Towards a phonetic history of the voices of Spanish poets
A first experimental study on the Generation of ’27
DOI:
https://doi.org/10.1344/efe-2024-33-7-34Keywords:
phonetics, poetry reading, statistics, Generation of '27, voices of Spanish poetsAbstract
How does the voice of a poet sound? Poetry reading, an essential component of this art, represents interesting material for phonetic studies. However, it remains an under-researched topic. This work attempts to go beyond the state of the art, providing an experimental analysis of some voices of the Generation of ’27, aiming to mark the first step towards a phonetic history of the voices of Spanish poets. This research, which employs a qualitative phonetic approach and a statistical approach, has brought to light some principal elements. These include variation as a consistent element among authors and within a single author, enabling the detection of main features and sub-groups; common features marking a global grouping; and the possible variety and criticism of clusters, revealing the complexity of this speech and the effectiveness of our model to describe it.
References
Alonso, D. (1948). Una generación poética (1920-1936). Finisterre, 1, 193–200.
Antomarini, B. (2013). La preistoria acustica della poesia. Aragno.
Barbosa, Pl. A. (2022). Pleasantness and wellbeing in poem declamation in European and Brazilian Portuguese depends mostly on pausing and voice quality. Frontiers in Communication, 7: 855177. https://doi.org/10.3389/fcomm.2022.855177
Barbosa, Pl. A. (2023). The Dance of Pauses in Poetry Declamation. Languages, 8(1), 76. https://doi.org/10.3390/languages8010076
Barney, T. (1999). Readers as text processors and performers: A new formula for poetic intona-tion. Discourse Processes, 28(2), 155–167. https://doi.org/10.1080/01638539909545078
Beccaria, G. L. (1975). L’autonomia del significan-te. Einaudi.
Bertoni, A. (2006). La poesia. Come si legge e come si scrive. Il Mulino.
Blanchot, M. (1969). L’entretien infini. Gallimard.
Boersma, P., & Weenink, D. (1992–2022). Praat: Doing phonetics by computer (Version 6.2.06) [Computer program]. http://www.praat.org/
Bologna, C. (1992). Flatus vocis. Metafisica e an-tropologia della voce. Il Mulino.
Bonnet, Cl., Ghiglione, R., & Richard, J.-F. (1989). Traité de Psychologie Cognitive. Dunod.
Brazil, D. (1978). Discourse Intonation II. English Language Research.
Byers, P. P. (1979). A formula for poetic intona-tion. Poetics, 8, 367–380.
Civra, F. (1991). Musica poetica. Introduzione alla retorica musicale. UTET Università.
Cohen, J. (1972). La versificazione. In R. Creman-te & M. Pazzaglia (Eds.). La metrica. Il Mulino, 67–78.
Colonna, V. (2017). Prosodie del «Congedo». Ana-lisi fonetica comparativa di dodici letture. [Un-published Master Thesis]. Università degli Studi di Torino.
Colonna, V. (2019). Prosodie del Congedo: Analisi fonetica comparativa di dodici letture della prosopopea di Giorgio Caproni. Umanistica Digitale, 3(6). https://doi.org/10.6092/issn.2532-8816/8631
Colonna, V. (2021). Voices of Italian Poets. Analisi fonetica e storia della lettura della poesia ital-iana dagli anni Sessanta a oggi. [Unpublished doctoral dissertation]. Università di Genova-Torino. https://hdl.handle.net/11567/1041229
Colonna, V. (2022a). Voices of italian poets. Storia e analisi fonetica della lettura della poesia ital-iana del Novecento. Dell’Orso.
Colonna, V. (2022b). Voces de Poetas. CHIMERA: Revista de Corpus de Lenguas Romances y Es-tudios Lingüísticos, 8, 109–136. https://doi.org/10.15366/chimera2021.8.005
Colonna, V., & Romano, A. (2020). La voce della speranza in Mario Luzi. Uno sguardo prosodico su alcune letture. Luziana, 4, 23–40. http://digital.casalini.it/10.19272/202013101003
Colonna, V., & Romano, A. (2022). La prosodia di Seamus Heaney: un approccio fonetico alle sue letture. AION-L, 11, n.s., 155–179.
Colonna, V. & Romano, A. (2023). The prosody of Seamus Heaney: A phonetic study on some original readings. In O. Niebuhr (Ed.), Proceed-ings of the 13th International Conference of Nordic Prosody (pp. 238–244). Sciendo. https://doi.org/10.2478/9788366675728-021
Corretge, R. (2012–2023). Praat Vocal Toolkit [Praat plugin]. https://www.praatvocaltoolkit.com
Cultura UNAM (2020). Colección completa de Voz Viva (Discografía): Discografía Voz Viva 1960–2020. Voz Viva. https://vozviva.unam.mx/voz-vi-va/html/testimony/doc/Discografia_Voz_Viva_1960-2020.pdf
Cultura UNAM (2023). Antología poética. Cernu-da, Luis (Número de catálogo: VV 041, Registro completo de metadatos). Voz Viva. https://vozviva.unam.mx/handle/123456789/117/?mode=full
De-la-Mota, C., & Rodero Antón, E. (2011). La entonación en la información radiofónica. In A. Hidalgo Navarro, Y. Congosto Martín, & M. Quilis Merín (Eds.), El estudio de la prosodia en España en el siglo XXI: Perspectivas y ámbitos (pp. 159–176). Universidad de Valencia.
