Linguistics 251, Spring 2015, Hayes/Schuh Metrics SCHUH: HANDOUT 8 GRIDIZING TEXTS AND THE PERFORMANCES OF TEXTS

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Linguistics 251, pring 2015, Hayes/chuh Metrics CHUH: HANDOUT 8 GRIDIZING TEXT AND THE PERFORMANCE OF TEXT 1.

positions The Three Leel Problem: a grid based on aligning the phonology of the tet with a tet meter [Kiparsky s (2006) poetic meter, (2010) erse instance, D&E

eample: a 16 mora tet meter s. a 12 mora musical peformance (e.g.

1 Linguistics 251, pring 2015, Hayes/chuh Metrics CHUH: HANDOUT 8 GRIDIZING TEXT AND THE PERFORMANCE OF TEXT 1. Tet Grids and Performance Grids Grids show alternating weak () and strong () positions, with higher grid columns indicating relatiely stonger and weaker positions The Three Leel Problem: a grid based on aligning the phonology of the tet with a tet meter [Kiparsky s (2006) poetic meter, (2010) erse instance, D&E tet grid] may be at ariance with a grid aligning the tet with musical performance [Kiparsky s (2006) musical rhythm, (2010) deliery instance, D&E time grid] An eample: a 16 mora tet meter s. a 12 mora musical peformance (e.g. 12 eighth notes in a 12/8 meter or two measures of a 6/8 meter) 16 mora tet: 12 mora music: Three songs by D an Maraya os: Aiki da ana a [ork and Occupations] (eample 3) Auren Dole [Arranged Marriage] (eample 6) awabin Aure [Discourse on Marriage] (eample 5) He must be left-handed. The Hausa imi Hendri! 1

2 Handout 8: Gridizing Tets and their Performance 2 Comments on gridizing songs and performances of the D an Maraya songs: Aiki da ana a : - Tet grid = mutadaarik 16-mora grid ; no irregularities other than omission of the first in line Performance is 4/4 and matches tet grid aside from squeezing the ery first sung syllable Auren Dole : awabin Aure : - Tet grid = syncopated mutadaarik ; omits initial or in 001, 004; squeezes initial in all other lines - Performance is 4/4; it is essentially 100% faithful in aligning moras with eighth notes (setting aside the instrumental interludes). The lines of interest are those where the first two syllables of a tet line are heay-light. orking from the tet grid, these all require squeezing of the heay to fit the metrical position. In performance, DM performs as follows: / (slash = line boundary, ertical stroke = musical measure boundary). The last beat of the musical performance falls in the middle of the heay syllable that initiates the net line. - Tet grid is the same as Auren Dole, with similar omissions of line intial syllables, and squeezing of heaies in initial. - Performance is 6/8; the 16 moras of the tet hae to align somehow with the 12 eighth notes of two 6/8 musical measures. This is done as follows: (1) et the heay syllables of the 1 st and 3 rd positions to the downbeats of each of two 6/8 measures (2) queeze the first heay of each measure and one other heay in each measure, usually the last. This squeezing has the effect of dropping four moras oer the two 6/8 bars, i.e. it allows a 16 mora tet to align with 12 eighth notes. NOTE ON MUTADAARIK V. YNCOPATED MUTADAARIK: Casual obseration shows that poems in mutadaarik tend to disfaor or een disallow line initial, using (only) or, whereas poems in syncopated mutadaarik tend to faor oer either or. The tet-setting of Auren Dole gies a reason for this skewing, iz. in syncopated mutadaarik proides a a mora to fill out a 16 mora line. Plain mutadaarik already has 16 moras, which is an ideal line type for a four beat line, but the light penultimate syllable of syncopated mutadaarik leaes the line with only 15 moras if the line begins with. The musical setting of Auren Dole shows that the additional mora proided by counts for something!

3 Handout 8: Gridizing Tets and their Performance 3 2. Accounting for Tetsetting Preferences with Constraints ome tentatie constraints, roughly ranked - TACTU = the rhythmic pulses that performers/hearers feel in clapping, tapping feet, etc. (Lerdahl & ackendoff (1983), page 71) - MMORA = musical mora, essentially eighth notes in common estern musical meters - MPHRAE = the point in a musical line where performers/hearers sense a pause TRONG/TACTU et the syllables corresponding to the positions of the tet grid to the musical TACTU (basically equialent to D&E (2008) BEAT, page 40). ALIGN RIGHT (LINE, MPHRAE) Align the right edge of a tet line to the end of a MPHRAE (basically equialent to D&E (2008) LINE/GROUP, page 116: has the effect of Hayes (2009) *RUNON). A light syllable should not align to more than one eighth note. *HEAVY < 2 MMORA A heay syllable should not align with fewer than two eighth notes (bascially equialent to *QUEEZE). *HEAVY > 2 MMORA A heay syllable should not align with more than two eighth notes (basically equialent to Hayes (2009) AVOIDLAPE). *HEAVY IN EAK Penalizes a heay that is initiated in a non-tactus position. This has the effect of penalizing syncope and/or singing off the beat. FAITH (MORA, MMORA) There should be a one-to-one alignment of tet grid to musical grid. ome eamples

