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"value" => "<p>Remarkable modulations in tone that make speech tend toward song, chanting, or litany. At times uneven, repetitive, contrasted, or monotonous, melody is what gives speech its expressiveness.</p>\r\n ◀<p>Remarkable modulations in tone that make speech tend toward song, chanting, or litany. At times uneven, repetitive, contrasted, or monotonous, melody is what ▶"
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"value" => "<p>Modulation remarquable des intonations d'une parole qui la font tendre vers le chant, la mélopée ou la litanie. Tantôt accidentée, répétitive, contrastée ou monotone, la mélodie donne à la parole toute son expressivité.</p>\r\n ◀<p>Modulation remarquable des intonations d'une parole qui la font tendre vers le chant, la mélopée ou la litanie. Tantôt accidentée, répétitive, contrastée ou ▶"
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<p><strong>Melody | Remarkable modulations in tone that make speech tend toward song, chanting, or litany. At times uneven, repetitive, contrasted, or monotonous, melody is what gives speech its expressiveness.</strong></p>\r\n ◀<p><strong>Melody | Remarkable modulations in tone that make speech tend toward song, chanting, or litany. At times uneven, repetitive, contrasted, or monotonou ▶
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<p>School grammar books identify and teach three types of intonation corresponding to three modes of expression: declarative, interrogative, and exclamative. The first is associated with assessment or commentary: its melodic line “drops” at the end of a sentence. The second is for questions, the voice rising into a small upward curve at the end of an utterance to mark a suspension waiting to be resolved. The last case, for surprise, is also ascendant but more sharply so, as if suspended at its peak by the event that made it happen.</p>\r\n ◀<p>School grammar books identify and teach three types of intonation corresponding to three modes of expression: declarative, interrogative, and exclamative. Th ▶
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<p>In reality, though, speech undergoes much more subtle modulations: it is obvious that we do not always speak in the same tone, and that even the most ordinary form of speech modulates its pitch and rhythm. Listening to <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="8b4c1331-0c17-4443-92bf-80ccd9ef343b" href="/node/10203">this excerpt of a piece by René Lussier</a> shows us just that.</p>\r\n ◀<p>In reality, though, speech undergoes much more subtle modulations: it is obvious that we do not always speak in the same tone, and that even the most ordinar ▶
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<p>As with timbre, certain speakers can be recognized by the melody of their speech; certain situations can also be recognized by the melodies they call for. Certain contexts produce more or less regular or uneven melodies, marking the affective or rhetorical nature of the enunciative situation in question. Finally, speech can also tend toward chanting or litany. In such cases, we say that it sounds like a speaker is singing when they talk, and the melodic aspect of their speech, freed of the necessities of address, will favor expressiveness over expression.</p>\r\n ◀<p>As with timbre, certain speakers can be recognized by the melody of their speech; certain situations can also be recognized by the melodies they call for. Ce ▶
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<h4 class="inter-titre">Standardized inflection</h4>\r\n
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<p>Certain forms of speech are built from pre-established tonal canons. Like this <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="e4e03191-e7d2-430f-a30d-f79659bd465e" href="/node/9553">French railway announcement</a>, for example, played on train station platforms. The strangeness of these words is due to the fact that they are artificially constructed, made up of pre-recorded words that form a coherent and instantly effective utterance (“travelers are to move to platform 1 without delay”), all while revealing their patched-together nature through gaps in the tonal lines they follow. This paradoxical excerpt is both regular and strangely inorganic.</p>\r\n ◀<p>Certain forms of speech are built from pre-established tonal canons. Like this <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uu ▶
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<p>In many cases, speech is very clearly structured (or implied) by certain melodic standards that have been more or less well assimilated by a speaker. The “proper speech” or “proper reading” these words tend to conform to are based on a certain vision of variety and modulation. <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="5807b58d-12d6-42e1-99e5-5fc2181e6186" href="/node/9566">This sermon</a>, this <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="eb39d404-5669-438d-be2d-b63e109fe7ca" href="/node/9613">response to an interview,</a> this <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="6eac23ff-66c9-4a16-a67e-a9da4f290ebd" href="/node/9708">story</a>, all aim to give life to a scene or utterance that will make them more lively and attractive.</p>\r\n ◀<p>In many cases, speech is very clearly structured (or implied) by certain melodic standards that have been more or less well assimilated by a speaker. The “pr ▶
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<p>These forms of speech can combat the monotony of someone “droning on” by playing with different voices or pitches (for an example of monotonous yet thrilling speech, see <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="b5bf5199-2e5c-4094-aa2d-13a65faa031d" href="/node/9409"><i>Mon père</i></a> by Charles Pennequin).</p>\r\n ◀<p>These forms of speech can combat the monotony of someone “droning on” by playing with different voices or pitches (for an example of monotonous yet thrilling ▶
