The authors here promote the reintroduction of temporality into the description and analysis of spoken interaction. They argue that spoken words are, in fact, temporal objects and that unless linguists consider how they are delivered within the context of time, they will not capture the full meaning of situated language use. Their approach is rigorously empirical, with analyses of English, German, and Italian rhythm, all grounded in sequences of actual talk-in-interaction.

Rhythm is key to language acquisition. Across languages, rhythmic features highlight fundamental linguistic elements of the sound stream and structural relations among them. A sensitivity to rhythmic features, which begins in utero, is evident at birth. What is less clear is whether rhythm supports infants' earliest links between language and cognition. Prior evidence has documented that for infants as young as 3 and 4 months, listening to their native language supports the core cognitive capacity of object (...) categorization. This precocious link is initially part of a broader template: listening to a non-native language from the same rhythmic class as and to vocalizations of non-human primates provide English-acquiring infants the same cognitive advantage as does listening to their native language. Here, we implement a machine-learning approach to ask whether there are acoustic properties, available on the surface of these vocalizations, that permit infants' to identify which vocalizations are candidate links to cognition. We provided the model with a robust sample of vocalizations that, from the vantage point of English-acquiring 4-month-olds, either support object categorization or fail to do so. We assess whether supervised ML classification models can distinguish those vocalizations that support cognition from those that do not, and which class of acoustic features best support that classification. Our analysis reveals that principal components derived from rhythm-relevant acoustic features were among the most robust in supporting the classification. Classifications performed using temporal envelope components were also robust. These new findings provide in principle evidence that infants' earliest links between vocalizations and cognition may be subserved by their perceptual sensitivity to rhythmic and spectral elements available on the surface of these vocalizations, and that these may guide infants' identification of candidate links to cognition. (shrink)

We investigated the perception of developmental changes in timing patterns that happen in the course of second language (L2) acquisition, provided that the native and the target languages of the learner are rhythmically similar (German and English). It was found that speech rhythm in L2 English produced by German learners becomes increasingly stress-timed as acquisition progresses. This development is captured by the tempo-normalized rhythm measures of durational variability. Advanced learners also deliver speech at a faster rate. However, when (...) native speakers have to classify the timing patterns characteristic of L2 English of German learners at different proficiency levels, they attend to speech rate cues and ignore the differences in speech rhythm. (shrink)

The available evidence indicates that the music of a culture reflects the speech rhythm of the prevailing language. The normalized pairwise variability index (nPVI) is a measure of durational contrast between successive events that can be applied to vowels in speech and to notes in music. Music–language parallels may have implications for the acquisition of language and music, but it is unclear whether native-language rhythms are reflected in children's songs. In general, children's songs exhibit greater rhythmic (...) regularity than adults' songs, in line with their caregiving goals and frequent coordination with rhythmic movement. Accordingly, one might expect lower nPVI values (i.e., lower variability) for such songs regardless of culture. In addition to their caregiving goals, children's songs may serve an intuitive didactic function by modeling culturally relevant content and structure for music and language. One might therefore expect pronounced rhythmic parallels between children's songs and language of origin. To evaluate these predictions, we analyzed a corpus of 269 English and French songs from folk and children's music anthologies. As in prior work, nPVI values were significantly higher for English than for French children's songs. For folk songs (i.e., songs not for children), the difference in nPVI for English and French songs was small and in the expected direction but non-significant. We subsequently collected ratings from American and French monolingual and bilingual adults, who rated their familiarity with each song, how much they liked it, and whether or not they thought it was a children's song. Listeners gave higher familiarity and liking ratings to songs from their own culture, and they gave higher familiarity and preference ratings to children's songs than to other songs. Although higher child-directedness ratings were given to children's than to folk songs, French listeners drove this effect, and their ratings were uniquely predicted by nPVI. Together, these findings suggest that language-based rhythmic structures are evident in children's songs, and that listeners expect exaggerated language-based rhythms in children's songs. The implications of these findings for enculturation processes and for the acquisition of music and language are discussed. (shrink)

