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題名 英語與華語歌曲中語言與音樂之關係:音段、節奏與聲調
The Connection Between Language and Music in English and Mandarin Songs: Segment, Rhythm, and Tone作者 凌旺楨
Ling, Wang-Chen貢獻者 蕭宇超
Hsiao, Yuchau E.
凌旺楨
Ling, Wang-Chen關鍵詞 音樂與語言的對應
感知語法
詞彙連結
韻律結構
子音串
優選理論
Language-music mapping
Perception grammar
Lexical association
Prosodic structure
Consonant cluster
Optimality Theory日期 2020 上傳時間 2-Sep-2020 11:34:59 (UTC+8) 摘要 本論文以優選理論(Prince and Smolensky 1993/2004)分析英語及華語歌曲中音樂與語言的互動關係,並由音段、節奏與聲調三方面切入探討。本文首先研究語言到音樂的對應,檢視華語成人如何將自己說出的英語聲母子音串,以及韻尾子音串,感知進入音樂中唱出。研究結果顯示音樂節拍會導致唱的音段與唸的音段不同。此外,本文也討論作曲者如何將華語兒歌歌詞韻律結構,包含音步(foot)及語調詞組(intonational phrase),感知進入音樂之中。本文發現韻律結構會與音樂旋律對整、並影響音樂節拍的指派。音樂到語言的對應則是觀察華語兒童聽華語歌曲時,如何將音樂旋律感知為語言聲調,並說出其所聽到的音節聲調。結果顯示兒童所感知的語言聲調與歌曲旋律相近。然而所產出的聲調則因心理詞彙的連結與否,而可能造成產出與感知的聲調不同。節奏的對應與音段的改變,顯示語言到音樂的感知語法具有重要角色。兒童產出聲調與感知聲調的不同,亦可驗證感知與產出係由獨立不同的語法所管理。
This study aims to investigate the relationship between language and music through segment, rhythm, and tone in English and Mandarin songs. The language-music mappings are analyzed under the framework of Optimality Theory (Prince and Smolensky 1993/2004).This research first examines the language-to-music mapping through Mandarin-accented English in reading and singing. This study discusses how onset and coda clusters are produced in the linguistic output, and how the linguistic output is perceived into music. Segmental changes are shown in the language-to-music mapping, where beat assignment takes place and affects the linguistic output form. The language-to-music mapping is also explored through the composing of Mandarin children’s songs. This study finds that the prosodic structures of foot and intonational phrase in Mandarin children’s songs are aligned with music structures. Footing and intonational phrasing also affect the musical beat assignment.The music-to-language mapping is examined through children’s perception of the musical melody in songs. The issue lies in how native Mandarin-speaking children map the music pitches to Mandarin tones, and how they produce what they hear. In the perception of the musical pitches, singing words or phrases are perceived into the linguistic input forms with similar tonal values. However, the children may produce syllables whose tones are different from what they perceive because of lexical association.This research provides an extensive study on the interaction between language and music. Segmental changes, rhythmic correspondences, and tonal adjustments in language-music mapping reveal that perception and production are governed by independent phonological grammars.參考文獻 English References:Bermúdez-Otero, R. (1999). Constraint interaction in language change: quantity in English and Germanic (doctoral dissertation). University of Manchester, UK.Bermúdez-Otero, R. (2007). Diachronic phonology. In P. de Lacy (Ed.), The Cambridge handbook of phonology (pp. 497-517). Cambridge, Mass.: Cambridge University Press.Boersma, P. (2001). Phonology-semantics interaction in OT, and its acquisition. In R. Kirchner, W. Wikeley and J. Pater (Ed.), Papers in experimental and theoretical linguistics, 6, 24-35. Edmonton: University of Alberta.Booij, G. E. & Rubach, J. (1987). Postcyclic versus postlexical rules in lexical phonology. Linguistic Inquiry, 18 (1), 1-44.Broselow, E., and Finer, D. (1991). Parameter setting gin second language phonology and syntax. Second Language Research, 7, 35-59.Carr, P. (1993). Phonology. New York: St. Martins Press.Chao, Y. R. (1930). A system of tone letters. Le Maître Phonétique, 45, 24-27.Chen, M. (1984). Unfolding Latent Principles of Literary Taste: Poetry as a Window onto Language. Tsinghua Journal of Chinese Studies, 16, 203-240.Downing, B. (1970). Syntactic Structure and Phonological Phrasing in English (doctoral dissertation). University of Texas at Austin, Austin.Downing, B. (1973). Parenthesization Rules and Obligatory Phrasing. Papers in Linguistic, 6, 108-128.Goldsmith, J. A. (1976). Autosegmental Phonology (doctoral dissertation). MIT, Cambridge, Mass.Green, T. (1993). The conspiracy of completeness. Paper presented at Rutgers Optimality Workshop1.Halle, J. & Lerdahl F. (1993). A generative textsetting model. Current Musicology, 55, 3-23.Hayes, B. (2005). Textsetting as constraint conflict. In J.