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

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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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Neary, Clara. "‘Please could you stop the noise’: The grammar of multimodal meaning-making in Radiohead’s ‘Paranoid Android’." Language and Literature: International Journal of Stylistics 28, no. 1 (February 2019): 41–60. http://dx.doi.org/10.1177/0963947019827073.

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This article uses Zbikowski’s theory of ‘musical grammar’ to analyse Radiohead’s song ‘Paranoid Android’ from their 1997 album OK Computer. Invoking the close structural and compositional parallels between language and music, Zbikowski’s approach appropriates some of the core elements of cognitive linguistics to provide a means of ‘translating’ music into meaning-bearing conceptual structures via the construction of ‘sonic analogues’, which are a type of conceptual construct formed when incoming perceptual information is compared to existing cognitive knowledge stored as image schemas. The result is an analysis of the interactions between the linguistic and aural constructions of a multimodal text that not only sheds new light on the text’s meaning-making devices, but also endeavours to unlock the strategies through which such distinctive semiotic modes act and interact within texts to create meaning potential.

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12

PHILLIPS, COLIN, and ELLEN LAU. "Foundational issues." Journal of Linguistics 40, no. 3 (November 2004): 571–91. http://dx.doi.org/10.1017/s0022226704002774.

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Ray Jackendoff,Foundations of language. Oxford: Oxford University Press, 2002. Pp. xix+477.Ray Jackendoff is well qualified to talk about the trend towards increasing specialization and fragmentation of the science of language. For over 30 years he has been a prolific contributor to a number of different topics in syntax and semantics, and has also made notable contributions to other areas of cognitive science, including music, consciousness, spatial cognition, and psycholinguistics. It's hard to find many in the field who can match Jackendoff's breadth. Therefore, all linguists should be interested in Jackendoff's most recent book, Foundations of language, in which he lays out a series of objectives for the science of language, and describes some of the steps that he believes are needed in order to reintegrate theoretical linguistics with psycholinguistics and even computational neuroscience.

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Solanon, Stephanie O., Claribel Astrid D. Idong, Ariel Epan San Jose, and Maria Gregoria Robles Concepcion. "HEEDING TO ENGLISH MUSIC AND SONGS ENHANCES LISTENING SKILLS." International Journal of New Economics and Social Sciences 12, no. 2 (December 31, 2020): 131–42. http://dx.doi.org/10.5604/01.3001.0014.6887.

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Undeniably, teaching English listening is challenging. These challenges did not only involve teaching proper pronunciation, articulation, accent, dialectal variation but also the lack of modern listening devices and equip-ment. This qualitative research determined whether heeding to English music and songs could improve the listening skills of the students. Using focus groups, the researchers obtained the information through in-depth inter-views among 16 musically inclined freshmen English major students. Findings revealed that the participants were not genre oriented; they listened to English music and songs was a self-decision or influenced by peers; they bene-fitted from listening to English music and songs like making them emotionally stable, sharpening their mental and language abilities; they were able to keenly distinguish properly enunciated English words; they became linguis-tically aware of dialectal variations; and they were able to differentiate hearing and listening to music. Moreover, they listened to English music and songs as those were part and parcel of their lives. It implies that music and songs may be used in learning English in schools to facilitate psychological and linguistics faculties of tudents.

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Petrikova, Anna, and Slavka Kopcakova. "Analysis of word and music interconnection in Greek Catholics‘ liturgical chanting on interdisciplinary aspect of linguistics and aesthetics." XLinguae 11, no. 2 (2018): 768–83. http://dx.doi.org/10.18355/xl.2018.11.02.60.

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15

Antović, Mihailo. "Multilevel grounded semantics across cognitive modalities: Music, vision, poetry." Language and Literature: International Journal of Stylistics 30, no. 2 (March 22, 2021): 147–73. http://dx.doi.org/10.1177/0963947021999182.

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This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.

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Filimon, Rosina Caterina. "Decoding the Musical Message via the Structural Analogy between Verbal and Musical Language." Artes. Journal of Musicology 18, no. 1 (March 1, 2018): 151–60. http://dx.doi.org/10.2478/ajm-2018-0009.