Dorn, G. M. (Ed.) (1974). The Archive of Hispanic Literature on Tape: A descriptive guide. Com-piled by Francisco Aguilera. Library of Con-gress.
Elvira-García, W. (2017). Create pictures with tiers (Version 4.4) [Praat script]. GitHub. https://github.com/wendyelviragarcia/create_pictures
Face, T. L. (2008). The intonation of Castilian Spanish Declaratives and absolute interroga-tives. Lincom Europa.
Garrido, J. (1994). Idioma e información. La len-gua española de la comunicación. Síntesis.
Gasparini, F. (2009). Poesia come corpo-voce: Ipotesi teoriche e esempi novecenteschi (Yeats, Lorca, Artaud, Bene). Bulzoni.
Giannini, A., & Pettorino, M. (1998). I cambiamen-ti dell’italiano radiofonico negli ultimi 50 anni: Aspetti ritmico-prosodici e segmentali. In R. Delmonte, & A. Bristot (Eds.), Atti delle IX Giornate di Studio del Gruppo di Fonetica Sperimentale (GFS) (pp. 65–81). Associazione Italiana di Acustica.
Grobe, Chr. (2016). On book: The performance of reading. New Literary History, 47(4), 567–589. https://doi.org/10.1353/nlh.2016.0030
Hualde, J. I., & Prieto, P. (2015). Intonational vari-ation in Spanish: European and American varie-ties. In S. Frota, & P. Prieto (Eds.), Intonation in Romance (pp. 350–391). Oxford Academic. https://doi.org/10.1093/acprof:oso/9780199685332.003.0010
Hurley, M. (2004). The audible reading of poetry revisited. The British Journal of Aesthetics, 44(4), 393–407. https://doi.org/10.1093/bjaesthetics/44.4.393
Johnson, R. A., & Wichern, D. W. (2002). Applied multivariate statistical analysis (5th ed.). Pren-tice Hall.
Levertov, D. (1981). An Approach to Public Poetry Listenings. Light Up the Cave (pp. 55–56). New Directions.
López Cano, R. (2000). Música y retórica en el Barroco. Amalgama.
Lotman, J. M. (1978). Estructura del texto artístico. Istmo.
MacArthur, M. (2016). Monotony, the Churches of Poetry Reading, and Sound Studies, PMLA, 131(1), 38–63. https://doi.org/10.1632/pmla.2016.131.1.38
MacArthur, M., Zellou, G., & Miller, L. M. (2018). Beyond Poet Voice: Sampling the (Non-) Per-formance Styles of 100 American Poets. Jour-nal of Cultural Analytics, 3(1). https://doi.org/10.22148/16.022
Madureira, S. (2008). Reciting a sonnet: Production strategies and perceptual effects. Paper present-ed at the Speech Prosody 2008, Campinas, Bra-zil, May 6–9; 697–700.
Madureira, S. (2008) Reciting a sonnet: Production strategies and perceptual effects. In P. A. Bar-bosa, S. Madureira, & C. Reis (Eds.), Proceed-ings of the 4th Conference on Speech Prosody (pp. 697–700). ISCA. https://doi.org/10.21437/SpeechProsody.2008-154
Mairano, P. (2011). Duratepraat [Praat script].
Mecatti, S. (1985). Fonè: La voce e la traccia. Casa Usher.
Merlo, P. (2010). Peces en la tierra: Antología de mujeres poetas en torno a la Generación del 27, Fundación José Manuel Lara.
Mistrorigo, A. (2018). Phonodia: La voz de los poetas, uso crítico de sus grabaciones y entre-vistas. Ca’ Foscari.
Moreno Méndez, A., Álvarez Tenorio, M., Bejara-no Páez, M. A., & Pulido Garzón, C. A. (2010). Parámetros acústicos de la voz en el adulto mayor. Umbral Científico, 17, 9–17.
Mossa, M. G. (2023). L’autografo sonoro: Per una stilistica della dizione d’autore nella poesia di Vittorio Sereni [Unpublished doctoral disserta-tion]. University of Pisa. https://etd.adm.unipi.it/t/etd-08272023-175823
Mustazza, Ch. (2019). Speech labs: Language ex-periments, early poetry audio archives, and the poetic record [Unpublished doctoral disserta-tion]. University of Pennsylvania. https://repository.upenn.edu/handle/20.500.14332/30493
Neira Jiménez, J. (2019). Construcción crítica y realidad histórica de la generación del 27. Epos: Revista de Filología, 34, 191–209. https://doi.org/10.5944/epos.34.2018.22304
Nihalani, P., & Po Lin, T. (1998). Intonation pat-terns in news broadcasts. World Englishes, 17(1), 15–29.
