Relevant bibliographies by topics / Language, Linguistics|Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Language, Linguistics|Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Language, Linguistics|Music"

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Crnjanski, Nataša. "Is that a new language coming?" Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 373–84. http://dx.doi.org/10.31724/rihjj.44.2.2.

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Music semiotics is a branch of music theory that has been particularly developing since the 1960s. As semiotics moved from general linguistics, structuralism and theory of communication to cognitive and psychological linguistics, as sources of understanding music cognition – that is, as it moved from “hard” to “soft” semiotics as Agawu calls them (1999: 154) – its vocabulary became strongly metaphoric and complex. At the same time, there was no strict convention concerning the usage of the vocabulary in question. In this paper, I will focus on some important interrelated issues of music semiotics vocabulary, such as the concept of meaning, and all rhetorical variations regarding this term in music. Special attention will be given to explanation of terminological issues of the two most prominent “languages” of music semiotics, that of Robert Hatten and Eero Tarasti.
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SZOCS, Botond. "Parallelism between Linguistics and Music – Noam Chomsky and Heinrich Schenker." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 287–94. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.31.

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The paper aims to compare musical language with verbal language, creating a new perspective on music and natural language. The three categories of linguistics, phonology, syntax and semantics are analyzed. Bernstein highlights the analogies between the linguistic categories and music, researching the same three components of linguistics in music. The possibility of applying the transformational grammar procedures to the musical text is studied. In the second part of the paper, the authors investigate the method of analysis based on harmony and counterpoint, differentiating several structural levels conceived by the theoretical musician H. Schenker. Schenkerian analyzes are a relatively recent appearance in the field of musical analysis, which proposes as an innovation in the field of musical analysis the structural vision of musical discourse.
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Proto, Teresa. "Prosody, melody and rhythm in vocal music." Linguistics in the Netherlands 32 (December 11, 2015): 116–29. http://dx.doi.org/10.1075/avt.32.09pro.

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The last decades have witnessed a shift from anecdotal remarks concerning the “marriage” of music and lyrics in songs towards a more scientific approach to the matter. Textsetting has thus become the object of more formal analyses accounting for the regularities observed in individual singing traditions with regard to the mapping of linguistic material on musical structures. This paper illustrates the nature of the problem and reflects the status of the research on textsetting in living traditions. It is addressed to a wide audience of linguists interested in the relationship between language and music and points to the challenges that await the further development of this field of studies under the umbrella of linguistics.
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Veličkova, Ludmila, and Elena Petročenko. "“Vocal Form” as a Music-Phonetic Speech Genre: Aspects of Study." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 2 (June 2021): 133–43. http://dx.doi.org/10.15688/jvolsu2.2021.2.12.

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Vocal music is a form of existence and realization of a language. Primarily, it is oral speech of a specific type. Prosodic features of vocal music, as well as its rhythm and intonation, are formed as a result of direct music-language interaction. Therefore, intonational language-music correlation provides possibility of linguistic description of national vocal music and confirms the necessity to develop theoretical foundation for studying this issue. We consider vocal speech of any genre (song, aria or choral singing) in view of its prosodic features. Correspondingly, we consider intonational realization of a vocal text as related to distinctive features of intonation within phonetic system of a given language. In the present article, the authors term vocal-music speech phenomenon as a vocal form of a language, and specify the rationale that it could be related to elements of various levels of oral text. Several aspects of the vocal form are defined, namely phonatory, phonetic, rhythmic and intonational, and considered in the following branches of linguistics: phonostylistics, intonology and speech studies. The paper presents the concept of vocal form of a language within the research prospect. According to structure-based phonological approach, the vocal form as a music-language object is interpreted as a system component, its elements being defined as language units.
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Heift, Trude, and Mathias Schulze. "Tutorial computer-assisted language learning." Language Teaching 48, no. 4 (September 8, 2015): 471–90. http://dx.doi.org/10.1017/s0261444815000245.