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Abstract The topic approached in this paper aims to identify the structural similarities between the verbal and the musical language and to highlight the process of decoding the musical message through the structural analogy between them. The process of musical perception and musical decoding involves physiological, psychological and aesthetic phenomena. Besides receiving the sound waves, it implies complex cognitive processes being activated, whose aim is to decode the musical material at cerebral level. Starting from the research methods in cognitive psychology, music researchers redefine the process of musical perception in a series of papers in musical cognitive psychology. In the case of the analogy between language and music, deciphering the musical structure and its perception are due, according to researchers, to several common structural configurations. A significant model for the description of the musical structure is Noam Chomsky’s generative-transformational model. This claimed that, at a deep level, all languages have the same syntactic structure, on account of innate anatomical and physiological structures which became specialized as a consequence of the universal nature of certain mechanisms of the human intellect. Chomsky’s studies supported by sophisticated experimental devices, computerised analyses and algorithmic models have identified the syntax of the musical message, as well as the rules and principles that underlie the processing of sound-related information by the listener; this syntax, principles and rules show surprising similarities with the verbal language. The musicologist Heinrich Schenker, 20 years ahead of Chomsky, considers that there is a parallel between the analysis of natural language and that of the musical structure, and has developed his own theory on the structure of music. Schenker’s structural analysis is based on the idea that tonal music is organized hierarchically, in a layering of structural levels. Thus, spoken language and music are governed by common rules: phonology, syntax and semantics. Fred Lerdahl and Ray Jackendoff develop a musical grammar where a set of generating rules are defined to explain the hierarchical structure of tonal music. The authors of the generative theory propose the hypothesis of a musical grammar based on two types of rules, which take into account the conscious and unconscious principles that govern the organization of the musical perception. The structural analogy between verbal and musical language consists of several common elements. Among those is the hierarchical organization of both fields, a governance by the same rules – phonology, syntax, semantics – and as a consequence of the universal nature of certain mechanisms of the human intellect, decoding the transmitted message is accomplished thanks to some universal innate structures, biologically inherited. Also, according to Chomsky's linguistics model a musical grammar is configured, one governed by wellformed rules and preference rules. Thus, a musical piece is not perceived as a stream of disordered sounds, but it is deconstructed, developed and assimilated at cerebral level by means of cognitive pre-existing schemes.

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Antipina, E. S., and S. A. Prokhorenkova. "The Modelling of Creative Artistic Personality Based on the Love Songs Made on A.S. Pushkin’s Poem “The Beauty, Don’t Sing in My Presence…”." Prepodavatel XXI vek, no. 2, 2020 (2020): 413–24. http://dx.doi.org/10.31862/2073-9613-2020-2-413-424.

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The article updates the role of interdisciplinary approach in linguistics, and considers the possibilities of using musicological analysis in multi-paradigmatic modelling of a creative linguistic personality. In the semiotic triad music — language — personality the peculiarities of artistic world-view of homo scribens (the man who writes) are analyzed. The love songs of Great Russian composers made on A.S. Pushkin’s poem “The beauty, don’t sing in my presence” are taken as an example. The similar tendencies in the semantic organization of the material structure in music and poetic works are justified, and semantic dominants of “oriental” love songs are defined. Keywords and general patterns in the interpretation of cultural constants concepts that translate the national picture of the world are revealed. The hypothesis is proved that musicological analysis has great potential in the process of representing the linguistic picture of the world not only of the creator of music (composer), but also of the author of the text (poet).

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Morini, Massimiliano. "Towards a musical stylistics: Movement in Kate Bush’s ‘Running Up That Hill’." Language and Literature: International Journal of Stylistics 22, no. 4 (November 2013): 283–97. http://dx.doi.org/10.1177/0963947013491486.

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A very recent trend in stylistics proposes the extension of its field of enquiry to accommodate various forms of multimodal art. Reflecting as it does the growing semiotic complexity of contemporary aesthetics, ‘multimodal stylistics’ is a welcome development. So far, however, its proponents have concentrated on genres in which texts are complemented by, or realized through, the visual medium – films, stage plays, television series and illustrated books. In this article, a multimodal stylistic analysis is attempted on a genre which has attracted little critical attention in linguistics – modern pop-rock music. A 1985 song by singer-songwriter Kate Bush, ‘Running Up That Hill’, is studied linguistically and musically. Employing a blend of stylistic and musicological techniques, and some of the insights provided by newborn multimodal stylistics, the author explores the complex ways in which meaning is created in a pop-rock song.