Language has been argued to arise, both ontogenetically and phylogenetically, from specific patterns of brain wiring. We argue that it can further be shown that core features of language processing emerge from particular phasal and cross-frequency coupling properties of neural oscillations; what has been referred to as the language ‘oscillome’. It is expected that basic aspects of the language oscillome result from genetic guidance, what we will here call the language ‘oscillogenome’, for which we will (...) put forward a list of candidate genes. We have considered genes for altered brain rhythmicity in conditions involving language deficits: autism spectrum disorders, schizophrenia, specific language impairment and dyslexia. These selected genes map on to aspects of brain function, particularly on to neurotransmitter function. We stress that caution should be adopted in the construction of any oscillogenome, given the range of potential roles particular localized frequency bands have in cognition. Our aim is to propose a set of genome-to-language linking hypotheses that, given testing, would grant explanatory power to brain rhythms with respect to language processing and evolution. (shrink)

Most commentators have underplayed the philosophical importance of Wittgenstein's multifarious remarks on music, which are scattered throughout his Nachlass. In this dissertation I spell out the extent and depth of Wittgenstein's engagement with certain problems that are regarded today as central to the field of the aesthetics of music, such as musical temporality, expression and understanding. By considering musical expression in its relation to aspect-perception, I argue that Wittgenstein understands music in terms of a highly evolved, vertically complex physiognomic (...) class='Hi'>language-game, in which fine shades of behavior are logically (semantically) connected with the musical experiences themselves. A musical passage conjoins the multifarious language games that are presupposed in it and the emerging gesture that ultimately insinuates itself into our life. Wittgenstein conceives music as a mode of expression, a path leading from the world of our thoughts and feelings, which in itself is not yet music, toward a gesture which is no longer music, but which belongs to the world of thoughts and feelings. A melody can be located at this crossroads of music, language and the world, and is understood in reciprocal action with language. Musical gesture insinuates itself into our life, for, like a human face, it speaks of and reflects our "knowledge of mankind," and it is ultimately understood only against the background of "the bustle of life," as Wittgenstein calls it. I also argue that Wittgenstein's discussion of musical understanding suggests an important model, albeit not an exclusive one, for understanding language. The musicality of language points first and foremost at the way we use words in the vertically complex language game of expression, and at the intransitive understanding that goes with it. Throughout the dissertation I address a number of unique topics that have rarely, if ever, been investigated in this context. These include inter alia Wittgenstein's 1912-1913 experiments on the perception of rhythm, Oswald Spengler's influence on Wittgenstein's remarks on music, Wittgenstein's reaction to Heinrich Schenker's view of music, and the complex, elusive relation between Wittgenstein's later philosophical views and Arnold Schoenberg's dodecaphonic music. (shrink)

Dramatization has been conceived by some Deleuze scholars as ‘dramatizing’ the mode of existence of a subject. This paper argues, on the contrary, dramatization involves the very creation of a viewpoint on the world. The ethical significance of dramatization is not the ability to ‘evaluate’ certain subjective modes of existence, but to produce ways of unfolding the world in which we do not ‘imprison’ others and in which multiple perspectives are allowed to unfold. Love is incapable of such a truly (...) ethical comportment, because the lover is always thrown back onto their own world, trapped within subjectivity, unable to see from two viewpoints at once. A world is most precisely a set of signs, a set of relationships between ‘things’ and ‘meanings’ ; therefore, in order to produce more ‘ethical’ worlds, worlds in which we do not ‘explicate’ or imprison ourselves and others too much, we must turn to art. Art is precisely a ‘unity’ in which multiple perspectives are allowed to unfold at their own rhythm. Language perfects this insofar as the creation of new modes of grammatical relation in writing is nothing more than the unification of a multiplicity of relationships between meaning and things. (shrink)

Temporality underpins how living systems coordinate and function. Unlike measures that use mathematical conventions, lived temporalities grant functional cohesion to organisms-in-the-world. In foxtail grasses, for example, self-maintenance meshes endogenous processes with exogenous rhythms. In embrained animals, temporalities can contribute to learning. And cowbirds coordinate in a soundscape that includes conspecifics: social learning allows them to connect copulating with past events such that females exert ‘long-distance’ control over male singing. Using Howard Pattee’s work, we compare the foxtail’s self-maintenance, gender-based cowbird learning (...) and how humans manage multi-scalar activity. We argue that, while all living things coordinate, temporal ranging is typical of vertebrates. As primates, humans too use temporal ranging – they can draw on social learning, anticipate winter and manage coordinated action. However language behaviour grants new control over the scales of time. People connect the impersonal to lived experience in narratives, as they draw on autobiography and enact cultural practices. Humans become singular individuals who use temporal experience to manage affect, relationships, beliefs, fictions, and knowledge. Individual subjectivity permits collaborative and competitive activity based on linking events with quite different histories. As a result, alone of the vertebrates, we claim that humans become time-rangers. (shrink)

