Thesis information "The relationship between the pitch of the tones in the six-eight verses and the pitch value of the melody in the ancient Bac Ninh Quan Ho folk songs" by HVCH Hoang Minh Thuy, majoring in Linguistics.1. Full name of student: Hoang Minh Thuy 2. Date of birth: October 19, 1984 3. Gender: Male 4. Place of birth: Ninh Binh 5. Decision to recognize student No.: 2551/QD/XHNV-KH&SĐH, dated November 2, 2007 by the President of the University of Social Sciences and Humanities, Vietnam National University, Hanoi 6. Changes during the training process: None 7. Thesis topic: The relationship between the pitch of the tone in the six-eight verse and the pitch value of the melody in the ancient lyrics of Bac Ninh Quan Ho folk songs 8. Major: Linguistics. Code: 60 22 01 9. Scientific advisor: Prof. Dr. Ly Toan Thang - Institute of Lexicography. 10. Summary of the thesis results: In Vietnamese music, the common principle is that the musical notes go up and down depending on the tone, and Quan Ho music is no exception to that principle. In Vietnamese, there are 6 tones, except for the Ngang tone which has no sign in the script, the other 5 tones all have the name of the sign that marks that tone. Different pitches, or characteristics of the pitch, are the first indispensable distinguishing features of the tones. In the Vietnamese linguistics community, most linguists often classify the 6 Vietnamese tones into 2 different pitches: high pitch (ngang - sac - nga) and low pitch (huyen - hoi - trong). Quan Ho Bac Ninh folk songs are a rich and unique art form of our people. Most of the lyrics of Quan Ho songs are in Luc Bat or Luc Bat variations. According to the research of folklore scholars, the reality of folk song composition (which people have recorded) shows that there is a division into 3 ranges: high - medium - low, and between these 3 ranges there is a certain correspondence, according to the law with the pitch of the tones of the sounds (syllables) in the lyrics (specifically here are the six-eight verses). Therefore, by studying the pitch of the tones through the six-eight verses in correlation with the pitch value of the melody in Bac Ninh Quan Ho folk songs, the research results will contribute to clarifying the relationship between the sound (specifically the tone) of the lyrics (specifically the six-eight verses) and the pitch of the notes that "rise and fall" in Vietnamese folk songs. Through the survey of the correspondence of the syllables with the tone models (musical note models) expressed in Quan Ho folk melodies, we found that the six Vietnamese tones with two characteristics of pitch (high - low) and tone lines (even - sharp) when entering Quan Ho music have contributed to creating the high and low melodies of Quan Ho melodies: the tone models in Quan Ho melodies are stable or have rising and falling tones based on the high and low pitch and the Flat - Sharp nature of Vietnamese tones in Quan Ho poetry. On the other hand, the correspondence between the pitch of the six Vietnamese tones and the pitch value of the melody through the tone models sometimes does not always follow the rules, but there appear tone models that are not in the same direction as the pitch of the tones in the syllables. This phenomenon is the opposite influence of the pitch value of the musical melody on the pitch and tone lines of Vietnamese. Thus, the relationship between the pitch of the tone in the lyrics and the pitch value of the melody in the Bac Ninh Quan Ho folk songs occurs as follows: the pitch of the tone in the lyrics is the basis for forming the pitch value of the melody in the Quan Ho folk songs; the Vietnamese tone lines are the basis for forming the models of the melody that create the softness and high and low of the Quan Ho folk song melody. Sometimes in the Quan Ho folk song melody, there is a phenomenon of tone change, which means there is a contrast, breaking the rules of pitch and tone lines of the Vietnamese language in the Quan Ho folk songs. Based on the research results, the thesis has made certain contributions to the study of the artistic value of a traditional music of the nation in general as well as the characteristics of its lyrics in particular. The survey further expands the correspondence between Vietnamese tones and musical melodies (through tonal models) with modern musical notation (new music), the thesis contributes to clarifying the actual musical appreciation of Vietnamese people for tones expressed through music and poetry. With this research result, we hope that our thesis will also have certain contributions to the study of the phonetic - phonological system of Vietnamese in general and the tonal system of Vietnamese in particular. 11. Practical applicability: - The research results of the topic can be applied to interdisciplinary research on language - culture, specifically linguistics and musicology. - Understanding the tonal characteristics in Vietnamese, musicians when composing, artists when performing will have a more specific visualization, to ensure "roundness and clarity" for the works they perform. 12. Further research directions: - Study the relationship between Vietnamese tones and Music: from traditional music to modern music. - Study the phenomenon of tone change in traditional music. - Study the way to process Vietnamese language in music: the case of tones. 13. Published works related to the thesis: None.