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Calefato, Patrizia. "On myths and fashion: Barthes and cultural studies." Sign Systems Studies 36, no. 1 (December 31, 2008): 71–82. http://dx.doi.org/10.12697/sss.2008.36.1.05.

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Roland Barthes’s work has confronted contemporary culture with the question of what happens when an object turns into language. This question allowed Barthes to “construct” well known cultural objects — from novels to music, from images to classical rhetoric, from love to theatre — in an unthought way, and to create new, even more unknown ones — from contemporary myth to fashion, from Japan to food culture. In this paper, Barthes’s cultural criticism is considered alongside with the issues raised by Cultural Studies. More specifically, Barthes’s constant reflection on the myth undoubtedly entitles us to connect his cultural criticism to the work that, in those same years, was being produced by the English forge of Cultural Studies, namely the so-called “Birmingham school”. Even today, Barthes’s work makes it possible for semiotics to be, to use his expressions, both “the science of every imagined universe”, and a mathesis singularis, rather than universalis, that is to say a systematic way to approach the singularity of the objects of knowledge. On the basis of this “transcendental reduction”, we can therefore wish for a “second birth” and a transvaluation of linguistics and of semiotics, both to be applied through varied and disseminated forms of intellectual activism.

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Barnard, Timothy P., Raja Ali Haji, Robert Blust, L. Smits, Peter Boomgaard, Mason C. Hoadley, Freek Colombijn, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 152, no. 1 (1996): 152–82. http://dx.doi.org/10.1163/22134379-90003024.