-L. Aroui and A. Arleo (Eds.), Towards a typology of poetic form (pp. 43-61). Amsterdam: Elsevier.Halliday, M. A. K. (1967). Intonation and grammar in British English. The Hague: Mouton.Hsiao, Y. E. (1991). Syntax, rhythm and tone: a triangular relationship. Taipei: The Crane Publishing.Hsiao, Y. E. (2006). The metrical structure of Changhua folk verse. Concentric: Studies in Linguistics, 32 (1), 1-29.Hsiao, Y. E. (2007). 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國立政治大學
語言學研究所
100555501資料來源 http://thesis.lib.nccu.edu.tw/record/#G0100555501 資料類型 thesis dc.contributor.advisor 蕭宇超 zh_TW dc.contributor.advisor Hsiao, Yuchau E. en_US dc.contributor.author (Authors) 凌旺楨 zh_TW dc.contributor.author (Authors) Ling, Wang-Chen en_US dc.creator (作者) 凌旺楨 zh_TW dc.creator (作者) Ling, Wang-Chen en_US dc.date (日期) 2020 en_US dc.date.accessioned 2-Sep-2020 11:34:59 (UTC+8) - dc.date.available 2-Sep-2020 11:34:59 (UTC+8) - dc.date.issued (上傳時間) 2-Sep-2020 11:34:59 (UTC+8) - dc.identifier (Other Identifiers) G0100555501 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/131444 - dc.description (描述) 博士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 語言學研究所 zh_TW dc.description (描述) 100555501 zh_TW dc.description.abstract (摘要) 本論文以優選理論(Prince and Smolensky 1993/2004)分析英語及華語歌曲中音樂與語言的互動關係,並由音段、節奏與聲調三方面切入探討。本文首先研究語言到音樂的對應,檢視華語成人如何將自己說出的英語聲母子音串,以及韻尾子音串,感知進入音樂中唱出。研究結果顯示音樂節拍會導致唱的音段與唸的音段不同。此外,本文也討論作曲者如何將華語兒歌歌詞韻律結構,包含音步(foot)及語調詞組(intonational phrase),感知進入音樂之中。本文發現韻律結構會與音樂旋律對整、並影響音樂節拍的指派。音樂到語言的對應則是觀察華語兒童聽華語歌曲時,如何將音樂旋律感知為語言聲調,並說出其所聽到的音節聲調。結果顯示兒童所感知的語言聲調與歌曲旋律相近。然而所產出的聲調則因心理詞彙的連結與否,而可能造成產出與感知的聲調不同。節奏的對應與音段的改變,顯示語言到音樂的感知語法具有重要角色。兒童產出聲調與感知聲調的不同,亦可驗證感知與產出係由獨立不同的語法所管理。 zh_TW dc.description.abstract (摘要) This study aims to investigate the relationship between language and music through segment, rhythm, and tone in English and Mandarin songs. The language-music mappings are analyzed under the framework of Optimality Theory (Prince and Smolensky 1993/2004).This research first examines the language-to-music mapping through Mandarin-accented English in reading and singing. This study discusses how onset and coda clusters are produced in the linguistic output, and how the linguistic output is perceived into music. Segmental changes are shown in the language-to-music mapping, where beat assignment takes place and affects the linguistic output form. The language-to-music mapping is also explored through the composing of Mandarin children’s songs. This study finds that the prosodic structures of foot and intonational phrase in Mandarin children’s songs are aligned with music structures. Footing and intonational phrasing also affect the musical beat assignment.The music-to-language mapping is examined through children’s perception of the musical melody in songs. The issue lies in how native Mandarin-speaking children map the music pitches to Mandarin tones, and how they produce what they hear. In the perception of the musical pitches, singing words or phrases are perceived into the linguistic input forms with similar tonal values. However, the children may produce syllables whose tones are different from what they perceive because of lexical association.This research provides an extensive study on the interaction between language and music. Segmental changes, rhythmic correspondences, and tonal adjustments in language-music mapping reveal that perception and production are governed by independent phonological grammars. en_US dc.description.tableofcontents Chinese Abstract iEnglish Abstract iiChapter 1 Introduction 11.1 Research issue 11.2 The Proposed Model 21.3 Organization 3Chapter 2 Literature Review 52.1 Music-Language Connection 52.2 Perception Grammar 82.3 Prosodic Phonology 112.3.1 The Prosodic Hierarchy 112.3.2 Intonational Phrase 122.3.3 Foot Formation Rule 162.4 Optimality Theory 202.4.1 Faithfulness Constraints and Markedness Constraints 212.4.2 Generalized Alignment 222.4.3 Stratal OT 232.4.4 Local