JAVS Spring 2022

of rhythmic value provides more deliberate practice for musicians in their exploration of rhythmic fluency and expression. It is interesting to note that many church hymns were written in common meter; therefore, poems that have this rhythmic structure lend more easily to musical practice. When practicing for musical symbiosis, it can also be useful for musicians to look at the structure of the word choice—both in phrases and overall. For example, the first sentence significantly repeats both consonance and alliteration with the /t/ and /l/ sounds: In poetic direction, the use of consonance and alliteration are remarkable attributes that should not be glazed over with soft “t’s” or short “l’s”. Each consonance must be considered in accordance with the tone, direction, and angle of the poem. In this case, we have determined an angular direction, with emphasis on bright and dazzling lights. This informs us to bring a bite to each “t”, giving it a sharpness, while pulling the double “l’s” to carry the iamb through the meter. This same meticulous attention can be translated into music considerations with note articulations, values, consonance, and vowel. Is the dot over the note indicating a sharpness, such a staccato; or a fullness, such as a marcato? Is the value of the note full and round, leading into the next note; or slim and concise, allowing a breath before the next attack? What is the consonant the starts the note? Is it a sharp “t” sound, or a rounder “b” sound? What is the vowel of the note’s middle—an “oo”, “ah”, “ou”? And how is the note finished: with a rounded vowel? Or perhaps a consonant? Musicians must work through a dozen considerations for each note, a feat which can be practiced with poetry. Conclusion While the delivery of poetry won’t develop perfect intonation or stellar double-stops, the use of it allows for practice in rhythm, sound, and tone in a meaningful way, without the extra burden of physicality that the instrument requires. This method can be used as a valuable pedagogical approach in further developing musicality, analysis, and performance delivery in not just injured musicians, but—as Michelle demonstrated—in all musicians. /t/: T ell all | the t ruth | bu t t ell | i t slan t – /l/: Te ll a ll | the truth | but te ll | it slant –

Ann Marie Brink is Assistant Professor of Viola at DePaul University.

Michelle Manson is an undergraduate double major in Viola Performance and Psychology at DePaul University. Notes 1 Don Greene, Audition Success , New York, Routledge Publishing, 2001. 2 The word “intonation” to a musician implies the ability of the performer to control the pitch of a given note. For the spoken word, “intonation” refers to the rise and fall of the voice. 3 Emily Dickinson, “Tell all the truth but tell it slant,” in The Poems of Emily Dickinson: Reading Edition ed. by Ralph W. Franklin, Cambridge, Mass: The Belknap Press of Harvard University Press, 1998, 1129. 4 Dickinson, “Tell all the truth but tell it slant,” 1129. 7 Iambic tetrameter contains four units (iambs) of unstressed stressed syllables (think: da-DUM). Iambic trimeter, instead, is a combination of three units (iambs), totaling six syllables (think: three da-DUMs). 5 Ibid., 1129. 6 Ibid., 1129. Bibliography Dickinson, Emily. “Tell all the truth but tell it slant.” In The Poems of Emily Dickinson: Reading Editon . Ed. by Ralph W. Fanklin. Cambridge, Mass: The Belknap Press of Harvard University Press, 1998.

Greene, Don. Audition Success . New York: Routledge Publishing, 2001.

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Journal of the American Viola Society / Vol. 38, No. 1, Spring 2022