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<p>In this excerpt from Jean-Marie Straub and Danièle Huillet’s film <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="dee3c004-2744-4e00-a4d4-53032ab300e7" href="/node/9405"><i><span lang="EN-US" style="font-size:12.0pt">En Rachachant</span></i></a>, conventional speech pitches are outrageously accentuated to produce a strange form of dialogue, trying so hard to sound correct that it feels “fake”—perhaps the very definition of the invented word <i>rachacher</i> which gives the film its title.</p>\r\n ◀<p>In this excerpt from Jean-Marie Straub and Danièle Huillet’s film <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="dee3c004- ▶
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<h4 class="inter-titre">Sinusoidal forms</h4>\r\n
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<p>Some of this collection’s excerpts contain melodies remarkable for the way they modulate their pitches into almost sinusoidal forms. This process is characterized by repetitive utterances in which a speaker tries to make each iteration unique through pitch variation, as <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="8ae0b134-22c1-438f-a205-5bf2fffa2822" href="/node/10323">in shipping forecasts</a>, <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="b3df4c54-1272-4094-8a53-3bd1b8e8f69f" href="/node/9412">this tongue twister</a>, or <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="e754f2fd-2f41-498a-bba8-5052c520b112" href="/node/9474">this Gertrude Stein reading</a>. In the same vein, we can cite <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="46e4394d-4f11-4f39-bb6d-2b63c545c3fd" href="/node/12245">the very strongly cadenced melody</a> of an auctioneer’s words, compressed and accelerated to an extreme.</p>\r\n ◀<p>Some of this collection’s excerpts contain melodies remarkable for the way they modulate their pitches into almost sinusoidal forms. This process is characte ▶
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<p class="Default" style="border:medium none; margin:0cm 0cm 0.0001pt"><span style="font-size:11pt"><span style="line-height:110%"><span style="font-family:"Arial Unicode MS""><span style="color:black"><span lang="EN-US" style="font-size:12.0pt"><span style="background:white"><span style="line-height:110%"><span style="font-family:"Times New Roman"">A sinusoidal melody also often ends up taking root by custom or wear, as in <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="7097aa3d-2dc2-4cc8-8ea9-bc6db38b485c" href="/node/10431">the routine musicality</a> of this stewardess’s voice, identical in Arabic and in French. Or, sometimes the pattern and repetition of such modulations are structured around a strongly accentuated final note which highlights an utterance’s serial nature: lists, enumeration, arguments. This kind of melody gives speech rhythm, as can be heard in <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="d56a674f-f356-409d-afde-fb60da9419b3" href="/node/9626">this excerpt from an Abdellatif Kechiche film</a> or in this lecture by <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="4d7b6cdb-97c0-43e2-a5eb-49813bf514c5" href="/node/9628">Vladimir Jankelevitch</a>.</span></span></span></span></span></span></span></span></p>\r\n ◀<p class="Default" style="border:medium none; margin:0cm 0cm 0.0001pt"><span style="font-size:11pt"><span style="line-height:110%"><span style="font-family:&quo ▶
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<h4 class="inter-titre">Uneven melodies</h4>\r\n
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<p>Whereas standardized speech modulates its pitch around a base frequency, some forms of speech are defined by uneven melodies which take form “by hops and by skips,” like the archetypal example of Vladimir Jankelevitch, who can be heard in <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="d067931c-00ae-4192-94ea-fad5a34e590f" href="/node/9704">this wonderful excerpt</a>. These melodic jolts often mark problems in someone’s speech. Physiological problems for <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="1b207e27-92bb-40ef-8e6b-56b57b30c8b0" href="/node/9801">this transsexual person going through hormone treatments</a>, or, more largely, ailments produced by an overflow of emotion (or the desire to produce some).</p>\r\n ◀<p>Whereas standardized speech modulates its pitch around a base frequency, some forms of speech are defined by uneven melodies which take form “by hops and by ▶
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<p>Such is the case with <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="9ee506ec-e1d0-4402-b7f5-6a4a0c6d90dd" href="/node/9705">political speeches and their vehemence</a>, <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="86d75037-01bc-4f59-937e-45c00acab879" href="/node/9475">pleas</a>, <a href="/node/9686">poetic diatribes</a> and, in an even more musical example, <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="99637b0b-15d7-419e-8099-84e6ffba9655" href="/node/10268">gospel preaching</a> (see also <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="a5054c2a-986a-4621-8a97-f86c926e8c23" href="/node/9706"><i>C’est bizarre</i></a>). These “eccentric” melodies are produced by overemphasis, seen as a particular means of dramatizing speech. Indeed, this example shows how a tragedian’s declamation is carried by the rise and fall of her lyrical intonations (see also <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="2cba542e-5281-410b-8a56-462115a066ca" href="/node/10240"><i>Entre ici, Jean Moulin</i></a>).</p>\r\n ◀<p>Such is the case with <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="9ee506ec-e1d0-4402-b7f5-6a4a0c6d90dd" href="/node/970 ▶
