Information about the thesis "The Relationship Between Tone Range in Six-Eight Verse Poetry and the Pitch Value of Melody in Ancient Quan Ho Folk Songs of Bac Ninh" by graduate student Hoang Minh Thuy, majoring in Linguistics.1. Student's Full Name: Hoang Minh Thuy 2. Date of Birth: October 19, 1984 3. Gender: Male 4. Place of Birth: Ninh Binh 5. Decision No. 2551/QD/XHNV-KH&SDH, dated November 2, 2007, of the Rector of the University of Social Sciences and Humanities, Vietnam National University, Hanoi 6. Changes during the training process: None 7. Thesis Title: The Relationship between the Tonal Range in Six-Eight Verse Poetry and the Pitch Value of Melody in Quan Ho Folk Songs of Bac Ninh (Traditional Lyrics) 8. Major: Linguistics. Code: 60 22 01 9. Scientific Advisor: Prof. Dr. Li Toan Thang – Institute of Lexicography. 10. Summary of the thesis results: In Vietnamese music, the general principle is that the melody rises and falls according to the tone, and Quan Ho music is no exception to this principle. Vietnamese has six tones; except for the level tone which has no written markings, the other five tones are named after the markings. Different pitches, or characteristics of the vocal range, are the first and indispensable distinguishing features of the tones. In Vietnamese linguistics, most linguists usually classify the six Vietnamese tones into two different vocal ranges: high range (level - rising - falling) and low range (falling - questioning - heavy). Quan Ho folk songs from Bac Ninh are a rich and unique art form of our nation. Most of the lyrics of Quan Ho songs are in the lục bát (six-eight) verse form or variations of it. According to folklorists, recorded folk song compositions show a division into three pitch ranges: high, medium, and low. These three ranges correspond to, and follow a pattern, the pitch of the syllables in the lyrics (specifically, the six-eight verses). Therefore, by studying the pitch range of tones in six-eight verses in relation to the pitch value of the melody in Quan Ho folk songs of Bac Ninh, 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 musical notes that rise and fall in Vietnamese folk songs. Through examining the correspondence between tonal syllables and the tonal patterns (note patterns) expressed in Quan Ho folk melodies, we found that the six Vietnamese tones, with their two characteristics of pitch range (high - low) and tonal contours (level - rising), contribute to the melodic variations in Quan Ho music. The stability or upward and downward melodic patterns in Quan Ho melodies depend on the pitch range and the level-rising nature of the Vietnamese tones in the lyrics. On the other hand, the correspondence between the pitch range of the six Vietnamese tones and the pitch value of the melody, through these tonal patterns, does not always follow a predictable pattern. Some tonal patterns appear that are not in line with the pitch range of the tones in the syllables. This phenomenon is the reverse influence of the musical melody's pitch value on the pitch range and tonal contours of the Vietnamese language. Thus, the relationship between the tonal range of the lyrics and the pitch value of the melody in Quan Ho folk songs of Bac Ninh is as follows: the tonal range of the lyrics forms the basis for the formation of the pitch value of the melody in Quan Ho folk songs; the tonal contours of the Vietnamese language form the basis for the formation of melodic patterns that create the softness and undulation of the Quan Ho folk song melody. Sometimes, in Quan Ho folk song melodies, there appears a phenomenon of tonal change, meaning there is a contrast and a breakdown of the rules of tonal range and the tonal contours of the Vietnamese language in Quan Ho folk songs. Based on these research results, the thesis has made certain contributions to understanding the artistic value of a traditional type of music of the nation in general, as well as the characteristics of its lyrics in particular. By further examining the correspondence between Vietnamese tones and musical melodies (through tonal models) and modern musical notation (modern music), this thesis contributes to clarifying the actual auditory perception of Vietnamese people regarding tones expressed in music and poetry. With these research results, we hope that our thesis will also make a certain contribution to the study of the phonetic-phonological system of Vietnamese in general and the tonal system of Vietnamese in particular. 11. Practical applications: - The research results of this thesis can be applied to interdisciplinary studies in language and culture, specifically linguistics and musicology. - Understanding the characteristics of tones in Vietnamese will give musicians and artists a more concrete understanding when composing and performing, ensuring the clarity and precision of their works. 12. Future research directions: - Investigating the relationship between Vietnamese tones and music: from traditional to modern music. - Studying the phenomenon of tone change in traditional music. - Studying how Vietnamese language is handled 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.
