The Use of The International Phonetic Alphabet in ... - (Chapter 1 The Use of The IPA in The Choral Rehearsal)

Chapter
1
The Use of the IPA in the Choral Rehearsal
Duane R. Karna and Sue Goodenow
Poetry and text are the primary differences that set a choral performance apart from
instrumental music. The fusion of text with music is one of the most powerful methods by
which a composer can express emotion to an audience, yet, all too often, the diction of choral
groups is lacking to such a degree as to make the text unintelligible. Even when singing in the
vernacular, singers often do not pronounce all sounds with uniformity. Even sounds that are
uniformly understood can be mispronounced with very undesirable changes to the meaning of
the text. For example, "serve" can be heard as "surf" when singers do not voice the final [v];
therefore, "seek to serve" becomes "seek to surf!"
Without a concise and accurate system for notating diction, singers resort to phonetic
spellings which many times do not accurately convey the correct pronunciations. I believe that
the teaching and use of the International Phonetic Alphabet's symbols for sound should be used
for all singers within the context of the choral rehearsal. This can be reinforced daily through
the use of choral warm-ups that introduce new and familiar sounds and their corresponding IPA
symbols. These "symbols for sounds" can be consistently reinforced during each choral
rehearsal as the choir strives for uniformity of sound and more precise diction. Each time a
specific sound needs to be addressed, the choral conductor provides a key word example for
the sound in question and reminds the singers of the IPA symbol. For example, "Please
pronounce 'jubilate' with a 'y' sound as in the key word 'yes.' The IPA symbol is [j]."
It is my belief that, over time, a choir which has developed an understanding of the
International Phonetic Alphabet will not only be able to communicate more effectively with
their director, but they will also be more effective in communicating intelligibility of text to
their audiences. The singers will also become more knowledgable and capable of pronouncing
appropriate diction in all circumstances. Teaching the IPA during choral rehearsals in this
manner takes very little initial time commitment. It also has the potential to save considerable
rehearsal time, especially as a choir becomes more familiar with the IPA symbols and
Copyright © 2012. Scarecrow Press. All rights reserved.
continues to use these symbols as a tool to learn to sing in unfamiliar foreign languages.
Various "key word" written and aural examples and the equivalent IPA symbol for sound
can be taken from the choral literature and used as both aural and visual examples for teaching
the IPA within the choral rehearsal setting. As choral directors, we often experience frustration
teaching our singers proper diction, especially when dealing with foreign language texts.
Modeling and "echoing" correct pronunciation during rehearsal is time consuming and often the
notes written into scores by singers during such occasions prove to be unclear when the music
is next rehearsed. Choral rehearsals would be much more efficient if all singers were familiar
with the International Phonetic Alphabet. Correct pronunciations would be provided in a
handout distributed prior to rehearsal and all necessary IPA symbols could then be transferred
to the singers' scores. Time invested in teaching the IPA will certainly be offset by the ease
The Use of the International Phonetic Alphabet in the Choral Rehearsal, edited by Duane Richard Karna, Scarecrow Press, 2012. ProQuest Ebook Central,
http://ebookcentral.proquest.com/lib/cuhk-ebooks/detail.action?docID=1108257.
Created from cuhk-ebooks on 2020-02-11 05:35:49.
with which singers will be able to learn challenging texts. IPA pronunciation charts also help
singers to pronounce troublesome English text such as the word heaven; for example, correctly
pronouncing "heaven" as [hεvεn] rather than [hεvIn].
The following handout example illustrates an IPA transcription of the German choral text of
Johannes Brahms' Nänie. This foreign language text has been transcribed into the International
Phonetic Alphabet and a word-for-word English translation is provided. Prepared IPA
handouts, similar to this example, can be given to each singer in the choir before introducing
each choral piece's foreign language text in rehearsal.
Johannes Brahms' Nänie

(Text by Friedrich Schiller)
[Kalmus Edition #K 06111 – Warner Bros. Publications]
Auch das Schöne muss sterben, das Menschen und Götter bezwinget!
[aox das ∫ønə ms ∫tεrbən das mεn∫ən nt gœtər bətsvɪŋət]
Also Beauty must die, that mankind and gods conquers!
Nicht die eherne Brust rührt es des stygischen Zeus.

