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. |
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Contents
Chapter | 1 |
Distribution of runic songs in time and space | 7 |
The textual component in runic songs | 13 |
Some peculiarities in the geographical distribution | 19 |
Collections and publications of Estonian | 27 |
Summary | 33 |
The metrical structure of Estonian folksongs | 57 |
Chapter 5 | 63 |
Dear mother I wont have anybody of my own | 78 |
Dear mother I wont have two whom to hold dear | 79 |
Dear mother talking with strangers is strange talk | 80 |
Dear mother talking with ones own is ones own talk | 81 |
Dear mother behold your true faith | 82 |
Dear mother behold your cheerful being | 83 |
Dear mother you left the words of song to your children | 84 |
Dear mother you left them words of happiness | 85 |
Dear mother from me your daughter you always asked | 68 |
Dear mother you always asked you kept counsel | 69 |
Dear mother now you do not ask anything any more | 70 |
Dear mother you do not ask and you do not keep counsel | 71 |
Dear mother God the dear God knows | 72 |
Dear mother Mary knows the gentle | 73 |
Dear mother when I die one day | 74 |
Dear mother when the little berry goes to the ground | 75 |
Dear mother there I will live alone | 76 |
Dear mother there I will live by my own two hands | 77 |
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Common terms and phrases
according acoustic analysis armas average durations basis beginning boundary broken lines Chapter characteristic collection consisting consonant constitute contains contrastive correspond Dear mother described deviations differences disyllabic eight Estonian Estonian folksongs example expected expressive fact fall Figure Finnish folklore folksongs four hand ictus initial Kalevala kõnõ kuku maamakõnõ lable laments language Lehiste length lengthened lines longer materials measured melody metre metric feet msec musical notation notes occur off-ictus positions õks oppositions overlong pattern performance phonemes positions possible prescriptive and descriptive presented prosodic foot quantity ratio realized recordings referred relationship repeated Ross rules runic songs second syllable segmental sequence Setu short significant singer singing sister sound event speakers speech standard starting stress structure sung syllable/notes Table Tartu texts third tion tone tradition Translation trisyllabic trochaic types units values variable verse vowel weak words