Singing in tone: Text-setting constraints in Southeast Asia

唱歌的音调：东南亚的文本设置限制

基本信息

批准号：
AH/M005240/1
负责人：
James Kirby
金额：
$ 13.68万
依托单位：
University of Edinburgh
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FM005240%2F1
关键词：
Singing tone Text setting constraints

项目摘要

This project will study how it is possible to sing in a tone language like Thai or Chinese. In Thai, for example, the syllable 'khaa' can mean one of five different things depending on whether it is spoken with high, medium, low, rising, or falling pitch. Since music is made up of notes with different pitches, how is it possible for speakers of a language like Thai to understand song lyrics at all?This kind of problem is actually very similar to one familiar to anyone who speaks a Western language like English. For example, most native speakers of English will share the intuition that 'There once was a lady from Dallas' is a much better start to a limerick than 'There once was an old woman from Inverness'. Why do we think that the first line 'sounds better' than the second? This intuition reflects the shared knowledge that English speakers have about the rhythmic structure of English words, as well as about structure imposed by the form of a limerick. The trick in coming up with a suitable limerick is in figuring out how to match up one to the other. It is clear that speakers of at least some tone languages have similarly strong intuitions about whether certain words are well-matched to a particular melody. My goal in this project is to understand and explain the musical and linguistic factors that underlie these intuitions. In order to understand how speakers accomplish this task, we first need a good understanding of whether tone languages differ in how words are set to music, and if so, how. Second, it is necessary to understand the role that musical style or genre plays in this process. Just as a limerick differs from a roundelay, different styles of song may impose different constraints on the relationship between linguistic tone and musical melody. In this project, I will focus on two particular tone languages, Thai and Vietnamese. These languages have different types of tone systems, providing a chance to see how tone languages differ in terms of text-setting, but also have rich and varied musical traditions, making them ideal languages in which to examine the role of genre.Part of my project aims to make the findings of my research accessible to a non-academic audience. Musical structure is perhaps more widely appreciated, and possibly more intuitive to appreciate, than linguistic structure; by emphasising the close parallels between language and music, I hope to increase general public awareness of and stimulate interest in linguistics more broadly. Furthermore, both of the languages I propose to look at have musical traditions stretching back thousands of years, but also vibrant modern music scenes that have been profoundly influenced by modern Western idioms. Globalisation is having an obvious impact on music and language throughout Southeast Asia, and this has sparked debate throughout the region about the value of different forms of musical expression based on their adherence to traditional constraints on artistic language. The results of this project can inform these conversations by showing how differences in the way that language is used in music can reflect different artistic goals. This will both inform my future research and provide potentially useful new frameworks and concepts for those working with language and music outside academia.

该项目将研究如何用泰语或中文等语气语言唱歌。例如，在泰语中，音节“ khaa”可能意味着五件不同的事情之一，具体取决于它是用高，中，低，下升还是下降的倾斜来讲话的。由于音乐是由带有不同音调的笔记组成的，因此像泰语这样的语言的演讲者如何理解歌曲歌词？实际上，这种问题与任何人对像英语这样的西方语言的人熟悉的人非常相似。例如，大多数以英语为母语的人都会分享“曾经是达拉斯的一位女士”的直觉，这比“曾经有一个来自因弗内斯的老妇人”要好得多。为什么我们认为第一行比第二行“听起来更好”？这种直觉反映了说英语的人对英语单词的节奏结构以及对石英制成形式施加的结构的共同知识。提出合适的石灰油的诀窍是弄清楚如何将一个与另一个匹配。显然，至少某些音调语言的说话者对某些单词是否与特定的旋律匹配有类似的直觉。我在这个项目中的目标是理解和解释这些直觉构成的音乐和语言因素。为了了解说话者如何完成这项任务，我们首先需要很好地理解语气语言在单词的方式上是否有所不同，如果是的话，则如何。其次，有必要了解音乐风格或流派在此过程中扮演的角色。就像利默里克（Limerick）不同于圆形舞会一样，不同的歌曲风格可能会对语言语调和音乐旋律之间的关系施加不同的限制。在这个项目中，我将重点介绍两种特定的语调语言，即泰语和越南语。这些语言具有不同类型的音调系统，提供了一个机会，可以查看音调语言在文本设定方面的不同，但也具有丰富而多样的音乐传统，使它们成为了研究类型的理想语言。我项目的旨在使我的研究的发现使我的研究发现可访问我的研究结果，从而使我的研究能够访问一个非acadepicatigy受众。音乐结构可能比语言结构更广泛地赞赏，并且可能更直观地欣赏。通过强调语言和音乐之间的紧密相似之处，我希望更广泛地提高公众对语言学的兴趣并刺激对语言学的兴趣。此外，我提出的两种语言都具有数千年的音乐传统，但也充满活力的现代音乐场景，这些场景受到现代西方成语的深刻影响。全球化对整个东南亚的音乐和语言产生了明显的影响，这引发了整个地区关于不同形式的音乐表达的价值的辩论，它们基于它们对传统限制对艺术语言的遵守。该项目的结果可以通过显示音乐中语言使用方式的差异如何反映不同的艺术目标来告知这些对话。这都将为我的未来研究提供信息，并为在学术界以外使用语言和音乐的人提供潜在有用的新框架和概念。