North East Indian Linguistics: The Realisation of Tones in Traditional Tai Phake Songs

@inproceedings{Morey2009NorthEI,
  title={North East Indian Linguistics: The Realisation of Tones in Traditional Tai Phake Songs},
  author={Stephen. Morey},
  year={2009}
}
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In this paper we explore the differences in syntactic structures between three types of Tai Phake songs, two traditional genres and one modern genre. Tai Phake (Tai Kadai/South Western Tai) is a tone
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Drawing on nearly 20 years of study of a variety of languages in North East India, from the Tai and Tibeto-Burman families, this paper examines the issues involved in studying those languages,
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Drawing on nearly 20 years of study of a variety of languages in North East India, from the Tai and Tibeto-Burman families, the issues involved in studying those languages are examined.
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Singing in tone languages has been the subject of a good deal of research, which shows that text-setting constraints are the heart of the solution to respecting both the linguistic and the musical
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Cantonese singers use microtonal contours to reflect rising contours of Cantonese linguistic tones, which are observed when singing syllables with lexical rising tones.
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Cite this article: Stephen Morey, Jürgen Schöpf (2012). Tone in speech and singing: a field experiment to research their relation in endangered languages of North East India. In Niclas Burenhult,