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- Timothy P. Barnard, Raja Ali Haji, Di dalam berkekalan persahabatan: ‘In everlasting friendship’; Letters from Raja Ali Haji, edited by Jan van der Putten and Al Azhar. Semaian 13. Leiden: Department of Languages and Cultures of Southeast Asia and Oceania, 1995, 292 + x pp., maps. - Robert Blust, L. Smits, Irian Jaya source materials, no. 5, series B-no. 2. The J.C. Anceaux collection of wordlists of Irian Jaya Languages. A: Austronesian languages (part II). Leiden/Jakarta, 1992, 288 pp., C.L. Voorhoeve (eds.) - Peter Boomgaard, Mason C. Hoadley, Towards a feudal mode of production; West Java, 1680-1800. Singapore: Institute of Southeast Asian Studies [ in cooperation with the Nordic Institute of Asian Studies, Copenhagen], 1994, x + 241 pp. - Freek Colombijn, Muriel Charras, Spontaneous settlements in Indonesia; Agricultural pioneers in southern Sumatra. Migrations spontanées en Indonésie; La colonisation agricole de sud de Sumatra. Jakarta: Departemen Transmigrasi; Paris: ORSTOM-CNRS, 1993, 405 pp., Marc Pain (eds.) - Dick Douwes, Hussin Mutalib, Islam, Muslims and the modern state; Case-studies of Muslims in thirteen countries. London: MacMillan; New York: St. Martin Press, 1994, 374 pp., Taj ul-Islam Hashimi (eds.) - J. van Goor, H.W. van den Doel, De stille macht; Het Europse binnenlands bestuur op Java en Madoera, 1808-1942. Amsterdam: Bert Bakker, 1994, 578 pp. - Stuart Kirsch, J.W. Schoorl, Culture and change among the Muyu. Translated by G.J. van Exel. Translation Series 23. Leiden: KITLV Press, 1993, xiv + 322 pp. - Bernd Nothofer, Ger P. Resink, Topics in descriptive Papuan linguistics. Leiden: Vakgroep Talen en Culturen van Zuidoost-Azië en Oceanië, Rijksuniversiteit te Leiden, 1994, viii + 154 pp. - Gerard Persoon, Robin Broad, Plundering paradise; The struggle for the environment in the Philippines. Berkeley: University of California Press, 1993, xvi + 197 pp., John Cavanagh (eds.) - Gerard Persoon, Thomas N. Headland, The Tasaday controversy; Assessing the evidence. AAA 28 Special Publication. Washington: American Anthropological Association, 1992, xi + 255 pp. - Remco Raben, Peter Harmen van der Brug, Malaria en malaise; De VOC in Batavia in de achttiende eeuw. Amsterdam: De Bataafsche Leeuw, 1994, 256 pp. - Nico G. Schulte Nordholt, Marcel Bonneff, ‘L’Indonésie contemporaine; vue par ses intellectuels’. Un choix d’articles de la revue PRISMA (1971-1991). Cahier d’Archipel 21. L’Harmattan, 1994, 287 pp. - A. Teeuw, Henri Chambert-Loir, Littérature indonésienne, une introduction. Éditeur Henri Chambert-Loir. Cahier d’Archipel 22. Paris: Association Archipel, 1994, 237 pp. - A. Teeuw, Martina Heinschke, Angkatan 45. Literaturkonzeptionen im gesellschaftspolitischen Kontext; Zur Funktionsbestimmung von Literatur im postkolonialen Indonesien. Veröffentlichungen des Seminars für Indonesische und Südseesprachen der Universität Hamburg, Band 18. Berlin/Hamburg: Dietrich Reimer Verlag, 1993, viii + 365 pp., - Wim van Zanten, Philip Yampolsky, Music of Indonesia, Volumes 1-6. Series of CDs/cassette tapes with documentation. Washington: Smithsonian/Folkways Recordings. Vol. 1: ‘Songs before dawn: Gandrung Banyuwangi’ (1991; SF40055); Vol. 2: ‘Indonesian popular music: Kroncong, Dangdut, and Langgam Jawa’ (1991; SF40056); Vol. 3: ‘Music from the outskirts of Jakarta: Gambang Kromong’ (1991; SF40057); Vol. 4: ‘Music of Nias and North Sumatra: Hoho, Gendang Karo, Gondang Toba’ (1992; SF40420); Vol. 5: ‘Betawi and Sundanese music of the north coast of Java: Topeng Betawi, Tanjidor, Ajeng’ (1994; SF40421); Vol. 6: ‘Night music of West Sumatra: Saluang, Rabab Pariaman, Dendang Pauah’(1994; SF 40422).

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Yazdanmehr, Elham, Ramin Akbari, Gholamreza Kiany, and Reza Ghaffar Samar. "Proposing a Conceptual Model for Teacher Expertise in ELT." Theory and Practice in Language Studies 6, no. 3 (March 21, 2016): 631. http://dx.doi.org/10.17507/tpls.0603.25.

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Interest in expertise studies has been shown from the beginning of 21st century so far in quite many fields including art, music, chess, medical sciences, etc. Just recently, applied linguistics has joint this new wave of research and this was an inspiration for conducting the present research. Since the early twenty-first century, expertise studies have been undertaken in a large number of domains. Applied linguistics is relatively a newcomer to the list which makes any study aiming to cast light on some aspect of expertise in this domain worth considering. In the present study, a model is proposed for the construct of teaching expertise in ELT comprised of 8 interrelated factors. Based on a perusal of previous research on expertise in education and the thought patterns and behavior of exemplary teachers of English language these factors were extracted. The direct or indirect effect of each factor on the latent variable, teaching expertise, is indicated in the model. For further content validation, 20 specialists of the field were interviewed. These specialists included university professors of applied linguistics, teacher educators, teacher trainers at the private sector, mentor teachers and experienced teachers. The 8 factors which were extracted from prior research and interviewees’ remarks include: teacher’s language proficiency, pedagogical content knowledge, social recognition, cognitive skills, experience, professional development, contextual knowledge, and learner-centered teaching. These are perceived to be the key constituents of teaching expertise in ELT. This model is aimed to be later used as a basis for developing an instrument for operationalizing the construct of teacher expertise in ELT.

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Antović, Mihailo. "From expectation to concepts: Toward multilevel grounding in musical semantics." Cognitive Semiotics 9, no. 2 (March 26, 2018): 105–38. http://dx.doi.org/10.1515/cogsem-2016-0005.