Culture can be said to be about the business of 'self-replication'. From the moment of conception, it impresses its patterns and rhythms on the developing, infinitely plastic neuronal substrate of the fetal organism. It shapes this substrate to become preferentially sensitive to its patterns and thus to seek to replicate them as an adult. This process of neural shaping continues throughout life as the capacity of the brain to reorganize itself according to the uses to which it addresses itself never (...) ceases. The extraordinary capacity of culture to extract different abilities from the biological form is clearly manifest in the lexical, vocal, tool manufacture, and writing capabilities emerging in bonobos raised in a Pan/Homo culture. These findings render moot old questions regarding the innate limits of the ape brain. They raise instead far more productive questions about the form and function of the perpetual dance that is constantly taking place between plastic neuronal systems and their external culturally devised ways of being. (shrink)

First published in 1959, this original study argues that the main characteristic of music is that it expresses and evokes emotion, and that all composers whose music has a tonal basis have used the same, or closely similar, melodic phrases, harmonies, and rhythms to affect the listener in the same ways. He supports this view with hundreds of musical examples, ranging from plainsong to Stravinsky, and contends that music is a language in the specific sense that we can identify (...) idioms and draw up a list of meanings. The book's final section analyzes two symphonies, Mozart's Fortieth and Vaughan Williams's Sixth, to explore the nature of musical inspiration and the process whereby the notes actually convey emotion from composer to listener. (shrink)

How can imitation lead to free musical expression? This article explores the role of auditory imitation in jazz. Even though many renowned jazz musicians have assessed the method of imitating recorded music, no systematic study has hitherto explored how the method prepares for aural jazz improvisation. The article picks up an assumption presented by Berliner (1994), suggesting that learning jazz by aural imitation is “just like” learning a mother tongue. The article studies three potential stages in the method, comparing with (...) imitative, rhythmic, multimodal, and protosymbolic behavior of infant perception (building on the works of Stern, Trevarthen, and Merleau-Ponty). The demonstrations of the aural-imitation method draw on pedagogic experiences accumulated since 1979 in the Jazz Program at the Norwegian University of Science and Technology. By analyzing structures of behavior suggested by the method, the article indicates key traits that render aural jazz improvisation possible, such as a fundamental sense of rhythm, formation of symbolic behavior, joint musical attention, and the facility to “hear via the other.” In conclusion, we critically address a frequent theoretical model describing musical improvisation as a synthesis of discrete elements or building blocks. (shrink)

The interdisciplinary spring school “Language, music, and cognition: Organizing events in time” was held from February 26 to March 2, 2018 at the Institute of Musicology of the University of Cologne. Language, speech, and music as events in time were explored from different perspectives including evolutionary biology, social cognition, developmental psychology, cognitive neuroscience of speech, language, and communication, as well as computational and biological approaches to language and music. There were 10 lectures, 4 workshops, and 1 (...) student poster session. Overall, the spring school investigated language and music as neurocognitive systems and focused on a mechanistic approach exploring the neural substrates underlying musical, linguistic, social, and emotional processes and behaviors. In particular, researchers approached questions concerning cognitive processes, computational procedures, and neural mechanisms underlying the temporal organization of language and music, mainly from two perspectives: one was concerned with syntax or structural representations of language and music as neurocognitive systems (i.e., an intrapersonal perspective), while the other emphasized social interaction and emotions in their communicative function (i.e., an interpersonal perspective). The spring school not only acted as a platform for knowledge transfer and exchange but also generated a number of important research questions as challenges for future investigations. (shrink)

Temporal regularities in speech, such as interdependencies in the timing of speech events, are thought to scaffold early acquisition of the building blocks in speech. By providing on-line clues to the location and duration of upcoming syllables, temporal structure may aid segmentation and clustering of continuous speech into separable units. This hypothesis tacitly assumes that learners exploit predictability in the temporal structure of speech. Existing measures of speech timing tend to focus on first-order regularities among adjacent units, and are overly (...) sensitive to idiosyncrasies in the data they describe. Here, we compare several statistical methods on a sample of 18 languages, testing whether syllable occurrence is predictable over time. Rather than looking for differences between languages, we aim to find across languages (using clearly defined acoustic, rather than orthographic, measures), temporal predictability in the speech signal which could be exploited by a language learner. First, we analyse distributional regularities using two novel techniques: a Bayesian ideal learner analysis, and a simple distributional measure. Second, we model higher-order temporal structure—regularities arising in an ordered series of syllable timings—testing the hypothesis that non-adjacent temporal structures may explain the gap between subjectively-perceived temporal regularities, and the absence of universally-accepted lower-order objective measures. Together, our analyses provide limited evidence for predictability at different time scales, though higher-order predictability is difficult to reliably infer. We conclude that temporal predictability in speech may well arise from a combination of individually weak perceptual cues at multiple structural levels, but is challenging to pinpoint. (shrink)

