ABSTRACT - In this case study, several participants were ashed to identify the boundaries between successive melody lines in traditional vocal compositions of the Forest Nenets (people inhabiting Northeast Europe and Western Siberia). Unstructured interviews were conducted. The participants included an ethnic Forest Nenets (the insider), an Estonian composer (an outsider), and an Estonian ethnomusicologist (a mediator, one of the authors of this paper). The aim of the work was to investigate whether participants from different cultural background solve the segmentation task in a similar way, and whether the grouping rules that have been developed for the segmentation of Western tonal music have relevance for traditional vocal music of the Forest Nenets. Melody lines in the compositions were of either equal or unequal length, the latter called ad-lib compositions. In the first case, the segmentation results for att the participants concurred. In the second case, some discrepancies emerged because of different underlying principles in the interpretation of adlib compositions. A participant could rely on the melody, on the text, or on both when solving the task. Moreover, Ote native speaker of the Forest Nenets language was unable to separate the musical and verbal components of the composition. Onfy a few of aie grouping rules of Western tonal music seem to apply to the vocal compositions of the Forest Nenets. Rests may play a certain role as markers which refer to the possible end of a melody Une. A longer sequence of meaningless syllables tends to condition a listener to expect a new une of the composition to begin soon. The results demonstrate the interplay between universal and culture-specific factors in the decomposition of Ae Forest Nenets songs into structurally meaningful units. This case study provides a foundation for future experiments which examine groups of listeners of different skills and ethno-cuUural backgrounds in the boundary formation task, particularly in singing. KEYWORDS - grouping, singing, perceived boundary, segmentation, melody, cross-cultural, Nenets In the theory of Western tonal music, a musical work is usually treated as a hierarchical structure which consists of motifs, phrases, periods, sections, and movements (e.g., Riemann, 1900). In the contemporary urban environment, however, listening to music is becoming increasingly fragmentary (Sloboda & O'Neill, 2001). A concert situation, typical of 19th century Western culture, where listeners tried to concentrate on and to contemplate the music alone, is becoming progressively rare in contemporary society. This implies that lower-level processes like grouping or segmenting of music may become more important for listeners than the comprehension of the more global structural characteristics of a musical work (e.g., an ability to follow the subdivision of a movement written in sonata form) as listeners rarely encounter a work in its full shape. Lerdahl and Jackendoff (1983) have proposed a set of rules aimed at predicting where a listener is likely to perceive the boundaries in Western tonal music, which would help the listener to segment the flow of sounds into smaller units'. Lerdahl and Jackendoff distinguished between proximity rules and change rules which correspond to the well-known principles from Gestalt psychology of proximity and similarity, respectively. Examples of the proximity rules include formation of a boundary at a rest or after a longer note in a succession of shorter notes, which Lerdahl and Jackendoff (1983, p. 45) have indicated as GPR2. They write: Consider a sequence of four notes Wjn2nsn4. All else being equal, the transition n2n3 may be heard as a group boundary if [...] the interval of time from the end of n^sub 2^ to the beginning of n^sub 3^ is greater than that from the end of n^sub 1^ to the beginning of n^sub 2^ and that from the end of n^sub 3^ to the beginning of n^sub 4^. Examples of the change rules include formation of a boundary as a result of change in register, dynamics, or articulation, which Lerdahl and Jackendoff (1983, p. …
Read full abstract