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Books on the topic 'Language, Linguistics|Music'

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1

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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2

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

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3

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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4

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

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5

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

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6

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

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7

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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8

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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9

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

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10

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

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11

Poruciuc, Adrian. Prehistoric roots of Romanian and southeast European traditions. Sebastopol: Institute of Archaeomythology, 2010.

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12

Aneta, Corciova, Marler Joan 1947-, and Dexter Miriam Robbins 1943-, eds. Prehistoric roots of Romanian and southeast European traditions. Sebastopol: Institute of Archaeomythology, 2010.

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13

Murray, W. Magic music. Loughborough: Ladybird, 1990.

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14

Märzhäuser, Christina. Portugiesisch und Kabuverdianu in Kontakt: Muster des Code-switching und lexikalische Innovationen in Raptexten aus Lissabon. Frankfurt am Main: P. Lang, 2011.

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15

England, Church of. [A portion of the Book of Common Prayer in the Cree language]. Moose [Moose Factory, Ont.?: J. Horden], 1993.

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16

Heijkoop, Henk. Muwassah, zajal, kharja: Bibliography of strophic poetry and music from al-Andalus and their influence in East and West. Leiden: Brill, 2002.

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17

Vivien, Morris, and Burgess Henry James, eds. A Prayer for all seasons: The Collects of the Book of common prayer. Hartsop, Penrith, Cumbria: Fort House Publications, 1987.

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18

Nicholson, Sydney H. Sir, 1875-1947., ed. The parish Psalter with chants: The Psalms of David pointed for chanting. Croydon: Royal School of Church Music, 1989.

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19

England, Church of. Ṣalāth al-jamāʻath kī kitāb aur secrīmanṭon kī dustūr aur dusrī rasmen̲ ... ʻaqāʼid-i dīn ke sāth. Calcutta: Church Mission Press, 1997.

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20

1921-2006, Porter J. R., Church of England, and Church of England, eds. The first and second prayer books of Edward VI. London: Prayer Book Society, 1999.

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21

England, Church of. The book of common prayer and administration of the sacraments and other rites and ceremonies of the church according to the use of the Church of England. New York: H. Holt, 1992.

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22

A Prayer for all seasons: The Collects of the Book of common prayer. Cambridge: Lutterworth Press, 1999.

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23

England, Church of. Synaptai, Epistolai kai Euangelia =: Collects, Epistles & Gospels. Athe na: Exantas, 1988.

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24

England, Church of. Kitabu cha sala: Na kutenda siri, na taratibu za kanisa , pamoja na zaburi za Daudi. London: Society for Promoting Christian Knowledge, 1987.

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25

Erbacher, John. Aborigines of the rainforest. Cambridge: Cambridge University Press, 1991.

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26

Language, Culture and Caribbean Identity. University Press of the West Indies, 2012.

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27

Laut, Stimme und Sprache: Dokumentation, Textband, 2 Audio-Kassetten. Koblenz: D. Fölbach, 1998.

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28

1959-, Ernst Wolfgang, and Kittler Friedrich A, eds. Die Geburt des Vokalalphabets aus dem Geist der Poesie: Schrift, Zahl und Ton im Medienverbund. München: Wilhelm Fink, 2006.

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29

1959-, Ernst Wolfgang, and Kittler Friedrich A, eds. Die Geburt des Vokalalphabets aus dem Geist der Poesie: Schrift, Zahl und Ton im Medienverbund. München: Wilhelm Fink, 2006.

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30

Marc, André, and Pistone Danièle, eds. L' Interprétation de Chopin en France. Paris: Libr. H. Champion, 1990.

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31

White Hip-Hoppers, Language and Identity in Post-Modern America. Taylor & Francis Group, 2014.

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32

Prehistoric roots of Romanian and southeast European traditions. Sebastopol CA, USA: Institute of Archaeomythology, Sebastopol CA, 2010.

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33

Jill, Corby, and Trotter Stuart, eds. Magic music. Ladybird, 1990.

