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Handbook of Diction for Singers: Italian, German, French 3rd Revised edition [Hardback]

4.31/5 (42 ratings by Goodreads)
(Professor Emeritus, College-Conservatory of Music, University of Cincinnati)
  • Formāts: Hardback, 342 pages, height x width x depth: 182x260x18 mm, weight: 685 g, 200 music examples
  • Izdošanas datums: 27-Mar-2023
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 019763950X
  • ISBN-13: 9780197639504
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  • Cena: 128,84 €
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  • Formāts: Hardback, 342 pages, height x width x depth: 182x260x18 mm, weight: 685 g, 200 music examples
  • Izdošanas datums: 27-Mar-2023
  • Izdevniecība: Oxford University Press Inc
  • ISBN-10: 019763950X
  • ISBN-13: 9780197639504
Citas grāmatas par šo tēmu:
Now in its third edition, A Handbook of Diction for Singers is a complete guide to achieving professional levels of diction in Italian, German, and French. Combining traditional approaches in the teaching of diction with new material not readily available elsewhere, author David Adams presents the sounds of each language in logical order, along with essential information on matters such as diacritical marks, syllabification, word stress, and effective use of the variety of foreign-language dictionaries. A Handbook of Diction for Singers places particular emphasis on the characteristics of vowel length, the sequencing of sounds between words, as well as the differences between spoken and sung sounds in all three languages, all while taking care to clarify concepts typically difficult for English-speaking singers. This revised third edition offers significantly expanded coverage of each language as well as a new chapter that introduces readers to the specific sounds unique to those
languages. The result is a concise yet thorough treatment of the three major languages of the classical vocal repertory, and an invaluable reference for vocalists and voice teachers.

Recenzijas

It's hard to believe, but Mr. Adams has actually improved this comprehensive text for its third edition. Anything and everything one needs to understand and execute beautiful, authoritative diction can be found in this book....and in three languages! Get it! * Martin Katz, G. Koldofsky Distinguished University Professor, Earl V. Moore Collegiate Professor in Music, Artur Schnabel Collegiate Professor in Piano, University of Michigan * David Adams presents vast knowledge in a very clear and organized fashion. There are multiple fine points that spice up the teaching throughout. The handbook is a very practical book filled with details illustrated by numerous musical examples. This book is a must for all singers, coaches, conductors, and language majors. * Pierre Vallet, The Metropolitan Opera, The Juilliard School * A valuable introduction to vocal diction, this book offers a clear, no-nonsense guide that will be extremely useful to singers, teachers and coaches. * Brian Zeger, Artistic Director, Marcus Institute for Vocal Arts at The Juilliard School * Wow! No need to bother with other reference works for these three languages-it's all here and then some! I'm so impressed with Mr. Adams' thoroughness, clarity, and his ability to keep what could be a dry subject interesting, entertaining and stimulating. Any singer, voice teacher or collaborative pianist needs this on a very handy shelf. * Martin Katz, Pianist, Coach, and Conductor * A Handbook of Diction for Singers will make an invaluable addition to any singer's library. The clarity and simplicity of Mr. Adams' approach to lyric diction is wonderful to read, and his years of teaching and the depth of his understanding only underscore his clear and clean explanation of the many aspects of this discipline. Bravo, David! * Warren Jones, Pianist * David Adams' contribution to the singer's bookshelf is invaluable. He not only provides a clear, pragmatic guide to diction for singers and pianists but approaches the topic with a fine ear for music and a deep understanding of the challenges singers face in uniting music and text. * Brian Zeger, collaborative pianist and Director of Vocal Arts, Juilliard School *

