be consistent with current practice in most other IPA sources. (3 comments) To the best of my knowledge. (1 comment) Varies. (1 comment) Wall: mostly. (2 comments)

41. Are the books authoritative, reflecting current knowledge?: No.

There were only six responses to this question. This is only 5% of the 118 that answered the survey. These answers are broken down by text. Wall received three responses, and Moriarty, Marshall, and Colorni all received one. Please see Figure 74.

Table 3.71 has the comments for this question. There are three comments by three people.

Comments for “Moriarty”: The older standard books are not, because they reflect old-fashioned, outdated use of the German /r/ for example, telling singers to flip them all, when in fact this practice is considered quaint and obsolete in German opera houses and at the Met. (1 comment) Comments for “Wall”: Not sure. (1 comment) Varies. (1 comment)

Table 3.71: Comments for Question 41: Are the books authoritative, reflecting current knowledge?: No. 131 42. How long have you used these books and sources?

One hundred eight answered this question, or 91%. Please see Figure 69. The results are as follows:

Number of Responses Number of Years Taught 17 10 13 4 10 5 10 1 9 3 7 15 6 2 5 7 5 6 4 12 4 20 4 Several years 3 More than 25 years 2 11 2 9 2 8 1 24 1 17 1 16 1 14 1 1 semester Total: 108

Table 3.72: Results for Question 42: How long have you used these books and sources?

The following comments, shown in Table 3.73, are grouped by number of years taught.

132 Comments for “1 year”: 2 years for the French (Montgomery). (1 comment) 6 years of self use. (1 comment) Comments for “10 years”: Colorni, Grubb, Odom, Hines, Marshall. (1 comment) Moriarty. 2 years for the Internet. (1 comment) Over 10 years. (1 comment) Wall. (2 comments) Comments for “15 years”: Wall. (1 comment) Comments for “16 years”: Colorni, Wall, Moriarty, Adams, Odom, Marshall, Forward. (1 comment) Comments for “20 years”: Sheil, Grubb, Marshall. (1 comment) Wall: 1 semester. (1 comment) Comments for “3 years”: Adams. Montgomery: 1 semester. (1 comment) Comments for “5 years”: Odom and Moriarty and Grubb and Bernac: 30 years. (1 comment) Planning to switch. (1 comment) Comments for “6 years”: Adams. (1 comment) Grubb, Colorni, Odom. (1 comment) Comments for “7 years”: Colorni, Grubb, Wall, Moriarty. (1 comment) Comments for “several years”: The Wall book. (1 comment)

Table 3.73: Comments for Question 42: How long have you used these books and sources?

43. Have you used other books in the past?

Seventy-six answered this question, or 64%. The answers were almost evenly split. Thirty-seven said “yes” and thirty-nine said “no.” Table 3.74 has the

133 comments for this question. Please see Figure 70.

Comments for “No”: I always look at new texts, but haven’t found any that are so comprehensive for the price. (1 comment) None were as comprehensive. (1 comment) Comments for “Yes”: Several. (1 comment)

Table 3.74: Comments for Question 43: Have you used other books in the past?

44. If so, what were they?

Ninety-six answered this question, or 81%. The answers were organized by text.

There were thirteen different texts represented. Please see Figure 71 and Table 3.76 for comments. The results are as follows:

Number of Responses Diction Text 30 Moriarty 16 Grubb 15 Colorni 10 Odom 6 Wall 6 Cox 4 Marshall 3 Adams 2 Uris 1 Stapp 1 Davis 1 Cox: Monograph on Choral Diction 1 Blankenberg Total: 96

Table 3.75: Results for Question 44: If so, what were they?

134 And Siebs for one year. (1 comment) French Diction for Singers. (1 comment) Pierre Bernac “French Singing.” (1 comment)

Table 3.76: Comments for Question 44: If so, what were they?

45. Why did you switch?

Table 3.77 lists the answers for this question, which have the name of the text in parenthesis when available. Like texts are grouped together, with the text highlighted in boldface.

There is a desire that the students only purchase one diction book for all of their languages, so Adams seems like the best choice so far. (1 comment) Too detailed for our level. ( Adams ) (1 comment) Adams is more concise and current. (1 comment) Price ( Adams ), convenience, accuracy and usefulness. (1 comment) Too hard to follow. Not outlined well. ( Odom , Bernac ) (1 comment) Blankenberg: ineffective and error-ridden. (1 comment) Colorni is more thorough. (1 comment) Colorni : preferred Wall’s overall take. (1 comment) Too detailed for our level ( Cox ). (1 comment) Grubb too detailed for undergraduate level. (1 comment) Switching from Wall to Montgomery because rules are too complex and Wall’s layout does not work for teaching. (1 comment) Moriarty inconsistent, more expensive, sometimes not detailed enough. (1 comment) Moriarty is more practical. (1 comment) Moriarty was hard to get, I think its Italian is too “pat”. (1 comment) The German and French sections in Moriarty have a very confusing layout for the students. (1 comment) Too many errors in Moriarty’s book. (1 comment) Odom too detailed for undergraduate level. (1 comment) Too hard to follow. Not outlined well ( Odom , Bernac ). (1 comment) I teach beginners. Stapp was good, but didn’t provide enough information for beginners. (1 comment)

Continued Table 3.77: Comments for Question 45: Why did you switch? 135 Table 3.77 continued

Wall: my homework and quizzes are based on her text and I don’t want to take the time to change. (1 comment) Liked Wall book better. (1 comment) The Wall has Spanish. (1 comment) The Wall is more current in its approach. (1 comment) The Wall seemed easier to reference. (1 comment) Wall book currently in use here when I came. (1 comment) Wall book was newly out and seemed an improvement because of it being comprehensive, easy to use, good reference. (1 comment) Wall : easier format, not as dry, but also not as accurate. (1 comment) Wall : like having the languages combined in one book. (1 comment) Wall has clearer, more practical words in 6 languages. (1 comment) Wall is a good choice in all languages. (1 comment) Wall is better. (1 comment) Wall is cheaper for students because all info in one book. (1 comment) Wall is lacking. (1 comment) Wall i s more consistent than Moriarty in layout. (1 comment) Wall’s book is the only one that fit the time constraints. (1 comment) Wall : concise material in one book. (1 comment) Wall : this one is clearer. (1 comment) Wall : This seemed to be the most thorough and easily understood text. (1 comment) All three languages in one volume ( Wall ). (1 comment) Better teaching in Wall as compared to Moriarty. (1 comment) Wanted all information in one book ( Wall). (1 comment) I use one book for IPA ( Wall/IPA ) and one for French, German, Italian, Spanish and Latin ( Wall). (1 comment) General Cost. (1 comment) Easier for students to follow. (1 comment) Easy to use format. (1 comment) Experience. (1 comment) Good charts. (1 comment) Have not switched. Only supplemented with other resources. (1 comment) Helps students with costs. (1 comment) I agree with it more. (1 comment) I was hired at a different university and they had ordered texts prior to my accepting the position. (1 comment) I was tired of the old text. (1 comment)

Continued 136 Table 3.77 continued

I’m retiring in four years. I’ve considered new texts, but frankly I’m satisfied with the Wall. (1 comment) Includes workbook. (1 comment) Moved to school with 2 semesters of diction instead of 4. Students cannot afford so many books. (1 comment) N/A. (1 comment) Needed more comprehensive introduction to languages since time is short. (1 comment) Needed more exercises in a graded order. (1 comment) New job location. (1 comment) No continuity. (1 comment) Not completely satisfied. (1 comment) Not happy with any. (1 comment) One book instead of four. (1 comment) One text for full year is less expensive. (1 comment) Organization (1 comment) Other book out of print and had a few inaccuracies. (1 comment) Overly pedantic. (1 comment) Preference. (1 comment) Progression of presentation and clarity. (1 comment) Too expensive for students. (1 comment) Too hard or detailed for beginners. (1 comment) Teaching at a new school. (1 comment) The amount of material covered suited our schedule better and it is just one book. (1 comment) To improve. (1 comment) Too difficult for undergraduate to follow. (1 comment) When the department went from a 4-semester diction sequence of courses to a 2- semester sequence. (1 comment)

46. Do you write your own tests, quizzes, or worksheets?

One hundred nine answered this question. That is about 92% of the 118 that filled out the survey. Of the 109, 103 said “yes,” and just six said “no.” The large majority write tests, quizzes, or worksheets. Please see Figure 72. The one comment for this question was “and Wall’s as well,” referring to Wall’s teacher’s pack.

137 47. Do the textbooks you use include enough oral, written, and vocal practice? Yes or no? Which textbooks?

Figures 73 and 74 have the visual displays for this question. Figure 73 shows those who answered “yes” and Figure 74 shows those who answered “no.” Comments are listed in Table 3.78.

Sixty-eight checked “yes,” and eighty-five checked “no.” There were 148 responses for this question. Some use more than one textbook, so they listed more than one text. Others did not answer this question. The respondents were asked to check

“Italian,” “French,” and/or “German.” Those answers were cross-referenced with the texts that they listed in Question 22. These answers were then broken down by text. The following is a summary of those answers by text, beginning with those who answered

“yes.”

Yes: (Figure 73)

Sixty-eight answered this question. The results are as follows:

Number of Responses Text Percentage 23 Wall 32% 9 Colorni 33% 6 Grubb 24% 5 Odom 26% 5 Wall/IPA 13% 5 Wall 13% 3 Moriarty 18.75%

Continued

Table 3.78: Results of Question 47: Do the textbooks you use include enough oral, written, and vocal practice? Yes. Which textbooks?

138 Table 3.78 continued

Number of Responses Text Percentage 3 Marshall 14% 3 Cox 33% 2 Montgomery/French 100% 1 Paton/German 50% 1 Paton/Italian 100% 1 La Bouff 100% 1 Adams 12.5% Total: 68

Comments for those who answered “yes” for this question are: “Wall includes sample words with IPA pronunciation,” and “with my own worksheets and examples.”

No: (Figure 74)

Eighty-five answered this question. The results are as follows.

Number of Responses Text Percentage 38 Wall 53% 9 Colorni 33% 9 Moriarty 56% 8 Grubb 32% 4 Marshall 19% 4 Cox 44% 4 Adams 50% 4 Wall/IPA 11% 3 Odom 18.75% 1 Stapp 50% 1 Davis 100% Total: 85

Table 3.79: Results for Question 47: Do the textbooks you use include enough oral, written, and vocal practice? No. Which textbooks?

139 48. Do the textbooks you use have clear explanations? Yes or no? Which textbooks?

Figures 75 and 76 have the visual displays for this question. Figure 75 shows those who answered “yes” and Figure 76 shows those who answered “no.” One hundred thirty-one checked “yes,” and sixteen checked “no.” There were 147 responses for this question. Some listed more than one text. Others did not answer this question. The respondents were asked to check “Italian,” “French,” and/or “German.” Those answers were cross-referenced with the texts that they listed in Question 22. These answers were then broken down by text. The following is a summary of those answers by text, beginning with those who answered “yes.”

Yes: (Figure 75)

One hundred one answered this question. This represents a very large majority, or 91%, of those who answered this question. The results are as follows:

Number of Responses Text Percentage 59 Wall 83% 13 Moriarty 81% 13 Colorni 48% 11 Grubb 44% 9 Wall/IPA 25% 6 Cox 66% 5 Odom 26% 5 Adams 62% 4 Marshall 19% 2 Montgomery/French 100%

Continued

Table 3.80: Results for Question 48: Do the textbooks you use have clear explanations? Yes. Which textbooks?

140 Table 3.80 continued

Number of Responses Text Percentage 1 Paton/German 50% 1 Paton/Italian 100% 1 La Bouff 100% 1 Stapp 50% Total: 131

Comments for those who answered “yes” for this question include “sort of,” and

“usually, not always.”

No: (Figure 76)

The sixteen people who said “no,” just 10% of the total, are broken down into the following texts: Wall (7, 9%), Grubb (3, 12%), Colorni (3, 11%), Moriarty (2,

12.5%), and Davis (1, 100%).

49. Do the textbooks you use have an accessible format? Yes or no? Which textbooks?

Figures 77 and 78 have the visual displays for this question. Figure 77 shows those who answered “yes” and Figure 78 shows those who answered “no.” One hundred thirty-seven checked “yes” and thirteen checked “no.” There were 150 responses for this question. Some use more than one textbook, so they listed more than one text.

Others did not answer this question. The respondents were asked to check “Italian,”

“French,” and/or “German.” Those answers were cross-referenced with the texts that they listed in Question 22. These answers were then broken down by text. The

141 following is a summary of those answers by text, beginning with those who answered

“yes.”

Yes. (Figure 77)

One hundred thirty-seven answered this question. This represents a very large majority, or 91%, of those who answered this question. Comments were “somewhat,” and “sort of.” The results are as follows:

Number of Responses Texts Percentage 61 Wall 85% 14 Grubb 56% 13 Moriarty 81% 13 Colorni 48% 9 Wall/IPA 25% 6 Odom 37.5% 6 Adams 75% 5 Cox 55% 4 Marshall 19% 2 Montgomery/French 100% 1 Paton/German 50% 1 Paton/Italian 100% 1 La Bouff 100% 1 Stapp 50% Total: 137

Table: 3.81: Results for Question 49: Do the textbooks you use have an accessible format? Yes. Which textbooks?

No. (Figure 78)

Thirteen people said “No” (8%). The results are the following:

142 Number of Responses Texts Percentage 4 Moriarty 25% 3 Wall 4% 3 Colorni 11% 1 Grubb 4% 1 Davis 100% 1 Marshall 4% Total: 13

Table 3.82: Results for Question 49: Do the textbooks you use have an accessible format? No. Which textbooks?

50. Do you order the books for your students?

There were 106 responses, or 89% for this question. Fifty-nine said “yes,” and forty-seven said “no.” Please see Figure 79. Comments for this question are: “the bookstore does” (3 comments), and “yes: La Bouff, no: Grubb.” (1 comment)

51. Are they purchased at a bookstore? Online? By phone?

There were 136 responses. Some use more than one way to purchase the books, or it depends on the book. One hundred nine purchase the books at the bookstore, twenty-two online, and five by phone. Please see Figure 80. Table 3.83 has the comments for this question.

By some students. (1 comment) Music store. (1 comment) On campus. (1 comment) Some choose to order from other sources. (1 comment) Some online. (2 comments)

Table 3.83: Comments for Question 51: Are they purchased at a bookstore? Online? By phone? 143 The last two questions, 52 and 53, are not listed here. This information is kept confidential. There were 76%, or 90, who agreed to be interviewed. From these questions, interviewees were chosen which will be covered in Chapter 4.

Comments at end of survey:

The comments in Table 3.84 are comments that were made at the end of the survey. Many showed an interest in this survey.

I am new and unable to fully answer all questions about past diction teaching at my institution. (1 comment) I am so glad you are doing this survey. I look forward to reading the results. (2 comments) Please send me the results when complete. I am very interested. (1 comment) Best of Luck! (1 comment) I would welcome the opportunity to be interviewed (1 comment) I have taught Singer’s Diction at three different institutions under three different systems. Would be happy to talk. (1 comment) Good survey. Good Luck! (1 comment) This is my first time teaching diction, but I am learning a lot! (1 comment)

Table 3.84: Comments at the end of the survey.

144

CHAPTER 4

INTERVIEWS

4.1 Introduction

The researcher designed interview questions to gain further insight into the diction books and sources currently used in the lyric diction classes at colleges and universities across the country, and how accurate and accessible those books and sources are in the teaching of those classes. Emphasis was placed on diction books on the Italian, German and French languages. This chapter describes the interview questions (4.2), method of interview (4.3), the interviewees (4.4) and data analysis and results of those interviews (4.5).

4.2 The Interview Questions

The researcher chose forty-nine interview questions (see Appendix E): Part I:

“Questions about your institution,” Part II: “Questions about your vocal diction classes,” Part III: “Questions pertaining to the diction books and sources,” Part IV:

Questions pertaining to specific things you do in your classes,” and Part V: “General

Questions.” Interviews were conducted by phone, e-mail, and in person.

145 4.3 Method of Interview

When first contacting the potential interviewee, the researcher used a script either by phone or by e-mail (see Appendix C). After the interviewee agreed to be interviewed, a consent form was e-mailed to the interviewee (see Appendix D), requesting permission for the researcher to use their name, the institution’s name, comments, and answers.

After the interviewee signed and dated that consent form, it was returned to the researcher via regular mail. Upon receiving the signed consent form, an appointment was established and then the interview was conducted. Interviews which were conducted by phone or in person were recorded on a cassette tape and later transcribed.

4.4 The Interviewees

The researcher chose twenty-two respondents from the surveys who indicated their willingness to be interviewed. Interviewees were primarily selected based on the diction textbooks currently used. The purpose was to gain further insight into all diction textbooks mentioned in the surveys. The specific diction textbooks used by each individual interviewee are listed in Table 4.12.

Interviews were conducted mostly in the summer of 2005, and also in the winter of 2006. Below is the list of twenty-two interviewees, including their titles, the name of the institution, city and state, and type and date of the interview.

List of Interviewees Type of Interview Date of Interview Dr. Jerry Benser phone July 25, 2005 Assistant Professor Viterbo University LaCrosse, WI

146 List of Interviewees Type of Interview Date of Interview Dr.Ross Bernhardt phone June 14, 2005 Associate Professor Lambuth University Jackson, TN

Dr. Jan Bickel phone July 20, 2005 Director of Vocal Studies Saint Xavier University Chicago, IL

Dr. J. Blizzard phone June 20, 2005 Professor Wingate University Wingate, NC

Dr. Abra Bush in person July 5, 2005 Instructor Concorida College Moorhead, MN

Dr. Lynnette Chambers e-mail N/A Assistant Professor Hardin-Simmons University Abilene, TX

Dr. Colleen Davis phone May 25, 2005 Assistant Professor Indiana State University Terre Haute, IN

Jean Del Santo phone January 30, 2006 Associate Professor University of Minnesota Minneapolis, MN

Frederick Gersten phone May 26, 2005 Professor Emeritus University of Wyoming Laramie, WY

Juliana Gondek e-mail N/A Professor, Chair: Voice and Opera University of California at Los Angeles Los Angeles, CA

147 List of Interviewees Type of Interview Date of Interview Nancy King phone May 23, 2005 Assistant Professor University of North Carolina at Wilmington Wilimington, NC

Dr. Natalie Lerch in person July 21, 2005 Associate Professor Cornish College of the Arts Seattle, WA

Dr. Rebecca Lister phone May 25, 2005 Assistant Professor Lebanon Valley College Annville, PA

Dr. Lori Lovell Laux phone June 6, 2005 Rollins College Winter Park, FL

Dr. Jennifer Luiken phone June 7, 2005 Assistant Professor Charleston Southern University Charleston, NC

Dr. Patrick Newell phone July 22, 2005 Assistant Professor Eastern Kentucky University Richmond, KY

Diane Penning-Koperslei phone July 7, 2005 Adjunct Faculty Grand Valley State University Grand Rapids, MI

Linda Roark-Strummer phone May 25, 2005 Associate Professor University of Tulsa Tulsa, OK

Barbara Rondelli-Perry phone February 11, 2006 Professor University of Toledo Toledo, OH

148 List of Interviewees Type of Interview Date of Interview James Sergi phone July 6, 2005 Part Time Instructor Wagner College SI, NY Freeport, NY

Lisa Sticham phone June 14, 2005 Part Time Lecturer California State University Los Angeles Los Angeles, CA

Miss Sheridan Stormes in person June 24, 2005 Part Time Instructor Butler University Indianapolis, IN

4.5 Data Analysis and Results

The data for each interview question was analyzed using the SurveyGold computer software program. Use of this program is in agreement with the stated copyright laws posted at the creator’s website. Also, creator Chuck Boudreau granted permission by via e-mail to use the SurveyGold-produced bar graphs.

The answers to each question are summarized. A few are also presented in bar graph form, which are found in Appendix B. When appropriate, comments are listed and presented in tables. Also, representative excerpts from the interviews are featured for most questions. The remainder of the chapter presents these results and findings of the interview questions.

Part I: Questions about your institution

The results for these questions are taken from the survey, questions 51, 1, 2, 4, 5,

6, 8, 10, and 12. To give an overview of the background of these interviewees, answers

149 from their surveys were used for the results of questions in Part 1.

1. What type of institution do you have ? (Question 51 of survey)

Twelve teach at a university, eight at a small college, one at a college, and one at a conservatory. Please note the following comments in Table 4.1.

Comment for “Conservatory” The Cornish College of the Arts is an undergraduate and accredited bachelor’s program just in the arts. There are 700 students, of which 120 are music majors. Of those, 20 major in classical voice and 30 in jazz voice. (Natalie Lerch) Comments for “Small Liberal Arts School” Private. Part of the North Carolina J. Blizzard Baptist Convention We are a small Catholic school. Jerry Benser

Table 4.1 Comments for Question 1: What type of institution do you have?

2. What type of period does your institution have: quarter, semester, or another type? (Question 1 of Survey)

Twenty interviewees are on semesters, and two are on quarters.

3. How many weeks of class are there in your quarter/semester? (Question 2 of Survey)

One has 16 weeks, seven 15 weeks, eleven 14 weeks, one 12 weeks, and two 10 weeks.

4. How many times a week is your class held? (Question 4 of Survey)

Twenty-one have classes that meet two times a week. The remaining one meets one time a week. 150 5. How long is your class period? (Question 5 of Survey)

The large majority have 50-minute class periods. Two have 90-minute periods, two 80-minute periods, two 75-minute periods, three 60-minute periods, and thirteen

50-minute periods.

6. How many hours of credit are allotted to each class? (Question 6 of Survey)

One has classes that receive 4 credit hours, two 3, ten 2, eight 1, one .25, and one .5. Please see Table 4.2 for comments.

2 hours for graduate. (Sheridan Stormes) 2 for English, 1 for Italian and 1 for the French/German class. (Natalie Lerch)

Table 4.2: Comments for Question 6: How many hours credit is allotted to each class?

7. What degree(s) do your students obtain in the vocal area? (Question 8 of Survey)

Sixteen interviewees have a Bachelor of Music degree in vocal performance.

Ten have a Bachelor of Arts degree in an Applied Program, and seven a Masters of

Music program in Vocal Performance. Please see Figure 81 for the remaining degree programs and Table 4.3 for comments.

151 Vocal performance. (Lori Lovell Laux) Vocal concentration. Vocal minor. (Jan Bickel) Vocal emphasis. (Jennifer Luiken) Voice minor. (Jean Del Santo) Voice performance concentration. (Rebecca Lister)

Table 4.3: Comments for Question 7: What degree(s) do your students obtain in the vocal area?

8. Are your diction classes required for the undergraduate program? (Question 10 of Survey)

Twenty say this class is required. Only two said it wasn’t. Please note the comments in Table 4.4 for those who answered “yes.”

For all applied voice beyond sophomore level. (Jan Bickel) For the voice performance concentration. (Rebecca Lister) For undergrad and grad. (Juliana Gondek) In performance. (Sheridan Stormes) In some degrees. (Lynnette Chambers)

Table 4.4: Comments for Question 8: Are your diction classes required for the undergraduate program?

9. If so, for what degree programs? (Questions 10 and 12 of Survey)

Of those twenty, all have this class required for vocal performance majors.

Eleven also require it for their music education majors. Please see Table 4.5 for comments.

152 2 semesters for performance majors. 1 semester for music education majors. BA, the first semester. (Frederick Gersten) 4 languages for performance majors (2 semesters), 2 for music ed. (1 semester) (Colleen Davis) Collaborative piano. (Jean Del Santo)

Table 4.5: Comments for Question 9: If so, for what degree programs?

Part II: Questions about your vocal diction classes

The remaining questions are from the interview questions, as in Appendix E.

1. How long have you taught vocal diction?

There was a variety of answers for this question, ranging from 1 semester to 40 years. Two each reported the following years: 17, 14, 10, 5, 2, and 1 year. The remaining years each received one response: 1 semester, 1.5 years, 4, 6, 7, 12, 18, 20,

24, and 40 years.

2. Which languages have you taught?

The four top languages were German with twenty-two respondents, Italian with twenty-one, and French and English with twenty. Latin received ten, and Spanish four.

Please see Figure 82 and Table 4.6 for comments.

Latin during voice lessons. (Nancy King) Other languages taught there: Russian, Polish/Czech, Spanish/Portuguese. (Juliana Gondek) Teach IPA with the English. (Rebecca Lister)

Table 4.6: Comments for Question 2: Which languages have you taught?

153 3. Have you taught both graduate and undergraduate students?

Eight have taught both graduate and undergraduate diction classes, and fourteen have only taught undergraduates. Please see Table 4.7 for comments for the answer

“both”.

The graduate students are part of my undergraduate course, but I require a little bit of extra work for them. (Patrick Newell) The larger part are undergraduate students. (Barbara Rondelli-Perry)

Table 4.7: Comment for Question 3: Have you taught both graduate and undergraduate students? Both.

4. Why do you think it is important for singers to study vocal diction?

All of the interviewees felt that it is very important for singers to study vocal diction for a variety of reasons. Those reasons are listed in Table 4.8. These reasons proclaim the importance of learning the IPA as a tool for having proper diction. By studying vocal diction, singers can hope to achieve understandability, which is so crucial for the audience. Following Table 4.8 are excerpts from six interviews that were in response to this same question. All express the importance of studying this aspect of singing, and why it is important. The name of the interviewee is listed at the top, and initials are used to indicate who was speaking.

154 Because they are expected to sing in all those languages. The course is much more efficient and the IPA is a helpful tool. They can also approach languages they have not studied before. (Colleen Davis) Communicating the text and music. To be an effective communicator. (Jan Bickel) For communicative purposes and for accuracy. (Frederick Gersten) For greater accuracy and expressiveness with text, convey the true character of the various languages. (Juliana Gondek) Important to learn the IPA and the rules for each language so that the student can easily decide how to pronounce the language. (Jennifer Luiken) Learning how the articulators work, characteristics of the vowels, classify the consonants, developing the ear. (J. Blizzard) Authenticity for the language. Being as true to the language sound as possible, This is the best way to do that. (Rebecca Lister) It is imperative for a singing career, if you want to be competitive. (Linda Roark- Strummer) To be understood by the listeners. (Barbara Rondelli-Perry) Shaping the voice, in general. Where to go for answers, be self-motivated. (Ross Bernhardt) Studying vocal diction improves overall vocal production and eliminates any misconceptions about particular pronunciations. In addition, vocal diction is a universal tool used in the teacher/student relationship. (Lynnette Chambers) The study of proper formation of the articulators actually helps the singing process greatly. And to be understood, you need clear, articulate diction. (Diane Penning-Koperslei) To be understood in the various languages, how to make sounds. (Jerry Benser) To refine their skills in communication and pronunciation of foreign language and English texts. (Lisa Sticham) You want to have your students sound as authentic as possible. When they form the vowels correctly, it enhances their vocal production. It’s easier, and they get a better sound. (James Sergi) To be understood, most importantly. So they can learn a piece on their own. Understand the different parts of the language. Important for technical work. (Abra Bush)

Table 4.8: Comments for Question 4: Why do you think it’s important for singers to study vocal diction?

155 Jean Del Santo

JDS: Diction classes save time in the studio, where you can focus on vocal technique, interpretation, ensemble with the pianist, talk about style, and talk about the historical periods in which the piece came. We don’t have to deal with the language issues. Hopefully those have been dealt with in diction classes, and you just do a little fine brush tune-up. Another important issue in academia is that most vocal curriculums are designed so that the student only sees the teacher one hour per week. Which makes absolutely no sense to me because they see the theory teacher five hours a week, history teacher at least three; choral director, anywhere from four to eight hours a week. But they see their primary instructor for their major one hour a week. I can’t think of any other area of academic study where that is the case.

CM: That is a very good point.

JDS: Absolutely ludicrous. And I think our NATS (National Association of Teachers of Singing) organization and NATS really have to take a look at this.

Nancy King

NK: Since we are dealing with texts for songs, it’s imperative that they know the correct pronunciation. But also they need to know the correct inflection, and you need to study this in depth. The sounds of the language are what inform the composer when setting a text. Students need to become aware of that.

Sheridan Stormes

SS: Music is communication and that which distinguishes singers from instrumentalists are the words, the texts. And there are many times in the concert hall when a singer or listener talks about how much they enjoy understanding the words even when they don’t know the language.

Natalie Lerch

NL: In order to have a career as a classical vocalist, you need to be flexible. You need to have all this knowledge, and be able to pop into whatever language that particular task is. It might be Gilbert and Sullivan and you need really clear and crisp English

Continued

156 Natalie Lerch continued

diction. Then you need to be able to flow from that to your evening job singing Italian, or French, or even a German sacred song when you are in your church gig. And then to get cast in the opera chorus, you must show that you have Italian, French and something else. So in order to make them really marketable, singers really need to have an understanding of diction.

Lori Lovell Laux

LLL: In addition to studying an actual language itself, I think that diction classes introduce and reinforce the rules of pronunciation as they apply to specific patterns of the language. A good diction course will benefit the student cooperatively if he or she studies the language for fluency and/or text recognition.

Patrick Newell

PN: Well, vocal diction is at the heart of what we are as singers in that we communicate with words. And if those words cannot be understood, then what we are doing is simply no different that what a clarinetist does, or a violinist. I think that it’s unique to our art to have to accurately pronounce everything that we say when we sing.

5. What do these courses offer students that they are unable to get in their private lessons or coaching sessions?

For this question the reasons given, listed in Table 4.9, range from studying the subject more in-depth, an opportunity to practice and learn these skills, and giving the students the tools they need to find the proper pronunciation in the various languages.

This speaks to the importance of having such classes, often because there is not time during their individual lessons to work in-depth on the subject. Following these comments are excerpts from four interviews, which mention the in-depth learning a class environment provides, as well as the opportunity for feedback from their peers.

157 A more in-depth study. Learning the rules. (Abra Bush) A systematic approach to rules. A lot of drill. A way to organize the information. (Colleen Davis) How to find answers on their own, getting sounds right, they learn why the sounds are that way. (Jerry Benser) It offers a concentrated study of the IPA as applied to lyric diction. It would be very time-consuming in private lessons. (Frederick Gersten) Learning and implementing the IPA aids students in obtaining the correct pronunciation on their own. The private lesson and coaching sessions then can address other issues such as technique, character development, etc. (Lynnette Chambers) Lessons are about learning repertoire. Diction class allows the student to hone in on this. Begin to understand the relationship between diction and resonance. (J. Blizzard) More in-depth information about how to pronounce languages. You have to cover so much in the private lessons. (Diane Penning-Koperslei) More specific attention to purely the language and their ability to produce it orally. (Jennifer Luiken) More time and feedback from the other students. Listen to other people sing. Pronounce and get feedback. Covering more literature. (Ross Bernhardt) Most teachers don’t have time to go over all the rules and the depth of detail you can cover in a diction class. (Sheridan Stormes) Much more detailed study of IPA and pronunciation and recitation of the texts of the songs that they are working on. (Lisa Sticham) Not enough time in a lesson to teach all the rules and rudiments of each foreign language. Nor time to teach the IPA. More feasible to teach the rudiments of IPA in a class setting. They also get to work with their peers. They can hear and see other students having problems and correcting those problems. (Jan Bickel) Reiteration over and over again. Being able to transfer knowledge from one language to another. What you are gaining visually. (Rebecca Lister) Give them an understanding of why the language works the way it does. (Natalie Lerch) There is not enough time in private lessons to really focus on that. (Barbara Rondelli- Perry) The time necessary to focus exclusively on diction, IPA training, a feeling for the inherent rhythm of the spoken language which then must by conveyed in the sung language. They learn from hearing the correction given to others. (Juliana Gondek) They end up studying the pronunciation, instead of just reading it back. They can put in time just working on forming the sounds and how to execute them. There is no time in their lessons to do this. (James Sergi) They focus on just the language and how things are pronounced. (Jean Del Santo)

Table 4.9: Comments for Question 5: What do these courses offer students that they are unable to get in their private lessons or coaching session?

158 Linda Roark-Strummer

LR-S: It gives you a point of departure, if you have the IPA down. IPA is such a wonderful shorthand. When you’re in a session with a professional conductor or a professional coach (at the amount of money they are charging now for coaching), you don’t want to stand there for 10 minutes trying to figure out, is this an open / ɛ/ or a closed /e/, and how do I indicate it? In a split second you can write it down. If you do not speak the languages, then you have at least a point of departure for getting it right.

Nancy King

NK: Teaching diction within the context of a class offers immediate feedback from peers, which I think is really helpful. This community-based learning is always informative to a student. In a class environment, they can hear their colleagues speak. They can hear the teacher correct other people.

Lori Lovell Laux

LLL: Diction classes provide more in-depth familiarity with patterns of foreign language speech, and also reinforce the idea of the placement of vowels and how consonants are articulated. This has pedagogical benefits to the voice student as well. If a soprano, for instance, needs to modify a vowel in a foreign language, she would know what the best choice would be and how to best change the shape or placement of the tongue and/or lips to achieve this modification.

Patrick Newell

PN: The course allows you to get more into the rules of pronunciation in the languages. And it’s in a group setting so that it involves a lot more give and take between the students and the teacher, and also between student to student so that they can listen to one another and use that as a way to hone their skills. I find that as a voice teacher and a diction teacher, it goes much more easily if I can work with the students on articulation exercises and so forth in lessons but then talk about the actual pronunciation in the class.

159 6. How important do you believe proper diction is in the various languages as compared to the other aspects of vocal technique (i.e., breath management, expression, tone, etc.)?

Fifteen said it was “equally as important” and seven said it was “very important.” None said it was somewhat important or not important. To support these answers, the following comments, listed in Table 4.10, reflect how closely diction is intertwined with resonance and singing. Following this table are excerpts from six interviewees, which support the reasons why diction is so important, and why it is so intertwined with the other areas of vocal technique.

Cannot separate it, improper vowels can affect resonance. (Jerry Benser) Diction will help with resonance and other areas. (Rebecca Lister) Everything together makes a wonderful package. (Barbara Rondelli-Perry) Having proper diction only enhances one’s tone and overall polished vocal product. (Lynnette Chambers) We often forget to start training singers at the beginning that the vowels they use are important and can influence things like expression and breath management and tongue tension. I think it’s essential to have enough space in the buccal cavity to have the right resonance. I think it’s essential. (Abra Bush) It comes after breath management, but along with vowel and tonal concept and placement, expression of text, etc. (Juliana Gondek) It is just as important to sing well as it is to pronounce the words well. (James Sergi) Must happen in a different timeline. Students must gain full command of their technique first, then they can concentrate on singing well in all the languages. English is equally important as the other languages. (Jan Bickel) Once you get beyond the very beginning level of study. (Colleen Davis) Vowel placement is so important to the overall character of the voice. It affects expression, tone. Know how to modify. (Ross Bernhardt) Without proper diction, all the rest of it goes out the window. (Jennifer Luiken)

Table 4.10: Comments for Question 6: How important do you believe proper diction is in the various languages as compared to the other aspects of vocal technique (i.e., breath management, expression, tone, etc.)?

160 Diane Penning-Koperslei

DP-K: It’s extremely important because if your diction is clear and very much forward, then that really helps with singing and frees the breath, so that the rest of the mechanism can work properly.

Linda Roark-Strummer

LR-S: It goes back to the complete package. I see the voice and the mouth as two separate instruments that work in conjunction with each other. In other words, the voice as it comes out of your throat is just a sound. The mouth forms that sound into something intelligible. What we as singers have to do is be sure that one doesn’t disturb the other. In the beginning raw singers, singers that I don’t find well-trained, are afraid of consonants because they think those consonants disturb the pipeline. And I have found out that it’s not that at all. I was taught diction, English diction, and the combination of vowel sounds by a very wise lady who was the choir director in my church when I was a kid. And I have so many coaches that I worked with since then who said my diction is so perfect, that it doesn’t get in the way of my vocal projection. It’s the coordination of the two that make up good technique. Enunciate the word, use the consonants, keep the air flowing through it. Line and musicality: the two things that are nearly impossible to teach. Keep the line flowing for the uninterrupted production of sound.

Lori Lovell Laux

LLL: I believe it is extremely important. Diction, whether proper or poor, affects the breath management in tone in regards to placement and aperture, et cetera. Proper diction gives the singer a basis for expression that lends itself toward a deeper understanding of the text if the singer is not fluent in a language being sung. The more natural or native sounding the diction is, the more the audience will have text intelligibility, even if they do not understand the language. Musical phrases will also be more easily understood.

Nancy King

NK: My initial reaction to that question was it’s of paramount importance. It’s right up there with all of the other physiological technical aspects of singing. A lot of times, I

Continued

161 Nancy King continued

think we put the cart before the horse. If you simply get the student to pronounce the correct vowels, then other issues, technical issues of singing line up. It helps the vocal process. It’s not secondary. It forms the technique rather than having the technique supersede the issue of diction.

Patrick Newell

PN: With a beginner, for example, for me you have to get things such as posture, breath management, resonance control into the voice before you start making a big deal about pronunciation. At the same time, you have to get them thinking about pronunciation from the very beginning because it’s at the heart of what singers do in terms of communication, and affects other things such as resonance and articulation. So to say that one thing is more important than another, I would have to qualify that by saying that there is to me a hierarchy. And in the finished product of a singer, all of those things have to be a high world class level or as high a level as possible, including pronunciation.

Jean Del Santo

JDS: I believe that the vowel is the voice. The quality of vowel you sing is your vocal canvas. And if the languages cannot be clearly heard and understood, correctly pronounced and articulated, and enunciated with proper inflection for the language, there is no communication going on. You might as well just go out there and vocalize on the stage with the pianist.

7. What do diction classes offer the student of singing in his/her overall education and preparation as a performing artist?

The comments for this question, listed in Table 4.11, reflect how these classes offer the student of singing important tools so they can master singing in any of the foreign languages, which points to the expectation that as English-speaking singers, the performing artist has a responsibility to sing in all of these languages accurately.