[nɪçt di eərnə brst ryrt εs dεs ∫tygɪ∫ən tsɔøs]
not the iron breast stirs it of the Stygian Zeus.
Einmal nur erweichte die Liebe den Schattenbeherrscher,

[aenmal nur εrvaeçtə di libə den ∫atənbəhε∫ər]
Once only softened the love the lord of shadows,
Und an der Schwelle noch streng rief er zurück sein Geschenk.

[nt an der ∫vεlə nɔx ∫trεŋ rif er tsurʏk zaen gə∫εŋk]
And on the threshold still sternly called he back his gift.
Nicht stillt Aphrodite dem schönen Knaben die Wunde.

[nɪçt ∫tɪlt afroditə dem ∫ønən knabən di vndə]
Not healed Aphrodite the handsome boy the wounds.
Die in den zierlichen Leib grausam der Eber geritzt.

[di ɪn den tzirlɪçən laep graozam der ebər gərɪtst]
That in the delicate body horribly the boar tore.
Nicht errettet den göttlichen Held die Unsterbliche Mutter,

[nɪçt εrεtət den gœtlɪçən hεlt di n∫tεrplɪçə mtər]
Not saved the godlike hero the immortal mother,
Wenn er, am skäischen Thor fallend, sein Schicksal erfüllt.

[vεn er am skε:ɪ∫ən tor falənt zaen ∫ɪkzal εrfʏlt]
When he, on the Scaean Gate falling, his fate fulfills.
Aber sie steigt aus dem Meer mit allen Töchtern des Nereus,
[abər zi ∫taekt aos dem mer mɪt alən tœçtərn dεs nerɔøs]
But she arises out of the sea with all the daughters of Nereus,
Und die Klage hebt an um den verherrlichten Sohn.

[nt di klagə hept an m den fεrhεrlɪçtən zon]
And the lament begins around the glorified son.
Siehe, da weinen die Götter, es weinen die Göttinnen alle,

[ziə da vaenən di gœtər εs vaenən di gœtɪnən alə]
Look, there weep the gods, there weep the goddesses all,
Dass das Schöne vergeht, dass das Vollkommene stirbt.

[das das ∫ønǝ fεrget das das fɔlkɔmənə ∫tɪrpt]
That Beauty fades away, that Perfection dies.
Auch ein Klaglied zu sein im Mund der Geliebten ist herrlich,

[aox aen klaklit tzu zaen ɪm mnt der gəliptən ɪst hεrlɪç]
Also a lament to be in the mouth of the beloved is wonderful,
Denn das Gemeine geht klanglos zum Orkus hinab.

[dεn das gəmaenə get klaŋlos tsum ɔrkus hɪnap]
Then the common goes mutely to the Orkus downwards.
Poetic translation:
Also Beauty must die, that conquers both mankind and the gods!
It stirs not the iron breast of the Stygian Zeus.
Only once did love soften the lord of shadows,
Yet on the threshold he sternly called back his gift.
Aphrodite could not heal the wounds of the handsome boy

