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In 2010 the authors visited various Central Australian communities, including Willowra, Tennant Creek, Alekarenge, Barrow Creek and Ti Tree, to interview some of our research collaborators past and present about how they saw the present and future of their yawulyu/awelye traditions. Yawulyu (in Warlpiri and Warumungu) and Awelye (in Kaytetye and other Arandic languages) are cognate names for women's country-based rituals, including songs, dancing, ritual objects and knowledge surrounding particular country and Dreaming stories. In the course of our research we spoke to women from different communities, different age groups, different language groups, and different clans, seeking to open discussion about past and contemporary practices of learning, performing and teaching this performancebased knowledge, to help us understand what the practitioners saw as the most fruitful ways of sustaining the traditions, as well as what difficulties they saw in their way. In this article we present statements from many of the women interviewed, highlighting the key issues that emerged and discussing the importance of recordings and other documentation of performances for the future sustainability of the various yawulyu/awelye traditions discussed.
The DP subject of a Warlpiri finite clause containing verbs of a certain class is marked with the ergative suffix whereas other DP subjects are morphologically unmarked. This chapter examines the wider distribution in Warlpiri of the ergative morpheme and the varied functions of ergative-marked DPs in both finite and non-finite clauses. Particular focus is on the relationship between the subject-marking and instrument adjunct-marking role of the ergative suffix. Unlike finite transitive clauses in which both an agent subject and an instrument adjunct are marked ergative, in non-finite clauses only one of these can be marked ergative: the instrument adjunct in clauses where the agent subject is realized either as phonologically null PRO or as a dative case-marked DP external to the verb phrase; the agent or instrument subject contained in the infinitival phrase embedded in a stative predicate whose external subject is co-referent with the logical object of the embedded verb.
Song genres vary as to which aspects of language and music are matched to create a well-formed song. For example, English folk songs match stressed syllables to strong musical beats. Some song styles have no requirements on how language and music should align. This article analyses how text and music align in Warlpiri women's songs from central Australia and finds there are 'text-setting' rules for setting text to musical rhythm. We first identify the formal units of the text and music and then account for their combination by two matching rules. In Warlpiri, text-setting involves matching each syllable to one metrical (rhythmic) position and aligning phonological phrase edges with bar edges. Linguistic units smaller than the phrase, such as those in reduplications and other polymorphemic words, require no such alignment. Alignment is often met through lengthening the right edge of a phrase, which often results in a distortion of the patterns of syllabic prominence in speech. Preferred structures for both text and music can lead to variations of a song based on a reordering of these preferences. This can be exploited to restructure songs when words must be avoided for social reasons.
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