Toward Transcription and Analysis of Inuit Throat-Games: Macro-Structure

Beaudry, Nicole

doi:10.2307/851490

Cited by 10 publications

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“…Or, more succinctly, a ‘discernible, regular feature is the use of sound generated both by inspiration and expiration of the airstream’ (p. 252). Further mention of inspirated pitches in katajjait are found in Cavanagh (1976: 45), Beaudry (1978: 269), Nattiez (1982: 134; 1983b: 457, 460) and Bagemihl (1988: 2, 4–5, 7).…”

Section: Languages With Reported Pulmonic Ingressive Speechmentioning

confidence: 98%

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Pulmonic ingressive phonation: Diachronic and synchronic characteristics, distribution and function in animal and human sound production and in human speech

Eklund¹

2008

Journal of the International Phonetic Association

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Link to this article: http://journals.cambridge.org/abstract_S0025100308003563How to cite this article: Robert Eklund (2008). Pulmonic ingressive phonation: Diachronic and synchronic characteristics, distribution and function in animal and human sound production and in human speech.This paper looks at the phenomenon of ingressive speech, i.e. speech produced on a pulmonic ingressive airstream, set in the context of human and animal ingressive phonation. The literature on ingressive speech and phonation spanning several centuries is reviewed, as well as contemporary reports of their incidence and characteristics from both functional and acoustic perspectives. Ingressive phonation has been used as a deliberate means of speech or sound production for hundreds of years in order to achieve specific effects, and it is still used for the same purposes, by e.g. shamans and ventriloquists. In normal spoken conversation -contrary to what is often claimed -present-day ingressive speech is not limited to Scandinavia or Nordic languages, but is found on all continents, in genetically unrelated languages. Where ingressive speech occurs, it serves more or less the same paralinguistic functions, such as a feedback marker in a dialog. Since pulmonic ingressive phonation is also common in the calls of monkeys and apes, thus exhibiting a biological basis, it is suggested that ingressive speech might constitute a neglected universal phenomenon, rather than being highly marked, which is how it is commonly described in the literature.If asked, 'Will you marry me?' no one would answer with an ingressive ja.research and experience show that EVERYONE does it, albeit in varying degrees. Anecdotes and general opinion aside, there is -to the best of the author's knowledge -no comprehensive overview of this phenomenon. A few years ago, having stumbled across ingressive speech while analyzing data for a different purpose (reported later in this paper), the author decided to explore in depth the phenomenon of ingressive phonation.This paper aims to describe pulmonic ingressive phonation and speech from many angles. Consequently, such widely different areas as zoology, physiology, acoustics, pathology, anthropology, ventriloquism, shamanism, musicology, general linguistics, paralinguistics, phonetics, and sociolinguistics will be covered, as will more practical aspects such as the annotation of ingressive phonation within various disciplines. This paper should be regarded as a linguistic-phonetic overview that goes back to the Pythea of Delphi (and even earlier than that) and extends to present-day automatic speech synthesis and recognition.This article is a review paper that summarizes a cornucopia of the literature. The paper's working title was based around the words what, how, where, who and why, which is reflected in its structure. Consequently, the paper starts out by describing WHAT ingressive speech is and HOW it is produced (part I), WHERE it is found and WHO uses it (part II), and WHY it is used (part III). Finally (part IV), an overv...

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Section: Languages With Reported Pulmonic Ingressive Speechmentioning

confidence: 98%

“…Within ethnomusicology , symbols for voiced and unvoiced expirated and inspirated sounds in throat games are described by Beaudry (1978: 270) and Charron (1978) in the so-called Beaudry–Charron system (see e.g. Nattiez 1983b: 461–462 and Bagemihl 1988: 10).…”

Section: Annotationmentioning

confidence: 99%

Pulmonic ingressive phonation: Diachronic and synchronic characteristics, distribution and function in animal and human sound production and in human speech

Eklund¹

2008

Journal of the International Phonetic Association

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“…21 These studies are often by the same author or group of authors as they develop a relationship with a given community or cultural group over time. For example, there are clusters of studies that focus on the Inuit people of the Arctic regions (Beaudry, 1978, Nattiez, 1982, 1983a, 1983b, on the Temiar people of Malaysia (Roseman, 1984(Roseman, , 1987(Roseman, , 1990(Roseman, , 2000a Early in its history, scholars described ethnomusicology as a comparative musicology that studied "primitive" musical cultures, in comparison to "civilized" ones (Kunst, 1969). 2000b), on the Suya people of Brazil (Seeger, 1979(Seeger, , 1980(Seeger, , 1991, and on the Kaluli people of Papua New Guinea (Feld, 1981(Feld, , 1984(Feld, , 1988(Feld, , 1992(Feld, , 1994. Within these studies, as well as descriptions of the particularities of traditions and techniques of producing and performing music, there are also descriptions of novel conceptions of the role of listeners and the relationship between listeners and performers (Nattiez, 1982, Seeger, 1979, Roseman, 1984; of the meanings that can be inferred from music through listening (Feld, 1984(Feld, , 1996; as well as the ethnomusicologist's role as a listener and the construction of listening experiences through making recordings of the participant groups and their music (Feld, 1988(Feld, , 1992.…”

Section: Ethnomusicology: Listening To Music Other Culturesmentioning

confidence: 99%

Listening Art: Making Sonic Artworks That Critique Listening

Robinson

2017

Leonardo

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Sonic artists and listeners to sonic artworks tend to take for granted that how a listener listens to a sonic artwork affects what that listener perceives that sonic artwork to be, through the listener's inclusion, exclusion, and interpretation of the sonic events that constitute a given artwork. This tendency leaves the act of perception un-theorised in the production of sonic artworks, and unquestioned in their reception by listeners. This project seeks to address this problem by making sonic artworks that take criticality of listening as their primary focus, on the part of artists and listeners. Its aim is to explore structuring sonic artworks around critical discourses on listening, and for those artworks to foster critical reflection on listening by listeners, hinging on the question: "how can sonic artworks be made that form critiques of listening?" Based on an integration of schema theory and immanent critique, I devise and apply a rationale for making sonic artworks structured as discourses on listening. I complement this with an original adaptation of the Heuristic Research method, which I use to determine whether the artworks made for the project foster critical reflection on listening in audience experience, through the collection and appraisal of a group of listener's descriptions of their experiences of the works.

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“…Dans des articles anterieurs, Beaudry (1978a) et Charron (1978) On obtient ainsi une transcription ä caractere po'ietique (selon nos termes semiologiques propres: cf. Nattiez 1975), puisqu'elle identifie les sons selon leurs sources.…”

Section: Analyse Stylistiqueunclassified

Ethnomusicological aspects

1987

Semiotica

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Toward Transcription and Analysis of Inuit Throat-Games: Macro-Structure

Cited by 10 publications

References 0 publications

Pulmonic ingressive phonation: Diachronic and synchronic characteristics, distribution and function in animal and human sound production and in human speech

Pulmonic ingressive phonation: Diachronic and synchronic characteristics, distribution and function in animal and human sound production and in human speech

Listening Art: Making Sonic Artworks That Critique Listening

Ethnomusicological aspects

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