That the boar horribly tore in his delicate body.
The immortal does not save the godlike hero,
When he, falling on the Scaean Gate, fulfills his fate.
But she arises out of the sea with all the daughters of Nereus,
And the lament begins around the glorified son.
Look, there weep the gods, there weep all the goddesses,
That Beauty fades away, that Perfection dies.
Even to be a lament in the mouth of the beloved is wonderful,
For the common goes mutely downwards to Orkus.
IPA transcription and translation by Kathleen M. Maurer
Warm-ups provide the perfect opportunity to teach singers the IPA in the context of a choral
rehearsal without dedicating extra rehearsal time. The following choral warm-ups teach and
reinforce the International Phonetic Alphabet symbols utilizing various rhythmic exercises,
vocalizes, and choral rehearsal techniques which refine vowel uniformity and differentiate
between voiced and unvoiced consonants.
Laminated sheets of IPA symbols can be displayed, but the symbols could also be written
on a blackboard or placed on an overhead projector. Begin by selecting two of the pure
vowels and a warm-up pattern with which your singers are familiar. Display the two symbols,
such as [o] and [i], at the front of the rehearsal room. Demonstrate the sounds, giving the choir
an equivalent "key word" that uses the particular sound(s), and then have the singers insert
them into their vocal warm-up. Providing these sample "key words" helps clarify the sounds,
for example, [o] as in open, and [i] as in see (see Example 1).
Example 1: Vocalize
Do the same with 2 or 4 more sounds, then mix up and combine the symbols to test the
singers' memory and to help them internalize the symbols. Each day add 2 more sounds, taking
care to use and review symbols from previous rehearsals.
Voiced and unvoiced consonant sounds are best taught in the context of rhythmic exercises
such as can be found in the book Studying Rhythm by Anne Carothers Hall. Provide the choir
singers copies of rhythms, and ask that they verbally reproduce them using selected IPA sounds
such as [p] and [k]. Ask the singers to speak a different consonant sound for each particular
note value; for example [p] = ♪ and [k] = ♪ and/or ♫. Eventually try singing consonant and
vowel sound combinations such as [po] and [ki] (see Example 2).
Example 2: Rhythmic
Notice that you need not include sounds specific to certain languages, such as the French
nasalized vowels, or the German umlauts, unless your choral repertoire includes these
languages. Warm-ups can be personalized to focus on issues of importance to you and your
choir while simultaneously teaching a tool that will be invaluable when learning new
languages.
Another option for teaching and reinforcing the IPA within the choral rehearsal is to list
your daily rehearsal order (composition titles, composers, first line of text) in the IPA. You can
also send messages to your choir by writing a daily "thought for the day" or writing an
important reminder using IPA symbols. This adds a new dimension to your rehearsal
environment and your students will enjoy "deciphering" the "code!"
Further topics relating to successful diction in the choral rehearsal setting and how each
impact upon the resulting choral sound may also be addressed by the conductor within the
rehearsal. Such topics as vowel uniformity as it influences blend, intonation, tone quality, and
color, as well as resonance tracking, can be discussed and demonstrated. Other topics such as
consonant clarity, pronunciation, articulation, enunciation, breath support, rhythmic precision
and rhythmic release of consonants, clarity of text, word stress inflection, and subtleties of
poetical nuance can also be addressed.
In conclusion, I present commentary from Lloyd Pfautsch who, in his book English Diction
for the Singer, states:
Good diction is the keystone in producing distinctive vocal and choral work. Without good diction there is little prospect
for other choral virtues such as blend of voices, sectional unity, variety in tone quality or color, proper use of
resonation, and even good intonation… . Good diction is also necessary for rhythmic accuracy… . Work on diction is
necessary for good tone quality or color… . A choral conductor should know the rules of good diction thoroughly …
[and] require discipline from [the choral] singers in applying the rules of diction… . A choral conductor must be able to
teach good diction [and] must be able to demonstrate good diction… . A choral conductor should know that the style,
form, dynamics, and tempo of music affect diction… . Aural sensitivity to vowel sounds is important… . Since it is
difficult for the individual singer to hear [one's] self within the sound of the chorus and make whatever adjustments
are necessary to correct faulty production, it is especially important that all singers develop a sensitivity for the correct
position of tongue, jaw, and lips as the different vowel sounds are sung… . [C]orrect vowel production makes possible