162 Following the comments are excerpts from four interviewees. These excerpts further define this importance.

Allow the student to be exposed to diction, to use a foreign language dictionary and read the IPA. More able to learn a song on their own. Gives them a starting point. (Rebecca Lister) An organized approach to accurate pronunciation to the languages. Provides a foundation. (Colleen Davis) Awareness of the different sounds. Broadening their knowledge. (J. Blizzard) Diction classes should give the student tools that they can use when no longer in school. In addition, if diction classes are taught at the beginning of one’s education, they will only be reinforced in the following years. Diction is a foundation of good singing. (Lynnette Chambers) Creates the mindset of other cultures and time periods. Broad exposure to different ideas. Important to the overall liberal arts education. (Ross Bernhardt) Gives them a tool for both projection of the language they are singing, especially English. Also gives them a thorough knowledge of the IPA, which is a tool they can use their entire life. (Frederick Gersten) If offers them expertise, or at least a grounding. Again, the fundamental understanding of how to execute a language. So in their overall education as a performer, that would be very important. It could affect them getting the role or not. (James Sergi) It provides the basic tools. It teaches how to find resources to help themselves become independent. (Nancy King) Keeps them from sounding like clueless hicks, not just in foreign languages, but in English as well. (Juliana Gondek) More detailed study of the poetry and the sounds of the language that they are working on. (Lisa Sticham) Offer an opportunity to learn to correct and refine pronunciation of the languages. Diction classes should be followed by coaching, but can provide a firm foundation. (Jan Bickel) Respect for the language. Perform in front of their peers. Broader knowledge of vocal repertoire. (Jean Del Santo) Gives them a broader education and makes them more flexible. Helps them to think on their feet. (Natalie Lerch) The opportunity to learn the pronunciation of all of these languages. (Barbara Rondelli- Perry)

Continued

Table 4.11: Comments for Question 7: What do diction classes offer the student of singing in his/her overall education and preparation as a performing artist? 163 Table 4.11 continued

The ability to fully understand the sounds of a specific language and to produce them effectively and musically. Dramatically interpret the music through the text. (Jennifer Luiken) The student can figure things out without the diction teacher or voice teacher helping. And to pronounce words reasonably correctly. (Sheridan Stormes) They don’t have diction classes in Germany! It is essential in their development, and pronunciation, so that they can follow along in the score. We have a responsibility to get sounds right. (Jerry Benser) To be introduced to the languages. Do a lot of listening and comparison. Develop the skills. (Abra Bush)

Linda Roark-Strummer

LR-S: Projection. Going back to the complete package. It offers you a way to shorthand sounds and length of sounds and clarity. I have heard a lot of people sing who have great sound, good lines; but I am thinking I haven’t understood a word you say. I speak all three of these languages. I understand them inherently. And therefore if somebody is not enunciating the languages clearly, I get frustrated because there is no reason why they can’t do that.

Diane Penning-Koperslei

DP-K: As a performing artist it’s a great stress reducer to know what you are doing in terms of language and diction when you sing with professionals. For overall education, I think diction enhances one’s ability to communicate well.

Lori Lovell Laux

LLL: Guidelines for pronunciation, a pedagogical understanding of the placement of sounds, the desire for accuracy and intelligibility of the text and a primary vehicle for expression.

164 Patrick Newell

PN: It begins to give students more of a holistic idea that the songs they are using in one language and another language are oftentimes very similar with subtle stylistic differences. That French song is the way it is and is different from German song because of the way that language is pronounced, the rhythm of the language, which can even to a certain extent affect the images that poets are free to use within the poetry. So it’s hard for me to say that the diction class brings everything together because I think it’s just one aspect of study. But I do think that it is a place where you can begin to approach stylistic differences.

Part III - Questions pertaining to the diction texts and sources

8. What texts do you use currently to teach Italian, German and French diction?

This question asks the interviewees to list the main texts that they use in the classroom to teach Italian, German and French diction. Also included are the Marshall text and the Wall/IPA for English diction. The interviewees were initially chosen based on the texts that they use, in order to get a more complete picture about these texts. The

Wall book, Diction for Singers , was the one used the most, with eleven responses. Five use the Marshall book. The rest are as follows: Wall/IPA (4), Colorni (4), Cox (3),

Moriarty (3), Paton/German (2), Adams (2), Paton/Italian (1), Stormes (1), Stapp (1),

Sheil (1), Odom (1), Grubb (1), and Davis (1). Please see Figure 83, Table 4.12 for a list of the interviewees and their texts, and Table 4.13 for comments. Following this last table is one excerpt from one of the interviews.

165 Interviewee Diction Texts Jerry Benser Odom, Grubb, Colorni, Marshall Ross Bernhardt Cox, Colorni Jan Bickel Moriarty J. Blizzard Wall, Wall/IPA Abra Bush Adams Lynnette Chambers Wall Colleen Davis Wall Jean Del Santo Wall Frederick Gersten Colorni, Marshall Juliana Gondek Stapp Nancy King Wall Natalie Lerch Wall, Wall/IPA Rebecca Lister Wall Lori Lovell Laux Wall, Moriarty Jennifer Luiken Wall, Wall/IPA Patrick Newell Wall Diane Penning-Koperslei Wall, Adams, Paton/German Barbara Rondelli-Perry Sheil, Cox, Marshall James Sergi Cox, Colorni, Marshall Lisa Sticham Wall/IPA, Paton/German, Paton/Italian, Davis, Marshall Sheridan Stormes Stormes Linda Roark-Strummer Moriarty

Table 4.12: List of Interviewees and Diction Texts

Gateway to Italian Art Song and Gateway to German Lieder , both Paton. (Lisa Sticham) Wall: Supplement with Paton/German, Adams. (Diane Penning-Koperslei) Colorni and Marshall: Plus Handouts for French, German and IPA. (Frederick Gersten) Wall: I supplement it with Odom, Grubb, Hal Leonard German Art Songs and French Art Songs. (Colleen Davis) Moriarty: I supplement with Coffin, Colorni, Wall, Wall/IPA, many charts, and conversational French, German and Italian, language software. (Jan Bickel) Wall, Wall/IPA: Supplement with Berrong. (Natalie Lerch)

Continued

Table 4.13: Comments for Question 8: What texts do you use currently to teach Italian, German and French diction?

166 Table 4.13 continued

Sheil: Supplement with Grubb and Davis. They are recommended. (Barbara Rondelli- Perry) Wall, Wall/IPA: Supplement with Grubb, Odom, Marshall, Coffin, Adams, Paton/German, Moriarty, and Colorni. (Jennifer Luiken) Wall, Moriarty: Supplement with Grubb, Wall/IPA, Colorni. (Lori Lovell Laux) Wall: Supplement with Moriarty, Grubb, Colorni, Marshall. (Rebecca Lister) Supplement with Moriarty, Grubb, Davis, Montgomery, Castel. (Jean Del Santo) Written my own for French and German. Use notes for Italian and Latin and English. Use Wall as reference as well as Moriarty, Colorni, Grubb, Marshall, Adams and Odom. (Sheridan Stormes) Cox, Colorni, Marshall: Supplement with Cassell’s dictionaries for all languages. (James Sergi) Wall: Supplement with children’s books, Walt Disney movies in the languages. Also with Colorni, Grubb, Odom, Marshall, and Montgomery. Uses Castel for Spanish. Wall/IPA, IPA chart in Adventures in Singing (Ware) DictionDomain Website, CD rom: IPA for Singers , Jensen. (Nancy King)

Natalie Lerch

NL: I like the English one (Wall/IPA) because it has the workbook. So they actually get to practice using those symbols and have all the answers in the back. Whether they choose to use it or not is eventually up to them. But as a teacher, I at least can easily give them assignments and know that they can check their work to see whether they are doing it right or not. And I do end up having a few dedicated students that really want to learn and want to correct themselves. And so it really benefits them. I also have been using that book I told you about, Grammar and Translation for the Italian Libretto (Berrong). I like that because it gives me lists for the popular verbs so that I have a little more time to work with grammar. We actually go through and they learn certain verbs that come frequently. I teach them how to conjugate for the different pronouns so that they know the difference between the verb endings.

CM: The io isn’t always there!

NL: Exactly. So they have to know who’s talking. And sometimes you can’t figure that out if you don’t know the grammar. I also stress that they need to get the language tapes, the language classes themselves, so they understand the conversational aspect.

167 9. Why did you choose those texts?

Comments for why these texts were chosen are listed in Table 4.14. The texts are highlighted in boldface and are listed in alphabetical order. Following this table are excerpts from eight interviews, each stating which text the comments are about. Texts featured in the interview excerpts are: Colorni, Davis, Paton, Sheil, Stormes, and Wall.

The texts are listed in alphabetical order. In summary, Adams was chosen because it contains current information; Colorni, Cox, Grubb, and Odom because of the detail;

Davis because of the formatting and CDs and music; Moriarty because of the layout; the

Sheil book because it includes seven languages and it is handy and succinct; Stapp because it is user-friendly; Stormes because it has charts and is user-friendly; Paton because of the CDs; and Wall because of its formatting, clear charts, easy to find information, and inclusion of six languages.

Adams: To have the current information. And we need just one book. (Abra Bush) Adams: more like a textbook. (Diane Penning-Koperslei) Colorni, Cox: Richard Cox was one of my teachers, and is very good with diction. May not use Colorni again, somewhat analogous. (Ross Bernhardt) Colorni, Grubb, Odom: A lot of detail. I just use what is needed. (Jerry Benser) Cox, Colorni, and Marshall : I reviewed these texts that were used before I taught it, and I found they were excellent. They go into great detail about mouth and tongue formation. And there were exercises in most of them, except Cox. Cox is very articulate in terms of how to execute the various sounds. (James Sergi) Davis: I like the formatting very much. It’s very, very clear. I like the fact that it has CDs. I have them use them in class. Or we could be doing it interactively. (Jean Del Santo)

Continued

Table 4.14: Comments for Question 9: Why did you choose those texts?

168 Table 4.14 continued

Moriarty: Like the layout. Part I is learning and practicing the sounds. Part II is the application of the sounds. An excellent index of sounds. Cost effective. Easy to use. Word examples found in vocal lit. (Jan Bickel) Moriarty: I was on the ground floor of John Moriarty’s diction book. I have the rough draft copy of it. (Linda Roark-Strummer) Moriarty, Wall: I am familiar with them. I like the layout. I like the examples. Good examples, a logical progression in teaching the rules, singing examples, examples from texts, chart reference for ease of reference. (Lori Lovell Laux) Stapp: The most complete, most user-friendly, easy to follow and use, fewest mistakes or points of disagreement for me, full of useful info on structure of languages, basic grammar to aid in translating, covers 4 languages in one book. (Juliana Gondek) Wall: Resembles closely how I teach. (J. Blizzard) Wall: It is the book they use in the first semester. I teach the second semester: French and German. Has guidelines and rules. Helpful in dealing with the rules for open and closed E and O in Italian. Pretty succinct. (Colleen Davis) Wall : Liked the formatting of it. Very clear visually. Easy to locate material. Cost effective. (Jean Del Santo) Wall: Very clearly laid out. Easy to use. (Diane Penning-Koperslei) Wall: I use this text because all of the languages are in one book. (Lynnette Chambers) Wall: It really is cost effective for the student because it contains six languages in one book. It’s also a textbook I have used it for a number of years. (Jennifer Luiken) Wall: For an undergraduate, I think that it gives the rules in the most concise manner that I have found. It serves a simplicity in terms of quickly understanding, because when you are dealing with five languages in the course each semester, it has to go by quickly. So that’s why I chose the book. (Patrick Newell)

Frederick Gersten

Regarding the Colorni text:

FG: Well, I knew Evelina Colorni. I took her Italian course. So I am familiar with her method. Which is not always the greatest. But I find his book to be eminently practical. Now, that’s a little different than the transcriptions you find in most publications, which are a little bit academic and not too technical.

CM: In what way do you find her book practical?

Continued

169 Frederick Gersten continued

FG: Mainly in the discussion of unstressed Os and Es, which Colorni believes should be open. If you look at most other transcriptions, you will see that unstressed Os and Es are transcribed as closed. Because that’s the way they are in the dictionary. If you listen to the style of Italian singers, they sing them in the way they feel most comfortable, which is most of the time open. In fact, some professional singers I know who have sung in very prestigious places didn’t even know there was a difference between closed E and an open E in Italian. They just sang it. And when I approach the Italian coaches, they didn’t care either, as long as it sounded good. It has to do with singing comfort.

CM: That’s very interesting. I have done a few interviews now, and I have had several people with questions about open and closed E and O in Italian. Certainly the rules can be confusing and there does not seem to be any consensus. Maybe that explains why it is that way.

Lisa Sticham

Regarding the Paton/German, Paton/Italian and Davis texts:

LS: Well, because they are recent publications, and they have CDs with examples of the languages spoken by a native speaker or someone who is very fluent, who knows languages. The Paton has worksheets and even sample tests to follow. It is really well- organized. And the Davis also has CDs and the anthology of French music, which I thought was very good.

Barbara Rondelli-Perry

Regarding the Sheil text:

BRP: The Sheil book, I do look out for the student in economical ways. And I tell them about other books as well. But this book is a great value. There are eight -- for the money, there are eight languages in there. Including the Hebrew and the Russian. And, you know, especially for a beginning or preparation for these languages, it’s very concise. They can carry it with them very easily. So I have been using that for a long time now. And really I highly, highly recommend it.

Continued

170 Barbara Rondelli-Perry continued

CM: I notice there is on the outside cover of the new edition, a quote from you recommending his book. So you know him personally?

BRP: No. I have never met him. It seemed to me a very, very good book for them to begin with. We have mostly music education majors here. And we have had fewer vocal performance majors. And in some of my classes I have even had the pianist take the class. I have had other music ed. people, oboists and clarinetists, all take the class because sometimes they go into a situation to teach where they also have to coach the kids. Choral people. So a great mix of people in that class. I have tailored it to that. I wish we had ability for a graduate class, and then I could really go in depth, you know, with all the languages. It’s not possible in the situation which I have here at the University of Toledo. But I do believe that a great deal can be done in a short time.

Sheridan Stormes

Regarding the Stormes texts:

SS: I went through those texts initially to see what I closely identified with in terms with how I hear things. Again, I tell my students, it’s all about how you hear things, and that’s why people express different ideas. In diction texts you would think they would say the same thing, but they don’t because the individuals hear or perceive them differently. So as I say initially I try to choose those texts that are close to what I believe. But it really boiled down to that I liked certain things from one text and certain other things from another text to the point that students said, why don’t you just write your own text and we’ll go from that rather than use this book for that and that book for that.

Rebecca Lister

Regarding the Wall text:

RL: Well, again, since I am doing all of those languages, that one has all of them in there. And Moriarty does, too. The problem with Moriarty is that I don’t like the way it’s set up visually. To me it’s confusing. I am familiar with it is because I used it in my graduate courses. But I also realize that if you aren’t familiar with it, looking at that and

Continued

171

Rebecca Lister continued

trying to find things in it, is not easy. And so the Wall to me is a little bit easier to find things, because first of all, she gives you that chart at the beginning of every chapter. Very, very clear outline of all the signs and symbols and everything. And then she goes through very carefully each letter of the alphabet. And to me, that is so much easier because then you say okay, I have got a spelling of E here, and so you go to E and you find it. So I think it’s easier to find things in the Wall. That’s probably the main reason. And again just the fact that it’s really cheap. All those languages for a very reasonable price. That’s the main reason why I chose it.

Nancy King

Regarding the Wall text:

NK: Well, I think my initial reaction when I buy the text was it’s got everything in there, English, Italian, Latin, German, French and Spanish. It’s one book, and it will take the students through their undergraduate career. I am also sensitive to the issues of finances and the ability for the student to find the information in one place. So there were a couple of other things going on when I chose this. Aside from that, it’s quite a good textbook.

CM: Anything else you want to say about that?

NK: This one is pretty easy to negotiate. Some of the other ones are daunting. The ones that I use for secondary references, that I would use in my graduate studies, I don’t think are necessarily appropriate for an undergraduate, or the time constraint.

CM: That’s exactly what I am trying to find out here. Because I do want to focus on undergraduate diction courses for French, Italian and German primarily.

Natalie Lerch

Regarding Wall and Wall/IPA:

NL: Well, the workbook (Wall/IPA). I chose the purple one (Wall) because it has all the Italian, German, and French, and arts students are poor these days! You have the charts, and you can teach them to understand the stress, as well as the syllabication. It also has Latin and Spanish, which they sometimes are going to need as well.

172 Colleen Davis

Regarding the Wall text:

CD: I use the Wall because they already have it from a previous semester. And I supplement it with the Hal Leonard German art songs and French art songs. Then I put the Odom and the Grubb on the recommended textbook list. Some of the students do buy them because I tell them how wonderful they are.

10. What has frustrated you regarding these texts?

Comments to this question are listed in Table 4.15. This is followed by excerpts of five interviews. In the table, each text is highlighted in boldface. A summary of what the instructors found as frustrating are as follows: regarding the Adams book, the lack of exercises, Colorni: how the open and closed Es and Os are treated, Cox: not a lot,

Davis: a lot of wasted space and could use an overall chart, Moriarty: nothing, Sheil: nothing, Stapp: nothing, Wall: lots and lots of typos and errors, not a lot of explanations, and the treatment of some sounds.

Adams : Lack of exercises. Lack of recordings. (Abra Bush) Colorni, Cox: Everyone has their own opinion on open and closed vowels in Italian. All the exceptions to the rules and no agreement. Finding that exception for a word. Not easy to find the little bits of information. (Ross Bernhardt) Colorni, Odom, Grubb : Doesn’t use the same “ah” vowels (IPA symbols). Open and close E and O, I have them check the dictionary. The French /e/ and the American /e/. The record with the Grubb, the /y/ is overdone. (Jerry Benser) Cox, Colorni, and Marshall: Not a lot. I am happy with them. (James Sergi) Davis: A bit heavy. A lot of wasted space and margins. (Jean Del Santo) Moriarty: Nothing really. One of the best. Gives them a basic foundation. (Jan Bickel)

Continued

Table 4.15: Comments for Question 10: What has frustrated you regarding these texts? 173 Table 4.15 continued

Sheil: Nothing really. The main frustration is that I have so little time with the class and have so many languages to go through. Regarding the Sheil, one could ask for a little more elaboration. But then, the elaboration comes from me. (Barbara Rondelli-Perry) Stapp: Not much. (Juliana Gondek) Wall: Her treatment of the A umlaut (ä) with / ɛ/. Confusing! (Rebecca Lister) Wall: The many typos. Give extra credit for finding the typos. Pedagogical errors. /e/ in English, when it should be a diphthong. (J. Blizzard) Wall: No worksheets. Students find it confusing. Hard to understand the rules. It may also be due to the students and how they study. (Natalie Lerch) Wall: At times I think the texts are too “wordy.” In addition, I would like to see practice worksheets at the end of each session for the student to complete. Very similar to what is included in the IPA for Singers book by Joan Wall. (Lynnette Chambers) Wall: Don’t like the organization as well as Grubb or Odom. Don’t like the way it is organized visually. (Colleen Davis) Wall: Not as in-depth. But that is ok. (Jean Del Santo) The other texts weren’t all together in one place for me, and not the approach I wanted. (Sheridan Stormes)

Diane Penning-Koperslei

Regarding the Adams, Paton/German, and Wall texts:

DP-K: I think the first thing would the different symbols, the discrepancy of symbols. Well, I shouldn’t even say discrepancy. But Joan Wall has a whole section about in Italian, in the Italian section, about Es and Os and how you have to make your own decision on unstressed Es and Os, whether you want them to be closed or open. You know what I mean?

CM: And the David Adams and has more precise rules regarding usage?

DP-K: Exactly. Quite a bit more detail. I couldn’t use that much information in my class. There is not enough time. But also, before I began studying Adams and Wall, I totally read Colorni’s book. That works because there are different rules for Es and Os. Those frustrate me. Nobody agreed on anything. And then in the German Diction, Paton, he has different symbols. I can’t remember which ones were different.

CM: Some of the diphthongs?

Continued 174 Diane Penning-Koperslei continued

DP-K: Yes. I was thinking /ao/, / ɔø/. Anyway, there were different symbols. So I had to keep saying, he uses this symbol and I use this symbol, so....

CM: They don’t always agree.

DP-K: Exactly.

Lisa Sticham

Regarding the Davis and Paton texts:

LS: Paton has just a little bit more detail than you might want. Especially, since I only have 10 weeks to teach this.

CM: To teach each language?

LS: Yes. Each language. And also the worksheets are fill-in-the-blank, and the students express some frustration sometimes trying to figure out what he wants. Now, the fill-in- the-blanks can be kind of vague sometimes, you know, rather than multiple-choice or just straight out, answer this question. But, still, it gets them to review each chapter.

CM: And then how about the Davis book, can you talk more in detail about that now? What you like about it, what has been difficult or have you found it has worked well for you in your class?

LS: Well, again, I like the CD and the anthology, and the IPA, what is written about the music and the text analyses, I think are really good. It’s very good for the students to listen to -- that they hear the detail in the expression. So those are good. Although, they find the tone of the recorded voice a little bit off-putting.

CM: Oh, in what way?

LS: You know, it’s just so much more formal than they speak.

CM: Right.

LS: You know, we are Californians, very laid back. So I don’t think it’s a bad model,

Continued

175 Lisa Sticham continued

just kind of very foreign to them. I think the richness of her speaking voice is actually good for the students to hear because you have to get into that. That’s what you are trying to create in your singing. Anyway, it’s just a baseline that’s unexpected for them. It’s like hearing Margaret Dumont.

CM: Good. What else about her text that has concerned you? I know you said you were thinking of maybe using a different text next year. Why is that?

LS: I did find the layout of the book a little bit difficult to use. I find that there is a lot of wasted space. And so there could be more information on each page. I think it really needs a concise chart of all the letters. I always go over that at the beginning of the class. It should have the consonants and the vowels separated.

CM: Now, since it’s a 10-week class and she mentions in her book about only using the first three chapters? Is that what you did for your class?

LS: Yes, except, the most challenging aspect of French diction I think is figuring out the elision and liaison . And at the end of the first chapter, she asks about that. Yet they haven’t quite really covered that. She asks questions about eliding words that end in RT, RD, and RS. And those are considered the most complicated words to deal with. Right away, they are right there in chapter 1. So I think all of the sections, the ones in which words you are eliding, that is the most challenging. And as we went along, it became clearer and clearer when you should. And it’s a very complex part in the course. I think even the French people don’t know when and why they always elide or don’t. So for a non-French speaking people, that’s really challenging. I really like all the examples using words from the songs and from the text. I like the definitions at the end of that chapter. There are a lot of good things about the book.

CM: I’m curious, the book begins first with the IPA and then the vowels and consonants, and then pronunciation in general, and then the IPA symbols. Did you find that to be helpful, starting off that way?

LS: Yes, I think, though, trying to find an equivalent of some of the words in English as it sounds, that’s very difficult when you have people from all different regions. How do you find the sound of the darker AH or the open O? Because people out here don’t say, “I’m going to the mall”, or “The cat was mauled”. I mean, there is hardly any difference. But it’s okay to make an attempt. I think the charts are good. I would like a chart with all the letters.

Continued

176 Lisa Sticham continued

CM: The way the text flowed from the overview of the sounds to the distinctive features, then to the vowels and the glides, did you find that transition helpful?

LS: Yes. I think you have to deal with the mixed vowels right away. I prefer to go from the tongue position to the lip position. She goes the other way. She modifies those mixed vowels, and I don’t. For a student whose concept is so off anyway, the more accurate you have closer to a spoken language, the better they are going to have. So for Californians anyway, it’s better to go for the more closed sound. They don’t know how to say an OO, anyway. A California OO is /i:u/. The majority of my time is spent on having them read their text and figure out the liaison. And I had a huge class; I had 15 students. I wanted them to do two songs in 10 weeks. So the majority of my time was actually just spent going over with them their text on one day and then on the other day, having them sing it with the piano, correcting them. So I would have them do their IPA and translation, hand that in and I would correct that. And have them speak it. So I really spent a lot of time on song text. And some of them chose songs that were in the Davis book. We did spend time on Extase , because it’s a short piece. I was not familiar with that piece. I was really glad to have that as the first example. And they liked it a lot.

CM: Oh, good. So you did use that particular song from her book?

LS: The one I was trying to think of was Au bord de l’eau . Yes, some of them chose that and Les berceaux . And then one person did Extase . We covered quite a few songs with fifteen people, and arias.

Rebecca Lister

Regarding the Wall text:

RL: Mistakes. There are a lot of a lot of them in there. Fortunately, my colleague before me had a list of errata, five or six pages long. And so I actually make copies of that and distribute it to them. At the beginning of each class they have those and they can go through and mark them. But there are a lot of mistakes. That’s the only bad thing. A lot of things that are just left out. And so, I wish they just could just do another printing of it.

177 Patrick Newell

Regarding the Wall text:

PN: Well, there are a lot of typos in the text, and they have not been corrected over the years. I would like to see more variety in terms of example words that they use for pronunciation. And I would like to see the workbook that would deal more with the individual languages and pronunciation than writing things out in IPA.

Jennifer Luiken

Regarding the Wall text:

JL: It’s full of errors, misprints and contradictions. I think it was pretty poorly edited and it really needs a revision. It also conflicts, as she uses some different symbols for IPA than some of the other texts that I’ve seen.

CM: Do you give your students an errata sheet? Do you go over all those errors?

JL: The students start to find things and are able to point them out. I think it would probably take me months to go through it and find all the errata. It’s difficult because it can make a teacher doubt an answer, if you can find so many different pronunciations. I try to consult other texts to make certain of that sound.

CM: What other texts do you consult?

JL: I have the Thomas Grubb , Singing in French book; William Odom, German for Singers ; Madeleine Marshall’s book. I look also at the Phonetic Readings of Songs and Arias , a Berton Coffin book. Have a recent acquisition by David Adams called A Handbook of Diction for Singers , which has Italian, German and French in it. The Singer’s Italian by Colorni.

11. How effective have they been in aiding your teaching?

The responses to this question range from “very effective,” “somewhat effective,” and “not effective.” Comments regarding those responses are arranged below under each category, in Tables 4.16, 4.17, and 4.18. The texts are highlighted in boldface. One interview excerpt follows each set of comments. In general, the following

178 texts were listed as “very effective”: Adams, Cox, Grubb, Moriarty, Sheil, Stapp,

Stormes, and Wall. The following are listed as “somewhat effective”: Adams, Colorni,

Cox, Davis, Odom, Marshall, Paton, and Wall. Listed as “not effective” was Colorni.

Adams: It’s a good starting point. (Abra Bush) Cox: Fairly effective. (James Sergi) Grubb is very effective. (Jerry Benser) Morairty: (Linda Roark-Strummer) Moriarty: I teach from it exactly as he intends. I was in class at St. Mary’s College at Notre Dame when his text first came out. We were the guinea pigs. Have been using it since 1970. (Jan Bickel) Sheil (Barbara Rondelli-Perry) Stapp: Very helpful. The most frequently needed info is in the front, easy to find. Since all these languages are in one book, students can refer to notes made in earlier courses that are also applicable to another language. (Juliana Gondek) Stormes: Very effective. The students have told me it is like their Bible. (Sheridan Stormes) Wall: I would say on a scale of 1 to 5, probably 4. (Jean Del Santo) Wall: Been really helpful. It is a quick guide, easy to find things. A really good springboard. If there are things I disagree with or things that I am going to do differently, I will tell them flat out…and they are fine with it. (Rebecca Lister) Wall, Moriarty. (Lori Lovell Laux) Wall: Especially the workbook. (Wall/IPA). (J. Blizzard) Wall: It’s good as a reference text. Still things not happy with. Supplement with a lot of material. Created some of my own. (Natalie Lerch) Wall. Colleen Davis

Table 4.16: Comments for Question 20: How effective have they been in aiding your teaching?: Very Effective.

Colleen Davis

Regarding the Wall text:

CD: It has been quite effective. I still use the board a lot because there are a lot of ways of organizing the rules and information beyond what is shown in the Wall. I like to

Continued 179 Colleen David continued

group rules so that the students don’t have a million little individual rules that they have to learn.

CM: That’s a good idea.

CD: Actually, I am starting to work on some PowerPoint for my own use, for the ways I like to organize the rules. For example, to group all the rules for nasal sounds together, to group the mixed vowel rules. You can even group the monophthongs by closed and open vowels in German, according to spelling. Wall does not really summarize the rules, but does have guidelines and rules that my other books didn’t have, especially in dealing with the Italian rules for closed and open Es and Os, I find that helpful. I am not crazy about the way it’s organized visually. I don’t like the organization quite as well as the Grubb and the Odom, and yet I find it’s pretty succinct. It really covers the bases for my purposes, because we do have to cover the material pretty fast. And the students often come in with very little background.

Adams, Paton, Wall. (Diane Penning-Koperslei) Paton, Paton/Italian, Davis, Marshall, Wall/IPA . (Lisa Sticham, California State University, Los Angeles) Colorni, Marshall. (Frederick Gersten) Cox. (Ross Bernhardt) The German (Odom ) and the Italian (Colorni ). (Jerry Benser) Wall. (Nancy King) Wall: It is my first year. I am not sure I can really answer this question. (Jennifer Luiken) Wall. ( Patrick Newell) Wall. ( Lynnette Chambers) Wall, Wall/IPA. (Natalie Lerch)

Table 4.17: Comments for Question 11: How effective have they been in aiding your teaching?: Somewhat Effective.

180 Patrick Newell

Regarding the Wall text:

PN: Well, it has been pretty effective, I think. Joan Wall and all of her colleagues have written these rules out. Then I turn that into a formula that I put on the board, and we speak through it and get the students involved.

Colorni: not effective. (James Sergi) Colorni. (Ross Bernhardt)

Table 4.18: Comments Question 11: How effective have they been in aiding your teaching? Not Effective.

Ross Bernhardt

RB: The French and German Cox book has been fairly effective. The Italian, not so. Actually, there is a good German website from the University of Exeter now that has some good sound bytes that I use as a supplement I really like. I think with students, they need more concise guidelines particularly for quick reference. The books have been effective, but I think they need to be supplemented.

CM: What is the name of that German website that you mentioned?

RB: It’s listed under DictionDomain and I can’t remember. I don’t have my office computer up here. But it’s at the University of Exeter. Again, there are things with the sound bytes that I disagree with. They have this native speaker using wider E’s than I like on accented E’s.

12. How accessible have they been to the undergraduate student?

Eleven said “very accessible,” eleven “somewhat accessible,” and one “not accessible.” The reason for the additional answer is that one used more than one response to reflect more than one text. This question reflects how easily the undergraduate student is able to use and access the text. The responses are listed in

181 Tables 4.19, 4.20, 4.21 for each answer. After the responses for “very accessible,” there are two excerpts from interviews, one also speaks about software that is used in class and is found to be effective. There is one excerpt following “somewhat accessible.”

The following texts are listed as “very accessible”: Cox, Moriarty, Sheil, Stapp,

Stormes, Wall, and Wall/IPA. The following texts are listed as “somewhat accessible”:

Adams, Colorni, Cox, Davis, Marshall, Moriarty, Odom, Paton/German, Paton/Italian,

Wall, and Wall/IPA. One book was listed as “not accessible”: Colorni.

Cox: Pretty accessible. (Ross Bernhardt) Moriarty: It is laid out in such a way that it is not overwhelming. (Jan Bickel) Moriarty .(Linda Roark-Strummer) Sheil. (Barbara Rondelli-Perry) Stapp: Completely. (Juliana Gondek) Stormes. (Sheridan Stormes) Wall. (Jean Del Santo) Wall: That’s the one -- and I have not changed it in the time that I have been teaching here. I found it and I thought, bingo, that’s the one I want. (Nancy King) Wall: Very, very accessible. Able to find things quickly, a really good reference tool. (Rebecca Lister) Wall and Wall/IPA. (J. Blizzard, Wingate University)

Table 4.19: Comments for Question 12: How accessible have they been to the undergraduate student? Very Accessible.

Sheridan Stormes

Regarding the Stormes texts:

SS: I think by and large it’s quite accessible. I do notice that students today don’t like to memorize, and some students find it very difficult. The other thing I noticed is students can’t be bothered with too much verbiage, which is again why I composed my own textbook, because they are brief and to the point. I plan to have them do more singing.

182 James Sergi

Regarding Cox, Colorni, and Marshall:

CM: How accessible have they been to the undergraduate students? You mentioned they go into quite a bit of detail. Have the undergraduate students been able to use them?

JS: Yes. Some students come in, they did their homework; they practiced. And others skimmed over the material. You know, just a different kind of student. But the ones who apply themselves show improvement throughout the semester. What I have them do, from the beginning of the semester, is transcribe with the IPA, but I put them on individual tapes so that we keep a record from the beginning. The second week, their Italian is supposed to improve, and so we compare it with the first one. They leave each one on the tape so we can go back as a reference.

CM: On one note?

JS: Yes. I find that effective.

CM: You are the first person I have talked to who has actually does that. I’m glad to hear that it’s effective, that it works and is helpful.

JS: You’ll see improvement because of it.

CM: So you have them make a new tape every week, is that correct?

JS: Yes. I just give them a new one. I will give them back their transcription and highlight the words that need looking at. Then I will ask them to do it again and make it sound better.

CM: So they just hold on to the same tape and keep recording on it?

JS: Yes, same tape. It’s one of those 90-minute tapes, just go back and reference the earlier performance.

CM: Okay. And then they are supposed to queue it up for you to that current week?

JS: Yes. They add it on.

CM: Are those actually graded, or do you just give them feedback?

JS: For the midterm I will have them pick three pieces. They could be new or they could

Continued

183 James Sergi continued

be ones that they have done already before. That’s going to be their midterm.

CM: So for the midterm, they record that on the tape for you?

JS: Right. At least on the midterm. The final this year was oral. Everybody came in individually and did their pieces. They got to choose whatever they wanted to do.

CM: That’s good. Back to these questions here. The books that you currently use do not include an audio component, do they?

JS: Well, I use another thing I forgot to tell you about. I use something called “Transparent Language.”

CM: Yes, I see that under other resources. Tell me what that is. I haven’t come across that.

JS: Well, it’s a publication that you can get over at Staples. It’s just called “Transparent Language.”

CM: Software?

JS: Yes. It’s “Learn Italian Now,” and the publisher is Transparent Language. The thing that I use it for most is word pronunciation, single words. They will also have sentences. You can rate the speed. You hear is you hear the native speaker say, bon giorno (slowly) and bon giorno (regular speed). And then you use a microphone and click at the same time that you are speaking back, and it will actually give you a graph of the fricatives and the vowels at the bottom to see how it compares with the native speaker. It’s excellent.

CM: That’s interesting.

JS: It’s a visual as well as an audio help. They have a little scale up there that works really well. It says try again, good, and excellent. I think it even says “wow.” The kids have a lot of fun with it. I will line them up and they will do a round of 10 or 20 words. As it goes on, it will be like short sentences.

CM: Now, do you do this during class?

JS: Yes, I do it during class. Sometimes it breaks the ice. It doesn’t take long to do 10 words. They get immediate feedback right there, and get suggestions from the other

Continued

184 James Sergi continued

kids, like: “What do you think?” “What did you hear that would improve her rating here?” And so they feed off of each other. Maybe one of them will say: “For the “ah,” the tongue position has to be lower.” Or one of them will say: “They said an American R.” And so they begin to sharpen their own listening. We also put it in the listening lab. We set it up and they can take advantage of it.

CM: Right. I will look up the software for sure, but is it MacIntosh or Microsoft compatible, do you know?

JS: I never found out. Let me see. It says Windows and MacIntosh.

CM: Oh, both, okay, good.

Adams: Worry about this. Students come with very little background in languages so it is a bit advanced. (Abra Bush) Colorni, Marshall. (Frederick Gersten) Cox: Pretty accessible. (Ross Bernhardt) Grubb: Not as accessible. (Ross Bernhardt) Moriarty, Wall: Depends on the class. (Lori Lovell Laux) Marshall, Odom: The Marshall is old. The pronunciation problems in German (Odom) are described too much in detail. (Jerry Benser) Paton, Paton/Italian, Davis, Marshall, Wall/IPA . (Lisa Sticham) Wall: It’s hard to go through the vowels and then consonants and then the vowels again. I find it can be confusing for the student. (Natalie Lerch) Wall: Many undergraduate students become overwhelmed with all of the specific rules to memorize. (Lynnette Chambers) Wall. (Natalie Lerch) Wall. (Colleen Davis) Wall. Patrick Newell Wall: Many rules in the Italian. Was frustrating for the students. Didn’t always explain the reasons for the rules. Adams: more thorough. Explains the reasons behind the rules. Will use the Adams next year instead. (Diane Penning-Koperslei) Wall. Seems to be easy for the students to use (Jennifer Luiken)

Table 4.20: Comments for Question 12: How accessible have they been to the undergraduate student? Somewhat Accessible.

185 Patrick Newell

Regarding the Wall text:

PN: Joan Wall? I think it’s pretty accessible. I haven’t had many students who look at the text and get bewildered. I have found that for about half of the class, if I just turn them loose on a chapter, they get kind of lost. But if I sit down and say, this is how the book is set up, this is how you use it. You have a chart of sounds, you have the explanation, and then they go into more detail, that seems to make a lot more sense to them. So I think once they get the hang of the book, which usually happens by the second or third week of classes, it seems to be pretty accessible. I think it is more accessible than the Moriarty book, which I have used in the past.

CM: Just a question about that. When you used the Moriarty book in the past, was it confusing for the students, or what was the problem would you say?

PN: The problem was mostly confusion for me. And then that probably played over to the students as well. It didn’t seem to be laid out in a logical fashion for me as the Joan Wall book is. And the Moriarty was the one that I used for my undergraduate as well. And then to go on and teach with it, it just still didn’t make sense to me. I do use it to help beef up my lectures or to go back and find another way to explain something, or find example words. But I think the Joan Wall book has it over in terms of organization and being concise.

CM: I know the Joan Wall book is supposed to have what’s called a teacher’s pack.

PN: I used that my first year that I taught diction. As a first-year teacher, it was really helpful in terms of setting up lectures and having some ideas to use. But most importantly it was very useful for organizing exams and coming up with quiz questions and things like that. It can be a really good resource.

CM: I see. Did you use the tapes also that went with that?

PN: I made them accessible to the students, but we never really used them. I imagine that there were probably few students who listened to them. So we just mostly spoke in class.

Colorni. (Ross Bernhardt)

Table 4.21: Comments for Question 12: How accessible have they been to the undergraduate student? Not Accessible.

186 13. Do they include an audio component? If so, what is on the recording?

This question refers to the texts that are used in the diction class. Eighteen responded “no” and four responded “yes.” The texts listed under “no,” meaning they have no audio component, are: Adams, Colorni, Cox, Marshall, Moriarty, Stormes,

Sheil, Stapp, and Wall. Regarding the Wall: there is a teacher’s pack available separately, but not all teachers knew about this. Comments for those who responded

“no” are listed in Table 4.22.

The texts listed under “yes,” meaning they have an audio component, are: Davis,

Grubb, Odom, Paton/German, Paton/Italian, Wall, and Wall/IPA. The last two have tapes included in a teacher’s pack that can be purchased separately. These tapes contain examples from the text that are spoken which the students can practice with. The Grubb has an old record that has Martial Singher speaking the words. An excerpt from an interview follows Table 4.23, which talks about this. The Davis text has a set of 3 CD recordings of spoken word examples from the text, spoken song text, melody line of songs, examples of all of the songs being sung, and accompaniment parts played in two keys for each of the seven songs. The Odom has tapes that are purchased separately that have spoken examples from the text, and the Paton texts have CD recordings that have spoken examples from the texts by native actors.

