BourgeoisGentilV1, Hal, Checkpoint, bibRecord, 000004

Doubler les consonnes en chant baroque français : un cas de gémination expressive ?

Identifieur interne : 000004 ( Hal/Checkpoint ); précédent : 000003; suivant : 000005

Doubler les consonnes en chant baroque français : un cas de gémination expressive ?

Auteurs : Claire Pillot-Loiseau [France] ; Claudia Schweitzer [France] ; Christelle Dodane [France] ; Alice Romeo [France] ; Giuseppina Turco [France]

Source :

RBID : Hal:hal-01858422

Descripteurs français

mix :
- chant baroque, doublement consonantique, expressivité, français, gémination.

English descriptors

mix :
- Baroque vocal technique, French, consonant doubling, expressivity.

Abstract

Doubling the consonants in French Baroque singing: Is it a case of expressive gemination? What are the acoustic cues of consonant doubling, a technique mainly described in the 18th century in French vocal baroque music, for expressive purposes? Do these markers assimilate to gemination? We recorded 5 Baroque singers producing a song by Lully in speech and song modalities, with and without consonants doubling. The analysis of the duration of the doubled consonants compared to that of the word of these 50mn productions was carried out, then analyzed statistically according to the modality (sung vs. spoken), the condition (with vs. without doubling) and the type of consonant ((/s,f,v/, /l,m/, /r/, and /p,t,k,b,d,g/). Our results show a significant increase in the relative consonantal duration with the doubling, especially for singing, but varying XXXIIe Journées d'Études sur la Parole 4-8 juin 2018, Aix-en-Provence, France according to the singer and the type of consonant. In singing and in speech, the preceding vowel is shorter when it is followed by a doubled consonant than when it is not. MOTS-CLES : doublement consonantique, gémination, chant baroque, français, expressivité.

Url:

https://hal.archives-ouvertes.fr/hal-01858422

DOI: 10.21437/JEP.2018-3

Links toward previous steps (curation, corpus...)

to stream Hal, to step Corpus: 000045
to stream Hal, to step Curation: 000045

Links to Exploration step

Hal:hal-01858422

Le document en format XML

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<profileDesc><textClass><keywords scheme="mix" xml:lang="en"><term>Baroque vocal technique</term>
<term>French</term>
<term>consonant doubling</term>
<term>expressivity</term>
</keywords>
<keywords scheme="mix" xml:lang="fr"><term>chant baroque</term>
<term>doublement consonantique</term>
<term>expressivité</term>
<term>français</term>
<term>gémination</term>
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<front><div type="abstract" xml:lang="en">Doubling the consonants in French Baroque singing: Is it a case of expressive gemination? What are the acoustic cues of consonant doubling, a technique mainly described in the 18th century in French vocal baroque music, for expressive purposes? Do these markers assimilate to gemination? We recorded 5 Baroque singers producing a song by Lully in speech and song modalities, with and without consonants doubling. The analysis of the duration of the doubled consonants compared to that of the word of these 50mn productions was carried out, then analyzed statistically according to the modality (sung vs. spoken), the condition (with vs. without doubling) and the type of consonant ((/s,f,v/, /l,m/, /r/, and /p,t,k,b,d,g/). Our results show a significant increase in the relative consonantal duration with the doubling, especially for singing, but varying XXXIIe Journées d'Études sur la Parole 4-8 juin 2018, Aix-en-Provence, France according to the singer and the type of consonant. In singing and in speech, the preceding vowel is shorter when it is followed by a doubled consonant than when it is not. MOTS-CLES : doublement consonantique, gémination, chant baroque, français, expressivité.</div>
</front>
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            <idno type="stamp" n="UNIV-PARIS3">Université de la Sorbonne nouvelle - Paris III</idno>
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            <idno type="stamp" n="USPC">Université Sorbonne Paris Cité</idno>
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                    <surname>Pillot-Loiseau</surname>
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                  <date type="end">2016-06-08</date>
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            <textClass>              <keywords scheme="author">                <term xml:lang="en">consonant doubling</term>
                <term xml:lang="en">Baroque vocal technique</term>
                <term xml:lang="en">French</term>
                <term xml:lang="en">expressivity</term>
                <term xml:lang="fr">doublement consonantique</term>
                <term xml:lang="fr">chant baroque</term>
                <term xml:lang="fr">gémination</term>
                <term xml:lang="fr">français</term>
                <term xml:lang="fr">expressivité</term>
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            </textClass>
            <abstract xml:lang="en">Doubling the consonants in French Baroque singing: Is it a case of expressive gemination? What are the acoustic cues of consonant doubling, a technique mainly described in the 18th century in French vocal baroque music, for expressive purposes? Do these markers assimilate to gemination? We recorded 5 Baroque singers producing a song by Lully in speech and song modalities, with and without consonants doubling. The analysis of the duration of the doubled consonants compared to that of the word of these 50mn productions was carried out, then analyzed statistically according to the modality (sung vs. spoken), the condition (with vs. without doubling) and the type of consonant ((/s,f,v/, /l,m/, /r/, and /p,t,k,b,d,g/). Our results show a significant increase in the relative consonantal duration with the doubling, especially for singing, but varying XXXIIe Journées d'Études sur la Parole 4-8 juin 2018, Aix-en-Provence, France according to the singer and the type of consonant. In singing and in speech, the preceding vowel is shorter when it is followed by a doubled consonant than when it is not. MOTS-CLES : doublement consonantique, gémination, chant baroque, français, expressivité.</abstract>
            <abstract xml:lang="fr">Quels sont les marqueurs acoustiques du doublement de consonnes, technique décrite au XVIII ème siècle en musique baroque vocale française, à des fins expressives ? Ces marqueurs s'assimilent-ils à la gémination ? Nous avons enregistré 5 chanteurs baroques produisant un air de Lully en parole et chant, sans et avec doublement consonantique. La durée des consonnes doublées rapportée à celle du mot de ces 50mn de productions a été mesurée, puis analysée statistiquement en fonction de la modalité (chanté vs. parlé), de la condition (avec doublement vs. sans doublement) et du type de consonne (/s,f,v/, /l,m/, /r/, et /p,t,k,b,d,g/). Nos résultats montrent une augmentation significative de la durée relative consonantique avec le doublement, surtout pour le chant, mais variant selon le chanteur et le type consonantique. En chant et parole, la voyelle précédente est plus courte quand elle est suivie d'une consonne doublée que quand elle ne l'est pas. </abstract>
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Doubler les consonnes en chant baroque français : un cas de gémination expressive ?

Doubler les consonnes en chant baroque français : un cas de gémination expressive ?

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