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A wave form and pitch trace for each of these tones given in citation (using the words in Table 4) is given in Figure 5.

Table 4 A wave form and pitch trace for each of these tones given in citation (using the words in Table 4) is given in Figure 5.

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We exemplify these five categories in Table 2 Table 1: Tonal system in Numhpuk Singpho, after Manje La®
We exemplify these five categories in Table 2 Table 1: Tonal system in Numhpuk Singpho, after Manje La®
A pitch trace of these three words can be seen in Figure | (MS2.wav).
A pitch trace of these three words can be seen in Figure | (MS2.wav).
Table 2: Examples of the five tones from Table 1. To illustrate the three Numhpuk Singpho tones on open syllables, in (2), the names of three riverine fish are given, all preceded by the word for fish /naa‘*/.
Table 2: Examples of the five tones from Table 1. To illustrate the three Numhpuk Singpho tones on open syllables, in (2), the names of three riverine fish are given, all preceded by the word for fish /naa‘*/.
Table 3: Re-analysis of Numhpuk Singpho with three tones Under this analysis, the tones on closed syllables are realised with less contour than the corresponding tones on open syllables; whereas there is a high rise- fall on the ‘c’ tone when it is on an open syllable, it will be simply high on a closed syllable. The fourth tone is level in citation with an open syllable and this matches the longer duration of the word under a closed syllable, in this case ‘make a basket’.
Table 3: Re-analysis of Numhpuk Singpho with three tones Under this analysis, the tones on closed syllables are realised with less contour than the corresponding tones on open syllables; whereas there is a high rise- fall on the ‘c’ tone when it is on an open syllable, it will be simply high on a closed syllable. The fourth tone is level in citation with an open syllable and this matches the longer duration of the word under a closed syllable, in this case ‘make a basket’.
Figure 3a: First line of Manje’s sayawg goi, the sung version, as Praat pitch contour. For improved visibility the initial melisma is omitted and the display starts after the quarter rest. ® Phonetic symbols cannot be printed in the lyrics by limitations of the notation software Finale, version 2003a. See example 4 for the linguistic transcription.
Figure 3a: First line of Manje’s sayawg goi, the sung version, as Praat pitch contour. For improved visibility the initial melisma is omitted and the display starts after the quarter rest. ® Phonetic symbols cannot be printed in the lyrics by limitations of the notation software Finale, version 2003a. See example 4 for the linguistic transcription.
The music notation has come into being by carefully listening to the recording, in half speed or even less. This is a conventional ethnomusicological method.'° The roughly aligned pitch contours from the software Praat are derived from the sung (Figure 3a), and the read (Figure 3b), version of the same first line. The interesting thing to observe here is that despite the low functional load of pitch in the phonology of Singpho the overwhelming pitches of the sung version correspond to the spoken pitches. This is a rather surprising observation, and we do not have a good explanation for this, but the phenomenon is known already for a Southern African (South- East Bantu) language, Setswana (Schépf 2008: 125). Figure 3b: First line of Manje’s sayawgq goi, the read version, as Praat pitch contour’
The music notation has come into being by carefully listening to the recording, in half speed or even less. This is a conventional ethnomusicological method.'° The roughly aligned pitch contours from the software Praat are derived from the sung (Figure 3a), and the read (Figure 3b), version of the same first line. The interesting thing to observe here is that despite the low functional load of pitch in the phonology of Singpho the overwhelming pitches of the sung version correspond to the spoken pitches. This is a rather surprising observation, and we do not have a good explanation for this, but the phenomenon is known already for a Southern African (South- East Bantu) language, Setswana (Schépf 2008: 125). Figure 3b: First line of Manje’s sayawgq goi, the read version, as Praat pitch contour’
Figure 4a: Sung line of Manje La before manipulation. The point of manipulation being immediately preceding the long vertical cursor line (see sound file MS4.wav) Figure 4b: the manipulated file: the syllable du has been brought in line with other notes in a lower pitch (see sound file MS5.wav)
Figure 4a: Sung line of Manje La before manipulation. The point of manipulation being immediately preceding the long vertical cursor line (see sound file MS4.wav) Figure 4b: the manipulated file: the syllable du has been brought in line with other notes in a lower pitch (see sound file MS5.wav)
Table 4: Tones I-6 pronounced on the syllable na in Tai Phake'®
Table 4: Tones I-6 pronounced on the syllable na in Tai Phake'®
Table 5: Tones 1-6, pitch and contour On the basis of Table 5, we can see that with only features (1) pitch and (2) contour, tones 3-5 could not be contrasted. The feature of (3) duration can also be measured, as in Table 6. This demonstrates that while there is no pitch/contour difference between tones 4 and 5, there is a difference in duration. This is demonstrated clearly when we compare only the pitch and contour of the tones, using Hz values, based on the recording, as exemplified in Table 5.