Ortiz Moreno, E. (2018). Voces que dejan huellas: Grabaciones sonoras de literatura en español y otros idiomas. Palabra Virtual, Fonoteca lit-eraria. https://palabravirtual.com/voces/index.php?ir=lineas.php&idp=169
Ortiz Moreno, E. (2024). Cecilia: Colección Voces que dejan Huellas. https://www.cecilia.com.mx/
Pamies Bertrán, A., Amorós Céspedes, M. C., & O’Neil, P. (2007). Esquemas entonativos declar-ativos en el habla de Almería. In J. Dorta Luis (Ed.). La prosodia en el ámbito lingüístico románico (pp. 299–311). Ediciones La Página.
Pamies Bertrán, A., Martin, Ph., & Pazos Bretaña, J. M. (2011). Estudio comparativo (español-francés) de la correlación entre las estructuras sintáctico-semánticas y las curvas entonativas. Revista Internacional de Lingüística Iberoamer-icana, 17, 169–188.
Pellegrino, E. (2019). The effect of healthy aging on within-speaker rhythmic variability: A case study on Noam Chomsky. Loquens, 6(1), e060. https://doi.org/10.3989/loquens.2019.060
Pettorino, M. (2014). Prosodia di ieri, prosodia di oggi: Un esperimento di autotrapianto sul parlato televisivo. In A. Romano, M. Rivoira, & I. Me-andri (Eds.), Aspetti prosodici e testuali del rac-contare: La letteratura orale al parlato dei me-dia (pp. 3–16). Edizioni dell’Orso.
Pettorino, M. & Giannini, A. (1994). Aspetti pro-sodici del parlato radiofonico. In P. M. Bertinet-to, & L. Fioni (Eds.), Atti delle IV Giornate di Studio del Gruppo di Fonetica Sperimentale (GFS) (pp. 19–28). Associazione Italiana di Acustica.
Price, J. (2006). “Allegations” and “Controversy”: Are the Americans invading our intonational space? In K. Allan (Ed.), Selected papers from the 2005 Conference of the Australian Linguistic Society. http://www.als.asn.au/proceedings/als2005/price-intonation.pdf
Puff, J.-Fr. (Ed.) (2015). Dire la poésie? Cécile Defaut.
Romano, A. (2014–2018). Etichette per l’analisi prosodica di file di parlato. www.lfsag.unito.it/ricerca/Etichette_prosodiche_2014-18.pdf
Romano, A. (2020). Moduli ritmico-melodici nella trasmissione orale del metro salentino tradizionale. In M. De Carli, & P. Vincenti (Eds.), Pagine d’oro e d’argento: Studi in ricor-do di Sergio Torsello (pp. 256–268). Ku-rumuny.
Serra, C. (2011). La voce e lo spazio. Il Saggiatore.
Sessa, P. (2018). La lettura, il corpo, la voce: Fon-damenti linguistici e neurali della lettura ad alta voce. Giovanni Fioriti Editore.
Stevens, S. S. (1935). The relation of pitch to inten-sity. Journal of the Acoustical Society of Ameri-ca, 6, 150–154.
Szendy, P. (2022). Pouvoirs de la lecture, De Pla-ton au livre électronique. Editions La Décou-verte.
Tan, P., Steinbach, M., Karpatne, A., & Kumar, V. (2018). Introduction to Data Mining (2nd ed.). Pearson.
Taylor, D. S. (1993). Intonation and accent in Eng-lish: What teachers need to know. IRAL, 31(1), 1–22. https://doi.org/10.1515/iral.1993.31.1.1
Tench, P. (1990). The roles of intonation in English discourse. Peter Lang.
Zumthor, P. (1984). La presenza della voce: Intro-duzione alla poesia orale. Il Mulino.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 The authors
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
All articles published online by Estudios de Fonética Experimental are licensed under Creative Commons Attribution-NonCommercial-NoDerivs 4.0 International (CC BY-NC-ND 4.0 DEED), unless otherwise noted. Estudios de Fonética Experimental is an open access journal. Estudios de Fonética Experimental is hosted by RCUB (Revistes Científiques de la Universitat de Barcelona), powered by Open Journal Systems (OJS) software. The copyright is not transferred to the journal: authors hold the copyright and publishing rights without restrictions. The author is free to use and distribute pre and post-prints versions of his/her article. However, preprint versions are regarded as a work-in-progress version used as internal communication with the authors, and we prefer to share postprint versions.
