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The Kalevala, or runic, songs is a tradition at least a few thousand years old. It was shared by Finns, Estonians and other speakers of smaller Baltic-Finnic languages inhabiting the eastern side of the Baltic Sea in North-Eastern Europe. This book offers a combined perspective of a musicologist and a linguist to the structure of the runic songs. Archival recordings of the songs originating mostly from the first half of the 20th century were used as source material for this study. The results reveal a complex interaction between three different processes participating in singing: speech prosody, metre, and musical rhythm.
The Kalevala, or runic, songs is a tradition at least a few thousand years old. It was shared by Finns, Estonians and other speakers of smaller Baltic-Finnic languages inhabiting the eastern side of the Baltic Sea in North-Eastern Europe. This book offers a combined perspective of a musicologist and a linguist to the structure of the runic songs. Archival recordings of the songs originating mostly from the first half of the 20th century were used as source material for this study. The results reveal a complex interaction between three different processes participating in singing: speech prosody, metre, and musical rhythm.
This book contains papers from the Fourth International Conference on Human Language Technologies - the Baltic Perspective (Baltic HLT 2010), held in Riga in October 2010. This conference is the latest in a series which provides a forum for sharing recent advances in human language processing, and promotes cooperation between the computer science and linguistics communities of the Baltic countries and the rest of the world. Bringing together scientists, developers, providers and users, the conference is an opportunity to exchange information, discuss problems, find new synergies, and promote i.
In the first comprehensive study of the relationship between music and language from the standpoint of cognitive neuroscience, Aniruddh D. Patel challenges the widespread belief that music and language are processed independently. Since Plato's time, the relationship between music and language has attracted interest and debate from a wide range of thinkers. Recently, scientific research on this topic has been growing rapidly, as scholars from diverse disciplines, including linguistics, cognitive science, music cognition, and neuroscience are drawn to the music-language interface as one way to explore the extent to which different mental abilities are processed by separate brain mechanisms. Accordingly, the relevant data and theories have been spread across a range of disciplines. This volume provides the first synthesis, arguing that music and language share deep and critical connections, and that comparative research provides a powerful way to study the cognitive and neural mechanisms underlying these uniquely human abilities. Winner of the 2008 ASCAP Deems Taylor Award.
Known for over thirty years in the Soviet Union and Eastern Europe, the music of Estonian composer Veljo Tormis (born 1930) was not heard in the West until the 1990s. Tormis has written more than 200 choral works, an opera, a ballet/cantata, thirty film scores, vocal and instrumental chamber music, solo songs, and several orchestral pieces. Educated at the Tallinn and Moscow Conservatories, Tormis has integrated the techniques of 20th-century art music with the melodies of the regilaul or ancient Estonian folksong.Ancient Song Recovered: The Life and Music of Veljo Tormis is the first book in a Western language about a master of 20th-century choral music. The book includes chapters on Estonian history (Tormis's music helped inspire the national independence movement), the regilaul, and the Estonian choral tradition, followed by the biography and discussion of major works. Also included ia an article by a leading Estonian scholar as well as an article by and an interview with Tormis, all of which appear for the first time in English. A works list, CD discography, glossary of names, and CD of sound examples conclude this volume by musicologist and choral conductor Mimi S. Daitz. It will interest scholars of contemporary music, the general music public, and persons concerned with Soviet cultural history
With entries on topics ranging from non-Western instruments to distinctive rhythms of music from various countries, this one-stop resource on global music also promotes appreciation of other countries and cultural groups. A perfect resource for students and music enthusiasts alike, this expansive three-volume set provides readers with multidisciplinary perspectives on the music of countries and ethnic groups from around the globe. Students will find Music around the World: A Global Encyclopedia accessible and useful in their research, not only for music history and music appreciation classes but also for geography, social studies, language studies, and anthropology. Additionally, general readers will find the books appealing and an invaluable general reference on world music. The volumes cover all world regions, including the Americas, Europe, Africa and the Middle East, and Asia and the Pacific, promoting a geographic understanding and appreciation of global music. Entries are arranged alphabetically. A preface explains the scope of the set as well as how to use the encyclopedia, followed by a brief history of traditional music and important current influences of music in each particular world region.
The idea that speech is a dynamic process is a tautology: whether from the standpoint of the talker, the listener, or the engineer, speech is an action, a sound, or a signal continuously changing in time. Yet, because phonetics and speech science are offspring of classical phonology, speech has been viewed as a sequence of discrete events-positions of the articulatory apparatus, waveform segments, and phonemes. Although this perspective has been mockingly referred to as "beads on a string", from the time of Henry Sweet's 19th century treatise almost up to our days specialists of speech science and speech technology have continued to conceptualize the speech signal as a sequence of static states interleaved with transitional elements reflecting the quasi-continuous nature of vocal production. This book, a collection of papers of which each looks at speech as a dynamic process and highlights one of its particularities, is dedicated to the memory of Ludmilla Andreevna Chistovich. At the outset, it was planned to be a Chistovich festschrift but, sadly, she passed away a few months before the book went to press. The 24 chapters of this volume testify to the enormous influence that she and her colleagues have had over the four decades since the publication of their 1965 monograph.