187 Adams : No. (Diane Penning-Koperslei) Colorni and Marshall: Provide recordings for them to listen to of fine singers. (Frederick Gersten) Colorni, Marshall. (Jerry Benser) Cox, Colorni. (Ross Bernhardt) Cox, Colorni, Marshall. ( James Sergi) Moriarty. (Linda Roark-Strummer) Moriarty : No. (Lori Lovell Laux) Stormes: I made tapes for my students for the exercises in my texts to assist them in practicing the sounds.(Sheridan Stormes) Sheil. ( Barbara Rondelli-Perry) Stapp. (Juliana Gondek) Wall. (Rebecca Lister) Wall. (Lynnette Chambers) Wall: Not with the actual text. It has a teacher’s pack. (Nancy King) Wall : Not with the text. Separately as a teacher’s pack. (Natalie Lerch) Wall : Only in teacher’s pack. (Jennifer Luiken) Wall: Never got the teacher’s pack (J. Blizzard) Wall : I would never use a teacher’s pack. I use recordings. They have listening assignments. Three to five a semester that they do on their own and turn in. (Jean Del Santo)

Table 4.22: Comments for Question 13: Do they include an audio component? No

Grubb: old blue record. (Jerry Benser) Odom: you can get tapes separately. (Jerry Benser) Paton/German, Paton/Italian, and Davis: Speaking and singing. (Lisa Sticham) Paton/German: Yes. Wall, except for teacher’s pack. Paton: very fine recording of German speakers. Great for the students and for use in class. (Diane Penning-Koperslei) Wall: Teacher’s pack. (Patrick Newell) Wall and Wall/IPA: Has a teacher’s pack. (Lori Lovell Laux)

Table 4.23: Comments for Question 13: Do they include an audio component? Yes.

188 Jerry Benser

Regarding the Grubb, Odom, Colorni and Marshall texts:

JB: Well, the Grubb book has that old blue record which has Martial Singher speaking. Like the records you used to get on the back of cereal boxes. They would wear out eventually so I do have a cassette tape I used to give them a copy of. I think it’s important that they know the rules and be able to apply them. And even if they don’t get all the rules, if their teacher says, this needs to be a closed /u/ or a high U / ʊ/, or a lower-cased I /i/, recognizing the sounds helps them to get it right.

CM: Of course, the other ones don’t have recordings, just the Odom and the Grubb?

JB: The Odom has recordings. He has a native actor that speaks the exercises. We do use that from time to time.

14. Do they include transcription exercises for the student?

Twelve responded “no,” the diction texts did not have transcription exercises, and ten responded “yes” they do. Those texts listed as “no” are: Adams, Colorni, Cox,

Grubb, Moriarty, Stapp, and Wall. Those texts listed as “yes” are Colorni, Cox, Davis,

Odom, Paton, Sheil, Stormes, Wall, and Wall/IPA. Regarding the Cox and Colorni, the reason they are listed in both places is that they have brief examples of transcription exercises. The reason Wall is listed in both is that transcription exercises come with the teacher’s pack. Tables 4.24 and 4.25 have comments for those who answered “no” and

“yes” to this question. Following each table is an excerpt from an interview that describes a transcription assignment that is done in the class, not from a text.

189 Colorni: Do my own. (Frederick Gersten) Colorni and Grubb: None in Colorni or Grubb. I have my own that I have them do. (Jerry Benser) Cox, Colorni . (James Sergi) Moriarty: I do that weekly. I give them a real aria song text to transcribe as homework. Not necessary to have it in the textbook. (Jan Bickel) Stapp. (Juliana Gondek)) Wall: Supplement with own material. (Jean Del Santo) Wall. (Lynnette Chambers) Wall. (Jennifer Luiken) Wall and Moriarty. (Lori Lovell Laux) Wall: I make up my own. (Rebecca Lister) Wall: Except the teacher’s pack. Wall/IPA: does. (Natalie Lerch) Wall and Adams : No. (Diane Penning-Koperslei)

Table 4.24: Comments for Question 14: Do they include transcription exercises for the student? No.

Cox, Colorni : Brief ones. Not a lot. I supplement a lot. (Ross Bernhardt) Odom: List of words. (Jerry Benser) Paton/German, Paton/Italian, Davis, Wall/IPA: Also use IPA chart from Stapp. (Lisa Sticham) Paton/German: Yes. (Diane Penning-Koperslei) Stormes: Has transcription exercises in the book. (Sheridan Stormes) Wall/IPA: Does. (Lori Lovell Laux) Wall/IPA: Does. (Natalie Lerch) Wall: Only in the teacher’s pack. (Nancy King) Wall/IPA. (Colleen Davis) Wall/IPA. ( J. Blizzard) Wall: Teacher’s pack. I make my own. (Patrick Newell)

Table 4.25: Comments for Question 14: Do they include transcription exercises for the student? Yes.

190 Barbara Rondelli-Perry

Regarding a transcription assignment:

BRP: For Latin, I have them transcribe the Latin mass. In their university career, college career, in choirs and so on, they have to sing Latin at one stage. I actually start with the International Phonetic Alphabet, and they have to write their own name in English IPA, which I think is the most difficult. I also give them teamwork exercises, three or four people in a team, to transcribe oratorio arias in Latin. And some recitation in the class for that. The homework they have to do with Latin, two Italian arias, two French arias is in combination with my audio component, texts in Latin, Italian, and French that I have recited on the CDs. For the German and English, I have a CD of German spoken texts from arias, which they have to transcribe and recite.

15. Do they include quizzes or tests?

Seventeen said “no,” the texts do not include quizzes or tests, and four said

“yes.” Therefore, the large majority of these texts do not have quizzes or tests. The texts that do not are: Adams, Colorni, Cox, Davis, Grubb, Moriarty, Odom, Sheil, Stapp,

Storms, and Wall. The texts that do are: Paton/German (teacher’s pack), Paton/Italian

(teacher’s pack), Wall (teacher’s pack), and Wall/IPA (teacher’s pack). The reason Wall was mentioned both times is because the quizzes and tests are separate from the text.

Comments for “no” and “yes” are listed in Tables 4.26 and 4.27.

Adams: No. (Diane Penning-Koperslei) Colorni. (Frederick Gersten) Cox, Colorni. (James Sergi) Davis. (Lisa Sticham) Moriarty. (Jan Bickel) Sheil. (Barbara Rondelli-Perry)

Continued

Table 4.26: Comments for Question 15: Do they include quizzes or tests? No. 191 Table 4.26 continued

Stapp. (Juliana Gondek) Stormes: I give my own, separate from my texts. (Sheridan Stormes) Wall. (Rebecca Lister) Wall. (Jennifer Luiken) Wall: Just the teacher’s pack. (Natalie Lerch) Wall: Teacher’s pack does. Moriarty does not. (Lori Lovell Laux) Wall: No. (Diane Penning-Koperslei)

Paton/German, Paton/Italian: yes. Teacher’s pack for Wall/IPA. (Lisa Sticham) Paton: Yes. (Diane Penning-Koperslei) Wall: Teacher’s pack. (Lynnette Chambers) Wall: Teacher’s pack. Was helpful first year. (Patrick Newell)

Table 4.27: Comments for Question 24: Do they include quizzes or tests? Yes.

16. Do they include music and songs?

This question refers to the presence of actual printed music in these texts. The answers were equal: eleven said “yes” and eleven said “no.” Those texts mentioned under “no” are: Adams, Colorni, Moriarty, Stapp, Stormes, and Wall. Those texts mentioned under “yes” include Colorni, Cox, Davis, Grubb, Moriarty, Odom, Paton

(both), Sheil, and Wall. Of those, Davis, Odom, and Paton have complete songs. The rest have excerpts and/or vocalizes. The reason why Moriarty, Wall and Colorni are mentioned both times, is that they contain excerpts, not whole songs, so some answered

“yes” and some answered “no.” Please refer to Tables 4.28 and 4.29 for comments.

192 Adams and Wall. (Diane Penning-Koperslei) Colorni: Only a few excerpts. (Frederick Gersten) Stormes. (Sheridan Stormes) Stapp. (Juliana Gondek) Wall. (Rebecca Lister) Wall . (Lynnette Chambers) Wall. ( Patrick Newell) Wall. (Jennifer Luiken) Wall. (Nancy King) Wall and Moriarty: just excerpts. (Lori Lovell Laux)

Table 4.28: Comments for Question 16: Do they include music and songs? No.

Adams : Little snippets. (Abra Bush) Cox, Colorni: Some excerpts. (James Sergi) Cox: Examples in the Cox . (Ross Bernhardt) Davis. (Lisa Sticham) Moriarty. (Jan Bickel) Odom: A lot of songs, folk songs. Grubb has excerpts. (Jerry Benser) Paton/German, Paton/Italian, Davis: Have whole songs. (Lisa Sticham) Paton/German: Yes. (Diane Penning-Koperslei) Sheil: Just excerpts. (Barbara Rondelli-Perry) Wall: Phrases and vocalizes. (J. Blizzard) Wall : Just excerpts. (Natalie Lerch)

Table 4.29: Comments for Question 16: Do they include music and songs? Yes.

17. Do they include poems or texts?

This question refers to whether or not the diction texts include poems or texts.

Some include excerpts. Fourteen said “yes” and eight said “no.” The texts listed under

“yes” include: Adams, Cox, Colorni, Grubb, Stormes, Stapp, Odom, Paton (both),

Davis, Wall, and Wall/IPA. Of those, most have excerpts. Those with complete texts and poems include Grubb, Odom, Stormes, Davis, and Paton (both). The texts listed

193 under “no” are Adams, Colorni, Moriarty, and Wall. Three texts are also listed under

“yes.” This is because they contain excerpts. Please see Tables 4.30 and 4.31 for comments.

Adams : No. (Diane Penning-Koperslei) Colorni. (Frederick Gersten) Wall. (Patrick Newell) Wall and Moriarty : just excerpts. (Lori Lovell Laux) Wall: Some excerpts of texts. (Jennifer Luiken) Wall: I use my own. Use some from Grubb. (Rebecca Lister)

Table 4.30: Comments for Question 17: Do they include poems or texts? No.

Adams: Just phrases. (Abra Bush) Cox and Colorni: Brief section. (Ross Bernhardt)) Cox, Colorni : Excerpts. (James Sergi) Grubb. (Jerry Benser) Stormes: Erlkönig: which I require that they memorize! (Sheridan Stormes) Stapp: Lines of poems, texts. (Juliana Gondek) Odom : Whole texts and partial texts. (Jerry Benser) Paton/German, Paton/Italian, Davis, Wall/IPA. (Lisa Sticham) Paton: Yes. Wall: Some phrases. (Diane Penning-Koperslei) Wall: Some phrases. (J. Blizzard) Wall . (Lynnette Chambers) Wall: Excerpts. (Nancy King) Wall: Some excerpts. I write my own. (Natalie Lerch)

Table 4.31: Comments for Question 17: Do they include poems or texts? Yes.

194 Part IV - Questions pertaining to specific things you do for your class

18. Do you write your own tests and quizzes?

Twenty-one answered “yes” and one said “no.” Please see the comments listed in Table 4.31 for those that answered “yes.” There is an excerpt from an interview following this table which refers to the number and types of tests and quizzes.

Four quizzes: oral, singing, and transcriptions. (Sheridan Stormes) I also use questions from the quizzes and exams that accompany the textbook. (Lynnette Chambers) I have a midterm exam and a final exam. I do not have quizzes. (Barbara Rondelli- Perry) Taken from operas, etc. (Juliana Gondek)

Table 4.32: Comments for Question 18: Do you write your own tests and quizzes? Yes.

Lori Lovell Laux

CM: How many tests and quizzes do you give them?

LLL: In the past semesters, there is usually a test on every language. But in the beginning, I have an IPA test that’s basically just transcribing English words from IPA back to English so that they are familiar with all the phonetic symbols. And then I also do a vowel chart. I test for them, too, so that they can understand placement.

19. Do you have them transcribe music they are currently working on in their lessons?

Fourteen, replied “yes.” Eight said “no.” There are strong feelings for both answers. Table 4.33 lists comments for “no” and Table 4.34 lists comments for “yes.”

Also, following each table are two excerpts from interviews supporting their choice.

195 Have them all learn the same thing together, so they have the same experience. It is also easier to grade. It would be difficult to grade different songs. How would you decide the grade? (Jerry Benser) Pretty much leave the solo repertoire to the private teacher. (Colleen Davis) Two or three songs, and a recitative. Assign a song with the teacher’s permission. (Abra Bush)

Table 4.33: Comments for Question 19: Do you have them transcribe music they are currently working on in their lessons? No.

Rebecca Lister

RL: I actually want them to transcribe something they are not working on. So that it’s fresh and it’s not something that they been coached already.

CM: Yes, very good. Do they work on the same songs together, then?

RL: I give each one a different song. They choose to sing, to perform and to transcribe. But for the Italian chapter, they choose Amarilli mia bella or something similar. And then I choose a song that I want them to just transcribe. So they always have a handout for the song that they are doing and then they will have a handout for the song that I choose for them. Then they actually perform the song, so they are graded on that. Usually the classes are small. That’s the real advantage. A small liberal arts college, I usually have fewer than ten. That makes a huge difference.

Natalie Lerch

NL: No. I assign songs to everybody that they sing in class. And I encourage them to use those songs in their lessons. Or to tell me what songs they are working on in their lessons. The students are not very motivated to share that information for some reason, and I don’t know why. I actually provide a CD and a format of what I want them to transcribe and translate. And then they have to go and listen to it. I usually make them compare singers’ diction. So I maybe have two different singers do the same aria.

196 I want to give them something they can relate to. (Linda Roark-Strummer) They sing songs they are working on in their private studio. They pass out a copy of the text and read it. Then the students transcribe it before the singers start. (Frederick Gersten)

Table 4.34: Comments for Question 28: Do you have them transcribe music they are currently working on in their lessons? Yes.

Lori Lovell Laux

LLL: Always. Yes. That’s basically how we start. If students cannot draw an immediate parallel between the work in this course and how it will aid them in the private studio, they will become frustrated with the book aspect of this course, and it could become tedious.

Ross Bernhardt

RB: I will have them transcribe music, and actually they will also bring it in from lessons to perform in class, we will go over diction. I work with the students not only in terms of transcribing and working on their own diction, but using their ears to listen to the other students. I ask them: “What do you hear that they could fix?”

20. Do you have your students work in a listening lab? Are they required to submit pre- recorded tapes for your evaluation?

Fourteen responded “no/no” to this question, meaning their students do not work in a listening lab and do not submit pre-recorded tapes. The comments for this answer are listed in Table 4.35, followed by two excerpts from interviews related to this question. Most agree that this would be a good idea for their class. One person responded “no/yes” and made no comments. Five people responded “yes/no” and their comments are found in Table 4.36 followed by one excerpt. Two people responded

197 “yes/yes” and their comments are listed in Table 4.37. There is one excerpt following that table.

I make my own CDs.(Barbara Rondelli-Perry) That would be really good. (Rebecca Lister) They have access to their own CDs with the texts. (Lisa Sticham) Wish I had. (Jerry Benser)

Table 4.35: Comments for Question 20: Do you have your students work in a listening lab? Are they required to submit pre-recorded tapes for your evaluation? No/No.

Abra Bush

AB: One of the things I have tried with my classes in the last couple of years (I got this idea from [Stephanie] Adrian [Otterbein College] actually) is to assign each person in the class one of the songs from Liederkreis. They studied a little bit about Schumann; about the ideal song cycle; about the history of Liederkreis and the poetry . Then each of them performed a song, and they were able to listen to those songs on recording. What I found was that the students weren’t doing the listening. So if there is time, I play at least one or two examples in class of a particular song that day. Sometimes I will only get one of those songs done of the two or three we’ve heard that day. I really liked how that works, because it makes them listen and compare in class. We talk about what things to listen for, and that gives them something to hang on to.

CM: That’s the first I have heard of that idea.

AB: I really like it. It’s worked really well. For French, I try to do that with Fauré. I assign them all Fauré songs, make them buy a Fauré album. Or a Fauré book in their voice type and go from there. I usually use 24 Italian [ Twenty-four Italian Songs and Arias , G. Schirmer]. The only thing that bothers me about 26 [ 26 Italian Songs and Arias, Paton], is that it’s all phoneticized for the student. So if I happen to phoneticize one of the songs -- it’s already done. So I am kind of looking still. I have got this stuff that I have kind of been collecting that I might use instead of the 24 or 26 Italian this year and make them phoneticize them. My idea is for this year, to make them keep a journal. Put certain recordings on reserve and make them keep a listening journal and let that be a big part of their grade. So maybe they’ll figure out how to listen intelligently.

198

Lori Lovell Laux

LLL: No. We don’t have one. But we do listen in class. I bring in CDs of different people performing. And we talk about their diction and try to identify native singers versus English-speaking singers singing in a foreign language.

A music technology lab. Use that with Internet sites and recorded sound files that we load onto a website. Quad blog. Recorded tapes. MP3 players. (Ross Bernhardt) I like this idea. It would be helpful because there is not always time to spend with each student. (Sheridan Stormes)

Table 4.36: Comments for Question 20: Do you have your students work in a listening lab? Are they required to submit pre-recorded tapes for your evaluation? Yes/No.

Diane Penning-Koperslei

DP-K: No, we don’t have that available to us. I made a CD for each section of French, German, and Italian in class, and I made those recordings available to them.

CM: What was on the CDs?

DP-K: On the Italian one, I actually made a CD of myself saying the various Italian vowels. Pronouncing words and leaving a space for them to repeat. Then I included several arias sung by Morrelle Cheney, a person I listen to. I use her pretty much exclusively.

The students speak and record 2 songs a week. They turn their tapes in each week to be graded and corrected They are graded on improvement. (James Sergi)

Table 4.37: Comments for Question 20: Do you have your students work in a listening lab? Are they required to submit pre-recorded tapes for your evaluation? Yes/Yes.

199

Jan Bickel

JB: The students are required to listen to a recording of the vocal literature they are working on in class and lessons. Comparisons are made regarding what they hear in relation to what they have transcribed in IPA, according to the appropriate rules. I also use exercises in class where the students listen to one another sing or speak a phrase while the rest of the class attempts to transcribe this phrase into IPA.

CM: Oh, that’s great.

JB: After three readings of the phrase, I will take four or five of the students who have a transcription, and they put their transcription on the board. The singer or speaker, then, watches what they are doing in awe and sometimes horror. They are then given another opportunity to fix it. It works really well. Then after the singer or speaker does the phrase again, other members of the class come up to the board and pick the mistakes in the IPA that’s been made. It is amazing how quickly this gets the point across that a student’s personal diction, as well as his or her ear needs to be very, very sharp.

CM: I think that’s the first I’ve heard this in the interviews I have been doing. That’s a great idea. I noticed, on your survey, the students are required to record themselves?

JB: Yes.

CM: How do you do that?

JB: Actually, we have in our studios and in the classroom, digital video recorders with very good microphones. The students in the lessons are recorded. Our videotapes are on mini DVD. We only have one -- the students only have access to one big screen TV on which they can watch them. We have just purchased the PDF 340 which records directly to compact disc. So they will now be taking away from their lesson and the diction class a CD of their singing.

CM: Oh, that is fabulous.

JB: It works very well. And then we have a big computer lab in the music department. They all have headphones. It’s amazing and it’s recorded in digital.

CM: I could see how that would be a better quality recording than a cassette. And they could hear it so much better, all the little nuances.

JB: Exactly.

200

21. Do the students sing at some point during the course?

Twenty said that their students sing during the course. Two said that they do not.

Most agree that it is important, though not always practical. Table 4.38 has comments for those who responded “yes.” There is one excerpt following this table.

All the time. (J. Blizzard) Do very little. (Abra Bush) Not all always sing. Some are instrumentalists. (Barbara Rondelli-Perry) Three times: two coachings and one final recital which is open to the public. (Sheridan Stormes) Always. (Lori Lovell Laux) They sing intensively. (Jean Del Santo) They sing weekly. (Jan Bickel) Though not a lot of time for that. (Colleen Davis)

Table 4.38: Comments for Question 21: In your classes, do the students sing at some point during the course? Yes.

Colleen Davis

CD: I usually now start each class period with listening to the performance of the song that has a lot of whatever category of sounds we are going to cover that day. We then have a brief quiz on the rules that they read, and then go back and work with the song, speaking the text back and forth using the transcription, et cetera.

CM: So they are learning the same songs at the same time together as a class?

CD: We don’t have song performance very much. We don’t have time for it. I concentrate on the skills of speaking from IPA, speaking from the original language text, and taking dictation IPA, so that they have the aural and the oral and the written skills. I just try to have a lot of different activities that I lay out for myself to make sure that I get them speaking a lot and doing a lot of skillwork.

201 22. Who chooses the songs? You? Voice Teacher? Students?

Six said they chose the songs, five said that the student’s voice teacher picked the songs, two said that the students picked the songs, and nine said that a combination of those two or three picked the songs. Table 4.39 has the comments for this question.

This is followed by three excerpts from interviews.

All three. (Ross Bernhardt) Ask the voice teacher for suggestions. Simple songs to learn. All work on different songs. (Natalie Lerch) I pick out a song for them to learn, and they pick out a song to learn on their own. It can be very eye-opening! (Abra Bush) Often they consult with their teacher. (Lori Lovell Laux) Comes out of their lessons. (Patrick Newell) I give them each different songs. (Rebecca Lister) Song texts. (Diane Penning-Koperslei) The voice teacher should always choose the repertoire. (Jean Del Santo) They are NOT to use anything from the 26 Italian Songs and Arias (Paton), since they are already transcribed. (Jennifer Luiken)

Table 4.39: Comments for Question 22: Who chooses the songs? You? Voice Teacher? Students?

Lori Lovell Laux,

LLL: I basically set up the expectation at the beginning of the semester for the languages that I would like for them to sing in. And I give them the dates that they will need to do that. It doesn’t have to be memorized. I only mandate that it’s not something that they have sung in the past, that it’s something that they are learning this semester. So most of them take that expectation back to the studio and get ideas from their teachers. And the reason that I do that, have them learn something new is because so many of them will do the IPA, and they will do the word-for-word translation and, you know, it will be perfect on paper. And then when they sing it, they sing it the way they sang it a year ago.

202 Patrick Newell

PN: The songs come out of their lessons, that’s up to their individual teachers to choose. And I even ask the teacher to assign a song to them that we can use in diction class or give me one of their songs, whichever. One of those songs for each voice type, each language, ends up being part of the final examination as well.

Sheridan Stormes

SS: This is a very excellent question. Normally I make that choice. More recently, I have encouraged the faculty member to be involved in the choice I have proposed because I like the student to choose material they have not done before, so they are approaching it with a fresh eye. Another thing that I’ve done is to encourage them to use the French Song Anthology, published by Hal Leonard, edited by Carol Kimball and Robert Walters, and do two, or at least one piece from this. I like all the students in the class to be able to follow along so that while one person is performing another person is assigned to critique. So that it forces them to listen.

23. Are these songs from the textbook?

Nineteen said that the songs do not come from the texts. Two said “some” of the songs come from the texts, which include Paton (both German and Italian), and Davis.

One person said that all of the songs come from the text. That text is Odom. The comments for those answering “some” are listed in Table 4.40 and comments for those who answered “yes” are listed in Table 4.41. There are no excerpts.

From Paton/German. (Diane Penning-Koperslei) Gateway to German Lieder , Gateway to Italian Songs and Arias , Davis, plus others from teachers. (Lisa Sticham)

Table 4.40: Comments for Question 23: Are these songs from the textbook? Some.

203 Odom. (Jerry Benser)

Table 4.41: Comments for Question 23: Are these songs from the textbook? Yes.

24. Are the students graded on the quality of their diction when singing?

Seventeen said that they do grade the students on their diction while singing.

Five do not. Tables 4.42 and 4.43 list the comments for this question. There are two excerpts from interviews of those that answered “yes.” They explain how the student is graded. One uses a rubric.

Just as a class participation grade.(Frederick Gersten) N/A. (Diane Penning-Koperslei)

Table 4.42: Comments for Question 24: Are the students graded on the quality of their diction when singing? No.

Individual sessions. They get nervous. Collected diction is quite good. (Jerry Benser) One component of testing. Two songs in each language. (J. Blizzard) They are graded on the final exam as well as daily work.(Patrick Newell)

Table 4.43: Comments for Question 24: Are the students graded on the quality of their diction when singing? Yes.

Lori Lovell Laux

LLL: I grade them. I basically have a rubric that I use when I’m grading their singing, and I usually record it also. I try to give them as much verbal feedback as I possibly can, and then I go back and listen to the recording so that I can fill in that rubric. We talk about double consonants or stress and unstressed syllables, things that would be easy

Continued 204 Lori Lovell Laux continued

for them to fix quickly in that tested kind of period. And then the more detailed comments can come from listening to it again.

Jan Bickel

JB: Absolutely, with three exclamation points. But they are also graded on their ability to get the point across in the way they are using the language as they sing. It’s not just pronunciation. It’s really using the language like a native. Not only do they do the IPA transcriptions, but they must do a literal translation for every single text, before they ever stand before the class and speak it.

CM: When they do those translations and transcriptions of their texts, do they pass out the copies to the rest of the class?

JB: Absolutely. They give them to me and I copy them.

25. Do your students read texts or poetry aloud?

All twenty-two interviewees said that they have their student read texts and poetry aloud. Please see Table 4.44 for comments on this question. There is one excerpt which describes what they do during their class.

Both texts and poetry. (Jan Bickel) Children’s books. (Nancy King) It is part of the midterm and final. I have them read a text from a German or French Bible, or poetry. (Ross Bernhardt) Oral portion of the exam. And they sight read a text and prepare a text, memorized (Erlkönig ). (Sheridan Stormes)

Table 4.44: Comments for Question 25: Do your students read texts or poetry aloud? Yes.

205 Lori Lovell Laux

LLL: Yes. We usually do that individually. We might have one person read a line of text and then ask for feedback as far as was that all correct, or would you change anything? So that they are not sitting passively waiting for their turn, but really listening to the diction as it’s being pronounced and thinking through in their minds, is that correct or is it not. And if it’s not, why do I disagree and what would I change. I find that works really well in a class setting. And it doesn’t put that one person on the spot because the other people are too busy trying to predict, figure out if that’s right or not.

26. Do they read as a group or individually?

This question follows the previous one and refers to the students reading poetry and texts aloud. Fifteen said that they have their students read as both a group and individually. Seven said that they only read as individuals. Please see comments for

“both” in Table 4.45. There is one excerpt from an interview following the answer

“individually.”

Do more group reading at the beginning. That’s how vowels are introduced. Also have them intone the words. Use kid books in other languages. (Abra Bush) Graded as individual. Group reading by mimicking sounds. (Ross Bernhardt) Just part of daily work. Not graded. (Patrick Newell) Mimic back the sounds. Otherwise, as individuals. (Jan Bickel) They are graded. Part of their final. I have them speak their song. (Jerry Benser)

Table 4.45: Comments for Question 26: Do they read as a group or individually? Both.

206 Comments for “individually”:

Jennifer Luiken

CM: Do they read as a group and/or individually?

JL: There is no group reading, only individual reading.

CM: Are they graded on that?

JL: Yes. For each language we end up with a final project which includes the song that they have prepared, and reading the poem aloud. A percentage of that grade for each language is included in both the reading and the singing of the song. They actually prepare just one song for each language.

27. Are the students required to do IPA transcriptions?

All twenty-two said that their students are required to do IPA transcriptions.

This points to the importance of doing transcriptions and the importance of learning the

IPA. Please see comments for this question in Table 4.46. There is one excerpt for this question following the table further demonstrating the importance of transcriptions.

Every week. (James Sergi) Of whatever we have studied up to that point. When they perform they do a literal translation, poetic translation, and IPA transcription. (Abra Bush) For the final exam the student listens to a song, does an IPA transcription and a translation. They also have to bring a dictionary to class. There is also a take home comprehensive final exam . ( Nancy King) Three to five songs in each language. (Jan Bickel)

Table 4.46: Comments for Question 27: Are the students required to do IPA transcriptions? Yes.

207 Ross Bernhardt

RB: They’ll come in outside of class, we’ll look at things, and I give them feedback. The nice thing about being a small school and a small department is we can be very informal about the way we do things. It’s a good environment for the students because they get a lot of attention outside of classes they might not get somewhere else. Being in Western Tennessee, we have a very distinct dialect. And I actually have them do some work in transcribing Western Tennessee dialect as well as singing dialect. So we can really see the fine tuning of different vowel sounds just from one region of the country to the other.

28. How much time is spent on learning the rules?

This next series of questions asks how much class time is spent on the different aspects of diction. Though this can be difficult to determine, all were able to give approximate answers. Of the twenty-two, eight said that they spent 50% of the class time learning rules, five said 25%, four said 40%, three said 30%, one said 20%, and one said “roughly equal.” Four excerpts from the interviews follow that show responses to this question.

Barbara Rondelli-Perry

BRP: I need about one week’s classes to learn the IPA or at least to get a big chunk of it learned. The semester is eight weeks on either side of the midterm. Another two to two-and-a-half weeks for Latin. And the rest, another four weeks-plus, for the Italian. So there is the time constraint of that.

CM: Okay. And then you have eight weeks for French?

BRP: Yes. The whole eight weeks is for the French. I will say also that in the last five to ten years, I play a French movie and an Italian movie because I think it’s terribly important that they are exposed to the conversational aspect of the language. You see, except for the performance majors, they are not required to take Italian or French. I

Continued

208 Barbara Rondelli-Perry continued

think the performance majors are required one semester each. It’s very, very little. And so without that kind of background, I tell them, you have got to help yourselves. Rent those foreign language videos. The videos I show them are musicals, because they are good music. That’s another component of the class.

Jan Bickel

JB: Our time is limited, but I try to spend as much time in class to go over the actual rules. Approximately the first three weeks of class are spent on learning the rules, transcribing, and correct oral pronunciation. And each student will come to class with a specific aria to be spoken first and then sung. And as we talked about before, the other students transcribe it on the board. It’s time consuming, but once they have done one song that way, it cleans up their diction so fast. And fortunately the classes are small. Never more than ten students, and usually around seven or eight. The students sing weekly.

Lori Lovell Laux

LLL: I basically split the rules in two parts. I introduce vowels and then consonants, and then we spend time transcribing songs and speaking the language. Then they sing, and if possible, memorize their song so that they can actually watch how they are articulating in a mirror. As far as how much time is spent with all those, in the fall semester when I was breezing through six languages, we tried to get through basically a language every three weeks. We met twice a week. So I would do vowels and consonants in one week. And then we would have two more weeks to practice speaking and singing.

CM: Okay.

LLL: That was much slower in the two semesters, semester course. That would certainly be lengthened. And I think we would probably do more in-class singing. I don’t know that I would spend any more time on introducing rules. I think that we would spend more time on the practical application of the diction.

209 Colleen Davis

CD: I really try to make it very balanced, except that I have found that trying to do the singing in class is too much. We have solid repertoire and performance requirements for applied study. So they are doing a lot of singing, and singing many languages in choir. I try to spend a lot of time on oral pronunciation, listening, and rules. When I started, I spent too much time on the rules. You have a later question about what advice would you give to someone teaching the course for the first time, and I say to make sure that you really do have a balance of time that they spend speaking, listening, and organizing the rules, than let your own personal style dominate the distribution of time.

29. How much time is spent on transcription?

Seven said 50%, six 25%, three 30%, two 29%, two 20%, one 6 or 7 times, and one “roughly equal.” There are two excerpts from interviews that include details of transcription work in the classes.

Nancy King

NK: The way the class is structured I start off with a review of IPA. Then we go through a couple weeks of just doing the grammar. I always pick the nouns, the verbs, and then any other peculiarities of that language. During this time, everything that I do on the board, they’re IPAing and working with the stress. If I am doing a noun in French or German or Italian, the class is required to participate. And so every class involves repetition of the sound and transcription. After I do that, then we go through the specifics: all the vowels and then all the consonants. And then towards the end of the section, each student usually sings two songs. They are required to IPA the song text, pass it out to their colleagues, read it in front of us, and we make community corrections. The neutral vowels are my big concern. I don’t think they are the same in every language.

CM: You modify it differently depending on the language, is that correct?

NK: Well, the language and the position of it.

CM: So how do you teach the schwa in German?

Continued

210 Nancy King continued

NK: Well, for example, the final schwa in German you could use schwa , upside down E / ɘ/. Or I oftentimes use the rounded version, which is OE /œ/. But then on EN endings, like finden , I would use the open E / ɛ/. Even though technically if you use that version, that would make it stressed. So if we have a word like ‘lieder,’ then I would use the OE /œ/, just because I get them to be rounder. Don’t forget I teach in the South, too.

CM: Do you find that using the OE helps with a vocal line?

NK: Absolutely. Lines up the vowel immediately. One of the things that’s tricky down here in the south is that there’s mispronunciation of the language, with no discernible open E vowel down here. If you say to a student, (holding up a pen) and say “What is this?” they will say it’s a /p ɪə n/ . So you get diphthongs where you don’t want them, and there is no open E. I just don’t think schwa is a good singing vowel. It always leads more towards the upside down caret, / ʌ/.

CM: Because it’s too far back.

NK: It doesn’t line up with the other vowels and it gets you into trouble.

Jennifer Luiken

JL: Well, the class meets twice a week during the course. We meet for an hour and 20 minutes twice a week. Within each unit, we probably spend close to five class periods going over IPA. I start with transcription right away because it challenges them. How do you pronounce this, and how you would write that? And is this correct? The singing takes probably the smallest amount of the time

30. How much time is spent on oral pronunciation?:

These answers ranged widely from 5% to 80%. Of the twenty-two, seven said

50%, six said 25%, three said 20%, two said 80%, one said 30%, one said 10%, one said 5%, and one said “roughly equal.” Table 4.47 has comments for this question.

211 Would like a lab component so they can practice individually. Wish we had more time for this. (Jerry Benser)

Table 4.47: Comments for Question 30: How much time is spent on oral pronunciation?

31. How much time is spent on singing?

Again, the answers varied widely, from 10% to 80%. Of the twenty-two, five said 20%, four said 50%, four said 25%, three said 10%, two said 80%, one said 30%, and one said “roughly equal.” Two of them do not have the students sing at all.

32. Are there other ways the student is assessed? If so, what are they?

There are several ways that were mentioned in which students are assessed. The following are the ways the students are assessed with the number of responses in parenthesis. Several respondents responded more than once. The assessments include transcription (16), oral pronunciation (14), written quizzes (13), written tests (12), singing (11), homework (9), class participation (7), listening reports (5), attendance (5), dictation (10), and board work (10). Please note the comments for this question in Table

4.48. There are three excerpts from interviews detailing these assessments, which include transcriptions and quizzes.

212 A report on a famous singer. (Sheridan Stormes) Apply the rules, hear and correct mistakes of their peers, sight read a text. (Jan Bickel) The quality of speaking is checked by computer. (Jerry Benser) In Italian class, we also learned and memorized accurate delivery/style of secco recitative , all recits of Cosi fan tutte . (Juliana Gondek) Preparation, attitude. (Natalie Lerch) Using a dictionary. (Lori Lovell Laux) Weekly quizzes. No midterm or final. (Frederick Gersten) Yes. The student must listen to a pre-assigned recording (usually a song cycle) and write a paper addressing issues relating to proper pronunciation. They are to state specific ways in which the singer adhered to the rules of vocal diction, or how they did not. In addition, each paper must address vocal timbre, interpretation, and what they thought about the music. I want the student to be exposed to as much singing in a foreign language as possible. Listening can help the student “get certain sounds” into their ears. (Lynnette Chambers)

Table 4.48: Comments for Question 32: Are there other ways the student is assessed? If so, what are they?

Jennifer Luiken

JL: I try to grade them on their classroom participation and attendance because it’s so important. You can’t miss that many diction classes or you will really fail at the language. We have two or three quizzes or tests with each language.

CM: Is there a final or midterm exam?

JL: There is not. There are unit exams at the end of each language.

CM: Is there a final project?

JL: For the final project, which includes their singing, the reading of the poem, and handing in a written transcription of the song, there is a transcription exam.

CM: So you give them some other song or poem to transcribe?

JL: Oh, yes.

213 Diane Penning-Koperslei

DP-K: I made sure that everyone gets the work that I assigned to transcribe. Part of the grade actually was for showing up, because I wanted to make sure they were always there. For the French section, I had them take a French art song and transcribe it. They also had to give me every single rule for the situations they came across, for every single word. It was really quite effective. In the German class, I assigned them a song to transcribe, but that wasn’t as effective as making them state the rules. In the Italian, they had to transcribe an aria. I had them transcribe several sentences. I also would have them identify a problem in a sentence and, then in the other column, I would have the rule and the page number for them to decide.

CM: Do you have a midterm or a final exam?

DP-K: I had the three languages to deal with, so no midterm. We did a final exam.

CM: You did a final exam on all three?

DP-K: Yes.

Jan Bickel

JB: The students are assessed on their ability to apply the rules in each language. I actually make them apply the correct rules in a foreign language to an English phrase toward the end of the study period. This makes the students acutely aware of good pronunciation and rule application. It also makes them much more tolerant of our English-as-a-second-language students. That’s a very good way to figure out if they really know the rules. They are also graded on their ability to hear mistakes and make corrections to their peers in class. Of course, they are graded on their ability to speak and sing a chosen song text with correct diction as well as appropriate inflection. I also grade them on their ability to sight read foreign language text at the end of the course as part of their final.

CM: Sight read?

JB: Yes. In other words, I hand them a text that they have never seen before in the language.

CM: Is it usually a song text?

JB: Yes, a song text. I will give them one to two minutes to look at it. Then they read it to me. It tells me how much they have assimilated without going to the rules.

214 33. Do you wish your class was constructed in another way?

Twenty who said that they wished their class was constructed in another way, indicating a need for more time. Only two said that they were happy with their class as it is. The reasons for the first response are as follows: “more time for a language” (10),

“have only one language per semester or quarter” (8), and have the class “meet more often” (4). Table 4.49 lists comments for this question.

I would incorporate the vocabulary more. (Sheridan Stormes) Add Latin. (Frederick Gersten) Divide it into two different semesters. (Lori Lovell Laux) Four semesters, one for each language but Italian and Latin would be combined. (Patrick Newell) I wish we didn’t have to do 5 languages in one semester! (Rebecca Lister) It works really well. I have a two-year sequence. (Jean Del Santo) More hours available for the class. We have 2 hours, one time a week. (Juliana Gondek) Wish we had one full quarter, and met three times a week. (In California, there are no classes on Fridays!) (Lisa Sticham) Separate semester for German and French. (Lynnette Chambers) Have more time. This will never happen at a liberal arts school. (Jan Bickel) Three days a week, three 50-minute classes. And later in the day. Also, have a pianist assigned to the class. More time for listening and hearing native speakers. (Abra Bush) Wish we had a lab component and time for lab work. (Jerry Benser) Wish had a class for each language. (Ross Bernhardt) Wish they were taking Italian language when they are taking Italian diction, for example. (Natalie Lerch) Wish we just had two languages per semester. More time for the basics. One language per semester would be ideal. (Jennifer Luiken)

Table 4.49: Comments for Question 33: Do you wish your class was constructed in another way?

215 One excerpt follows which is from one of the people who said “no.” The excerpt explains how this class is constructed and why it works so well. The emphasis is on making the class fun.

