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Resources for Teaching and Resources for Teaching and Learning Learning DICTION DICTION James F. James F. Daugherty Daugherty The University of The University of Kansas Kansas

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Resources for Teaching and Learning. DICTION. James F. Daugherty The University of Kansas. From a musical / artistic perspective: . CHORAL MUSIC HAS TEXT. From a musical / artistic perspective: . CHORAL MUSIC HAS TEXT. - PowerPoint PPT Presentation

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Page 1: Resources for Teaching and Learning

Resources for Teaching and LearningResources for Teaching and Learning

DICTIONDICTION

James F. DaughertyJames F. DaughertyThe University of KansasThe University of Kansas

Page 2: Resources for Teaching and Learning

CHORAL MUSICCHORAL MUSICHAS TEXTHAS TEXT

From a musical / artistic perspective: From a musical / artistic perspective:

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CHORAL MUSICCHORAL MUSICHAS TEXTHAS TEXT

From a musical / artistic perspective: From a musical / artistic perspective:

Question: Why, then, are Question: Why, then, are many philosophies of music many philosophies of music education today based education today based exclusively on models of exclusively on models of absolute music, i.e., “music absolute music, i.e., “music alone?”alone?”

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CHORAL MUSICCHORAL MUSICHAS TEXTHAS TEXT

ISIS

From an acoustical / scientific perspective:From an acoustical / scientific perspective:

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Articulatory maneuvers produceArticulatory maneuvers produceUNITS OF SOUND:UNITS OF SOUND:

phonemesphonemes

allophonesallophones

vowelsvowels

consonantsconsonants

wordswords

phrasesphrases

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““If If a song is sung a song is sung with poor diction with poor diction (faulty articulation of (faulty articulation of vowels and vowels and consonants), much consonants), much more than the literary more than the literary meaning is lost; the meaning is lost; the quality of the singing quality of the singing voice is also voice is also impaired, resulting in impaired, resulting in a musical loss”a musical loss”

--Charles Lindsley, --Charles Lindsley, Fundamentals of Fundamentals of Singing,Singing, p 62 p 62

““Good diction is Good diction is the keystone in the keystone in producing producing distinctive vocal distinctive vocal and choral sound. and choral sound. Without good Without good diction there is diction there is little prospect for little prospect for other choral other choral virtues such as virtues such as blend of voices, blend of voices, sectional unity, sectional unity, variety in tone variety in tone quality or color, quality or color, proper use of proper use of resonation and resonation and even good even good intonation.”intonation.”

--Lloyd Pfautsch, --Lloyd Pfautsch, English Diction for English Diction for Singers Singers (1971), p (1971), p 3.3.

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RespirationRespiration

PhonationPhonation

ArticulationArticulation

ResonanceResonanceD

I CTI

ON

DI C

TIO

N

The articulatory capacity of the human voice most distinguishes it from other wind instruments.

In its contributions to the human singing voice, articulation can sometimes be more important even than phonation (e.g., voiceless consonants) and resonance (e.g., articulators can block or open certain resonators)

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Fred Waring: “Sing all the beauty of all of the sounds of all of the syllables of all of “Sing all the beauty of all of the sounds of all of the syllables of all of the words.” the words.” Robert Shaw: “Don’t sing words. Sing all of the sounds of the words.”“Don’t sing words. Sing all of the sounds of the words.”

Some intuitively define singing as prolonged speechSome intuitively define singing as prolonged speech

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The final premise of our choral art…is that vocal (choral) music has words to communicate--as well as pitches, rhythms, and colors--and that it is possible most of the time to project them through and over instrumental collaboration. We do this by concentrating not upon the words themselves, but upon the irreducible, individual, and succession of sounds which form these words, and we try to allot to each of these sounds its precise moment of musical time. We amy take our personal inspiration from the text, but when it comes to the transmission of that text, it’s work gloves, overalls, and sweat.

Robert Shaw

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FOOD FOR THOUGHT:FOOD FOR THOUGHT:

We spend a lot of time on pitches and rhythms, and We spend a lot of time on pitches and rhythms, and we tend to believe that systematic sight-singing we tend to believe that systematic sight-singing instruction is a means to musical literacy.instruction is a means to musical literacy.