better tone quality or color [and] will assist good intonation… . [C]orrect vowel formation makes possible the blend of
voices… . However, there will be more uniformity or similarity among singers in consonant articulation than in vowel
formation… . Well-articulated consonants will provide graphic clarity to the text which is sung… . Correct articulation
of consonants will help rhythmic accuracy and precision [and] can help overcome pitch problems… . [C]orrect
articulation of consonants will assist the vital support of tone production and of various dynamic levels… . will assist
[in] the elimination of excessive tension… . [and] assists the correct production of vowels.1
Stressing the importance of vowel formations and articulation of consonants in our choral
work, assisted by the use of the International Phonetic Alphabet within each rehearsal, can
significantly enhance and improve many of the following objectives in our choirs' singing:
vowel uniformity, pitch accuracy, ensemble blend and intonation, improved articulation, better
enunciation and clarity of text, rhythmic precision, control of dynamic levels and tone color,
efficient use of breath management and a better, regulated support of tone, optimal resonance
potential for each singer and the ensemble as a whole—all of these attributes provide
assistance in our efforts toward a more refined and balanced choral sound.
Preceding this chapter is an IPA chart that can be used as a choir handout for reminding
choral singers of the various IPA symbols. The individual symbols should first be presented
and discussed in the choral rehearsal and then the handouts made available for distribution.
Note
1. Lloyd Pfautsch, English Diction for the Singer (New York: Lawson-Gould Music
Publishers, Inc., 1971), pp. 3–8, 13–14, 79–82.
Acknowledgments
Portions of this chapter have been adapted from an article by the chapter authors entitled "IPA
in the Choral Rehearsal," which appeared in Teaching Music 61, no. 2 (October 2006): 25-
-30. This material appears here with the permission of the editor of Teaching Music, Caroline
Arlington. Excerpted from "IPA in the Choral Rehearsal" by Duane R. Karna and Sue
Goodenow, Teaching Music, October 2006 (c) 2006 by MENC: The National Association for
Music Education. Reprinted with permission.
Bibliography
Adams, David. A Handbook of Diction for Singers. New York: Oxford University Press,
1999.
Anderson, David. Ceremonies of Carols (CD Liner Notes), The Philadelphia Singers, Michael
Korn, conductor. RCA Victor #7787-2-RC, 1988.
Bernac, Pierre. The Interpretation of French Song. New York: W. W. Norton & Co., 1978.
Cartier, Francis A., and Martin T. Todaro. The Phonetic Alphabet. Dubuque: Wm. C. Brown
and Company Publishers, 1954.
Coffin, Berton, Ralph Errolle, Werner Singer, and Pierre Delattre. Phonetic Readings of
Songs and Arias. Metuchen, NJ: The Scarecrow Press Inc., 1982.
Colorni, Evelina. Singers' Italian: A Manual of Diction and Phonetics. New York: Schirmer
Books, 1970.
Cox, Dr. Richard G. The Singers' Manual of German and French Diction. New York:
Schirmer Books, 1970.
De Angelis, Rev. Michael. The Correct Pronunciation of Latin According to Roman Usage.
Chicago: GIA Publications, 1973.
Forward, Geoffrey G., and Elisabeth Howard. American Diction for Singers. Van Nuys, CA:
Alfred Publishing Company, 2000.
Grubb, Thomas. Singing in French: A Manual of French Diction and French Vocal
Repertoire. New York: Schirmer Books, 1979.
Hall, Anne Carothers. Studying Rhythm. Upper Saddle River, NJ: Prentice Hall, 1998.
Hines, Robert S. Singer's Manual of Latin Diction and Phonetics. New York: Schirmer
Books, 1975.
International Phonetic Association. Handbook of the International Phonetic Association: A
Guide to the Use of the International Phonetic Alphabet. New York: Cambridge
University Press, 2007.
Jordan, James, and Constantina Tsolainou. Ensemble Diction: Language and Style, Principle
and Application (videotape). Chapel Hill, NC: Hinshaw Music, Inc., 1995.
Kökeritz, Helge. A Guide to Chaucer's Pronunciation. Toronto: University of Toronto Press,
1995.
Marshall, Madeleine. The Singer's Manual of English Diction. New York: Schirmer Books,
1953.
May, William V., and Craig Tolin. Pronunciation Guide for Choral Literature. Reston, VA:
Music Educators National Conference, 1987.
McGee, Timothy, A. G. Rigg, and David N. Klausner. Singing Early Music: The
Pronunciation of European Languages in the Late Middle Ages and Renaissance.
Bloomington: Indiana University Press, 1996.
Moriarty, John. Diction. Boston: E. C. Schirmer Music Company, 1975.
Paton, John Glenn. German Diction: The Singer's Guide to Punctuation. Van Nuys, CA:
Alfred Publishing Company.
Pfautsch, Lloyd. English Diction for the Singer. New York: Lawson-Gould Music Publishers,
Inc., 1971.
Pullum, Geoffrey K., and William A. Ladusaw. Phonetic Symbol Guide. Chicago: University
of Chicago Press, 1996.
Wall, Joan. International Phonetic Alphabet for Singers. Dallas: Pst…, Inc, 1989.
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About the Authors

