Advanced Search

Journal Navigation

Journal Home

Subscriptions

Archive

Contact Us

Table of Contents

Sign In to gain access to subscriptions and/or personal tools.
Psychology of Music
This Article
Right arrow Full Text (PDF)
Right arrow References
Right arrow Alert me when this article is cited
Right arrow Alert me if a correction is posted
Services
Right arrow Email this article to a friend
Right arrow Similar articles in this journal
Right arrow Alert me to new issues of the journal
Right arrow Add to Saved Citations
Right arrow Download to citation manager
Right arrowRequest Permissions
Right arrow Request Reprints
Right arrow Add to My Marked Citations
Citing Articles
Right arrow Citing Articles via Google Scholar
Right arrow Citing Articles via Scopus
Google Scholar
Right arrow Articles by Wong, P. C. M.
Right arrow Articles by Diehl, R. L.
Right arrow Search for Related Content
Social Bookmarking
 Add to CiteULike   Add to Complore   Add to Connotea   Add to Del.icio.us   Add to Digg   Add to Reddit   Add to Technorati   Add to Twitter  
What's this?

How Can the Lyrics of a Song in a Tone Language Be Understood?

Patrick C. M. Wong

Department of Neurology, the University of Chicago, 5841 S. Maryland Ave. MC-2030 Chicago, IL. 60637.; MEZ 330, Department of Psychology, University of Texas, Austin, TX 78712, U.S.A.pwong{at}uchicago.edu

Randy L. Diehl

MEZ 330, Department of Psychology, University of Texas, Austin, TX 78712, U.S.A.diehlC{at}psy.utexas.edu

In a tone language, pitch variations are used to contrast word meaning. For example, the Cantonese syllable /si/ means "teacher" when spoken in a high pitch and "yes" when spoken in a low pitch. How is fundamental frequency (Fo) used to signal lexical tones that occur in songs? In an examination of Cantonese songs, it was found that songwriters abandon the ratio scale of Fo differences that is applied to lexical tones in carefully read speech and instead use an ordinal scale. For example, a high tone that is normally 12% higher than a mid-tone in speech can be realised as any higher Fo (but never a lower Fo) in songs. A perceptual experiment showed that native Cantonese-speaking listeners similarly apply an ordinal Fo scale to arrive at the lexical meaning of the lyric. This ratio-to-ordinal mapping in Cantonese songs ensures the musicality of the melody while preserving adequate identifiability of lexical tones in the lyric.

Psychology of Music, Vol. 30, No. 2, 202-209 (2002)
DOI: 10.1177/0305735602302006


Add to CiteULike CiteULike   Add to Complore Complore   Add to Connotea Connotea   Add to Del.icio.us Del.icio.us   Add to Digg Digg   Add to Reddit Reddit   Add to Technorati Technorati   Add to Twitter Twitter    What's this?