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Meter, prosody and performance: evidence from the Faroese ballads
Nordic Journal of Linguistics ( IF 0.435 ) Pub Date : 2019-09-24 , DOI: 10.1017/s0332586519000192
Daniel Galbraith

In this paper, I argue that the folk ballad tradition of the Faroe Islands, to date never examined in detail by metrists, offers substantial empirical support for the necessity of maintaining the classic metrical template, as well as the distinction between metrical and prosodic structure: meter is an abstraction which can neither be collapsed into phonology, nor fundamentally detached from it (Kiparsky 2006, Blumenfeld 2015, pace Hayes & MacEachern 1998, Fabb & Halle 2008). The ballad performances also reveal a unidirectional correspondence from strong metrical positions to strong dance steps and strong musical beats, indicating that metrical prominence plays a significant role in determining rhythm. The Faroese tradition thus provides a window into the relation between metrical structure and performance. In support of my conclusions I draw upon both the ballad texts and audio-visual recordings of sections of sample ballads I made on the Faroe Islands.

中文翻译:

节拍、韵律和表演:来自法罗语民谣的证据

在这篇论文中,我认为法罗群岛的民谣传统,迄今为止从未被韵律学家详细研究过,为维持经典韵律模板的必要性以及韵律结构和韵律结构之间的区别提供了实质性的经验支持:米是一种抽象,既不能折叠成音系,也不能从根本上脱离它(Kiparsky 2006,Blumenfeld 2015,步伐海耶斯和麦克埃赫恩 1998 年,法布和哈勒 2008 年)。民谣表演还揭示了从强烈的韵律位置到强烈的舞步和强烈的音乐节拍的单向对应,表明韵律的突出在确定节奏中起着重要作用。因此,法罗群岛的传统为了解韵律结构和演奏之间的关系提供了一个窗口。为了支持我的结论,我参考了我在法罗群岛制作的民谣样本片段的民谣文本和视听录音。
更新日期:2019-09-24
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