Yet, we rarely consider systematically equipping our Yet, we rarely consider systematically equipping our students with articulatory/phonetic tools for vocal students with articulatory/phonetic tools for vocal literacy, despite the centrality of diction for choral literacy, despite the centrality of diction for choral sound and its demonstrated role in vocal/choral pitch sound and its demonstrated role in vocal/choral pitch and rhythm.and rhythm.

Pence (1994) found that choral teachers surveyed Pence (1994) found that choral teachers surveyed were neither trained for, nor comfortable in, were neither trained for, nor comfortable in, teaching diction.teaching diction.

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In choral singing, this essential role of diction or In choral singing, this essential role of diction or articulation becomes more complex because of articulation becomes more complex because of the CHORUSING EFFECT:the CHORUSING EFFECT:

Many voices and their reflections create a Many voices and their reflections create a quasi-random sound of such complexity that quasi-random sound of such complexity that the normal mechanisms of auditory localization the normal mechanisms of auditory localization and fusion are disrupted. Instability of and fusion are disrupted. Instability of FF0 0

produces flutter.produces flutter.

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CHORAL SOUND:CHORAL SOUND:

has properties of both complex tones andhas properties of both complex tones andvery narrow-band noisevery narrow-band noise

its sonic character is that of a sum of sounds that its sonic character is that of a sum of sounds that are similar, yet not phase coherentare similar, yet not phase coherent

spectral beat (using LTAS) in the region of spectral beat (using LTAS) in the region of 500-700 Hz500-700 Hz

SPL of choral sound has large, random short-term SPL of choral sound has large, random short-term variations due to beatsvariations due to beats

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Scientific studies of human singing find that people Scientific studies of human singing find that people phonate and articulate differently in choirs than they phonate and articulate differently in choirs than they do as soloists, i.e., solo singing and choral singing are do as soloists, i.e., solo singing and choral singing are two distinct modes of vocal production.two distinct modes of vocal production.

Beyond a certain point, one cannot work with an Beyond a certain point, one cannot work with an ensemble of voices as one would work with a single ensemble of voices as one would work with a single voice in a studio.voice in a studio.

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Simply put, choruses have to “chorus.” Matters Simply put, choruses have to “chorus.” Matters such as perceived blend and balance become such as perceived blend and balance become important. In chorusing, moreover, the whole is important. In chorusing, moreover, the whole is more than the sum of its parts. more than the sum of its parts.

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Put another way, chorusing vowels and chorusing Put another way, chorusing vowels and chorusing consonants play somewhat different roles than consonants play somewhat different roles than solo vowels and solo consonants. Most solo vowels and solo consonants. Most importantly in this respect, they have to be importantly in this respect, they have to be perceived as being in some sense “unified.”perceived as being in some sense “unified.”

It is this complex, perceived “unity” that determines It is this complex, perceived “unity” that determines both choral tone quality and some aspects of choral both choral tone quality and some aspects of choral intonation.intonation.

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Intonation Issues Related to Diction

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Vowels themselves have intrinsic pitch: for example, all else being equal, high front vowels are generally produced with a higher Fo than low vowels.

“u” (oo) has a relatively low number of harmonics and is perceived to drop in pitch the louder it gets, and to sharp in the presence soft reference tones

front vowels (like “ee” and “ih”) tend to raise the pitch (Fo)

the “ah” vowel tends to lower the pitch (Fo)

translation: even given the same frequency at phonation, the pitch of some vowels will naturally sound flatter or sharper than the pitch of some other vowels.

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Certain combinations of vowels are particularly potent pitch/frequency benders:

for example, “ee” to “eh” (as in Kyrie Eleison) can carry a change in Fo of almost 35 cents

cent (a unit of frequency ratio that represents pitch deviation); one cent = 1/100 of a half step; 35 cents = about a fifth of step flat or sharp

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Solo singers typically can check their vowel tuning by a stable Solo singers typically can check their vowel tuning by a stable reference, e.g., a piano or an orchestra.reference, e.g., a piano or an orchestra.

A cappella choral singers (and to some extent all choral A cappella choral singers (and to some extent all choral singers) have as a reference only fellow singers, who are singers) have as a reference only fellow singers, who are fighting against the same vowel intonation tendencies.fighting against the same vowel intonation tendencies.

