Humour and Narrative Analysis of Game of Tones Narrative

I.

JES S I C A T AM

Introduction
For my final paper on spoken dialogue, I am interested in how humour and narrative intersect. I

investigate the following: How does humour intersect, align with, and affect narratives purposes? The data
of interest stems from an a cappella concert held by UBC students. I transcribed a scripted narrative spoken as
a monologue to a live audience. The concert narrative not only serves the function of telling a story that is
entertaining and relevant to the concert theme, Game of Thrones, but also logically supports and connects the
songs to the story, while still furthering the plot.
The data comprises of a script written by two twenty-one year old UBC students one pursues English
Literature, while the other, Animal Biology. The pair has previously collaborated on a script for an a cappella
concert. The title of this concert is Game of Tones, based on the Game of Thrones book and TV series. The
discourse features one speaker (who is one of the scripts writers) who acts as George R. R. Martin, author of
the Song of Ice & Fire (A Game of Thrones) book series. To the audience, George describes a story in which
multiple clans (i.e. singing groups) set out to capture the elusive Iron Tone, with the overarching theme: Choir
and blood may blanket the land, but our singers wont give up. After all, when you play the game of tones, you
sing or you die. The narrator has generally stuck to the prepared script.
From the audiences perspective, the narrative serves the function of enticing and amusing GoT
enthusiasts, while maintaining a general sense of humour and references so that even someone unfamiliar
with the franchise can easily follow the storyline. From the perspective of the narrator, narrative breaks up the
continuity of listening to people sing over and over again, giving the audience an opportunity to be engaged in
the concert by enjoying the delivered monologue. From the perspective of the performers, a narrative
provides important cues related to the concert setlist.
II.

Methods

Game of Tones Narrative 22 April 2015

Due to the unique nature of the narrative being divided into twelve segments, with performances
amid every narrative, I have analysed each text on an individual micro-level before observing the overall
narrative to mark for general patterns and findings.
Thus, I will begin the analysis with a Hymess SPEAKING grid, to orient readers towards this particular
and unique speech event. Following this, I will conduct a narrative analysis of the three underlying narratives,
identifying their narrative stages and marking one of the narratives specific language features. Then, I will
analyse a small corpus of text for features of appraisal, to understand how evaluative devices make humour
and narrative increasingly interpersonal. Finally, I will compile all instances of humour in the data and use this
analysis to more broadly identify reoccurring patterns and tools within humour and narrative throughout the
text.
(1.1)
(1.2)
1.1

Hymess Speaking Grid

Narrative Analysis

(1.3)
(1.4)

Appraisal Analysis
Humour Analysis

Hymess SPEAKING Grid of Game of Tones Narrative

setting
scene

The setting is the Norm Theatre, a theatre on the UBC Vancouver campus that houses
approximately 400 patrons. On stage, several singing microphones are set up. At stage left, there
is large lounge chair for the narrator to sit in, and a microphone propped on a stand adjacent to it.
All microphones are hooked up to an audio recording system. Three video cameras, located at the
back of the theatre, record video footage of the concert. The scene takes place on Sunday, April
12th 2015 at 8:00 PM, and features an a cappella concert called UBC A Cappella presents Game of
Tones ft. UBCO Beats. The concert lasts two hours in duration, including a fifteen-minute
intermission halving the show.

participant

The participants for this concert are the singers, the narrator, and the audience. The group of
approximately 100 singers are all UBC students, and belong to one of five different a cappella
groups: Undeclared Majors, Unaccompanied Minors, Fermata UBC, Choral Reef, and UBCO Beats.
These performers only address the audience in song. The narrator is the predominant speaker in
the concert and tells the audience a story. The narrator belongs to the Unaccompanied Minors,
and plays two roles as both the narrator and a singer. When he is the narrator, he dons a costume
likening him to George R. R. Martin and reads a narrative from a script. When he is a singer, he
stands and blends in with his singing group. The audience is the predominant receiver in the
concert. Performers families and friends make up the majority of the audience, and are seated
throughout the concert. The audience is expected to refrain from making verbal contributions to
the narrators narrative, despite being spoken to.

