Annual Symposium 2021 Poster: Xi Zhang, ‘Effect of Tone Sandhi on Singing in Chaozhou’

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Description:	Xi Zhang, Faculty of Music, presents her poster on ‘Effect of Tone Sandhi on Singing in Chaozhou’ You can view the poster on Cambridge Open Engage at https://www.cambridge.org/engage/coe/article-details/618c29dada150629539daec9


Created:	2021-12-14 15:12
Collection:	Cambridge Language Sciences Language Sciences Annual Symposium 2021 - Language and Inclusion
Publisher:	University of Cambridge
Copyright:	Xi Zhang
Language:	eng (English)
Keywords:	Tone sandhi; Chaozhou dialect; melody; phonology; Min Chinese;


Abstract:	The Chaozhou dialect is a branch of Southern Min Chinese with eight tones and a wealth of tone sandhi. In this paper we explore whether there is a tone-sandhi effect on melodic construction and tone realisation in Chaozhou song, using a corpus analysis and observational study. Outcomes from the corpus analysis show a strikingly higher rate of tone-melody matching in Sandhi dataset than that in Citation dataset. In the observational study, we found significant differences between sandhi form and citation form concerning tones /53/ and /21/, but no significant difference for tones /35/ and /213/. Results suggest that falling tones in the final position of a phrase tended to exhibit a larger contoural range, and that tones in non-final positions may be more affected by the pitches of tones that precede or follow them.

Abstract:

The Chaozhou dialect is a branch of Southern Min Chinese with eight tones and a wealth of tone sandhi. In this paper we explore whether there is a tone-sandhi effect on melodic construction and tone realisation in Chaozhou song, using a corpus analysis and observational study. Outcomes from the corpus analysis show a strikingly higher rate of tone-melody matching in Sandhi dataset than that in Citation dataset. In the observational study, we found significant differences between sandhi form and citation form concerning tones /53/ and /21/, but no significant difference for tones /35/ and /213/. Results suggest that falling tones in the final position of a phrase tended to exhibit a larger contoural range, and that tones in non-final positions may be more affected by the pitches of tones that precede or follow them.

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