Have any questions?
+44 1234 567 890
Autor: Ulrich Thilo Hoffmann
Jahr der Veröffentlichung: 2021
Lizenz: CC BY-NC-ND 4.0
Den Beitrag finden Sie hier bei unserem Publikationspartner musiconn.publish
The standard German stage pronunciation today is governed by relatively fixed norms, which are largely the result of many years devoted to establishing a supra-regional stage pronunciation, especially in the 19th century. Research into historical pronunciation norms is not only of interest to speech science, but also recently to musicology within the field of historically informed performance practice. The evolution of standard German pronunciation has been the subject of orthoepy research in the speech science department at Halle for some time, but until now the areas of focus have been on the 20th and 21st centuries. The aim of this work was to reconstruct norms of German stage pronunciation in the 19th century using the most specific phonetic traits possible. This involved a content analysis of a selection of contemporary publications from various fields, a comparison of pronunciation norms with interdisciplinary applicability, and the inclusion of explicit statements regarding requirements particular to the stage. The analysis indicates that while many of the norms from that time are consistent with current standard pronunciation in many respects, more or less striking deviations can be found, especially at the phonetic level. These include more differentiated distinctions of sounds in written <g> and of E vowels, the use of apical R throughout, and the absence of elision and assimilation processes. Lastly, based on the results of the literature analysis, considerations were made concerning the practical applicability of the pronunciation traits within the context of historically informed stage projects. The paper is the first part of a comprehensive dissertation project on stage pronunciation in the 19th century at the department of speech science and phonetics at Martin Luther University Halle-Wittenberg.
Translation: Jennifer Smyth
Reihe: Aufführungspraktische Miszellen, hrsg. von Kai Hinrich Müller. 2021 ff.