Jean Del Santo

JDS: When I was an undergrad and in grad school, I hated every diction course I had to take. I thought they were the most boring things. And when I was at asked to teach diction, I thought, I want to make this as much fun as I possibly can, and I think I have succeeded. Because diction courses can be deadly. Words, words, words. The students don’t know the language anyway. They don’t know the translations unless they have them written underneath there. And they are just going through these endless boring diction rules. I start my students out during that first five-week period. We are very fortunate here in Minneapolis to have a wonderful public library with an extensive selection of foreign language children’s books. The first readings we do are foreign language children’s stories. They love it. It gives them a sense of the grammar. It teaches them some easy words so they grow competent right away, even if they have never taken the language before. It gives them a chance to read dramatically. We learn as a group the Marseillaise (the French national anthem), little folk songs, drinking songs, whatever. I get them up and singing right away, even before they sing their choral pieces. So they build some confidence. And then as I go on to the diction rules, I have something to refer to. They have already captured it. You know, that’s the way you learn a language. I also use bar charts, which is a laminated three-page fold out that is a summary of the grammar for Italian, French and German. I think it only costs something like $4. And I do just a minimum of grammar, personal pronouns, first person conjugation of verbs, conjugation of “be” and “to have” in each language. They get just a little smattering of very, very elementary grammar. Not a grammar course, but I think it’s important that they know it. And I also have a three-page trilingual vocab list I give to the students. By the time they have gone through the sequence, they know the personal pronouns in Italian, French and German; can count from 1 to 10 in Italian, French and German. They know interrogative pronouns in Italian, French and German. And then there are sets of words that are commonly found in song repertoire. All song repertoire talk about: Lips, eyes, sky, earth, tears, love, to sing, to hate, to sigh, the words for Mr. And Mrs., the words for young boy and girl.

CM: Now, do you prepare that?

Continued

216 Jean Del Santo continued

JDS: I put it together. I have vocabulary words on those. And I make them learn the articles and the nouns for masculine and feminine. In any song they pick up, there will be at least three to five old words Even though they haven’t studied the grammar, they still can look at a word and say, well, I know what that means.

CM: The bar graph that you mentioned, is that something you buy or something you’ve put together?

JDS: No, it’s called bar chart. Your bookstore will know it. It’s probably just sitting right over there in the language section. They come in every language, including Chinese. You can also log on to the Internetbarchart.com, something like that.

34. Do you have to teach more than one language in the class per semester/quarter?

Twenty, said “yes.” Only two said “no.” This speaks to why the majority of those interviewed feel they need more time to teach this class.

Which ones?

This question relates to the previous one, and asks which languages are taught in one semester or quarter. Figure 84 provides a visual display and details for this question.

There are fourteen different combinations of languages. The most common combination is German and French with ten responses, followed by English and Italian, with seven responses. The number of languages taught in one term ranges from two to six, with two being the most common, with six different combinations. Please see Table 4.50 for comments on this question. Also, one excerpt is included below which details how one class is constructed that teaches six languages in one semester.

217 Lori Lovell Laux

CM: Do you teach all of those languages in one semester? (English, Italian, German, French, Latin, and Spanish)

LLL: At Rollins, where I am now, I do. And so it’s much more challenging, and we are in the process of dividing the class actually into two different semesters. That will actually start in the fall. When I was teaching at UNLB in the school where I taught in Ohio, they were broken up into different semesters. A 15-week course doesn’t allow you much time. We breezed through Latin because most of them had sung that. We spent most of our time on French and German, because most of the students in this particular class had not yet sung in that language. So I felt if they at least left with a greater understanding of the rules of pronunciation for those two languages, they could meet their performance requirements with a little more ease. The students went to the chair of the department and requested another semester or division for the diction class. Because it’s a liberal arts school, we pretty much can tell the school what we need and usually don’t have any trouble getting it. So the format for that will be changed.

2 weeks on IPA, 2 weeks on Latin, 2 weeks on Italian, 5 weeks on French, and 5 weeks on German. (Ross Bernhardt) German in Spring and French in the Fall. (Jean Del Santo) IPA with English. Italian is a separate semester in the spring. German and French in one semester. 6 weeks of each language, 2 weeks of testing. (Natalie Lerch) Italian and German and some Spanish, 7 1/2 weeks per language. (Nancy King) German and French plus IPA. (J. Blizzard) 1 week of IPA, 2 weeks of Latin, 4 weeks of Italian, and 8 weeks of French. (Barbara Rondelli-Perry) They learn the IPA with English. (Frederick Gersten)

Table 4.50: Comments for Question 34: Do you have to teach more than one language in the class per semester? Which ones?

35. Are the students required to study the languages in a certain order?

Seventeen said “yes” and five said “no.” Table 4.51 has the comments for “no” followed by an excerpt, and Table 4.52 has the comments for “yes,” followed by an excerpt.

218 But it is better if they take English/Italian diction before German and French. (Lynnette Chambers)

Table 4.51: Comments for Question 35: Are the students required to study the languages in a certain order? No.

Patrick Newell

CM: Are they required to study the languages in a certain order?

PN: You mean in the diction class?

CM: Yes. Do they have to take the English class before they take the German and French classes?

PN: No, they don’t, and I wish they did. The way we teach it is every spring semester, we teach a diction course. We do Italian, English and Latin one spring; and the other spring, German and French. They are supposed to take diction their freshman year. So whichever language they take first, then they get the other language the next year. Only our performance majors are required to take both semesters. Our education, composition and music business majors have only one semester requirement, and they can choose whichever one they want to.

Starts with IPA, then Latin, then Italian, French and German. (Ross Bernhardt)

Table 4.52: Comments for Question 35: Are the students required to study the languages in a certain order? Yes.

Jan Bickel

JB: Yes. As head of the voice department, I require that every student, regardless of prior study, take a vocal technique class. In that class, I teach the fundamentals of IPA with application to English and Italian. And then in the following semester, they take Italian, English, and Latin diction. The semester after that is French/German.

219 If so, what is that order?

For the seventeen to which this question applies, there are thirteen different combinations of languages. The most common is “German/French second” with eight people, the next most common is “English/Italian first,” with seven. Please see Figure

85 for a detailed visual display of this question. Table 4.53 lists comments for this question, and is followed by an excerpt which describes how the order of the languages taught in the class is tailored to fit the class.

Depends on what the class has had in the past. (Lori Lovell Laux) English and Italian is taken during their freshman year (fall and spring). German and French are taken during the fall of their sophomore year. (Natalie Lerch) Freshman year: English and Italian. Sophomore year, German and junior year, French. (Lisa Sticham)

Table 4.53: Comments for: If so, what is that order?

Lori Lovell Laux

LLL: I basically assess the students at the beginning of the semester to find out what languages they have sung and then I rearrange the class according to that. I always start with English, and then I move to the language that most of the students are currently singing in their private lessons. And that, for most of my classes, is Italian or Latin. If it’s a graduate class, I just poll them, which language do you need the most help on? It’s usually French. And that’s the language that we spend the bulk of the time on. The rest of the semester can be spent in review.

220 Part V - General questions

36. If you could design this course however you wanted, what would you do differently?

Sixteen said “need more time,” which was the most common response. This reflects previous concerns about the course. Six said “One semester each on French and

German,” again reflecting the need for more time, especially for these two difficult languages. Five said “Have a lab component,” and three said “Have them meet three times a week instead of two.” There was one response for the following: “One semester on Italian/English,” and “Make it a 3-credit course instead of 2.” Table 4.54 lists comments for this question, and this is followed by three excerpts.

(More time) to do practices. (Jerry Benser) One semester each of English and Italian. (Frederick Gersten) One semester for English, and one for Italian/Latin. (Barbara Rondelli-Perry) One semester on English and one on Italian. (James Sergi) Teach them how to translate, and more time on verb terms, endings and parts of speech. (Lisa Sticham) Have more time for French. (Colleen Davis) Have more hours per week and one more semester. Don’t think it is feasible. (Ross Bernhardt) Have them study the language first. One more class session a week. (Abra Bush) I do design this course how I want, as does my colleague. We tailor each class to fit the need of the department or students at any given time. (Juliana Gondek) Italian has the least difficulties, French the most. Do folk songs in French and German. (Sheridan Stormes) Use the Adams book. Continue to transcribe songs and cite every rule they come across. Set up a listening lab. (Diane Penning-Koperslei) I have already designed this course differently. I am really happy with it. (Nancy King) Two years of diction: English for the first semester, Italian and Latin for the second, German for the third and French for the fourth. (J. Blizzard)

Table 4.54: Comments for Question 36: If you could design this course however you wanted, what would you do differently?

221 Natalie Lerch

NL: I don’t know that I would do very much differently at this point. I would like it if they had more time to do some sort of teamwork with the sounds. Like a listening station. When I took languages, we had listening labs and you could actually speak into a tape and practice the language.

Lori Lovell Laux

LLL: More language study. I think the students ought to know what they are saying even if it’s not too in-depth. And I would love more time for language. And more time to touch on other languages, like Czech and Russian.

CM: How many would you put in each semester if you could do that?

LLL: In my setting now, I would want it to be four semesters, a two-year requirement. If I had my ideal setting, I would do English and Italian and probably incorporate Latin. And then I would do French and German. Then I would like to continue with Spanish and other languages like Czech, Hungarian, and Russian. That would maybe be a graduate class in an upper level class, and that could be an option.

Patrick Newell

PN: I would like to see more time spent on actual singing and running it as a lecture/master class, performing lots of songs for the class.

37. What advice would you give professors/instructors teaching vocal diction for the first time?

This question received many varied responses, ranging from “be patient” to “do critical listening;” and from “make it fun” to “be prepared.” Included in those suggestions is the necessity of finding a good text for the basis of the class. Please refer to Table 4.55 for comments on this question. Following that table are three excerpts with valuable advice.

222 Be patient with your students. Teach them to listen carefully. Listen to lots of professional singers. Answer all their questions but stay on task. (Jan Bickel) Cover the basics first. Spend as much time as possible saying the sounds with the students. (Lisa Sticham) Do a lot of critical listening of professionals in the field. Especially of natives. Keep learning. Know what the accepted level is. (J. Blizzard) Don’t be under prepared and try to get the best handle on the languages yourself. (Jennifer Luiken) Find a text you like. Prepare your handouts ahead of time. CD recording ready-made. Have tests ready ahead of time. (Diane Penning-Koperslei) Find material that you are comfortable with. Know the material really well. They will come to you with questions. (Natalie Lerch) Go back and review the rules, etc. Know how to explain it to them. Present the rules in a concise manner. Double check yourself. (Ross Bernhardt) Listen a lot. Not only singers but actors, too. Gathering and reviewing sources. We are preparing them to prepare. Teach them how to read a dictionary. (Abra Bush) Make it fun and entertaining. We use a children’s story in Italian, German and French. “Little Blue and Little Yellow.” It teaches them colors and verb forms. (Jean Del Santo) Concentrate on the practical, not the theoretical. (Frederick Gersten) Make it as entertaining as possible. Read kids books. If it’s boring you, then it will bore your students. Give them fun ways to remember the rules. (Nancy King) Talk to more seasoned diction teachers to see how they structured their course. In addition, read through several syllabi from other diction classes. (Lynnette Chambers) Try to pull many things from different sources to cover exceptions that you find. (Rebecca Lister) Use good resources like: Duden, Siebs, Adams, Colorni, Petit Robert. Good dictionaries are very important. Study. Back up why you think this way. (Sheridan Stormes) Use Marci’s (Stapp) book as your text. (Juliana Gondek)

Table 4.55: Comments for Question 37: What advice would you give professors or instructors teaching vocal diction for the first time?

Barbara Rondelli-Perry

BRP: Well, be careful of too high expectations of the students. Freshmen can be very poorly prepared. The class has to dictate the momentum somehow. I have a daily syllabus, but it has to be sometimes tweaked according to the class dynamic.

223 Lori Lovell Laux

LLL: You’ve got to search for the best resources. Don’t be afraid to use your colleagues as resources. Identify your students’ weaknesses in diction, and start with these. Immediately draw the connection between the study of diction to the literature the students are singing. And the more students can practice singing and speaking, the more they will integrate the rules and not just memorize them.

Patrick Newell

PN: Find a really good text and use that as the basis. Really know the rules of the language before you get in the classroom, and know your own pronunciation really well, too. Make sure you have pure vowel sounds and can place consonants in a way that matches the language. Spend a lot of time listening to singers who are native in that language. Listen to tapes of native speakers in a language lab.

38. What are the important aspects of each language that must be addressed?

Italian

The next series of questions ask about the Italian, German, and French languages and the important aspects of those languages. There are eleven different aspects that were mentioned about the Italian language. The number of people mentioning them is in parenthesis: “pure vowels” (9), “E’s and O’s” (7), “flipped and rolled R’s” (7), “double consonants” (6), “dental consonants” (5), “proper linking of vowels” (3), “brightness of vowels” (3), “diphthongs” (3), “unaspirated consonants” (2),

“lack of diphthongs” (3), “more sustained vowels” (1), and “legato flow” (4). The most common aspects have to do with the vowels and how they are sung. In Italian, often there is disagreement in particular about how the unaccented E’s and O’s should be pronounced. This aspect was discussed in Chapter Two regarding how each diction text

224 approaches that subject. Please see Table 4.56 for comments on this question. There are two excerpts following the table.

As listed in Wall. Special doubling. (Nancy King) Flow of the language. (Linda Roark-Strummer) Focus on the vowels not present in English. (James Sergi) Getting the rhythmic effect. Also hard and soft C’s and G’s. (Colleen Davis) How and when to use the unique sounds of the language. (Lynnette Chambers) Know the idiosyncrasies of each language. How it lives in the mouth. (Rebecca Lister) Legato pronunciation, which influences everything else. (Patrick Newell) Legato flow. (Lisa Sticham) No diphthongs. Open or closed E’s and O’s. Clear articulate consonants. (Frederick Gersten) No diphthongs. (Natalie Lerch) Open and closed vowels. Legato line. (Jean Del Santo) Stress, the elya and the enya. (Sheridan Stormes) Syntax, inflection/speech rhythm, vowel formation/consonant formation, differentiating sounds in one language from closely related sounds in another, the smooth flow of the language so students don’t sound like robots merely progressing from IPA sound to IPA sound. (Juliana Gondek) The letter A. (Diane Penning-Koperslei) The musical lilt to the language. (Barbara Rondelli-Perry)

Table 4.56: Comments for Question 38: What are the important aspects of Italian that must be addressed?

Lori Lovell Laux

LLL: Vowels, consonants, specific letter groups in the language. Identifying the exceptions to the rules, placement, shape and means of articulation.

Natalie Lerch

NL: In Italian it’s really keeping the vowels pure with no diphthongs, and differentiating between the two E’s and the two O’s. To sing with the consonants rather than having them interrupt.

225 German

The important aspects of German that must be addressed are: “mixed vowels

(umlauts) ” (11), “long and short vowels” (6), “ich-laut and ach-laut ” (5), “schwas” (4),

“diphthongs” (4), “glottals” (2), and “prefixes and suffixes” (1). Comments for this question are listed in Table 4.57. There are two excerpts following the table.

As listed in Wall. Dental consonants. (Nancy King) Consonants should be caressed. Take time with the consonants. (Sheridan Stormes) Flow of the language. (Linda Roark-Strummer) Focus on the vowels not present in English. (James Sergi) Forward vowels and placement. (Natalie Lerch) Forwardly produced. Know the idiosyncrasies of each language. How it lives in the mouth. (Rebecca Lister) How and when to use the unique sounds of the language. (Lynnette Chambers) Learning the rules. (Diane Penning-Koperslei) Of the R’s. (Frederick Gersten) More Italianate in approach. High German. Consonants. Mixed vowels. (Patrick Newell) Short/open vowels, long/closed vowels. Open E for the schwa . (Jean Del Santo) Spitting out the consonants. (Lisa Sticham) The musical lilt to the language. (Barbara Rondelli-Perry) V’s and W’s. (Jennifer Luiken) Syntax, inflection/speech rhythm, vowel formation/consonant formation, differentiating sounds in one language from closely related sounds in another, the smooth flow of the language so students don’t sound like robots merely progressing from IPA sound to IPA sound. (Pet Peeve: Flipped R’s which Germans themselves would never flip, but rather drop almost entirely. “Met” German.) (Juliana Gondek)

Table 4.57: Comments for Question 38: What are the important aspects of German that must be addressed?

Lori Lovell Laux

LLL: Vowels, consonants, specific letter groups in the language. Identifying the exceptions to the rules, placement, shape and means of articulation.

226 Natalie Lerch

NL: In German, of course it’s the umlauts , getting the combinations and understanding how you make the sound with the tongue and the lips. It works through / u/ /ø/ /y/ using the different tongue positions with the same rounded shape of the lips.

French

The important aspects of the French language mentioned here are: “unaccented flow” (11), “mixed vowels” (8), “nasals” (8), “bright vowels” (5), “liaison ” (4), “mute

E” (4), and “no diphthongs” (2). Please see the comments for this question in Table 4.58.

There are three excerpts for this question that talk about the French language.

“ui”/ɥ/ glide. Elision . Mute E. Looking at all those letters and making one sound. (Colleen Davis) A lot of pucker. Frontally produced sounds. Know the idiosyncrasies of each language. How it lives in the mouth. (Rebecca Lister) As in Wall: including elision , mute and aspirate H. (Nancy King) Bright A and dark A. Not pronouncing M’s for instance. (Diane Penning-Koperslei) Caress the vowels, toss the consonants. (Sheridan Stormes) Flow of the language. (Linda Roark-Strummer) Focus on the vowels not present in English. (James Sergi) Getting the flavor of the language. (Natalie Lerch) How and when to use the unique sounds of the language. (Lynnette Chambers) Lots of letters, one sound. (Jennifer Luiken) The R’s. (Frederick Gersten) The musical lilt to the language. (Barbara Rondelli-Perry) Syntax, inflection/speech rhythm, vowel formation/consonant formation, differentiating sounds in one language from closely related sounds in another, the smooth flow of the language so students don’t sound like robots merely progressing from IPA sound to IPA sound. (Juliana Gondek)

Table 4.58: Comments for: Question 38: What are the important aspects of French that must be addressed?

227 Patrick Newell

With the French, I think realizing first of all that it is an unaccented language. It will help if you can think of a sewing machine going along and tick, tick, tick, tick, tick, tick. That’s the way that the language moves.

Lori Lovell Laux

LLL: Vowels, consonants, specific letter groups in the language. Word identification is necessary in some languages, specifically French. Identifying the exceptions to the rules, placement, shape and means of articulation.

Natalie Lerch

NL: The nasals, and getting the difference between when a vowel is nasal and when a vowel is not nasal. So it’s getting into and out of the nasal and thinking about how your soft palate affects that. I make them do little jokes like pretend you have a cold. So that they get the concept of that. And in French, it’s being willing to have everything on the same level. You really don’t change the stress.

39. How closely do you work with the other voice teachers?

With this question, the intention is to determine how the relationship with the other voice teachers affects or enhances the teaching of this course, and if that relationship was an important factor. Eleven said “very closely,” eight said “somewhat closely,” and three said “not closely,” There seems to be a fair amount of importance placed in working with the other voice teachers and colleagues in the department. In fact, one instructor claims that their class is “team-taught.” This relationship is an important one and should be encouraged, where applicable. See Table 4.59 for specific comments. There is one excerpt following this table which clarifies one such relationship.

228 Closely. (Frederick Gersten) Closely. We are very friendly. We even combine our studio classes. We often share comments about students. (Los Angeles, Lisa Sticham) Extremely. We have the only true team-taught voice department in the country (world?) that I have been able to locate. (Juliana Gondek) Fairly close. It is a small department. So we chat about the students, what we notice about their diction, what they are learning. (James Sergi) I am not there to teach voice. Voice teachers have precedence over the diction teacher. (Jean Del Santo) No need to for diction. It is my responsibility. (Barbara Rondelli-Perry) Not as much as I would like to. There are 3 or 4 of us here. We work together very well. (Linda Roark-Strummer) Not very closely. Give an IPA sheet for the students and the teachers so they can work on that during lessons. (Patrick Newell) Pretty close. (Colleen Davis) Pretty closely. Only 2 full time voice faculty. (Jennifer Luiken) Somewhat. (Lynnette Chambers) There are only three, so pretty closely. The other two are adjunct. Sometimes it is hard to reach them. (Natalie Lerch) Very close. Ask which songs are appropriate. (Abra Bush) Very closely. I sit in on voice juries and hearings, even though I’m primarily the music librarian. (Sheridan Stormes) Very closely. I studied with John Moriarty. (Jan Bickel) Very closely. There are only 3. (Rebecca Lister) Very, very closely. There is only one other teacher. We both did our master’s together so we are on the same wavelength. (Ross Bernhardt) Very closely. (Jan Bickel) Very. We have a small department. Just one other teacher. ( J. Blizzard) We are in the same hallway. We talk and I occasionally ask them a question. Asking about a certain student is too awkward and I don’t do that. (Jerry Benser) Work more closely with one than the other. (Diane Penning-Koperslei) Yes. Only one other one, an adjunct. (Nancy King)

Table 4.59: Comments for Question 39: How closely do you work with the other voice teachers?

Lori Lovell Laux

LLL: Pretty closely. I usually at least meet with them, not necessarily a formal meeting, but you know, stop in the hall and just kind of get some feedback as to how the students

Continued 229 Lori Lovell Laux

are assimilating the knowledge of IPA in their rules and in their lessons. Sometimes the students themselves will say, my teacher asked me this question, and I forgot the rule, or I got flustered, or I answered it with flying colors and it was no big deal. So I think the students also know that they are being assessed by their teachers as far as what they are learning and how they are incorporating what they are learning.

40. Do you offer seminars, master classes, or workshops in diction?

This question determines if there is any experience the instructor may have in this area. Twelve said “no” and ten said “yes.” Of those with that experience, four have given master classes, four have done workshops, and two have done seminars. Those who have not shown an interest in doing so, at least think it would be beneficial.

Conducting such programs would make diction available to a wider audience, and take it into a different format. Please see Table 4.60 for comments. There are two excerpts from the interviews, one answered “no,” but may plan one in the future, and the other answered “yes” and describes that experience.

During choir a little bit. (Patrick Newell) For English diction at high schools. (Jean Del Santo) French diction for high school. (Jerry Benser) High school. (Jan Bickel) Work a lot with high school. Will do a clinic on German diction at the conference. (Ross Bernhardt) I’d love to if anybody would want to approach me about it. (Linda Roark-Strummer) In English diction. (Frederick Gestern) In the past. (Colleen Davis) Not a bad idea. (Barbara Rondelli-Perry)

Table 4.60: Comments for Question 40: Do you offer seminars, master classes, or workshops in diction? 230 Abra Bush

AB: Outside of the diction classes? No, we haven’t. Actually, that would be a great idea. In my own studio, at the beginning of the year, it’s something I actually had planned to do this fall, a brief run-through to show the meaning of /a/ or / ɛ/ when I write it in their music. The department, as a whole, is thinking about starting a faculty lecture series. This would be held Monday nights.

Lori Lovell Laux

LLL: Master classes I have done. I haven’t done any seminars yet. But I will be doing a seminar at our music educators conference in Tampa in January 2006 on the importance of IPA and diction, for the secondary chorus classroom.

41. Are you considered an expert in this field?

This question is to determine the instructor’s expertise in the area of diction.

Twelve said “no” and ten said “yes.” Those who answered yes qualified it, as you can see in the comments for this question, in Tables 4.61 and 4.62. There is one excerpt which relays the difficulty with this question.

I am still learning. (Lynnette Chambers) Just very knowledgeable in diction. (Sheridan Stormes) Maybe. I don’t know. (Barbara Rondelli-Perry) Oh I doubt it. I don’t think you can totally, unless you were born speaking all those languages. (Linda Roark-Strummer)

Table 4.61: Comments for Question 41: Are you considered an expert in this field? No.

231 At our little university. (Diane Penning-Koperslei) By my students and colleague. (Jan Bickel) Depends on who you talk to. I hope so. (Frederick Gersten) I am constantly mistaken for being a native speaker in every language I sing in, if that’s what your asking. (Juliana Gondek) In German diction. (Ross Bernhardt) Intermediate, can’t claim real mastery. (Colleen Davis)

Table 4.62: Comments for Question 41: Are you considered an expert in this field? Yes.

Lori Lovell Laux

LLL: That’s a hard question. I guess so or I wouldn’t be teaching it. There is always something I learn in going through it semester after semester, so.... I am learning it still.

42. What difficulties have you encountered in teaching these courses?

There were a variety of answers for this question, which provides insight into the challenges of teaching vocal diction. There are about ten different types of comments which range from “not enough time” (5 responses) to “lack of confidence” (1 response). Again, time is an important factor in teaching these classes. The other responses are as follows with the number of responses in parenthesis: “knowing how important diction is” (4), “class conflicts” (3), “dialects” (3), “no background in languages” (3), “depends on the class” (1), “difficulties with the text or materials” (1),

“students are unprepared” (1), and “amount of material to be covered”(1). An important part of teaching a course in diction is to know the difficulties going in, and the background of the students you will be working with. Please see the comments listed in

Table 4.63. Also, there are two excerpts following the table which speak to two

232 difficulties: the amount of material, and regional difficulties combined with lack of background in the languages.

Class conflicts which prevent all the students who want the class to take it. ( Juliana Gondek) Depends on the class. I am picky about the CH in German. (Sheridan Stormes) Dialect difficulty in Western Tennessee. No background in foreign diction. (Ross Bernhardt) Enough time to pull resources and come up with worthwhile transcription exercises and means of written assessment. (Lori Lovell Laux) Having people from various parts of the country. (J. Blizzard) Having them know how important this is. Knowing the power they have with diction. (Jerry Benser) I love teaching this class. It just flows. I have done it for years. Only difficulties have been when a student gets out of the sequence. (Jean Del Santo) Lack of students taking a language. (Abra Bush) Many of the students do not actually make the connection between vocal diction and what they do in their lesson, especially choir. I feel that students do not practice the rules of diction enough on their own. (Lynnette Chambers) Not too difficult or frustrating recently. Maybe when you work and the student still hasn’t grasped it. (Colleen Davis) Adams does not have any teaching aids. Wall has discrepancies. (Diane Penning- Koperslei) Kids who aren’t interested in applying and trying to learn how to do it. (Linda Roark- Strummer) The amount of time available. (Frederick Gersten) The lack of time. And the shortness of the quarter system. (Lisa Sticham) The students are unprepared. It is difficult for them to listen. They are afraid of making a mistake. (Barbara Rondelli-Perry) The students don’t have a lot of confidence in themselves. I encourage them just to get into it and express themselves. (James Sergi) The time constraint (Rebecca Lister) Student’s attitudes. They don’t understand that singing is elongated speech. You have to do it differently. They don’t get involved in their own education and ask questions. And they have a short attention span. (Natalie Lerch) Time constraint. I am weakest in French. It is difficult to be competent in every language. (Jan Bickel)

Continued

Table 4.63: Comments for: Question 42: What difficulties have you encountered in teaching these courses? 233 Table 4.63 continued

Regarding students who come in and have missed a diction class out of the sequence: I use the interactive CD rom, IPA for Singers , by Karen Jensen. It helps them catch up. They are usually quite intelligent kids, and they catch up. (Jean Del Santo) Having a class of people from various parts of the country. Students with a variety of accents. (J. Blizzard)

Jennifer Luiken

JL: The amount of material that is supposed to be covered in a semester. And the difference, the variance of understanding and ability of individual students within courses. Because in the undergraduate course here, in Diction I, it’s not just voice performance people; it’s education majors and oftentimes there are even some instrumental people. Diction can be taken in place of a foreign language.

Patrick Newell

PN: On a student level, I think the difficulty is coming from the lack of exposure to other languages, other cultures, other song styles. The kind of freshman student that we attract at Eastern Kentucky University is typically a student who has, maybe never had a voice lesson before they applied to the university. So in our part of the country, we are dealing a lot with lack of a broad education and a broad cultural experience. It affects diction in terms of how long it takes them to understand other sounds, to get a different sound in their ear than what they grew up with, which is Appalachian English, which has a very different pronunciation. It has a lot of different sounds. That difficulty plays over into -- if I am going to use the example word H-I-M for the vowel “i,” that was fine for where I come from as “/h ɪm/”. But around here, they tend to say “/h ɛm/ .” You get / ɛ/ vowel with a glide at the end of it, “/h ɛɪm/ .” I have almost had to learn the accent of the area in order tot teach diction without letting that accent sneak into the other things they are doing.

CM: That’s interesting.

PN: Other difficulties, I would say would be lack of a really excellent textbook. I think the Joan Wall is good and I think that Moriarty is good and some others I have looked at out there are decent. But it doesn’t seem that there is one that is just heads and tails above the rest. Then, you know, it probably has a lot to do with the fact that our language is always changing. What do you do with the Italian pronunciation that used to be different everywhere you went in Italy and to this day is still somewhat different?

234 43. How do you deal with the grammar, conjugation, stress, and other aspects particular to the language?

A large part of dealing with diction in foreign languages is how often the issues overlap into other areas of the language, which are traditionally covered in language specific classes. Some students have background in those languages and others do not.

The purpose of this question is to determine to what degree these issues are dealt with in the diction class. Comments are listed in Table 4.64 and include: “little on grammar or conjugation” (4), “a lot on stress” (5), “as it effects pronunciation” (4), “very little time”

(3), “use handouts” (2), “spend some time on it” (2), “as it arises” (1), and “as time allows” (1). The issues of grammar, conjugation, and stress do affect pronunciation in some ways, depending on the language. The more background a student has in this area, the better and fuller their understanding will be. Any help the diction instructor can spend in this area, the more complete the education for the student. Please refer to Table

4.64 for comments. There are three excerpts following the table which discuss how the instructors deal with translation, grammar, and stress.

As it arises in class discussions. (Juliana Gondek) As it affects the pronunciation of the words. They also have to buy dictionaries. Cassell’s. (James Sergi) As much as time allows. But there is very little time. It is set up as a performance class. Very little time for lecture. (Lisa Sticham) ENT ending in French. (J. Blizzard) Haven’t covered them yet. Just pointing out the nouns in German. (Jennifer Luiken) How grammar changes the pronunciation of the word. Talk a lot about word stress. Not much on grammar and conjugation. (Ross Bernhardt)

Continued Table 4.64: Comments for Question 43: How do you deal with the grammar, conjugation, stress, and other aspects particular to the language? 235 Table 4.64 continued

Make a handout of all the conjugational verbs, including “to be” and “to have.” Make a handout for each language. (Jan Bickel) Only deal with this when it affects the outcome of the transcription. (Lynnette Chambers) Only grammar in French, where it affects the pronunciation. Conjugation very quickly, 1/2 a lecture. Stress is basic to pronunciation, two full lectures on that. Translation a little bit. (Patrick Newell) Spend 1 1/2 weeks on verbs, tenses, nouns, prefixes. Not much on conjugation. Beginning of each block: stress and syllables. (Abra Bush) Stress is covered at the beginning. There is minimal grammar: pronouns, basic conjugations, articles, syllabification, compound words, and parts of speech. (Sheridan Stormes) There is no time to. I try to incorporate syllabic stress. They must get that right. (Barbara Rondelli-Perry) Use bar charts of the language. Provide a three-page trilingual vocab list, minimum of grammar, personal pronouns, conjugation of verbs. (Jean Del Santo) We talked about stress in Italian. Not grammar or conjugation. Not enough time. (Diane Penning-Koperslei)

Patrick Newell

CM: Translation, do you work with that at all?

PN: Translation we work with a little bit. I don’t have them do translations, usually. I do require them to translate their songs that they are using in their lessons and also the song that we use for the final examination. But I don’t have them translate everything. But I do have them set up their transcriptions in a way that there is a third line there for them to put the translation down as well. I also point them to sources we use. Do you have a dictionary question later?

CM: No, I don’t. So go ahead and talk about that.

PN: I have them use dictionaries. The German and French, I have them use the Cassell’s. And then the Italian, I have them use the Webster’s New World Italian/English Dictionary. Because that one also has IPA for the Italian as well as the English, and then we use that for the English pronunciation dictionary as well. So they have those resources there for translation. I have also found that Google.com has a translation program. So I direct them there, too. Anything that makes their job easier and saves us time. I tell them about the different resources on the web where they can find translations. 236 Natalie Lerch

NL: For Italian, because I have one semester, I actually go through and teach them grammar, verbs, and make them memorize verbs, how to conjugate verbs. I teach them pronouns. I teach them articles for indefinite and definite, so that they don’t have to translate those. They know what those are. They don’t have to waste that time. They also, of course, are supposed to do translation. So I tell them, memorize. Memorize certain words that come up. I give them vocabulary lists. Not of verbs, but of regular words. Parts of the body, things that happen at night. Nature, flowers, trees, love.

CM: Are they tested on that?

NL: Yes, on their quizzes and midterms and finals. And they have to be able to translate back from it. They have to know liberty is libertà, and they have to be able to transcribe it. So I make them go from English to Italian, and I make them go from Italian to English. I make them go back and forth.

Lori Lovell Laux

LLL: I really emphasize stressed and unstressed syllables, short and long vowel syllables in German, the difference between a single consonant and a double consonant for instance in German and Italian. I think conjugations are most difficult in introducing the rules of French. And I encourage all the students to buy the dictionary that includes the conjugation charts in the back. Not having a language requirement means that this is brand new territory for a lot of them. So using all resources that we can pull in the classroom is our best option in introducing that. But encouraging them when they’re translating to actually use a dictionary and translate word for word, instead of going to freetranslation.com.

44. What aspects of the languages do you not cover because of time constraints?

Italian

Given that lack of time has been a common complaint, this question seeks to discern if there are any aspects of the language that are not covered due to the lack of time. The most common answer is “grammar and translation” with ten responses. The rest of the answers are as follows, with the number of responses in parenthesis: “details

237 of open and closed vowels” (3), “can’t do assignments I would like” (3), “can’t go into much detail” (3), “exceptions to the rules” (1), “aspects which normally would be covered in language class” (1), and “none” (2). Of those answers, the answer specific to the Italian language is “open and closed vowels.” Other aspects of Italian mentioned in the comments include: “ancore using the n-g / ŋ/ sound,” “regional differences,”

“linking vowels on one note,” and “final E’s and O’s.” Please see Table 4.65 for additional comments. Some of these are general comments about what cannot be covered in diction class because of lack of time.

Being able to listen more. (Linda Roark-Strummer) Can’t put it into practice as much. (Rebecca Lister) Details like encore using the ng sound, and linking of vowels on one note. (Abra Bush) Final E’s and O’s. (Nancy King) Mostly grammar: Aspects which normally would be covered in language class: verb conjugation, etc. (Ross Bernhardt) Regional differences. (Colleen Davis) Vocabulary. (Sheridan Stormes) We cover everything. Show them the relationships between languages. (J. Blizzard) Would like to do more listening. (Jean Del Santo)

Table 4.65: Comments for Question 44: What aspects of the languages do you not cover because of time constraints?: Italian.

German Again, “grammar and translation” had the most responses with ten. Two said

“none.” Two said “details of long and short vowels.” Three said they “cannot go into much detail.” Comments for this question are mostly the same as for the previous question.

238 French

Regarding the French language, aspects that cannot be covered due to lack of time are: “grammar and translation” (10), “none” (3), “elision ” (3), “liaison ” (3),

“exceptions to the rules” (1), and “can’t go much into detail or subtleties” (2).

Comments for this question are mostly the same as for question 44.

45. Are there aspects of the languages that you do not cover because they are inaccessible to the undergraduate student?

The purpose of this question is to determine if there are any aspects of the languages that the undergraduate student cannot learn because of it being inaccessible.

Again, knowing the student and what can or cannot be learned is an important aspect of teaching any course. Fourteen said “no” and eight said “yes.” Things that were mentioned as being inaccessible include grammar, learning the rules, and finer points of the language. Please refer to comments in Tables 4.66 and 4.67. An excerpt follows

Table 4.66 which discusses how experience comes into play.

Cannot think of any at this time. (Lynnette Chambers) I make them learn it and understand it. (Natalie Lerch) Only things we can’t get to because of time constraints. (Diane Penning-Koperslei)

Table 4.66: Comments for Question 45: Are there aspects of the languages that you do not cover because they are inaccessible to the undergraduate student?: No.

239 Patrick Newell

PN: I’m not sure that any of it is inaccessible so much as experience just goes a long way. By the time they are seniors, they find hopefully a number of French songs, a number of German songs, and lots of Italian. And every time you understand it, you get a little bit better. So I don’t think it’s so much inaccessible for me as I expect my freshmen to be pronouncing at a different level of accuracy than I do my graduate students. My graduate students, I expect them to sound nearly native. And the freshmen, I hate to say that good enough is good enough, to a certain extent that is true.

Can’t do parts of speech. They need that background. (Sheridan Stormes) Conjugation and grammar. (Barbara Rondelli-Perry) Different dialects. (Ross Bernhardt) Enya glide in Italian. Schwa in French and German. (Colleen Davis) Finer points of the language. Covering all the rules of liaison in French. (Lisa Sticham) Flipping an R for some. Mixed vowels. Depends on the student. (Jan Bickel) Learning all of the rules for elision and liaison. (Rebecca Lister) They can’t hear the flow. And that would again be helped by listening -- being able to listen more to somebody speak it or sing it and having them analyze that. (Linda Roark- Strummer)

Table 4.67: Comments for: Question 45: Are there aspects of the languages that you do not cover because they are inaccessible to the undergraduate student?: Yes.

46. What aspects of the languages do the students find overwhelming or difficult? How do you address this?

Italian

Knowing what aspects are difficult or overwhelming can help the instructor be prepared when teaching diction. This will vary by class. However, there are aspects that seem to be more common. Those aspects mentioned here are: “learning the rules” (8),

“closed and open E’s and O’s” (3), “exceptions to the rules” (2), “Enya / ɲ/ and ng

/ŋ/ ” (2), “IPA symbols” (2), “rolled R’s” (2), “glides” (1), “pure vowels, no

240 diphthongs” (1), and “forming the proper vowels” (1). Please see the comments in

Table 4.68. Following that is an excerpt regarding how the rolled R is taught.

Also spellings of C, G, and SC. (Rebecca Lister) Being able to listen more. (Linda Roark-Strummer) Every language has exceptions to the rules. Students are overwhelmed with trying to remember these exceptions. (Lynnette Chambers) Forming the vowels for each language. I address it from a singer’s standpoint. (Juliana Gondek) Putting the stress in the right place. (Jennifer Luiken) E’s and O’s were overwhelming and difficult for the students. (Diane Penning- Koperslei) Semi-consonants. I have them practice the sounds until they are comfortable. (James Sergi) The difference between the IPA symbol and the letters. (Lisa Sticham)

Table 4.68: Comments for Question 46: What aspects of the languages do the students find overwhelming or difficult? How do you address this?: Italian.

Patrick Newell

PN: Another thing is the rolled R, the students don’t have any idea how to do this. And with that again is through exercises, doing “ta da, ta da, ta da” and blowing. I find a lot of times it has to do with tongue tension more than with the student’s inability to make the sound. So if you address the tongue tension, the rolled R will usually come along easier.

German

The most common aspect for the German language to master is the mixed vowels or umlauts , since these are not sounds found in English. Twelve people said that this was difficult for the students. The other aspects were “learning the rules” (3),

“exceptions to the rules” (3), “diphthongs” (2), “long and short vowels” (1), and

241 “glottals” (1). The excerpt discusses the dilemma of forming the mixed vowels of

German, how this instructor teaches this aspect, and also points to a similar sound found in that region.

Patrick Newell

PN: Mixed vowels are the ones that really jump out at me. Just the idea of having the lips and the tongue in two different vowel positions is just a whole new thing. And so we address it by working on it, doing exercises such as saying /i/ and /u/, /y/, and mixing the vowel like that. In Appalachia, they say “thank /jy/,” and you get that /y/ vowel right there.

French

The French language presents many challenges for the English-speaking student.