The relationship between musical and linguistic skills has received particular attention in infants and school-aged children. However, very little is known about pre-schoolers. This leaves a gap in our understanding of the concurrent development of these skills during development. Moreover, attention has been focused on the effects of formal musical training, while neglecting the influence of informal musical activities at home. To address these gaps, in Study 1, 3- and 4-year-old children ( n = 40) performed novel musical tasks (perception (...) and production) adapted for young children in order to examine the link between musical skills and the development of key language capacities, namely grammar and phonological awareness. In Study 2, we investigated the influence of informal musical experience at home on musical and linguistic skills of young pre-schoolers, using the same evaluation tools. We found systematic associations between distinct musical and linguistic skills. Rhythm perception and production were the best predictors of phonological awareness, while melody perception was the best predictor of grammar acquisition, a novel association not previously observed in developmental research. These associations could not be explained by variability in general cognitive functioning, such as verbal memory and non-verbal abilities. Thus, selective music-related auditory and motor skills are likely to underpin different aspects of language development and can be dissociated in pre-schoolers. We also found that informal musical experience at home contributes to the development of grammar. An effect of musical skills on both phonological awareness and language grammar is mediated by home musical experience. These findings pave the way for the development of dedicated musical activities for pre-schoolers to support specific areas of language development. (shrink)

Research on language evolution is an established subject area yet permeated by terminological controversies about which topics should be considered pertinent to the field and which not. By consequence, scholars focusing on language evolution struggle in providing precise demarcations of the discipline, where even the very central notions of evolution and language are elusive. We aimed at providing a data-driven characterisation of language evolution as a field of research by relying on quantitative analysis of data drawn (...) from 697 reviews on 255 submissions from the Joint Conference on Language Evolution 2022 (Kanazawa, Japan). Our results delineate a field characterized by a core of main research topics such as iconicity, sign language, multimodality. Despite being explored within the framework of language evolution research, only very recently these topics became popular in linguistics. As a result, language evolution has the potential to emerge as a forefront of linguistic research, bringing innovation to the study of language. We also see the emergence of more recent topics like rhythm, music, and vocal learning. Furthermore, the community identifies cognitive science, primatology, archaeology, palaeoanthropology, and genetics as key areas, encouraging empirical rather than theoretical work. With new themes, models, and methodologies emerging, our results depict an intrinsically multidisciplinary and evolving research field, likely adapting as language itself. (shrink)

Language- and music-readiness are demonstrated as related within comparative neuroprimatology by elaborating three hypotheses concerning music-readiness (MR): The (musicological) rhythm-first hypothesis (MR-1), the combinatoriality hypothesis (MR-2), and the socio-affect-cohesion hypothesis (MR-3). MR-1 states that rhythm precedes evolutionarily melody and tonality. MR-2 states that complex imitation and fractionation within the expanding spiral of the mirror system/complex imitation hypothesis (MS/CIH) lead to the combinatorial capacities of rhythm necessary for building up a musical lexicon and complex structures; and rhythm, in connection with (...) repetition and variation, scaffolds both musical form and content. MR-3 states that music’s main evolutionary function is to self-induce affective states in individuals to cope with distress; rhythm, in particular isochrony, provides a temporal framework to support movement synchronization, inducing shared affective states in group members, which in turn enhances group cohesion. This document reviews current behavioural and neurocognitive research relevant to the comparative neuroprimatology of music-readiness. It further proposes to extend MS/CIH through the evolution of the relationship of the language- and music-ready brain, by comparing “affective rhythm” and prosody – i.e. by comparatively approaching the language- and music-emotion link in neuroprimatology. (shrink)

