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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.

这个项目将研究如何用像泰语或汉语这样的声调语言唱歌。例如，在泰语中，音节khaa可以表示五种不同的意思之一，这取决于它是以高、中、低、升还是降的音调发音。既然音乐是由不同音调的音符组成的，那么说泰语的人怎么可能理解歌曲的歌词呢？这种问题实际上与任何说英语等西方语言的人都很熟悉的问题非常相似。例如，大多数以英语为母语的人都会有这样一种直觉，那就是对于打油诗来说，“曾经有一位来自达拉斯的女士”比“曾经有一位来自因弗内斯的老妇人”要好得多。为什么我们认为第一行“听起来”比第二行“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打油诗形式强加的结构的共同知识。要想出一首合适的打油诗，诀窍在于找出如何将其中一个与另一个相匹配。显然，至少说某些音调语言的人对某些词是否与特定的旋律很好地匹配有着同样强烈的直觉。我在这个项目中的目标是理解和解释这些直觉背后的音乐和语言因素。为了理解说话者是如何完成这一任务的，我们首先需要很好地理解音调语言在单词与音乐的设置方面是否存在差异，如果是的话，又是如何设置的。其次，有必要了解音乐风格或流派在这一过程中所起的作用。正如打油诗不同于圆形延迟一样，不同风格的歌曲可能会对语言基调和音乐旋律之间的关系施加不同的限制。在这个项目中，我将专注于两种特殊的声调语言，泰语和越南语。这些语言有不同类型的音调系统，这让我们有机会看到音调语言在文本设置方面的差异，但也有丰富多样的音乐传统，这使它们成为考察体裁作用的理想语言。我的项目的一部分旨在让非学术受众能够接触到我的研究成果。音乐结构可能比语言结构更受欢迎，也可能更直观；通过强调语言和音乐之间的密切相似之处，我希望提高公众对语言学的认识，并在更广泛的范围内激发他们的兴趣。此外，我建议研究的这两种语言都有几千年的音乐传统，但也都有充满活力的现代音乐场景，受到现代西方习语的深刻影响。全球化正在对整个东南亚的音乐和语言产生明显的影响，这在整个地区引发了关于不同形式的音乐表现形式的价值的辩论，这些形式基于对艺术语言的传统限制。这个项目的结果可以通过展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为这些对话提供信息。这将为我未来的研究提供信息，并为那些在学术界以外从事语言和音乐工作的人提供潜在有用的新框架和概念。