The most common aspect mentioned here are again the mixed vowels, with eight responses. Next are “nasals” (5), “learning the rules” (3), “exceptions to the rules” (2),

“verb forms” (2), and “elisions and liaisons ”, one each. Please see the comments in

Table 4.69 for more details.

And learning the IPA. (Frederick Gersten) Different spellings. (Jean Del Santo) Semi consonants. I have them practice the sounds until they are comfortable. (James Sergi) The difference between the IPA symbol and the letters. (Lisa Sticham) Many vowel combinations are difficult. I encourage the students to make flash cards and practice transcribing the French into their music. (Lynnette Chambers)

Table 4.69: Comments for: Question 46: What aspects of the languages do the students find overwhelming or difficult? How do you address this?: French.

242 47. How do you know if your teaching and the class have been successful?

The purpose of this question is to determine what the instructor relies upon when evaluating the success of their course and teaching, and if and how the texts and sources have contributed to that success. Ultimately, it is the goal of every instructor that the students be successful in learning and improving their diction ability. Common responses include: final testing and grades, singing and juries, being able to get through a language, the amount of improvement, future success, and being more comfortable with the languages. Please refer to Table 4.70 for comments. There are two excerpts that follow the table which discuss how they determine the success.

Able to get through a foreign language piece fairly well. Be fairly competent in the language. Know where to get help. (Ross Bernhardt) By hearing the students sing at the end of the semester. (Frederick Gersten) Earn A’s in the area of diction and recital. Students and choral groups receive compliments on their diction. Final exam. (Jan Bickel) How they are graded. Accents. The meaning and emotion coming through. (J. Blizzard) How they do on their final exam. (Sheridan Stormes) How they do on their final exam. Sung and written. How intelligent it is. Can use a dictionary on final exam. (Abra Bush) I hear noon concerts and their diction is getting better. (Natalie Lerch) If the repertoire performance and the final exam are at a really high level, which it is in most cases, I am very pleased with their progress. (Lisa Sticham) If they have improved from the beginning of the semester. How they sound at the end. (James Sergi) If they not only achieve a good grade but maintain what they learned in the second semester and apply it. (Jennifer Luiken) If years later they still have the material with them and are able to access it and to use it to help themselves and to help others. We can’t always know that. And if they are successful on their final exam. (Barbara Rondelli-Perry)

Continued

Table 4.70: Comments for Question 47: How do you know if your teaching and the class have been successful? 243 Table 4.70 continued

Know the idiosyncrasies of each language. How it lives in the mouth. (Rebecca Lister) Student rate of improvement, written evaluations, casual feedback from students, the success of whatever recital or opera work they have that year. (Juliana Gondek) The oral exam. (Jean Del Santo) The testing at the end of the semester. Hearing them in the future to see if they are progressing and able to learn the language. (Colleen Davis) Ultimately when a student sings, their diction should be correct. If the diction is not improved, than the student did not adequately learn the material. The diction does not need to be perfect, but should show some signs of improvement. If that is the case, then I would assess my teaching style and format to hopefully better their understanding and use of vocal diction. (Lynnette Chambers)

Lori Lovell Laux

LLL: Usually at the end of the semester, they are much more comfortable singing a language. They’re not afraid of the language like many of them had expressed at the beginning of the semester. I think that just introducing them to the resource or resources that are available to help them in their diction makes them a lot more comfortable in going and trying to find the answers themselves.

Patrick Newell

PN: Well, I think the exams are one way to do that, a means of assessment. Another means is in the vocal juries at the end of the semester.

48. What is your ultimate goal in teaching this class?

It is important for instructors to know what their goals are for the class. This will determine everything from how the course is designed to what texts are used. Having this knowledge up front will assist the instructor in making those determinations. This question also provides insight into the how particular instructors approach teaching their courses. The most common goal mentioned is to provide tools for the student to use as

244 they are learning diction. Five people mentioned this. Next was communication and connection to the text and poetry, with four each. Other goals mentioned were:

“accurate pronunciation” (2), “confidence” (2), “saving time in the lessons” (2),

“knowing the rules” (2), and “the flow of the language” (1). Please note the comments in Table 4.71. This is followed by three excerpts which talk about the tools and IPA, expression, and passion for the languages.

Have the tools necessary to help them prepare correct enunciation of Latin, French, Italian, German, and English, for the artistic rendition of singing sings, arias, etc. (Barbara Rondelli-Perry) Communication. We are communicators and actors; we have something to say. Diction is all about that. It goes to the very heart of what we do as singers. (Patrick Newell) Grounding in the basic rules and general character of the language. Learn the tools to be self-directed learners. (Ross Bernhardt) Have the student be able to stand on their own two feet, using the resources and tools that are available to them now, thinking “I can fix this.” (James Sergi) That a student will be able to pronounce and sing the text to a piece in a foreign language without having their teacher “spoon feed” it to them. (Lynnette Chambers) That students sing and express in all languages with the confidence and with the sound of native speakers. (Juliana Gondek) That the student feels confident. Have them sing more beautifully in whatever language, and save time in the studio. (Jean Del Santo) That they understand and can sing the flow of the language and connect to the text and understand the poetry. (Linda Roark-Strummer) The student comes away with a good understanding of the rules, and how to pronounce the sounds. The tools they need for pronunciation. (Diane Penning-Koperslei) They are equipped with the tools to prepare a piece or choir on their own. (Abra Bush) To give them the tools that they need. (Sheridan Stormes) To make sure that the students are comfortable with the basics of each language and understand the importance of an excellent delivery of the text and setting. (Jan Bickel) To take a text in all of these languages and be able to sing it and have the audience understand you. (J. Blizzard) To teach the basic knowledge of IPA and the sound that is represented and going beyond to expressive communication. (Lisa Sticham)

Table 4.71: Comments for: Question 48: What is your ultimate goal in teaching this class? 245 Rebecca Lister

CM: So I think you already said your ultimate goal in teaching the class is to give them the tools that they need so they can refer to the books or dictionaries and be able to transcribe the words?

RL: Absolutely. And again, I don’t have them memorize a bunch of rules. That to me is not what is crucial. It’s being able to use the sources that are in front of you. We have a really big music ed. program here. In the music department on our campus of 1,800, we have probably 256 majors. A lot of music ed. majors take my diction class. And the main reason that they take it is because there are many choral pieces that are now coming out in IPA transcription. I don’t have a lot of performance majors. The recording technology is probably our biggest program next to music ed. And so that to me is a much more practical goal for them, rather than for me teaching them like they were performance majors. I should add that to my advice for the first-year diction teacher. Find out what kind of student you are teaching. Do you have mainly performance majors, or is it mainly music education people? Who is taking this course and what is going to benefit them the most?

Natalie Lerch

NL: To learn a work ethic that a classical singer needs in order to have a successful career, whether they end up teaching, performing, or in church music.

Lori Lovell Laux

LLL: I think my ultimate goal is to get students comfortable singing foreign languages, and to really give them the passion and desire to be as accurate in their diction as possible. To sing accurately and intelligibly and be as expressive as they possibly can. I think so many singers, especially undergrads, when singing a foreign language, are so worried about getting the words right that they never get past that. You know: Breath, resonance, diction. They have looked like a deer in headlights the entire time, and they can’t tell you one translation or one even paraphrased summary of what it is they just said. And so I think using diction as a vehicle that allows you to be the most expressive singer that you can possibly be is my goal.

246 49. What do you hope that students will gain from this class?

Though similar to the previous question, this draws attention to the student in particular. Many of the same reasons were given as the previous question, including

“confidence” (5), “learning the tools” (4), “pronunciation” (3), and “flow of the language” (1). But included are the hopes for the student such as: “lack of fear” (1),

“flavor of the language” (1), “love of languages” (3), “expressive singing” (1), and “a stepping stone for the future” (1). This last comment, perhaps more than the others, acknowledges that these classes are indeed only the beginning of a life-long study of the languages and diction. Please see Table 4.72 for comments.

A love of languages. A lack of fear of those languages. (Jan Bickel) Again, the flow of the language, the line and the nuance. A love of languages and an appreciation for the repertoire. (Linda Roark-Strummer) An appreciation for the nuances between the different languages. An understanding of pronunciation, and why this is important, and why it matters. (Patrick Newell) Confidence in their ability to pronounce and sing in a foreign language. (Lynnette Chambers) Confidence in their own abilities, support of colleagues and performing confidence. Excitement for the beautiful repertoire. (Jean Del Santo) Greater confidence and knowledge in approaching their foreign language texts. (Juliana Gondek) How these languages are pronounced. Master their own articulation and enunciation. A greater appreciation for singing in those languages. Not just a set of rules but the application of them. (J. Blizzard) Learn what makes each language unique, the flavor of the language. (Sheridan Stormes) Same as before. Have a basic grounding and have the tools to find out if they don’t know. (Ross Bernhardt) Stand on their own two feet. Know that they can do this. They have the resources and tools they need to be successful. (James Sergi)

Continued

Table 4.72: Comments for Question 49: What do you hope that students will gain from this class? 247 Table 4.72 continued

The enthusiasm. To be an expressive singer and the tools to be accurate in their singing. A stepping stone to the future. (Lori Lovell Laux) To be able to form the correct sounds with their articulators and help others do that in choral situations. Keep the consonants up front, out of their throat. (Diane Penning- Koperslei) To give them tools and camaraderie. They take it as freshmen and sophomores. Gives them the knowledge of repertoire and sounds of the language. (Abra Bush) The same answer as before, and some familiarity with the repertoire. (Lisa Sticham)

248

CHAPTER 5

SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

5.1 Introduction

The purposes of this study were to identify and assess which diction books and sources are used currently in vocal diction classes. A survey was conducted and addressed to the Vocal Diction Instructor for all member schools of the College Music

Society. The population for this study was the 2004-2005 College Music Society listed members in the United States, or 1,733 institutions.

This chapter presents a summary and discussion of the results for each research question addressed, and concludes with recommendations for vocal diction teachers.

5.2 Summary and Conclusions

Research Questions

1. What is the perceived importance of the study of vocal diction?

As a result of the interviews with twenty-two vocal diction instructors, and also the presence of vocal diction courses at the majority of schools that responded to the survey (118/134), it can be assumed that the study of vocal diction is very important.

The answers for this question are taken from Question 4 (Appendix C) of the interviews:

249 Why do you think it’s important for singers to study vocal diction?

All of the interviewees felt that it is very important for singers to study vocal diction for a variety of reasons. Those reasons are listed in Table 4.8 in Chapter 4, which proclaim the importance of learning the IPA as a tool for accurate diction. By studying vocal diction, singers can hope to achieve understandability, which is so crucial for the audience. All express the importance of studying this aspect of singing, and why it is important.

The answers given for this question are “very important” or at least “just as important” as the other areas of vocal technique. Fifteen of those who were interviewed said it was “equally as important,” and seven said it was “very important.” None said it was “somewhat important” or “not important.”

Of those who responded “very important,” reasons were based on the fact that students sing on vowels which carry the tone, and that improper diction can adversely affect the tone and resonance. Because of this, it is hard to separate vocal diction from the other aspects of singing. They are interrelated. Indeed, one helps the other. Vowel placement helps the resonance, and consonants help propel the air and support the voice.

Of those who responded “equally as important” regarding the study of vocal diction, it was commented that it comes after breath management and after the student has gained a full command of vocal technique. However, it was also pointed out that diction enhances resonance and tone, and is part of an overall package for a fine singer.

Reasons for why the study of vocal diction is so important include: for communicative purposes, accuracy, learning how the articulators work, shaping the

250 voice, improving overall vocal production, to be understood, and to be able to sing in all of the languages. English was mentioned as the most important language.

2. What is the structure of the lyric diction class?

The questions in the survey that pertain to this research question are questions 1,

2, 4, 5, and 6. Question 1 asks: What type of period does your institution have: quarter, semester, or another type? (see Figure 1). The very high majority answer responded with semesters, 110 out of 118. Seven are on quarters and one uses trimesters. Question

2 asks: How many weeks of class are there in your quarter/semester? (see Figure 2).

The answers ranged from 10 weeks to 16 weeks, with 15 weeks being the most popular

(50). Question 4 asks: How many times a week is your class held? (see Figure 4). The answers were one, two, and three, with two receiving the most responses (96). Question

5 asks: How long is the class period? (see Figure 5). The answers ranged from 50 minutes to 120 minutes. By far the answer with the most responses was 50 minutes (72).

And finally, question 6 asks: How many hours credit are allotted to each class? (see

Figure 6). The answers ranged from .25 to 4 credits, with the most answering one credit hour.

When putting together the answers with the most responses, the typical class structure is as follows: a class that meets for 50 minutes twice a week for 15 weeks in a semester, and is one credit hour. The number of minutes such a class receives per term is 1,500 minutes or 25 hours. This is the most common class structure of the lyric diction class.

251 3. What are the important aspects of the Italian, German, and French languages in regard to vocal diction for singing?

This question is based on the answers from interview question 38 and Tables

4.56, 4.57, and 4.58. Question 38: What are the important aspects of each language that must be addressed?

Italian:

There were fifteen answers specific to Italian: pure vowels, open and closed E’s and O’s, flipped and rolled R’s, double consonants, dental consonants, proper linking of vowels, brightness of vowels, diphthongs (referring consecutive vowels), unaspirated consonants, rules for C’s and G’s, lack of diphthongs (to keep pure vowel sounds), more sustained vowels, stress, the elya and the enya, and legato flow. All of these aspects need to be considered when teaching Italian diction and when choosing a text.

German:

The important aspects of German that must be addressed are: mixed vowels

(umlauts) , long and short vowels, ich-laut and ach-laut , schwas, the treatment of the R’s,

V’s and W’s; spitting out the consonants, diphthongs, glottals, and prefixes and suffixes.

All of these aspects need to be considered when teaching German diction and when choosing a text.

252 French:

The important aspects of the French language mentioned here are: unaccented flow, mixed vowels, “ui” / ɥ/glide, nasals, bright A /a/ and dark A / ɑ/ , bright vowels, liaison , elision, lots of letters but one sound, mute and aspirate H, mute E, and no diphthongs. All of these aspects need to be considered when teaching French diction and when choosing a text.

4. What are the difficulties encountered by the students in these classes?

This question is based on questions 45 and 46 of the interview questions, and

Tables 4.66-4.69 in Chapter 4. Those questions are:

45: Are there aspects of the languages that you do not cover because they are inaccessible to the undergraduate student?

46: What aspects of the languages do the students find overwhelming or difficult? How do you address this?

Regarding question 45, the main reasons why certain aspects of the languages are inaccessible to the undergraduate student is the lack of background in the area of grammar, parts of speech, and conjugation. Diction classes are not designed to be language classes, and those students without that background can be at a disadvantage.

Also mentioned are the finer points of the language, such as dialects, the enya glide in

Italian, the schwa in French and German, learning all of the rules for elision and liaison, learning to flip the R in Italian, and pronouncing the mixed vowels in German and

French.

253 Regarding question 46 (Italian), the specific aspects of Italian that seem to be difficult for students are: learning the rules, closed and open E’s and O’s, putting the stress in the right place, remembering the exceptions to the rules, semi-consonants such as enya / ɲ/ and ng /ŋ/ , IPA symbols, spellings of C, G, and SC; rolled R’s, glides, pure vowels with no diphthongs, and forming the proper vowels.

Regarding question 46 (German), the most common aspect for the German language that is difficult to master is the mixed vowels or umlauts , since this is not a sound found in English. Also mentioned were learning the rules, exceptions to the rules, diphthongs, long and short vowels, and glottals.

Regarding question 46 (French), the French language presents many challenges for the English-speaking student. The most common aspect mentioned here again are the mixed vowels. Also mentioned are the semi-consonants, the difference between the

IPA symbols and the letters, the many vowel combinations, nasals, learning the rules, exceptions to the rules, verb forms, and elisions and liaisons .

Diction classes should be designed in a way that will help the student overcome the inherent difficulties of these languages. This can be done by allowing ample instruction time and practice opportunities focusing on these difficult areas. The instructor’s expertise and the choice of appropriate materials will aid the student in the understanding of language pronunciation for their classes and for future preparation.

5. Which languages are being taught?

The answer to this question is based on question 14 of the survey which states:

254 In which of the following languages do you currently offer vocal diction classes?

(Check all that apply.): Italian, French, German, English, Latin, Spanish, Russian,

International Phonetic Alphabet, and/or Other (see Figure 14).

The languages that received responses are as follows, with the number of responses out of 118 in parenthesis: Italian (117), German (115), French (115), English

(90), Latin (45), Spanish (12), Russian (5), Czech (1), Polish (1), and Portuguese (1).

The scope of this document is to focus on the Italian, German, and French languages.

The number of institutions that teach these languages reinforces the need for this type of research.

6. How many weeks/hours of instruction are allotted for each language?

For this question, information was based on questions 15 through 18 of the survey, with the primary information derived from question 18.

Question 15 states: Which languages are taught for the entire quarter/semester?

Most said “none,” receiving seventy-nine responses. Of the remaining thirty-nine,

French (35), German (32), and Italian (25) received the most responses (see Figure 15).

Question 16 states: Are any languages combined in the same quarter/semester?

Most answer yes, with eighty-one responses, and nineteen answered no (see Figure 16).

Question 17 states: If so, what are they? (see Figure 17). The answers receiving the most responses were German and French, with thirty-five. Next was Italian and

English, with twenty-two responses. These are the two pairs of languages that are most often grouped together, with the usual order of English/Italian first semester, and

German/French second semester. There were thirty responses that offer three languages

255 in one term, sixteen that offer four languages per term, three that offer five languages per term, nine offer six languages per term, and two that offer seven languages per term.

The last three also include IPA in that number.

This leads to question 18: How much time in the quarter/semester is allotted to each language? (see Figure 18). The answers ranged from one day (Latin) to sixteen weeks per language. The most common answer was seven weeks, with twenty-four responses. Those languages taught for seven weeks are Spanish, French, and German.

The next answer, with nineteen responses, was three weeks per language. Those languages include Portuguese, Italian, English, French, German, and Latin. The answer receiving the greatest number of languages, with eight languages, is five weeks per language. It also received seventeen responses. Those languages are: English, Italian,

French, Latin, German, Spanish, and Czech/Polish. The most common answer, seven weeks, if at 50 minutes a class and two times a week, would be a total of 700 minutes, or about eleven hours. The range of time per language is 50 minutes to 2,880 minutes, or 48 hours.

7. What diction texts are currently being used for the Italian, German, and French diction classes?

This question is based on the answers from question 22 of the survey: What textbooks do you use for each of the following languages? (If none, write none.) Please include title and author: (see Figures 20-27).

For Italian, German, and French diction classes, the text used most often is

Diction for Singers by Joan Wall et al. It is listed seventy-one times for Italian, seventy

256 times for German, and sixty-nine times for French. Next was Diction by John Moriarty, with sixteen responses, for Italian, fourteen responses for German, and eleven responses for French. A Handbook of Diction for Singers by David Adams was mentioned third, with eight responses for Italian, six for German, and seven for French. For German and

French, the book by Richard Cox, The Singer’s Manual for German and French Diction was mentioned nine times for German and French. Other textbooks mentioned that have more than one language include Sheil (1), Stapp (2), and Coffin (1).

The remaining text books have just one language each. The most mentioned text for Italian is Singer’s Italian by Evelina Colorni, which received twenty-seven responses. The remaining texts were Errolle (1), Montgomery/Italian (2), and

Paton/Italian (1). For German, the most used text was German for Singers by Odom, with sixteen responses. The remaining texts were Paton/German (2),

Montgomery/German (2), and Stormes/German (1). For French, Thomas Grubb’s book

Singing in French received the most responses, with twenty-five. Others were

Montgomery/French (3), Davis (1), Farish (1), and Stormes/French (1).

Therefore, the text that is used the most is Wall’s Diction for Singers. The top one-language books are Italian: Colorni, German: Odom, and French: Grubb.

8. What other sources are used to supplement the texts?

For this question, the responses to questions 23 and 24 of the survey were used.

Question 23 states: Do you supplement these books with other sources? One hundred nine said “yes” and only eight said “no.” Of those 109, most supplement with at least two other sources.

257 Question 24 states: If so, please indicate those sources (see Figure 28). Those sources included diction texts, books, song anthologies, recordings, dictionaries, software, quizzes and test, personal handouts, poetry books, song and choral texts, translation books, IPA books, master classes, worksheets, workbooks, and websites. For a detailed listing of those sources, please refer to Figure 28 and Table 3.48 in Chapter 3.

Grubb received the most responses with twenty-nine. Next was “song anthologies” with twenty-four, followed by “recordings,” “dictionaries,” and Colorni with twenty each.

Other types of sources mentioned in the interviews included movies, videos, and children’s books. Supplementing the diction books appear to be a very important part of the vocal diction class.

9. How effective are the texts and sources?

For this question, questions 25 through 27 from the survey were used. Those questions were:

How effective do you find the books and sources you currently use? Very

Effective, Somewhat Effective, Not Effective?

Question 25 referred to the Italian books and sources, question 26 referred to the

French books and sources, and question 27 referred to the German books and sources.

The answers for these questions were averaged together to find the overall effectiveness of the diction books and sources. Also consulted were Figures 29 through 47 which correspond to these questions from the survey. The English texts are not covered here, since this document is only focusing on the Italian, German, and French languages.

258 For the most part, the answers for the diction texts appear to be equally distributed between “somewhat effective” and “very effective.” The top book, the Wall book, had an average of seventy instructors who use this text. Sixty-four answered questions regarding its effectiveness. It received overall an average of thirty responses as “very effective,” an average of thirty responses as “somewhat effective,” and only one response as “not effective.” Therefore, it can be considered both very effective and somewhat effective.

The remaining most-used texts that also cover Italian, German, and French are

Moriarty and Adams. Moriarty, with an average of fourteen people who use it as a diction text, also has eighteen who use it as a supplemental text. Twenty-three of those responded about its effectiveness. Of those, an average of thirteen said that Moriarty is

“very effective,” and an average of six said that it is “somewhat effective.” None said it was “not effective.” Therefore, this text can be considered two times as very effective as compared to somewhat effective.

Adams is used by an average of eight people as a diction text and eight as a supplement. However, only nine answered questions regarding its effectiveness. Of those, an average of four said it was “very effective,” and an average of three said it was

“somewhat effective.” Only one said it was “not effective.” Therefore, Adams is equally considered very effective and somewhat effective.

Regarding Italian diction texts, the book by Colorni is the only one for which there were a significant number of responses needed in order to draw a conclusion. All twenty-seven who use this as their text commented on its effectiveness, and fourteen of the twenty who use this book as a supplement commented on its effectiveness. An

259 average of ten said it was “somewhat effective,” and ten said it was “very effective.”

None said it was “not effective.” Therefore, this text is equally considered very effective and somewhat effective.

Of the German texts, Odom and Cox received enough comments to be able to draw conclusions. Odom is used by sixteen people as a text and by sixteen people as a supplement. Of those, twenty-nine commented on its effectiveness. There was an average of seventeen people who said that this text was “very effective,” and an average of six said it was “somewhat effective.” None said it was “not effective.” Therefore, it can be concluded that the Odom text is mostly very effective.

The Cox text had nine people use it as a diction text and four as a supplement.

Of those, seven commented on its effectiveness. Of those, an average of four said it was

“very effective,” and an average of three said it was “somewhat effective.” None said it was not effective. Therefore, the Cox text is mostly equally considered very effective and somewhat effective.

Regarding the French texts, Grubb, Cox, and Bernac received enough responses to be able to draw conclusions. Cox has already been discussed. The Grubb text is used by twenty-five people as their diction text, and twenty-nine people as their supplemental text. Of those, twenty-three commented on its effectiveness. An average of seventeen said it was “very effective,” and an average of six said it was “somewhat effective.”

None said it was “not effective.” Therefore, it can be concluded that the Grubb text is mostly very effective.

The Bernac book is just used as a supplement by fourteen people, and eleven of those commented on its effectiveness. Of those, eight said it was “very effective,” and

260 three said it was “somewhat effective.” None said it was “not effective.” Therefore, it can be concluded that the Bernac text is mostly very effective.

The other texts, Stapp, Sheil, Montgomery, Stormes, Davis, Farish, Paton,

Coffin, Wall/IPA, and Errolle did not have significant numbers of people using them to warrant conclusions. However, the interviewees were chosen mostly based on the texts they used, and to provide insight into those texts. In addition to the texts already discussed, the additional texts that the interviewees use are: Wall/IPA, Davis, Sheil,

Stormes, Stapp, Paton/German, and Paton/Italian. Information and comments gathered about these texts, including comments from the surveys, are discussed next.

Seven use the Wall/IPA text. Five found it to be “somewhat effective,” and two found it to be “very effective.” Two use the Davis text. Their comments were divided: one said it was “very effective,” and one said it was “somewhat effective.” One person uses the Sheil text. That person said it was “very effective.” Three people use the Stapp text. All three said it was “very effective.” Both Paton books received comments. Seven use the German text and two use the Italian text. Five said that the German text was

“very effective,” and two said it was “somewhat effective.” Both said the Italian text was “very effective.” The one person who uses the Stormes text said that it was “very effective.” The other sources used did not receive enough comments in order to form conclusions.

10. Does the instructor change or add anything to the texts and sources?

The answers for this question are based on the results of questions 37 and 38 of the survey. Those questions are: Do you change anything or add anything to the books

261 or sources? If so, what do you do? Figure 60 reflects the answer to the first question.

Eighty-one people answered this question. Of those, seventy-two said “yes,” and only nine said “no.” Of the seventy-two who said yes, there were forty-two different reasons given, which is displayed in Figure 61. Also, there were thirty-two different comments given, which are listed in Table 3.67 in Chapter 3.

The following answers are of general nature and have to do with what is added to the class: supplement with worksheets, handouts, IPA charts, vowel charts, oral drills, music, audio component, lectures, use of the Internet, transcription assignments, quotes, tests, reading lists, grammar, vocabulary, rule games, singing, poems, song texts from

Coffin, overheads, and technical and stylistic issues.

The following have to do with specific text books: Wall: show where experts disagree, correct the mistakes, follow the rules of Colorni, supplement with Colorni,

Grubb, and Odom; add specific rules for the Italian, change some IPA, and give translations. Colorni: change approach to open and closed E. Moriarty: simplify the rules, and alternative opinions.

It can be concluded that a great deal is added to the texts. In fact, that is a significant part of the class. Also, several things are changed or added to the texts, especially the Wall book.

11. Regarding the texts, are they accurate or inaccurate? Do they reflect current knowledge?

For this question, questions 39 and 40 from the survey were consulted. Also,

Figures 62 through 68, and Tables 3.69 through 3.71 were consulted. Question 39 says:

262 Do you find any inconsistencies or inaccuracies in the books or courses you use?

Eighty-one people responded to this question. Seventy-two said yes, and only nine said no.

Question 40 says: If so, list them here . There are a significant number of people who have found inaccuracies in their texts. Inaccuracies have been found in the following texts: Adams, Colorni, Cox, Odom, Grubb, Moriarty, and Wall. The first five texts have been reported to have minor inaccuracies or mistakes. Some have typos, disagreements, or inconsistencies in the text.

However, separate figures and tables were set up for Wall and Moriarty. The

Wall book had the most inaccuracies listed, with eleven different ones represented by seventy responses from the thirty-nine who answered yes to the previous question. This is more than half of those who use this text. Also, there were twenty-three different comments. Most of these pertain to the mistakes found in this text, typos, mistakes in the IPA and orthographic words, incorrect definitions, pedagogical mistakes, and others.

A number of instructors have contacted the publisher to request that a new edition be made to correct these mistakes, or at least be given an errata sheet. The author of this document also tried contacting the publisher requesting information about this, but no response was received. Several instructors provided errata sheets, or gave students extra credit for “finding the mistakes.” It is hoped that this will be corrected by Pst. publication in the future.

Nine of the sixteen who use Moriarty found some mistakes. These include typos,

IPA errors, inconsistencies, and differing use of IPA as compared to other texts.

263 For the next part of this question, Question 41 of the survey was used, which was: Are the books authoritative, reflecting current knowledge? Also, Figures 67 and 68 were referred to, as well as Tables 3.70 and 3.71 in Chapter 3.

This question was in two parts: those who answered “yes” and those who answered “no.” There were 160 responses. One hundred fifty-four answered “yes” for the text, and only six answered “no.” The text with the most positive responses was

Wall, with fifty-one. Other texts included under “yes” are: Wall/IPA, Uris, Stapp, Sheil,

Paton/Italian, Paton/German, Odom, Moriarty, Marshall, Grubb, Errolle, Davis, Cox,

Colorni, and Adams. Of the six that answered “no,” three were for Wall, and one each for Moriarty, Marshall, and Colorni. It can be concluded that all of these texts are considered to be authoritative, and reflect current knowledge. However, there are some notable exceptions, such as outdated understanding of the German “R” in Moriarty, and some outdated notions in Marshall and Colorni.

12. What is the makeup of the text?

It is important for the diction instructor to know ahead of time the makeup of the text, so that the instructor can determine if this text will work in his or her individual situation. Also, it will help the instructor to know what additional supplemental materials will be needed for the class.

Several factors were considered when determining the makeup of the text. Those factors were: whether or not they include songs, poems/song texts, speaking exercises, singing exercises, word lists, grammar, recordings of exercises, recordings of accompaniments, transcription exercises, and quizzes/tests. These questions were on the

264 original survey. However, they were not included in this document because there were apparently a lot of discrepancies and misunderstandings of these questions. Most of these questions were asked of the interviewees. Regarding the texts used, those interview questions were:

13: Do they include an audio component? If so, what is on the recording?

14: Do they include transcription exercises for the student?

15: Do they include quizzes or tests?

16: Do they include music and songs?

17: Do they include poems or texts?

Questions regarding grammar, words lists, and other exercises were discussed during the interviews and also through observations by the author. Another factor was the dimensions of the text, which include number of pages. It is hoped that this will help the diction instructor get a sense of the size of the text before seeing the actual book. All of the books are in print as of the writing of this document.

The following diction texts will be evaluated regarding their makeup: Adams,

Colorni, Cox, Davis, Grubb, Montgomery (Italian, French, and German), Moriarty,

Odom, Paton/German, Paton/Italian, Sheil, Stapp, Stormes, Wall, and Wall/IPA. Those with three or more languages will be listed first, followed by those with two, and then those with one.

265 Seven languages:

Sheil: Latin, Italian, German, French, Spanish, Hebrew, and Russian

This text has some transcription exercises, song excerpts, one Russian song, and texts for the Hebrew service. Dimensions: 7 ½ x 9 ¼ inches, 181 pages.

Six Languages:

Wall: English, Italian, Latin, German, French, and Spanish

This text has the Latin service text, and excerpts of poems and songs. Teacher’s pack has cassette tape recordings of exercises, quizzes, and tests. Dimensions: 8 ½ x 11 inches, 279 pages.

Four Languages:

Stapp: English, Italian, French, and German

This text has grammar, word lists, and lines of poems and texts. Dimensions: 8 x 11 inches, 213 pages.

Moriarty: Latin, Italian, French, and German

This text has speaking exercises, intoning exercises, song excerpts, and excerpts of poems and texts. Dimensions: 8 ½ x 9 inches, 258 pages.

Wall/IPA: English. Italian, French, and German (very little of latter three)

This text has transcription exercises, speaking exercises, singing exercises, and some poems and texts. Teacher’s pack has cassette tape recordings of exercises, sample quizzes and tests. Dimensions: 8 ½ x 11 inches, 226 pages.

266 Three Languages:

Adams: Italian, French, and German

This text has excerpts of songs, and phrases of poems and texts. Dimensions: 6 x 9 ½ inches, 180 pages.

Two languages:

Cox: German and French

This text has brief transcription exercises, brief sections of poems, four song texts, and excerpts of songs. Dimensions: 6 x 9 ½ inches, 63 pages.

One language:

Colorni: Italian

This text has brief transcription exercises, excerpts of songs, singing exercises, and speaking exercises. Dimensions: 6 ½ x 10 inches, 157 pages.

Davis: French

This text has whole songs (seven) and excerpts, speaking exercises, singing/intoning exercises, transcription exercises, poems, texts, and excerpts, recordings of exercises (2

CDs); and recording of accompaniment and song melodies of seven songs, in two keys

(1 CD). Dimensions: 8 ½ x 11 inches, 327 pages.

267 Grubb: French

This text has transcription exercises, excerpts of songs, excerpts of poems and texts, word lists, repertoire lists, recording of exercises (flexible record), and intoning exercises. Dimensions: 8 x 9 ½ inches, 221 pages.

Montgomery: one book of each: French, German, Italian, and English

This text has transcription exercises (most of the book), speaking exercises, song texts, quizzes, worksheets, and class work. Dimensions: 8 ½ x 11 inches, 302 pages, ring binding.

Odom: German

This text has word lists, partial texts, songs (many, folk songs), song texts (22+), tape recoding of exercises (bought separately), and speaking exercises. Dimensions: 8 x 9 ½ inches, 169 pages.

Paton/German: German, Paton/Italian: Italian

This text has transcription exercises, (also in supplementary materials), seven to ten songs, song excerpts, excerpts of poems, intoning exercises, quizzes and tests in supplementary materials, and CD recording of exercises. Dimensions: 9 x 12 inches,

120 pages, ring binding.

268 Stormes: one book each of French and German

This text has transcription exercises, six French song texts, fourteen German song texts, and word lists. Dimensions: 8 ½ x 11 inches, 47 pages (French), and 39 pages (German).

To summarize: here are the texts listed under the different categories:

Transcription Exercises Quizzes/Tests Cox Montgomery Davis Paton (supplementary materials) Grubb Wall (teacher’s pack) Montgomery Wall/IPA (teacher’s pack) Paton (supplementary materials) Sheil Stormes Wall (teacher’s pack) Wall/IPA

Whole Songs Whole Poems/Song Texts Davis Cox Odom Davis Paton Odom Sheil (1) Sheil Stormes Wall Recordings Word Lists Davis (exercises and songs) Grubb (plus repertoire lists) Grubb (exercises) Montgomery Odom (exercises) Odom Paton (exercises, texts) Stapp (plus grammar) Wall (exercises) teacher’s pack Stormes Wall/IPA (exercises) teacher’s pack

Speaking exercises Singing exercises Colorni Colorni Davis Davis Montgomery Grubb Moriarty Moriarty Odom Paton Wall/IPA Wall/IPA

Table 5.1: Texts listed under the different categories 269 13. Have other texts been used in the past?

The results for this question are drawn from questions 43 and 44 of the survey:

Have you used other texts in the past? If so, what were they? Also, Figures 70 and 71 were used, as well as and Tables 3.74, 3.75 and 3.76. Thirty-seven said “yes,” and thirty-nine said “no,” out of the 118 that filled out the survey. Of those that said “yes,” thirty said they used Moriarty in the past. Other texts mentioned were Adams, Cox,

Colorni, Davis, Odom, Grubb, Marshall, Stapp, Uris, and Wall. Reasons given for changing texts ranged from wanting all the languages in one book, cost, inaccuracies, one more suited for beginners, and to wanting one that was more up-to-date.

5.3 Recommendations

On the basis of the survey results and the twenty-two interviews and comments received, the following recommendations for the instructor of vocal diction are offered:

1. Choose a text that most fits your class situation. Take into consideration the number of languages taught in one term, the size of the class, and if the students have any background in the languages.

2. Supplement with materials that will support the class. Materials to include are: song anthologies, dictionaries, transcription exercises, speaking exercises, singing exercises, and quizzes and tests. If the instructor wants to save time, choose a text that has some or all of these materials available.

3. Supplement with multi-media materials: software, websites, videos, movies, and recordings. Consider the tools that will help the student not only during class, but outside of class. Set up a listening lab for the student, so the student may practice speaking the exercises, as well as have listening opportunities.

270 4. Have native speakers come to class so that the students may hear first- hand the language being spoken. Include recordings of native speakers and singers. Go to campus and area language tables to hear the language being spoken.

5. Focus on learning the IPA, spending time transcribing and learning the rules. Lots of practice is the key. Teach them how to transcribe texts on their own. Even though now, more than ever, there are many sources that have these transcriptions, both in books and on the web, the students should be able to also do this on their own.

6. Teach them how to use a dictionary to look up and translate and transcribe the texts. Use recent dictionaries that have IPA symbols and reflect current understanding of pronunciation.

7. Work for simplicity. Learning the rules and exceptions can be overwhelming. Don’t be too concerned about every single detail. Help the students know the important points and aspects of the languages. Remember, the vocal diction class is just the starting point of a lifetime of singing in the various languages. The point of this class is to give them the basic tools.

8. When possible, have them sing! Much can be gained by having the students sing and hear first-hand the difficulties involved in singing in the different languages. Have the students correct each other. Teach them to listen carefully. That is one of the most important skills for them to develop.

9. Have the class be fun! Show movies in foreign languages, read foreign language children’s books, and give them a taste of the language. The more they are exposed to it, the more the students will feel comfortable singing in the language.

5.4 Future Research

The present study surveyed only 7% of the total number of institutions that offer music programs. The exact number of those institutions that offer vocal diction classes is not known. More can be gained by contacting a greater number of those instructors teaching these classes, and by assuring that a significant number of representative

271 institutions are included. Though this survey was based on only 118 of the 1,733 institutions in the United States, it is hoped that these responses are still representative of the overall number. However, only a more comprehensive study will be able to determine this for certain. Also, the questions could be limited to just the diction books themselves, delving more into the effectiveness of those texts, and the situations in which they are taught.

There has been much interest in this study by the respondents, and the comments have been encouraging. It is hoped that the results of this study will be beneficial and helpful to instructors of lyric diction, and that they will provide those same instructors with a more complete picture of the texts and sources available on Italian, German, and

French diction. Also, it is hoped that this study will give the same instructors practical tools and insights into the rewarding study and teaching of vocal diction. Preparing future singers to sing accurately and expressively in the various languages is rewarding indeed!

272

APPENDICES

273

APPENDIX A

SURVEY QUESTIONS

274 A Survey of Diction Books and Sources Instructions Research for the document: “Diction for Singers: A Comprehensive Assessment of Books and Sources” by Cynthia Mahaney, doctoral student in vocal performance at The Ohio State University, Eileen Davis, Adviser and Professor Emerita.

You are invited to participate in this survey of diction books and sources as part of my doctoral document. Completion of this survey should take no more than twenty minutes. The results of this survey will be used to determine which books and sources are currently being used in vocal diction classes across the country, and how effective those books and sources are in the teaching of those classes. The survey is designed for those professors who are actually teaching those classes at your institution. Returning this instrument signifies your consent to have your responses reported anonymously in the publication of this document and in any future related publications. Timely return of this survey is appreciated. We thank you for your participation.

Part I: General questions about your institution

1. What type of period does your institution have: quarters, semesters, or another type? quarters semesters other:

2. How many weeks of class are there in your quarter/semester?

3. How long is one class period?

Part II: General questions about your diction course(s)

4. How many times a week is your class held?

5. How long is the class period?

6. How many hours of credit are allotted to each class?

7. Do you have an undergraduate degree program in vocal performance?

275 8. What degree(s) do your students obtain in the vocal area?

