Blah, Blah, Blah: Making Sense of Nonsense in Irish Vocal Music

Mullins, C.

doi:10.15385/jmo.2014.5.2.2

Cited by 4 publications

(3 citation statements)

References 10 publications

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“…The discussion so far has shown that the gamers linguistically interpreted the music motif of Super Mario by mapping lexical syllables to the music notes. Instead of mapping lexical syllables to the music melodies of the music motif in Super Mario Bros, the Yorùbá gamers could have mapped non-lexical vocables or nonsense syllables to the music motifs, as is done in other cultures (see Hughes, 2000;Mullins, 2014;Weir, 2015). So, what determines the segmental and tonal properties of each syllable?…”

Section: Strategies For Mapping Meaning To Musicmentioning

confidence: 99%

Vocal Imitation and Linguistic Processing of Super Mario Theme Music by Yorùbá Gamers

Akinbo

2022

Preprint

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Gaming culture among Yoruba millennials involves vocal imitating the music of the video gam, Super Mario Bros. The themes of the linguistic interpretations are comparable to those of music texts at traditional Yoruba competitions. Drawing on the Yoruba music tradition, the account in this work is that, to the gamers, the background music of the video game performs a similar function as the music at traditional Yoruba competitions. The choice of words in the linguistic interpretation is conditioned by the situational contexts or scenes where the music is heard in the video game. The results of an acoustic analysis show that the choice of words in the linguistic interpretations is also determined by mapping the pitch trajectories of the music melodies to the tones of the gamers' native language. This study suggests that the linguistic processing of music may not only involve phonetic iconicity but contextual inference and social expectation.

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Section: Strategies For Mapping Meaning To Musicmentioning

confidence: 99%

Vocal Imitation and Linguistic Processing of Super Mario Theme Music by Yorùbá Gamers

Akinbo

2022

Preprint

View full text Add to dashboard Cite

show abstract

“…The discussion so far has shown that the gamers linguistically interpreted the theme music of Super Mario by mapping lexical syllables to the music notes. Instead of mapping lexical syllables to the music melodies of the theme music in Super Mario Bros, the Yorùbá gamers could have mapped non-lexical vocables or nonsense syllables to the music themes, as is done in other cultures (see Hughes, 2000;Mullins, 2014;Weir, 2015). So, why did the gamers use lexical syllables instead of vocables?…”

mentioning

confidence: 99%

Vocal Imitation and Linguistic Processing of Super Mario Theme Music by Yorùbá Gamers

Akinbo

2021

Preprint

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An aspect of gaming culture among Yorùbá millennials is the linguistic interpretations of the background music that accompanies the popular video game called Super Mario. The themes of the interpretations are comparable to those of music texts at traditional Yorùbá events. Drawing on the Yorùbá tradition, the account is that the gamers assumed that the background music of the game has a similar function as the music at traditional Yorùbá events. The choice of words in the interpretation is conditioned by the situational contexts where the music is heard in the video game. The results of acoustic analyses show that the interpretations are also determined by mapping the pitch trajectories of the music melodies to the tones of the gamers’ language. Notably, the results of this study suggest that the linguistic processing of music may not only involve phonetic iconicity (Steinbeis and Koelsch, 2011) but situational context and social expectation.

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“…262-269) Anglo Folk style melodies, and melodies in Celtic music more generally, are often described as 'lilting' (Wild, 2010, p. 30). It would appear that this is a reflection of the influences of spoken languages on music in Celtic regions, and also includes Lilting which is a style of vocal music with nonsense lyrics (Bohlman, 2002, p. 78;Cooke, 1992, p. 241;Mullins, 2014). Mullins' (2014) study of specific works of Lilting proposes a strong connection between certain phonetics and the rhythmic and metric stylistic characteristics.…”

Section: Anglo Folk String Stylementioning

confidence: 99%

A cultural semantics of string arrangement for recorded Popular music: A model for analysis and practice

Luttrell¹

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This thesis contributes new knowledge about string arranging for recorded Popular music. Specifically it contributes a new model for understanding and writing string arrangements based on an aural analysis of 500 albums released between 1952 and 2011. I show that string arrangements for recorded Popular music can be categorised under one of seven distinct styles. Each style is given coherence and made meaningful by its relationship with social and cultural institutions. The thesis collects and structures the detail of each style at the level of metafunction (Lemke, 2009, pp. 283-297;1995a)

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Blah, Blah, Blah: Making Sense of Nonsense in Irish Vocal Music

Cited by 4 publications

References 10 publications

Vocal Imitation and Linguistic Processing of Super Mario Theme Music by Yorùbá Gamers

Vocal Imitation and Linguistic Processing of Super Mario Theme Music by Yorùbá Gamers

Vocal Imitation and Linguistic Processing of Super Mario Theme Music by Yorùbá Gamers

A cultural semantics of string arrangement for recorded Popular music: A model for analysis and practice

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