Preface to the 3rd Edition xi
Acknowledgments xiii
List of Exercises
xv
Chapter 1 An Introduction to Individual Sounds
1(30)
The International Phonetic Alphabet
1(1)
Comments about a Few IPA Symbols
2(1)
Vowel Length
3(1)
The Role of the Tongue in Determining Vowel Sounds
4(1)
The Seven Vowel Sounds of Italian: /i/ /e/ /ε/ /a/ /c/ /o/ /u/
5(4)
Additional Vowel Sounds for German: /*/ and ε/
9(1)
The Mixed Vowels of German and French: /y/ /Y/ /ø/ /œ/
10(2)
Additional Vowel Sounds for French: /a/ /ε/ /ε/ /o/ /œ/
12(3)
Glides / Semiconsonants / Semivowels: /j/ /]/ /w/ /u/
15(1)
Diphthongs: A Brief Discussion
16(2)
Consonant Sounds
18(1)
Paired Consonant Sounds: /b/ /p/ /d/ /t/ /g/ /k/ /v/ /f/ /z/ /s/
18(3)
Unpaired Consonant Sounds: /l/ /m/ /n/ /r/
21(1)
The Sounds of r
21(2)
A Special Pair: /h/ and /?/
23(1)
More Consonant Sounds: /σ/ /∫/ /γ/ /n/ /η/ /η/ /c/ /x/
24(4)
The Affricate Sounds: /dσ /t∫/ /dz/ /ts/
28(3)
Chapter 2 Italian Diction
31(100)
International Phonetic Alphabet Symbols for Italian
32(1)
Italian Vowel Letters: Vowels and Glides
33(1)
Italian Diacritical Marks
34(3)
Italian Syllabification
37(3)
Italian Word Stress
40(2)
Vowel Length in Italian
42(2)
Apocopation
44(2)
Italian Diphthongs and Triphthongs
46(5)
Phrasal Diphthongs and Triphthongs
51(1)
Italian Consonants
52(12)
Consonant Combinations and Their Sounds
64(4)
Single and Double Consonants in Italian
68(1)
Characteristics of Double Consonants
69(2)
More about Vowels
71(2)
Ambiguous Spellings: Is It a Vowel or a Glide? /i:o/ /i:a/ vs. /jo/ /ja/
73(6)
Phrasal Doubling in Italian
79(2)
Articulating Double Consonants in Singing
81(2)
Singing Consonant Clusters
83(2)
Musical Settings of Italian Diphthongs
85(3)
Italian Diphthongs: Vowel Distribution in Singing
88(4)
Musical Settings of Italian Triphthongs
92(1)
Vowel Distribution in Singing Phrasal Diphthongs
93(8)
Patterns of Phrasal Triphthongs in Italian
101(4)
Italian Text Underlay in Scores
105(2)
Other Possible Assimilations of n
107(1)
Resources for Italian
108(2)
Sample Texts
110(5)
Appendix: Guidelines for Determining Open and Close e and o in the Stressed Syllable
115(16)
Chapter 3 German Diction
131(88)
International Phonetic Alphabet Symbols for German
132(1)
The Umlaut
133(1)
Eszett
134(1)
A Note on German r Sounds
134(1)
Word Origin: Germanic and Non-Germanic
135(1)
German Vowel Sounds and Vowel Length
135(2)
Word Stem, Word Stress, Vowel Length
137(1)
Specific Vowel Sounds in German
138(7)
German Mixed Vowels
145(3)
German Diphthongs and Adjacent Vowels
148(1)
The Glides /j/ and /j/
149(1)
German Consonant Sounds
150(14)
Other Consonant Combinations
164(2)
Double Consonants in German
166(2)
More about German Vowels---Exceptions and Irregularities
168(11)
More about Syllabic Stress and Vowel Length
179(2)
More about German Word Structure
181(5)
Summary of German Suffixes
186(2)
German Verb Endings
188(1)
Changing Vowels in Verbs
188(2)
Summary of Monosyllabic (and Some Polysyllabic) Words
190(3)
Words of Non-Germanic Origin
193(4)
Glottal Separation in German
197(1)
Glottal Separation versus Legato Connection in Singing German
198(5)
Phrasal Consonant Clusters in German
203(3)
Possible Assimilation of Consonant Sounds in German
206(4)
Resources for German
210(1)
Sample Texts
211(8)
Chapter 4 French Diction
219(98)
International Phonetic Alphabet Symbols for French
220(2)
French Diacritical Marks
222(2)
Terminology Related to the Legato Flow of French
224(2)
A Note about the Syllabification of French Words
226(1)
Word Stress in French
226(1)
Vowel Length in French
227(2)
French Vowel Sounds and How They Are Spelled
229(9)
Mixed Vowels in French
238(4)
Fine Points Concerning /œ/ and /ø/
242(3)
Vocalic Harmonization and e moyen / eu moyen
245(3)
Nasal Vowels
248(1)
Incorrect Sounding of n and m in Nasal Vowels
249(4)
Glides in French
253(5)
French Consonants
258(21)
Connecting Sounds in French: Enchainement, Elision, Liaison
279(8)
French Syllabification
287(11)
Musical Settings of Mute e
298(5)
Tied Note Notation with Mute e
303(4)
Musical Settings of Glides
307(5)
Resources for French
312(2)
Sample Texts
314(3)
Bibliography 317(2)
Index of Sounds by Spelling 319(4)
General Index 323
David Adams is Professor Emeritus of the College-Conservatory of Music, University of Cincinnati, where he served on the voice faculty from 1980 until 2015. He also served as administrative head of the Performance Studies Division for 27 years. He sang as lyric tenor in operas and concerts in Italy, Austria, Germany, and the United States. He was artistic director of the summer programs Opera Theater and Music Festival of Lucca and CCM Spoleto. Former students of his have enjoyed professional careers in North America, Europe, and Asia