TONE-MELODY RELATIONSHIP IN CANTONESE
TONE-MELODY RELATIONSHIP IN CANTONESE
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粤语声调关系
DOI：
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发表时间：
2010
期刊：
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通讯作者：
E. Lau
中科院分区：
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作者：
V. Anderson;Byron W. Bender Emeritus;B. Bergen;Derek Bickerton Emeritus;R. Blust;R. Cheng;K. Deen;Patricia J. Donegan;K. Drager;Emanuel J. Drechsel;A. Schafer;Albert J. Schütz;E. Lau
本系列中的笔记和文章是关于系里学生和教师正在进行的工作的进度报告。因为这些论文还没有完成，所以请读者不要在没有注意到它们的初步性质的情况下引用它们。作者欢迎读者提出任何意见和建议。粤语歌词的音准遵循声调的音高轮廓和相对音高高度，以保持歌词的音准。本研究以广东话儿歌为研究对象，进行了一系列的元分析，研究内容包括：（1）声调分布与音乐旋律的关系;（2）音高与旋律的关系;（3）在歌词与音乐的映射中，轮廓音是如何处理的。这项研究表明，在音调语言的歌词写作是不自由的，因为在非音调语言，并考虑到词汇的音调，以保持音调之间的区别。1.导论.粤语是一种声调语言，这意味着音高被用作一种明显的语音特征来对比词义。广东话的声调系统比普通话复杂得多。根据系统分析的方式，粤语中的声调的确切数量各不相同。传统的分类方法认为粤语有九个不同的声调，包括检查音节上的声调，即，以/p/，/t/，/k/结尾的音节。广东话中只有六个声调是清晰可辨的，并且在检查音节上的声调被看作是三个平调的缩写对应物。表1说明了广东话的声调系统，其中一个例子是整个声调范围在音节/si/中区分。请注意，某些音调（高升调、低降调和低升调）在不同的描述中有替代的实例。
The notes and articles in this series are progress reports on work being carried on by students and faculty in the Department. Because these papers are not finished products, readers are asked not to cite from them without noting their preliminary nature. The authors welcome any comments and suggestions that readers might offer. Cantonese lyrics are found to adhere to the pitch contours and relative pitch heights of the tones, in order to preserve in the lyrics the tonal values of the words. A series of meta-analyses over a selection of Cantonese children's songs was performed; it investigated (i) the distribution of lexical tones in correlation with musical melody; (ii) the relationship between tonal pitch and melody; and (iii) how contour tones are dealt with in mapping lyrics with music. This study showed that the writing of lyrics in tonal languages is not as free as in non-tonal languages, and takes into account the lexical tones, in order to preserve the tonal distinctions between words. 1. INTRODUCTION. Cantonese is a tonal language, which means that pitch is used as a distinct pho-netic feature to contrast word meaning. The Cantonese tone system is considerably more complex than that of Mandarin Chinese. Depending on how the system is analyzed, the exact number of tones there are in Cantonese varies. Traditional classifications have stated that there are nine distinct tones in Cantonese, including the tones on checked syllables, i.e., syllables ending in unreleased stops /p/, /t/, /k/. Only six tones are clearly distinct in Cantonese, and the tones on checked syllables are seen as abbreviated counterparts of the three level tones. Table 1 illustrates the tone system in Cantonese, with an example in which the whole range of tones is distinguished in the syllable /si/. Note that some tones (the high rising tone, low falling tone and low rising tone) have alternative instantiations in different descriptions.