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When, in a choral singer’s ear, the sound of the choir as a When, in a choral singer’s ear, the sound of the choir as a whole overbalances the feedback heard from one’s own whole overbalances the feedback heard from one’s own voice (as in crowded spacing) a singer is much less able voice (as in crowded spacing) a singer is much less able to modify intrinsic vowel pitch.to modify intrinsic vowel pitch.

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To complicate matters further: two differing versions of a vowel going on simultaneously in a choral ensemble can also alter the overtones of the fundamental pitch produced by vibrations of the vocal folds.

QuickTime™ and aPhoto - JPEG decompressor

are needed to see this picture.

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Translation: Choral singing “in tune” requires more than vocal folds phonating at on or around a certain frequency as indicated by notes in a score. It also requires articulation articulation savvy.savvy.

QuickTime™ and aPhoto - JPEG decompressor

are needed to see this picture.

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YOUR TURN

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So how do we teach the articulation necessary to sing this canon both beautifully and in tune?

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Four Teaching/Learning Strategies:

2. Modeling/RotePerhaps momentarily quicker, but questionable transfer potential;teacher-centered, students equipped only to mimic the teacher

1. Que sera, serawhatever will be, will be

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Four Teaching/Learning Strategies:

3. English Phonetic Spelling

For example: you--bee--lah--teh

similar to the Fred Waring tone syllable system

Can work more or less successfully for Latin. But not consistent or accurate for every language

Often more than one symbol per sound, cannot always convey nuance. Still student-passive.

Shteal_lay Nahcht! Hi_lee_gay Nahcht!

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Established 1886, Paris. Revised 1993. Updated 1996.

Major advantage over other systems: one sound, one symbol.

Learn and teach any language.

Major disadvantage: Need to learn the system first. (Not unlike solfegge in this respect).

Empowers students with a useful tool. More useful over time.

4.

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Pan (1995), in a study of an intact eighth grade choir (N=62), Pan (1995), in a study of an intact eighth grade choir (N=62), found that:found that:

Both IPA and English Phonetic Spelling were superior to Both IPA and English Phonetic Spelling were superior to traditional rote instruction as measured by individual traditional rote instruction as measured by individual testing on the correct pronunciation of a Latin motet the testing on the correct pronunciation of a Latin motet the choir had been rehearsing.choir had been rehearsing.

Students receiving instruction in IPA performed with Students receiving instruction in IPA performed with significantly greater accuracy than students receiving significantly greater accuracy than students receiving instruction by phonetic spelling in being able to instruction by phonetic spelling in being able to pronounce previously unstudied Latin texts.pronounce previously unstudied Latin texts.

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YOUR TURNYOUR TURN

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hænd ov| ∂oz b√t\ns ør ju m´lt !

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Sung Ecclesiastical Latin is a good starting point for IPA Choral Diction:

It has 5 vowel sounds and only 5 vowel sounds

It has no diphthongs

Repeat: It has (should have) NO diphthongs

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Question:Question: Given the absence of recording devices and the Given the absence of recording devices and the apparent presence of numerous dialects (Austro-German Latin, apparent presence of numerous dialects (Austro-German Latin, Venetian Latin, etc.), who determines how Ecclesiastical Latin Venetian Latin, etc.), who determines how Ecclesiastical Latin should be sung?should be sung?

Answer: Answer: The PopeThe Pope

Papal Decree (1903), Pope Pius X required Roman Papal Decree (1903), Pope Pius X required Roman pronunciation of Latin universally in the Roman pronunciation of Latin universally in the Roman Catholic ChurchCatholic Church

This diction is codified in The Rev. Michael de This diction is codified in The Rev. Michael de Angelis, C.R.M., Angelis, C.R.M., The Correct Pronunciation of Latin The Correct Pronunciation of Latin According to Roman UsageAccording to Roman Usage. Philadelphia: St. . Philadelphia: St. Gregory Guild. Rev. ed. 1937.Gregory Guild. Rev. ed. 1937.

