Doubler les consonnes en chant baroque français : un cas de gémination expressive ?
Identifieur interne : 000004 ( Main/Curation ); précédent : 000003; suivant : 000005Doubler 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 :
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English descriptors
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.
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DOI: 10.21437/JEP.2018-3
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<orgName>Université Sorbonne Nouvelle - Paris 3</orgName>
<date type="start">1970</date>
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<orgName>Centre National de la Recherche Scientifique</orgName>
<orgName type="acronym">CNRS</orgName>
<date type="start">1939-10-19</date>
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<country>France</country>
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<idno type="DOI">10.21437/JEP.2018-3</idno>
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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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