This article concerns sound aesthetic preferences for European foreign languages. We investigated the phonetic-acoustic dimension of the linguistic aesthetic pleasure to describe the “music” found in European languages. The Romance languages, French, Italian, and Spanish, take a lead when people talk about melodious language – the music-like effects in the language (a.k.a., phonetic chill). On the other end of the melodiousness spectrum are German and Arabic that are often considered sounding harsh and un-attractive. Despite the (...) public interest, limited research has been conducted on the topic of phonaesthetics, i.e., the subfield of phonetics that is concerned with the aesthetic properties of speech sounds (Crystal, 2008). Our goal is to fill the existing research gap by identifying the acoustic features that drive the auditory perception of language sound beauty. What is so music-like in the language that makes people say “it is music in my ears”? We had 45 central European participants listening to 16 auditorily presented European languages and rating each language in terms of 22 binary characteristics (e.g., beautiful – ugly and funny – boring) plus indicating their language familiarities, L2 backgrounds, speaker voice liking, demographics, and musicality levels. Findings revealed that all factors in complex interplay explain a certain percentage of variance: familiarity and expertise in foreign languages, speaker voice characteristics, phonetic complexity, musical acoustic properties, and finally musical expertise of the listener. The most important discovery was the trade-off between speech tempo and so-called linguistic melody (pitch variance): the faster the language, the flatter/more atonal it is in terms of the pitch (speech melody), making it highly appealing acoustically (sounding beautiful and sexy), but not so melodious in a “musical” sense. (shrink)

The drumbeats which punctuated Zurich Dada performances signal and enact the dismantling of the complexities of a culture the participants deemed wholly discredited. While the Futurists looked to technology for rhythmic renewal, Dadaists sought a deeper, more indefinable rhythm to nourish a far-reaching renaissance of human values. Study of ‘nonsensical’ texts by Huelsenbeck, Ball and Tzara reveals some traditional metrical elements. However, in Dadaist performance pieces in an imaginary hybrid language or in a ‘simultaneous poem’ in three languages (...) at once, such elements are freed from traditional associations and become multiple, complex and ambiguous in performance and reception. (shrink)

Previous chapter In the previous chapter, we saw that Michel Foucault never explicitly thematized the concept of rhythm nor envisaged its possible use in his own approach to society, power and knowledge. Moreover, by ignoring Benveniste and his rhuthmic theory of language activity, he deprived himself of theoretical means which could have been used to solve some of the complex rhythmanalytical problems with which he was confronted in his theory of knowledge. Our description would not be - Philosophie – (...) Nouvel article. (shrink)

First published in 1982. Routledge is an imprint of Taylor & Francis, an informa company.

One of the aims of phenomenology was to uncover a logic of the sensible world. This essay shows how rhythm can be understood as a logic of the sensible world and how rhythm is not only a profoundly aesthetic experience but one integral to phenomenological reflection. The essay highlights how aesthetic experiences accomplish phenomenological reductions and how phenomenological reflection demands a continued inquiry into the ways intelligibility first opens from within the sensible world. Rhythm is shown to be a preverbal (...) logic and expressive power that takes place between sensing and the sensible. The essay explores how art and phenomenology draw upon rhythms to bring forth senses of experience that normally get passed over and escape conceptual determination. The investigation digs beneath predicated experience and propositional language to reveal how rhythm is a preverbal mode of inquiry that takes place between solicitations made by the sensible and the body’s sensitive responsiveness. Rhythm establishes an original synchronic relation to sensible things that allows nascent forms of intelligibility to come into a dynamic and living clarity. However, rhythms comprise a latent form of intentionality that precedes the act-object schema of intentionality. As a form of intentionality rooted in the senses, rhythm is shown to be a mode of transport that effectuates absorptive experiences which pose unique challenges for phenomenological reflection and aesthetic theory. Nonetheless, rhythm helps clarify one way in which sources of intelligibility not only grow out of the sensible world but retain an enduring aesthetic quality. (shrink)

Previous research suggests that mastering languages with distinct rather than similar rhythmic properties enhances musical rhythmic perception. This study investigates whether learning a second language (L2) enhances the perception of musical rhythmic variation in general, regardless of first and second languages’ rhythmic properties. Additionally, we investigated whether this perceptual enhancement could be alternatively explained by exposure to musical rhythmic complexity, such as the use of compound meter in Turkish music. Finally, it investigates if an enhancement of musical (...) rhythmic perception could be observed among L2 learners whose first language relies heavily on pitch information, as is the case with tonal languages. Therefore, we tested Turkish, Dutch and Mandarin L2 learners of English and Turkish monolinguals on their ability to perceive musical rhythmic variation. Participants’ phonological and working memory capacities, melodic aptitude, years of formal musical training and daily exposure to music were assessed to account for cultural and individual differences which could impact their rhythmic ability. Our results suggest that mastering a second language rather than exposure to musical rhythmic complexity could explain individuals’ enhanced perception of musical rhythmic variation. An even stronger enhancement of musical rhythmic perception was observed for L2 learners whose first and second languages differ regarding their rhythmic properties, as enhanced performance of Mandarin and Turkish in comparison with Dutch L2 learners of English seem to suggest. Our findings provide further support for a cognitive transfer between the language and music domain, which may find its grounds on a common evolutionary basis. (shrink)