INFORMATION ON MASTER'S THESIS
1. Full name: Mr. Hoang Minh Thuy 2. Date of Birth: October 19, 1984 3. Gender: Male 4. Place of Birth: Ninh Binh province 5. Admission decision number: 2551/2007/QD/XHNV-KH&SDH on November, 2nd, 2007 of the Rector of University of Social Sciences and Humanities, Hanoi National University. 6. Changes in academic process: None 7. Title of thesis: The relationship between the pitch range of the tone in poetry of Luc Bat form and the value of tone height of the tunes in old folk songs of Quan Ho Bac Ninh 8. Major: Linguistics. Code: 60 22 01 9. Scientific guiding instructor: Prof. Dr Li Toan Thang – Vietnam Institute of Lexicography and Encyclopedia. 10. Summary results of the thesis: In Vietnamese music, the common rule is that the music definition goes up or deep down depends on the tone. The music of Quan Ho is no exception to this rule. Vietnamese language has six tones, in which the Ngang tone has no diacritic mark and five (5) other tones are denoted by their own diacritic marks. Different pitches, or the typical characteristics of pitch, are the first indispensable characteristic of the tone. Among Vietnamese language study, most linguists often divide the six tones into 2 different pitch ranges: high tones (Ngang - Sac - Nga) and low tones (Huyen - Q - Ngh). Quan ho Bac Ninh folk is a rich and unique art of our country. Most of the lyrics of the Quan Ho song are Luc Bat poetry form or rooted from Luc Bat poetry form. According to the study of folklorists, actual folk composition (which people have recorded) shows a division of three pitch ranges: high - medium – low. Between the three pitch ranges, there is certain correspondence that has principle of the tone height of the language (syllables) in the lyrics (in particular, here is the sentence of Luc Bat poetry). Therefore, with understanding of the pitch of the tone through the lyrics of Luc Bat poetry in relation to the value of tone height of the tunes in old folk songs of Quan Ho Bac Ninh, the research findings will contribute to further clarify the relationship between sound (tone, in particular) of lyrics (namely Luc Bat poetry) and the pitch of the notes "up and deep down" in the Vietnamese folk songs. Through surveying the corresponding of tone-marked syllables with the tone models (music note models) presented in Quan Ho folk melodies, we found that six Vietnamese tones with 2 special referendum on the pitch (high - low) and tone contours (bang-trac) getting into Quan Ho music have contributed to the creation of up and down tunes of the Quan Ho: the tone models in Quan Ho stabilizing or going up, falling melodies are based on the high or low pitch and the nature of Vietnamese tone contours (Bang-Trac) in Quan Ho poetry. On the other hand, the correspondence always between the pitch of the six tones in Vietnamese and the value of tone height of the tunes through the tonal pattern is not happened in the principle, and sometimes appears unfavorable tone models with the pitch of the tone of the syllable. This phenomenon is the opposite effect of the value of tone height of music tunes to the pitch and tone contours in Vietnamese. Thus, the relationship between the pitch of the tone in poetry with the value of tone height of the tunes in old folk songs of Quan Ho Bac Ninh occurs as follows: pitch of the tone in poetry is the basis of the formation of the value of tone height of the tunes in folk songs of Quan Ho; Vietnamese tone contours is the basis for forming the tone models that create the soft, high-low tones in Quan Ho folk melodies. Quan Ho folk melodies sometimes have changing tones, ie the opposite effect breaking the rules of Vietnamese pitch, tone contours in Quan Ho. On the basis of these findings, the thesis has made certain contributions to understanding the artistic value of a traditional music of our nation in general as well as the characteristics of its lyrics in particular. With extended survey to the correspondence between Vietnamese tone contours and music tone (though tone models) and the note definition of modern music (new music), the thesis contributes to clarify the actual understanding of Vietnamese people to all tone contours shown by music and poetry. With the results of this study, we hope that our thesis will also have certain contributions to the study of the phonetic system – phonemes of Vietnamese in general and the system of tone contours of Vietnamese in particular. 11. Practical applicability: - The research results of the thesis can be applied to the interdisciplinary study of languages – cultures, in particular linguistics and musicology. - Clear understanding of the characteristic of tone contours in Vietnamese; the musicians, artists will know more to ensure "circular ring and clear text" in presenting their works. 12. Further research directions: - Further understanding of the relationship between Vietnamese tone contours and music: from traditional music to modern music. - Study of the phenomenon of opposite effect in traditional music. - Study of using Vietnamese language in music: case of tone contours. 13. The published works related to the thesis: None.