ends

The purpose of the concert is for performers to showcase music pieces they have arranged and
practiced since January, to their friends and family. The goal of the narrative is to provide
entertainment to the audience while providing cues to the performers regarding t he order of the

Game of Tones Narrative 22 April 2015

set list. The overall goal of the concert is for the performers and audience to enjoy the music. The
goal was satisfied in the outcome.
A

act sequence

The speech act is never directly identified during the concert itself. However, the authors have
referred to it as the (concert) script, but this is likely a direct reference to the physical script
itself. The speech act that actually takes place can be more accurately described as a narrative.
Each narrative is 10-45 seconds long, and is commonly preceded and followed by an a cappella
performance.

key

The predominant key follows the general conventions of storytelling, in which each speech act is
given in a formal and dramatic tone and manner, similar to how an author might present an
excerpt of their novel at a book reading. A secondary key used by the narrator uses casual tone
and manner used in an amicable conversation. A third key is used by the audience, in which they
react to the humour evident throughout the narrative; reactions are most commonly in the form
of collective laughs.

instrumentalities

All participants are physically present at the concert. The author of this paper conducted an audio
recording of the concert, and a recording company was hired to formally record the audio/video
of the concert. The videos will be shared publicly online after the company edits each video for
clarity and high quality.

norms of
interaction
and
interpretation

One stated norm is for all participants to arrive to the concert on time. The concert begins at 8:00
PM; all participants are expected to be seated/backstage by 7:50 PM. An unspoken norm is for all
on-stage performers to be silent unless performing, and to stand still unless performing deliberate
choreography. After the performers finish, they are expected to bow in unison and quietly exit the
stage. Throughout the show, the audience is expected to remain silent, with the exception of
reacting to the events in the concert. Such exceptions include applause and cheering after a
performance, and laughing at a joke during the narrative. A final norm is for the audience to stand
up and applaud at the end of the concert. This unspoken norm is called a standing ovation and
indicates the audiences high degree of satisfaction towards the performance.

genre

The dominant genre within the speech act is narrative. The narrator tells one story throughout the
length of the concert, but the story is perhaps better understood as twelve mini-narratives
composing a whole. Other present genres included salutations, synopsis, and joke telling.

1.2

Narrative Analysis of Game of Tones Narrative

Text 1.0

Game of Tones (Text 1.1-2.2)

The following data transcription began as a physical narration script, provided by the authors in written
form prior to the concert. During the concert, I recorded the narrative audio and used the script as a point of
reference during the transcription process. A significant element of the data that the initial script lacked is the
audiences unanticipated moves and reactions during the concert. The audience unintentionally provides
feedback to the agent giving the narrative, through silence, laughter, and clapping. Moreover, intonation from
the part of the narrator has been marked, as tone plays an integral role in humour and the construction of
highly dramatic narrative.

Game of Tones Narrative 22 April 2015

Key:

SYMBOL

MEANING

Emphasis
NV
()
==
[]
.
,
!
?
<>

UPPERCASE

Ma rks use of GoT, music, performance, narrative-related humour

Non-verbal element
Des cribes stage direction or non-verbal detail
Ma rks l atching
Si gnifies non-verbal turn
Ma rks falling intonation followed by a pause of ~1 s econd i n duration
Ma rks a silent beat in rhythm
Indicates rising volume
Indicates rising intonation
Ma rks overlapping speech by multiple speakers
Ma rks use of speaker quoting a nother speaker; change in voice quality
Ma rks emphatic speech

Participants:

Gordon (aged 22; acts as narrator George R. R. Martin: aged 66, author of A Song of Ice and Fire
that has been adapted into the widely popular HBO series Game of Thrones) and a live audience
of ~400 attendees

Context:

George R. R. Martin tells a dramatic story to the audience. In between each story
segment, an a cappella group sings music relevant to the story.