Table 5: Tones 1-6, pitch and contour On the basis of Table 5, we can see that with only features (1) pitch and (2) contour, tones 3-5 could not be contrasted. The feature of (3) duration can also be measured, as in Table 6. This demonstrates that while there is no pitch/contour difference between tones 4 and 5, there is a difference in duration. This is demonstrated clearly when we compare only the pitch and contour of the tones, using Hz values, based on the recording, as exemplified in Table 5.
Table 6: Tones 1—6, duration Historically the difference between tones 3 and 4, and the others, was one of phonation. In the modern language, however, the creaky phonation that we suggest was historically present in tone 4, is no longer present, and remains only in the form of shorter duration. Thus a new contrast is created: one of duration.
Table 6: Tones 1—6, duration Historically the difference between tones 3 and 4, and the others, was one of phonation. In the modern language, however, the creaky phonation that we suggest was historically present in tone 4, is no longer present, and remains only in the form of shorter duration. Thus a new contrast is created: one of duration.
Table 7: Phake tones 1-6, summary From this, we can say that pitch is arguably not a key feature of any of these tones, although we have highlighted pitch features for tone 2 and tone 5. What is clear is that pitch alone is certainly not the key feature for any of them. For this reason, rather than using the pitch number notations seen in (6) above,
Table 7: Phake tones 1-6, summary From this, we can say that pitch is arguably not a key feature of any of these tones, although we have highlighted pitch features for tone 2 and tone 5. What is clear is that pitch alone is certainly not the key feature for any of them. For this reason, rather than using the pitch number notations seen in (6) above,
In the other styles listed in Table 8, there is much more freedom in terms of line lengths and rhyming patterns and we have yet to thoroughly investigate the relationship between speech tone and melody in all of these styles. Table 8: Types of Song-Poetry among the Tai Phake
In the other styles listed in Table 8, there is much more freedom in terms of line lengths and rhyming patterns and we have yet to thoroughly investigate the relationship between speech tone and melody in all of these styles. Table 8: Types of Song-Poetry among the Tai Phake
Whilst we can confidently say that at least some of the tones in this style were reflected in the melody, we are not sure that all of them are. The five syllables that make up the content of the second half of the line, mau‘ cati? co’ ctin7nai? are sung on short notes with little melodic variation and no rhythmic variation (b'-b'-b'-b'-d"), though four different tones are represented. There is no clear fall on the syllable ctin?, and it is moreover followed by nai? on a rising melody which does not convey the features of this tone (short, falling, creaky). It is curious that the content words are sung in that portion of the melody that conveys the least information about tones, whereas the following particles are given considerable melodic prominence. 2 agli Figure 7: Praat graph of Ee Neyan Kheit’s mo! kham? sa’ ai? This error is very helpful in our understanding of how the relationship between melody and tone works. The first word has a rising tone, but in the error version, that rise was not represented, and we believe it was this that caused Ee Ngyan Kheit to repeat the first three words. The rising contour of the tone is reflected in the melody by the rise de". This is followed by a long note on the syllable e © Here there is only a slightly perceptible rise, as we can see in the left hand side of Figure 7, a Praat transcription of the first line not including the error.
Whilst we can confidently say that at least some of the tones in this style were reflected in the melody, we are not sure that all of them are. The five syllables that make up the content of the second half of the line, mau‘ cati? co’ ctin7nai? are sung on short notes with little melodic variation and no rhythmic variation (b'-b'-b'-b'-d"), though four different tones are represented. There is no clear fall on the syllable ctin?, and it is moreover followed by nai? on a rising melody which does not convey the features of this tone (short, falling, creaky). It is curious that the content words are sung in that portion of the melody that conveys the least information about tones, whereas the following particles are given considerable melodic prominence. 2 agli Figure 7: Praat graph of Ee Neyan Kheit’s mo! kham? sa’ ai? This error is very helpful in our understanding of how the relationship between melody and tone works. The first word has a rising tone, but in the error version, that rise was not represented, and we believe it was this that caused Ee Ngyan Kheit to repeat the first three words. The rising contour of the tone is reflected in the melody by the rise de". This is followed by a long note on the syllable e © Here there is only a slightly perceptible rise, as we can see in the left hand side of Figure 7, a Praat transcription of the first line not including the error.
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