Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. (...) Nonetheless, an important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition (...) research, showing that music cognition research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)

This paper aims to clarify certain aspects of the connections between music and (word) language alluded to in various manuscript passages by Wittgenstein. Three points are emphasized: (1) Wittgenstein’s willingness to speak of music as a language; (2) the importance of context; (3) the possibility of distinguishing various ways of explaining our hearing certain sequences of sounds as expressive of gestures or states of mind etc. Several attempts at elucidating the idea of understanding music lead (...) to the realization that, according to Wittgenstein, a prior grasp of his notion of a language-game is required to make headway in this area. (shrink)

Hierarchical structures are rapidly and flexibly built up in the domains of human language and music. These domains require a tree-building capacity – “dendrophilia” – to dynamically infer hierarchical structures from sensory input, based on subunits stored in a lexicon. This dynamic process involves a crucial class of abstracta overlooked in the target article.

In this paper, we explore challenges in conveying the culturally constructed meanings of local Indigenous musics and the worldviews they manifest to students in K-12 school music classes, when foundational aspects of the English language, historical and current discourse, and English language habits function to thwart the transmission of those meanings. We recount how, in settler colonial societies in North America, speakers of the dominant English language have historically misrepresented, discredited, and obscured cultural meanings that inhere (...) in local Indigenous musics. First, we examine three ways in which the use of English has distorted the cultural meanings of those musics. Next, we explain how historical discourses in English have intentionally undervalued or discredited the values intrinsic to those musics, also describing how some current music education discourse in English might work against the embedding of Indigenous meanings in school music education settings. We then consider additional factors distinguishing Indigenous languages from European languages (especially English) to show how a people’s “language habits” influence their perception of and thus their relationship with their natural environment. We conclude by considering the role of music education in revitalizing local Indigenous languages and musics and advancing the cultural values of their originating communities. (shrink)

Originally published in 1987, this book forms a conceptual account of the relationship between music and poetry in the late eighteenth and early nineteenth ...

The concept of vagueness is essential to understand some Nietzsche’s main ideas about the relationship between language and reality. In this way, is it precisely vagueness, and not ambiguity or polysemy, which characterizes verbal-conceptual language for Nietzsche? In order to answer this question, firstly I will summarize the functions of the cognitive process, underlying all types of languages. Secondly, I will identify the Nietzsche’s closer concept in relation with the modern concept of ‘vagueness’ and interpret it following the (...) rst section. Thirdly, I will brie y examine what type of symbolic language is mu- sic. Finally, I will develop a comparison between verbal-conceptual language and musical language concerning the property of vagueness. The paper approach will be more theoretical than historio-graphical, because it focuses on the potential of Nietzsche’s thought regarding both the philosophy of language and the philosophy of music. (shrink)

In a society where mobility, globalization and contact with people from other cultures have become its basic descriptors, the enhancement of plurilingualism and intercultural understanding seem to be of the utmost concern. From a Positive Psychology Perspective, agency is the human capacity to affect other people positively or negatively through their actions. This agentic vision can be related to mediation, a concept rooted in the socio-cultural learning theory where social interaction is considered a fundamental cornerstone in the development of cognition. (...) Social interactions in the language learning setting may be facilitated through musical activities due to its social bonding effect. This paper tries to offer insights on how a musical-mediated experience in language learning may develop students’ interpersonal and collaborative competences to become active members of a more inclusive society. Mediation, considered as a paradigm shift in the foreign language classroom and the different out-of-class language learning possibilities, could also provide an environment where learners maximize their emotional intelligence. Our paper focuses on this paradigm shift spearheaded by the CEFR Companion Volume and the considerable repercussions it is bound to have for foreign language didactics, as cooperative tasks become central to foreign language learning. We hypothesize that mediated language learning experiences imply a socioemotional change in learners, focusing on the others, on their needs and interests, by trying to help them understand texts, concepts or facilitating communication with their peers. An intervention with a musical-mediated language learning experience was designed and implemented in the classroom. A self assessment scale with mediation descriptors and the socioemotional expertise scale (SEE) were administered. Results show that students become more mindful of their strengths, of their capacity for collaborating and team working. This leads to more awareness of their mediation skills. Students’ mediation skills correlate significantly with their socio-emotional skills, more concretely with their expressivity. The implementation of a musical-mediated experience also promoted tolerance and enhanced learners’ intrinsic motivation for language learning at the same time as they acknowledged their diversity. (shrink)

The paper examines the "Pleasure and Necessity" section of the Reason chapter in the Phenomenology of Spirit. The temporality of sexual pleasure and satisfaction is best iterated, for Hegel, in the Mozart's Don Giovanni, rather than in Goethe's early Faust fragment, as is usually supposed. In the figure of Don Giovanni, Hegel finds an expression of the futile punctuality of the pleasure-seeker's pursuits and his ultimate destiny in the uncompromising necessity of natural death.