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Abstract This paper initiates a theory of musical semantics based on the notions of cross-domain mapping from cognitive linguistics and ground from the philosophy of language. The central claim is that listeners construct musical meaning on the basis of neither free associations nor fixed clues inherent to the musical structure. Rather, the process is grounded in a hierarchical system of six contextual constraints. On level one, the first glimpse of meaning emerges from direct physiological reactions, as when a segment of music is described as “tense.” On level two, image-schematic structure begins to be constructed, e. g., a “hopping” staccato. Level three is connotational, ascribing emotional qualities to the music, while on level four, the meaning becomes conceptual, relating the music to rich imagery, e. g., “a medieval battle.” On level five, conceptual meaning interacts with an elaborated cultural context, motivating rich descriptions at the intersection of two or more conceptual domains, e. g., when the “battle” is replaced by “gods coming down from Olympus.” Level six hosts associations grounded in personal experience. To support the proposal, a representative set of verbal descriptions from a recent experimental study on musical meaning is analyzed, showing both the emergence of new conceptual content and the hierarchical nature of grounding. In doing so, the contribution attempts to formally capture the old paradox of musical semantics: that music is full of meaning, yet that this meaning is highly underspecified, manifested in a potential rather than definite form.

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Pöyhönen, Sari, and Heli Paulasto. "Kieli ja taide." AFinLA-e: Soveltavan kielitieteen tutkimuksia, no. 12 (April 17, 2020): i—xx. http://dx.doi.org/10.30660/afinla.90774.

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This article introduces the AFinLA-e thematic issue focusing on creative inquiry in applied linguistics. This is a relatively new field of research, but it is expanding fast. Our aim is therefore to give a brief general introduction into this transdisciplinary field – its trajectories, approaches, methods and future directions – and to describe the contributions that the articles in this issue make into the growing body of work. The articles display a variety of research topics and approaches, illustrative of the diversity of research in the field. Art adopts a number of different roles: context, medium, process, partner, or the outcome of a research project. The articles cover various art forms, such as music, literature, visual arts, social circus, dance and photography, as well as a number of approaches to language and communication.

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Hunter, Linda, and Chaibou Elhadji Oumarou. "Towards a Hausa verbal aesthetic: aspects of language about using language." Journal of African Cultural Studies 11, no. 2 (December 1998): 157–70. http://dx.doi.org/10.1080/13696819808717832.

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Adelaar, K. Alexander, James T. Collins, K. Alexander Adelaar, James T. Collins, K. Alexander Adelaar, James T. Collins, K. Alexander Adelaar, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 154, no. 4 (1998): 638–86. http://dx.doi.org/10.1163/22134379-90003888.

