Tone and tune: the evidence for Northern Ewe music

One of the most intriguing features of most African languages is that of tone, by which variations in speech tone generate different meanings (Pike, 1948, offers a valuable introduction to this subject and includes an extensive bibliography; Fromkin, 1972, is a comprehensive evaluation of specialised studies). In the Ewe language, for example, the word to [H] pronounced with a high tone means ‘ear’, as in To le venye (HLMM), ‘I have an earache.’ To can also mean ‘through’, Meto akonta me [MHLHML], ‘I have gone through the accounts.’ But as soon as the high tone is replaced by a low one the meaning of the word changes drastically: to [L] means ‘thick’ as in Dzogbo la to [LHHL], ‘The porridge is thick’. Similarly, mi [H] is a pronoun for the first person plural (Mieto adegbe, ‘We are on the way to the hunt’). The same word refers to ‘faeces’ as in [HL], ‘goat's faeces’. A shift of tone from high to low results in a change of meaning. Mi [L] is a pronoun for the second person plural (Mile tsi [LLM], ‘You (should) take a bath’); it also means ‘swallow’ (mi amatsi, ‘swallow [or take] the medicine’). The phenomenon is not restricted to monosyllables. Kuku [HH] refers to a ‘hat’ (Meɖe kuku na wo, ‘I remove your hat,’ which is a figurative way of saying ‘I beg you’). Kuku [LH] on the other hand refers to ‘death’. Asi [LH] is the word for ‘hand’, while asi [LM] denotes ‘market’. Tone is operative on a number of levels within the syntagmatic chain: on the level of syllable, word, phrase and sentence. Furthermore, a number of constraints—syntactic, international or natural factors—influence the disposition of speech tones (consult Ansre, 1961, for information about Ewe tone and Dakubu, 1988, for the most recent study of this and other aspects of Ghanaian languages). Ton de la parole et ton musical: l'évidence avec la musique de la région du Ewe Septentrional L'influence du ton de la parole sur la mélodie musicale est un sujet qui a fasciné bon nombre d'ethnomusicologues. De la littérature consacreé à l'Afrique de l'Ouest se dégage l'assomption qu'un mot chanté doit, pour conserver tout son sens, suivre les variations du ton de la parole. Un certain nombre de ces études sont done consacrées aux cas où il n'existe pas de correspondance entre le ton de la parole et le ton musical. Cet article conteste la validité et l'utilité du rapport correspondance-noncorrespondance, en soutenant que le sens du mot n'est pas perdu si le ton de la parole et le ton musical different et