4 Handout 8: Gridizing Tets and their Performance 4 Ɗan Maraya os, Aiki da ana a [ork and Occupations] (eample 3) Violates no constraints, i.e. tet grid perfectly matches musical grid. Ɗan Maraya os, Auren Dole [Arranged Marriage] (eample 6) - Violates *HEAVY IN EAK in eery line since the line final syllable (always scanned as heay) always falls on the single preceding the TACTU column. Line initial heay syllables, as in 002 Kun also iolate *HEAVY IN EAK. - Thus, for this song, FAITH (MORA, MMORA) >> *HEAVY IN EAK. - TRONG/TACTU s. *HEAVY IN EAK: In principle, all the line final heay syllables in this meter iolate both these constraints. Perhaps there should be a family of constraints such as TRONG/TACTU(INITIAL, MMEAURE), TRONG/TACTU (MEDIAL, MMEAURE) and the like. The latter would be ranked lower than *HEAVY IN EAK. Alternatiely, one might inoke the FAITH (MORA, MMORA) >> *HEAVY IN EAK ranking suggested aboe, though this would run into problems in settings where the 2 nd tet position is set to a musical position. Ɗan Maraya os, awabin Aure [Discourse on Marriage] (eample 5) This song sets the 16 mora tet to music with 12 eighth notes per line. The two contraints on setting heay syllables to MMORAs also iolate FAITH; I hae omitted this. I hae also not assigned a iolation of TRONG/TACTU to the line final syllablessee the bo aboe. Ɗan Maraya os, awabin Aure TRONG/TACTU ALIGNRT (LINE, MPHRAE *HEAVY < 2 MMORA *HEAVY > 2 MMORA *HEAVY IN EAK FAITH (MORA, MMORA 001 * ***** * * 002 *** * 003 **** * 004 * **** * * 005 **** * 006 *** * 007 **** **

5 Handout 8: Gridizing Tets and their Performance 5 Two poems in kaamil by Aƙilu Aliyu aƙo a Hannun Mumini [Message in the Hand of a True Belieer (in Islam)] Tet scansion 001a aa koo a han- nun muu- mi- nii 001b Zai kai shi baa wa- ni bim- bi nii Performance 001a aa- ƙoo a > han- nun muu- mi- nii, Ø 001b Zai kai shi baa + wa- ni bim- bi- nii. Ø 002a Nii naa ki- raa + ar- kii gwa-nii, Ø 002b an- nan da yaa + saa- mar da nii. Ø 003a Yaa al- > ha- zaa- waa kun ga- nii, Ø 003b ɗim- bin bu- kaa- + taa cee da nii. Ø 004a ai dai > ya- wan rau- nii ga- ree + 004b ni a- kwai ra- shin + ƙar- fii a nii. Ø 005a Baa > > [yau ba nee maa tun tu- ni, Ø 005b Ni- ka son a ee + Ma- ka- tan da nii. Ø Aƙilu Aliyu, aƙo a Hannun Mumini TRONG/TACTU ALIGNRT (LINE, MPHRAE 001a * * ** * 001b, 002a, * * * 002b 003a * * 003b * * * 004a * * 004b * * * 005a * ** * *** 005b * * * *HEAVY < 2 MMORA *HEAVY > 2 MMORA *HEAVY IN EAK FAITH (MORA, MMORA

6 Handout 8: Gridizing Tets and their Performance 6 Hausa Mai Ban Haushi [Hausa, Gier of Veation] (eample 13) Tet grid 001a aa- baa da nee- man gas- ki yaa duk nii saa 001b a- ra- rii da boo- ye ka dan ka soo bun- kaasaa. 002a Gaa gar- ga- dii ya zu- waa ga- ree mu zu- mai- naa 002b Yaa- yan A- ree- wa da wan- da duk kee Hau- sa. Performance grid a aa- baa da nee- man gas- ki yaa duk nii saa 001b a- ra- rii da boo- ye ka dan ka soo bun- kaa- saa. 002a Gaa gar- ga- dii ya zu- waa ga- ree mu zu= mai- naa 002b Yaa- yan a- ree- wa da wam- da duk kee Hau- sa. 003a a- ma- aa mu kar= ka- de kun- nu- wam- mu na zuu- ci 003b Zan- cen da zan ma- na shii mu ii shi mu am- sa. 004a Nii nan da kai shii kee da suu baa- kii- dai 004b Kuu nan na kur- ku- sa har na caa na da nii- saa. 005a Na- a cee mu aa da-ma- raa ba au kak- kar- faa, 005b Mui koo- ka-rin ta- fi- yaa ga- rin- mu da nii- saa. Aƙilu Aliyu, Hausa Mai Ban Haushi TRONG/TACTU ALIGNRT (LINE, MPHRAE 001a, 001b, ** ** 002a 002b ** * ** 003a, 003b, ** ** 004a 004b * * * 005a ** * ** 005b ** ** *HEAVY < 2 MMORA *HEAVY > 2 MMORA *HEAVY IN EAK FAITH (MORA, MMORA