Text 1.1

Game of Tones: Executive Team

Turn
1a

Speaker
Text
Gordon (Voice booms from off stage, cutting into audience banter)
Previously on Game of Tones. Tyrion sedushes a seduces the local
ABSTRACT all groups
fishmonger! Lord Varys and Danaerys strike up an illicit romance!
Sean Bean hasnt died yet==
NV1
Audience
==[Small laughter]==
1b
Narrator
==Boobs! are seen==
NV2
Audience
==[Greater laughter]==
1c
Narrator
==Incest happens!
ORIENTATION group 1

Meanwhile little do the revellers in the Seven Kingdoms know, treble is

brewing beyond the Wall. Hordes of A Cappella singers with unclear
intentions, but very attractive faces, approach from the North. Dramatic cut
to theme song!
UBC A Cappella Executive Team sings Game of Thrones Theme Song

Text 1.2

Game of Tones: Choral Reef I

NV3

Audience

2a
3
4
NV3
5
NV4
6a

Narrator
Audience
Narrator
Audience
Narrator
Audience
Narrator

(Narrator walks onto stage, dressed as the author of the GoT book series.)
[Laughter]
(Narrator sits down, conspicuously clears his throat)
Good evening and welcome to UBC A Cappellas last show in the Norm Theatre
(member) Yay
Woo
[Laughter]==
==Im your host, George R. R.== Martin. (3 second pause)
==[Laughter]
(Reading) The journey from the North, was anything but easy for the wild
singers. For weeks and months they marched southward, in flight from the tone
deaf White Warblers, who had taken over their homeland, and outlawed

Game of Tones Narrative 22 April 2015

all music.
COMPLICATION group 1
But the South, the singers had heard, was a land of plenty. Where milk and
honey and pitch pipes flowed freely from the fountains on every street corner
They had been walking for so long, and their hope was starting to fade to a
(lowers voice) pianissimo.
NV5
Audience
<[Laughter]>
6b
Narrator
<They couldnt> remember the last time they had been warm. So they
comforted themselves, the only way they knew how. By singing, and
remembering
Choral Reef sings The Longest Time (Billy Joel), Nothing Suits Me Like a Suit (How I Met Your Mother)
Text 1.3

Game of Tones: Choral Reef II

7a
NV6
7b

Narrator
Audience
Narrator

When singing without clothing wasnt <enough>

<[Laughter]>==
==they sang longingly, that beautiful women, would be waiting for
them, in the warm south.

Choral Reef sings California Gurls (Katy Perry), Bella's Finals (Pitch Perfect)
Text 1.4

Game of Tones: Unaccompanied Minors

8a

Narrator

NV7
8b

Audience
Narrator

NV8

Audience

The singing really did help to pass the time. After what seemed like only four
songs, but was really, <seven months,>
<[Laughter]>
the singers finally spotted the great, icy Wall in the distance. Many basses had
perished from famine or, hypothermia, and the groups numbers had dwindled
greatly, as a result. But here they were, facing the great Wall at last. The Wall
that divided North from South, silence, from music, and death, from life. Little did
they know that up above, on the Wall, an entirely different drama was unfolding,
as bastard Nights Watchman Jon Snote wooed his lady love. Keygritte.
(effeminate voice) You know nothing, Jon Snote, if you think you can win me
with your dreamy eyes and luscious hair alone, she said.
(voice deepens) Why my love he replied, I will win your heart with
various love songs (2 second pause) unaccompanied, of course.
[Laughter]

(Unaccompanied Minors sings Can't Help Falling In Love (Elvis), Uptown Girl (Billy Joel),
If I Ain't Got You (Alicia Keys), Lean On Me/Put Your Records On (Bill Withers/Corinne Bailey Rae)

Text 1.5

Game of Tones: Undeclared Majors I

9a

Narrator

NV9
9b

Audience
Narrator

(effeminate voice) Oh Jon Snote, you dreamy Nights Watchman! Whered

you learn how to do THAT with your mouth?==
==[Laughter]==
==And vocal chords? Of course Ill lean on you! cried Keygritte, flinging
herself lustily at Jon.
Oh NO I didnt mean right here----AAAAAHHHHH! cried Jon, as the force of

Game of Tones Narrative 22 April 2015

10
11a
NV10
11b

Audience
Narrator

Keygrittes body sent the two lovers plummeting over the edge of the 700-foot
Wall.
(Narrators natural voice) Didnt see that cominhah!
(Resumes to narrator voice) They <died>
<[Laughter]>==
==hitting the ground with a great plop! that was loud enough to startle most of
the singers. By the Old Gods! exclaimed one of the singers. The Wall is
unguarded! You know what this means, friends! Wake up, and climb! Climb
like yo-yos!
Undeclared Majors sings Wake Me Up Before You Go Go (Wham!)