9. Do you have a graduate degree program in the vocal performance?

10. Are your diction classes required for the undergraduate program?

11. Are your diction classes required for the graduate program?

12. Is this class a requirement in any other degree programs? If so, which ones?

13. Do you offer a graduate level diction class?

14. In which of the following languages do you currently offer vocal diction classes? (Check all that apply.): Italian French German English Latin Spanish Russian International Phonetic Alphabet Other

15. Which languages are taught for the entire quarter/semester?

16. Are any languages combined in the same quarter/semester?

17. 4If so, what are they?

18. How much time in the quarter/semester is allotted to each language?

4 Not in original survey. 276 19. Do you use a listening lab? Yes No

20. Are your students required to record themselves? Yes No

21. How many vocal diction instructors do you have?

Part III: Questions about the diction books being used currently:

22. What textbooks do you use for each of the following languages? (If none, write none.) Please include title and author: Italian French German International Phonetic Alphabet Spanish Russian Latin Other [English]

23. Do you supplement these books with other sources? Yes No

24. If so, please indicate these sources:

25. How effective do you find the Italian books and sources you currently use? Very Effective Somewhat Effective Not Effective

26. How effective do you find the French books and sources you currently use? Very Effective Somewhat Effective Not Effective

5 The original survey only listed “Other,” not English.

277 27. How effective do you find the German books and sources you currently use? Very Effective Somewhat Effective Not Effective

28. How effective do you find the 6other [English] books and sources you currently use? Very Effective Somewhat Effective Not Effective

29. What do you like about these Italian textbooks?

30. What do you like about these French textbooks?

31. What do you like about these German textbooks?

32. What do you like about these other [English] textbooks?

33. What do you NOT like about these Italian textbooks?

34. What do you NOT like about these French textbooks?

35. What do you NOT like about these German textbooks?

36. What do you NOT like about these other [English] textbooks?

37. Do you change anything or add anything to the books or sources?

38. If so, what do you do?

6 Original survey only listed “Other,” not English. 278 39. Do you find any inconsistencies or inaccuracies in the books or sources you use?

40. If so, list them here.

41. Are the books authoritative, reflecting current knowledge?

42. How long have you used these books and sources?

43. Have you used other books in the past?

44. If so, what were they?

45. Why did you switch?

46. Do you write your own tests, quizzes, or worksheets? Yes No

47. Do the textbooks you use include enough oral, written, and vocal practice? Which textbooks? Yes No Italian French German

48. Do the textbooks you use have clear explanations? Which textbooks? Yes No Italian French German

279 49. Do the textbooks you use have an accessible format? Which textbooks? Yes No Italian French German

50. Do you order the books for your students? Yes No

51. Are they purchased at a: bookstore? online? by phone?

52. Do I have permission to interview you? If so, please list your name, institution, address, phone number and e-mail address so that I may contact you by the end of May to arrange an interview. Name Institution Street Address City, State, and zip code Phone number e-mail address

53. Would you prefer a phone interview or one in person? Phone interview In person

Thank you for your time and input. Your information is greatly appreciated and will go a long way in helping to complete this document.

280

APPENDIX B

BAR GRAPHS OF RESULTS OF SURVEY QUESTIONS

281 Survey Results The following is a graphical depiction of the responses to each survey question.

Section - Part I: General questions about your institution

Mean: 1.95

Other:

semesters

quarters

0 50 100 150

Figure 1: Question 1: What type of period does your institution have: quarters, semesters, or another type?

282 Mean: 5.37

0 10 20 30 40 50

Figure 2: Question 2: How many weeks of class are there in your quarter/semester?

283 Mean: 2.78

120 minutes

90 minutes

80 minutes

75 minutes

60 minutes

55 minutes

53 minutes

50 minutes

0 20 40 60 80

Figure 3: Question 3: How long is one class period?

284 Section - Part II: General questions about your diction course(s)

Mean: 2.96

0 20 40 60 80 100

Figure 4: Question 4: How many times a week is your class held?

285 Mean: 3.19

120 minutes

100 minutes

90 minutes

80 minutes

75 minutes

60 minutes

55 minutes

53 minutes

50 minutes

0 20 40 60 80

Figure 5: Question 5: How long is the class period?

286 Mean: 4.55

.25

0 10 20 30 40 50 60

Figure 6: Question 6: How many hours credit are allotted to each class?

287 Mean: 1.14

Yes

0 50 100 150

Figure 7: Question 7: Do you have an undergraduate degree program in vocal performance?

288 Mean: 10.17

Not Applicable Music Minor Liberal Arts Music Business Piano Music Management Music Ministry Sound Engineering Arts Jazz Performance Composition Music Therapy Vocal Pedagogy Musical Theater Music Education Sacred Music Vocal Performance Commercial Music Classical Vocal Performance Music Doctorate in Musical Arts Master of Music Education Master of Arts Master of Music Bachelor in Music Therapy Bachelor of Music Theory Bachelor of Fine Arts Bachelor of Liberal Arts Bachelor of Science Bachelor of Music Education Bachelor of Arts Bachelor of Music Associates Degree in Music

0 20 40 60 80

Figure 8: Question 8: What degree(s) do your students obtain in the vocal area?

289 Mean: 1.64

Yes

0 20 40 60 80

Figure 9: Question 9: Do you have a graduate degree program in the vocal performance?

290 Mean: 1.19

Not applicable

not sure

Yes

0 50 100

Figure 10: Question 10: Are your diction classes required for the undergraduate program?

291 Mean: 2.51

N/A

Yes

0 20 40 60 80

Figure 11: Question 11: Are your diction classes required for the graduate program?

292 Mean: 2.21

Piano

Theater

Vocal Pedagogy

Minor in Music, vocal emphasis

Music Education

Yes

0 30 60 90

Figure 12: Question 12: Is this class a requirement in any other degree programs? If so, which ones?

293 Mean: 2.42

N/A

Yes

0 10 20 30 40 50 60 70

Figure 13: Question 13: Do you offer a graduate level diction class?

294 Mean: 3.54

other

International Phonetic Alphabet

Russian

Spanish

Latin

English

German

French

Italian

0 50 100 150

Figure 14: Question 14: In which of the following languages do you currently offer vocal diction classes? (Check all that apply.):

295 Mean: 5.47

None

IPA

Latin

Russian

Spanish

German

French

English

Italian

0 20 40 60 80

Figure 15: Question 15: Which languages are taught for the entire quarter/semester?

296 Mean: 1.19

Yes

0 30 60 90

Figure 16: Question 16: Are any languages combined in the same quarter/semester?

297

Mean: 13.23

English/French/German/IPA/Italian/Latin/Span English/French/German/IPA/Italian/Latin English/IPA/Italian/Latin/Spanish French/German/IPA/Italian/Latin French/German/Italian/Latin/Spanish French/German/Italian/Latin French/IPA/Latin/Spanish English/French/German/Italian English/Italian/Latin/Spanish English/IPA/Italian/Latin French/Latin/Spanish IPA/Italian/Latin German/Italian/Spanish French/German/IPA French/German/Italian French/Italian/Latin German/IPA/Italian English/Italian/Spanish English/Italian/IPA English/Italian/Latin English/German/Latin English/Italian/German Spanish/Portuguese Polish/Czech Italian/Latin Italian/French Italian/IPA Italian/German French/German English/Italian English/IPA English/German English/French

0 5 10 15 20 25 30 35

Figure 17: Question 17: If so, what are they?

298 Mean: 6.99

16 weeks

15 weeks

14 weeks

11 weeks

10 weeks

9 weeks

8 weeks

7 1/2 weeks

7 weeks

6 weeks

5 weeks

4 weeks

3 weeks

2 weeks

1 week

0 5 10 15 20 25

Figure 18: Question 18: How much time in the quarter/semester is allotted to each language?

299 Mean: 2.37

0 20 40 60 80 100

Figure 19: Question 21: How many vocal diction instructors do you have?

300 Mean: 7.37

None

Own notes

Wall/IPA

Wall

Stapp

Sheil

Paton/Italian

Moriarty

Montgomery/Italian

Errolle

Colorni

Coffin

Adams

0 20 40 60 80

Figure 20: Question 22: What textbooks do you use for each of the following languages? Italian Diction Textbooks:

301 Mean: 9.79

Not Applicable

Own notes

Wall

Stormes/French

Stapp

Sheil

Moriarty

Montgomery/French

Grubb

Farish

Davis

Cox

Coffin

Adams

0 10 20 30 40 50 60 70

Figure 21: Question 22: What textbooks do you use for each of the following languages? French Diction Textbooks:

302 Mean: 8.60

Other:

Not Applicable

Own notes

Wall

Stormes/German

Stapp

Sheil

Paton/German

Odom

Moriarty

Montgomery/German

Cox

Coffin

Adams

0 10 20 30 40 50 60 70

Figure 22: Question 22: What textbooks do you use for each of the following languages? German Diction Textbooks:

303 Mean: 15.10

other:

Not applicable

None

Own notes

Wall/IPA

Wall

Uris

Stapp

Sheil

Odom

Moriarty

Montgomery/English

Marshall

Handbook

Forward

Coffin

Christy

Adams

0 10 20 30 40

Figure 23: Question 22: What textbooks do you use for each of the following languages? International Phonetic Alphabet Textbooks:

304 Mean: 4.60

Not Applicable

None

Own notes

Wall

Castel

0 50 100

Figure 24: Question 22: What textbooks do you use for each of the following languages? Spanish Diction Textbooks:

305 Mean: 1.04

Not Known

None

Not Applicable

0 50 100 150

Figure 25: Question 22: What textbooks do you use for each of the following languages? Russian Diction Textbooks:

306 Mean: 6.88

other:

Not Applicable

None

Wall

Sheil

Moriarty

Hines

0 20 40 60 80

Figure 26: Question 22: What textbooks do you use for each of the following languages? Latin Diction Textbooks:

307 Mean: 11.11

Not Applicable

None

Own notes

Wall/IPA

Wall

Uris

Stapp

Montgomery/English

Marshall

La Bouff

Kenyon & Knott

Jones

Forward

Cox/English

0 10 20 30 40

Figure 27: Question 22: What textbooks do you use for each of the following languages? 7Other [English] Diction Textbooks:

7 Original survey only listed “Other” 308 Mean: 33.34

Barber Not applicable Other worksheets Websites Ware Wall/IPA Wall Uris Translation books Stapp Song texts Song Anthologies Software Rosenberg recordings Pullum & Ladusaw poetry books Phillips personal handouts Paton/German Odom Moriarty Montgomery/French master classes Marshall Latin Kenyon & Knott Kagen IPA Handbook Grubb Forward Fischer-Dieskau Errolle Dictionaries Davis Cox/English Cox Colorni Coffin choral texts Castel Berrong Bernac Adler Adams

0 5 10 15 20 25 30

Figure 28: Question 24: If so, please indicate these sources:

309 Mean: 1.52

Not Effective

Somewhat Effective

Very Effective

0 5 10 15 20 25 30 35

Figure 29: Question 25: How effective do you find the Italian books and sources you currently use? Wall:

310 Mean: 1.39

Somewhat Effective

Very Effective

0 5 10 15

Figure 30: Question 25: How effective do you find the Italian books and sources you currently use? Moriarty:

311 Mean: 1.63

Somewhat Effective

Very Effective

0 5 10 15 20

Figure 31: Question 25: How effective do you find the Italian books and sources you currently use? Colorni:

312 Mean: 1.78

Not Effective

Somewhat Effective

Very Effective

0 1 2 3 4 5

Figure 32: Question 25: How effective do you find the Italian books and sources you currently use? Adams:

313 Mean: 1.36

Not Effective

Somewhat Effective

Very Effective

0 5 10

Figure 33: Question 26: How effective do you find the supplemental Italian books and sources you currently use? Colorni:

314 Mean: 1.57

Not Effective

Somewhat Effective

Very Effective

0 5 10 15 20 25 30 35

Figure 34: Question 26: How effective do you find the French books and sources you currently use? Wall:

315 Mean: 1.33

Somewhat Effective

Very Effective

0 5 10

Figure 35: Question 26: How effective do you find the French books and sources you currently use? Moriarty:

316 Mean: 1.33

Somewhat Effective

Very Effective

0 5 10 15

Figure 36: Question 26: How effective do you find the French books and sources you currently use? Grubb:

317 Mean: 1.29

Somewhat Effective

Very Effective

0 1 2 3 4 5

Figure 37: Question 26: How effective do you find the French books and sources you currently use? Adams:

318 Mean: 1.43

Somewhat Effective

Very Effective

0 1 2 3 4

Figure 38: Question 26: How effective do you find the French books and sources you currently use? Cox:

319 Mean: 1.17

Somewhat Effective

Very Effective

0 5 10 15 20

Figure 39: Question 26: How effective do you find the supplemental French books and sources you currently use? Grubb:

320 Mean: 1.27

Somewhat Effective

Very Effective

0 2 4 6 8

Figure 40: Question 26: How effective do you find the supplemental French books and sources you currently use? Bernac:

321 Mean: 1.49

Not Effective

Somewhat Effective

Very Effective

0 5 10 15 20 25 30 35

Figure 41: Question 27: How effective do you find the German books and sources you currently use? Wall:

322 Mean: 1.22

Somewhat Effective

Very Effective

0 5 10 15

Figure 42: Question 27: How effective do you find the German books and sources you currently use? Moriarty:

323 Mean: 1.33

Somewhat Effective

Very Effective

0 1 2 3 4

Figure 43: Question 27: How effective do you find the German books and sources you currently use? Adams:

324 Mean: 1.20

Somewhat Effective

Very Effective

0 5 10 15

Figure 44: Question 27: How effective do you find the German books and sources you currently use? Odom:

325 Mean: 1.43

Somewhat Effective

Very Effective

0 1 2 3 4

Figure 45: Question 27: How effective do you find the German books and sources you currently use? Cox:

326 Mean: 1.29

Somewhat Effective

Very Effective

0 5 10

Figure 46: Question 27: How effective do you find the supplemental German books and sources you currently use? Odom:

327 Mean: 1.25

Somewhat Effective

Very Effective

0 0.5 1 1.5 2 2.5 3

Figure 47: Question 27: How effective do you find the supplemental German books and sources you currently use? Cox:

328

Mean: 10.17

offers additional musical examples end of chapter compilation of sounds helps students focus and work good to keep on the shelf as reference usable after class is over pronunciation guidelines sound explanation of principles Standardized tests Use of IPA examples along with page reference easy reading and comprehension the manner in which it is simplified easy to obtain not costly singer's text word examples good overview of each language the way the material is organized possible to cover this much material very complete information correlates well with Coffin easy to use and reference good introduction to diction the guide at the beginning of each chapter the detailed sections on each letter all the languages in one book concise clear rules uses charts the workbook

0 5 10 15 20

Figure 48: What do you like about the Wall book?

329 Mean: 5.12

clear

simple to use

in more layman terms

vowel chart

the organization

seems most efficient for our readers

well done

it works

it covers all languages

0 1 2 3 4 5 6

Figure 49: What do you like about the Moriarty book?

330 Mean: 5.94

excellent appendices

exercises

productive teacher and author

educated

well-written

easy to obtain

not costly

easy to reference

vowels are talked before consonants

comprehensive

song examples

0 5 10 15

Figure 50: What do you like about the Grubb book?

331 Mean: 5.29

simple rules

educated

well-written

easy to obtain

not costly

easy to reference

CDs included

clarity of layout

vowels are talked about before consonants

comprehensive

song examples

0 1 2 3 4

Figure 51: What do you like about the Odom book?

332 Mean: 7.13

exercises

concise

clear

educated

I prefer the approach to open E and O

productive teacher and author

well-written

easy to obtain

not costly

easy to reference

IPAs common singer's vocabulary

it works

music and opera related word examples

thorough

0 2 4 6 8

Figure 52: What do you like about the Colorni book?

333 Mean: 6.06

appendix with quick reference

information is concise

vowels and consonants as presented by IP

2 languages in one book

good summary pages

good description of mixed vowels

language flow

liason examples

vocabulary

musical examples

descriptive

it works

0 0.5 1 1.5 2 2.5 3

Figure 53: What do you like about the Cox book?

334 Mean: 3.50

does not overwhelm

handy

vocabulary

musical examples

descriptive

contemporary thinking

appropriate for one semester

concisely laid out

0 1 2 3 4

Figure 54: What do you like about the Adams book?

335 Mean: 15.98

no exercises not well organized No English translations for anything layout does not work for teaching rules too complex not enough oral/aural practice does not include IPA key Important pronunciation points are omitted I have to hand out extensive errata sheets very poorly proofread no worksheets text IPA often conflicts with dictionaries not enough grammar suggestions no CDs with native speakers no song text examples wish it was accompanied by listening cost not much on application doesn't go beyond IPA and rules printing errors southernisms inconsistencies in the text a few errata would like it to use a song to teach the rules too much detail for the time we have would like more real examples from music not specific enough in the French section a bit broad for the German section examples not translated lack of texts to read not of value to advanced students mistakes throughout book some contradictions to Colorni some contradictions to Odom some contradictions to Grubb does not address exceptions too general poorly detailed "English" section

0 5 10 15 20

Figure 55: What do you NOT like about the Wall book?

336 Mean: 6.11

doesn't always agree with single texts

needs oral exercises

needs new edition

confuses elision and liaison

too expensive

discrepancies in rules

more exercises are needed

not easily accessible to the student

it seems to use the same general approach

examples are not translated

there are errors

is often confusingly laid out

0 1 2 3 4 5

Figure 56: What do you NOT like about the Moriarty book?

337 Mean: 4.50

overly detailed

needs oral exercises

not enough instruction on dictionary usage

too expensive

could use a CD

difficult to absorb without prior knowledge

too complex for our time limitations

0 1 2 3 4

Figure 57: What do you NOT like about the Grubb book?

338 Mean: 5.50

no accompanying multimedia

more explanations needed on some points

needs oral exercises

words transcribed within text

does not include definitions of words used

not enough on dictionary usage

it would be nice to have an anthology

closed /e/ for certain words

students find it tedious

layout not "user friendly"

difficult to absorb without prior knowledge

0 0.5 1 1.5 2 2.5 3

Figure 58: What do you NOT like about the Colorni book?

339 Mean: 3.29

no listening examples of native singers

texts not from vocal lit

workbook would be very useful

not easily accessible to the student

seems to use a general approach

0 0.5 1 1.5 2

Figure 59: What do you NOT like about the Cox book?

340 Mean: 1.11

Yes

0 20 40 60 80

Figure 60: Question 37: Do you change anything or add anything to the books or sources?

341 Mean: 15.49

rarely use /3/ or /3^/ modify schwa in all languages vowel modification change some IPA (Wall) give translations (Wall) use current literature of students use overheads Wall: Italian open and closed "e" and"o" correct the mistakes vocalizes Moriarty: simplify the rules learn to use dictionary add rules of usage supplement with poems add song anthologies follow the rules in Colorni specific rules for Italian added to Wall require foreign languages Colorni: change /e/ and /E/ add or modify exercises in-class singing add rule games supplement with grammar, vocabulary create my own reading lists write my own tests I read a collection of quotes I have them record themselves singing and s address technical challenges and stylistic is add song transcription assignments use song texts from Coffin occasionally simplify use the Internet supplement Wall with Colorni, Grubb and Od supplement with worksheets, handouts add IPA charts add oral drills add vowel charts should use diction books with music add an audio component mostly supplement with lectures I correct the mistakes in the Wall book I show where experts disagree with Wall

0 5 10 15 20 25 30

Figure 61: Question 38: If so, what do you do?

342 Mean: 1.15

Yes

0 5 10 15 20 25

Figure 62: Question 39: Do you find any inconsistencies or inaccuracies in the books or sources you use?

343 Mean: 1.02

Yes

0 10 20 30 40

Figure 63: Do you find any inconsistencies or inaccuracies in the Wall book?

344 Mean: 5.57

some differences of opinion

some typos

some definitions are incorrect

poorly proofread

important pronunciation points are omitted

does not agree with Colorni or Grubb

use of IPA is slightly different

only a couple

mistakes in the orthographic words

mistakes in the IPA

too many to mention

0 5 10 15 20

Figure 64: Wall: If so, list them here:

345 Mean: 1.10

yes

0 3 6 9

Figure 65: Do you find any inconsistencies or inaccuracies in the Moriarty book?

346 Mean: 2.43

some IPA transcription mistakes

typos

inconsistencies in phoneticized versions of

use of IPA is different from Colorni and Cox

0 0.5 1 1.5 2 2.5 3

Figure 66: Moriarty: If so, list them here:

347 Mean: 10.29

There is NO authoritative text generally speaking

Wall/IPA Wall

Uris Stapp

Sheil Paton/Italian

Paton/German

Odom Moriarty's book is becoming outdated

Moriarty Marshall

Grubb Davis

Colorni's book is very old Cox

Colorni Adams

0 10 20 30 40 50 60

Figure 67: Question 41: Are the books authoritative, reflecting current knowledge? Yes.

348 Mean: 7.17

Wall

Moriarty

Marshall

Colorni

0 0.5 1 1.5 2 2.5 3

Figure 68: Question 41: Are the books authoritative, reflecting current knowledge? No.

349 Mean: 9.21

several years more than 25 years 24 years 20 years 17 years 16 years 15 years 14 years 12 years 11 years 10 years 9 years 8 years 7 years 6 years 5 years 4 years 3 years 1 semester 2 years 1 year

0 5 10 15 20

Figure 69: Question 42: How long have you used these books and sources?

350 Mean: 1.51

Yes

0 10 20 30 40

Figure 70: Question 43: Have you used other books in the past?

351 Mean: 7.86

Wall

Uris

Stapp

Moriarty

Marshall

Grubb

Odom

Davis

Colorni

Cox: Monograph on Choral Diction

Cox

Blankenberg

Adams

0 5 10 15 20 25 30

Figure 71: Question 44: If so, what were they?

352 Mean: 1.06

Yes

0 50 100 150

Figure 72: Question 46: Do you write your own tests, quizzes, or worksheets?

353 Mean: 8.70

Wall/IPA

Wall

Paton/Italian

Paton/German

Odom

Moriarty

Montgomery/All

Marshall

LaBouff

Grubb

Cox

Colorni

Adams

0 5 10 15 20 25

Figure 73: Question 47: Do the textbooks you use include enough oral, written, and vocal practice? Yes.

354 Mean: 7.96

Wall/IPA

Wall

Stapp

Odom

Moriarty

Marshall

Grubb

Davis

Cox

Colorni

Adams

0 10 20 30 40

Figure 74: Question 47: Do the textbooks include enough oral, written, and vocal practice? No.

355 Mean: 9.24

Wall/IPA

Wall

Stapp

Paton/Italian

Paton/German

Odom

Moriarty

Montgomery/All

Marshall

LaBouff

Grubb

Cox

Colorni

Adams

0 10 20 30 40 50 60

Figure 75: Question 48: Do the textbooks you use have clear explanations? Yes.

356 Mean: 7.38

Wall

Moriarty

Grubb

Davis

Colorni

0 1 2 3 4 5 6 7

Figure 76: Question 48: Do the textbooks you use have clear explanations? No.

357 Mean: 9.31

Wall/IPA

Wall

Stapp

Paton/Italian

Paton/German

Odom

Moriarty

Montgomery/All

Marshall

LaBouff

Grubb

Cox

Colorni

Adams

0 10 20 30 40 50 60 70

Figure 77: Question 49: Do the textbooks you use have an accessible format? Yes.

358 Mean: 6.62

Wall

Moriarty

Marshall

Grubb

Davis

Colorni

0 1 2 3 4

Figure 78: Question 49: Do the textbooks you use have an accessible format? No.

359 Mean: 1.44

Yes

0 10 20 30 40 50 60

Figure 79: Question 50: Do you order the books for your students?

360 Mean: 1.24

by phone

online

bookstore

0 50 100 150

Figure 80: Question 51: Are they purchased at a: bookstore, online, or by phone?

361

Mean: 6.57

D.M.A. in vocal performance

M.A. in vocal pedagogy

M.M in Music Education

M.M. in vocal performance

B. in music therapy

B.F.A.

Bachelor of Classical Voice

B. A. in cultural

B.A. in applied music

B.A. in music business

B.M. in church music

B.A. in music education

B.A. in voice

B.M.E.

B.M. in music education

B.M. in vocal performance

0 5 10 15 20

Figure 81: Question 8: What degree(s) do your students obtain in the vocal area?

362 Mean: 2.91

Spanish

Latin

English

German

Italian

French

0 5 10 15 20 25

Figure 82: Question 2 (Part II): Which languages have you taught?

363 Mean: 9.48

Wall/IPA

Wall

Stormes/French/German

Stapp

Sheil

Paton/German

Odom

Moriarty

Marshall

Grubb

Davis

Cox

Colorni

Adams

0 5 10 15

Figure 83: Question 8: What texts do you use currently to teach Italian, German, and French diction?

364 Mean: 4.85

German/English

Latin/Italian/French

Italian/German/French

Latin/Spanish/French

English/Italian/German

English/Italian/German/French/Latin/Spanish

Italian/French/German/English/Latin

French/German/IPA/Italian/Latin

German/Italian

English/French

English/Italian/Latin

English/Italian

German/French

IPA/Italian

0 5 10

Figure 84: Question 34: Do you have to teach more than one language in the class per semester? Which ones?

365 Mean: 66.42

N/A

German/English second

Latin/Italian/French first

Italian/German/French

Latin/Spanish/French second

English/Italian/German first

French/German second

English/Italian first

German/French second

IPA/Italian first

English/Italian/Latin first

IPA/English/Latin/Italian/French/German

German/Italian second

English/French first

0 2 4 6 8

Figure 85: If so, what is that order?

366

APPENDIX C

SAMPLE SCRIPT FOR

INITIATING CONTACT WITH INTERVIEWEES

367 Script of What I Will Tell Subjects Before They are Interviewed

Hello. Is this (name)? I am Cynthia Mahaney, doctoral candidate in vocal performance at The Ohio State University. You graciously indicated on a recent survey that I sent you that would be willing to be interviewed for my doctoral document. First, thank you very much for agreeing to do this! Is this a good time to talk about that?

Great. Before setting up the interview, let me tell you about what you can expect. I will be asking you forty-nine questions regarding your experience teaching vocal diction classes. These will include questions about your own teaching, the classes themselves, the books and sources you use, your opinions about those books and sources, and the diction classes. I will also ask you to expand on the responses you wrote in my survey. The whole interview should take about forty-five minutes. You will be given a consent form to sign which will give me permission to interview you, record our session, and use your name and responses in my document. Do you have any questions before we set up the interview?

Thank you for agreeing to be interviewed. I look forward to speaking with you soon.

Letter to be mailed to prospective interviewees Dear (name):

You graciously indicated on a recent survey that I sent you that you would be willing to be contacted to be interviewed for my doctoral document. First, thank you very much for agreeing to do this! I am Cynthia Mahaney, doctoral candidate in vocal performance at The Ohio State University.

Before setting up the interview, let me tell you about what you can expect. I will be asking you forty-nine questions regarding your experience teaching vocal diction classes. These will include questions about your own teaching, the classes themselves, the books and sources you use, and your opinions about those books and sources, and the diction classes. I will also ask you to expand on the responses you wrote in my survey. The whole interview should take about forty-five minutes. You will be given a consent form to sign which will give me permission to interview you, record our session and use your name and responses in my document.

Please contact me by sending an e-mail to XXXXX or calling me at home at XXXX. Let me know when would be a good time to be interviewed, and how you would prefer to be interviewed: by phone or in person. I look forward to speaking with you soon.

Sincerely,

Cynthia Mahaney

368

APPENDIX D

SAMPLE CONSENT FORM FOR INTERVIEWEE

369

Consent For Participation In Research Conducted by an Interview

You are asked to participate in research entitled: “Diction for Singers: A Comprehensive Assessment of Books and Sources.”

You understand that the purpose of the study, the procedures to be followed, and the expected duration of participation, as explained by Eileen Davis, Principal Investigator, or her authorized representative, Cynthia Mahaney. You agree to participate in this interview and answer questions posed truthfully and to the best of your ability. You also agree to have your voice recorded during the interview, knowing that after the document is completed, the recording will be destroyed. You also give permission to have your name and institution’s name used in the document, as well as your responses to the interview questions. Furthermore, you understand that you are free to withdraw consent at any time and to discontinue participation in the interview. You may choose not to answer a question or stop the interview if you so choose without prejudice.

______I acknowledge that I have read and fully understand the consent form. I sign it freely and voluntarily. A copy has been given to me, as well as a copy of the interview questions.

Date:______Signed:______(participant)

Signed:______(Principal Investigator or her authorized representative)

Witness:______

370

APPENDIX E

INTERVIEW QUESTIONS

371 [Part I: Questions about your institution. These were taken from questions 1, 2, 4, 5, 6, 8, 10, 12, and 51 of the survey.]

Part II: Questions about your vocal diction classes:

1. How long have you taught vocal diction? 2. Which languages have you taught? 3. Have you taught both graduate and undergraduate students? 4. Why do you think it is important for singers to study vocal diction? 5. What do these courses offer students that they are unable to get in their private lessons or coaching sessions? 6. How important do you believe proper diction is in the various languages as compared to the other aspects of vocal technique (i.e., breath management, expression, tone, etc.)? 7. What do diction classes offer the student of singing in his/her overall education and preparation as a performing artist?

Part III: Questions pertaining to the diction books and sources

8. What texts do you use currently to teach Italian, German and French diction? 9. Why did you choose those texts? 10. What has frustrated you regarding these texts? 11. How effective have they been in aiding your teaching? 12. How accessible have they been to the undergraduate student? 13. Do they include an audio component? If so, what is on the recording? 14. Do they include transcription exercises for the student? 15. Do they include quizzes or tests? 16. Do they include music and songs? 17. Do they include poems or texts?

Part IV: Questions pertaining to specific things you do in your classes

18. Do you write your own tests and quizzes? 19. Do you have them transcribe music they are currently working on? 20. Do you have your students work in a listening lab? Are they required to submit pre-recorded tapes for your evaluation? 21. Do the students sing at some point during the course? 22. Who chooses the songs? You ______Voice Teacher ______Students ______23. Are these songs from the textbook? 24. Are the students graded on the quality of their diction when singing? 25. Do your students read texts or poetry aloud? 26. Do they read as a group and/or individually? 27. Are the students required to do IPA transcriptions? 28. How much time is spent on each aspect of diction: learning the rules of the language?

372 29. How much time is spent on each aspect of diction: transcription? 30. How much time is spent on each aspect of diction: oral pronunciation? 31. How much time is spent on each aspect of diction: singing? 32. Are there other ways the student is assessed?

Part V: General Questions

33. Do you wish your class was constructed in a different way? (i.e., more time for a language, etc.) 34. Do you have to teach more than one language in the class per semester? 35. Are the students required to study the languages in a certain order? If so, what is that order? 36. If you could design this course however you wanted, what would you do differently? 37. What advice would you give professors teaching vocal diction for the first time? 38. What are the important aspects of each language that must be addressed? 39. How closely do you work with the other voice teachers? 40. Do you offer seminars or workshops in diction? Master classes? 41. Are you considered an expert in this field? 42. What difficulties have you encountered in teaching these courses? 43. How do you deal with grammar, conjugation, stress and other aspects particular to the language? 44. What aspects of the language do you not cover because of time constraints? 45. Are there aspects of the language that you do not cover because they are inaccessible to the undergraduate student? 46. What aspects of the language do the students find overwhelming or difficult? How do you address this? 47. How do you know if your teaching and the course have been successful? 48. What is your ultimate goal in teaching this class? 49. What do you hope that students will gain from this class? ******************************************************************* Thank you for your time and input. Your information is greatly appreciated and will go a long way in helping to complete this document.

373

BIBLIOGRAPHY

374 Diction Textbooks

Adams, David. A Handbook of Diction for Singers: Italian, German, French. New York: Oxford University Press, 1999.

Adler. Phonetics and Diction in Singing: Italian, French, Spanish, German. Minneapolis: University of Minnesota, 1967.

Arnold, William. H. French Diction for Singers and Speakers. Philadelphia: Ditson, 1912.

Blunt, Jerry. Stage Dialects. New York: Harper & Row, 1967.

Blunt. More Stage Dialects. New York: Harper & Row, 1980.

Castel, Nico. A Singer’s Manual of Spanish Lyric Diction. New York: Excalibur Publishing, 1994.

Cheek, Timothy. Singing in Czech: a Guide to Czech Lyric Diction and Vocal Repertoire. Lanham, MD: Scarecrow Press, 2001.

Colorni, Evelina. Singer’s Italian: A Manual of Diction and Phonetics. New York: G. Schirmer, 1970.

Copeman, Harold. The Pocket Singing in Latin. Oxford: H. Copeman, 1990.

Copeman. Singing in Latin: or Pronunciation Explor’d. Rev. ed . Oxford: H. Copeman, 1996.

Cox, Richard G. Singing in English: A Manual of Diction for Singers and Choral Directors. Monograph 5. Lawton, OK: American Choral Directors Association, 1990.

Cox. The Singer’s Manual of German and French Diction. New York: G. Schirmer, 1996.

Davis, Eileen. Sing French: Diction for Singers. Columbus, OH: Eclairé Press, 2003.

Donnan, Thomas M. French Lyric Diction. Lanham, MD: University Press of America, 1994.

375 Errolle, Ralph. Italian Diction for Singers: a Treatment of Methods and Means of Pronouncing Italian Correctly in Singing According to Phonetic Principles and with Special Attention to the Necessary Difference Between Spoken Sounds and Those That are Sung. 3 rd ed. Boulder, CO: Pruett Press, 1963.

Farish, Stephen. French Diction for Singers. Rev. ed. Denton, TX: Gore Publishing Company, 1999.

Forward, Geoffrey G., and Elisabeth Howard. American Diction for Singers: Standard American Diction for Singers and Speakers. Los Angeles: Alfred Publishing Company, 2001.

Grubb, Thomas. Singing in French: A Manual of French Diction and French Vocal Repertoire. New York: Schirmer Books, 1979.

Hall, William D. Latin Pronunciation According to Roman Usage. National Music Publishers, 1971.

Halliday, John R. Diction for Singers (Manual) . Rev. ed. Provo, Utah: Brigham Young University Printing Services, 1970.

Halliday. Diction for Singers Part II. Provo, UT: Brigham Young University Press, n.d.

Halliday. Diction for Singers, Part III. A Workbook for Classes in Singer’s Diction German, French, Spanish). Provo, Utah: Brigham Young University, 1970.

Henschel, Sir George. Articulation in Singing: a Manual for Student and Teacher, with Practical Examples and Exercises. Cincinnati, OH: The John Church Company, 1926.

Hertel, Richard A. Speaking and Singing in French: Lessons and Exercises for Conversational and Formal Pronunciation. North York, Ontario: Captus Press, 2000.

Hines, Robert Stephan. Singers’ Liturgical Latin: Rules for Pronunciation plus Standard Sacred texts with IPA Transcriptions and English Translations. Lavergne, TN: Lightning Source, 2003.

Hines. The Singer’s Manual of Latin Diction and Phonetics. New York: Schirmer Books, 1975.

Jones, Dora Duty. Lyric Diction for Singers, Actors and Public Speakers. n.p: Harper and Brothers, 1913.

376 LaBouff, Kathryn. Singing and Communicating in English: A Singer’s Guide to English Diction. Teaneck, NJ: K. LaBouff, 1996.

Laird-Brown, May. Singers’ French. New York: Dutton and Company, 1926.

Marshall, Madeleine. The Singer’s Manual of English Diction. New York: Schirmer Books, 1953.

Moriarty, John. Diction: Italian Latin French German. . .The Sounds and 81 Exercises for Singing Them. Boston: E. C. Schirmer Music Company, 1975.

Odom, William, Benno Schollum. German for Singers: A Textbook of Diction and Phonetics. 2nd ed. New York: Schirmer Books, 1997.

Paton, John Glenn. Gateway to German Diction: A Guide for Singers. New York: Alfred Publishing Company, Inc., 1999.

Paton. Gateway to German Diction Teacher’s Supplementary Materials. New York: Alfred Publishing Company, Inc., 1999.

Paton. Gateway to Italian Diction: A Guide for Singers. New York: Alfred Publishing Company, 2004.

Paton. Gateway to Italian Diction Teacher’s Supplementary Materials. Van Nuys, CA: Alfred Publishing Company, Inc., 2004.

Pfautsch, Lloyd. English Diction for the Singer. New York: Lawson-Gould Music Publishers, 1971.

Rothmuller, Aron Marko. Pronunciation of German, and German Diction for Singers: Guidelines for the Pronunciation of German in Singing for Speakers of English. Bloomington, IN: Aron Rothmuller, 1978.

Sheil, Richard. A Singer’s Manual of Foreign Language Dictions. 6 th edition: Revised and Expanded. New York: YBK Publishers, 2004.

Stapp, Marcie. The Singer’s Guide to Languages. Rev. ed. San Francisco: Teddy’s Music Press, 1996.

Stormes, Sheridan. Hochdeutsch for Singers. Rev. ed. Indianapolis: S. Stormes, 2000.

Stormes. Liaisons Dangereuses and Other Aggravations of French Diction for Singers. Rev. ed. Indianapolis: S. Stormes, 2004.

377 Uris, Dorothy. To Sing in English: A Guide to Improved Diction. New York: Boosey and Hawkes, 1971.

Wall, Joan, Robert Caldwell, Tracy Gavilanes, and Sheila Allen. Diction for Singers: A Concise Reference for English, Italian, Latin, German, French, and Spanish Pronunciation. Redmond, WA: Pst...Inc., 1990.

Wall. International Phonetic Alphabet for Singers: a Manual for English and Foreign Language Diction. Dallas: Pst…Inc., 1989

Wilcke, Eva. German Diction in Singing. Translated by Edward Smith. Revised and edited by Bainbridge Crist. New York: E. P. Dulton, 1930.

Supplemental Sources: Books

Singing Diction

Barefield, Robert. “Diction and Vocal Repertoire: Reference Tools for the Choral Conductor”. The Voice of Chorus America 25: RMS 1-8 (Summer) 2002.

Barrows, Sarah Tracy. The Voice: How to Use it with Exercises for Tone and Articulation. Boston: Expression Company, 1938.

Beckman, Gertrude Wheeler. Tools for Speaking and Singing. New York: G. Schirmer, 1955.

Coffin, Berton. Coffin’s Overtones of Bel Canto: Phonetic Basis of Artistic Singing: With 100 Chromatic Vowel-Chart Exercises. Metuchen, NJ: Scarecrow Press, 1980.

Dean, Nancy. Voice Lessons: Classroom Activities to Teach Diction, Detail, Imagery, Syntax, and Tone. Gainesville, FL: Maupin House, 2000.

Della Corte, Andrea. L e relazioni storiche della poesia e della musica italiana. Turin: Italy, 1936.

DeWitt, Marguerite E. The DeWitt Oral Test Chart for the Art of Speech and Song in School, College, and Studio. n.p.: M. E. DeWitt, 1928.

Gotzl, Emma. Die Aussprache des Deutschen im Gesang. Vienna: C. Haslinger, 1932.

378 Graveure, Louis. Super-Diction: Twelve Studies in the Art of Song. New York: G. Schirmer, 1918.

Harvey, John A. Articulation and Activity Songs to Encourage Clear Speech. London: Paxton, 1958.

Hawn, Henry Gaines. Diction for Singers and Composers. 2nd ed. New York: Henry Gaines Hawn, 1911.

