Patterns and Performances in Speech and Music

Patterns and Performances in Speech and Music

Mark Liberman

University of Pennsylvaniahttp://ling.upenn.edu/~myl

1/27/2005 Language and Poetic Form 2

Skip-a to my Lou (Ruth Crawford Seeger, American Folk Songs for Children, 1938)


E C E G (pitches) X X X X (1/4 notes) X X X X X X X X (1/8 notes) X X X X X X X X X X X X X X X X (1/16 notes)little red wa- gon pain- ted blue

E C E G (pitches) X X X X (1/4 notes) X X X X X X X X (1/4 notes) X X X X X X X X X X X X X X X X (1/16 notes)pig in the par- lour what'll I do cat in the but-ter milk lapping up cream rab-bit in the corn field big as a mule hogs in the po-ta- to patch rooting up corn dad's old hat and ma- ma's old shoe

“…this song has hundreds of stanzas and is always picking up new ones. One collector alone gives 150, from which the above 22 were selected as encouragement to further improvisation."


“Syncopation in Rock,” David Temperley. Popular Music 18(1), 1999.


Jodies

• Rhymed couplets – used in counting cadence while marching– traditional or improvised

• History?– References back to Civil War– Attributed to

Pvt. Willie DuckworthFort Slocum, N.Y., May 1944“Duckworth cadence”


Cadence calls are songs (usually delivered in an eight count movement) that the military sing when marching or running. The songs require a Caller, who normally sets the pace and leads the formation. The caller starts each line on his left foot. The formation then repeats the line, starting on the left foot. If everything goes well, the caller and the formation develop a sort of rapport. The effect can be mesmerizing. The way a unit sounds while running or marching tends to reflect on that unit's morale and leadership.

-Drill Sgt. Timothy P. Dunnigan, US Army


Who’s Jody?

Got a letter in the mailGo to war or go to jail

I used to date a beauty queenNow I date my M-16

Ain't no use in lookin' downAin't no discharge on the ground

Ain't no use in going backJody's got your Cadillac

Ain't no use in calling homeJody's got your girl and gone

Ain't no use in feeling blueJody's got your sister too

The guy back home who has the things a soldier leaves behind:


Examples

Traditional call and response couplet

Couplets embedded in other cadence counts

WWII era (?)

Role in group running

Many verses, old and new

stories

boasts

complaints, teasing, etc.


Other traditional couplets

I don't know but I been toldIf you die you don't get oldIf I die in the combat zoneBox me up and ship me home

Birdie birdie in the sky Dropped some whitewash in my eye I won't fuss and I won't cry I'm just glad that cows can't fly.

Jesse James said before he diedThere's five things that he wanted to rideBicycle, tricycle, automobileA one-legged hooker and a ferris wheel

Jesse James said in his final will He had five things that he wanted to kill A lion, a tiger, a kangaroo A long haired hippie, and a D.I. too And if'n he could kill just one He'd kill the instructor, let the hippie run

Content can be serious or silly, subversive or gung-ho.Syllable counts range from 7 to 11.


Acoustic and metrical patterns?

D D B G B B D x x x x x x x x x x x xAin't no use in go...ing home


Acoustic Pattern


Where are the claps?


Line 2


Line 3


Line 4


Another couplet


Line 2


Line 3


Line 4


o o o o o o o1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 ...o o o o o o o o oo o o o o o o o o o o

“Habanera rhythm” (from contradanza habanera):

8 beats divided as 3+3+2 or 3+(1+2)+2 or (1+2)+(1+2)+2

Musical notations:

Common theme:

Positions 1,4,7 of 8 are strong1 & 4 may be “resolved” onto 2 & 5


Slippin’ and a-Slidin’ (Little Richard)Habanera rhythm in the brass


o o o o o o o1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 ...o o o o o o o o oo o o o o o o o o o o

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 o o o o o o o o o o o o o o slippin and a slidin peepin and a hid- in

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 o o o o o o o o o been told a long time ago


1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8o o o oo o o o o o oo o o o o o o o o oI been told baby you been bold I won’t be your fool no more

Patterns and Performances in Speech and Music

Documents

Transcript of Patterns and Performances in Speech and Music