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<p>Speech with uneven melodies belongs to a system that exceeds the typical boundaries of intonation, calling out to the pre-verbal kingdom of children or animals, as with <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="dec3511e-08d0-4116-97a6-ad33b47b7cea" href="/node/10425">this cowherd from Poitou guiding his animals</a>, or <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="eb1dce7b-4599-4f84-9293-033c7b2409f5" href="/node/10426">this man imitating birdcalls</a>. This is also the case with <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="3844f5ef-29eb-4798-a42f-791e8a8e8b01" href="/node/10189">babies babbling</a>, a process that is both expressive (showing us the child’s happy or angry affects), intentional (babbling is addressed to someone, it counts on certain effects), and experimental. A child discovers and tunes its vocal apparatus through a series of intuitive scales that allow it to measure tessitura and learn to modulate expressiveness. This is not far from the approach of certain twentieth-century poets or composers like <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="3cd07f26-4286-4129-b6fc-5f27046906a6" href="/node/10285">Raoul Hausmann</a> or <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="7ada00bb-1fbe-4f62-a7c5-d6d0e65818bb" href="/node/9469">Luciano Berio</a>, who dismantled and reinvented traditional modes of singing and habitual forms of speech.</p>\r\n ◀<p>Speech with uneven melodies belongs to a system that exceeds the typical boundaries of intonation, calling out to the pre-verbal kingdom of children or anima ▶
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<p>Often, the extension of certain vowels pushes these forms of speech close to song, as in this hypnosis tape, <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="100d1ebc-b2ed-404e-b30d-c79c825e3a0e" href="/node/9470">this reading of a poem</a> by its author, or <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="58e68f43-7322-40f3-8e13-d7bf181a878c" href="/node/9558">this piece by John Cage</a>.</p>\r\n ◀<p>Often, the extension of certain vowels pushes these forms of speech close to song, as in this hypnosis tape, <a data-entity-substitution="canonical" data-ent ▶
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<h4 class="inter-titre">Becoming-song</h4>\r\n
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<p>Hence, the collection also provides us with forms of speech whose tonal variations push them close to song. This is the murky domain of sing-speech or speak-song. <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="0f2804c9-95f8-4fe4-b875-90db9af4d5bb" href="/node/9649">Opera recitatives</a>, for example, are a means of playing with the tonal organization of speech. Sometimes speech functions like a residual mode of singing (see <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="57f39b70-86b2-44ad-9853-b7883a4649a1" href="/node/9707"><em>C’est fini là il est fichu il est mort</em></a> or <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="1026ef54-a61d-4e1c-a192-128f7faf0561" href="/node/9641"><em>La bataille</em></a>), or sometimes singing’s melodic structure allows for a message to be expressed, as in <a href="/node/9389">this recording by an Art Brut artist</a>. Finally, certain unique utterances allow us to hear the way that singing’s aesthetic independence and communicative intent can be ritually bound to one another (see <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="e6fe2e14-39b8-4b5a-a572-d77c90c7dc1d" href="/node/9709"><i>Mantra de la compassion</i></a>, <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="97d92744-d77e-4463-a8f4-1f6dd9dd6735" href="/node/10289"><i>L’enfant du Coran</i></a>, <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="6e1c300f-30b0-4ad4-a04e-1e5e36343687" href="/node/9398"><em>(Mh mh mh) yeh yeh eh</em></a>): in order for speech to be truly effective as such, it must be sung; indeed, it is speech only insofar as it is song.</p>\r\n ◀<p>Hence, the collection also provides us with forms of speech whose tonal variations push them close to song. This is the murky domain of sing-speech or speak- ▶
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<p><strong>Mélodie | Modulation remarquable des intonations d'une parole qui la font tendre vers le chant, la mélopée ou la litanie. Tantôt accidentée, répétitive, contrastée ou monotone, la mélodie donne à la parole toute son expressivité.</strong></p>\r\n ◀<p><strong>Mélodie | Modulation remarquable des intonations d'une parole qui la font tendre vers le chant, la mélopée ou la litanie. Tantôt accidentée, répétiti ▶
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<p>Les grammaires scolaires identifient et enseignent trois types d'intonations correspondant à trois types d’assertion : l’affirmative, l'interrogative, l'exclamative. La première est celle du constat ou du commentaire : sa ligne mélodique "chute" en fin de phrase. La seconde est celle de la question, elle fait monter la voix en fin d’énoncé selon une petite courbe, de manière à marquer un suspens qui demande à être résolu. La dernière est celle de la surprise, également ascendante mais selon une pente plus abrupte, elle semble suspendue à son sommet, figée là-haut par l'évènement qui l'a suscitée. </p>\r\n ◀<p>Les grammaires scolaires identifient et enseignent trois types d'intonations correspondant à trois types d’assertion : l’affirmative, l'interrogative, l'excl ▶
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<p>Mais la parole connaît en vérité de bien plus fines modulations ; il semble évident qu'on ne parle pas toujours sur la même note et que la parole même la plus ordinaire module ses hauteurs aussi bien que ses rythmes. On peut s’en convaincre en écoutant <a href="/node/10203">cet extrait d'un morceau de René Lussier</a>. </p>\r\n ◀<p>Mais la parole connaît en vérité de bien plus fines modulations ; il semble évident qu'on ne parle pas toujours sur la même note et que la parole même la plu ▶