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‘Sometimes maligned for its allegedly behaviorist connotations but critical for success in many fields from music to sport to mathematics and language learning, practice is undergoing something of a revival in the applied linguistics literature’ (Long & Richards 2007, p. xi). This research timeline provides a systematic overview of the contributions of computer-assisted language learning (CALL) to the role, nature, and development of individual practice in language learning. We focus on written language practice in Tutorial CALL, corrective feedback and language awareness-raising in Intelligent CALL (ICALL), and individualization of the learning process through tailoring of learning sequences and contingent guidance.
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Marcelli, Miroslav. "Double articulation in linguistics, semiotics, theory of arts and philosophy." Journal of Linguistics/Jazykovedný casopis 71, no. 2 (December 1, 2020): 157–66. http://dx.doi.org/10.2478/jazcas-2020-0019.

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Abstract The paper deals with applications of the concept of double articulation in studies of linguistic and non‐linguistic phenomena. It traces extensions, shifts and corrections effected by the transition from linguistics to semiotics. Particular attention is payed to possibilities and problems that have arisen in theoretical reflections of paintings and music. An example of such analyses is Lévi‐Strauss’ study of artworks.
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Faridah, Siti, and Mutia Kusumawati. "CONTRASTIVE ANALYSIS OF EXPRESSIONS ON JAPANESE AND INDONESIAN LOVE LYRICS -BASED ON COGNITIVE LINGUISTIC POINT OF VIEW-." JAPANEDU: Jurnal Pendidikan dan Pengajaran Bahasa Jepang 3, no. 2 (December 30, 2018): 85. http://dx.doi.org/10.17509/japanedu.v3i2.13267.

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Song is an expression which has a strong connection with someone's feeling, which can also be a hint to understand how Japanese society thinks and feels in general (Kanemoto 2006). Expression on song lyrics is quite different from the usual expression used in daily conversation. To convey emotions and feelings of the songwriter, the style of language is important to touch the listener's feelings. This research analyzed the style of language in the lyrics of Japanese and Indonesian love song, by using contrastive analysis method and review it from cognitive linguistics. 13 Common Source Domains that Kovecses exposes is used to identify the style of love expression in the song lyrics. The purpose of this study is to explain what language styles and expression are used in the lyrics of Indonesian and Japanese songs, accordance with theory of the seven metaphors of love in cognitive linguistics, contrasting the love phrases contained in both languages, and the corresponding theory of the seven metaphors of love in cognitive linguistics with the Common Source Domain by Kovecses. As the results, there are 8 types of 13 types of Common Source Domain used in the lyrics of both languages in the 1970s. Besides the 13 Common Source Domains, is also found domain that are used both languages called Colour. Meanwhile the song lyrics in 2000 year, there are 10 types of 13 types of Common Source Domain used in both languages lyrics. Another domain that is used in both language lyrics is Music.
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Calcagno, Mauro. "“Imitar col canto chi parla”: Monteverdi and the Creation of a Language for Musical Theater." Journal of the American Musicological Society 55, no. 3 (2002): 383–431. http://dx.doi.org/10.1525/jams.2002.55.3.383.

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Abstract Conventional views of text/music relationships in early Italian opera focus on the imitation of affections. But by dealing exclusively with the referential meanings of texts (e.g., emotions, images, and concepts) these views overlook an important aspect of music's interaction with language. In opera, music also imitates language's contextual and communicative functions—i.e., discourse, as studied today by the subfield of linguistics called pragmatics. In his operas Monteverdi fully realized Peri's ideal of “imitating in song a person speaking” (“imitar col canto chi parla”) by musically emphasizing those context-dependent meanings that emerge especially in ordinary language and that are prominent in dramatic texts, as opposed to poetry and prose. Such meanings are manifest whenever words such as “I,” “here,” and “now” appear— words called “deictics”—with the function of situating the speaker/singer's utterances in a specific time and place. Monteverdi highlights deictics through melodic and rhythmic emphases, repetition, shifts of meter, style, and harmony, as part of a strategy to create a musical language suited to opera as a genre and to singers as actors. In Il ritorno d'Ulisse in patria and L'incoronazione di Poppea, this strategy serves large-scale dramaturgical aims with respect to the relationships among space, time, and character identity, highlighting issues also discussed within the contemporary intellectual context.
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Giraldo, Veronica. "Referential iconicity in music and speech." Public Journal of Semiotics 9, no. 1 (February 25, 2020): 41–77. http://dx.doi.org/10.37693/pjos.2019.9.20283.

