Linguistics 696bFall ’09HammondTextsettingA. Overview(1) Outline:a. Questions from last timeb. Dell and Halle (in press)c. Hayes (2005)B.Dell and Halle(2) similarities between language and musica. hierarchical grouping structureb. prominence(3) Is it all just about matching those as best we can?(4)Au clair de la lune(5) Ne pleure pas Jean(n)ette(6)1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16G4 x xG3 x x x xG2 x x x x x x x xG1 x x x x x x x x x x x x x x x xC A G A Bb A G F| | | | | | | |ne pleu- re pas Jean- net- - te(7) my n´eighbor’s d´og is b´arking n´ow∗my ´old neighb´or’s dog b´arks a l´otmy old n´eighbor’s d´og b´arks a l´otthe k´ıng of Fr´ance d´ıed y´esterd´ay1(8) Stress mismatch in English (definition).Let S and s be two syllables occurring in any order, one accented (S) and the otherunaccented (s). A stress mismatch occurs if S and s are adjacent within the sameline and the metrical position associated with s belongs to the tactus, but not thatassociated with S.(9) How is this different from a stress maximum?(10) “We say that a syllable is accented (S) when it is the only syllable of a content word(e.g. boy) or it bears the main stress in a polysyllabic word, and furthermore if thosewords are included in a compound word, the syllable bears the main stress of thewhole compound” (p.6).(11) Melodic Contour ConservationFor two tunes to be perceived as variants of the same tune, they must have the samemelodic contour.(12) “At the end of lines, certain melodies call for a form which is phonetically feminine,while others call for a form which is phonetically masculine” (p.8).(13)Compagnons de la Marjolaine(14)1 x x x x0 x x x x x x x x x x x xA A E E D E C| | | | | | |M que de- mand’ le che- va- lierM les deux com-tess’F la com- tes-sV(15)1 x x x x0 x x x x x x x x x x x xB C D D D C D E E| | | | | | | | |F com- pa- gnons de la Mar- jo- lai- nVF ma cher’ Ni- co- lVM ce cher Ni- co- lasM ma che- rV Ni- col2(16) Local maximumthe grid position associated with the last accented syllable in a line must be strongerthan the positions associated with adjacent syllables belonging to the same line.(17) Positional parallelism (definition)Two alignments are positionally parallel if the distributions of their syllables alongthe grid are identical.(18) Differences between textsetting in English and Frencha. Whereas stress-to-beat matching is in force in all contexts in English, inFrench it is strictly enforced only at the end of lines.b. Positional parallelism across stanzas is the norm in traditional French songs,whereas it is routinely violated in English.(19) Why do they differ?Dell and Halle say it’s because of the more restrictive promi-nence matching requirements in English.C.Hayes(20)x xx x x xx x x x x x x xx x x x x x x x x x x x x x x x| | | | | | | | | |What shall we do with a drunk- en sail- or?(21)x xx x x xx x x x x x x xx x x x x x x x x x x x x x x x| | | | | | | | |Stick on his back a mus- tard plas- ter(22)x xx x x xx x x x x x x xx x x x x x x x x x x x x x x x| | | | | | | | |Stick on his back a mus- tard plas- ter3(23) Syllabic Distribution Algorithma. Map stressed syllables one-to-one, left-to-right onto S positions; After eachiteration:b. Map stressless syllables one-to-one, right-to-left onto the highest grid levelable to accommodate them; Once (a) and (b) have applied as many times asthey can:c. Map any remaining stressless syllables one-to-one, left-to-right onto thehighest grid level able to accommodate them.(24) Leftward greedx x x xx x x x x x x xx x x x x x x x x x x x x x x x| | | | | | | |I prom- ised her I’d mar- ry her(25) Squeezing the stressless syllablesx x x xx x x x x x x xx x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x| | | | | | | | |En- quir- ingforhisala- dy, O(26) More than four stressesx x x xx x x x x x x xx x x x x x x x x x x x x x x x| | | | | | | |I placed my back a- gainst the old gar- den gate(27) Consecutive stressed syllablesx x x xx x x x x x x xx x x x x x x x x x x x x x x x| | | | | | | |To court young mai- dens I was bent(28)S position M position W positionStressed syllable∗STRESSED IN M∗STRESSED IN WStressless syllable∗STRESSLESS IN S∗STRESSLESS IN WAbsence of syllable∗NULL IN S∗NULL IN M4(29) Constraints:∗FILL EXTRA WEAK,∗RUN-ON,∗LAPSE,∗NULL IN S,∗STRESSLESS IN S,∗STRESSED IN W,∗STRESSLESS IN W,∗STRONG IS LONG,∗STRESS IN M,∗NULL IN M(30) Only 70.6%! A bright young scholar...D. ReferencesDell, Franc¸ois, and John Halle. in press. Comparing musical textsetting in French and inEnglish songs. In Towards a typology of poetic forms, ed. Jean-Louis Aroui and AndyArleo, 63–78. Amsterdam: John Benjamins.Hayes, Bruce. 2005. Textsetting as constraint conflict. In Towards a typology of poeticforms, ed. Jean-Louis Aroui and Andy Arleo. Amsterdam: Elsevier. To