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<p>On constate qu'au même titre qu'à leur timbre, on peut reconnaître certains locuteurs à la mélodie de leur parole ; on peut également reconnaître certaines situations aux mélodies qu’elles suscitent. Certains contextes produiront des mélodies plus accidentées, marqueurs de la dimension affective ou rhétorique de la situation de parole. Enfin, la parole pourra tendre vers le chant ou la litanie. On dira alors que tel locuteur parle comme il chante, et la dimension mélodique de la parole, s'émancipant de la nécessité de l'adresse, privilégiera l'expressivité à l'expression.</p>\r\n ◀<p>On constate qu'au même titre qu'à leur timbre, on peut reconnaître certains locuteurs à la mélodie de leur parole ; on peut également reconnaître certaines s ▶
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<h4 class="inter-titre"><em>Inflexions standardisées</em></h4>\r\n
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<p>Certaines paroles semblent s'élaborer à partir de canons intonatifs préétablis. Par exemple, cette <a href="/node/9553" title="Attention au départ">annonce SNCF</a> diffusée sur les quais de gare. L'étrangeté de cette parole vient du fait qu’il s'agit d'une parole montée, faite de mots pré-enregistrés qui composent un énoncé cohérent et immédiatement efficace (les voyageurs se rendront sans tarder à la voie 1) tout en révélant dans les hiatus des lignes intonatives, son caractère artificiel ou rapiécé. On a ici un extrait paradoxal qui se donne à la fois comme régulier tout en étant bizarrement inorganique. </p>\r\n ◀<p>Certaines paroles semblent s'élaborer à partir de canons intonatifs préétablis. Par exemple, cette <a href="/node/9553" title="Attention au départ">annonce S ▶
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<p>Dans bien des cas, on perçoit clairement la manière dont la parole est sous-tendue (ou sous-entendue) par certains standards mélodiques plus ou moins bien assimilés. Le "bien dire" ou le "bien lire" auxquels ces paroles tendent à se conformer reposent sur une certaine idée de la variété et de la modulation. <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="5807b58d-12d6-42e1-99e5-5fc2181e6186" href="/node/9566">Ce sermon</a>, <a href="/node/9613">cette réponse d’interview</a>, <a href="/node/9708">ce récit</a>, visent à animer la scène ou l’énoncé pour les rendre plus attrayants ou plus vivants.</p>\r\n ◀<p>Dans bien des cas, on perçoit clairement la manière dont la parole est sous-tendue (ou sous-entendue) par certains standards mélodiques plus ou moins bien as ▶
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<p>En jouant de plusieurs hauteurs et de plusieurs voix, c’est contre la monotonie d’une parole "monocorde" que ces paroles travaillent (pour une parole monocorde mais passionnante, écouter <em><a href="/node/9409" title="Mon père">Mon père</a></em> de Charles Pennequin).</p>\r\n ◀<p>En jouant de plusieurs hauteurs et de plusieurs voix, c’est contre la monotonie d’une parole "monocorde" que ces paroles travaillent (pour une parole monocor ▶
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<p>Dans cet extrait du film de Jean-Marie Straub et Danièle Huillet, <a href="/node/9405"><em>En rachachant</em></a>, les hauteurs conventionnelles de la parole sont accentuées à outrance de manière à produire un dialogue étrange, sonnant "faux" tant il s'applique à réciter juste – définition peut-être du "rachacher". On pense aussi à ce reproche parfois adressé à certains acteurs de trop chanter le texte, de se raccrocher à une idée entendue aux dépens de ce qu’il dit.</p>\r\n ◀<p>Dans cet extrait du film de Jean-Marie Straub et Danièle Huillet, <a href="/node/9405"><em>En rachachant</em></a>, les hauteurs conventionnelles de la parole ▶
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<h4 class="inter-titre"><em>Sinusoïdes </em></h4>\r\n
\r\n
<p>Certains extraits de la collection présentent des mélodies remarquables dans la manière qu'elles ont de moduler leurs hauteurs de façon presque sinusoïdale. Cette manière caractérise des énoncés répétitifs dans lesquels le locuteur a soin, en variant les hauteurs, de singulariser chaque itération : c'est <a href="/node/10323">le cas de la météo marine\u{FEFF}</a>, de <a href="/node/9412">ce <em>tongue twister</em></a> ou <a href="/node/9474">de cette lecture de Gertrude Stein</a>. Dans le même ordre d’idée, accélérée et compressée à l’extrême, la mélodie très cadencée de <a href="/node/12245">ce commissaire-priseur</a>.</p>\r\n ◀<p>Certains extraits de la collection présentent des mélodies remarquables dans la manière qu'elles ont de moduler leurs hauteurs de façon presque sinusoïdale. ▶
\r\n
<p>C’est aussi souvent par l’usage ou par l’usure qu’une mélodie sinusoïdale finit par s’imposer, comme dans <a href="/node/10431">la petite musique de l'hôtesse de l’air</a>, identique en arabe et en français.</p>\r\n ◀<p>C’est aussi souvent par l’usage ou par l’usure qu’une mélodie sinusoïdale finit par s’imposer, comme dans <a href="/node/10431">la petite musique de l'hôtess ▶
\r\n
<p>Parfois, la répétition et le patron des modulations s'organisent autour d'une note finale fortement accentuée qui met en relief la dimension sérielle de l’énoncé : liste, énumération, argumentaire. Ce genre de mélodie introduit une cadence, comme on l'entend dans <a href="/node/9626" title="Elle fait toujours la belle">cet extrait d'un film d'Abdellatif Kechiche </a>ou <a href="/node/9628">ce cours de Vladimir Jankelevitch</a>.</p>\r\n ◀<p>Parfois, la répétition et le patron des modulations s'organisent autour d'une note finale fortement accentuée qui met en relief la dimension sérielle de l’én ▶
\r\n
<h4 class="inter-titre"><em>Mélodies accidentées </em></h4>\r\n
\r\n
<p>Alors que la parole standard module ses hauteurs sur quelques tons autour d’une fréquence de base, certaines paroles se distinguent à l’inverse par leur mélodie cahotique, "par sauts et gambades", comme typiquement celle de Vladimir Jankelevitch, dont on peut entendre ici <a href="/node/9704" title="L'obstacle qui passionne l'amour">un autre merveilleux extrait</a>. Ces cahots de la mélodie manifestent souvent un genre de trouble de la parole. <a href="/node/9801">Trouble physiologique</a> chez ce transsexuel sous traitement hormonal, ou plus largement, trouble ou affection d’une parole qui sous l’effet de l’émotion ou par souci d’en produire, déborde de son lit. </p>\r\n ◀<p>Alors que la parole standard module ses hauteurs sur quelques tons autour d’une fréquence de base, certaines paroles se distinguent à l’inverse par leur mélo ▶
