Hostname: page-component-586b7cd67f-t7fkt Total loading time: 0 Render date: 2024-11-27T17:54:06.902Z Has data issue: false hasContentIssue false

The Deep Structure of Ukrainian Hardship Songs

Published online by Cambridge University Press:  07 March 2019

Extract

Communication essentially involves a language or a symbolism whether this be a spoken dialect, a morse code signal or a chain of musical sounds. When we are expressing ourselves in language and other signs, our words, phrases and utterances may be said to form a pattern—a pattern of relationships. Much of this patterning does not rest in the definition and choice of units alone, but in its whole syntax. Defined by Carnap (1929), syntactics aims at all the purely formal aspects of language; that is, anything concerning signs and their orderings, but having no reference to designate real or imagined.

Type
Articles
Copyright
Copyright © 1982 by the International Council for Traditional Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Akmajian, A. and Heny, F. 1978 An Introduction to the Principles of Transformational Syntax, The Massachusetts Institute of Technology.Google Scholar
Becker, J. 1969 “Anatomy of a Mode,” Ethnomusicology II:267–279.CrossRefGoogle Scholar
Becker, J. and A. 1978 A Grammar of the Musical Genre Screpegan.CrossRefGoogle Scholar
Besner, F.E. 1974 Music for the Eve of the Muslim Festivals, African Studies Program, Indiana University.Google Scholar
Blacking, J. 1971Deep and Surface Structure in Venda Music,” Yearbook of the Internal Folk Music Council, 3:91109.CrossRefGoogle Scholar
Carnap, R. 1939 Foundations of Logic and Mathematics, International Encyclopedia of United Social Sciences, Vol. 1, No. 3, University of Chicago Press, Chicago.Google Scholar
Chenoweth, V. and Bee, D. 1971 “Comparative-Generative Models of a New Guinea Melody Structure” American Anthropologist, III:773–783.Google Scholar
Colley, B.N. 1973 “A Partial Grammar of Eskimo Folk tales,” American Anthropologist, III:645–662.Google Scholar
Herndon, M. 1971 “The Cherokee Ballgame Cycle: An Ethnomusicologist's View,” Ethnomusicology, XV:339–52.Google Scholar
Klymasz, R.B. 1970 Ukrainian-Canadian Immigrant Folksong Cycle, National Museums of Canada, Bulletin no. 234, Folklore Series no. 8.Google Scholar
McLeod, N. 1966 Some Techniques of Analysis for Non-Western Music, unpublished dissertation, Northwestern University, Chicago.Google Scholar
Nettl, B. 1964 Theory and Method in Ethnomusicology, The Free Press of Glencoe, Collier-MacMillan Ltd., London.Google Scholar
Nolan, R.L. 1969 Introduction to Computing through the Basic Language, Holt, Rinehart, Winston, New York.Google Scholar
Osmond-Smith, D. 1973 “Tonic relations within formal transformation”, in Proceedings of the 1st International Congress on Semiotics of Music, Beograd, pp. 4555.Google Scholar
Ruwet, N. 1972 “Méthodes d'analyse en musicologie,” in Langage, musique, poésie, Editions du Seuil, Paris, pp. 100184.Google Scholar
Shane, S.A. 1973 Generative Phonology, Prentice-Hall, New Jersey.Google Scholar
Shannon, C.E. and Weaver, W. 1949 The Mathematical Theory of Communication, University of Illinois Press, Urbana.Google Scholar
Sundberg, J. and Lindblom, B. 1973 “A Generative Theory of Swedish Nursery Tunes,” Proceedings of the 1st International Congress on Semiotics of Music, Beograd, pp. 111124.Google Scholar