This volume suggests a novel treatment of context in the analysis of everyday interaction. On a theoretical level, it advocates a switch of focus from 'context' as a preestablished, monolithic category which constringes co-participants' verbal and nonverbal behaviour, to an active notion of 'contextualization': in order to make oneself understood, participants have to establish and maintain those shared contextual frames which in turn are relevant to the local interpretation of their verbal and nonverbal activities. On an empirical level, the volume (...) contains exemplary analyses that show how participants employ 'contextualization cues' of prosodic (rhythm, intonation, tempo, etc.) or nonverbal (gaze, gesture, etc.) nature in order to 'achieve context'.The volume is also an appraisal of the theory of contextualization developed by John Gumperz. In their contributions, researchers from various schools of research, such as conversation analysis, micro-ethnography, phonetics/phonology and metapragmatics, relate their work to this theory. (shrink)

One of the aims of phenomenology was to uncover a logic of the sensible world. This essay shows how rhythm can be understood as a logic of the sensible world and how rhythm is not only a profoundly aesthetic experience but one integral to phenomenological reflection. The essay highlights how aesthetic experiences accomplish phenomenological reductions and how phenomenological reflection demands a continued inquiry into the ways intelligibility first opens from within the sensible world. Rhythm is shown to be a preverbal (...) logic and expressive power that takes place between sensing and the sensible. The essay explores how art and phenomenology draw upon rhythms to bring forth senses of experience that normally get passed over and escape conceptual determination. The investigation digs beneath predicated experience and propositional language to reveal how rhythm is a preverbal mode of inquiry that takes place between solicitations made by the sensible and the body’s sensitive responsiveness. Rhythm establishes an original synchronic relation to sensible things that allows nascent forms of intelligibility to come into a dynamic and living clarity. However, rhythms comprise a latent form of intentionality that precedes the act-object schema of intentionality. As a form of intentionality rooted in the senses, rhythm is shown to be a mode of transport that effectuates absorptive experiences which pose unique challenges for phenomenological reflection and aesthetic theory. Nonetheless, rhythm helps clarify one way in which sources of intelligibility not only grow out of the sensible world but retain an enduring aesthetic quality. (shrink)

Henri Meschonnic was a linguist, poet, translator of the Bible and one of the most original French thinkers of his generation. He strove throughout his career to reform the understanding of language and all that depends on it. His work has had a shaping influence on a generation of scholars and here, for the first time, a selection of these are made available in English for a new generation of linguists and philosophers of language. This Reader, featuring fourteen (...) texts covering the core concepts and topics of Meschonnic's theory, will enrich, enhance and challenge your understanding of language. It explores his key ideas on poetics, the poem, rhythm, discourse and his critique of the sign. Meschonnic's vast oeuvre was continuously preoccupied with the question of a poetics of society; he constantly connected the theory of language to its practice in various fields and interrogated what that means for society. In exploring this fundamental question, this book is central to the study and philosophy of language, with rich repercussions in fields such as translation studies, poetics and literary studies, and in redefining notions such as rhythm, modernity, the poem and the subject. (shrink)

Human languages, such as French, Cantonese or American Sign Language, are socio- cultural entities. Knowledge of them (`competence') is acquired by exposure to the ap- propriate environment. Languages are maintained and transmitted by acts of speaking and writing; and this is also the means by which languages evolve. The utterances of one generation are processed by their children to form mental grammars, which in some sense summarize, or generalize over, the children's linguistic experiences. These grammars are (...) the basis for the production of a new avalanche of utterances to which the next generation in its turn is subjected. (This picture is simplified, of course, as generations overlap.) Languages inhabit two distinct and separate modes of existence, which have been called (by Chomsky, 1986) `E-Language' and `I-Language'. E-language is the external observable behaviour --- utterances and inscriptions and manifestations of their meanings. E-language is regarded by some as so chaotic and subject to the vicissitudes of everyday human life as to be a poor candidate for systematic study. (E-Language corresponds to what Chomsky, in earlier terminology, called `performance'.) Out of this blooming buzzing confusion the individual child distils an order internal to the mind; the child constructs a coherent systematic set of rules mapping meanings onto forms. This set of rules is the child's I-Language (where `I' is for `internal'). No two individuals' I-Languages have to be the same, although those of people living in the same community will overlap very significantly. But there will usually be at least some slight difference between the I-language features prevalent in one generation and those prevalent in the next. This is the stuff of language evolution, in the sense of the historical development of individual languages, such as Swedish, Navaho or Zulu. (shrink)