\r\n
<p>Ainsi de la véhémence propre aux <a href="/node/9705">discours politiques</a>, au <a href="/node/9475" title="La question a été posée par nous">plaidoyer</a>, à <a href="/node/9686">la diatribe poétique</a> et dans un cas plus musical encore, au <a href="/node/10268" title="Gospel">prêche de Gospel</a> (écouter aussi <em><a href="/node/9706" title="C'est bizarre">C'est bizarre</a></em>). Ces mélodies « excentriques » participent de l’<em>emphase</em>, entendue comme une manière particulière de théâtraliser la parole. <a href="/node/10344">La déclamation de la tragédienne</a> est ainsi emportée par des vagues d'intonations lyriques, montantes et descendantes (écouter aussi <em><a href="/node/10240" title="Entre ici, Jean Moulin">Entre ici, Jean Moulin</a></em>). </p>\r\n ◀<p>Ainsi de la véhémence propre aux <a href="/node/9705">discours politiques</a>, au <a href="/node/9475" title="La question a été posée par nous">plaidoye ▶
\r\n
<p>Ces paroles aux mélodies chaotiques relèvent d’un régime qui excède les bornes normales de l’intonation, elles peuvent faire signe vers le règne pré-verbal des animaux ou des petits enfants. Ainsi chez <a href="/node/10425">ce vacher du Poitou</a> qui guide ses bêtes, ou chez <a href="/node/10426">cet imitateur de chants d’oiseau</a>. Ainsi du <a href="/node/10189" title="Le babil d'Orphée">babil du bébé</a> qui se donne à entendre à la fois comme expressif (les affects joyeux ou colériques de l'enfant), intentionnel (le babil est adressé, il escompte certains effets) et expérimental. L'enfant découvre et accorde son appareil phonatoire par une série de gammes intuitives qui lui permettent d'en mesurer la tessiture et d'apprendre à en moduler l'expressivité. On n’est pas loin de certaines démarches de compositeurs ou poètes du XXe siècle qui démontent et réinventent les modalités traditionnelles du chant et les formes usuelles de la parole, que ce soit <a data-entity-substitution="canonical" data-entity-type="node" data-entity-uuid="3cd07f26-4286-4129-b6fc-5f27046906a6" href="/node/10285" title="BBB (1918)">Raoul Hausmann</a> ou <a href="/node/9469" title="In Principio">Luciano Berio</a>. </p>\r\n ◀<p>Ces paroles aux mélodies chaotiques relèvent d’un régime qui excède les bornes normales de l’intonation, elles peuvent faire signe vers le règne pré-verbal d ▶
\r\n
<p>Souvent, le fait d’allonger certaines voyelles amène ces paroles au bord du chant comme dans <a href="/node/9380">cette cassette d’hypnose</a>, <a href="/node/9470">cette lecture d’un poème</a> par son auteur ou <a href="/node/9558">cette pièce de John Cage</a>.</p>\r\n ◀<p>Souvent, le fait d’allonger certaines voyelles amène ces paroles au bord du chant comme dans <a href="/node/9380">cette cassette d’hypnose</a>, <a href="/nod ▶
\r\n
<h4 class="inter-titre"><em>Devenir-chant</em></h4>\r\n
\r\n
<p>A l'extrémité de notre collection <em>Mélodies</em> sont certaines paroles dont les variations intonatives les emmènent à la lisière du chant. On est dans la zone mixte du chanté-parlé ou du parlé-chanté. <a href="/node/9649">Le chant lyrique</a> est ainsi une manière de jouer avec l'organisation tonale de la parole. Parfois le parler est comme une modalité résiduelle du chant (écouter <em><a href="/node/9707" title="C'est fini là il est fichu il est mort">C'est fini là il est fichu il est mort</a> </em>ou <em><a href="/node/9641" title="La bataille">La bataille</a></em>), parfois c'est la structure mélodique du chant qui rend possible l'articulation d'un message, comme dans <a href="/node/9389">cet enregistrement réalisé par un artiste brut</a>. Enfin, dans certaines énonciations singulières on peut entendre la manière dont se nouent rituellement l'intention de communiquer et l'autonomie esthétique du chant (écouter <em><a href="/node/9709" title="Mantra de la compassion">Mantra de la compassion</a></em>, <em><a href="/node/10289" title="L'enfant du Coran">L'enfant du Coran</a></em>, <a href="/node/9398">(Mh mh mh) yeh yeh eh</a>) : pour que la parole soit vraiment efficace comme telle, elle doit être chantée ; elle n’est parole précisément qu’en tant qu’elle est chant.</p>\r\n ◀<p>A l'extrémité de notre collection <em>Mélodies</em> sont certaines paroles dont les variations intonatives les emmènent à la lisière du chant. On est da ▶
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"changed" => Drupal\Core\Field\Entity\BaseFieldOverride {#1280 ▶
#entityTypeId: "base_field_override"
#enforceIsNew: null
#typedData: null
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0 => "url.site"
1 => "languages:language_interface"
]
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#uuid: "435b8bf3-cfa0-4eb6-a19b-ed5ef57e27a6"
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#dependencies: array:1 [▶
"config" => array:1 [▶
0 => "taxonomy.vocabulary.entrees"
]
]
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#id: "taxonomy_term.entrees.changed"
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#entity_type: "taxonomy_term"
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#default_value: []
#default_value_callback: ""
#fieldStorage: null
#itemDefinition: null
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#baseFieldDefinition: null
+original: ? Drupal\Core\Field\Entity\BaseFieldOverride
}
"default_langcode" => Drupal\Core\Field\BaseFieldDefinition {#1231 ▶
#definition: array:9 [▶
"label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1232 ▶
#string: "Default translation"
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"description" => Drupal\Core\StringTranslation\TranslatableMarkup {#1233 ▶
#string: "A flag indicating whether this is the default translation."
