Sonority-based structure

Malgré tout lâintérêt que cette þuvre singulière a pu susciter, il semble extrêmement difficile dâélucider, au moyen des outils théoriques dont la musicologie contemporaine dispose, comment DEBUSSY est parvenu, techniquement, à réaliser une composition bâtie sur un paradigme dâopposition de sonorités. Cet essai, au-delà de la tentative de réponse à cette problématique, vise à mettre en lumière certains éléments structurels spécifiques et sans doute fondamentaux du langage pianistique de DEBUSSY, en ce quâil recèle de plus prospectif pour la musique du XXe siècle : une pensée compositionnelle qui, se libérant des contraintes dâune logique structurante exclusivement motivico-thématico-harmonique, se réalise à partir du concept dâobjet sonore fonctionnellement articulé, responsable pour lâessentiel de la dynamique formelle, une pensée orientée objets.

Диссертация посвящена одной из насущных проблем современного искусствознания – соотнесению зрительного и слухового восприятия. Исследование слухо-зрительной синестезии сосредоточено на многофункциональном взаимодействии звука и света. Феномен света в музыкальном искусстве содержит в себе как материальные, так и духовные составляющие. Это дает возможность исследовать проблему звукосветовой синестезии в самом широком научном контексте – с использованием данных философии, эстетики, лингвистики, исторического музыкознания, а также отдельных областей естественных наук.

L'une des propriétés saillantes des langues afroasiatiques est l'abondance dans leur lexique de racines triconsonantiques 1 . La majorité de ces racines est issue, selon certains linguistes (cf., de racines biconsonantiques 2 . Elles contiennent, en outre, des segments spécifiques qu'Ibn Jinni (-1002) appelle, dans le cas de l'arabe classique, Al moutlaqaat 3 . A ce triconsonantisme prédominant s'ajoutent des contraintes sur le type de segments que la racine peut contenir : une racine ne peut pas, par exemple, contenir des consonnes homorganiques (cf. Greenberg 1950). Le berbère et le sémitique, et plus particulièrement l'arabe classique, convergent sur ces points. Ils divergent, en revanche, sur la nature des segments et leur position dans la racine. Tandis qu'en arabe classique une racine triconsonantique peut n'être composée que d'obstruantes sourdes (exemples : kSf « découvrir », kfs « être bancal », ksf « être ou devenir noir »), en berbère une racine bien constituée contient au moins une sonante. De surcroît, la position de cette sonante Je remercie pour leurs commentaires et discussions Jean Lowenstamm, Joaquim Brandão de Carvalho, Cédric Patin et les participants au GDR phonologie 2004. Il est bien évident que je demeure le seul responsable des erreurs que peut contenir ce travail. 1 M. Cohen (1947, p. 58) : « Les racines du sémitique ont été étudiées de près par les linguistes. On sait qu'elles sont en très grande majorité composées de trois consonnes ; on les nomme trilitères. ». Voir aussi D. Cohen (1972, 1988). 2 Pour une approche différente, cf. entre autres M. Cohen (1947). 3 Il s'agit des consonnes suivantes qui sont majoritairement des sonantes : / l r n m b f/. Les obstruantes /b, f/ résulteraient d'un changement phonétique bien connu en sémitique par lequel m > b > p/f (cf. Moscati et al. 1964, p. 24).

Across languages, certain syllable structures (lbe and leb) are less preferred (i.e. systematically under-represented) than others (ble and bel). Theories of phonology suggest that these universal preferences can be explained by Sonority Sequencing Principle (SSP). Psycholinguistic studies have found that both infant and adult participants are more likely to repair syllables that violate the SSP (lbe and leb) by either inserting a schwa into the consonant clusters (lbe-ləbe) or dropping the coda of the syllable (leb-le). However, less is known whether such repairing is due to the participants’ knowledge of SSP that syllables like lbe and leb are universally less preferred in human languages or due to the influence of their native lexical statistics (e.g. ble is common in English but lbe is not). This study attempts to investigate this question by examining whether similar phonological repairing occurs to speakers whose native language has no consonant clusters or stop codas. Consonant clusters and stop codas are both ungrammatical in Mandarin no matter whether they obey (ble) or violate (lbe) SSP. Through two experiments, we found that consonant clusters that violated SSP (lbe) were more frequently misperceived as their repaired counterparts (ləbe) (Experiment 1); and that consonant codas that violated SSP (leb) were more difficult to identify in continuous speech than those obeying the SSP (bel). Further analyses suggested that such perceptual bias could not be explained by Mandarin lexical statistics. Therefore, we conclude Mandarin speakers have the knowledge of SSP in their phonological representation and that such phonological constraints can be used for phonological repairing when no lexical information is available. We further discussed whether the knowledge of SSP was innate or learned from speech input.