The European Legacy, Volume 17, Issue 3, Page 417, June 2012.

Unesco and the International Council of Music have begun work on a musicological project of considerable extent, since it is a universal history of music in ten volumes. At present, the provisional title is Music as a Language of Man: A World History of Music.

In lieu of an abstract, here is a brief excerpt of the content:Meditations on the Letter A:The Hand as Nexus Between Music and LanguageEleanor V. StubleyThe image is that of a little girl. She stands alone, center-stage, her lips moving quietly as she rehearses the letters of the alphabet so that her forthcoming performance will be fresh and perfect. Her name is called. She takes a deep breath and begins, haltingly, doh,... doh, ray,... doh, ray, me,.... Her tongue catches (...) at the beginning of each sound as if it were a new found delight, but it is the sequence, the linear progression that is the focus of her concentration. And slowly, her recitation begins to take on its own rhythmic fluidity, each sound's name becoming stronger and more confident than the one before. Then just as quickly as it began, it is over, and she stands tall in the glory of the final doh's resonance, proud in her belief that having mastered the letters of the alphabet, she has at long last discovered the key to unlocking music's deepest and darkest mysteries.The alphabet—I begin its story with the hand behind the hieroglyphic markings of our ancient ancestors, the hand that discovered in the tracings of its own aimless movements across the sand a capacity to replicate the arc of the moon, the flowering branches of a shrub. It was a hand pre-occupied with the visual, its scratchings serving to extend the communicative power of its own reach by calling forth the image of a thing not immediately present. Meaning, as such, was typically a matter of a one-to-one correspondence inferred on the basis of shape and form, with concepts such as speed and light portrayed by animals and natural objects that one would associate with each (for instance, a running cougar, a stylized sun). But as language and the art of storytelling evolved, the emergence of concepts lacking precise visual associations required the development of a variety of phonetic strategies that, often working through pictographic puns (that is, belief, bee+leaf), used the visual to invoke the sound of the human voice.1 The effect, David Abrams suggests, was that of magic, the word having seemingly been "drawn" from the silence of thin air.2 And, like all tricks, the hand disappeared behind the magic. Where initially voice and hand had worked as extensions of one another, the voice serving to bring people together,3 the hand pointing to that which was voiced, the word as name now sounded alone.The story continues with the artistry of the storyteller. It was the artistry of a rhapsodist, one who used the voice to spin a tale of a "remembered present" from [End Page 42] the remnants of the hand's scratchings that had withstood the ravages of time.4 I say "remembered present" because the voice was valued for its expressive qualities and worked in and through a battery of memorized melodic embellishments that allowed it to stitch one image to the next on the basis of the storyteller's own experience and knowledge.5 It was a voice, consequently, that worked in the moment, a voice that drew energy and inspiration not only from the hand's scratchings but also from those that had gathered to listen. The first alphabets did little to change the dynamics of the event, they being nothing more than crudely assembled compilations of idiosyncratic phonograms (that is, z = buzzing bee) designed to define the possibilities of language as a vocabulary of names.6 Etched into bark, tree, stone, and parchment, however, they came to have a longevity that allowed the sounding codes they represented to be carried "word of mouth" from place to place. Where the spoken word had once been both fleeting and fluid, gone before it was fully sounded, it now had a repeatability that served to fix both its spellings and its meanings. And it was not long before the spinning of a tale had become a matter of second sight, the work of an extraordinary memory able to "recall" that which the storyteller had not been present to hear.7The gift worked through a self-conscious awareness of oneself as... (shrink)