Text 1.6

Game of Tones: Undeclared Majors II

12
13a

Singer
Narrator

NV11
13b

Audience
Narrator

NV12

Audience

(hushed whisper) Gordon!

(3s pause) When the last singer made it over the wall, they all settled in for the
night at Castle, Black, Keys.
[Laughter]==
==As they huddled around the crackling fires of the great hall, one singer stood
up to tell a story. Listen well brothers, as I tell the tale of another journey, I
once took with my pen pal Bilbo Baggins, and several other
characters from a different fictional universe.
[Laughter]

Undeclared Majors sings Hobbits Medley, followed by a fifteen-minute intermission

Text 1.7

Game of Tones: Fermata UBC I

14

Narrator

The singers were coming,

ORIENTATION group 2
but meanwhile, at Sings Landing... boy king Joffrey was entertaining a
group of high-class women, all vying for his hand in marriage.
COMPLICATION group 2

(Joffrey voice) In the Game of Tones, you sing or you die ladies! Hahahahaha! he
snickered. His unsmiling mother looked on, glowering, as the ladies all did their best to
get the king to, settle down with them

Fermata UBC sings Settle Down (Kimbra), Try/Stronger (P!nk/Kelly Clarkson)

Text 1.8

Game of Tones: Fermata UBC II

15a

Narrator

NV13
15b

Audience
Narrator

(Joffrey voice) Well thats all very good, but none of you are rich enough for
me! whined Joffrey. Guards! Lock them up! Mommy how dare you bring these
upper middle class specimens in front of me?
<[Laughter]>
<As Joffrey> and his mother got into an increasingly high-pitched screaming
match, the guards escorted the ladies to the dungeon
Fermata UBC sings Pretty Hurts/Unpretty (Beyonc/TLC)

Text 1.9

Game of Tones: Fermata UBC III

16a

Narrator

NV14

Audience

In the dungeon, the ladies ended up forming a singing group that was
very popular among the other prisoners
<[Laughter]>

Game of Tones Narrative 22 April 2015

EVALUATION group 2
RESOLUTION

16b
Narrator
<However,> they languished, due to in part of the jailers,
who were too busy
dancing to the sweet sounds, of Olly Murs to feed their captives.

group 2

And they eventually died <from neglect>

NV15

Audience

<(sounds of dismay)>
Fermata UBC sings Wrapped Up (Olly Murs)

Text 2.0

Game of Tones: UBCO Beats I

ABSTRACT group 3
17a
Narrator

Meanwhile, somewhere south of Sings Landing, yet another group of

characters is being introduced!

ORIENTATION group 3
An extremely good-looking, and rowdy group of diplomats from the desert
university, of Okanagadorne==
NV16
Audience
==[Laughter]==
17b
Narrator
==Dornedorneokanagan==
NV17
Audience
==[Laughter]
17c
Narrator
was traveling to the city, to greet the new king, with definitely NO other
nefarious agendas in mind!
COMPLICATION group 3

When they hit the streets of Sings Landing, the diplomats, much to their
surprise, were greeted by hordes of lusty-eyed city folk! They were so good
looking, everybody fell in love with them!

UBCO Beats sings Nobody Love (Tori Kelly), Dont Matter (Akon), Uptown Funk (Bruno Mars)
Text 2.1

Game of Tones: Undeclared Majors III

EVALUATION entire narrative

18a
Narrator
NV18
18b

Audience
Narrator

NV19
NV20
NV21
18c

Audience
Narrator
Audience
Narrator

NV22
18d

Audience
Narrator

(Narrators natural voice) Some of you in the audience today may know that this
concert has also been adapted to a book series and TV series?
[Laughter]
Um, however, keeping the lives of so many different characters up to date
is hard, not to mention, you know, constantly checking for continuity errors. Its almost
as hard as trying to put together an a cappella concert!
[Slight laughter]
HaHAha==
==[Laughter]
So at this point in the narrative, our writers decided to take a five
year break==
==[Laughter]==
==um, so in the meantime, heres some music, well see how the TV writers,
deal with, continuing this, quality piece of writing.

