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<p>L'UMR 7023 a le plaisir de vous convier, dans le cadre des séances de son<br>
séminaire,<br>
<br>
le lundi 5 mai 2008<br>
10h00-12h00, Université Paris VIII, 2, rue de la liberté, 93200<br>
Saint-Denis (métro Saint-Denis Université, ligne 13), bâtiment D, salle D<br>
143,<br>
<br>
à une conférence de Rosalia Rodriguez-Vazquez Université de vigo)<br>
<br>
intitulée<br>
<br>
"A step back in time: Diachronic insights into text-setting"<br>
<br>
Résumé :<br>
<br>
In Rodríguez-Vázquez (2007), I carry out a comparative examination of the<br>
basic prosodic characteristics of English and Spanish in order to then<br>
explore the most relevant text-setting Optimality Theory constraints as<br>
applied to a corpus of twentieth-century English and Spanish folk songs.<br>
As will be shown in the first part of the seminar, Rodríguez-Vázquez<br>
(2007) establishes the existence of clear mismatches between speech<br>
prosody, on the one hand, and verse and music rhythm, on the other. These<br>
inconsistencies work differently in a syllable-timed language like Spanish<br>
than in a stress-timed language like English. While the former show a<br>
natural counterpoint or dialogue between speech prosody and musical<br>
rhythm, in the latter this counterpoint tends to be considered arhythmic.<br>
As it stands, the current approach to text-setting is incomplete. In order<br>
to check the universal validity of the theoretical assumptions and<br>
empirical observations made in Rodríguez-Vázquez (2007) and devise a<br>
comprehensive theory of text-setting – synchronic and diachronic –, it is<br>
crucial to analyse songs dating from previous stages in the history of the<br>
chosen language – in this case, English.<br>
In the second part of the seminar, I engage in the exploration of<br>
text-tune correspondences in a small sample of English broadside ballads<br>
(seventeenth century). More, specifically, I focus on the correspondences<br>
between verse prosody and text-setting in these songs, which are<br>
characterised by the fact that the lyrics were written to pre-existing<br>
tunes. I examine whether the constraints applied to twentieth-century<br>
songs were at work – and ranked equally – in seventeenth-<wbr>century songs. I<br>
also raise specific questions related to the interaction between prosody,<br>
text-setting and syntax in broadside ballads.<br>
<br>
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