Speech Melody and Song Melody in Central Thailand

List, George

doi:10.2307/924305

Cited by 52 publications

(13 citation statements)

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“…In these genres, tone and melody almost always move in the same direction; Yung [2] goes so far as to state that 'the most important factor in the formation of melodies is probably the linguistic tones of the text' (p39). List [5] and Saurman [6] also document a high degree of tone-tune alignment in various types of Thai vocal music, but both authors note that the degree of alignment depends to some extent on genre: a higher degree of tone-melody correspondence is found in classical and traditional songs, with significantly less similar motion in contemporary, Western-influenced pop.…”

Section: Previous Studies Of Tone-tune Alignmentmentioning

confidence: 99%

Tone-melody correspondence in Vietnamese popular song

Kirby

Ladd

2016

5th International Symposium on Tonal Aspects of Languages (TAL 2016)

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We examine the degree of correspondence between musical and linguistic tone sequences in a corpus of 20 Vietnamese popular songs. Our data suggest that text-setting constraints in Vietnamese, as in some other Asian tone languages, are based primarily on the direction of the pitch transition from one syllable/note to the next. Borrowing some musical terminology, we may say that 'similar motion' is favoured, 'oblique motion' is allowed in certain cases, and 'contrary motion' is disfavoured. As with other Asian tone languages, the definition of these three types of motion depends on the categorisation of the linguistic tones; our current best model achieves a rate of 77% similar motion. We hypothesize that avoidance of contrary motion may be as or more important than achieving correspondence between tonal and melodic transitions in Vietnamese popular song.

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Section: Previous Studies Of Tone-tune Alignmentmentioning

confidence: 99%

Tone-melody correspondence in Vietnamese popular song

Kirby

Ladd

2016

5th International Symposium on Tonal Aspects of Languages (TAL 2016)

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“…A third way of looking at this issue has consisted in admitting that different singing styles or vocal genres use different degrees of correspondence between lexical tones and musical pitches. List (1961) found in Thai nursery rhymes a high degree of correspondence between the spoken and sung contours, whereas in folksongs this relationship is weaker (59% to 60%). Similar observations were made for Kammu, a Mon-Khmer language spoken in northern Laos: it appears that the two speech tones surface in different ways in songs depending on the vocal genres, "spanning from close to 100% correlation to around 50%" (Karlsson et al 2014: 174).…”

Section: Tone Languagesmentioning

confidence: 83%

Prosody, melody and rhythm in vocal music

Proto

2015

AVT

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The last decades have witnessed a shift from anecdotal remarks concerning the “marriage” of music and lyrics in songs towards a more scientific approach to the matter. Textsetting has thus become the object of more formal analyses accounting for the regularities observed in individual singing traditions with regard to the mapping of linguistic material on musical structures. This paper illustrates the nature of the problem and reflects the status of the research on textsetting in living traditions. It is addressed to a wide audience of linguists interested in the relationship between language and music and points to the challenges that await the further development of this field of studies under the umbrella of linguistics.

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“…List found that, as the imitation of western styles spread throughout the culture, coordination of register tones (low, medium, high) with musical contours tended to diminish but that contour tones (rising, falling) strongly influenced the melodic line. 104 A more recent study by Saurman examines the correlation between linguistic tone and melodic settings in several central Thai musical genres, ranging from traditional and classical through to Thai pop songs and found that 'the more the pitches move with the tones, the more clarity there is in understanding a new song's textual meaning ' (1996: 5). 105 Sorapet composes melodies using only his voice which suggests the possibility of a high level of coordination.…”

Section: Section 3: the Practitioner's Art: A Case Study Of Sorapet Pmentioning

confidence: 98%

Sorapet Pinyoo and the status ofpleeng luuk tung

Mitchell¹

2009

J. Southeast Asian stud.

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Before 1997 a number of social, political and academic movements combined to present a more negative image of luuk tung (Thai country music) than was warranted and as a result, the genre was understudied. This article identifies the forces that influenced the development of luuk tung's status in Thai society and demonstrates how the rising status of luuk tung since 1997 has influenced recent academic writing by Thai authors. This survey of the voices that speak on luuk tung is grounded by an analysis of the lyrics and melodies of Sorapet Pinyoo, a well-known luuk tung artist.

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Speech Melody and Song Melody in Central Thailand

Cited by 52 publications

References 1 publication

Tone-melody correspondence in Vietnamese popular song

Tone-melody correspondence in Vietnamese popular song

Prosody, melody and rhythm in vocal music

Sorapet Pinyoo and the status ofpleeng luuk tung

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