Cantopop and Speech-Melody Complex

IF 0.4 2区 艺术学 0 MUSIC Music Theory Online Pub Date : 2021-03-01 DOI:10.30535/MTO.27.1.6
Edwin K. C. Li
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Abstract

It is generally accepted that speech and melody are distinctive perceptual categories, and that one is able to overcome perceptual ambiguity to categorize acoustic stimuli as either of the two. This article investigates native Cantonese speakers’ speech-melody experience of listening to Cantonese popular songs (henceforth Cantopop songs), a relatively uncharted territory in musicological studies. It proposes a speech-melody complex that embraces native Cantonese speakers’ experience of the potentialities of speech and melody before they come into being. Speech-melody complex, I argue, does not stably contain the categories of speech or melody in their full-blown, asserted form, but concerns the ongoingness of the process of categorial molding, which depends on how much contextual information the listeners value in shaping and parsing out the complex. It follows, then, that making a categorial assertion implies a breakthrough of the complex. I then complicate speech-melody complex with the concept of “anamorphosis,” borrowed from the visual arts, which calls into question the signification of the perceived object by perspectival distortion. When transferred to the sonic dimension, “anamorphic listening,” I suggest, is not about at which point a sonic object becomes “distorted” but is about one’s processual experience of negotiating the hermeneutic values in their different hearing-ases. The listener engages, then, in the process of molding and remolding, creating and negating, the two enigmatic categories. Through my analysis of two Cantopop songs and interviews with native Cantonese speakers, I suggest that Cantopop may invite an anamorphic listening, and that more broadly, it is an important, yet under-explored, genre with which to theorize about the relationships between music and language.
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粤语流行乐和语音旋律综合体
人们普遍认为,语音和旋律是不同的感知类别,人们能够克服感知模糊性,将声学刺激分类为两者中的任何一种。本文调查了母语为广东人的音乐学研究中一个相对未知的领域——粤语流行歌曲(以下简称粤语流行歌曲)的语音旋律体验。它提出了一种语音旋律复合体,它包含了母语为广东人在语音和旋律形成之前对其潜力的体验。我认为,语音-旋律复合体并不稳定地包含完整、断言形式的语音或旋律类别,而是涉及类别塑造过程的复杂性,这取决于听众在塑造和解析复合体时重视多少上下文信息。因此,做出分类断言意味着对复杂性的突破。然后,我借用视觉艺术中的“变形”概念,将语音旋律复合体复杂化,该概念通过透视扭曲来质疑感知对象的意义。当转移到声音维度时,我认为,“变形倾听”并不是关于声音对象在什么时候变得“扭曲”,而是关于一个人在不同的听觉环境中协商解释学价值的过程体验。然后,听众参与到塑造和重塑、创造和否定这两个神秘类别的过程中。通过我对两首粤语流行歌曲的分析和对以广东话为母语的人的采访,我认为粤语流行可能会引起一种变形的聆听,更广泛地说,它是一种重要但尚未被充分探索的流派,可以用来理论音乐和语言之间的关系。
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来源期刊
CiteScore
1.70
自引率
25.00%
发文量
26
审稿时长
42 weeks
期刊介绍: Music Theory Online is a journal of criticism, commentary, research and scholarship in music theory, music analysis, and related disciplines. The refereed open-access electronic journal of the Society for Music Theory, MTO has been in continuous publication since 1993. New issues are published four times per year and include articles, reviews, commentaries, and analytical essays. In addition, MTO publishes a list of job opportunities and abstracts of recently completed dissertations.
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