Undeclared Majors sing My Heart With You (The Rescues), Lana Del Rey Medley
Text 2.2

Game of Tones: All Groups

Game of Tones Narrative 22 April 2015

Turn
19a

Speaker
Narrator

COMPLICATION group 1&3

NV23

Audience

Text
While the Dornekanaganer diplomats were getting their funk on with
Lana Del Rey in the streets of Sings Landing,
those darn northerners were approaching from the north! Remember
them? Their perfectly in tune army had reached Sings Landing and King
Joffrey had made up his mind, that (whiny voice) I dont wanna let them in!
They can DIE for all I care!
NOooooo! the Okanagadorners chorused in perfect harmony upon
hearing the Kings words. We will FIGHT to protect their right to enter the city and sing
in the streets! We will have CHOIR, and BLOOD!
[Laughter]

RESOLUTION group 1&3

19b
died.
Audience

NV24

Narrator

Sooo they all started fighting and stuff, and soon enough they all

[Laughter]==

CODA entire narrative

19c
NV25
19d

Narrator
Audience
Narrator

==In the Game of Tones, sometimes you sing AND die.

<[Laughter]>
<What> a topsy-turvy world we live in!
All groups sing Bohemian Rhapsody (Queen)

An initial approach to this discourse was to provide a complete narrative analysis of the whole text.
However, due to the complexity of the text, and its unique nature as micro stories forming a larger narrative,
the entire text appears to satisfy some elements of both a narrative and a recount. While the narrative
fulfilled the textbook definition of a narrative in its goals, it lacked a distinct and necessary Evaluation stage;
aligning its elements more similar to a recount.
Thus, to put narrative analysis to more appropriate use, I split the text into three separate narratives,
as the script follows three different singing groups. With this method, every narrative satisfied the necessary
stages while each fulfilling the purpose of narrative: to deal with unusual or problematic events and their
outcome (Eggins & Slade, p. 244). For sake of brevity, I have included one table analysing only one of the
three narratives in the data set. In particular, Table 1.2 focuses on the narrative featuring Group 1.
Table 1.2
STAGES

Semantic and lexico-grammatical realizations of the stages of Group 1, Text 1.0:

MOVES

LANGUAGE FEATURES

Game of Tones Narrative 22 April 2015

Abstract
Establishes the point of the text; signals
that a story is about to be told

1a-5

Synopsis provided, previously on Game of Tones

Yet information is unrelated to following narrative
Themes are introduced: Boobs are seen! Incest happens!

Orientation
Orients listeners to what is to follow in
terms of people actions, time and place

6a

Setting is introduced, Seven Kingdoms

Indicates behavioural situation, i.e. journey to the South
Introduces protagonists, hordes of a cappella singers
Signals third-person narration, Meanwhile little do the revellers in
the Seven Kingdoms know, treble is brewing

Complication
Temporally orders actions leading to a
crisis

6a-14

Protagonists are the theme

Events and mini-crises are temporally sequenced
Material processes, e.g. marked, settled, climbed

Evaluation
Evaluates or presents appraisal of crisis

10;
18a-18d

Suspends complications action with evaluation of entire narrative

and theme: (1) Using exclamative and emphatic language: Didnt
see that cominhah!; (2) Employing a confirmation check: Some of
you in the audience today may know that this concert has also
been adapted to a book series and TV series?; (3) Use of
exclamative: Its almost as hard as trying to put together an a
cappella concert!

Resolution
Actions resolve crisis

19b

Protagonists and antagonists resolve complication and plot by all

dying
Sequence of action processes in past tense they started fighting
they all died

Coda
Makes point about text as a whole
Returns text to present

19c-19d

Move 19c returns narrative to the present tense

Provides new perspective to overarching theme of narrative to add
dramatic effect, In the Game of Tones, sometimes you sing AND die
Comments on humanity as a whole, What a topsy-turvy world we
live in!