Dr. Duane R. Karna is Director of Choral Activities and an Associate Professor of Music
Performance in the School of Music at Ball State University in Muncie, Indiana, where he
oversees the Ball State University choral program, consisting of the Chamber Choir, Concert
Choir, Women's Chorus, Statesmen, University Singers, and the University Choral Union. Dr.
Karna conducts both the Chamber Choir and the Women's Choir. He also coordinates the BSU
graduate program in choral music, which offers a Master of Music and a Doctor of Arts in
Choral Conducting. Dr. Karna has held previous appointments at the University of Nevada-
Reno, University of Oregon in Eugene, Oregon; Central Washington University in Ellensburg,
Washington; and Salisbury State University in Salisbury, Maryland.
His Bachelor of Music in Vocal Performance is from the University of Puget Sound in his
hometown of Tacoma, Washington; his two Masters of Music, one in Vocal Performance and
the other in Choral Conducting, are from Southern Methodist University in Dallas, Texas,
where he studied with Berton Coffin and Lloyd Pfautsch; and his Doctor of Musical Arts with
a major in Choral Conducting and a minor in Vocal Performance is from the University of
Arizona in Tucson where he worked with Maurice Skones.
Dr. Karna is an accomplished singer and choral conductor and has collaborated with Sten
Ternström from the Royal Institute of Technology (KTH) in Stockholm, Sweden, on writing the
chapter "Choir" in The Science of Psychology and Music Performance: Creative Strategies
for Teaching and Learning, which was published in 2002 by Oxford University Press. On
February 11, 2007, Dr. Karna made his Carnegie Hall conducting debut in New York City with
MidAmerica Productions, conducting Wolfgang Amadeus Mozart's Regina Coeli, K. 108 and
K. 127.
Sue Goodenow completed her Bachelor of Science Education at the University of Iowa, and
Master of Music with a choral conducting emphasis from the University of Nevada, Reno. Sue
has conducted the Concert Choir, Summer Symphonic Choir, and Women's Choir at UNR. In
2006, she helped to establish Sierra Nevada Children's Choir, a graded community choir
program with three choirs and 75 singers. She is Director of Music at St. John's Presbyterian
Church where she conducts two choirs and three handbell choirs. She is the accompanist for
Bella Voce women's ensemble, and has served as choral music teacher at Washoe County High
Schools.

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Chapter

Johannes Brahms' Nänie

Nicht die eherne Brust rührt es des stygischen Zeus.

Einmal nur erweichte die Liebe den Schattenbeherrscher,

Und an der Schwelle noch streng rief er zurück sein Geschenk.

Nicht stillt Aphrodite dem schönen Knaben die Wunde.

Not healed Aphrodite the handsome boy the wounds.

Die in den zierlichen Leib grausam der Eber geritzt.

Nicht errettet den göttlichen Held die Unsterbliche Mutter,

Wenn er, am skäischen Thor fallend, sein Schicksal erfüllt.

Und die Klage hebt an um den verherrlichten Sohn.

Siehe, da weinen die Götter, es weinen die Göttinnen alle,

Dass das Schöne vergeht, dass das Vollkommene stirbt.

Auch ein Klaglied zu sein im Mund der Geliebten ist herrlich,

Denn das Gemeine geht klanglos zum Orkus hinab.

Aphrodite could not heal the wounds of the handsome boy

About the Authors

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