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Musical meaning is multifaceted. It is highly sensory and yet often abstract; able to cross cultural boundaries and yet embedded in specific traditions. For the most part music as a semiotic system is characterized by non-referential meaning (Monelle, 1991). Nevertheless, in so-called programmatic music, musical themes are intended to refer to worldly objects and events on the basis of iconic (and indexical) grounds. Such non-arbitrariness has been extensively documented in the case of speech as well (Ahlner and Zlatev, 2010; Sonesson 2013; Imai and Kita, 2014). In an experimental study, I investigated how referential iconicity in speech operates in comparison to music, considering the factors (a) primary/secondary iconicity and (b) linguistic/cultural background. In the experiment 21 Swedish and 21 Chinese native speakers had to match musical fragments from Prokofief’s Peter and the Wolf and spoken word-forms to objects, represented by schematic pictures. The experiment was designed to have two conditions to operationalize higher degree of primary and secondary iconicity, respectively. The results showed that there was no significant difference between the overall results for music and linguistic tasks, indicating that the cognitive-semiotic processes involved are not limited to a single cognitive domain or semiotic system. Both groups performed significantly above chance in both conditions, which serves as a clear indicator that interpreting referential music in music and speech sounds is not purely a case of secondary iconicity. Author Biography Verónica Giraldo’s academic background is in music and linguistics. She holds an MA in Language and Linguistics with specialization in Cognitive Semiotics from Lund University. The work presented derives from her master’s thesis project. One of her main interest is exploration of the possible correlations between language and music from the perspective of cognitive semiotics. She is currently researching on how to make visual art and museums more accessible to the blind and visually impaired community.
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Klempe, Sven Hroar. "Implicit polyphony: A framework for understanding cultural complexity." Culture & Psychology 24, no. 1 (July 3, 2017): 60–79. http://dx.doi.org/10.1177/1354067x17716390.

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Musical terms like ‘polyphony’ are often applied in psychology and other disciplines in a more or less metaphorical way. However, this article investigates how polyphony can be applied in a non-metaphorical manner, i.e. in the same way, as it is understood in musicology. The fundamental hypothesis is that music represents a basic capacity of the human mind, and that this has impact on other human capacities, like language. If so, this should be traceable in different ways in different cultures. To investigate this, ‘implicit polyphony’ is launched as a term that refers to music, which is melodic, but at the same time reveals a more or less hidden polyphonic structure. This musical phenomenon is demonstrated by examples from Bach and Ravel. It is demonstrated that polyphony is at the core of music, not only in Western classical music, but also African and other ethnical music. Implicit polyphony defined as two voices condensed into one is also found in Norwegian Sámi music. The latter leads to a conclusion, which says that continuity in music is related to verticality. Investigations in linguistics show that the oral use of language is highly comparable with implicit polyphony in music. The same is modernistic literature where the aim has been to turn language into music, as in parts of James Joyce’s novel Ulysses. By bringing in examples of lexical and conceptual blending, the final conclusion is that ‘implicit polyphony’ may serve as a tool for understanding the complexity in human thinking and culture.
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Dissertations / Theses on the topic "Language, Linguistics|Music"

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Youngs, Marisa B. "THE LANGUAGE OF MUSIC: LINGUISTICS IN TRUMPET PEDAGOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/115.

