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Metre and Melody in Dinka Speech and Song

丁卡语言和歌曲中的韵律和旋律

基本信息

批准号：
AH/G013470/1
负责人：
D Ladd
金额：
$ 57.3万
依托单位：
University of Edinburgh
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2009
资助国家：
英国
起止时间：
2009 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FG013470%2F1
关键词：
Metre Melody Dinka Speech Song

项目摘要

In most European languages, lexical and grammatical distinctions are conveyed by sequences of consonants and vowels ('segmental phonemes'), which are readily represented in alphabetic writing. However, many aspects of linguistic sound systems - pitch, tone of voice, tempo - cannot be so readily written down; for example, the full stop at the end of an English sentence crudely represents a whole range of utterance-final effects, including lowered pitch, slowed tempo, and in some cases creaky voice quality. These 'prosodic' or 'suprasegmental' phenomena are easily overlooked, not only because they do not affect the meaning of individual words, but also because they are poorly reflected in writing. They are also the features most obviously overridden in song, which imposes its own metre and melody on the rhythmic and melodic patterns of speech. For these and other reasons, suprasegmentals, though integral to spoken language, are in some sense 'beyond text'. Nevertheless, in many languages suprasegmental features function just like consonants and vowels to convey distinctions between words. The best-known cases are 'tone languages' like Chinese, where the difference between e.g. hua 'flower' and huà 'speech' is conveyed only by voice pitch. Such features pose a challenge for alphabetic writing, and therefore often also remain 'beyond text' despite their important role in meaning. They also pose a problem for song, because they create a conflict between the demands of the musical form and the linguistic meaning the song is intended to convey - not merely in mismatches between the musical mood and the overall meaning of the text, but in the very direct potential influence of pitch patterns and note durations on which words are expressed. Studying song and writing in a tone language thus provides interesting opportunities to refine a more general (i.e. less alphabetic, less Eurocentric, and less literary) notion of 'text'. In this project we propose to study suprasegmental features in Dinka, a language of Southern Sudan. There are several reasons for choosing Dinka: it is a thriving language (some 2m speakers) with one of the richest known suprasegmental systems in the world; composing songs is a vibrant part of the Dinka cattle-based socio-cultural system and songs are used to communicate about all aspects of social, pastoral, and spiritual life; literacy in Dinka is limited and the orthography is still far from standardised, so that written Dinka is quite variable and thus potentially provides insight both into the suprasegmental system itself and into the socio-cultural contexts of writing and text creation. Moreover, the language is spoken in a variety of environments, from traditional pastoralist groups in the Dinka homeland, through urbanised groups in towns in the south, to significant communities of civil war refugees in Khartoum and abroad. The resulting variability in speech, writing and song is central to this proposal: our larger goal is to contribute to an understanding of how the non-textual suprasegmental properties of the Dinka language are mediated in different formats (speech, song, writing), and how this mediation is influenced by factors ranging from low-level properties of auditory and visual perception to the physical and cultural settings in which texts are created.

在大多数欧洲语言中，词汇和语法的区别是通过辅音和元音(音节音素)的序列来表达的，这些序列很容易用字母书写来表示。然而，语言声音系统的许多方面--音高、语调、节奏--都不能很容易地写下来；例如，英语句子末尾的句号粗略地代表了一系列话语最终效果，包括降低音调、放慢节奏，在某些情况下还会发出吱吱的音质。这些“韵律”或“超音段”现象很容易被忽视，这不仅是因为它们不会影响单个单词的意思，还因为它们在写作中反映得很差。它们也是歌曲中最明显被覆盖的特征，歌曲将自己的节拍和旋律强加给说话的节奏和旋律模式。由于这些原因和其他原因，超音段虽然是口语不可或缺的一部分，但在某种意义上却超出了文本的范畴。然而，在许多语言中，超音段特征的作用就像辅音和元音一样，传达单词之间的区别。最广为人知的例子是像汉语这样的“声调语言”，在汉语中，“花”和“话”之间的区别仅通过音调来表达。这些特征对字母书写构成了挑战，因此，尽管它们在意义上扮演着重要的角色，但它们也经常停留在文本之外。它们也给歌曲带来了问题，因为它们在音乐形式的要求和歌曲要传达的语言意义之间造成了冲突--不仅是音乐情绪和文本整体意义之间的不匹配，而且是音高模式和音符持续时间的非常直接的潜在影响，这些词是用来表达的。因此，学习歌曲和用声调语言写作提供了有趣的机会，可以提炼出更普遍的(即不那么字母顺序的、不那么以欧洲为中心的、更不像文学的)“文本”的概念。在这个项目中，我们打算研究苏丹南部语言丁卡语中的超音段特征。选择丁卡语有几个原因：丁卡语是一种繁荣的语言(约有200万人使用)，拥有世界上已知的最丰富的超音段系统之一；作曲是丁卡语以牛为基础的社会文化系统中充满活力的一部分，歌曲被用来交流社会、田园和精神生活的方方面面；丁卡语的识字能力有限，正字法仍远未标准化，因此书面丁卡语变化很大，因此有可能提供对超音段系统本身以及写作和文本创作的社会文化背景的洞察。此外，这种语言在不同的环境中使用，从丁卡家乡的传统牧民群体，到南部城镇的城市化群体，再到喀土穆和国外的重要内战难民社区。由此产生的语音、写作和歌曲的可变性是这一提议的核心：我们更大的目标是帮助理解丁卡语的非文本超段属性是如何以不同的格式(语音、歌曲、写作)中介的，以及这种中介是如何受到从听觉和视觉感知的低水平属性到文本创建的物理和文化环境等因素的影响的。