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}
"translatable" => true
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"default_value" => array:1 [▶
0 => array:1 [▶
"value" => true
]
]
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]
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#itemDefinition: Drupal\Core\Field\TypedData\FieldItemDataDefinition {#1234 ▶
#definition: array:2 [▶
"type" => "field_item:boolean"
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"on_label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1235 ▶
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}
"off_label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1236 ▶
#string: "Off"
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#options: []
#stringTranslation: null
}
]
]
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}
#type: "boolean"
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"revision_default" => Drupal\Core\Field\BaseFieldDefinition {#1237 ▶
#definition: array:10 [▶
"label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1238 ▶
#string: "Default revision"
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}
"description" => Drupal\Core\StringTranslation\TranslatableMarkup {#1239 ▶
#string: "A flag indicating whether this was a default revision when it was saved."
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#translatedMarkup: null
#options: []
#stringTranslation: null
}
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"translatable" => false
"revisionable" => true
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"bundle" => null
]
#typedDataManager: null
#itemDefinition: Drupal\Core\Field\TypedData\FieldItemDataDefinition {#1240 ▶
#definition: array:2 [▶
"type" => "field_item:boolean"
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"on_label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1241 ▶
#string: "On"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"off_label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1242 ▶
#string: "Off"
#arguments: []
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#options: []
#stringTranslation: null
}
]
]
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}
#type: "boolean"
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#schema: null
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}
"revision_translation_affected" => Drupal\Core\Field\BaseFieldDefinition {#1243 ▶
#definition: array:9 [▶
"label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1244 ▶
#string: "Revision translation affected"
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}
"description" => Drupal\Core\StringTranslation\TranslatableMarkup {#1245 ▶
#string: "Indicates if the last edit of a translation belongs to current revision."
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
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"translatable" => true
"provider" => "taxonomy"
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"bundle" => null
]
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#itemDefinition: Drupal\Core\Field\TypedData\FieldItemDataDefinition {#1246 ▶
#definition: array:2 [▶
"type" => "field_item:boolean"
"settings" => array:2 [▶
"on_label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1247 ▶
#string: "On"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"off_label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1248 ▶
#string: "Off"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
]
]
#typedDataManager: null
#fieldDefinition: Drupal\Core\Field\BaseFieldDefinition {#1243}
}
#type: "boolean"
#propertyDefinitions: null
#schema: null
#indexes: []
}
"metatag" => Drupal\Core\Field\BaseFieldDefinition {#1249 ▶
#definition: array:10 [▶
"label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1250 ▶
#string: "Metatags (Hidden field for JSON support)"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"description" => Drupal\Core\StringTranslation\TranslatableMarkup {#1251 ▶
#string: "The computed meta tags for the entity."
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"computed" => true
"translatable" => true
"read-only" => true
"entity_type" => "taxonomy_term"
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"provider" => "metatag"
"field_name" => "metatag"
"bundle" => null
]
#typedDataManager: null
#itemDefinition: Drupal\Core\Field\TypedData\FieldItemDataDefinition {#1252 ▶
#definition: array:2 [▶
"type" => "field_item:metatag_computed"
"settings" => []
]
#typedDataManager: null
#fieldDefinition: Drupal\Core\Field\BaseFieldDefinition {#1249}
}
#type: "metatag_computed"
#propertyDefinitions: null
#schema: null
#indexes: []
}
"path" => Drupal\Core\Field\Entity\BaseFieldOverride {#1281 ▶
#entityTypeId: "base_field_override"
#enforceIsNew: null
#typedData: null
#cacheContexts: array:2 [▶
0 => "url.site"
1 => "languages:language_interface"
]
#cacheTags: []
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#_serviceIds: []
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#uuid: "ad1042f1-dcec-47c3-8992-724bfb598beb"
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#langcode: "fr"
#third_party_settings: []
#_core: []
#trustedData: false
#dependencies: array:2 [▶
"config" => array:1 [▶
0 => "taxonomy.vocabulary.entrees"
]
"module" => array:1 [▶
0 => "path"
]
]
#isSyncing: false
#id: "taxonomy_term.entrees.path"
#field_name: "path"
#field_type: "path"
#entity_type: "taxonomy_term"
#bundle: "entrees"
#label: "Alias d'URL"
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#settings: []
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#translatable: false
#default_value: []
#default_value_callback: ""
#fieldStorage: null
#itemDefinition: null
#constraints: []
#propertyConstraints: []
#baseFieldDefinition: null
+original: ? Drupal\Core\Field\Entity\BaseFieldOverride
}
"content_translation_source" => Drupal\Core\Field\BaseFieldDefinition {#1256 ▶
#definition: array:10 [▶
"label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1257 ▶
#string: "Translation source"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"description" => Drupal\Core\StringTranslation\TranslatableMarkup {#1258 ▶
#string: "The source language from which this translation was created."
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"default_value" => array:1 [▶
0 => array:1 [▶
"value" => "und"
]
]
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0 => array:1 [▶
"value" => "und"
]
]
"revisionable" => true
"translatable" => true
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"entity_type" => "taxonomy_term"
"bundle" => null
]
#typedDataManager: null
#itemDefinition: Drupal\Core\Field\TypedData\FieldItemDataDefinition {#1259 ▶
#definition: array:2 [▶
"type" => "field_item:language"
"settings" => []
]
#typedDataManager: null
#fieldDefinition: Drupal\Core\Field\BaseFieldDefinition {#1256}
}
#type: "language"
#propertyDefinitions: null
#schema: null
#indexes: []
}
"content_translation_outdated" => Drupal\Core\Field\BaseFieldDefinition {#1260 ▶
#definition: array:10 [▶
"label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1261 ▶
#string: "Translation outdated"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"description" => Drupal\Core\StringTranslation\TranslatableMarkup {#1262 ▶
#string: "A boolean indicating whether this translation needs to be updated."