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For decades, many brass teachers have relied heavily upon speech as a means of conveying pedagogical concepts. Additionally, a significant number of teachers in the brass community continue to use speech sounds to teach specific kinesthetic responses (i.e. using specific vowels for tone production, particular consonants for articulation, and variations of vowels for different pitch registers). These teaching concepts have been perpetuated over time, though many intricate aspects of human anatomy were yet to be understood at the inception of these methods, including the physiological processes used during speech. As technology has evolved, researchers in the field of linguistics have made significant discoveries regarding the production and perception of speech. As a result of these innovations, researchers now understand more about individual languages than ever before. This document aims to critique popular beliefs regarding speech directives often utilized in trumpet pedagogy, such as guiding a student by saying “tah,” “too,” “tee,” etc. to produce a desired sound concept. A significant portion of this document also outlines an ultrasound experiment conducted by the author in the Phonetics Laboratory at the University of Kentucky, in which exercises were designed to determine if speech vowels are in fact used during trumpet playing. During this study, subjects wore a lightweight headset with an ultrasound probe placed under the chin. The ultrasound probe allowed the researcher a midsaggital (side) view of the subject’s oral cavity, displaying vowel placements and articulatory phenomena. While using the ultrasound imaging technology, subjects played a short selection of musical exercises on B-flat trumpet and then read aloud a pre-selected list of English words, designed to display multiple combinations of vowel and consonant pairings. Both the trumpet exercises and reading of the word list were audio recorded and simultaneously paired with the corresponding ultrasound video data. After playing the selected exercises, subjects completed a brief written questionnaire of personal language history to ascertain possible influences upon dialect. The ultrasound videos were then analyzed with the audio recordings to map each individual’s tongue placements during speech as compared to the placements utilized during trumpet playing. The author concluded that a majority of participants did not use the specific placements of speech vowels while playing the trumpet, although some participant data displayed a slightly stronger correlation than others. While many conclusions could be drawn from this research study, the corresponding data is intended for a purely observational understanding of the influence of linguistics upon trumpet performance and pedagogy. This document is presented in two parts: Part I contains introductory research material, as well as the process, analysis, and conclusions from the experiment outlined above. Part II contains recital programs and corresponding program notes in fulfillment of the degree of Doctor of Musical Arts in Trumpet Performance, as well as a personal vita.
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White, Christopher Wm. "Some Statistical Properties of Tonality, 1650-1900." Thesis, Yale University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3578472.

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This dissertation investigates the statistical properties present within corpora of common practice music, involving a data set of more than 8,000 works spanning from 1650 to 1900, and focusing specifically on the properties of the chord progressions contained therein.

In the first chapter, methodologies concerning corpus analysis are presented and contrasted with text-based methodologies. It is argued that corpus analyses not only can show large-scale trends within data, but can empirically test and formalize traditional or inherited music theories, while also modeling corpora as a collection of discursive and communicative materials. Concerning the idea of corpus analysis as an analysis of discourse, literature concerning musical communication and learning is reviewed, and connections between corpus analysis and statistical learning are explored. After making this connection, we explore several problems with models of musical communication (e.g., music's composers and listeners likely use different cognitive models for their respective production and interpretation) and several implications of connecting corpora to cognitive models (e.g., a model's dependency on a particular historical situation).

Chapter 2 provides an overview of literature concerning computational musical analysis. The divide between top-down systems and bottom-up systems is discussed, and examples of each are reviewed. The chapter ends with an examination of more recent applications of information theory in music analysis.

Chapter 3 considers various ways corpora can be grouped as well as the implications those grouping techniques have on notions of musical style. It is hypothesized that the evolution of musical style can be modeled through the interaction of corpus statistics, chronological eras, and geographic contexts. This idea is tested by quantifying the probabilities of various composers' chord progressions, and cluster analyses are performed on these data. Various ways to divide and group corpora are considered, modeled, and tested.

In the fourth chapter, this dissertation investigates notions of harmonic vocabulary and syntax, hypothesizing that music involves syntactic regularity in much the same way as occurs in spoken languages. This investigation first probes this hypothesis through a corpus analysis of the Bach chorales, identifying potential syntactic/functional categories using a Hidden Markov Model. The analysis produces a three-function model as well as models with higher numbers of functions. In the end, the data suggest that music does indeed involve regularities, while also arguing for a definition of chord function that adds subtlety to models used by traditional music theory. A number of implications are considered, including the interaction of chord frequency and chord function, and the preeminence of triads in the resulting syntactic models.

Chapter 5 considers a particularly difficult problem of corpus analysis as it relates to musical vocabulary and syntax: the variegated and complex musical surface. One potential algorithm for vocabulary reduction is presented. This algorithm attempts to change each chord within an n-grams to its subset or superset that maximizes the probability of that trigram occurring. When a corpus of common-practice music is processed using this algorithm, a standard tertian chord vocabulary results, along with a bigram chord syntax that adheres to our intuitions concerning standard chord function.

