2018
DOI: 10.1159/000493755
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Microtonal Variation in Sung Cantonese

Abstract: Background/Aims: Both music and language impose constraints on fundamental frequency (F0) in sung music. Composers are known to set words of tone languages to music in a way that reflects tone height but fails to include tone contour. This study tests whether choral singers add linguistic tone contour information to an unfamiliar song by examining whether Cantonese singers make use of microtonal variation. Methods: 12 native Cantonese-speaking non-pro… Show more

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Cited by 7 publications
(3 citation statements)
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“…Studies with listeners of tonal languages (that distinguish word meanings by means of pitch contrasts) lend themselves especially well to examining the role of language for the musical mind (Cooper & Wang, 2012;Maggu et al, 2018). Because of a high correspondence between linguistic tone and musical melodies (Ladd & Kirby, 2020;Schellenberg, 2012;Schellenberg & Gick, 2020;Wong & Diehl, 2002;Zhang & Cross, 2021) and because of the crucial role of pitch in tonal languages (Yip, 2002), experience with a tonal language may have a strong positive influence on the perception of musical pitch (Bidelman et al, 2013;Chen et al, 2016;Wong et al, 2012;Zhang et al, 2020) and on singing accuracy in one's native tonal or non-native non-tonal language (Chen-Hafteck, 1999;Mang, 2006). This cross-domain transfer appears to be mediated by musicianship, given that a particular benefit for pitch processing arises for nonmusicians who are speakers of a tonal language (Choi, 2021;Cooper & Wang, 2012;Maggu et al, 2018).…”
Section: Bidirectional Cross-domain Transfersmentioning
confidence: 99%
“…Studies with listeners of tonal languages (that distinguish word meanings by means of pitch contrasts) lend themselves especially well to examining the role of language for the musical mind (Cooper & Wang, 2012;Maggu et al, 2018). Because of a high correspondence between linguistic tone and musical melodies (Ladd & Kirby, 2020;Schellenberg, 2012;Schellenberg & Gick, 2020;Wong & Diehl, 2002;Zhang & Cross, 2021) and because of the crucial role of pitch in tonal languages (Yip, 2002), experience with a tonal language may have a strong positive influence on the perception of musical pitch (Bidelman et al, 2013;Chen et al, 2016;Wong et al, 2012;Zhang et al, 2020) and on singing accuracy in one's native tonal or non-native non-tonal language (Chen-Hafteck, 1999;Mang, 2006). This cross-domain transfer appears to be mediated by musicianship, given that a particular benefit for pitch processing arises for nonmusicians who are speakers of a tonal language (Choi, 2021;Cooper & Wang, 2012;Maggu et al, 2018).…”
Section: Bidirectional Cross-domain Transfersmentioning
confidence: 99%
“…Text settings tend to avoid sung melodies that directly oppose speech melody (i.e., rising musical melody for a falling speech contour), but sung melodies are not necessarily faithful to the spoken melodies either: instead of rising speech melody manifesting as rising song melody, for example, the song melody might stay level (Schellenberg, 2012). In other words, melodies tend to reflect the spoken pitch contour for the same words-but only to a certain extent (Schellenberg, 2012;Schellenberg and Gick, 2020).…”
Section: Hypotheses and Predictionsmentioning
confidence: 99%
“…Many behaviors may not fall under the purview of speech in the strictest traditional sense but nevertheless collaborate with speech, resulting in a wide variety of spatiotemporally organized speech performance modalities. These include co-speech manual gestures (Krivokapić, 2014;Parrell et al, 2014;Danner et al, 2019), co-speech ticcing produced by speakers with vocal Tourette's disorder (Llorens, 2022), text-setting in singing and chanting (Hayes and Kaun, 1996), tone-tune alignment in the sung music of languages with lexical tone (Schellenberg, 2012;McPherson and Ryan, 2018;Schellenberg and Gick, 2020), and more. Studying these and other multi-task behaviors illuminates the flexibility of speech units and their organization in a way that studying talking alone cannot.…”
Section: Introductionmentioning
confidence: 99%