s=?utf-8?Q?=C3=A9minaire_m=C3=A9trique_g=C3=A9n=C3=A9rale=2C_demain_29_?= =?utf-8?Q?mars=2C_Paris_=3A_journ=C3=A9e_consacr=C3=A9e_au_chant_et_=C3?= =?utf-8?Q?=A0_?=la LSF

[Jean-louis Aroui]

Séminaire de métrique générale, 75017 Paris, 59 rue Pouchet, salle 108 :

La matinée (11h00-13h00) fera l'objet d'un exposé, et l'après-midi (14h30-16h30) sera consacrée à la discussion d'un article. Voici les détails :

vendredi 29 mars
SALLE 108
11h00-13h00 : Emmanuella MARTINOD & Jean-Louis AROUI : “Formal Features in Sign Language Songs”
abstract:
Chanted corpora are not easy to find in Sign Languages. This study is dedicated to a corpus of songs sung in French by two native speakers and, at the very same time, signed in French Sign Language (LSF) by another performer, fluent in LSF, who adapted the signed versions from the French ones.
The first part of the talk (Aroui) proceeds to a metrical analysis of the French versions of the songs, using metrical grids (Lerdahl & Jackendoff 1983). Syllable onsets are set to some of the musical beats. These French songs make a semantic and rhythmical skeleton upon which the signed versions of the songs are built, and help to identify the meter and the rhythm of the signed versions.
The second part of the talk (Martinod) concentrates on the LSF versions of the songs. Many different parameters are used in signed languages: the hands (the dominant one being the right hand for right-handed people), the facial expressions, the mouthings and the mouth gestures (a mouthing imitates the position of the mouth when the French equivalent of the sign performed is pronounced; mouth gestures are not related to this pronunciation), as well as movements of the head and movements of the chest. Our aim is to study the way these parameters are set (or not) to the musical meter.
If a complex sign is composed of many linguistic units, we can expect different movement onsets to be aligned with different metrical beats. If the onsets of the second (and eventually third) parts of the complex sign are not associated with some of the musical beats, then it can be argued that complex signs, even if composed of many movements, are not necessarily the concatenation of different linguistic (sub)units.
The few signs we were able to analyze revealed themselves to be clearly cut into smaller units to match the beats: this cut is initiated by changes in the movement (lengthening change or repetition) or by the reduplication of a simple sign.

References
CUXAC Cuxac (2000). La Langue des Signes Française; les Voies de l'Iconicité. Paris: Ophrys (Faits de Langues, 15-16).
KLIMA Edward & Ursula BELLUGI,eds. (1979). The Signs of Language. Cambridge/London: Harvard UniversityPress.
LERDAHL, Fred & Ray JACKENDOFF Ray (1983). A Generative Theory of Tonal Music. Cambridge, MA: MIT Press.
MILLER Christopher R. (2000). La phonologie dynamique du mouvement en langue des signes québécoise. Montréal: Editions FIDES.

14h30-16h30 : discussion de l'article suivant :
DELL, François & John HALLE (2009) : “Comparing Musical Textsetting in French and in English Songs”, in J.-L. Aroui & A. Arleo (eds), Towards a Typology of Poetic Forms. From Language to Metrics and Beyond. Amsterdam: Benjamins (Language Faculty and Beyond, 2), pp. 63-78.

L'article en question est téléchargeable ici pendant 20 jours :

http://bigfiles.univ-paris8.fr/7206l3l8

La lecture de l'article complémentaire suivant est également conseillée :

http://www.umr7023.cnrs.fr/sites/sfl/IMG/pdf/FDell_French_songs.pdf

Bien cordialement,

Jean-Louis
-- 
Jean-Louis AROUI
Université Paris 8
UFR des Sciences du langage
2, rue de la liberté
93200 Saint-Denis
FRANCE
(+33) 149 40 73 40
http://www.umr7023.cnrs.fr/-Aroui-Jean-Louis-.html
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