1.3

Appraisal Analysis of Games of Tones Narrative

Text 2.2

Game of Tones: All Groups

Humour provides a unique stance to understanding appraisal and alignment. Its high frequency and
light-hearted use in casual conversation mark it as a fundamentally social tool between interlocutors. What
makes a joke funny, what tacit knowledge and attitude is required to get a joke, and why is the majority of
humour lost after we explain the joke? Humour strategically marks varying degrees of in-ness and otherness
(those with/without access to understanding the humour), while enabling participants to negotiate attitudes
and alignments (Eggins & Slade, p. 155). Therefore, humour is inherently emotional as it elicits emotion from

Game of Tones Narrative 22 April 2015 10

both the speaker and the receiver. As such, appraisal is useful to understanding how an engaging narrative
colours its talk.

Table 1.3

Coding sheet for Appraisal in text 2.2 Game of Tones: All Groups

Turn/speaker

Lexical item

Appraised

Category

Subcategory

19a/Narrator

getting their funk on

diplomats

appreciation

reaction

darn

northerners

judgment

social sanction

perfectly in tune

army

appreciation

composition

wanna

I (King Joffrey)

appreciation

reaction

for all I care

they can die

affect

dissatisfaction

NOooooo

amplification

augment

chorused

Okanagadorners

appreciation

reaction

in perfect harmony

chorused

appreciation

composition

19b/Narrator

and stuff

fighting

amplification

mitigate

19c/Narrator

sometimes

sing and die

amplification

mitigate

AND

amplification

augment

topsy-turvy

world

appreciation

reaction

20d

Game of Tones Narrative 22 April 2015 11

Table 1.4

Summary of Appraisal in text 2.2 Game of Tones: All Groups

Narrator
Total appraisal items 12
Total causes 16
Appreciation
Reaction
Composition
Valuation
total

4
2
-6

Affect
un/happiness
in/security
dis/satisf/n
total

--1
1

Judgment
social sanction 1
social esteem -total 1
Amplification
enrich
augment
mitigate
total

1.4

-2
2
4

Humour Analysis
The field of humour within discourse currently lacks a unified approach to analysis. However, this

provides an opportunity to analyse humour in an approach most conducive to that particular text. Due to the
fragmented nature of the text, I have elected to micro-analyse each segment of humour, using context from
various references (Game of Thrones knowledge, music knowledge, narrative knowledge) to extrapolate the
humour from each instance. It may be necessary for the reader to use the data transcription for reference in
understanding the following Humour analysis.
III.

Discussion

Game of Tones Narrative 22 April 2015 12

Consequently, each mode of analysis has provided a dimension to the narrative-humour relation.
The first analysis, Hymess SPEAKING grid, is most helpful to explaining the unique s ituation of narrative as
presented on stage, but fails to discretely address the importance humour plays in the narrative genre.
The second analysis, Narrative Analysis, notably reveals the three narratives underlying a much larger
narrative, but again, fails to demonstrate humours role in constructing the narrative itself. Unlike a narrative
stage, humour lacks a distinct space in the narrative in which it explicitly thrives. Rather, instances of humour
are interspersed throughout the entire monologue.
Thus, the third analysis, Appraisal, significantly ameliorates this situation. The Narrator is the sole
speaker in this text, rendering a relative diagrammatic summary not possible. However, comparing the
narrators results to the examples in the textbook provides some insight. In Eggins & Slade, Table 4.7 outlines
a summary of appraisal in text 4.1: Mates. Between the narrator and the five speakers in text 4.1, the
narrators use of Appraisal resources (total appraisal items vs. total clauses) is proportio nally greater than any
other speaker, at 75% (12/16) Appraisal density compared to that of Keith, who has the second highest
Appraisal density of 53% (9/17). Comparing text 4.1s genre of casual lunch break conversation to that of text
1.0, a monologue narrative delivered on stage, it is unsurprising that the narrators speech is abundant with
Appraisal features.
In a casual conversation, descriptive language, which often bears attitudinal lexis, is helpful to orienting
receivers in a particular setting and scene, but is difficult to execute in spontaneous speech. In contrast, text
1.0 features a carefully composed script that aims to be as entertaining as possible. The authors have the
motivation and the means (i.e. time) to deliberate upon and obsess over every lexical item and what kind of
attitude and humourous effect each item may convey. Thus, as expected, the Game of Tones text has a
significantly higher density of Appraisal resources in relation to its overall clauses.
Appreciation dominates appraisal use at 50% (6/12) of all the lexical items, followed by Amplification at
33% (4/12). Judgment and Affect each make up 8% (1/12) of the remaining lexical items. The narrators