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34

Murray, William, and Ladybird Books. Magic Music (Read with Me (Penguin)). Penguin Putnam, 1990.

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35

Murray, W., and Jill Corby. Magic Music (Read with Me: Key Words Reading Scheme). Ladybird Books Ltd, 1999.

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36

The Tommyknockers complex. Journal Enzymes ISSN 1867-3317: Dr. Andrej Poleev, 2008.

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37

The Tommyknockers complex. Berlin, Germany: epubli, 2019.

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38

Zbikowski, Lawrence M. Foundations of Musical Grammar. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653637.001.0001.

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This volume makes a unique contribution to music theory by building on recent research in cognitive science and theoretical perspectives adopted from cognitive linguistics to present an account of the foundations of musical grammar. Musical grammar is conceived of as a species of construction grammar, in which grammatical elements are form-function pairs. In the case of music, basic constructions are sonic analogs for dynamic processes that are central to human cultures. This volume focuses on three such processes: those related to emotions, to gestures, and to dance. The first chapter introduces the volume and explains how this approach connects with previous work in music theory. The second chapter reviews research on analogy and shows how it provides a basis for analogical reference, which is fundamental to musical grammar. The third chapter describes the connection between music and the emotions facilitated by analogical reference. The fourth chapter explores connections between human gesture and musical utterances, and shows how both rely on the infrastructure for human communication that is also exploited by language. The fifth chapter demonstrates how music provides sonic analogs for the steps of social dances, and how music combined with dance has been used to structure social interactions. The sixth chapter focuses on the combination of language and music that occurs in songs, making clear how the different grammatical resources offered by music and language shape how meaning is constructed in songs. Detailed musical analyses are offered in each chapter, as well as summaries of the basic elements of musical grammar.
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39

Pazih Texts and Songs (Language and Linguistics Monograph Series Number A2-2). Institute of Linguistics, 2002.

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40

Prevost, Roxane, and Kimberly Francis. Teaching Silence in the Twenty-First Century. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.26.

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This article examines the prejudices that women continue to experience in the field of composition in the twenty-first century. More specifically, it analyzes the host of factors that may be responsible for this reality from three perspectives: the notion that the language of modernist music is a gendered discourse, the role of precedent in the acceptance of women composers, and the role of societal stereotypes. The article looks at Catherine Parson Smith’s contention that the use of sexual linguistics has been detrimental to women artists during the modernist era; the various contexts that gave rise to the political positioning of the musical language of modernism; how stereotypes about artistic women affect the creativity and output as well as the professional behavior of women composers. Finally, it offers suggestions for overcoming the obstacles that prevent contemporary women composers from receiving due recognition.
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41

Evolution Of Emotional Communication From Sounds In Nonhuman Mammals To Speech And Music In Man. Oxford University Press, 2013.

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42

First and Second Prayer Books of Edward VI Hb. Prayer Book Society, 1999.

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43

1727-1787, Claus Daniel, ed. The order for morning and evening prayer, and administration of the sacraments, and some other offices of the Church of England: Together with a collection of prayers, and some sentences of the Holy Scriptures, necessary for knowledge and practice = : Ne yakawea Niyadewighniserage Yondereanayendakhkwa Orhoenkéne, neoni Yogarask-ha Oghseragwégouh .. [Quebec: William Brown, printer], 1985.

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44

Prayer for All Seasons. Lutterworth Press, 1999.

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45

H R H Charles the Prince of Wales (Foreword), Bishop of London (Afterword), Lutterworth Press (Creator), and Ian Curteis (Introduction), eds. A Prayer for All Seasons: The Collects of the Book of Common Prayer. Lutterworth Press, 1999.

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46

Heijkoop, Henk, and Otto Zwartjes. Muwassah, Zajal, Kharja: Bibliography of Eleven Centuries of Strophic Poetry and Music from Al-Andalus and Their Influence on East and West (Medieval and Early Modern Iberian World). Brill Academic Publishers, 2004.

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