Artfully hidden: Text and rhythm in a central Australian aboriginal song series

Turpin, Myfany

doi:10.1080/08145857.2007.10416590

Cited by 24 publications

(15 citation statements)

References 3 publications

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“…(April) April is referring to the way the text cycles, making it difficult to find the beginning and end of text lines. She is also probably referring to the way words are difficult to identify through consonant shift and the use of long note values within a word (Turpin 2007a(Turpin , 2007b. April envisages literacy-based teaching to support the learning done with the awelye custodians:…”

Section: Learning the Wordsmentioning

confidence: 98%

Sustaining Women'sYawulyu/Awelye: Some Practitioners' and Learners' Perspectives

Barwick

Laughren

Turpin

2013

Musicology Australia

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In 2010 the authors visited various Central Australian communities, including Willowra, Tennant Creek, Alekarenge, Barrow Creek and Ti Tree, to interview some of our research collaborators past and present about how they saw the present and future of their yawulyu/awelye traditions. Yawulyu (in Warlpiri and Warumungu) and Awelye (in Kaytetye and other Arandic languages) are cognate names for women's country-based rituals, including songs, dancing, ritual objects and knowledge surrounding particular country and Dreaming stories. In the course of our research we spoke to women from different communities, different age groups, different language groups, and different clans, seeking to open discussion about past and contemporary practices of learning, performing and teaching this performancebased knowledge, to help us understand what the practitioners saw as the most fruitful ways of sustaining the traditions, as well as what difficulties they saw in their way. In this article we present statements from many of the women interviewed, highlighting the key issues that emerged and discussing the importance of recordings and other documentation of performances for the future sustainability of the various yawulyu/awelye traditions discussed.

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Section: Learning the Wordsmentioning

confidence: 98%

Sustaining Women'sYawulyu/Awelye: Some Practitioners' and Learners' Perspectives

Barwick

Laughren

Turpin

2013

Musicology Australia

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“…Other songs may include or even entirely consist of words in 'spirit' languages (Marett 2000, O'Keeffe 2010, as is the case in the Mawng Inyjalarrku repertory of David Manmurulu (Apted 2010, Manmurulu, et al 2008. It has often been suggested that the metrical stability of some song and poetic forms may lead to the preservation of archaic words or linguistic forms but song-specific phonetic changes and the frequently cryptic and allusive semantics may make it very difficult to isolate and identify such archaic forms (Koch & Turpin 2008, Turpin 2005, 2007a, 2007b, Walsh 2007). …”

Section: Documenting Song Textsmentioning

confidence: 99%

Including Music and the Temporal Arts in Language Documentation

Barwick

2011

Oxford Handbooks Online

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“…Yawulyu is also performed by the Kukatja(Moyle 1997), Warumungu(Barwick 2000) and Arandic speaking peoples where it is known by the cognate term awelye(Turpin 2007a(Turpin , 2011. It is also practised among the Djaru/Nyininy of eastern Kimberley(Berndt 1950) and Gurindji of southern Victoria River district where it is named with cognate terms.…”

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confidence: 99%

Edge Effects in WarlpiriYawulyuSongs: Resyllabification, Epenthesis, Final Vowel Modification

Turpin

Laughren

2013

Australian Journal of Linguistics

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Song genres vary as to which aspects of language and music are matched to create a well-formed song. For example, English folk songs match stressed syllables to strong musical beats. Some song styles have no requirements on how language and music should align. This article analyses how text and music align in Warlpiri women's songs from central Australia and finds there are 'text-setting' rules for setting text to musical rhythm. We first identify the formal units of the text and music and then account for their combination by two matching rules. In Warlpiri, text-setting involves matching each syllable to one metrical (rhythmic) position and aligning phonological phrase edges with bar edges. Linguistic units smaller than the phrase, such as those in reduplications and other polymorphemic words, require no such alignment. Alignment is often met through lengthening the right edge of a phrase, which often results in a distortion of the patterns of syllabic prominence in speech. Preferred structures for both text and music can lead to variations of a song based on a reordering of these preferences. This can be exploited to restructure songs when words must be avoided for social reasons.

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Artfully hidden: Text and rhythm in a central Australian aboriginal song series

Cited by 24 publications

References 3 publications

Sustaining Women'sYawulyu/Awelye: Some Practitioners' and Learners' Perspectives

Sustaining Women'sYawulyu/Awelye: Some Practitioners' and Learners' Perspectives

Including Music and the Temporal Arts in Language Documentation

Edge Effects in WarlpiriYawulyuSongs: Resyllabification, Epenthesis, Final Vowel Modification

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