Music can be interpreted by attributing syntactic relationships to sequential musical events, and, computationally, such musical interpretation represents an analogous combinatorial task to syntactic processing in language. While this perspective has been primarily addressed in the domain of harmony, we focus here on rhythm in the Western tonal idiom, and we propose for the first time a framework for modeling the moment‐by‐moment execution of processing operations involved in the interpretation of music. Our approach is based on (1) a music‐theoretically (...) motivated grammar formalizing the competence of rhythmic interpretation in terms of three basic types of dependency (preparation, syncopation, and split; Rohrmeier, 2020), and (2) psychologically plausible predictions about the complexity of structural integration and memory storage operations, necessary for parsing hierarchical dependencies, derived from the dependency locality theory (Gibson, 2000). With a behavioral experiment, we exemplify an empirical implementation of the proposed theoretical framework. One hundred listeners were asked to reproduce the location of a visual flash presented while listening to three rhythmic excerpts, each exemplifying a different interpretation under the formal grammar. The hypothesized execution of syntactic‐processing operations was found to be a significant predictor of the observed displacement between the reported and the objective location of the flashes. Overall, this study presents a theoretical approach and a first empirical proof‐of‐concept for modeling the cognitive process resulting in such interpretation as a form of syntactic parsing with algorithmic similarities to its linguistic counterpart. Results from the present small‐scale experiment should not be read as a final test of the theory, but they are consistent with the theoretical predictions after controlling for several possible confounding factors and may form the basis for further large‐scale and ecological testing. (shrink)

Rhythm is a poetic necessity for constructing a poem, which in turn gives us other rhythms and other phonemes in the background of the meter, and behind the words, and hence the meter does not constitute a major value in constructing a poem unless it is linked to other artistic elements of writing poetry. In this section, we address the rhythmic phenomenon in the introductions to poetry collections in various forms of Arabic poetry: classical, free metrical, and prose poetry, by (...) reading a number of diverse poetic models, starting from the fact that poetry is not poetry, and that poetic meters do not form a poem except to the extent that the poet invests in other elements of poetry, in the image, style, density and depth of language, and rhetorical diversification in performing the poem, and also departing from the pattern by renewing and developing and striving to create advanced innovations in the broad rhythmic horizon, and in the formative and linguistic horizon of poetic introductions, and in this section we have monitored a group of rhythmic phenomena such as: repetition, phonemes of language, the rhythm of the visual space of writing, and the relationship between effect and reception. In light of this awareness, poetic introductions may come in a multi-rhythmic form that does not necessarily stop at the inherited poetic form, but rather varies in its performance and in the methods of delivery, investing the space of the poetic page in conveying the poet’s semantic vision. (shrink)

Recent scholarship on the philosophy of time in pre-Qin Daoist thought has not yet produced a thorough examination of dao’s relationship to time. This essay resolves this omission through a systematic study of the concept heng 恒 in pre-Qin Daoist literature. While principally expressing the ‘constancy’ of dao, heng also significantly presupposes dao’s ability to change. This change is characterized in the texts as a cyclical movement of ‘return’ and identified with the universe’s circular metanarrative of generation and reintegration. The (...) essay turns to examine pre-Qin Daoist literature’s use of primal wu 無 metaphors to describe dao. It concludes that they present dao as undifferentiated infinitude, liberating dao as heng from the tense structure of past-present-future that divides life in time. These metaphors further associate the movement of dao with the flow of time, reformulating time’s relentless ever-greater advancement into an endless cycle of creative transformation. (shrink)