Game of Tones Narrative 22 April 2015 13

appraisals are principally of Appreciation and Amplification, which align with his concerns for the script. The
narrator uses these Appraisal resources to colour his descriptions and augment his expressions to a hyperbolic
nature, to better serve his craft and entertain the audience. The lack of Judgment is representative of the
narrators focus on the narrative, rather than the attitude of the audience.
Furthermore, the lack of Affect mirrors the lack of substantial Evaluation (Narrative Stage) in the
narrative. The speaker is more invested in the characters actions, than their emotional states. Instead of using
Appraisal resources to explicitly describe emotional states, the narrator conveys these emotions with
Appreciation and a change in tone. For example, the narrator chooses the lexical item snickered and
employs a whiny voice in this line by King Joffrey: In the Game of Tones, you sing or you die ladies!
Hahahahaha! he snickered.
While the narrators story provides entertainment for the audience, it is also a means of confirming the
narrators/George R. R. Martins status as a young/elderly male whose experiences are considered worth
sharing. The narrator both expects and accepts that his audience will support him through affirmative laughter
as he tells his story. More importantly, despite the monologue setting of the narrative, there is still evidence of
spoken/non-verbal dialogue; thus bringing the audiences own individual member and collective identity into
negotiation. The audience most commonly uses laughter in response to the narrators most humourous turns,
to encourage the narrator to continue speaking. While laugher is a reaction, an instance of someone else
initiating the laughter encourages the rest of the audience to join in the interpersonal experience. Through his
own laughter, the narrator signals to the audience with an attitude of how they should evaluate his story, and
the audiences laughter confirms the narrators role as entertainer.
In one instance in the data, the narrator welcomes the audience to UBC A Cappellas last concert in
the Norm Theatre, as the current theatre will be demolished following the construction of the new SUB
building. Following this statement, an audience member uttered an audible yet non-emphatic yay, to which
the narrator replied with a similarly monotonic woo. The narrators initial statement is neutral, and the

Game of Tones Narrative 22 April 2015 14

audience member offers their own attitudinal lexis using a non-verbal cue of yay, which regularly marks
excitement, but with neutral intonation and generally emotionless tone. A combination of this particular lexis,
alongside the marked intonation, suggest the audience members sense of apathy towards the closing of the
Norm, or perhaps dual approval and disproval, interest and disinterest. The narrator appears to align himself
to whatever emotion/lack of emotion he perceives the audience member to feel, by mimicking their utterance
with a similar lexical item (woo also commonly marks excitement) and flat intonation.
The final mode of analysis, Humour, was approached in such a way to carry much of the mi cro
discussion within the table itself. However, I would like to follow this micro-analysis with a broader analysis to
identify common patterns of humour throughout the data set.
My initial observation of the data set is that the audience commonly overlaps over the narrators
monologue with laughter. In the social norms of North American concerts, overlapping is not considered rude,
as the audience cannot help but react to the hosts narration, particularly the humourous instances. In fact,
this is considered a compliment to the narrator, and encourages him to pursue the telling of his story. This
pattern of overlapping follows with the host habitually cutting off (or latching from) the audiences laughter to
further the narrative. This is not only a natural tendency for the dominant speaker to reclaim the
conversation, but is also practical; the concert is already a lengthy two hours in length and the narrative is
thus, time-sensitive:
16a

Narrator

NV14
16b

Audience
Host

NV15

Audience

In the dungeon, the ladies ended up forming a singing group that was
very popular among the other prisoners
<[Laughter]>
<However,> they languished, due to in part of the jailers, who were too
busy dancing to the sweet sounds, of Olly Murs to feed their captives.
And they eventually died <from neglect>
<(sounds of dismay)>

Another observation is how the narrator emphasizes his intentional jokes through two tools:
intonations and timing. The narrator commonly raises his voice during the punch line, s o that the most
significant element of the joke is easily heard and received by the audience:

Game of Tones Narrative 22 April 2015 15

19a

Host

We will have CHOIR, and BLOOD!