The central point of Raffman’s discussion is to distinguish the perception, knowledge, and effability of the standard chromatic “categorical” pitch events from what she calls “nuance” pitch events—events whose individuation is more fine-grained than C-events, and which seem to resist reliable, psychologically available categorization. Thus, two pitches a quarter-tone apart may be classified as the same C-event, even though they are different N-events. Experimental evidence suggests that whereas people are quite good at recall and discrimination of C-events, they are considerably (...) poorer with respect to N-events, and this, according to Raffman, is due to the availability of “schemas,” or conceptual “cubby-holes,” in the former but not the latter case. But this is not to say that people aren’t aware of N-events: a good deal of musical pleasure turns on appreciation of such N-events as vibrato, slides, and pitch coloration. The point is merely that “it is overwhelmingly unlikely that we have, or could have, interval schemas as fine-grained as the N-pitches and N-intervals we can hear”. (shrink)

The discourse concerning musical expression hinges on a fundamental analogy between music and language. While the extant literature commonly compares music to language, this essay takes the reverse direction, following Wittgenstein’s approach. The discussion contrasts the theoretical underpinnings of the “music as language” simile with those of the “language as music” simile. The emphasis on characterization, performance, mutual tuning-in relationships, the interaction between language and music, and the open-ended effort to (...) reorient ourselves as we draw in significance challenges the “informing paradigm” that has been paramount across contemporary philosophical theories of musical expression. One of the most promising philosophical avenues that emerges as we move beyond the “informing paradigm” is recognizing the inseparable relationship between musical expression and our power to shape our own language. (shrink)

There has yet to be a culture discovered which lacks music. Music is a part of our existence, but we do not fully understand it. In this paper, working in the tradition of Aristotle, Wittgenstein and Langer, I elucidate some of the connections between music and the emotions. Using contemporary philosophy of mind theories of emotion, I explain how we can have a better understanding of our emotive responses to music. I follow the pattern through representational (...) painting and abstract painting to music, and show how each functions as an intentional object for the object of our emotions in response to each art form. (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)

The basic thesis explored in this paper is that rather than seeing spirituality as a byproduct of music, the other arts, and religion, music, the other arts, and religion might be seen as a byproduct of spirituality—hence, the proposition that music is a language of spirituality. If that is the case, there are twin dangers: talk of “wholism” can obscure the distinctly human capacity of spirituality and constructions of spirit as one element of the old dualisms (...) or tripartisms can separate spirituality from the context of body and mind. If music is a language of spirituality understood as a distinct but contextualized expression of the spirit, the primary implications for music education are that some parts of music education might be conducted at a non-discursive, non-rational level and constructivist pedagogical approaches may be called for. (shrink)

On first inspection, Diana Raffman’s Language, Music, and Mind appears to be focused quite narrowly on a rather obscure problem in the aesthetics of music, the problem of accounting for the alleged ineffability of musical experience. The case that Raffman builds in this clear, well-structured book, however, has far-reaching philosophical implications for philosophy of mind, epistemology, general aesthetics, philosophy of the emotions, ontology, and phenomenology.

ABSTRACTIn this essay I draw attention to conceptual similarities in Walter Benjamin’s and Theodor W. Adorno’s reflection about language, with special attention to Benjamin’s 1916 essay about language as such, including its theological impulses. In Adorno’s case, I concentrate on language theory as it comes forth in relation to his philosophy of music and the supposed language-character of music. I argue that this particular connection between Benjamin and Adorno is largely unexplored in the literature, (...) and I show that their conceptual affinities have far-reaching consequences for a proper understanding of Adorno’s philosophy as a whole. Music is of fundamental importance for Adorno’s critical theory, and this fact points to an intricate entwinement between materialism and theology, stemming from Benjamin’s theory of language. Thinking of music as secularized prayer means to emphasize that music relates to reality in a way that resembles the logic of Benjamin’s understanding of a pre-lapsarian language of... (shrink)

Philosophical Investigations, Volume 45, Issue 4, Page 490-511, October 2022.

