The Temporal Structure of Estonian Runic SongsThe Kalevala, or runic, songs is a tradition at least a few thousand years old. It was shared by Finns, Estonians and other speakers of smaller Baltic-Finnic languages inhabiting the eastern side of the Baltic Sea in North-Eastern Europe. This book offers a combined perspective of a musicologist and a linguist to the structure of the runic songs. Archival recordings of the songs originating mostly from the first half of the 20th century were used as source material for this study. The results reveal a complex interaction between three different processes participating in singing: speech prosody, metre, and musical rhythm. |
Contents
1 | |
5 | |
7 | |
10 | |
13 | |
16 | |
6 Some peculiarities in the geographical distribution of Estonian folksongs | 19 |
7 Classification of runic songs | 23 |
2 Segmentation of runic song performance | 65 |
3 Prescriptive and descriptive notation | 69 |
is this approach applicable in the runic songs? | 71 |
5 Fribergs generative performance rules for timing and their relevance for the runic songs | 74 |
6 Modelling of syllable durations in the runic songs | 78 |
7 Covariance analysis | 84 |
8 Summary | 86 |
Chapter 6 Realization of the prosodic structure of Estonian in sung folksongs | 89 |
8 The earliest printed references to runic songs | 24 |
9 Collections and publications of Estonian runic melodies | 27 |
10 Summary | 33 |
Chapter 3 Estonian prosody | 37 |
2 Segmental quantity | 38 |
3 Syllabic quantity and the quantity of prosodic feet | 42 |
31 Monosyllabic words | 43 |
32 Q1 prosodic foot | 44 |
33 Q2 prosodic foot | 45 |
34 Q3 prosodic foot | 46 |
4 Overlength | 48 |
5 The structure of polysyllabic words and phonological phrases | 50 |
51 Trisyllabic feet | 51 |
52 Phonological phrases | 54 |
6 Summary | 55 |
Chapter 4 The metrical structure of Estonian folksongs | 57 |
2 Validity of the quantity rules | 58 |
Chapter 5 Estonian folksong as musical performance | 63 |
2 Material and methods | 90 |
3 Encoding of metre with temporal means | 94 |
4 Changes in the temporal realization of wordinitial disyllables | 97 |
5 Differences between regular lines and broken lines | 100 |
6 Differences between quantity oppositions manifested by vowels and consonants | 103 |
7 Summary | 107 |
Chapter 7 Realization of prosodic structure inrecitation and laments | 109 |
3 Duration of metric feet | 110 |
4 Intervocalic consonants | 113 |
5 Summary of results | 116 |
6 Trochaic verse in contemporary Estonian and Finnish poetry | 117 |
7 Between speech and song | 121 |
Chapter 8 Conclusions | 129 |
Appendix Notations of Estonian folksongs and laments | 133 |
Notes | 187 |
189 | |
201 | |
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Common terms and phrases
acoustic armas average durations broken lines consisting dear Michael Dear mother differences diphthongs disyllabic sequence disyllabic words durational contrast Eesti Estonian Folklore Archives Estonian language Estonian runic songs Estonian words Finnish folk music fundamental frequency geminate half-long Haljala ictus and off-ictus ictus position Ilse Lehiste isochronic Izhorians Kalevala Kalevala metre Karksi Kuku maama kõnõ lable language Laugaste lexical stress long and overlong long syllable long-short melody metre metric feet metrical stress metrical structure monosyllabic msec musical performance notation notes off-ictus positions õks overlong quantity phonemes phonological phonological phrase plosive consonants prosodic foot Q2 and Q3 quantity oppositions quantity rules recordings Ross and Lehiste runic songs S1/S2 ratio second syllable secondary stress segmental Setumaa short quantity short syllables siiä singer singing số sound event South Estonia speech sung syllable durations syllable/notes Tallinn Tartu texts tion tonal tonian Tormis trisyllabic trochaic trochaic metre tsitsikene Vaike Sarv vasta vowel word-initial syllables