In the sixth chapter, this study probes the notion of musical key as it concerns communication, suggesting that if musical practice is constrained by its point in history and progressions of chords exhibit syntactic regularities, then one should be able to build a key-finding model that learns to identify key by observing some historically situated corpus. Such a model is presented, and is trained on the music of a variety of different historical periods. The model then analyzes two famous moments of musical ambiguity: the openings of Beethoven's Eroica and Wagner's prelude to Tristan und Isolde. The results confirm that different corpus-trained models produce subtly different behavior.

The dissertation ends by considering several general and summarizing issues, for instance the notion that there are many historically-situated tonal models within Western music history, and that the difference between listening and compositional models likely accounts for the gap between the complex statistics of the tonal tradition and traditional concepts in music theory.

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Casaregola, Laura. "How Our Music Tastes Relate to Language Attitudes with Standard and Non-standard Varieties of English." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1044.

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Sociolinguistics studies on language perception have shown that listeners form different attitudes toward speakers based on the speakers’ language varieties (Lukes and Wiley 1996, Lippi-Green 2012, Thompson, Craig, and Washington 2004). Just from hearing a voice, listeners form opinions, and these opinions are often informed by societal archetypes, as well as societal stereotypes. For example, Standard American English is generally perceived with more prestige and respect than non-standard varieties. Unfavorable perceptions of non-standard varieties can, and in many documented cases does, lead to inequitable and/or discriminatory situations (Baugh 2003). Non-standard and standard varieties are found in language use in music. The emergence of the Internet and music playing platforms, as well as more diverse musicians getting mainstream radio play and pay, leads to non-standard varieties reaching new listeners in a new format. In this thesis, I survey the types of music to which people listen, and their perceptions to speakers of Standard American English, Southern American English, and African American English to investigate how the music people listen to connects to their language attitudes. The results show that overall, listeners of any genre have more favorable attitudes toward Standard American English; and, that listeners of rap and/or hip-hop have more favorable attitudes than other groups of listeners toward the non-standard varieties.
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Yip, Chi-lap. "Discovering patterns in databases the cases for language, music, and unstructured data /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2240112X.

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Khezri, Mohammadreza. "MUSIC AND VOCABULARY LEARNING : a pilot study on probable pedagogical effects of music on the learning of new vocabularies of a foreign language." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-71722.

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Learning and memorizing vocabularies of a new language is regarded as an important factor ingaining mastery over a new language while it is a tedious and challenging task. Learners feel reluctant to learn new words by heart and, in most cases, they fail to do so. The aim of this studyis to propose a pleasurable teaching methodology by using music as a variable to enhance and tofacilitate the learning process and to bring joy to the language learning environment.
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Wang, Cai. "The role of music in language learning processes in a Mandarin immersion preschool." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557358.

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The current study examined the role of music in Mandarin vocabulary learning in a Mandarin immersion preschool setting. The goal was to find out how children learn Mandarin with and without music. Using a pre-test/post-test design, I first identified 5 Mandarin words that most children did not know, and then divided children into two groups: the experimental group were taught the 5 words using pictures and song, and the control group learned the same words by pictures and the same song with the melody removed. In the post-test, I asked children of each group "Which one is the XX" in Mandarin and each child pointed to the picture of what they thought was XX. My results show that both groups learned new words; however, children in the non-music group learned more words than children in the music group. These results demonstrate learning from a short-term intervention, but also raise questions about the role of the language's tonality in the effectiveness of using music for word learning.

Keywords: immersion school, music, vocabulary learning, Mandarin

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Kane, James Gray. "A Musicology for Literary Language." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/48.

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This study analyzed the reader's relationship to the sounds embedded in a written text for the purpose of identifying those sounds' contribution to the reader's interpretation of that text. To achieve this objective, this study negotiated Heideggerian phenomenology, Freudian and Lacanian psychoanalysis, linguistics, and musicology into a reader response theory, which was then applied to Edgar Allen Poe's "The Raven." This study argues that the orchestration of sounds in "The Raven" forces its reader into a regression, which the reader then represses, only to carry the resulting sound-image // away from the poem as a psychic scar.
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葉立志 and Chi-lap Yip. "Discovering patterns in databases: the cases for language, music, and unstructured data." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31242649.

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Lebo, Cynthyny Ann. "Musical linguistics: How music and artistic creativity when delivered as a linguistic practice, help students master academic skills in English language arts." CSUSB ScholarWorks, 2012. https://scholarworks.lib.csusb.edu/etd-project/3389.

