Sight-Singing SOLFEGE VS. NUMBERS

ï¿½Being that she is a high school student, and that she has taken the time to research this debate, ï¿½I suspect she might have a future in singing, music, or music education. ï¿½If so, I want to commend her for her early interest in research, as this will be a real asset to her future endeavors. ï¿½If music is not the path she chooses, her diligence for research in whatever field she chooses will take her far in her pursuits! ï¿½Win, lose, draw, or an un-voted debate, she still have gained from this experience! Rebuttals from Round 4 "The syllable "fah" contains a different vowel than the number five and has no ending consonant. Thus, students would be unlikely to immediately remember that this syllable corresponds to the number five" Most choral directors agree the English diphthong "I" is best sungï¿½"AH-ee" with emphasis on the first vowel sound. ï¿½Diphthongs are best sung by singing the first vowel sound for the length of the note with the second vowel and final consonant sung at the last split-second. ï¿½"Five" would be sung "FAH----eev. " ï¿½If one wishes to modify "FAH----eev" to a pure vowel without a final consonant, then "fah" would be the most logical choice. ï¿½When it is sung after "faw" and before "sih," "fah" is most obviously "five"! "Learning my opponent's modified system would take just as much time as learning the solfege system. My opponent has provided no evidence to suggest otherwise. " We shall let the reader decide. ï¿½If one is on "4" and needs to go to "2" which direction will one go? ï¿½If one is on "mi" and needs to go to "la" which direction will one go? ï¿½If the reader had to think a second to answer the latter question, then there is no need for further evidence! "Obviously, different consonants would have to be used to represent augmented unison, an augmented fourth, and an augmented fifth in my opponent's modified system. This would be very confusing for the students. " "Augmented" simply means "higher" or "sharp. " ï¿½"Shun" (sharp one), "shore" (sharp four) and "shive" (sharp five) is a very simple solution to my opponent's alleged "problem. " Concerning the "pure vowel" argument my opponent quoted from the research of another music educator, my opponent has failed to address my rebuttal, "A second question I have for the author of my opponent's research article is why should a choral director avoid diphthongs when teaching sight-singing? Sure, the Latin syllables in the solfege system have pure vowels; but, English, German and French choral literature does not. Diphthongs should not be avoided, they should be taught properly, even in sight-singing! The likelihood of a choir having better tone quality depends on the choral director! ï¿½" ï¿½The whole "pure vowel" argument is avoiding good choral technique concerning diphthongs. ï¿½A good choral director doesn't need to use a sight-singing method with pure vowels. ï¿½ Conclusion So, what has the Pro side of this debate established? 1. Concerning use of pure vowels, effectiveness in actual sight-singing, and, the use of semi-tones (by modifying the syllable); a modified number system is at least equal to the solfege system. 2. Concerning ease of learning the system, and integration with music theory; the number system is far superior to the solfege system! Because of this superiority in ease of learning and in integration with theory, I have proven my opening statement, "ï¿½My position will be that the use of scale degree numbers is superior to solfege in teaching sight-singing for the following reasons" I have shown those reasons to be solid logical reasons why the number system to be superior to the solfege system:ï¿½ "1) Numbers are part of a student's vocabulary at ANY POINT prior to studying music. Solfege requires taking precious learning time to teach new material. This time can be better used to teach other musical concepts. 2) Numbers are part of familiar culture. Solfege was adapted from the Gregorian hymn, "Ut Queant Laxis" by Guido d' Arezzo. Guido's idea was great for his era; however, "Ut Queant Laxis" is no longer part of most anyone's culture at this point in history. 3) Numbers INSTANTLY indicate "high" and "low" pitches. Solfege only does this after the system is learned. 4) Numbers are used in identifying intervals (major third, perfect fifth, et, al. ), and roman numeral chord symbols (I, IV, vi, et. al. ) so they can be integrated with a study of music theory. Solfege does not lend itself to integration with any other musical learning. "