It is not enough for anyone who wants to be a leader in the classical singing world just to know phonetic tricks. It is not enough just to correct pronunciation. The secret in singing is that all sound is metaphoric. Every tone uttered is tied to the meanings of a particular culture. Every sound has a time and place it must evoke. Great singers are able to do this. A great collaborative pianist knows how to elicit this from singers. But before training and experience kicks in, pianists must learn their trade, and learn how to talk about these issues. Ultimately, it is the way phonology relates to semantical issues that is paramount. But before we get to meaning, we must address the pianists ears on the level of the phoneme. This assignment would be a part of one of the first units of the semester. Its purpose is to asses our students. We are evaluating their knowledge of IPA on a multi-linguistic level. Have they a working knowledge of Italian phonology (a first year requirement)? Do they understand the difference between standard diction and lyric diction? Are they able to use IPA symbols creatively? That is, do they understand that phonology is not a science, but a skill set. Do they know how to listen on an allophonic level? Can they discus the lyric idiolect of a particular singer? How does Bryn Terfyl’s use of English differ from the IPA transcription of ‘Who may abide?’ How does it differ from Marietta Simpson’s? What are the differences between male and female voices in terms of lyric diction? These are basic questions that any pianist accompanist must answer. I really want to get past these questions, and get to meaning and interpretation, but this boot camp assignment must be tackled first.