Henson, B.R. A Musical Approach to Diction. Chapel Hill, NC: Hinshaw Music, 1975.

Hermann, Tona. Das Singen mit Text. Graz: Akademische Druck Verlagsanstalt, 1955.

Hey, Julius. Der Kleine Hey: Die Kunst des Sprechens. Mainz: B. Schott’s Sohne, 1956.

Howard, John. Expression in Singing, Including Thirty-One Exercises for Voice Culture. Edited by Theodore Drury. New York: The Trow Press, 1904.

Keldorfer, Robert. Die Aussprache im Gesang; Ein Unterrichtsbehelf für Chorleiter und Schulmusiker. Vol 9 of Sprecherziehung; Eine Reihe von Einzelschril Pflege des Gesprochenen Wortes. Vienna: Austrian Publishing House for Teaching, Science, and Art, 1955.

Kempton, Caroline E. Speech: The Key that Unlocks the Door to the Speaking and Singing Voices of English. New York: Lobel-Williams, Printers, Inc., 1936.

Marshall, Yale. Singing Fluent American Vowels. Rev. version. Minneapolis: Pro Musica Press, 1944.

Mena Gonzalez, Ana de. Education de la voz: Principios fundamentales de ortofonia [Training the voice: Fundamental principles of correct diction]. 2nd ed. Malaga: Aljibe, 1996.

Prahl, Victor. One Hundred Sentences for Singing. New York: C. Fischer, 1938.

Rogers, Clara Kathleen. Clearcut Speech in Song. Boston: Oliver Ditson, 1927.

Schofer, R. Murray. When Words Sing. Scarborough, Ontario: Berandol Music, 1970.

Spier, Harry R. Vocal Art-Studies for the Mastery of Consonants. New York: J. Fischer, 1935.

Webber, Ruth DeMar House. Formalistic Diction in the Spanish Ballad. Berkeley: University of California Press, 1951.

379 General Singing

Adler, Kurt. The Art of Accompanying and Coaching. New York: Da Capo Press, 1980.

Brockington, Frances N. A Troubleshooter’s Voice Manual. Forward by George Shirley. Portland, OR: OCL Publications, 1997.

Christy, Van Ambrose. Foundations in Singing: A Basic Textbook in Vocal Technique and Song Interpretation. 7 th ed. New York: McGraw-Hill, 2002.

Coffin, Berton. Coffin’s Sounds of Singing: Principles and Applications of Vocal Techniques with Chromatic Vowel Chart. 2 nd ed. Lanham, MD: Scarecrow Press, 2002.

Coffin. Historical Vocal Pedagogy Classics. Lanham, MD: Scarecrow Press, 2002.

Coffin. The Singer’s Repertoire. 2nd ed. New York: Scarecrow Press, 1960.

Kagen, Sergius. Music for the Voice: A Descriptive List of Concert and Teaching Material. Bloomington: Indiana University Press, 1968.

Kagen. On Studying Singing. New York: Rinehart, 1950.

Lehmann, Lilli. Meine Gesangskunst. 3rd ed. Berlin: Verlag der Zukunft, 1922.

Miller, Richard. On the Art of Singing. New York: Oxford University Press, 1996.

Trusler, Ivan and Walter Ehret. Functional Lessons in Singing. 3rd ed. Englewood Cliffs, NJ: Prentice-Hall, 1987.

Ware, Clifton. Adventures in Singing: A Process for Exploring, Discovering, and Developing Vocal Potential. 3rd ed. Boston: McGraw-Hill, 2004.

General Language

Agard, Frederick, and Robert Di Pietro. The Grammatical Structures of English and Italian. Chicago: University of Chicago Press, 1965.

Barber, Josephine. German for Musicians. Bloomington: Indiana University Press, 1985.

380 Fromkin, Victoria, and Robert Rodman. An Introduction to Language. n.p.: International Thomson Publishing, 1998.

Thomson, Robert Stuart. Italian for the Opera. Vancouver, BC: Godwin Books, 1992.

Song Interpretation

Bernac, Pierre. The Interpretation of French Song. Translation of Song Texts by Winifred Radford. New York: W. W. Norton & Company, 1976.

Douliez, P., and H. Engelhard, eds. Das Buch der Lieder und Arien: Ein Texthandbuch für Rundfunkhörer und Schallplattenfreunde. Munich: Winkler, 1956.

Draayer, Suzanne Rhodes. A Singer’s Guide to the Songs of Joaquin Rodrigo. Metuchen, NJ: Scarecrow Press, 1999.

Gartside, Robert. Interpreting the Songs of Gabriel Fauré. Mt. Morris, NY: Leyerle Publications, 1996.

Gartside. Interpreting the Songs of Maurice Ravel. Mt. Morris, NY: Leyerle Publications, 1992.

Gorrell, Lorraine. 19 th Century German Lied. Portland, OR: Amadeus Press, 1993.

Johnson, Graham, and Richard Stokes. A French Song Companion. Oxford: Oxford University Press, 2000.

Kimball, Carol. Song: A Guide to Style and Literature. Seattle: Pst…Inc., 1996.

Lehmann, Lotte. More Than Singing: The Interpretation of Songs. Translation by Frances Holden. 1945. Reprint, New York: Dover, 1986.

Noske, Fritz Rudolf. La mélodie française de Berlioz à Duparc; Essai de critique historique. Amsterdam: North Holland Publishing Company; Paris: Presses Universitaires de France, 1954.

Noske and Rita Benton. French Songs from Berlioz to Duparc: the Origin and Development of the Mélodie. 2nd ed. Translated by Rita Benton. New York: Dover Publications, 1970.

Rowe, Martha L.and Diane M. Erjavec. The Singer’s Guide: an Outline for the Study of Song . Albuquerque, NM: M. L. Rowe and D. M. Erjavec, 1985.

381

Rudiger, Adolf. Stimmbildung im Lied. Frankfurt am Main: M. Diesterweg, 1974.

Schering, Arnold. Beethoven und die Dichtung. Neue dt. Forchungen. Abt. Musikwiss, 3. Berlin: 1936.

Singher, Martial. An Interpretive Guide to Operatic Arias: A Handbook for Singers, Coaches, Teachers, and Students. Text translated by Eta Singher and Martial Singher. University Park: Penn State University Press, 1983.

Stein, Jack. Poem and Music in the German Lied from Gluck to Hugo Wolf. Cambridge: Harvard University Press, 1971.

Stevens, D., ed. A History of Song. 1960. Revised by New York: W.W. Norton, 1970.

Youens, Susan. Schubert’s Poets and the Making of Lieder. Cambridge: Cambridge University Press, 1996.

Pronunciation

Agard, Frederick, and Robert Di Pietro. The Sounds of English and Italian. Chicago: University of Chicago Press, 1965.

Allen, W. Sidney. Vox Latina: A Guide to the Pronunciation of Classical Latin. 1918. Reprint, New York: Cambridge University Press, 1978.

Alton, Jeannine, and Brian Jeffery. Bele buche e bele parleure: A Guide to the Pronunciation of Medieval and Renaissance French for Singers and Others. London: Tecla Editions, 1976.

Avery, P., and S. Ehrlich. Teaching American English Pronunciation. Oxford: Oxford University Press, 1992.

Barbier, Jacques. Une doulce parole…: la prononciation française et latine dans la musique de la Renaissance. Paris: Van de Velde, 2003.

Batt, Jean Clarice. French Pronunciation and Diction. 2 nd ed. London: Macmillan, 1960.

Booth, Trudie Maria. French Phonetics: A Guide to Correct Pronunciation of French. New York: University Press of Oxford, 2000.

382 Burgess, Anthony. A Mouthful of Air. William Morrow & Co., 1993.

Camilli, Amerindo. Pronuncia e Grafia dell’Italiano. Florence: Sansoni Editore, 1943.

Canepari, Luciano. Manuale di pronuncia italiana. Bologna: Zanichelli, 1999.

Castiglione, Pierina Borrani. Italian Phonetics, Diction, and Intonation. New York: S.F. Vanni, 1957.

Collins, Beverley, and Inger M. Mees. The Real Professor Higgins: The Life and Career of Daniel Jones. Berlin: Mouton de Gruyter, 1999.

Collins and Mees. The Sounds of English and Dutch, 2nd ed. Leiden: Leiden University Press, 1997.

Costamagna, Lidia. Pronunciare l’italiano. Perugia: Edizione Guerra, 1996.

Fouché, Pierre. Traité de prononciation française. 2nd ed. Paris: Librairie C. Klinckieck, 1969.

Gilbert, Judy B. Clear Speech: Pronunciation and Listening Comprehension in North American English. Cambridge: Cambridge University Press, 1993.

Grigas, Denise. Articu-ACTION: Action-Packed Activities to Keep Articulation Practice Moving. Vero Beach, Florida: The Speech Bin, 1993.

Hall, Christopher. Modern German Pronunciation: An Introduction for Speakers of English, 2 nd ed. Manchester, NY: Manchester University Press, 2003.

Hall, William Dawson and Michael De Angelis. The Pronunciation of Latin According to Roman Usage . Anaheim, CA: National Music Publishers, 1971.

Harth, Karl Ludwig. Deutsche Sprechubungen; mit Ausspracheregeln. Weimar: H. Bohlau, 1960.

A Haute Voix: Diction et prononciation aux XVIe et XVIIe siècles: Actes du colloque de Rennes des 17 et 18 juin 1996. Under the direction of Olivia Rosenthal. Paris: Klincksieck, 1998.

Jones, Archie Neff, M. Irving Smith, and Robert B. Walls. Pronouncing Guide to French, German, Italian, and Spanish. New York: C. Fischer, Inc., 1945.

Jones, Daniel. The Pronunciation of English. Cambridge: Cambridge University Press, New Impression Edition, 1956.

383 Kim, Michael. Guide pratique de la diction allemande conçu pour les chanteurs francophones du Québec. Québec: Guérin Publications.

Kökeritz, Helge. Shakespeare’s Pronunciation. New Haven, CN: Yale University Press, 1953.

Krech, Eva-Maria, ed. Worterbuch der Deutschen Aussprache. Rev. ed. Leipzig: Verlag Enzyklopadie, 1982.

Kuhlman, Walter. German Pronunciation: Phonetics Text and Reader. English Edition and Translation by Kenneth Keeton and David Steiner Nichols. Bielefild: Frieburg i Br., 1967?.

Léon, Pierre R. Prononciation du français standard. Paris, Dider, 1978.

May, William V., and Craig Tolin. Pronunciation Guide for Choral Literature: French, German, Hebrew, Italian, Latin, Spanish . Denton, TX: North Texas State University, 1987.

McGee, Timothy J., A. Rigg, and David Klausner, eds. Singing Early Music: The Pronunciation of European Languages in the Late Middle Ages and Renaissance. Bloomington, IN: Indiana University Press, 2004.

Mercier, Louis Joseph Alexandre. French Pronunciation and Diction: With a Special Study of American Speech-Habits. New York: Silver, Burdett and Company, 1929.

Moulton, William G. The Sounds of English and German: The Contrastive Structure Series. Charles A. Ferguson, general editor. Chicago: University of Chicago Press, 1962

National Federation of Music Studies. Choral Latin: Some Notes for the Guidance of Choirs in the Pronunciation of Latin. London: The Federation, [1957?].

Nilsen, Don L. F., and Alleen Pace Nilsen. Pronunciation Contrasts in English. Englewood Cliffs, NJ: Prentice Hall, 2002.

Prator, Clifford Holmes, and Betty Robinett. Manual of American English Pronunciation, 5th ed. Harcourt Brace, 1985.

Ranum, Patricia M. Méthode de la prononciation latine dite vulgaire ou à la française: Petite méthode á l’usage des chanteurs et des récitants d’après es le manuscript de dom Jacques Le Clerc. Arles: Actes Sud, 1991.

384 Rosenberg, Joseph. German: How to Speak and Write it; An Informal Conversation Method for Self Study with 330 Illustrations. New York: Dover Publications, 1962.

Rosset, Theodore. Exercices pratiques d’Articulation et de diction: composés pour l’enseignement de la prononciatoin française aus étrangers, avec l’alphabet de l’association phonétique internatoinale. Grenoble: Allier Frères, 1923.

Scherr, Vera U. G. Auffuhrungspraxis Vokalmusik. Handbuch der Lateinishen Aussprache—Klassisch, Italienisch, Deutsch, mit Ausfürlicher Phonetik des Italienischen; Ein Handbuch for Dirigenten, Sanger und Sprecher [Vocal Music Performance Practice: Handbook of Latin Pronunciation (Classical, Italian, and German) with detailed Italian Phonetics—a Handbook for Conductors, Singers, and Speakers.] Kassel, Germany: Barenreiter, 1991.

Stockwell, Robert P., and Bowen, J. Donald. The Sounds of English and Spanish. Chicago: The University of Chicago Press, 1970.

Trusler, Ivan. The Choral Director’s Latin. Lanham, MD: University Press of America, 1987.

Victor, Wilhem. Shakespeare’s Pronunciation: A Shakespeare Reader in the Old Spelling and With a Phonetic Transcription. AMS Press, 2006.

Wangler, Hans-Heinrich. Instruction in German Pronunciation. St. Paul: EMC, 1966.

Waring, Fred. Tone Syllables, 2nd ed. Delaware Water Gap, PA: Shawnee, 1951.

Translation

Benedictines of Solesmes, The, eds. The Liber Usualis, with Introduction and Rubrics. in English. Tournai: Society of St. John the Evangelist, Desclée, 1952.

Berrong, Richard M. Grammar and Translation for the Italian Libretto. New York: Excalibur Publishing, 1996.

Brody, Elaine, and Robert A. Fowkes. The German Lied and its Poetry. New York: New York University Press, 1971.

Challis, Natalia. The Singer’s Rachmaninoff. New York: Pelion Press, 1989.

Cockburn, Jacqueline, and Richard Stokes. The Spanish Song Companion. London: Victor Gollancz, Ltd., 1992.

385

Coffin, Berton, Werner Singer, and Pierre Delattre. Word-by-Word Translations of Songs and Arias Part I—German and French. New York: Scarecrow Press, 1966.

Drinker, Henry S. Texts of the Choral Works of Johann Sebastian Bach in English Translation. 4 vols. New York: Privately printed and distributed by the Association of American Colleges Arts Program, 1943.

Erbelding. Pocket Coach Book of Lieder: Recitations and Translations of German Poems set to Music by German Composers. Hayward, CA: Pocket Coach Publications, n.d.

Fischer-Dieskau, Dietrich. Texte Deutscher Lieder: Ein Handbuch mit Registern nach Liedanfängen, Liedüberschriften, Komponisten und Dichtern. Munich: DTV., 1968.

Fischer-Dieskau. Texte Deutscher Lieder. English and German. New York: Knopf, 1977.

Harrison, Donna Esselstyn. Poetry in Song Literature: A Handbook for Students of Singing. Sister Bay, WI: William Caxton Ltd., 1989.

Jeffers, Ron. Translations and Annotations of Choral Repertoire. Vol . 1, Sacred Latin Texts. Corvallis, OR: Earthsongs, 1988.

LeVan, Timothy. Masters of the French Art Song: Translations of the Complete Songs of Chausson, Debussy, Duparc, Fauré, and Ravel. Metuchen, NJ: Scarecrow Press, 1991.

LeVan. Masters of the Italian Art Song: Word-by-Word and Poetic Translations of the Complete Songs for Voice and Piano. Metuchen, NJ: Scarecrow Press, 1990.

Meister, Barbara. Nineteenth-Century French Song: Fauré, Chausson, Duparc, and Debussy. Bloomington: Indiana University Press, 1980.

Miller, Philip L. German Lieder. New York: Continuum, 1990.

Miller. The Ring of Words: An Anthology of Song Texts. 1963. Reprinted by New York: W. W. Norton, 1973.

Miller, Richard. The Poetic Debussy: A Collection of His Song Texts and Selected Letters, 2 nd ed. Margaret G. Cobb, ed. Rochester: University of Rochester Press, 1994.

386

Paquin Marie Therese. Airs et mélodies Mozart, Schubert, classiques italiens; traduction mot a mot, accent tonique [Translation word-for-word, stress]. Montreal: Presses de Université de Montréal, 1983.

Paquin. Dix Cycles de Lieder [Ten Cycles of Lieder]: Traduction mot à mot et juxtalinéaire [Word for word and juxtalinear translation]. Montreal: Les Presses de Université de Montréal, 1977.

Phillips, Lois. Lieder Line by Line, and Word for Word. New York: C. Scribner’s Sons, 1980.

Prawer, S. S. The Penguin Book of Lieder. Baltimore, MD: Penguin Books, 1964.

Richardson, Dorothy, and Tina Ruta. Arie Antiché. Orleans, MA: Paraclete Press, 1990.

Rohinsky, Marie-Claire. The Singer’s Debussy. New York: Pelion Press, 1987.

Schoep, Arthur, et al. English Singing Translations of Foreign Language Art Songs. Denton, TX: N.A.T.S.Translation Committee, 1976.

Schoep, and Daniel Harris. Word-by-Word Translations of Songs and Arias Part II— Italian. Metuchen, NJ: Scarecrow Press, 1972.

Terry, Charles Sanford. Johann Sebastian Bach Cantata Texts, Sacred and Secular. London: The Holland Press, 1964.

Unger, Melvin P. Handbook to Bach’s Sacred Texts: An Interlinear Translation with Reference Guide to Biblical Quotations and Allusions. Lanham, MD: Scarecrow Press, 1996.

Wigmore, Richard. Schubert—The Complete Song Texts: Texts of the Lieder and Italian Songs. English translations by Richard Wigmore. New York: Schirmer Books, 1988.

IPA Transcriptions

Coffin, Berton, Pierre Delattre, Ralph Errolle, and Werner Singer. Phonetic Readings of Songs and Arias. 1963. 2 nd ed. Reprinted by Metuchen, NJ: Scarecrow Press, 1982.

387 Gerhart, Martha. Italian Song Texts from the 17 th Century: with International Phonetic Alphabet Transliteration, Word-for-Word Translation, and Idiomatic Translation. Mt. Morris, NY: Leyerle Publications, 2002.

Glass, Beaumont. Brahms’ Complete Song Texts. Geneseo, NY: Leyerle Publications, 1999.

Glass. Hugo Wolf’s Complete Song Texts. Geneseo, NY: Leyerle Publications, 2000.

Glass. Schubert’s Complete Song Texts: Vols. 1 and 2. Geneseo, NY: Leyerle Publications, 1996.

Glass. Schumann’s Complete Song Texts. Geneseo, NY: Leyerle Publications, 2002.

Magner, Candace A. Phonetic Readings of Brahms Lieder. Metuchen, NJ: Scarecrow Press, 1987.

Magner. Phonetic Readings of Schubert Lieder. Metuchen, NJ: Scarecrow Press, 1994.

Piatak, Jean, and Regina Avrashov. Russian Songs and Arias, Phonetic Readings, Word- by-Word Translations, and a Concise Guide to Russian Diction. Dallas, TX: Pst... . Inc., 1991.

Reinhard, Thilo. The Singer’s Schumann. New York: Pelion Press, 1989.

Richter, Laurence. Rachmaninov’s Complete Song Texts. Geneseo, NY: Leyerle Publications, 2000.

Rohinksy, Marie-Claire. The Singer’s Debussy. New York: Pelion Press, 1987.

Sobrer, Josep Miquel, and Edmon Colomer. The Singer’s Anthology of 20 th Century Spanish Songs. New York: Pelion Press, 1987.

Libretti

French Opera Libretti: With International Phonetic Alphabet Transcriptions, Word for Word Tranlations, including a Guide to the I.P.A. and Notes on the French Transcriptions by Nico Castel; Foreword by Beverly Sills; Illustrations by Eugene Green. Vols. I and II. Marcie Stapp, ed., Vol. II. Geneseo, NY: Leyerle, 1999-2000.

388 Mozart, Wolfgang. The Libretti of Mozart’s Completed Operas: In Two Volumes / With International Phonetic Alphabet Transcriptions, Word for Word Translations, Including a Guide to the I.P.A. and Notes on Italian and German Transcriptions by Nico Castel; Foreword by Julius Rudel; Illustrations by Eugene Green. Geneseo, NY: Leyerle, 1997-1998.

Puccini, Giacomo. The Complete Puccini Libretti / With International Phonetic Alphabet Transcriptions, Word for Word Translations, Including a Guide to the IPA and Notes on the Italian transcriptions by Nico Castel; Foreword by Sherrill Milnes; Illustrations by Eugene Green. Marcie Stapp, ed. Geneseo, NY: Leyerle, 2002.

Stapp, Marcie, ed. German Miscellaneous Opera Libretti: With International Phonetic Alphabet Transcriptions, Word for Word Tranlations, a Guide to the I.P.A. and Notes on the German Transcriptions by Nico Castel; Illustrations by Eugene Green; Foreword by Thomas Hampson . Geneseo, NY: Leyerle, 2005.

Strauss, Richard. Four Strauss Opera Libretti / With International Phonetic Alphabet Transcriptions, Word for Word Translations, Including a Guide to the IPA and Notes on the German Transcriptions by Nico Castel; Foreword by Evelyn Lear. Marcie Stapp, ed. Geneseo, NY: Leyerle Publications, 2002

Verdi, Giuseppe. The Complete Verdi Libretti: IN Four Volumes / With International Phonetic Alphabet Transcriptions, Word for Word Translations, Including a Guide to the IPA and Notes on the Italian Transcriptions, by Nico Castel; Foreword by Sherrill Milnes; Illustrations by Eugene Green. Geneseo, NY: Leyerle, 1994-1996.

Wagner, Richard. Marcie Stapp, ed. Der Ring des Nibelungen Geneseo, NY: Leyerle Publications, 2003.

Wiley, Scott Jackson, ed. Italian Belcanto Opera Libretti: With International Phonetic Alphabet Transcriptions, Word for Word Translations, Including a Guide to the I.P.A. and Notes on Italian Phonetics by Nico Castel; Foreword by Dame Joan Sutherland. Geneseo, NY: Leyerle, 2000.

Wiley, ed. Italian Verismo Opera Libretti: In Two Volumes / With International Phonetic Alphabet Transcriptions, Word for Word Translations, Including a Guide to the I.P.A. and Notes on Italian Phonetics by Nico Castel; Foreword by Placido Domingo. Geneseo, NY: Leyerle, 2000.

389 International Phonetic Alphabet

Cartier, Francis, and Martin Todaro. The Phonetic Alphabet. 2 nd ed. Dubuque, IA: William C. Brown, 1981.

Handbook of the International Phonetic Association: A Guide to the Use of the International Phonetic Alphabet. New York: Cambridge University Press, 2002.

Pullum, Geoffrey K., and William A. Ladusaw. Phonetic Symbol Guide. 2 nd ed. Chicago: University of Chicago Press, 1996.

Yarbrough, Julie. Modern Languages for Musicians. Stuyvesant, NY: Pendragon Press, 1992.

Song Anthologies

Chiti, Patricia Adkins, ed. Italian Art Songs of the Romantic Era. Phonetic transcriptions by John Glenn Paton. Van Nuys, CA: Alfred Publishing, 1994.

Chiti, ed. Songs and Duets of Garcia, Malibran, and Viardot: Rediscovered Songs by Legendary Singers. Phonetic transcriptions by John Glenn Paton. New York: Alfred Publishing Company, 1997.

Christy, Van A., collector. Revised by John Glenn Paton. Expressive Singing Song Anthology. Dubuque, IA: William C. Brown, 1990.

Donizetti, Gaetano. Twenty Songs. John Glenn Paton, ed. New York: Alfred Publishing Company, 1996.

Draayer, Suzanne Rhodes, ed. Canciones de España: Songs of Nineteenth-Century Spain. Lanham, MD: Scarecrow Press, 2003.

Ellingboe, Bradley. Forty-Five Songs of Edvard Grieg. Geneseo, NY: Leyerle Publications, 1988.

Erbelding, Dietrich. La gioia cantare in Italiano: The Joy of Singing in Italian. 31 Italian Art Songs from the 16 th to 20 th Centuries. Hayward, CA: Pocket Coach Publications, 1992.

Favorite French Art Songs. Comp.: Gary Arvin. Milwaukee: Hal Leonard, 1992.

Favorite German Art Songs. Comp.: Gary Arvin. Milwaukee: Hal Leonard, 1992.

390 Hensel, Fanny Mendelssohn. 16 Songs. John Glenn Paton, ed.Van Nuys, CA: Alfred Publishing Company, 1995.

Johansson, Annette. Thirty Songs of Wilhelm Stenhammar. Geneseo, NY: Leyerle Publications, 1999.

Kagen, Sergius, ed. 40 French Songs for Voice and Piano. New York: International Music Co., 1952.

Kimball, Carol, and Richard Walters, eds. Joel K. Boyd, asst. ed. The French Song Anthology. Milwaukee: Hal Leonard Corp., [2001?].

Lakeway, Ruth C., and Robert C. White, Jr. Italian Art Song. Bloomington: Indiana University Press, 1989.

Leyerle, Anne, and William D. Leyerle, eds. French Diction Songs: from the 17 th to the 20 th Centuries. Geneseo, NY: Leyerle Publications, 1990.

Leyerle and Leyerle, eds. Song Anthology One. 4th rev. ed. Geneseo, NY: Leyerle Publications, 1993.

Leyerle et al., eds. Song Anthology Two. Geneseo, NY: Leyerle Publications, 1984.

Mendelssohn-Bartholdy, Felix. 24 Songs/ Mendelssohn; Felix Mendelssohn and Fanny Mendelssohn Hensel. John Glenn Paton, ed. Van Nuys, CA: Alfred Publishing Company, 1992.

Metzner, Gunter. Heine in der Musik: Bibliographie der Heine-Vertonungen. 12 vols. Tutzing, Germany: H. Schneider, 1989-1994.

Moser, Hans Joachim. The German Solo Song and the Ballad. Anthology of Music 14, 1958.

Paton, John Glenn. Gateway to German Lieder: An Anthology of German Song and Interpretation. New York: Alfred Publishing Co. Inc., 2000.

Paton. Gateway to Italian Art Songs: An Anthology of Italian Song and Interpretation. New York: Alfred Publishing Co. Inc., 2004.

Paton, ed. Italian Arias of the Baroque and Classical Eras. Van Nuys, CA: Alfred Publishing Co., 1994.

Paton, ed. Twenty-Six Italian Songs and Arias: An Authoritative Edition Based on Authentic Sources. Van Nuys, CA: Alfred Publishing Co., Inc. 1991.

391 Schindler, Kurt. Folk Music and Poetry of Spain and Portugal. New York, 1941.

Vaccai, Nicola. Practical Method of Italian Singing. John Glenn Paton, ed. New York: G. Schirmer, 1975.

Wall, Joan. Sing!: Texts and Songs for Voice Class. Redmond, WA: Caldwell Publishing Company, 1999.

Walters, Richard, and Virginia Saya, arrs. and eds. The Lieder Anthology. Milwaukee: Hal Leonard, 2003.

Wilson, Kathleen L. (Spillane), ed. The Art Song in Latin America: Selected Works by Twentieth-Century Composers. Stuyvesant, NY: Pendragon Press, 1998.

Workbooks

Montgomery, Cheryl. English Lyric Diction Workbook. Nashville, TN: S.T.M. Publishers, n.d.

Montgomery. French Lyric Diction Workbook. 3 rd ed. Nashville, TN: S.T.M. Publishers, 2005.

Montgomery. German Lyric Diction Workbook, 3 rd ed. Nashville, TN: S.T.M. Publishers, 2005.

Montgomery, Cheryl. Italian Lyric Diction Workbook. 2nd ed. Nashville, TN: S.T.M. Publishers, 2005.

Wierenga, Leanne. French Diction for the Singer: A Phonetics Workbook. Judith Otto, ed., drawings by Hubert Cartier. New York: Kenyon Publications, 1977.

Dictionaries Books: General

Betteridge, Harold T, ed. Cassell’s German-English, English-German Dictionary. Revised by Harold T. Betteridge. New York: Wiley, 2002.

392 Bosworth, J. T. and A. Campbell, eds. An Anglo-Saxon Dictionary, Based on the Manuscript Collections of the Late Joseph Bosworth. Oxford: Oxford University Press, 1998.

Clark, Harold J. R, ed. A Concise Anglo-Saxon Dictionary. 4th reprint ed. Toronto: University of Toronto Press, 1984.

Collins French English English French Dictionary. New York: Berkley Books, 1985

Collins German English English German Dictionary. New York: Berkley Books, 1985.

Collins Italian English English Italian Dictionary. New York: Berkley Books, 1983.

Collins Spanish English English Spanish Dictionary. New York: Berkley Books, 1986.

Burchfield, R. W., ed. Fowler’s Modern English Usage 3 rd ed., Oxford: Oxford Press, 1996.

Girard, Denis, Gaston Dulong, Oliver Van Oss, and Charles Guinness, eds. Cassell’s French-English, English-French Dictionary. New York: Wiley Pub., 2002.

Gooch, Anthony, and Angel Garcia de Paredes, eds. Cassell’s Spanish-English, English-Spanish Dictionary. New York: Wiley, 2002.

Griffiths, Bill, ed. A User-Friendly Dictionary of Old English. Heart of Albion Press, 1993.

Grundy, Valerie, ed. Oxford-Hachette French Dictionary: Français-Anglais. New York: Oxford University Press, 2003.

Hippocrene Italian English English Italian Dictionary . New York : Hippocrene Books, 1983.

Langenscheidt New Pocket German Dictionary . Langenscheidt Books, Berlin, 1970.

Limenta, Fernando, ed. Dizionario lessicografico musicale italiano-tedesco-italiano . Milan: Hoepli, 1940.

Love, Catherine E., ed. Webster’s New World Italian Dictionary. New York: Macmillan, 1992.

Martinet, Andre, and Henriette Walter, eds. Dictionnaire de la Pronunciation Française dans son Usage Reel. Paris: France—Expansion, 1973.

393 Oxford English: a Guide to the Language. New York: Oxford University Press, 1991.

Oxford-Hachette French Dictionary. New York: Oxford University Press, 2004.

Oxford New French Dictionary: French-English. New York: Berkley Publishing, 2003.

The Pocket Macquarie Dictionary. The Jacaranda Press Distributor, 1990.

Pollington, Stephen, ed. Wordcraft: Concise English/Old English Dictionary and Thesaurus. Middlesex: Anglo-Saxon Books, 1999.

Rebora, Piero, Francis M. Guercio, and Arthur L. Hayward, comps. Cassell’s Italian Dictionary: Italian-English, English-Italian. 1958. New York: Macmillan, 1984.

Robert, Paul, ed. Dictionnaire alphabétique et analogigue de la langue française. 1972. Paris: Société du nouveau Littré-Le Robert, 1973.

Robert, ed. Le Petit Robert 2, sous la direction de Paul Robert, reduction générale: Alain Rey. Paris: SNL-Le Robert, 1980.

Sasse, H. C., J. Horne, and Charlotte Dixon, eds. Cassell’s German-English Dictionary. New York: Wiley Publishing, Inc., 2002.

Simpson, D. P., ed. Cassell’s Latin Dictionary: Latin-English, English-Latin. 1968. New York: Wiley, 2003.

Steiner, Roger J., ed. The Bantam New College French and English Dictionary. New York: Bantam Books, 1993.

Vienne, Lucie de, ed. Nouveau traité de diction française. Paris: Éditions de la Pensée moderne, 1966.

Zingarelli, Nicola, ed. Il Nuovo Zingarelli: Vocabolario della Lingua Italiana. 11th ed. Bologne: Nicola Zanichelli, 1988.

Dictionaries of Pronounciation

Canepari, Luciano, ed. Dizionario di Pronuncia Italiana. Bologna: Zanichelli, 1999.

Grebe, Paul, ed. Duden Rechschreibung der deutschen Sprachen under der Fremdworter. Mannheim: Bibliographisches Institut AG, 1958.

394 Jones, Daniel, ed. Cambridge English Pronouncing Dictionary. Peter Roach, James Harman, and Jane Setter, eds. New York: Cambridge University Press, 2003.

Jones, ed. Everyman’s English Pronouncing Dictionary. London: Dent; New York: Dutton, 1963 (12 th ed.).

Kenyon, John S., and Thomas A. Knott, eds. A Pronouncing Dictionary of American English. Springfield, MA: G. & C. Merriam Co., Publishers, 1953.

Krech, Eva Maria ed. Grosses Wörterbuch der deutschen Ausspache. Rev. ed. Leipzig: VEB Verlag Enzyklopädie, 1982.

Mangold, Max, ed. Duden Aussprachewörterbuch. Mannhein: Duden, 2000.

Mansion, J. E ., ed. Harrap’s Modern College French and English Dictionary . New York: Charles Schribners’ Songs, 1972.

Martinet, Andre, and Henriette Walter, eds. Dictionnaire de la pronunciation française dans son usage Réel. Paris: France—Expansion, 1973.

Siebs, Theodor, ed. Duetsche Aussprache: Reine undg gämassigte Hochlautung mit Aussprachewörterbuch. Berlin: Walter De Gruyter, 1969.

Warnant, Léon, ed. Dictionnaire de la pronunciation française dans sa norme actuelle. 4th ed. Paris: Duculot, 1987.

Musical and Vocal Terms Dictionaries

American Academy of Teachers of Singing. Terminology in the Field of Singing. New York: G. Schirmer, 1969

Leuchtmann, Horst, ed. Dictionary of Terms in Music: English-German, German- English. Munich; New York: K. G. Saur, 1992.

Limenta, Fernando, ed. Dizionario lessicografico musicale italiano-tedesco-italiano . Milan: Hoepli, 1940.

Randel, Don Michael, ed. The New Harvard Dictionary of Music. Cambridge, MA: Belknap Press of Harvard University Press, 1986.

Reid, Cornelius L., ed. A Dictionary of Vocal Terminology: An Analysis. New York: Joseph Patelson Music House, 1983.

395 Dictionaries Online

Collins Dictionaries Online. http://wordreference.com/

Diccionarios.com. http://www.diccionarios.com/

English and Foreign Language Dictionaries Online. http://copper.ucs.indiana.edu/~lnett/fordict.html

EuroDicAutom. http://europa.eu.int/eurodicautom.login.jsp

ForeignWord.com. http://www.foreignword.com/

FreeDict’s online translating dictionaries. http://www.freedict.com/onldict/por.html

French-Breton Breton-French Online Dictionary. http://www.breizhoo.fr/

German Online Dictionaries. http://web.uvic.ca/german/149/dict.html iTools Language Tools. http://test.itools.com/lang/

Langenscheidt German Dictionary online. http://www.langenscheidt.de/dictio/dictio/htm

Leximagne French dictionary lists. http://globegate.utm.edu/french/globegate_mirror/dico.html

LOGOS Dictionary. http://www.logos.it/dictionary/owa/sp?lg=EN

Merriam-Webster Collegiate Dictionary. http://www.m-w.com

Online Dictionaries and Translators. http://www.word2word.com/dictionary.html

Operas and Their Composers: a Pronouncing Dictionary. http://patriciagray.net/Operahtmls.works.html

Oxford English Dictionary on CD-ROM.

QuickDic. http://www.quickdic.de/e_dic.html

The Linguist List. http://saussure.linguistlist.org/cfdocs/new-website-LL-WorkingDirs/static -pages/Dict.htm

396 Travlang’s translating dictionaries. http://dictionaries.travlang.com/

YourDictionary.com. http://www.yourdictionary.com/ http://dict.leo.org/?lang=de&searchLoc=1/Search-buche http://www.dict.cc/

Congress Reports

Biehle, H. “Die Textlieben Grundlogen als Gesangsproblem .” Congress Report: Société internationale et de musicologie premier congrès Liége: compte rendu/Internationale Geselleschaft für Musikwissenschaft erster Kongress Lüttich: Kongressbericht/International Liège 1-6 September 1930. [International Society for Music Research (International Musicological Society)]. Burnham, Bucks: International Society for Musical Research/ Plainsong and Mediaeval Music Society, 1931, 81.

Lawrence, T. B. “Music and Words.” Royal Musical Association Proceedings, 70 th session. London: 1944, 75-84.

Lohmann, Paul. “Das Legato des Deutschen Sangers.” Raabe, 182-186, n.d.

Normas, Denton. “Para bôa promíncia da lingua nacional no ito .” Sao Paulo, Brazil: Congresso da Lingua Nacional, 1937, 49-94.

Pielke, W. “Atemen und Singen.” Kretzschmer, 113-118, 1969.

Pimmer, Hans. “Erfinde die zweite Stimme Selbst. Eine Einfache Anleitung zum Singen und Spielen.” Musikpadagogische Bibliotek. Walter Kolneder, ed. Wilhelmshaven: Heinuchshofen, 13, 1977.

Sasiadek, Eugeniusz. “The Role of Voice in Speech.” 16 th All-Poland symposium on the music of oratorios and cantatas: Performance practist aspects; 1st Symposium on problems of vocal pedagogics; 6 th symposium on problems of contemporary music – the actor’s art in contemporary music theater. Zeszyt naukowy: Akademia Muzyczna im. Larola Lipinskiego we Wroclawiu, 5. Wroclaw, 1989, 188.

Sesini, Ugo. “Poesis e Music Della Latinito Cristiana.” Turin: del 3 al 10 secolo, 1950.

397 Steinitzer, Max. “I Zur Methodik de Anfangsunterrichts für die Frauenstimme” Reimann, 1969, 76-100.

Zweiner, E. “Schwankungen der Mundlage beim Singen einzelner Laute.” Proceedings of the Third International Congress of Phonetic Sciences: Ghent: Laboratory of Phonetics of the University, 18-22 July, 1938, 77.

Journal Articles

Adams, Andrew. “Unstressed E’s and O’s in Italian Lyric Diction: A Comparison of Diction Texts.” Journal of Singing 59, no.4 (March-April 2003): 333-339.

Adams, David. “Aspects of Constant Articulation in Italian Diction.” Journal of Singing . 59, no. 3 (January-February 2003): 247-251.

Adams. “On Teaching an Italian Diction Class.” Journal of Singing 61, no. 2 (November 2004): 177+.

Alexander, A. “The Word and the Singer.” About the House 6, no.5 (1982): 54-55.

Annable, Patricia C. “Materials for Teaching Foreign Language Diction to Music Students.” The Bulletin 16 (February 1960): 11+.

Annable. “The Teaching of Foreign Language Diction to Music Students.” The Bulletin 12 (May 1956): 21+.

Appelman, D. Ralph. “Visual Verification of Auditory Perception of the Linguistic Signal Within an Open Servo-System and Its Relationship to Vowel Placement and Textual Intelligibility in Singing.” The NATS Bulletin 43 (September 1986): 5+.

Arkebauer, George G. “Phonetics as Applied in Both Singing and Speaking.” The Bulletin 5 (January 1949): 6+.

Austin, John, and Lyn Schenbeck. “Spelling and Pronunciation of Old French” Choral Journal 37, no. 3 (October 1996): 33-35.

Baken, R. J., and R. F. Orlikoff. “The Effect of Articulation on Fundamental Frequency in Singers and Speakers.” Journal of Voice 1, no. 1 (1987): 68-76.

398 Barrows, Lorraine. “My Director’s Always Saying. . . ‘Sing With Open Vowels.’ Or ‘This is a Closed Vowel.’” The Pitch Pipe 57, no. 2 (October 2004): 23.