[en français plus bas]

Starting from the premise that Rameau uses the sound resources of the orchestra as an element that can intervene actively in the articulation of a musical dynamics towards the expression of dramatic output, we propose in this article to study the Ariette Un Horizon Serein, from the opera Les Boréades, from the perspective of its orchestration. Our goal is to elucidate how the composer manages the orchestral resources in order to make tangible to his listeners the dramatic issues exposed in the poem. After having identified the main topics related to the key words the composer retained from the poem, we describe their configurations by emphasizing the diversity of their sound presentations.

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Partant de la prémisse que Rameau pense les ressources sonores de l’orchestre comme un élément qui peut intervenir activement dans l’articulation d'une dynamique musicale mise au service de l'expression de situations dramatiques, nous nous proposons dans cet article d'étudier l'ariette Un Horizon Serein, de l'opéra Les Boréades, sous l'optique de son orchestration. Notre but est d'élucider comment le compositeur travaille les sonorités orchestrales dans le but de rendre tangibles à ses auditeurs les éléments dramatiques exposés dans le poème. Après avoir identifié les principaux topiques liés aux mot-clefs que le compositeur retient du poème, nous décrivons leurs configurations en insistant sur la diversité de leurs présentations sonores.

In Balearic Catalan, first person singular present indicative verb forms do not show an explicit inflectional morph, as do most dialects of Catalan. Among these forms, we find final consonant clusters that involve a violation of the sonority constraint according to which the degree of sonority between the segments of a syllable must be decreasing in relation to the nucleus. The same clusters in nominal inflection are resolved by means of a process of vowel epenthesis. The exceptional phonological behavior of these consonant clusters is not circumscribed to sonority factors, but also concerns the regular phonology of the dialect, either because a general process fails to apply, or because a process applies though the conditions that make it applicable are not visible. Previous approaches have analyzed these final consonant clusters, not as codas, but as onsets of empty nuclei: this exceptional syllabic status would, according to these proposals, throw some light on this peculiar phonological behavior. In this paper we investigate the theoretical problems deriving from approaches of this kind and demonstrate that they are better analyzed by considering paradigmatic effects, such as uniformity and contrast between the members of a morphological paradigm. Furthermore, we critically review the different theories developed in Optimality Theory in order to account for surface resemblances and dissimilarities between the members of a paradigm and introduce a detailed formalization of PARADIGMATIC CONTRAST.

This article intends to demonstrate that the final form of the clusters /ts/ and /dz/ in the Valencian dialect depends upon the interaction of a series of universal principles related to the syllabic structure. The author assumes that such restrictions are ranked on a language particular basis, according to the postulates of Optimality Theory (Prince & Smolensky 1993). Hence, the outputs of the alveolar clusters will derive from the application of this constraint hierarchy to the set of possible candidates consistent with every input. The different results of the clusters /ts/ and /dz/ in Valencian, and this dialect's divergences with other Catalán varieties are explained throughout differences in the ranking of the constraints which each variety presents.

In this paper, we present a sonority analysis of a work by Marisa Rezende, Ressonâncias (1983) where the main goal was to include performative elements in the analysis. First, we identified the key elements of sonority construction in the performance of the piece, which are: use of pedal, use of register, and piano touch. Given these key elements, an analysis was performed by applying Guigue’s (2011) concepts in respect to sonority analysis, verifying the elements through data obtained from a recording of the piece which was performed on piano by the first author of this paper. The material analyzed consists of MIDI and audio data, having extracted information as to velocity, Q values, spectral centroid and spectrogram. The preliminary results of this experimental methodology showed that including the performance in a musical analysis is a valid possibility.

Neste artigo será apresentada uma análise da sonoridade na peça Ressonâncias (1983), de Marisa Rezende, onde o objetivo central foi a inserção de elementos advindos da performance na análise. Em um primeiro momento, foram identificados os elementos essenciais para a construção da sonoridade nesta interpretação da peça, sendo eles: uso dos pedais, utilização dos registros e toque pianístico. Vistos estes elementos centrais, segue a análise propriamente dita, onde, a partir dos conceitos de Guigue (2011) a respeito da análise da sonoridade, tais elementos serão verificados através de dados obtidos a partir de uma gravação da peça, executada pela pianista e primeira autora deste artigo. O material analisado consiste em dados MIDI e áudio, dos quais informações sobre velocity, valor Q, centroide espectral e espectrograma foram extraídas. Os resultados preliminares mostraram esta metodologia experimental como uma possibilidade válida na inserção da performance na análise musical.