The narrator makes a pun, taking the well known Game of Thrones phrase Fire and Blood, and rewriting it
with a musical theme, Choir and Blood. With this pun in mind, the narrator delivers the joke with emphasis
on the changed word.
The narrator also deliberately pauses for a second or two before delivering the punch line, so that the
audience accessibly acknowledges it:
8b

Narrator

Little did they know that up above, on the Wall, an entirely different
drama was unfolding, as bastard Nights Watchman Jon Snote wooed his
lady love. Keygritte. Why my love he replied, I will win your heart
with various love songs (2 second pause) unaccompanied, of course.

In this example, the narrator pauses before uttering Keygritte, a music-related pun on the Game of Thrones
character, Ygritte. Later in the turn, the narrator pauses for two full seconds before uttering
unaccompanied, a reference to the a cappella group that will be singing following the monologue, whose
name is the Unaccompanied Minors.
Following the initial Humour Analysis, I have noted several categories of humour used in the data set.
In general, all of the jokes rely on the audience bearing some pre-existing knowledge set to understand. This
knowledge can be further broken down into Game of Thrones knowledge, music terminology knowledge,
performance knowledge, and narrative knowledge. The first two categories are explicit in that they require
some basic experience with and knowledge of the Game of Thrones franchise and music, while the last two
categories rely on knowledge that can be gained by reading the concert program handed out to each patron.
The joke, Sean Bean hasnt died yet relies on the Game of Thrones knowledge that Sean Bean is an
actor who played Eddard Stark, a now-deceased character in the series. Moreover, the audience must also
know that this actor is notorious for his numerous on-screen deaths in various television and film work.
The joke, Their hope was starting to fade to a pianissimo relies on the music terminology knowledge
that pianissimo is an Italian music term for very quiet. The joke consequently assumes that the audience will
be able to metaphorically relate the term as a lack of noise for a lack of hope.

Game of Tones Narrative 22 April 2015 16

The performance and narrative-related jokes do not garner as much laughter in the monologue, but
are necessary to constructing a functional narrative that connects each group of songs and people together.
For instance, the joke, Of course Ill lean on you! relays the audience to the song that was very recently
sung, Lean On Me. In another instance, the joke, Climb like yo-yos! prefaces a group singing Whams
Wake Me Up Before You Go Go, in which yo-yos are likened to Go Go in the title, as they both rhyme.
The narrative-related humour is arguably the most interesting of the four categories, because this is
where narrative and humour truly intersect. This category of jokes is specific to humour that serves the
predominant function of spurring the plot forward, while making light of the narrative scenario. In several
separate instances, the narrator breaks the fourth-wall to align himself with the audience as another audience
member. Following the abrupt death of Jon Snote and Keygritte, the narrator uses his normal voice (i.e. not his
narration voice) to make the following remark: Didnt see that comin!, momentarily acting as another
spectator and receiver of the narrative. This temporary transformation from narrator into audience member is
used to recognized the perceived sharp turn of events, from the audiences perspective. This allows the
narrator to align his attitudes with that of the audience, creating an interpersonal relation despite having a
generally unidirectional discourse. In another example, Dornedorneokanagan, the narrator deliberately
stumbles upon a word he himself fabricated. This allows the narrator to not only poke fun at the names
complexity, but at the deliberate idiocy of the part of himself for fabricated such a convoluted name.
Another tool used to elicit humour is setting up dichotomies and assigning positive and negative
connotations to each side. In the concert, the musically-gifted characters are the protagonists, while the antimusic, tone-deaf characters are the antagonists.
In one instance, the diplomats, viewed neutrally throughout the narrative, are made protagonists after
being bestowed musical qualities. Towards the end of the Complication, prior to the Resolution, the narrative
describes how the diplomats from Okanagadorne have gotten funky with singer Lana Del Rey. Upon learning
that King Joffrey forbids the Northern singers from entering Sings Landing, the diplomats protest in perfect

Game of Tones Narrative 22 April 2015 17

harmony and then utter a music-related pun, We will have choir and blood! These musical references
consequently align the diplomats solidarity with the Northern singers, and provide a logical reasoning for
their alignment.

IV.

Conclusion
Narrative provides means of entertainment, enacts social identities, and develops interpersonal

relationships. Through a Narrative, Appraisal, and Humour analysis, it is evident that humour plays a key role
in supporting and forming these narrative functions.