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English Rhythm and Blues: Where Language and Music Come Together [Hardback]

  • Formāts: Hardback, 140 pages, height x width: 234x156 mm, weight: 453 g, 2 Line drawings, black and white; 24 Halftones, black and white; 26 Illustrations, black and white
  • Izdošanas datums: 17-Sep-2021
  • Izdevniecība: Routledge
  • ISBN-10: 1032037210
  • ISBN-13: 9781032037219
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English Rhythm and Blues: Where Language and Music Come TogetherPalielināt
  • Formāts: Hardback, 140 pages, height x width: 234x156 mm, weight: 453 g, 2 Line drawings, black and white; 24 Halftones, black and white; 26 Illustrations, black and white
  • Izdošanas datums: 17-Sep-2021
  • Izdevniecība: Routledge
  • ISBN-10: 1032037210
  • ISBN-13: 9781032037219
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781032037219.html
Keywords:
Patrice Larroque hypothesizes that early blues singers may have been influenced by the trochaic rhythm of English. English is stressed and timed, which means that there is a regular beat to the language, just like there is a beat in a blues song. This regular beat falls on important words in the sentence and unimportant ones do not get stressed. They are “squeezed” between the salient words to keep the rhythm. The apparent contradiction between the fundamentally trochaic rhythm of spoken English and the syncopated ternary rhythm of blues may be resolved as the stressed syllables of the trochee (a stressed-unstressed sequence) is naturally lengthened and assumes the role of one strongly and one weakly stressed syllable in a ternary rhythm. The book suggests investigating the rhythm of English and the rhythm of blues in order to show how the linguistic rhythm of a culture can be reflected in the rhythm of its music.

Patrice Larroque hypothesizes that early blues singers may have been influenced by the trochaic rhythm of English.  This book suggests investigating the rhythm of English and the rhythm of blues in order to show how the linguistic rhythm of a culture can be reflected in the rhythm of its music.

Recenzijas

A highly stimulating and lively book, which should be a hit not only with scholars and students of music and language, but also with musicians and anyone interested in American culture and music. The approach is well-informed and sensitive, and the whole is dealt with from a multi-angled perspective which brings together linguistics, phonology and music. The author takes care to articulate these various fields in a very convincing manner, making extensive use of both his academic knowledge as a linguist and his musical experience to back up his argument. The links between music and linguistic structure are very carefully studied in the light of recent research and experiments. - Nathalie Vincent-Arnaud, Professor of English Studies, University Toulouse-Jean Jaurčs, France

Patrice Larroque, Professor of Linguistics at the University of Toulouse, France, explores the domain of linguistic variation, especially in African American English (AAE). His book provides stimulating analyses of the oral structure of the grammar and phonology to be found in blues. In addition, it offers interesting views on the links between poetry and the music of language. The author is also an experienced musician. This book will be of interest to teachers and students of literature and should appeal to any person interested in linguistics and music.- Claude E. Delmas, Professor Emeritus at the University Paris 3, Sorbonne Nouvelle.

