This paper analyses the chanting of 21 five-syllable modem-style poems, which is Chinese traditional style of poem reciting with cadence and pleasant melody, in order to fmd out the prosodic hierarchy according to pau...This paper analyses the chanting of 21 five-syllable modem-style poems, which is Chinese traditional style of poem reciting with cadence and pleasant melody, in order to fmd out the prosodic hierarchy according to pause duration, and probe the phonetic features and methods of chanting. Results reveal that pause exists after ＂level-level＂ tonal combinations, which is a kind of metrical pattern of Chinese poetry. The duration of syllables doubles in sentence final position. An exclamation is added when the sentence ends with a checked syllable. The pitch of syllables with level tone is lower than that of syllables with oblique tones, alternation of level and oblique tones forms the chanting melody. Sentences and poems with same metrical pattern have the same chanting melody.展开更多
The paper focuses on the respiratory prosody of seven-syllable modem-style poems chanted in Cantonese, especially the relationship between respiratory prosody and sentential pause-extension. By collecting and analyzin...The paper focuses on the respiratory prosody of seven-syllable modem-style poems chanted in Cantonese, especially the relationship between respiratory prosody and sentential pause-extension. By collecting and analyzing respiratory and acoustic-phonetic signals simultaneously, this research reveals a two level chest and abdominal breath reset in the respiratory signals： （1） In the first level （L1）, the breath reset appears at the beginning or the end of the clause. （2） In the second level （L2）, the breath reset appears in the middle of the clause, of which the position relates to different tone patterns. There is a strong connection between respiratory prosody and the sentential pause-extension when chanting the seven-syllable modem-style poems in Cantonese： with L1 breath reset corresponding to the longest pause-extension at the end of the clause, while L2 breath reset corresponding to the longer pause-extension in the middle of the clause, usually falling at the end of the second syllable of the clause with tone pattern of Level-start and Level-end, or at the end of the fourth syllable of the clause with other tone patterns.展开更多
文摘This paper analyses the chanting of 21 five-syllable modem-style poems, which is Chinese traditional style of poem reciting with cadence and pleasant melody, in order to fmd out the prosodic hierarchy according to pause duration, and probe the phonetic features and methods of chanting. Results reveal that pause exists after ＂level-level＂ tonal combinations, which is a kind of metrical pattern of Chinese poetry. The duration of syllables doubles in sentence final position. An exclamation is added when the sentence ends with a checked syllable. The pitch of syllables with level tone is lower than that of syllables with oblique tones, alternation of level and oblique tones forms the chanting melody. Sentences and poems with same metrical pattern have the same chanting melody.
文摘The paper focuses on the respiratory prosody of seven-syllable modem-style poems chanted in Cantonese, especially the relationship between respiratory prosody and sentential pause-extension. By collecting and analyzing respiratory and acoustic-phonetic signals simultaneously, this research reveals a two level chest and abdominal breath reset in the respiratory signals： （1） In the first level （L1）, the breath reset appears at the beginning or the end of the clause. （2） In the second level （L2）, the breath reset appears in the middle of the clause, of which the position relates to different tone patterns. There is a strong connection between respiratory prosody and the sentential pause-extension when chanting the seven-syllable modem-style poems in Cantonese： with L1 breath reset corresponding to the longest pause-extension at the end of the clause, while L2 breath reset corresponding to the longer pause-extension in the middle of the clause, usually falling at the end of the second syllable of the clause with tone pattern of Level-start and Level-end, or at the end of the fourth syllable of the clause with other tone patterns.