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This Masters project consists of two elements: 1) an integrated after-school program to improve student English language reading and academic outcomes for third graders' vocabulary development by incorporating music, artistic creativity and linguistics; 2) a pilot sample curriculum that demonstrates the approach for building student comprehension through musical theater and Science, Technology, Engineering, and Mathematics (STEM) content experiences. Called "Water Buddy", this is an after-school program uses singing, dancing, writing, and play to build reading and vocabulary skills. The goal is to improve learner academic outcomes by mastering the elemental building blocks of words, letters, symbols by making memorable the sound units, idioms, print conventions, and concepts that they were previously lacking.
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Cowal, Janet Tom. "Modeling Music with Grammars: Some Examples from Balinese Kotekan." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/2933.

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What is the relationship of music and language? Analogies and comparisons of music and language are plentiful in various types of literature. For researchers in the cognitive sciences, the importance of organization, patterning, and structuring of sounds is a common theme in analyzing both language and music. With the success of generative grammars for languages, a number of researchers have used similar kinds of grammars to describe or model particular aspects of music. In addition, researchers are interested in possible universals in musical grammars. However, while grammars of non-Western musics have been written, most of the work has been based on Western tonal systems. The purpose of this research is to analyze, in an information processing, linguistic framework, a non-Western musical system for which there is currently no formal grammar in the literature, and to describe an aspect of it in the form of a grammar. Kotekan, the system of interlocking parts in Balinese game/an music, is examined in this study. This study is based on library research, scores, tapes, and communication with experts in Balinese music. A number of previously written grammars for musical systems are examined, as well as literature concerning various types of formal grammars. Balinese kotekan data is collected, in the form of literature, scores, and tapes. Portions of the data are described in the form of a grammar. The rules are then tested on new data, that is, portions of other Balinese pieces. The natures of and the relationship between music and language can be examined more closely through the use of an information processing, linguistic framework. Grammars are a precise and formal way of describing structure and regularities in linguistic and musical systems, and of describing aspects of competence. Linguistic and musical grammars share some features and differ in others. The grammar for Balinese kotekan presented in this study exhibits features that are similar to other musical grammars. The system can be described as a hierarchy of constraints from global tendencies to specific rules for various types of kotekan. In addition, there are deep and surface structures, variation related to structure, ranked or preference rules, spatio-motor considerations, and the need for context-sensitive rules. The structure of po/os and sangsih (the interlocking parts of kotekan) as individual lines is described by context-free phrase structure rules. The relationship between pol os and sangsih is described by transformations. The grammar presented is a starting point for a complete grammar of Balinese kotekan.
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Books on the topic "Language, Linguistics|Music"

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Barsch, Achim. Trends in rhythmics: Language, literature, and music. Siegen [West Germany]: Institute for Empirical Literature and Media Research, Siegen University, 1986.

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The cartesian mind: Reflections on language and music. Shimla: Indian Institute of Advanced Study, 2000.

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International Workshop on the Cognitive Science of Natural Language Processing (8th 1999 Galway, Ireland). Language, vision, and music: Selected papers from the 8th International Workshop on the Cognitive Science of Natural Language Processing, Galway, Ireland, 1999. Amsterdam: John Benjamins Pub., 2002.

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The rhythm of speech, verse and vocal music: A new theory. New York: Peter Lang, 2010.

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Rodríguez-Vázquez, Rosalía. The rhythm of speech, verse and vocal music: A new theory. New York: Peter Lang, 2010.

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Musik und Sprachprosodie: Kindgerichtetes Singen im frühen Spracherwerb. Berlin: W. de Gruyter, 2009.

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Library of Congress. Library of Congress classification. P-PA. Philology and linguistics (general). Greek language and literature. Latin language and literature. 2nd ed. Washington, D.C: Library of Congress, Cataloging Distribution Service, 2005.

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Library of Congress. Library of Congress classification. P-PA. Philology and linguistics (general). Greek language and literature. Latin language and literature. Washington, D.C: Library of Congress, Cataloging Distribution Service, 1997.

