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Date of Graduation
12-13-2025
Semester of Graduation
Fall
Degree Name
Doctor of Musical Arts (DMA)
Department
School of Music
First Advisor
Jo-Anne van der Vat-Chromy
Second Advisor
Jonathan Gibson
Third Advisor
Michael Hall
Fourth Advisor
W. Bryce Hayes
Fifth Advisor
Judith Ofcarcik
Abstract
The genesis of this project stems from a lived experience performing with a professional choir, whose sung physical shaping of the English language—its crystalline clarity, profound expressivity, and the pre-expressive elements inherent in the delivery—was deeply and viscerally compelling. This overwhelming reaction was in response to their bodies; specifically, the sound their bodies produced that evoked a sense of corporeality, or tangible bodily presence. There was beauty to be found in the way their mouths physically formed the language, both within and removed from the semantic context.
This study sought to acknowledge those fleeting, pre-expressive moments in choral music and to examine how they interacted with what follows them: the listener’s perception of clarity and expressivity. More specifically, this investigation explored how perceptions of clarity and expressivity relate to consonant diction in English-language choral music. By focusing on consonants and their corporeal production, this project aimed to develop a research-based vocabulary that identifies the embodied components of consonant production, helping deepen our understanding of how textual clarity, emotional expressivity, and pre-expressive presence contribute to more visceral and meaningful choral performances for both singers and audiences.
This investigation consisted of three parts. In a critical excerpt of John Tavener’s “The Lamb,” an analysis of twenty-one consonant lengths in seven selected choral ensembles was conducted to determine consonant length and percentage of beat. Using the same audio examples, a pilot study survey (N = 82) was conducted to investigate listener preferences in terms of perceived clarity and expressivity as related to consonant diction. This investigation also included an interview with renowned baritone and choral scholar Gabriel Crouch to contextualize the study within practical choral artistry.
Quantitative results indicated that ensembles employing longer consonant delivery, primarily through the implementation of intermediary vowels, were perceived as clearer and more expressive. The data also pointed to the emergence of a “Goldilocks tempo,” a tempo at which diction is perceived not only as functional, but also as expressive. The quantitative data trend, confirmed by multiple regression analyses, also indicated that consonant diction, rather than tempo, was the most robust predictor of listener-perceived clarity and expressivity. Qualitative results regarding additional factors influencing perceptions of clarity and expressivity revealed themes including phrasing and syllabic stress, recording quality and acoustics, and tone quality and ensemble blend.
The findings highlighted the value of prioritizing voiced and lengthened consonants in diction preparation, selecting tempos that support both clarity and expressivity, and engaging the physicality of language to access the expressive and pre-expressive qualities of embodied choral diction. Future avenues of research may refine methodology and deepen the exploration of corporeality in choral sound through vocal materiality. The document concludes with pedagogical recommendations, consonant-focused warm-ups, exploratory exercises, and rehearsal strategies designed for choral conductors.
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