Introduction: Is the rhythm of blues the rhythm of English? 1(6)
0.1 A dual purpose
1(1)
0.2 The link between English and blues
2(1)
0.3 The rhythm of English
3(1)
0.4 The rhythm of blues
4(1)
0.5 The project
4(3)
PART I Linguistic rhythm
7(48)
1 In the beginning is the word
9(15)
1.1 Word stress
9(5)
1.2 Syllable structure
14(5)
1.2.1 Nature and representation of syllables
14(1)
1.2.2 Syllable division
15(2)
1.2.3 Syllable structure and syllable weight
17(2)
1.3 The utterance
19(3)
1.3.1 Monosyllabic word stress
19(1)
1.3.2 The tonic syllable
20(2)
1.4 Conclusion
22(2)
2 The rhythm of English
24(15)
2.1 Introduction
24(1)
2.2 Rhythm
25(1)
2.2.1 The notion of rhythm
25(1)
2.3 Meter
26(9)
2.3.1 Metric systems
26(2)
2.3.2 The metrical foot
28(1)
2.3.3 The English example
28(3)
2.3.4 Measuring the rhythm
31(1)
2.3.5 The ideal rhythmic structure
32(1)
2.3.6 Ordinary speech rhythm
33(1)
2.3.7 The African influence
34(1)
2.4 Violations of the principle of rhythmic alternation
35(2)
2.4.1 Stress clashes
35(1)
2.4.2 Stress lapses
36(1)
2.5 Conclusion
37(2)
3 The music of English
39(16)
3.1 Introduction
39(1)
3.2 Specific music
40(4)
3.2.1 The speech--prosody relationship
40(1)
3.2.2 The melodic line
40(1)
3.2.3 Pitch variations
41(1)
3.2.3.1 The falling melody
41(1)
3.2.3.2 The rising melody
42(2)
3.2.4 The aesthetic point of view
44(1)
3.3 Alternating beats
44(5)
3.3.1 The framework
44(3)
3.3.2 A language made of mixed features
47(1)
3.3.3 The simultaneity axis
48(1)
3.4 Intonation choices and values
49(6)
3.4.1 Intonation choices
49(1)
3.4.2 The function of intonation
50(2)
3.4.3 Conclusion
52(3)
PART II Blues music
55(77)
4 Origins and definition
57(15)
4.1 Introduction
57(1)
4.2 Historical background
57(1)
4.2 A Origins
57(3)
4.2.2 The origin of the word "blues"
59(1)
4.2.3 The African origins
59(1)
4.3 The language of the blues
60(6)
4.3.1 The form of blues
60(2)
4.3.2 The linguistic weight
62(1)
4.3.3 Sentence structure in blues music
63(1)
4.3.4 The themes
64(1)
4.3.5 The double entendre
64(2)
4.4 The social role of blues
66(6)
4.4.1 Work
66(1)
4.4.2 Religion
67(1)
4.4.3 Dance
68(1)
4.4.4 Conclusion
69(3)
5 The composition of blues
72(15)
5.1 Introduction
72(1)
5.2 A brief lesson in music theory
73(3)
5.2.1 Note values
73(1)
5.2.2 Time periods
73(1)
5.2.3 Rests
74(1)
5.2.4 Tied notes
74(1)
5.2.5 Dotted notes
74(1)
5.2.6 The dotted eighth note and sixteenth
75(1)
5.2.7 The triplet
75(1)
5.3 Linguistic rhythm and musical rhythm
76(5)
5.3.1 Linguistic rhythm
76(1)
5.3.2 Musical rhythm
77(1)
5.3.3 Setting words to music
77(2)
5.3.4 The regularity of intervals
79(2)
5.4 Ternary rhythm
81(3)
5.4.1 Heart beat and speech rhythm
81(1)
5.4.2 Binary rhythm and ternary rhythm
82(1)
5.4.3 The "notes inegales"
83(1)
5.5 The syncopated rhythm
84(3)
5.5.1 Beat and stress alignment
84(1)
5.5.2 Syncopation
85(2)
6 Restoring the rhythm
87(17)
6.1 Introduction
87(1)
6.2 Interpretation
88(2)
6.2.1 Syncope resolution
88(1)
6.2.2 The interpretation of stressed syllables
88(2)
6.3 The rhythm of the melody
90(10)
6.3.1 Perfect rhythm
90(2)
6.3.2 Syllable addition
92(2)
6.3.3 The variations
94(2)
6.3.4 Sound duration
96(4)
6.4 Conclusion
100(4)
7 The language in relation to blues music
104(18)
7.1 Introduction
104(1)
7.2 Similarities and differences between language and music
104(13)
7.2.1 Language sound references
105(1)
7.2.2 Rhythmic references
106(2)
7.2.3 Rhythmic and intonation patterns
108(2)
7.2.4 The duration of alternating periods
110(2)
7.2.5 The differences
112(1)
7.2.6 The irregularities
113(2)
7.2.7 Variable alternation
115(2)
7.3 The imprint of the linguistic rhythm of a culture on the rhythm of its music
117(3)
7.3.1 A piece of folk music
117(1)
7.3.2 The verb sing
118(2)
7.4 Conclusion: between invariance and variations
120(2)
8 General conclusion: Linguistic and musical evolution
122(10)
8.1 Change in linguistic competence
123(1)
8.1.1 The beginning
123(1)
8.1.2 Learning the language
123(1)
8.2 From the Negro's shouts to blues songs
124(3)
8.2.1 The endlessly repeated line
124(1)
8.2.2 A reference rhythm
124(2)
8.2.3 The role played by syncopation
126(1)
8.2.4 Mastering the English language
127(1)
8.3 Language and blues evolution
127(5)
8.3.1 The music follows the text
127(2)
8.3.2 Other music forms and songs
129(1)
8.3.3 Words full of energy
130(1)
8.3.4 The soul of a culture
131(1)
References 132(3)
Index 135
Patrice Larroque is Professor of English Linguistics and Translation Studies, Université Jean Jaurčs, Toulouse, France.