Six‐month‐old infants recognize phrases in song and speech

Infants exploit acoustic boundaries to perceptually organize phrases in speech. This prosodic parsing ability is well‐attested and is a cornerstone to the development of speech perception and grammar. However, infants also receive linguistic input in child songs. This study provides evidence that infants parse songs into meaningful phrasal units and replicates previous research for speech. Six‐month‐old Dutch infants (n = 80) were tested in the song or speech modality in the head‐turn preference procedure. First, infants were familiarized to two versions of the same word sequence: One version represented a well‐formed unit, and the other contained a phrase boundary halfway through. At test, infants were presented two passages, each containing one version of the familiarized sequence. The results for speech replicated the previously observed preference for the passage containing the well‐formed sequence, but only in a more fine‐grained analysis. The preference for well‐formed phrases was also observed in the song modality, indicating that infants recognize phrase structure in song. There were acoustic differences between stimuli of the current and previous studies, suggesting that infants are flexible in their processing of boundary cues while also providing a possible explanation for differences in effect sizes.     

楚雄彝族火把节民歌音乐形态探析

楚雄彝族火把节民歌是彝族文化的重要组成部分,同时也体现出了彝族音乐文化的深刻痕迹与属性.本文通过对近100首楚雄彝族火把节民歌的收集与整理,着重探讨火把节民歌的音乐形态特点,包括曲式结构、调式调性、旋法旋线、节拍节奏、唱词特点、演唱形式等.总结出火把节民歌在其音乐形态上的独特之处,展现楚雄彝族火把节民歌的珍贵艺术魅力.     

文化视阈中的民歌认同

所谓俗文学,一是民间文学,二是文人拟作。于是若讨论民歌,还须观照“拟民歌”,尤其是具有民歌视阈的理论,它们虽如散金碎玉、吉光片羽,却也实在是价值不菲。自文学“自觉”之后,雅化之声一浪高过一浪,虽然回归“本色”、“亲风雅”、“真性情”的宏论间出,但皆“羽弱声微”,未能唤醒学界,民间文学始终是文人文学的附属物。虽然民歌、拟民歌早已登上大雅之堂——走进了人民大会堂,但还没有真正走进现当代文学史。学界并没有正视民歌一次次地对文人诗的挽救,并没有看清音乐性才是诗歌一以贯之的红线。     

羌族二声部民歌酒歌的变异及选择性——以松潘县镇坪乡新民村的羌族酒歌为例

羌族二声部民歌酒歌是一种多声部民歌口头传承的艺术。随之把演唱多声部民歌的人定为表演民俗音乐本质的传承者。通过口传过程发展下来的音乐传统的生成物说成民俗音乐时,形成羌族多声部民歌的要素可以归纳成以下三种。第一,具有连接现代与过去的传承性;第二,由个人或集体的创造性运动中生成的变异性;第三,根据人民群众对至今保留下来的音乐形态做出的选择性。