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"default_value" => array:1 [▶
0 => array:1 [▶
"value" => false
]
]
"initial_value" => array:1 [▶
0 => array:1 [▶
"value" => false
]
]
"revisionable" => true
"translatable" => true
"provider" => "content_translation"
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"entity_type" => "taxonomy_term"
"bundle" => null
]
#typedDataManager: null
#itemDefinition: Drupal\Core\Field\TypedData\FieldItemDataDefinition {#1263 ▶
#definition: array:2 [▶
"type" => "field_item:boolean"
"settings" => array:2 [▶
"on_label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1264 ▶
#string: "On"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"off_label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1265 ▶
#string: "Off"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
]
]
#typedDataManager: null
#fieldDefinition: Drupal\Core\Field\BaseFieldDefinition {#1260}
}
#type: "boolean"
#propertyDefinitions: null
#schema: null
#indexes: []
}
"content_translation_uid" => Drupal\Core\Field\BaseFieldDefinition {#1266 ▶
#definition: array:9 [▶
"label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1267 ▶
#string: "Translation author"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"description" => Drupal\Core\StringTranslation\TranslatableMarkup {#1268 ▶
#string: "The author of this translation."
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"revisionable" => true
"default_value_callback" => "Drupal\taxonomy\TermTranslationHandler::getDefaultOwnerId"
"translatable" => true
"provider" => "content_translation"
"field_name" => "content_translation_uid"
"entity_type" => "taxonomy_term"
"bundle" => null
]
#typedDataManager: null
#itemDefinition: Drupal\Core\Field\TypedData\FieldItemDataDefinition {#1269 ▶
#definition: array:2 [▶
"type" => "field_item:entity_reference"
"settings" => array:3 [▶
"target_type" => "user"
"handler" => "default"
"handler_settings" => []
]
]
#typedDataManager: null
#fieldDefinition: Drupal\Core\Field\BaseFieldDefinition {#1266}
}
#type: "entity_reference"
#propertyDefinitions: null
#schema: null
#indexes: []
}
"content_translation_created" => Drupal\Core\Field\BaseFieldDefinition {#1270 ▶
#definition: array:8 [▶
"label" => Drupal\Core\StringTranslation\TranslatableMarkup {#1271 ▶
#string: "Translation created time"
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"description" => Drupal\Core\StringTranslation\TranslatableMarkup {#1272 ▶
#string: "The Unix timestamp when the translation was created."
#arguments: []
#translatedMarkup: null
#options: []
#stringTranslation: null
}
"revisionable" => true
"translatable" => true
"provider" => "content_translation"
"field_name" => "content_translation_created"
"entity_type" => "taxonomy_term"
"bundle" => null
]
#typedDataManager: null
#itemDefinition: Drupal\Core\Field\TypedData\FieldItemDataDefinition {#1273 ▶
#definition: array:2 [▶
"type" => "field_item:created"
"settings" => []
]
#typedDataManager: null
#fieldDefinition: Drupal\Core\Field\BaseFieldDefinition {#1270}
}
#type: "created"
#propertyDefinitions: null
#schema: null
#indexes: []
}
"field_notice" => Drupal\field\Entity\FieldConfig {#1282 ▶
#entityTypeId: "field_config"
#enforceIsNew: null
#typedData: null
#cacheContexts: array:2 [▶
0 => "url.site"
1 => "languages:language_interface"
]
#cacheTags: []
#cacheMaxAge: -1
#_serviceIds: []
#_entityStorages: []
#originalId: "taxonomy_term.entrees.field_notice"
#status: true
#uuid: "1c4e5658-bc6e-4713-95c8-1f05a3b37dcb"
-isUninstalling: false
#langcode: "fr"
#third_party_settings: []
#_core: []
#trustedData: false
#dependencies: array:2 [▶
"config" => array:2 [▶
0 => "field.storage.taxonomy_term.field_notice"
1 => "taxonomy.vocabulary.entrees"
]
"module" => array:1 [▶
0 => "text"
]
]
#isSyncing: false
#id: "taxonomy_term.entrees.field_notice"
#field_name: "field_notice"
#field_type: "text_long"
#entity_type: "taxonomy_term"
#bundle: "entrees"
#label: "Notice"
#description: ""
#settings: []
#required: false
#translatable: true
#default_value: []
#default_value_callback: ""
#fieldStorage: null
#itemDefinition: null
#constraints: []
#propertyConstraints: []
#deleted: false
+original: ? Drupal\field\Entity\FieldConfig
}
"field_workflow" => Drupal\field\Entity\FieldConfig {#1283 ▶
#entityTypeId: "field_config"
#enforceIsNew: null
#typedData: null
#cacheContexts: array:2 [▶
0 => "url.site"
1 => "languages:language_interface"
]
#cacheTags: []
#cacheMaxAge: -1
#_serviceIds: []
#_entityStorages: []
#originalId: "taxonomy_term.entrees.field_workflow"
#status: true