7 core Hausa Mai Ban Haushi Akilu Aliyu 4 4 Ó. 5?. b b 1a. àa - baa dà nee - man gas - ki-yaa duk nii - saa, 1b. a-ra rii dà bòo - ye kà - dan ka soo bùn - kaa - saa. 2a. Gàa gàr - gà-dii ya zu wàa gà - ree mù zu - mai - naa, 2b. Yaa - yan a - rèe wa dà wan - dà duk kèe. 17?. b b Hau - sa. 3a. à-ma - àa mù kar - kà - dè kun - nu-wàn - mù na zuu - ci, 3b. Zàn-. cên dà zân ma - nà shii mù ii shì-mù am - sàa. 4a. Nii nân dà kai shii kee dà suu bàa - kii dai, 4b. Kuu nan na kur - ku - sa har na caa - nà dà 29 nii - saa. 5a. Naa cêe mù aa dà-ma - ràa ba- au kàk - kar - faa, 5b. Mui. kòo - ka - rin tà - fi - yàa gà - rin - mù dà nii - saa.

8 Handout 8: Gridizing Tets and their Performance 7 Abubakar Ladan, aƙar Haɗa Kan Afirka [ong for Uniting Africa] (eample 2) Tet grid (mutadaarik) 001a Tuu- Raa- waa sun ga A- fir- kan- mu 001b A ma- far- kii har su- ka nee- mee mu 001c A ya- kii nii yau su- ka saa- mee mu 001d Doo- min him- maa da ya- wan il- muu 001e u- ka saa- du da saa- bab- bin kau- mu Performance grid 001a 001b-e all lines 002b 001a Tuu- Raa- waa sun ga A- fir- kan- mu 001b A ma- far- kii har su- ka nee- mee mu 001c A ya- kii- nii yau su- ka saa- mee- mu 001d Doo- min him- maa da ya wan il- muu 001e u- ka saa- du da saa- bab- bin kau- mu 20 grid positions are achieed by adding two-mora gridlets at two points in the line. One of these is always added at the end of the line. The other is added between the two positions (in musical terms, within the first full musical measure). The result is to etend a sung syllable by two moras (e.g. as a half note rather than a quarter note for a heay syllable). The counts for positioning the gridlets are for the two lines of the refrain and the 25 lines of the first fie stanzas: - After the : 17 - After the first : 8 - After the first : 2 (one of these, line 003a, is on two light syllables and is sung as an eighth note followed by a dotted quarter, i.e. the additional moras are added to a light syllable, thus iolating a highly ranked constraint) Abubakar Ladan, aƙar Haɗa Kan Afirka TRONG/TACTU ALIGNRT (LINE, MPHRAE all lines **** *HEAVY < 2 MMORA *HEAVY > 2 MMORA *HEAVY IN EAK FAITH (MORA, MMORA

9 core aƙar Haɗa Kan Afirka Abubakar Ladan Ó Ó soo uu far Ra. Al.. - làh yaa Al - làh yaa Al - làh, R.b H`a-dà kâm - mù A - fir - / - naa. 1a. Tuu - Raa - waa sun ga A - fir - kâm - mù, 1b. À ma - // / - kii har su - kà nèe - mee mù, 1c. À yà - kii - nìi yâu su - kà sàa sàa dà / - mee mù, 1d. Dòo - min him - màa dà ya - wàn il - mù, 1e. u-kà / - du dà sàa - bàb - bin kau - mù. 2a. un kee - tà - rà kòo - // à fir / - hà - Râ, 2b Mîl dàb - bai sun kà ci as - faa - Ra, 2c. Dà A - / / kà - kàn mài ma - sù àa - goo - Ràa, 2d. u-ka woo na - zà-riin du - / ak - daa - Ra, 2e. Na A - fir - kà ci - kin wàn - nan mar - / 3 Ràa. // gii mù kà 3a. un

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