Musical rhythm abilities—the perception of and coordinated action to the rhythmic structure of music—undergo remarkable change over human development. In the current paper, we introduce a theoretical framework for modeling the development of musical rhythm. The framework, based on Neural Resonance Theory, explains rhythm development in terms of resonance and attunement, which are formalized using a general theory that includes non-linear resonance and Hebbian plasticity. First, we review the developmental literature on musical rhythm, highlighting several developmental processes related to rhythm (...) perception and action. Next, we offer an exposition of Neural Resonance Theory and argue that elements of the theory are consistent with dynamical, radically embodied and ecological approaches to cognition and development. We then discuss how dynamical models, implemented as self-organizing networks of neural oscillations with Hebbian plasticity, predict key features of music development. We conclude by illustrating how the notions of dynamical embodiment, resonance, and attunement provide a conceptual language for characterizing musical rhythm development, and, when formalized in physiologically informed dynamical models, provide a theoretical framework for generating testable empirical predictions about musical rhythm development, such as the kinds of native and non-native rhythmic structures infants and children can learn, steady-state evoked potentials to native and non-native musical rhythms, and the effects of short-term, long-term, and very-long term learning on music perception-action. (shrink)

The papers collected in this volume exemplify some of the trends in current approaches to logic, language and computation. Written by authors with varied academic backgrounds, the contributions are intended for an interdisciplinary audience. The first part of this volume addresses issues relevant for multi-agent systems: reasoning with incomplete information, reasoning about knowledge and beliefs, and reasoning about games. Proofs as formal objects form the subject of Part II. Topics covered include: contributions on logical frameworks, linear logic, and different (...) approaches to formalized reasoning. Part III focuses on representations and formal methods in linguistic theory, addressing the areas of comparative and temporal expressions, modal subordination, and compositionality. (shrink)

This review article of Mey's When Voices Clash rethinks the links drawn by cognitive poetics between thought-representation and language in relation to the category of rhythm and metre as symptoms, in Plato's Republic and in the psychoanalytic theory of Freud, Lacan, and in particular in Nicolas Abraham's Rhythms. Utilizing Abraham's idea of rhythmizing consciousness as a non-linear psychic unfolding coeval with the Freudian unconscious, an unfolding in constant tension and interaction with cognitive consciousness's periodicity, linearity, and tendency to produce (...) semblants of verifiability, I argue that cognitive poetics' focus on conscious cognition involves a repression of unconscious processes imperative to the thinking of thought-representation. But in Jacques Lacan's terms, repression is not foreclosure, but the preservative and protective putting into operation of what Lacan theorizes as the bar. Cognitive poetics' functioning as bar with regard to metrics symptomatizing unconscious states hence creates just the comdition for the preservation and hence mediation and circulation of unconscious material whereof it refuses to speak. I hence propose a “metronymic analysis“ of sound, rhythm, and metre, not sense, as a way of reading which might enrich literary pragmatics, alowing it to hear, beyond patronymics, echoes of the matronymic archaic. (shrink)

Noted classicist Vivante explores the function of verse as a fundamental form of human expression, and argues that the force of Homer's poetry largely lies in the implicit significance of its verse-rhythm.

The present article proposes a reflection on the relation between music and language setting out from the experience of listening to words and listening to music. It relies to a certain extent upon an existential-phenomenological approach and develops the distinction between the sounding of sounds and the sound of sounding. From this distinction, a redefinition of rhythm is suggested based on the experience of listening and on the close listening to some pieces of music.

Perception of temporal patterns is fundamental to normal hearing, speech, motor control, and music. Certain types of pattern understanding are unique to humans, such as musical rhythm. Although human responses to musical rhythm are universal, there is much we do not understand about how rhythm is processed in the brain. Here, I consider findings from research into basic timing mechanisms and models through to the neuroscience of rhythm and meter. A network of neural areas, including motor regions, is regularly implicated (...) in basic timing as well as processing of musical rhythm. However, fractionating the specific roles of individual areas in this network has remained a challenge. Distinctions in activity patterns appear between "automatic" and "cognitively controlled" timing processes, but the perception of musical rhythm requires features of both automatic and controlled processes. In addition, many experimental manipulations rely on participants directing their attention toward or away from certain stimulus features, and measuring corresponding differences in neural activity. Many temporal features, however, are implicitly processed whether attended to or not, making it difficult to create controlled baseline conditions for experimental comparisons. The variety of stimuli, paradigms, and definitions can further complicate comparisons across domains or methodologies. Despite these challenges, the high level of interest and multitude of methodological approaches from different cognitive domains (including music, language, and motor learning) have yielded new insights and hold promise for future progress. (shrink)