Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep. The main protagonist is a boy who is left to play alone in the ashes. Like many lullabies, Rapikwenty is characterised by scary themes, soft dynamics, a limited pitch range and repetition. The story-and-song form is not common in the Australian literature on lullabies, yet such combinations of prose and verse are found in other forms of verbal art of the region (Green 2014). This verbal art style is also well-attested in other oral traditions of the world (Harris & Reichl, 1997). Rapikwenty resembles other Anmatyerr genres in its song structure; yet differs in its performance style. Echoing Trainor et al. (1999: 532), we find it is the “soothing, smooth, and airy” delivery, rather than any formal properties of the genre, that achieves the lulling effect. In addition, Rapikwenty uses the recitative style known as arnwerirrem ‘humming’. The voice thus moves seamlessly between spoken story and sung verse, creating a smooth delivery throughout. We suggest that the combination of prose and verse reflects an Anmatyerr concept of song as prototypically punctuating events in a story rather than a medium for story-telling itself. This article suggests a more nuanced approach to the relationship between genre and performance styles.

中文翻译：

---

Rapikwenty：“孤独的灰烬”和其他睡觉的歌曲

Rapikwenty是澳大利亚中部乌托邦地区的传统故事和歌曲集，由Anmatyerr演唱，讲成人话来哄孩子入睡。主角是一个被遗弃在骨灰中独自玩耍的男孩。像许多摇篮曲一样，Rapikwenty的特点是恐怖的主题，柔和的动态，有限的音调范围和重复性。故事和歌曲的形式在澳大利亚关于摇篮曲的文献中并不常见，但散文和诗歌的这种结合在该地区的其他语言艺术形式中也发现了（Green 2014）。这种口头艺术风格在世界其他口头传统中也得到了充分证明（Harris＆Reichl，1997）。Rapikwenty的歌曲结构类似于其他Anmatyerr风格。但其演奏风格有所不同。回声培训师等。（1999：532），我们发现它是“舒缓，光滑，和通风”的交付方式，而不是流派的任何形式属性，都能达到催眠效果。此外，Rapikwenty还使用了称为arnwerirrem“哼唱”的叙述性风格。声音因此在口语故事和歌声之间无缝地移动，从而始终保持顺畅的传递。我们建议，散文和诗歌的结合反映出歌曲的Anmatyerr概念，即将故事中的事件原型化，而不是将故事本身作为媒介。本文提出了一种更细微的方法来处理体裁和表演风格之间的关系。在整个过程中都能顺利交付。我们建议，散文和诗歌的结合反映出歌曲的Anmatyerr概念，即将故事中的事件原型化，而不是将故事本身作为媒介。本文提出了一种更细微的方法来处理体裁和表演风格之间的关系。在整个过程中都能顺利交付。我们建议，散文和诗歌的结合反映出歌曲的Anmatyerr概念，即将故事中的事件原型化，而不是将故事本身作为媒介。本文提出了一种更细微的方法来处理体裁和表演风格之间的关系。