Speech intonation and music: A look at their dynamics within the song format

Abstract

In the present research we look into the mechanisms which facilitate integrated functioning of speech and music components within a song. To understand the underlying mechanisms of such interaction we investigate poems set to music, analyzing the components of both speech and music intonation. The study is performed within the scope of Speech Energetic Theory and employs its idea of the emotional-and-pragmatic potential, which is believed to precisely convey the idea of a poem and therefore further facilitate successful speech-music interaction within a song. During the experiment the levels of emotional-and-pragmatic potential in poems and songs were firstly determined perceptively by the informants and afterwards verified instrumentally by using specifically developed formula for the evaluation of emotional-and-pragmatic potential. The values of the intonation components were obtained with the help of PRAAT software. Overall, the results demonstrated that that speech and music profoundly correlate on the prosodic level, possessing some common auditive and acoustic features.

Keywords

• speech intonation; music; phonetics; prosody; emotional-and-pragmatic potential

References

1. Adorno, T. W. (1956). Music and Language: A Fragment. Quasi una Fantasia. Essays on Modern Music. London, New York. https://msu.edu/~sullivan/AdornoMusLangFrag.html
2. Asafiev, B. V. (1965). Intonation of speech. M.: Muzyka.
3. Bernstein, L. (1976). The Unanswered Question: Six Talks at Harvard. Cambridge: Harvard University Press.
4. Bolinger, D. L. (1986). Intonation and Its Parts. Stanford : Stanford University Press. https://doi.org/10.1017/S0022226700011713
5. Clynes, M. & Nettheim, N. (1982). The living quality of music: neurobiological basis of communicating feeling. Music, mind, and brain. N. Y.: Plenum, 47-82.
6. Cook, N. D. (2002). Tone of Voice and Mind: The connections between intonation, emotion, cognition and consciousness. Amsterdam: John Benjamins Publishing Company. doi.org/10.1075/aicr.47
7. Frick, R. W. (1985). Communicating emotion: The role of prosodic features. Psychological Bulletin, V. 97, N 3, 412-429. http://dx.doi.org/10.1037/0033-2909.97.3.412
8. Garipova, N. M. (2010). Music sense and mechenisms of its perception. Izvestiya Uralskogo gosudarstvennogo universiteta. Ser. 2. Gumanitarnyye nauki, 3 (79), 222-235. http://hdl.handle.net/10995/18639

9. Jackendoff, R. (2009). Parallels and nonparallels between language and music. Music Perception, 26 (3), 195-204. https://doi.org/10.1525/mp.2009.26.3.195
10. Jacobson, R. O. (1985). Verbal communication. Language in comparison with other communication systems. M.: Progress.
11. Juslin, P. N. (2011). Music and emotion: Seven questions, seven answers. Music and the mind: Essays in honour of John Sloboda. New York: Oxford University Press, 113-135. DOI:10.1093/acprof:osobl/9780199581566.003.0007
12. Kalyta, A. A. (2007). Actualisation of emotional-and-pragmatic potential of an utterance: monograph. Ternopіl’, Ukraine: Pіdruchnyky і posіbnyky.
13. Kalyta, A. A. (2007). Actualisation of emotional-and-pragmatic potential of an utterance: monograph. Ternopіl’, Ukraine: Pіdruchnyky і posіbnyky.
14. Kalyta, A. A., & Taranenko, L. I. (2012). The criterion of actualization level of an utterance’s emotional and-pragmatic potential. Naukovі zapiski. Serіja: Fіlologіchnі nauki (movoznavstvo): 105 (1), 476-484.
15. Koelsch, S. (2011). Towards a neural basis of processing musical semantics. Physics of Life Reviews, 2011, 8(2), 89-105. https://doi.org/10.1016/j.plrev.2011.04.004
16. Kostryukova, O. S. (2007). Text of a modern pop-song in cognitive, connuniactive and stylistic aspects. State Music Publishing.
17. Krumhansl, C. L. (2002). Music: A link between cognition and emotion. Current Directions in Psychological Science, 11, 45-50. https://doi.org/10.1111/1467-8721.00165
18. Kurt, E. (1993). Basics of linear counterpoint. Moscow: State Music Publishing.
19. Langleben, M. (2000). Vocal melody in the grip of language. M.: Nauka.
20. Lerdahl, F. A., & Jackendoff, R. (1996). Generative Theory of Tonal Music. Cambridge, Mass., & London : The MIT Press. http://cognet.mit.edu/book/generative-theory-of-tonal-music
21. Marchenko, V. (2014). Speech-and-music work as an element of music discourse. Naukovyi Visnyk Shidnoevropeiskogo natsionalnogo universytetu im. Lesi Ukrainky. Serija: Filologichni nauky. Movoznavstvo: 4 (281), 102-106.
22. McMullen, E. & Saffran, J. R. (2004). Music and Language: A Developmental Comparison. Music Perception. University of California Press, 21, (3), 289-311.http://dx.doi.org/10.1525/mp.2004.21.3.289
23. Nazaikinsky, Y. V. (1972). About the psychology of music perception. M.: Izdatelstvo “Muzyka”.
24. Patel, A. (2010). Music, Language and the Brain. Oxford University Press. https://doi.org/10.1525/mp.2009.26.3.287
25. Patel, A.D., Iversen, J. R., & Rosenberg, J. C. (2006). Comparing the rhythm and melody of speech and music: The case of British English and French. Journal of the Acoustical Society of America, 119, 3034-3047. https://doi.org/10.1121/1.4785553
26. Plotnitskii, Y. E. (2005). Towards the problem of correlation between verbal and melodious component in the texts of English song discourse. Problemy prepodavaniya inostrannykh yazykov v kontekste modernizatsii obrazovaniya: Sbornik materialov i tezisov dokladov IX Mezhregionalnoy nauchno-prakticheskoy konferentsii, 158-160.
27. Sloboda, J. A. (2010). Music in everyday life: The role of emotions. Handbook of Music and Emotion: Theory, Research, Applications. New York, NY, US: Oxford University Press, 493-514 https://doi.org/10.1093/acprof:oso/9780199230143.001.0001
28. Zbikowski, L. M. (2002). Conceptualizing Music. Cognitive Structure, Theory, and Analysis. OUP USA. http://dx.doi.org/10.1093/acprof:oso/9780195140231.001.0001