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å

5 Latin Vowels

´iøu

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å

5 Latin Vowels

´iøu

ah, as in father

eh, as in met

ee, as in seek

aw, as in bought, saw

oo, as in soon

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j

2 Latin Glides

w

a glide is an unstressed vowel that proceeds quickly and smoothly to a following vowel

= unstressed

= unstressed

i

u

ju

kwi

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ju t´d´ øbi la

a l´

lu ja

ju bi lla

t´d´ ø- - - - - - - -

- - -

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In terms of developing choral sound, especially in younger or amateur ensembles:

Start with u: Most bang for the buck

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• u is the most physically active of the Latin vowels

• can incorporate kinesthetic elements in its teaching

• need to round the lips, open the pharynx, release tension

• teach distinction between “Pepto-Bismol” u and “free” u

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Teach one at a time the 5 Latin vowels and the 2 Latin Teach one at a time the 5 Latin vowels and the 2 Latin glides, along with their IPA symbolsglides, along with their IPA symbols

Can begin by incorporating them into daily warm upsCan begin by incorporating them into daily warm ups

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u i å ´ u i å ´ ø ø

Some strategies:Some strategies:

1.1. Teach the Jubilate Deo canon; it has them all (except the Teach the Jubilate Deo canon; it has them all (except the w glide), plus it contains the ubiquitous “alleluia”w glide), plus it contains the ubiquitous “alleluia”

2.2. During warm up exercises: During warm up exercises:

have the IPA symbol(s) already on the board or have the IPA symbol(s) already on the board or wall and point to them in turn, perhaps adding one wall and point to them in turn, perhaps adding one each day: both visual and aural reinforcementeach day: both visual and aural reinforcement

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Strategies, continued:Strategies, continued:

3.3. focus on a particular vowel in already familiar focus on a particular vowel in already familiar

exercises, e.g., “I love texercises, e.g., “I love tuu sing” sing” anchor or modify with kinesthetic gesturesanchor or modify with kinesthetic gestures

4.4. have on the board a “Pronounce That Word” or have on the board a “Pronounce That Word” or “Pronounce This Phrase” challenge (with the “Pronounce This Phrase” challenge (with the word or phrase written in IPA), similar to “Name word or phrase written in IPA), similar to “Name That Tune”That Tune”

ddIIkß\n kß\n IIz f√nz f√n ßøn tßæst´:ßøn tßæst´:IIn n raks ! raks !

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Strategies, continued:Strategies, continued:

8.8. gradually begin to use some IPA in memos and gradually begin to use some IPA in memos and handoutshandouts

77. occasional worksheets or online modules. occasional worksheets or online modules

55. . use various IPA symbols for sightsinging or use various IPA symbols for sightsinging or rehearsing off textrehearsing off text

6.6. download the IPA fonts and replace selected text download the IPA fonts and replace selected text with IPA symbolswith IPA symbols

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YOUR TURNYOUR TURN

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More IPA Symbols

• \ = neutral unaccented schwa

• U = open as in “put,” “book”

• åU = diphthong, as in “cow”

• I = open as in “it,” “him”

• hw = unvoiced glide, as in “what”

• √ = neutral accented uh, “up”

• † = unvoiced th as in “think”

• æ = forward vowel, as in “cat”

• ˜ = voiced, nasal consonant, as in sing

• diphthong is dIf †ø˜∂ = voiced th as in “those”

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nå:U Iz ∂\ m√n† √v m´:I˜

hw´n m´ri lædz år pl´:I˜

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nå:U Iz ∂\ m√n† √v m´ - I˜ hw´n m´ -ri lædz år

pl´: - I˜ få lå lå lå lå lå

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nå:U Iz ∂√ m√n∂ åv m´‘-(I˜) hw´n m´ -ri læ-dzår

pl´‘ - (I˜) få lå lå lå lå lå

Altered to fit the context of a particular ensemble:

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nå:U Iz ∂√ m√n∂ åv m´‘-(I˜) hw´n m´’-ri læ-dzår

pl´‘ - (I˜) få lå lå lå lå lå

Altered to fit the context of a particular ensemble:

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YOUR TURNYOUR TURN

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Still More IPA Symbols

• ee = high vowel as in “chaotic”

• çç = voiceless, forward ch somewhat as in “hue”

• x = voiceless, back ch somewhat as in a sharply whispered “ah”

• øø = close mixed vowel, ö

• yy = close mixed vowel, ü

• o = closed o, as in “open”

