Musical grouping as prosodic implementation

Katz, Jonah

doi:10.1007/s10988-022-09365-y

Cited by 4 publications

(1 citation statement)

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“…The relationship between language and music-especially tonal music-has been discussed at great length (Lerdahl and Jackendoff, 1983;Feld and Fox, 1994;Patel, 2008). Many similarities between musical and linguistic structure have been noted and modeled, including syntactic structure (Steedman, 1984(Steedman, , 1996Rohrmeier, 2011;Rohrmeier and Pearce, 2018) and prosodic structure (see Katz, 2022 for a recent overview). Speech and singing are not distinct, unrelated acts; rather, they lie on a continuum of (among other things) rhythmicity and melody (List, 1963;Schellenberg, 2012;Cummins, 2020).…”

Section: Hypotheses and Predictionsmentioning

confidence: 99%

Speech and beatboxing cooperate and compromise in beatrhyming

Blaylock,

Phoolsombat,

Mullady

2023

Front. Commun.

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Beatrhyming is a type of multi-vocalism in which an individual beatboxes and speaks (i.e., sings or raps) at the same time by interweaving beatboxing sounds and speech sounds within words and phrases. The measurements in this case study of a beatrhyming performance focus on one-to-one sound “replacements” in which a beatboxing sound is integrated into a word by taking the place of a speech sound. The analysis unfolds in two parts: first, a count of how many times beatboxing sounds used in place of speech sounds matched the intended speech sounds for vocal tract constrictor and constriction degree; and second, an assessment of whether the beatboxing sound patterns in beatrhyming (beatboxing with simultaneous lyrics) have the same degree of rhythmic structure as the beatboxing sound patterns in beatboxing (without lyrics). Despite having disparate aims, the separate speech and beatboxing systems work together to create a well-organized combined behavior. Speech tasks (i.e., communicating the linguistic message of the lyrics) are achieved in beatrhyming by replacing some speech sounds with beatboxing sounds that match the speech segment in vocal tract constrictor and in manner/constriction degree. Beatboxing tasks (i.e., establishing a musical rhythm) are achieved through the inviolable use of Outward K Snares {K} on the backbeat. Achieving both of these aims in the same performance requires flexibility and compromise between the speech and beatboxing systems. In addition to providing the first scientific description and analysis of beatrhyming, this article shows how beatrhyming offers new insight for phonological theories built to describe spoken language.

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Section: Hypotheses and Predictionsmentioning

confidence: 99%

Speech and beatboxing cooperate and compromise in beatrhyming

Blaylock,

Phoolsombat,

Mullady

2023

Front. Commun.

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Super Linguistics: an introduction

Patel-Grosz

Mascarenhas

Chemla

et al. 2023

Linguist and Philos

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We argue that formal linguistic theory, properly extended, can provide a unifying framework for diverse phenomena beyond traditional linguistic objects. We display applications to pictorial meanings, visual narratives, music, dance, animal communication, and, more abstractly, to logical and non-logical concepts in the ‘language of thought’ and reasoning. In many of these cases, a careful analysis reveals that classic linguistic notions are pervasive across these domains, such as for instance the constituency (or grouping) core principle of syntax, the use of logical variables (for object tracking), or the variety of inference types investigated in semantics/pragmatics. The aim of this overview is to show how the application of formal linguistic concepts and methodology to non-linguistic objects yields non-trivial insights, thus opening the possibility of a general, precise theory of signs. (An appendix, found in the online supplements to this article, surveys applications of Super Linguistics to animal communication.)

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Metre, grouping, and event hierarchies in music: A tutorial for linguists

Katz

2022

Language and Linguist. Compass

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This paper reviews some basic elements of musical structure, drawing from work in traditional and cognitive musicology, ethnomusicology, psychology, and generative textsetting. Music features two different hierarchical representational components that can both be visualised in grid notation: metrical structure and event hierarchies (also referred to as Time-Span Reduction). Metrical structure is an abstract pattern of stronger and weaker points in time that form a temporal 'scaffold' against which auditory events occur, but is partly independent from those occurring events. Event hierarchies encode the constituency (referred to as grouping) and prominence of actually-occurring musical events. Basic principles of these components are illustrated with examples from Western children's, folk, and popular song. The need for both metrical hierarchy and event hierarchy is illustrated using mismatches between metrical and rhythmic structure. The formal, conceptual, and empirical features of musical metre are quite different from linguistic stress and prosody, despite the frequent analogies drawn between them. Event hierarchies, on the other hand, are shown to resemble linguistic prosodic structure with regard to all of these features.

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Musical grouping as prosodic implementation

Cited by 4 publications

References 118 publications

Speech and beatboxing cooperate and compromise in beatrhyming

Speech and beatboxing cooperate and compromise in beatrhyming

Super Linguistics: an introduction

Metre, grouping, and event hierarchies in music: A tutorial for linguists

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