Conjunction 24Chapter 3 Language-to-Music Mapping: Onset Cluster 263.1 Introduction 263.2 Data Design 273.2.1 Step 1: Reading 273.2.2 Step 2: Singing 303.3 Language-to-Music Mapping 323.4 LI-to-LO Mapping: Production Grammar 343.5 LO-to-MI Mapping: Perception Grammar 373.5.1 LO1-to-MI Mapping 373.5.2 LO2-to-MI Mapping 393.6 MI-to-MO Mapping: Production Grammar 423.7 Summary 44Chapter 4 Language-to-Music Mapping: Coda Cluster 464.1 Introduction 464.2 Data Design 464.2.1 Step 1: Reading 474.2.2 Step 2: Singing 494.3 Language-to-music Mapping 514.4 LI-to-LO Mapping: Production Grammar 524.5 LO-to-MI Mapping: Perception Grammar 544.5.1 LO1-to-MI Mapping 544.5.2 LO2-to-MI Mapping 574.6 MI-to-MO Mapping: Production Grammar 594.7 Summary 60Chapter 5 Language-to-Music Mapping: Foot and Musical Beat Assignment 625.1 Introduction 625.2 LI-to-LO Mapping: Foot Formation 635.3 LO-to-MI Mapping: Footing and Musical Beat Assignment 705.3.1 Some Musical Basics 705.3.2 Musical Beat Assignment 725.4 MI-to-MO Mapping: Prosody Removal and Association Faithfulness 765.5 Summary 79Chapter 6 Language-to-Music Mapping: IP and Musical Beat Assignment 816.1 Introduction 816.2 LI-to-LO Mapping: intonational phrasing 826.3 LO-to-MI Mapping: IP and Musical Beat Assignment 836.3.1 Edge alignment between IP and Musical Measure 836.3.2 IP-final Lengthening and Musical Accent 896.4 MI-to-MO Mapping: Prosody Removal and Association Faithfulness 946.5 Summary 95Chapter 7 Music-to-Language Mapping: Tone and Term association 987.1 Introduction 987.2 Some Basics and the Proposed Corresponding Principles 987.3 Data Design 1017.4 Musical Pitch to Linguistic Tone Mapping 1037.4.1 Type 1 Operation 1057.4.2 Type 2 Operation 1077.5 MO-to-LI Mapping: Pitch Perception 1087.5.1 Falling Contour 1087.5.2 Rising Contour 1117.5.3 Level Contour 1127.6 LI-to-LO Mapping: Type 1 Operation 1147.7 LI-to-LO Mapping: Type 2 Operation 1167.8 Summary 117Chapter 8 Music-to-Language Mapping: Tone and Markedness 1198.1 Introduction 1198.2 Data Design 1198.3 Musical Pitch to Linguistic Tone Mapping 1208.3.1 Type 3a Operation 1228.3.2 Type 3b Operation 1248.4 MO-to-LI Mapping: Pitch Perception 1258.5 LI-to-LO Mapping: Type 3a Operation 1268.6 LI-to-LO Mapping: Type 3b Operation 1278.7 Summary 130Chapter 9 Conclusion and Further Issue 1319.1 Conclusion 1319.2 Further Issue 136Bibliography 138 zh_TW dc.format.extent 4005929 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0100555501 en_US dc.subject (關鍵詞) 音樂與語言的對應 zh_TW dc.subject (關鍵詞) 感知語法 zh_TW dc.subject (關鍵詞) 詞彙連結 zh_TW dc.subject (關鍵詞) 韻律結構 zh_TW dc.subject (關鍵詞) 子音串 zh_TW dc.subject (關鍵詞) 優選理論 zh_TW dc.subject (關鍵詞) Language-music mapping en_US dc.subject (關鍵詞) Perception grammar en_US dc.subject (關鍵詞) Lexical association en_US dc.subject (關鍵詞) Prosodic structure en_US dc.subject (關鍵詞) Consonant cluster en_US dc.subject (關鍵詞) Optimality Theory en_US dc.title (題名) 英語與華語歌曲中語言與音樂之關係:音段、節奏與聲調 zh_TW dc.title (題名) The Connection Between Language and Music in English and Mandarin Songs: Segment, Rhythm, and Tone en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) English References:Bermúdez-Otero, R. (1999). Constraint interaction in language change: quantity in English and Germanic (doctoral dissertation). University of Manchester, UK.Bermúdez-Otero, R. (2007). Diachronic phonology. In P. de Lacy (Ed.), The Cambridge handbook of phonology (pp. 497-517). Cambridge, Mass.: Cambridge University Press.Boersma, P. (2001). Phonology-semantics interaction in OT, and its acquisition. In R. Kirchner, W. Wikeley and J. Pater (Ed.), Papers in experimental and theoretical linguistics, 6, 24-35. Edmonton: University of Alberta.Booij, G. E. & Rubach, J. (1987). Postcyclic versus postlexical rules in lexical phonology. Linguistic Inquiry, 18 (1), 1-44.Broselow, E., and Finer, D. (1991). Parameter setting gin second language phonology and syntax. Second Language Research, 7, 35-59.Carr, P. (1993). Phonology. New York: St. Martins Press.Chao, Y. R. (1930). A system of tone letters. Le Maître Phonétique, 45, 24-27.Chen, M. (1984). 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