List of illustrations
in In the borderland between song and speech

Illustrations

Figures

1 Kàm Ràw performing a perception test with another Kammu speaker in the village of Thapen, close to Luang Prabang in Laos, 1996 (Photo: Håkan Lundström) page 21
2 Kàm Ràw demonstrating the simultaneous playing of gong and cymbals when singing the song Kʔə́əy kɔ́ɔn mɔ́ɔ, ‘Calling the shaman spirits’, of the shaman seance (Photo: Håkan Lundström) 99
3 Elders listen to, and comment on, archival recordings at Neal and Geraldine Charlie’s house in Minto, August 2010 (Photo: Siri G. Tuttle) 126
4 Norman Carlo dancing at the Alaska Federation of Natives Convention in Anchorage, in the autumn of 2015 (Photo used with permission from Norman Carlo) 175
5 Wet-fields in the Seediq village of Gluban, central Taiwan, in August 2006 (Photo: Arthur Holmer) 199
6 The swing festival in the Akha village of Saensuk, northwestern Thailand (Photo: Inga-Lill Hansson) 206
7 A scene from the movie about Onna Nabii, showing the recitation of Ryūka Unnadaki and a transliteration with Japanese characters (Photo: Onna Village Chamber of Commerce and Industry) 237

Maps

1 The geographical location of the languages and cultures included in the study (Courtesy of Jakob Cederblad) 14
2 Map of Laos. The arrow shows the approximate location of the Yùan Kammu area (Courtesy of Jakob Cederblad) 22
3 Map of Alaska, including places and rivers occurring in the text (Courtesy of Jakob Cederblad) 124
4 Map of Taiwan with the approximate location of Seediq and other ethnic groups mentioned in the text (Courtesy of Jakob Cederblad) 190
5 Map of northern Thailand, with the approximate location of the Akha population and the village of Saensuk (Courtesy of Jakob Cederblad) 205
6 Map of the Ryukyu Islands, with the village Onna on the main island of Okinawa (Courtesy of Jakob Cederblad) 227

Tables

1 Vocal genres in the speech–song continuum with regard to the poetic techniques used in this study 30
2 Rice-narrative topics compared to the main agricultural seasons of the Kammu farming year 36
3 Number notation limited to the signs used in the examples 51
4 Characteristics of different Kammu genres of vocal expressions 119
5 Vocal expressions and native vocabulary in Minto (Lower Tanana) 132
6 Structural outline of dratakh ch’elik 158
7 Metres and their realization in the sections of the two performances 201
8 Summary of comparison between waka and ryūka performances 246
9 The melody parameter summarized from all performance templates (Analyses 1–26) 253
10 The rhythm parameter summarized from all performance templates (Analyses 1–26) 255
11 The form parameter summarized from all performance templates (Analyses 1–26) 257
12 The phrasing parameter summarized from all performance templates (Analyses 1–26) 259
13 The initial/final formulae parameter summarized from all performance templates (Analyses 1–26) 262
14 The word variations parameter summarized from all performance templates (Analyses 1–26) 265
15 The lexical tones parameter summarized from all performance templates (Analyses 1–26) 268
16 Kammu vocal genres in the speech–song continuum with regard to poetic techniques, word variations, rhythm, and melody 274

In the borderland between song and speech

Vocal expressions in oral cultures

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