Belisle, John M. “Some Factors Influencing Diction in Singing.” The NATS Bulletin 24 (December 1967): 4+.

Bennett, Rodney. “Phonetics in Singing.” Sackbut (April-May 1926): 132.

Berg, Gregory. “The Listener’s Gallery: ‘Songs for Singers of Any Age, Diction, Melodies and Accompaniments for Learning New Repertoire.’” Journal of Singing 60, no. 3 (January-February 2004): 319-320.

Berry, Richard. “French Diction: a Primer.” Choral Journal 37, no. 3 (October 1996): 27-31.

Bothwell, Mary. “Language, Diction, and Singing.” Music Journal (1947): 27.

Brandao, Stela Maria. “Brazilian Lyric Diction. A Discussion of the Bachianas Brasileiras No 5, by Heitor Villa-Lobos.” Journal of Singing 60, no. 2 (November 2003): 173+.

Brown, W. S., Jr., Ana P. Mendes, Howard B. Rothman, and Christine Sapienza. “Effects of Singing Training on the Speaking Voice of Voice Majors.” Journal of Voice 18, no. 1 (March 2004): 83-89.

Browning, Dora. “Diction.” Canon (August 1948): 26.

Castel, Nico. “Pedagogical Opinion: German Diction–A Dialogue. Journal of Singing 53, no. 1 (September-October 1996): 21-26.

Chapman, Charles Wayne. “How to Avoid Singing in a Vulgar Manner (How the Romans Did it).” Choral Journal 20, no. 8 (April 1980): 19-22.

Chapman. “The Singer’s Diction.” The Bulletin 20 (February 1964): 10+.

Cheek, Timothy. “The Janá …ek Opera Libretti: Translations and Pronunciation: Vol. 1: ‘The Cunning Little Vixen.’” Journal of Singing 60 (March-April 2004): 412- 413.

Chernin, M. “Vowel Modification Made Easy.” Choral Journal 34, no 2 (1993): 31-32.

Cleall, Charles. “The English Vowels.” London: Musical Opinion 79, no. 947 (August 1956): 655.

399 Coffin, Berton. “Articulation for Opera, Oratorio, and Recital.” The NATS Bulletin 32 (February 1967): 26+.

Coffin. “The Singer’s Diction.” The Bulletin 20, no. 10 (February 1964): 10+.

Colorni, Evelina. “Italian is so Easy to Sing . . .Or is It?” The NATS Bulletin 36 (November 1979): 21+.

Comins, J. “The Pygmalion Factor (Whether Accents Matter When You Sing).” The Singer (June July 2001): 28-9.

Cortina, R. “From Song to Speech: Why Don’t I Sound Like a Native?” The NATS Journal 51, no. 4 (1995): 57-60.

Coulombe, M. “Les consonnes–agents bénéfiques.” Chanter 29 (Autumn 2003): 11- 12.

De’Ath, Leslie. “Dictionaries of Pronunciation: A Bibliographic Guide for Musicians: Part I” (English). Journal of Singing 55, no. 3 (January-February 1999): 27-42.

De’Ath. “Dictionaries of Pronunciation: A Bibliographic Guide for Musicians: Part II.” (Languages other than English), Journal of Singing 55, no. 4 (March-April 1999): pp. 5-16.

De’Ath. “Il Dittonga and Iato in Italian.” Journal of Singing 61, no 4 (March-April 2005): 393-400.

De’Ath. “The Hazards of Reflex: Caveats of a Voice Coach.” Journal of Singing 59 (November-December 2002): 155-159.

De’Ath. “Language and Diction: Materials for Teaching a Lyric Diction Class, Part One.” Journal of Singing 62, no 1 (September-October 2005): 61-73.

De’Ath. “Language and Diction: German “R” Environments: A Closer Look – Part 1.” Journal of Singing 60, no. 3 (January-February 2004): 279-284.

De’Ath. “Language and Diction: German “R” Environments: A Closer Look – Part 2.” Journal of Singing 60, no. 4 (March-April 2004): 379-88.

De’Ath. “Language and Diction: Phonetic Similarity and Language Acquisition.” Journal of Singing 60, no. 1 (September-October 2003): 77-84.

De’Ath. “Lyric Diction and the Concept of Standard English. ” Journal of Singing, 61 (September, 2004): 65+.

400 De’Ath. Materials for Teaching a Lyric Diction Class, Part Two.” Journal of Singing 62, no. 2 (November-December 2005): 179-198.

De’Ath. “The Merits and Perils of the IPA for Singing.” Journal of Singing 57, no. 4 (March-April 2001): 57-68.

De’Ath. “Perspectives on Italian Lyric Diction.” Journal of Singing 61, no. 5 (May- June 2005): 503-515.

DeAth. “Prolegomena to a Column on Language and Diction.” Journal of Singing 59, no. 1 (September-October 2002): 57-63.

Delp, Roy. “What About the Words.” Journal of Singing 56 (November 1999) 1+.

Demolin, Didier, et al. “Determination of Velum Opening for French Nasal Vowels by Magnetic Resonance Imaging.” Journal of Voice 17, no. 4 (December 2003): 454-467.

Drew, W. S. “The Inaudible ‘H’.” Musical Times (July 1940): 301.

Drew. “The Sounds of Words in Speech and Song.” Musical Times (July 1947): 219- 222.

Eberhart, Constance. “Diction.” Journal of Singing 18 (May 1962): 8+.

Edwin, Robert. “Diction: Standards and Double Standards.” Journal of Singing 51 (November 1994): 43+.

Errolle, Ralph. “Singing in Italian.” The Bulletin 16 (May 1960): 20+.

Flechtner, Adalene Smith. “Low Vowel Formant in Soprano Voices.” NATS Bulletin, 26, no. 2 (December 1969): 23-26.

Follet, Diane. “Feminine Voices in the French ‘Mélodie’.” Journal of Singing 59, no 5 (May-June 2003): 397-404.

Fox-Strangeways, A. H. “Translation of Songs.” P. M. A. (1922-3).

Froese, G. “Vowel Formation.” Canadian Music Educator 42 (Spring 2001): 34.

Galer, Suzanne. “Memorable Mnemonics for Singers.” Journal of Singing 55, no 5 (May-June 1999): 3-8.

Gartside, Robert. “Pronouncing French, a Hazardous Undertaking.” The NATS Journal 51, no. 39 (1994): 39-41.

401 Gartside. “The Problems of Prosody in French Vocal Music.” The NATS Journal 51, no. 3 (January-February 1995.): 49-52.

Gillispie, G. “Let the Singer Beware: Linguistic Pitfalls in Facsimile Lute Songs.” Lute Society of America Quarterly 38 (May-August 2003): 6-7.

Gottfried, T.L., and S. L. Chew. “Intelligibility of Vowels Sung by a Countertenor.” Journal of Research in Singing and Applied Vocal Pedagogy 16, no. 1 (1992): 13-28.

Gordon, Lewis W. “Singing in English (Monograph No. 5),” by Richard Cox. Choral Journal 41, no. 1 (August 2000): 71.

Graham, Arthur. “A Short and Pragmatic Approach to Poetry for Singers.” Journal of Singing 54, no. 4 (March-April 1998): 15-24.

Graham. “Singing the Neapolitan Song.” The NATS Bulletin 40, no. 4 (March-April 1984).

Graham. “Sounding More Like the French.” The NATS Journal 49, no. 5 (1993): 11- 13.

Green, London. “Waxing Poetic, part 2: A Century of Great Moments in Recorded Opera and Song.” The Opera Quarterly 17, no.1 (Winter 2001): 10-27.

Green, Spencer. “Diction.” The Bulletin 4 (June 1948): 2+.

Gregg, Jean Westerman. “From Song to Speech: Collaboration in the Development of the True Artist.” Journal of Singing 57, no. 1 (September-October 2000): 41-43.

Gregg. “From Song to Speech: On Singing in English.” Journal of Singing 53, no. 49 (1997): 49-50.

Gregg. “On Articulation–Part 1.” The NATS Journal 47 (May 1991): 30+.

Gregg. “On Overlapping and Blending in Articulation.” Journal of Singing 53, no. 5 (May-June 1997): 53-54.

Gregg. “Vocal Development and Articulation in Speech and Song.” Journal of Singing 58, no. 5 (May-June 2003) 431-438.

Guichard, Arthur de. “The Art of Singing Words.” Musician 10 (1913): 265-266, 337- 338, 409-410.

402 Heizmann, K. “So spreche ich richtig aus: Eine Hilfe für Redner, Chorleiter und Sänger.” Singende Kirche 49, no. 3 (2002): 188+.

Hopkin, J. Arden. “Vowel Equalization.” Journal of Singing 53, no. 3 (January- February 1997): 9-14.

Howie, John, and Pierre Delattre. “An Experimental Study of the Effect of Pitch on the Intelligibility of Vowels.” The Bulletin 18 (May 1962): 6+.

Indk, Lawrence R. “Consonant Feedback in Singing.” Journal of Singing 57 (March- April 2001): 15-21.

Janssen, P. “A Good Text Slides Into Your Mouth Like a Good Set of False Teeth.” Key Notes 30, no. 4 (1996): 21-23.

Jensen, Karen. “Teaching the ESL Singer.” Journal of Singing 59 (May-June 2003): 415-419+.

Kimball, Carol. “Working with Song Literature: The Journey to Performance.” Journal of Singing 53, no. 3 (January-February 1997): 3-8.

Kungle, S. “American English Diction Idiomatic Pronunciation and Articulation Patterns and some Implications for Vocalism, Intelligibility, and Projection.” Journal of Research in Singing 11, no. 2 (1988): 33-48.

Large, John. “The Linguistic Problem in the Performance of Claude Debussy’s Solo Song Settings of Fifteenth-Century Poetry.” Journal of Research in Singing 6. no.1 (December 1982): 27-57.

Leedy, D. “Historical and Regional Pronunciations in Vocal Performance.” Performance Practice Review 9, no. 2 (1996): 163-165.

Leenman, Tracy E. “Chorus: A Closer Look at Diction.” Teaching Music 5, no. 1 (August 1997): 34-35, 42.

Lester, P. “Pulp Diction.” Melody Maker 72 (May 27, 1995): 29-32.

MacCollin, Paul. “Tongue Action and Diction.” The NATS Bulletin 4 (February 1948): 3+.

Magner, Candace. “The Songs of Cécile Chaminade.” Journal of Singing 57, no. 4 (March-April 2001): 23-35 .

Mechem, Kirke. “The Text Trap.” Choral Journal 44, no. 4 (November 2003): 23-27.

403 Meredith, Victoria. “Singing as Poetry: Qualities of Expressive Diction in Choral Singing.” Canadian Music Education 40, no. 3 (Spring 1999): 36-38.

Meredith. “Tips & Techniques: Singing as Poetry: Qualities of Expressive Diction in Choral Singing.” Music Alberta Magazine 1, no. 2 (Winter 1999): 14-15.

Miller, Richard. “Diction and Vocal Technique.” The NATS Bulletin 39 (January 1982): 43+.

Miller. “Legato in Singing, Part II: Diction in Relation to the Vocal Legato.” The NATS Bulletin 22 (May 1966): 18+.

Miller. “(1) The Problem of the Retroflex Tongue and (2) Pulling the Jaw Downward.” Journal of Singing 58, no. 3 (January-February 2002): 241-243.

Miller. “Sotto Voce: Thinking Phonetically.” The NATS Journal 47 (January 1991): 27+.

Miller. “What About the ‘Pure Vowel’ and ‘Vowel Modification’?” Journal of Singing 52, no. 1 (September-October 1995): 37, 39-40.

Morrow, V. “The Significance of Recognition of the Vowel Core in the Teaching of Singing and in Vocal Rehabilitation.” The NATS Journal 44, no.3 (1988): 24-30

Mountford, Fritz. “Fred Waring’s Tone Syllables: His Legacy to American Choral Singing.” Choral Journal 41 (August 2000): 8-18.

Nelson, Howard D., and William R.Tiffany. “Research Results with a New Intelligibility Test.” The NATS Bulletin 25 (December 1968): 22+.

Newton, George. “Articulation–A Summary.” The Bulletin 22 (September 1954): 8+

Nix, John. “‘High Spit Factor’ Alternatives to the Nasal Continuant Consonants.” Journal of Singing 55 (January 1999): 15+.

Otto, T. M. “Checklist of Recent Research: Intelligibility of Texts in Singing.” Journal of Research in Singing and Applied Vocal Pedagogy 10, no. 2 (1987):57-59.

Pence, Suzuanne. “The Effect of Live versus Videotape Instruction on High School Singers’ French Diction.” Missouri Journal of Research in Music Education no. 31 (1994): 18–28.

Perry, Ken. “Diction and Pronunciation for Performers.” Canadian Music Educator 3831 (Fall 1996): 49-50.

404 Phillips, Gerald L. “Diction: a Rhapsody.” Journal of Singing 58, no. 5 (May-June 2002): 405-409.

Ringel, Harvey. “Consonantal Deterrence.” The Bulletin 5 (November 1948): 8+.

Ringel. “Vowel Vanish–a Vocal Deterrent.” The Bulletin 4 (September 1947): 3+.

Rogers, Clement P. “The Pronunciation of Latin.” Musical Opinion (December 1942): 79-80.

Rothmueller, M. “Pronunciation of German and German Diction.” The NATS Bulletin 35, no. 3 (1979): 35.

Schoep, A. “In What Language is She Singing?” The Opera Journal (US) 14, no.3 (1981): 27-33.

Scotto di Carlo, Nicole. “Diction et musicalite (Diction and Musicality).” Medecine des arts 5 (September 1993): 44-11.

Sharnova, Sonia. “Diction.” The Bulletin 3 (June, 1947): 4+.

Sittner, Hans. “Wissenschaft und Praxis in der Stimmbildung.” Paumgartner (?): 134- 143.

Smith, L. A., and B. L. Scott. “Increasing the Intelligibility of Sung Vowels.” Journal of Research in Singing and Applied Vocal Pedagogy 15, no. 2 (1992): 13-18.

Steane, J. “Singertalk–Vowels: What are Sopranos (and Other Singers) Supposed to Do With Them?” Gramophone 81 (October 2003): 81.

Termini, Olga. “The Role of Diction and Gesture in Italian Baroque Opera.” Performance Practice Review 6, no. 2 (Fall 1993): 146-157.

Titze, Ingo. “Are the Corner Vowels Like Primary Colors?” Journal of Singing 54 (November 1997): 35+.

Titze. “Why is the Verbal Message Less Intelligible in Singing than in Speech?” The NATS Bulletin 38 (January 1982): 37+.

Triplett, William M. “An Investigation Concerning Vowel Sound of High Pitches.” The NATS Bulletin 23 (February 1967): 6+.

Ware, Clifton. “High Notes: The Singer as Communicator.” Opera Journal 32, no. 1 (March 1999): 43-47.

405 Ware. “High Notes: The Singer as Linguist.” The Opera Journal 34 (June 2001): 46- 54.

Ware. “High Notes: The Singer as Professional.” Opera Journal 34, no. 1 (March 2001): 32-39.

Wheeler, William. “Diction–What It Is.” The NATS Bulletin 7 (April 1951): 7+.

Wilkey, Jay. “The Rhotic and Non-Rhotic Central Vowels in Classical Singing.” Journal of Singing 52, no. 2 (November-December 1995): 27-36.

Wood, G. “You Say ‘eethur’ and I Say ‘eyethur’: Let’s Call the Whole Thing Diction.” Journal of Church Music 26 (September 1984): 2-5.

Wragg, Gerald. “The Singer’s Language.” Musical Opinion 79 (June 1956): 529-531.

Wyland, Dede. “Vowels: the Troublesome Trio.” Vocal Point of View–Tips and Techniques for Reducing Range-Inhibiting Tension. www.bluegrass.com

York, Wynn. “Dialects and English Pronunciation in Singing.” The Bulletin 7 (February 1951): 4+.

York. “Stress and Vowel Values.” The NATS Bulletin 16 (October 1969): 10+.

Young, T. Campbell. “Vocal Diction–In a Nutshell.” Music Educators Journal (October 1932): 28.

Dissertations/Thesis

Andersen, Leslie LeGrand. “The Effectiveness of the Video-Tape Instant Replay as an Aid in Teaching Vowel Formation in the Choral Classroom.” Master’s Thesis, University of Utah, 1975.

Anderson, Scott Eric. “Choral Singers’ Timbral Descriptions and Evaluations of Recorded Choral Excerpts Using a Dark-to-Bright Vowel Hierarchy.” DMA doc., University of Missouri, 1993.

Barber, Carol Hansell. “Practices of English Diction for Singers.” Master’s Thesis, University of North Texas, 1991.

Bausano, William Peter. “The Effects of Vowel Uniformity on Judgments of Vocal Blend.” Master’s Thesis, University of Southern California, 1983.

406 Belisle, John Michael. “A Study of Some Factors Influencing Diction in Singing.” Master’s Thesis, Indiana University, 1965.

Blackstone, Dara Ellen. “A Perceptual Examination of the Effect of Select Languages on the Pronunciation of Sung Latin.” PhD diss., University of Connecticut, 1996.

Bradley, Charles Mark. “Effects of an Auditor’s Past Musical Experience on the Intelligibility of Vowel Sounds in Singing.” PhD diss., University of North Texas, 1983.

Brandao, Stela. “The Brazilian Art Song. A Performance Guide Utilizing Selected Works by Heitor Villa-Lobos. PhD diss, Teachers College, Columbia University, New York 1999.

Burr, Floretta Fae. “An Objective Evaluation of the Effectiveness of a Voice and Diction Course on Certain Oral Communicative Skills of High-School Students.” Master’s Thesis (M.A.), The Ohio State University, 1962.

Chang, L. L. “Speech Sounds that Present Difficulty for Chinese Speakers Learning to Sing in English, Italian, German, and French: Exercises to Facilitate Pronunciation.” DMA doc., University of Miami, 2000.

Dechance, Yvonne Rene. “Phoneticism Module: The Development of a HyperCard Interactive Multimedia Tutorial-Drill Software Program for Use in Voice Diction Studies.” DMA doc., University of Texas, Austin, 1994.

Duggan, Owen Lloyd. “A Research and Reference Guide for the Study of Vocal Pedagogy: Selected Works from 1967 to 1991.” DMA doc., The University of Texas at Austin, 1992.

Harper, Andrew Henry, Jr. “Spectrographic Comparison of Certain Vowels to Ascertain Differences Between Solo and Choral Singing Reinforced by Aural Comparison.” PhD diss, Indiana University, 1967.

Heinberg, Paul. “An Experimental Investigation of Methods of Measuring Diction.” Master’s Thesis, State University of Iowa, 1956.

Hohn, Robert William. “A Study of the Relationship Between Vowel Modification and Changes in Pitch in the Male Singing Voice: A Spectrographic Analysis, Reinforced by the Judgment of Phonetics Experts.” Mus.Ed.D. thesis, Indiana University, 1959.

407 Hollenberg, Julia Groff. “A Collection of Selected Vocal Exercises and Drills Pertaining to Specific Vocal Skills or Problems for Use in Individual or Group Instruction.” Master of Music Document, James Madison University, 1987.

Hsu, Samuel. “Imagery and Diction in the Songs of Claude Debussy. PhD. Thesis, University of California-Santa Barbara, 1972.

Jeffers, K. A. “Developing an Objective Conceptual Model for Evaluating Vowel Qualities (Both Phonemic and Allophonic) by Considering Significant Elements of a Vowel’s Audible and Visual Forms: A Study of English, German, French, Italian, and Spanish Monophthongs.” PhD diss., 1992.

Jordan, C. M. “The Design and Evaluation of a Tutorial program for Teaching the Correct Production of English Vowels to Beginning Chorus Students in a Multicultural Situation.” PhD diss., University of Georgia, 2003.

Lanskoj, Mihail. “Issledovanie vzaimosvjazi dikcii, artikuljaccci i fonacii v penii (The Interrelationship Between Diction, Articulation, and Phonation in Singing).” PhD diss, Performance Practice: Gosudarstvennaja Konservatorija, Moskva, 1990.

Lourenco, J. M. “Singing in Portuguese: A Study of Diction for Singers.” PhD diss., 2000.

Marsh, C. S. “Secondary Choral Music Educators’ Training, Experience, and Current Teaching Practice Concerning Foreign Language Diction and World Musics Repertoire.” PhD diss., Florida State University, 2002.

Ophaug, Wencke. “Vowel Migration and Equalisation in Classical Singing”. PhD thesis, 1999.

Pan, Y. W. “The Effect of Phonetic Instruction on Performance of Liturgical Latin Diction for Middle School Mixed Choirs.” PhD diss, 1997.

Pence, Suzanne Morgan. “The Effect of Live Versus Videotape Instruction on High School Singers’ French Diction Skill.” DMA doc., University of Missouri- Kansas City, 1993.

Porter, Ruth Barnebey. “Diction for Singers: Concepts and Analyses.” Master’s Thesis (MA), The Ohio State University, 1956.

Rasmus, Ward Thorvel. “Conceptual Trends in Voice and Diction Training in American Colleges and Universities” Thesis, Stanford University, 1955.

408 Rees-Rohrbacher, Denise. “A Spanish Diction Manual for Singers.” Doctoral diss., Indiana University, 1985.

Robertson, Fritz Soule. “English Diction for Singers: A Self-Instructional Course of Study Utilizing the International Phonetic Alphabet with Self-Test Materials.” DA diss, Ball State University, 1995.

Rosenberg, Justus. “The German Translations of Paul Verlaine’s Lyric Poetry.” PhD thesis, University of Cincinnati, 1950. Seymour, Harry Nathan. “An Evaluation of a Voice and Diction Course at Shaw University.” Master’s (MA) Thesis, The Ohio State University, 1969.

Somville, Marilyn Feller. “Vowels and Consonants as Factors in Early Singing Styles.” PhD diss., Musicology: Stanford University, 1968.

Sue, Larry. “Choral Diction, part 1 of 7. An Introductory Discussion About English Diction.” PhD diss.

Taverer, Thomas Theodore. “An Accoustical Analysis of Stressed and Unstressed Consonant-Vowel Syllables Sung and Spoken in Dysyllabic Pairs by Trained Singers. DMA diss, Performance: University of Washington, 1972.

Taylor, Laura Swift. “A Handbook of Vocal Pedagogy for the Three Basic Didactics of Breath Control, Vowel Production, and Diction of the English Language. M. M. E. Thesis, Austin Peay State University, 1976.

Volk, Nancy Loraine. “A National Survey of Undergraduate Vocal Diction Requirements in Music Education Degree Programs.” Ph.D., University of South Carolina, 1998.

Wayland, Douglas O. “A Singer’s Guide to the Pronunciation of Old Provencal, Old French, and Middle High German as it Applies to the Compositions of Troubadours, Trouveres, and Minnesingers.” M. M. Thesis, Bowling Green State University, 1982.

Wilson, Seoung Lee. “Problems and Solutions in Teaching Debussy Songs to Korean Students.” DMA doc., Music Education: University of Wisconsin, Madison, 1988.

409 Software

Jensen, Karen. A Singer’s Guide to the IPA: a Multimedia Course in the International Phonetic Alphabet. Winnipeg, Manitoba: University of Manitoba School of Music, 1999?.

Learn French Now! Transparent Language Software. Gardena, CA: Platinum Edition, 2004.

Learn German Now! Transparent Language Software. Gardena, CA: Platinum Edition, 2004.

Learn Italian Now! Transparent Language Software. Gardena, CA: Platinum Edition, 2004.

“Learn to Speak Spanish: The Complete Interactive Learning Solution,” 2002. Software. Cambridge, MA: Learning Co.

Nair, Garyth. Voice – Tradition and Technology: a state-of-the-art studio. San Diego: Singular Publishing Group, 1999.

Audio Recordings

Pronunciation and Speech

Alton, Jeannine. Bele bereb e bele parlewe: A Guide to the Pronunciation of Medieval and Renaissance French for Singers and Others , n.d. audiocassette. London: Tecla Edition.

Beatty, Carole, Chris Beatty. Diction, Part I , 1990. audiocassette C4208. Vocal Workout Series. Franklin, TN: Vocal Coach.

Lenya, Lotte. Listen and Enjoy German Poetry , 1987. audiocassette. Mineola, NY: Dover Publications.

Lief, Arthur. The Singer’s Guide to Brahms Lieder: A Pronunciation Aid to Famous Brahms Songs , 196-?. Chicago, Virtuoso Records 816V-9766.

Lief. The Singer’s Guide to Schubert Lieder; A Pronunciation Aid to Famous Schubert Songs , n.d. Chicago: Virtuoso Records, 816V-9764.

410 Lief. The Singer’s Guide to Classic French Songs: a Pronunciation Aid to Famous French songs , 196-?. Virtuoso Records 816V-9762.

Lief. Singer’s Guide to Classic Italian Songs: A Pronunciation Aid to Famous Italian Songs , 196-?. Virtuoso Records 816V-9968.

Lief. Soprano’s Guide to Italian Opera Arias: A Pronunciation Aid to Famous Italian Arias , 196-?. Virtuoso Records 816V-9768.

Mandel, Ruth. A Treasury of French poetry [sound recording] / selected and read by Ruth Mandel , 1956. GMS Diction Series, v.2. Roslyn, NY: Publicom Associates.

Moinot, Michel . Listen and Enjoy French Poetry , 1969. audiocassette. Mineola, NY: Dover Publications.

Opera Choruses Pronunciation Guide , 1995. two sound discs. New York: Oxford University Press.

Rebay, Luciano. Listen and Enjoy Italian Poetry , 1969. audiocassette. Mineola, NY: Dover Publications.

Singher, Martial. Martial Singher Recites French Poems Set to Music by French Composers: 106 Poems on 2 CDs , 1981. compact disc MS-R1. Pocket Coach Publications

Wall, Joan. Diction for Singers: Teacher’s Pack: Listening Lab and Sample Tests , 1992. Five audiocassettes: German, Italian, Latin, French, Spanish. Dallas: Pst. Inc.

Wall. IPA for Singers , 1992. audiocassette. Dallas: Pst. Inc.

Audio Recordings

Non-Singing Diction

Canepari, Luciana. Manuale di Pronuncia Italiana, 1999 . two audiocassettes. Bologne: Zanichelli.

Costamagna, Lidia. Pronunciare l’Italiano, 1996. audiocassettes. Perugia: Edizioni Guerra.

411 Hahner, Jeffrey C., Martin A. Sokoloff, Sandra L. Salisch. Speaking Clearly: Speech Lab DC to accompany Speaking Clearly, Improving Voice and Diction, 2002. four compact discs. New York: McGraw-Hill Publishing Company.

Stern, David Alan. The Voice and Diction Tapes / by David Alan Stern , 1984. ten audiocassettes. Los Angeles: Dialect Accent Specialists.

Videos

Jordan, James. Ensemble Diction: Language and Style, Principles and Application , 1995. Video Recording.Chapel Hill, NC: Henshaw.

Websites

General Languages

About Dialects and High German. http://www.serve.com/shea/germusa/dialects.htm

Accademia Attori Corso di Dizione Online. Online Italian course for speakers, actors, singers, created by a private school. http://www.attori.com/dizione/index.html

African Languages and Cultures. Http://www.african.gu.se/linklang/html

A Guide to German Pronunciation. http://www.ex.ac.uk/german/abinitio/pronounce

Alex’s Multilingual Webpages. http://www.geocities.com/Athens/Olympus/1216/prlangua.htm#1

Alfabeto e Pronuncia (Alphabet and Pronunciation). http://www.cyberitalian.com/htm.alphabet.htm

A Linguistic Sketch of Basque. http://www.cogs.susx.ac.uk/users/karryt/basque.sketch.html

American Association of Teachers of German. http://grow.atg.org/index.html

Analysis: Text to Speech (TTS). http://faculty.washington.edu/dillon/PhonResourcesPhonResources.html

ARTFL Project. http://humanities.uchicago.edu/ARTFL/ARTFL.html

412 Beginners’ Guide to Offline Lowlands Language Materials. http://www.geocities.com/Athens/1615/rhahn/lowlands/guides_offline/.htm

Computer-Assisted Language Learning (CALL). http://www.serve.com/shea/call.htm

Flute Pronunciation Resource. http://users.uniserve.com/~lwk/ppguide.htm

Fodor’s Living Language. http://www.fodors.com/language/

George Mitrevski’s Knowledge Design Page. http://www.auburn.edu/~mitrege/knowledge/index.html

Germanware: Educational Software for the Study of German Language, Literature and Culture. http://willow.cats.ohiou.edu/~lrc/germanware/

Handlo’s Guide to Pronouncing German. http://www.handlo.com/pdf/german.pdf

History of French Language. http://www.discoverfrance.net/France/Language/DF_language.shtml iLove Languages.com. http://www.ilovelanguages.com/

International Dialects of English Archive, IDEA (downloadable). http://www.ukans.edu/~idea/index2.html

Italian Verbs. http://www.univ.ts.it/~nirital/texek/coni/coni.htm

Language. http://www/languagetranslation.com/translation.htm

Language Connections. http://www.languageconnections.com/index.htm

Language Games. http://www.cats.ohiou.edu/~linguist/soemarmo/games/menu.htm

Languages: German Online. http://eleaston.com/german.html

Languages: Italian Online. http://eleaston.com/italian.html

Languages: Spanish Online. http://eleaston.com/spanish.html

Language Teachers Page. http://scholar.urc.ac.ru/B_Friend/Language_Page/

Language Trade. http://www.LanguageTrade.com

LANIC Lists. http://lanic.utexas.edu/la/region/languages/

Magnetic Phonetics2. http://www.cascadilla.com/magpho.html

McMaster University Bookstore. http://bookstore.services.mcmaster.ca/home/trade/booklists/FOREIGNLANGUAGE1.html

413 Old English Pages. http://www.georgetown.edu.cball.oe/old_english.html

Online Phonetic Course from the Department of Linguistics, University of Lausanne. http://www.unil.ch/ling/phonetique/api-eng.html

Online Presentations in and about Lowlands Languages. http://www.geocities.com/Athens/1615/rhahn/lowlands/lowlands-links.htm

Phonetics: External Links. http://www.let.uu.nl/Fonetieklinks_en.html

Phonetics Laboratory. http://web./uvic.ca/ling/coursework/phonlab/

Pocketcoach. http://www.pocketcoach.com/

Polish and English vowels. http://www.republika.pl/grzegoru/uni/vowels.html

Proper Elizabethan Accents. http://www.renfaire.com/Language/index.html

Resources for Students and Teachers of English as a Second Language. http://www.English.uiuc.edu/cws/wworkshop/ww_esl.html

Resources for Studying Human Speech. http://faculty.washington.edu/dillon/PhonResources/PhonResources.html

Russian and Slavic Resources. http://infodome.sdsu.edu/research/guides/russlav.shtml

SAMPA Pages: German. http://www.phon.ucl.ac.uk/home/sampa/german.htm

Sanford, Sally A. http://www/sscm.harvard.edu/jscm/vl/no1/sanford.html

Scottish Gaelic Language Learning Materials. http://www.his.com/%7Erory/scotstf.html

SMU’s Foreign Languages and Literatures Learning Center.

Stirling University’s On-Line Phonology Course. http://www.celt.stir.ac.uk/staff/HIGDOX/STEPHEN/PHONO/PHONOLG.HTM

The Diction Domain Introduction to Italian. http://scaredofthat.com/dictiondomain/DDintroitalian.html

The Finnish Language. Pronunciation using IPA. http://www/cs.tut.fi/~jkorpela/suomi/fon.html http://www.cs.tut.fi/~jkorpela/Finnish.html

The Italian Electronic Classsroom ™. http://www.ddnai.com/alexcat/classroom.html

The Language Hub Bookstore. http://cetrodftt.com/langhub/transbooks.htm

The Language Hub Bookstore Language Links Page (unusual languages). http://www.cetrodftt.com/langhub/translp.htm 414 The Pronunciation of the Portuguese of Portugal. http://rudhar.com/foneport/foneport.htm

The Word of the Day in Irish. http://www.lincolnu.edu/~focal/docs/irishsp.htm Mainpage. http://www.lincolnu.edu.~focal/index.html

Tongue Twisters (Zungenbrecher). http://www.uebersetzung.at/twister/index.htm

Travlang’s Languages for Travelers. http://www.travlang.com/languages/

UCLA Phonetics Lab Software. http://www.linguistics.ucla.edu/faciliti/sales/software.htm

Word Reference. http://www.wordreference.com/

World Language Resources. http://www.worldlanguage.com http://www.worldlanguage.com/ProductTypes/Fonts.htm

Yvonne Dechance’s Frequently Asked Questions about Studying Voice Diction. http://scaredofthat.com/dictiondomain/YDdiction faq.html

Pronunciation

A Guide to German Pronunciation. Http://www.ex.ac.uk/german/abinitio/prounounce/

Alfabeto e Pronuncia (Alphabet and Pronunciation). http://www.cyberitalian.com/html/alphabet.htm

Analysis, Text to Speech. http://faculty.washington.edu/dillon/PhonResources.html

Flute Pronunciation Resource. http://users.uniserve.com/~lwk/ppguide.htm

German Pronunciation Program. http://www.wm.edu/CAS/modlang/gasmit/pronunciation/pronunce.htm

German Pronunciation Tutor for English Native Speakers. http://holtz.phon.ucl.ac.uk/wbt/tutorial/Irene/irenev1.htm

Handlo’s Guide to Pronouncing German. http://www.handlo.com/pdf/german.pdf

International Dialects of English Archive, IDEA. http://www.ukans.edu/~idea/index2.html

Polish and English vowels. http://www.republika.pl/grzegorj/uni/vowels.html

Proper Elizabethan Accents. http://www.renfaire.com/Language/index.html

415 Resources for Students and Teachers of English as a Second Language. http://www.english.uiuc.edu/cws/wworkshop.ww_esl.html

Resources for Studying Human Speech. http://faculty.washington.edu/dillon/PhonResources/PhonResources.html

SAMPA Pages: German. http://www.phon.ucl.ac.uk/home/sampa/german.htm

The Diction Domain Introduction to Italian. http://scaredofthat.com/dictiondomain/DDintroitalian.html

The Pronunciation of the Portuguese of Portugal. http://rudhar.com/foneport/foneport.htm

Travland’s Languages for Travelers. http://www.travland.com/languages/

Vowels and diphthongs: http://www.paulmeier.com/ipa/ddiphthings.html

Consonants: http://www.paulmeier.com/ipa/consonants.html

Vowels and Consonants. http://hctv.humnet.ucla.edu/departments/linguistics/VowelsandConsonants/ inde x.html

Fonts

ASCII Equivalents for IPA. http://www/hpl.hp.com/personal/Evan_Kirshenbaum/IPA/faq.html

ASCII IPA Equivalents for Singers. Http://www.hpl.hjp.com/personal/Evan_Kirshenbaunm/IPA/faq.html

ASCII IPA: The Way to Represent Speech Using a Computer Keyboard. http://homepages.tcp.co.uk/laker/ipa/

Computer Phonetic Characters. http://www.let.uu.nl/%7EHugo.Quene/personal/phonchar.html

Dr. Berlin’s Foreign Font Archive. http://user.dtcc.edu/~berlin/fonts.html

Downloadable IPA Fonts. www.scripts.sil.org

416 Fonts in Cyberspace: A Guide to Finding Language Fonts on the Internet. http://www.sil.org/computing/fonts/

Fonts in Cyberspace. mailto:[email protected]

IPA Fonts. http://www2.arts.gla.ac.uk/IPA/ipafonts.html

Just as Spoken: The Tool for Phonetic Transcription. http://www.bergsoft.de

Linguist’s Software: Fonts for the Whole World. Http://www.linguistssoftware.com/li.htm

Linguist’s Software, Inc. mailto:[email protected]

Magnetic Phonetics 2. http://www.cascadilla.com/magpho.html

Match Fonts. http://www.matchfonts.com/pages/foreign.html

Mike Gschwind’s Notes on International Fonts. http://jeff.cs.mcgill.ca/~luc/gschwind.html

My Fonts. http://www.myfonts.com/International

SIL IPA Fonts. http://www.sil.org/computing/fonts/encore-ipa.html

The Diction Domain’s IPA ASCII Equivalents Page. http://www.scaredofthat.com/dictiondomain/DDipaeqiv.html

World Language Resources. http://www.worldlanguage.com/ProductTypes/Fonts.htm

Yamada Language Center Font Archive. http://babel.uoregon.edu/yamada/fonts/html

IPA

ASCII Equivalents to IPA. http://virga.org/cv/cvf/index.html

ASCII IPA: The Way to Represent Speech Using a Computer Keyboard. http://homepages.tcp.co.uk/laker/ipa/

ASCII-Equivalents from SAMPA. http://www.phon.ucl.ac.uk/home/sampa/home.htm

417 ASCII Equivalents to IPA (in French). http://virga.org/cvf/index.html

International Phonetic Alphabet. http://www.arts.gla.ac.uk/IPA/ipachart.html

International Phonetic Association. http://www2.arts.gla.ac.uk/IPA/ipachart.html

IPA Bingo. http://www.cascadilla.com/ipabingo.html

IPA Chart in Acrobat (.pdf) format. http://web.uvic.ca/ling/resources/ipa/charts/IPAChart96.pdf

IPA Transcriptions. http://ipasource..com

Language Games. http://www.cats.ohiou.edu/~linguist/soemarmo/games/menu.htm

Literal Translations http://ipasource..com

MP3 Readings. http://ipasource..com

The Alphabet. Http://www.arts.gla.ac.uk/ipa/ipachart.html

The International Alphabet Association. http://www2.arts.gla.ac.uk/IPA/ipa.html

Website IPA. http://ipasource.com

General Diction

The Diction Domain™.com. http://www.dictiondomain.com/

Routledge Publishers. http://www.routledge-ny.com/browse.cfm

S.T.M. Publishers www.studenttextmfg.com

Singing

Chantez-vous Fran cais? Remarques curieusess sur le francais chanted u Moyen Age a la periode baroque. (Do you sing French? Interesting remarks about French sung in the Middle Ages at the baroque period.) http://virga.org.cvf/

Classical Arts. http://www.Classicalartsshowcase.org 418

Classical Singer. http://www.classicalsinger.com/ daring diva.com. http://www8.addr.com/~pazzobas/bibl/SuWrBk12.html

Internet Resources for Voice and Speech Professionals: http://www.vasta.org/publications/internet_resources.html

National Association of Teachers of singing (NATS). http://www.nats.org

The Singer’s Dilemma. Tone Versus Diction. Http://www.voiceperformance.com/Technq4.htm

VoicePerformance.com. http://www.VoicePerformanc.com

Translations and Texts

Chansons Francaises. Popular French song texts, no translation or transcription. http://www.math.umn.edu/~foursov/chansons/

Just as Spoken: the Tool for Phonetic Transcription. http://www.bergsoft.de

Libretto Homepage. http://copper.ucs.indiana.edu/~ineff/libretti.html/

Literal Translations. http://ipasource..com

Pocketcoach. http://www.pocketcoach.com/

The Aria Database. http://www.aria-database.com/

The Atlanta Opera Glossary. http://www/atlantaopera.org/interactive/operaterms.htm

The Lied and Art Song Texts Page. http://www.recmusic.org/lieder/

419