#uuid: "e0dc8009-88cd-48a6-9333-ab4666478b8f"
-isUninstalling: false
#langcode: "fr"
#third_party_settings: []
#_core: []
#trustedData: false
#dependencies: array:2 [▶
"config" => array:2 [▶
0 => "field.storage.taxonomy_term.field_workflow"
1 => "taxonomy.vocabulary.entrees"
]
"module" => array:1 [▶
0 => "workflow"
]
]
#isSyncing: false
#id: "taxonomy_term.entrees.field_workflow"
#field_name: "field_workflow"
#field_type: "workflow"
#entity_type: "taxonomy_term"
#bundle: "entrees"
#label: "Workflow"
#description: ""
#settings: []
#required: true
#translatable: false
#default_value: array:1 [▶
0 => []
]
#default_value_callback: ""
#fieldStorage: null
#itemDefinition: null
#constraints: []
#propertyConstraints: []
#deleted: false
+original: ? Drupal\field\Entity\FieldConfig
}
"field_color" => Drupal\field\Entity\FieldConfig {#1284 ▶
#entityTypeId: "field_config"
#enforceIsNew: null
#typedData: null
#cacheContexts: array:2 [▶
0 => "url.site"
1 => "languages:language_interface"
]
#cacheTags: []
#cacheMaxAge: -1
#_serviceIds: []
#_entityStorages: []
#originalId: "taxonomy_term.entrees.field_color"
#status: true
#uuid: "185764a3-7cbf-4de2-a7b1-aafab3624b20"
-isUninstalling: false
#langcode: "fr"
#third_party_settings: []
#_core: []
#trustedData: false
#dependencies: array:2 [▶
"config" => array:2 [▶
0 => "field.storage.taxonomy_term.field_color"
1 => "taxonomy.vocabulary.entrees"
]
"module" => array:1 [▶
0 => "color_field"
]
]
#isSyncing: false
#id: "taxonomy_term.entrees.field_color"
#field_name: "field_color"
#field_type: "color_field_type"
#entity_type: "taxonomy_term"
#bundle: "entrees"
#label: "Color"
#description: ""
#settings: array:1 [▶
"opacity" => 0
]
#required: true
#translatable: false
#default_value: []
#default_value_callback: ""
#fieldStorage: null
#itemDefinition: null
#constraints: []
#propertyConstraints: []
#deleted: false
+original: ? Drupal\field\Entity\FieldConfig
}
]
#languages: array:4 [▶
"fr" => Drupal\Core\Language\Language {#1103 ▶
#name: "French"
#id: "fr"
#direction: "ltr"
#weight: 0
#locked: false
}
"en" => Drupal\Core\Language\Language {#1102 ▶
#name: "English"
#id: "en"
#direction: "ltr"
#weight: 1
#locked: false
}
"und" => Drupal\Core\Language\Language {#1104 ▶
#name: "Not specified"
#id: "und"
#direction: "ltr"
#weight: 2
#locked: true
}
"zxx" => Drupal\Core\Language\Language {#1098 ▶
#name: "Not applicable"
#id: "zxx"
#direction: "ltr"
#weight: 3
#locked: true
}
]
#langcodeKey: "langcode"
#defaultLangcodeKey: "default_langcode"
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#enforceDefaultTranslation: null
#defaultLangcode: "fr"
#translations: &28 array:2 [▶
"x-default" => array:2 [▶
"status" => 1
"entity" => Drupal\taxonomy\Entity\Term {#1095 ▶
#entityTypeId: "taxonomy_term"
#enforceIsNew: &2 null
#typedData: null
#cacheContexts: []
#cacheTags: []
#cacheMaxAge: -1
#_serviceIds: []
#_entityStorages: []
#values: &3 array:25 [▶]
#fields: &4 []
#fieldDefinitions: null
#languages: array:4 [▶
"fr" => Drupal\Core\Language\Language {#1103 ▶}
"en" => Drupal\Core\Language\Language {#1102 ▶}
"und" => Drupal\Core\Language\Language {#1104 ▶}
"zxx" => Drupal\Core\Language\Language {#1098 ▶}
]
#langcodeKey: "langcode"
#defaultLangcodeKey: "default_langcode"
#activeLangcode: "x-default"
#enforceDefaultTranslation: null
#defaultLangcode: "fr"
#translations: &28 array:2 […]
#translationInitialize: false
#newRevision: &29 false
#isDefaultRevision: &30 "1"
#entityKeys: &31 array:4 [▶
"bundle" => "entrees"
"id" => "130"
"revision" => "130"
"uuid" => "299674ab-437f-4318-af56-5ad706a11c62"
]
#translatableEntityKeys: &32 array:5 [▶
"label" => array:2 [▶
"en" => "Melody"
"x-default" => "Mélodies"
]
"langcode" => array:2 [▶
"x-default" => "fr"
"en" => "en"
]
"published" => array:2 [▶
"en" => "1"
"x-default" => "1"
]
"default_langcode" => array:2 [▶
"en" => "0"
"x-default" => "1"
]
"revision_translation_affected" => array:2 [▶
"en" => null
"x-default" => "1"
]
]
#validated: false
#validationRequired: false
#loadedRevisionId: &33 "130"
#revisionTranslationAffectedKey: "revision_translation_affected"
#enforceRevisionTranslationAffected: &34 []
#isSyncing: &35 false
}
]
"en" => array:2 [▶
"status" => 1
"entity" => Drupal\taxonomy\Entity\Term {#1100}
]
]
#translationInitialize: false
#newRevision: &29 false
#isDefaultRevision: &30 "1"
#entityKeys: &31 array:4 [▶]
#translatableEntityKeys: &32 array:5 [▶]
#validated: false
#validationRequired: false
#loadedRevisionId: &33 "130"
#revisionTranslationAffectedKey: "revision_translation_affected"
#enforceRevisionTranslationAffected: &34 []
#isSyncing: &35 false
}