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å:å:IIn gut´ ver n gut´ ver UUnt våf:f\nnt våf:f\n

der ål-t´ bder ål-t´ bøø-z´ få:-z´ få:IIntnt

Ein Feste Burg ist unser Gott

der al-te bö- se Feind

ein gute Wehr und waffen

å:å:IIn f´st´ bn f´st´ bUUrk rk IIst st UUnz\r gøt:tnz\r gøt:t

mit Ernst er’s jetzt meint

mmIIt ´rnst ers j´t:st må:t ´rnst ers j´t:st må:IIntnt

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zå:zå:IIn grå:n grå:UUzåm rystzåm rystUU˜ ˜ IIstst sein grausam Rüstung ist

gross macht und viel List

gros:s måxt gros:s måxt UUnt fil lnt fil lIIstst

auf Erd ist nicht seins gleichen

å:å:UUf ert f ert IIst nst nIIçt zå:çt zå:IIns ns glå:glå:IIç\nç\n

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å:å:IIn f´st´ bn f´st´ bUUrk rk IIst st UUnz\r gøt:tnz\r gøt:t

der ål - t´ bder ål - t´ bøø - z´ få: - z´ få:IIntnt

zå:zå:IIn grå:n grå:UUzåm rystzåm rystUU˜ ˜ IIstst

å:å:IIn gut´ ver n gut´ ver UUnt våf:f\nnt våf:f\n

mmIIt ´rnst ers j´t:st må:t ´rnst ers j´t:st må:IIntnt

gros:s måxt gros:s måxt UUnt fil lnt fil lIIstst

å:å:UUf ert f ert IIst nst nIIçt zå:çt zå:IIns glå:ns glå:IIç\nç\n

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å:In f´ - st´ bUrk Ist Un - z\r gøt:t å:In gu-t´ ver Unt våf: - f\n

der ål t´ bø - z´ få:Int mIt ´rnst ers j´t:st må:Int gros:s måxt Unt fil lIst

zå:In grå:Uzåm ry - stU˜ Ist å:Uf ert Ist nIçt zå:Ins glå:I - ç \n

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YOUR TURNYOUR TURN

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Even More IPA Symbols

• Ω = voiced consonant, as in “azure”

• ´~ = nasalized ´• å~ = nasalized å• o~ = nasalized o• ß = fricative consonant sh, as

in “ocean” and “sugar”

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il est ne le divin Enfant

i l´ ne l\ di-v´~ å~ -få~Jouez hautbois resonnez musettez

Ωu-we o-bwa reso~ne my-z´-t\

i l´ ne l\ di-v´~ å~ -få~

il est ne le divin Enfant

Chantons tous son avenement

ßå~to~ tus so~ nå~-vå~~-n\-må~~

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i l´ ne l\ di - v´~ å~ - få~ Ωu -we o - bwa reso~

ne my - z´ - t\ i l´ ne l\ di - v´~ å~ - få~ ßå~ to~

tus so~ na - vå~ -n\ -må~

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http://www.chass.utoronto.ca/~rogers/fonts.html

Recommended Web Sites

Listed on your handout

Be sure to note:

download the IPA fonts for your word processing program for free..there is a set for Mac’s and a set for PC’s

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Recommended Books

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KU SUMMER GRADUATE COURSE

CHORAL DICTION (3 credit hours)

June 7 - 25, three weeks, 9am-Noon M-F

for details: http://www.ku.edu/~memt

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moving the articulators causes shape, size, and length of vocal tract to change

these changes allow the vocal tract to act as a filter on the sound produced by the vibrating vocal folds

this sound source filtering, which includes the variable resonating frequencies of the vocal tract, determines the particular quality of a sound, i.e. which vowel is sounded

different vowels are caused by different articulatory filtering

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for example, natural resonance frequencies of the vocal tract modify the signal generated in the vocal folds to …..

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1. Shteal_lay Nahcht! Hi_lee_gay Nahcht!Ah_lays shlayft; ine_sahm wahchtNoor dahs trou_tay hi_lee_gay Paar.Hole_dare Knahb' eem low_kig_ten Haar,|: Shlah_fay in him_lish_air Roo! :|

1. Stille Nacht! Heil'ge Nacht!Alles schläft; einsam wachtNur das traute heilige Paar.Holder Knab' im lockigten Haar,|: Schlafe in himmlischer Ruh! :|