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)

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 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)

From our first social bonding as infants to the funeral rites that mark our passing, music plays an important role in our lives, bringing us closer to one another. In _The Music between Us_, philosopher Kathleen Marie Higgins investigates this role, examining the features of human perception that enable music’s uncanny ability to provoke, despite its myriad forms across continents and throughout centuries, the sense of a shared human experience. Drawing on disciplines such as philosophy, psychology, musicology, (...) linguistics, and anthropology, Higgins’s richly researched study showcases the ways music is used in rituals, education, work, healing, and as a source of security and—perhaps most importantly—joy. By participating so integrally in such meaningful facets of society, Higgins argues, music situates itself as one of the most fundamental bridges between people, a truly cross-cultural form of communication that can create solidarity across political divides. Moving beyond the well-worn takes on music’s universality, _The Music between Us_ provides a new understanding of what it means to be musical and, in turn, human. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 28.1 (2004) 220-223 [Access article in PDF] Doing Our Own Thing. The Degradation of Language and Music and Why We Should, Like Care, by John McWhorter; xiv & 279 pp. New York: Gotham Books, 2003, $26.00. In 2002, the first anniversary of the September 11th attacks was marked in New York City by the reading of the Gettysburg Address. It was, as many commentators (...) noted, an odd choice of eulogy, comparing as it did the unwitting and innocent victims of a terrorist attack to the willing and active [End Page 220] participants in a bloody civil war. In Doing Our Own Thing, the Berkeley linguist John McWhorter asserts that this strange choice was the result of a decline in American public discourse. A "particular kind of artful English, formerly taken for granted as crucial to legitimate expression on the civic stage has" he argues, "virtually disappeared" (p. xiv). For McWhorter, this lack of contemporary public oratory is merely part of a broader linguistic decline that has affected all aspects of American life and culture.There has, he suggests, been a dumbing-down of the language. Whereas Americans once took care to craft their language, public and private, McWhorter argues, there is now a casualness to their speech and writing which affects all aspects of their existence. The nature of this decline is best captured by McWhorter's anecdote about his research into Gullah, an obscure Creole dialect. In response to his inquiries about local speech patterns, an elderly black woman in Greenwood, Mississippi responded: "Well, seems like most folks, they speak pretty good English, but some people, it seems like they just talk" (p. 2). Whereas Americans once spoke pretty good English, McWhorter believes, now, for the most part, they just talk. In Doing Our Own Thing, he seeks to identify not only evidence for his thesis, but also the causes and consequences of this decline.Evidence of linguistic decline is, McWhorter believes, to be found in our public discourse (as evidenced by the contemporary use of the Gettysburg Address), and in the rise of rap music and popular lyrics at the expense of poetry—he notes that as late as the 1960s, the poet Marianne Moore was a guest on The Tonight Show twice. Less intuitively perhaps, he identifies the same decline in the decreased popularity of piano bars, and the rising popularity of cell-phones. What all these examples of have in common, McWhorter suggests, is a turn towards an oral as opposed to a written culture. Speech has, he says, become something of a "dress-down affair" (p. 49), and this has infected both our written word and public oratory. The "modern American speech writer" he notes, "tends strongly to operate under a guiding imperative not to sound too high a note" (p. 47). McWhorter contrasts this with examples from the nineteenth-century—with letters from ordinary soldiers to their sweethearts, and with Edward Everett's two-hour plus address at Gettysburg—which show that "we live in an America with a distinctly different relationship to the English language than an America still within living memory" (p. 167).For McWhorter, the causes of this decline are clear. The 1960s counterculture, in its efforts to "Speak Truth to Power, abandoned the formal conventions of previous generations' speech, and adopted its own more casual approach to public discourse. Indeed, McWhorter feels confident enough to identify "a single year when America lost its love for its language": 1965 (p. 183). The consequences of this decline are, for McWhorter, similarly obvious. Among them, the shift to an oral culture is held to be responsible for: the election of George W. Bush—Al Gore's "studied articulateness is certainly one of the major [End Page 221] factors that blocked him from winning the presidency" (p. xxi); the decline of contemporary political debate—more formal written language is, says McWhorter, "a better vehicle for objective argument than speech" (p. 35); and the increasingly obtuse nature of academic language. Indeed, McWhorter asserts that Judith Butler... (shrink)

I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, (...) and the meaning of "meaning" -- Another go at musical profundity : Stephen Davies and the game of chess -- From ideology to music : Leonard Meyer's theory of style change -- Sibley's last paper -- In defense of musical representation : music, representation, and the hybrid arts -- Music, language, and cognition : which doesn't belong? (shrink)