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Delage, Jocelyne. Dictionnaire français-anglais des langages =: English-French dictionary of languages. [Montréal]: Communications Graphein, 1996.

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Luciano Berio et la phonologie: Une approche jakobsonienne de son œuvre. Franfurt am Main: P. Lang, 1993.

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Book chapters on the topic "Language, Linguistics|Music"

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Steiner, Erich. "The interaction of language and music as semiotic systems." In Linguistics in a Systemic Perspective, 393. Amsterdam: John Benjamins Publishing Company, 1988. http://dx.doi.org/10.1075/cilt.39.14ste.

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Matusz, Łukasz. "The LANGUAGE IS MUSIC Metaphor as a Didactic Tool in Descriptive Phonetics and Phonology Classroom." In Foreign Language Pedagogy in the Light of Cognitive Linguistics Research, 113–31. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58775-8_7.

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Politis, Dionysios, and Miltiadis Tsalighopoulos. "Oral and Aural Communication Interconnection." In Advances in Multimedia and Interactive Technologies, 1–30. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0264-7.ch001.

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Speech science is a key player for music technology since vocalization plays a predominant role in today's musicality. Physiology, anatomy, psychology, linguistics, physics and computer science provide tools and methodologies to decipher how motor control can sustain such a wide spectrum of phonological activity. On the other hand, aural communication provides a steady mechanism that not only processes musical signals, but also provides an acoustic feedback that coordinates the complex activity of tuned articulation; it also couples music perception with neurophysiology and psychology, providing apart from language-related understanding, better music experience.
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Napolin, Julie Beth. "A Sinister Resonance: On the Extraction of Sound and Language in Heart of Darkness." In The Fact of Resonance, 149–210. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288175.003.0007.

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Chapter Three is a study of Conrad’s Heart of Darkness, a novel narrated in single night aboard a ship when a man remembers his journey to the Congo. The chapter seeks a critical form for this novel that Chinua Achebe argues should no longer be read. Searching for a way to describe it, Conrad wrote that it was like “a sinister resonance” and “continued vibration.” These sound figures, based in his memories of music, issue a profound challenge to the transcendental signifier that supports narrative levels: “voice.” At the same time, the chapter seeks out linguistics in the material substratum of vibration. It argues that the linguistic sign and the history of telecommunications—sharing in a dream of lossless and perfect communication—cannot be thought outside of the colonial extraction of sound in its ongoing violence.
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Conference papers on the topic "Language, Linguistics|Music"

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Nguyen Thi, Yen. "The Three-Tiered World (Tam Phu) of the Tay People in Vietnam through the Performance of Then Rituals." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.13-3.

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The Tay people represent an ethnic minority in the mountainous north of Vietnam. As do Shaman rituals in all regions, the Shaman of the Tay people in Vietnam exhibit uniqueness in their languages and accommodation of their society’s world view through their ‘Then’ rituals. The Then rituals require an integration of many artistically positioned and framed elements, including language (poetry, vows, chanting, the dialogue in the ritual), music (singing, accompaniment), and dance. This paper investigates The Art of Speaking of the Tay Shaman, through their Then rituals, which include use of language to describe the imaginary journey of the Shaman into the three-tiered world (Muong fa - Heaven region (Thien phu); Muong Din - Mountain region (Nhac phu); Muong Nam - Water region (combination of Thuy phu and Dia phu) to describe dealings with deities and demons, and to describe the phenomenon of possession. The methodic framework of the paper thus includes discussions of in the comparison between the concept of the three-storey world in the Then ritual of the Tay people with the concept of Tam Tu phu in the Len dong ceremony of the Kinh in Vietnam. Thereby, it clearly shows the concept of Tay people of the universe, the world of gods, demons, the existence of the soul and the body, and the existence of human soul after death. The study contributes to Linguistics and Anthropology in that it observes and describes the world views of a Northern Vietnamese ethnicity, and their negotiation with spirituality, through languages of both a spiritualistic medium and society.
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Oramas, Sergio, Massimo Quadrana, and Fabien Gouyon. "Bootstrapping a Music Voice Assistant with Weak Supervision." In Proceedings of the 2021 Conference of the North American Chapter of the Association for Computational Linguistics: Human Language Technologies: Industry Papers. Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.naacl-industry.7.

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