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- K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Sumatera. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1995, xliii + 201 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Jawa, Bali dan Sri Lanka. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1995, xxxvii + 213 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di Indonesia Timur. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1996, xxx + 103 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - K. Alexander Adelaar, James T. Collins, Bibliografi dialek Melayu di pulau Borneo. Kuala Lumpur: Dewan Bahasa dan Pustaka (Kementerian Pendidikan Malaysia), 1990, xxviii + 100 pp. [Siri Monograf Bibliografi Sejarah Bahasa Melayu.] - Freek L. Bakker, Samuel Wälty, Kintamani; Dorf, Land und Rituale; Entwicklung und institutioneller Wandel in einer Bergregion auf Bali. Münster: Lit Verlag, 1997, xii + 352 pp. - René van den Berg, Linda Barsel, The verb morphology of Mori, Sulawesi. Canberra: Department of Linguistics, Research School of Pacific and Asian Studies, Australian National University, 1994, x + 139 pp. [Pacific Linguistics Series B-111.] - Martin van Bruinessen, Darul Aqsha, Islam in Indonesia; A survey of events and developments from 1988 to March 1993. Jakarta: INIS, 1995, 535 pp., Dick van der Meij, Johan Hendrik Meuleman (eds.) - Martin van Bruinessen, Niels Mulder, Inside Indonesian society; Cultural change in Java. Amsterdam: Pepin Press, 1996, 240 pp. [Previously published Bangkok, Duang Kamol, 1994.] - Matthew Isaac Cohen, Craig A, Lockard, Dance of life; Popular music and politics in Southeast Asia. Honolulu: University of Hawai’i Press, 1998, xix + 390 pp. - Will Derks, Tenas Effendy, Bujang Tan Domang; Sastra lisan orang Petalangan. Yogyakarta: Yayasan Benteng Budaya/Ecole Francaise d’Extrême Orient/The Toyota Foundation, 1997, 818 pp. [Al Azhar and Henri Chambert-Loir (eds).] - Will Derks, Philip Yampolsky, Music from the forests of Riau and Mentawai. Recorded and compiled by Philip Yampolsky; annotated by Hanefi, Ashley Turner, and Philip Yampolsky. Washington, D.C.: Smithsonian Folkways, 1995. [Music of Indonesia 7SF; CD 40423.] - Will Derks, Philip Yampolsky, Melayu music of Sumatra and the Riau Islands: Zapin, Mak Yong, Mendu, Ronggeng. Recorded, compiled , and annotated by Philip Yampolsky. Washington D.C.: Smithsonian Folkways, 1996. [Music of Indonesia 11 SF; CD 40427.] - Rens Heringa, Roy W. Hamilton, Gift of the cotton maiden; Textiles of Flores and the Solor Islands. Los Angeles: Fowler Museum of Cultural History, University of California, 1994, 287 pp. - Bernice de Jong Boers, Willemijn de Jong, Geschlechtersymmetrie in einer Brautpreisgesellschaft; Die Stoffproduzentinnen der Lio in Indonesien. Berlin: Reimer, 1998, 341 pp. - C. de Jonge, A.Th. Boone, Bekering en beschaving; De agogische activititeiten van het Nederlandsch Zendelinggenootschap in Oost-Java (1840-1865). Zoetermeer: Boekencenturm, 1997, xiv + 222 pp. - Nico Kaptein, Peter G. Riddell, Islam; Essays on scripture, thought and society; A Festschrift in honour of Anthony H. Johns. Leiden: Brill, 1997, xliii + 361 pp., Tony Street (eds.) - Hugo Klooster, Janny de Jong, Niet-westerse geschiedenis; Benaderingen en thema’s. Assen: Van Gorcum, 1998, 185 pp., Gé Prince, Hugo s’Jacob (eds.) - Jean Robert Opgenort, L. Smits, The J.C. Anceaux collection of wordlists of Irian Jaya languages, B: Non-Austronesian (Papuan) languages (Part I). Leiden/Jakarta: Department of Languages and Cultures of Southeast Asia and Oceania, Rijksuniversiteit Leiden/Irian Jaya Studies Interdisciplinary Research Programme (IRIS), 1994, vi + 281 pp. [Irian Jaya Source Materials 9 (Series B No. 3).], C.L. Voorhoeve (eds) (eds.) - Pim Schoorl, Albert Hahl, Gouverneursjahre in Neuguinea. Edited by Wilfried Wagner. Hamburg: Abera Verlag Meyer, 1997, xxxi + 230 pp. - Elly Touwen-Bouwsma, Dieuwke Wendelaar Bonga, Eight prison camps; A Dutch family in Japanese Java. Athens, Ohio: University Center for International Studies, 1996, xii + 219 pp. - Freek Colombijn, Anthony J. Whitten, The ecology of Sumatra. Yogyakarta: Gadjah Mada University Press, 1987 [First edition 1984], xxiii + 583 pp., photographs, figures, tables, index., Sengli J. Damanik, Jazanul Anwar (eds.) - David Henley, Anthony J. Whitten, The ecology of Sulawesi. Yogyakarta: Gadjah Mada University Press, 1987, xxi + 777 pp., Muslimin Mustafa, Gregory S. Henderson (eds.) - Peter Boomgaard, Tony Whitten, The ecology of Java and Bali. [Singapore]: Periplus Editions, 1996, xxiii + 969 pp. [The Ecology of Indonesia Series 2.], Roehayat Emon Soeriaatmadja, Surya A. Afiff (eds.) - Han Knapen, Kathy MacKinnon, The ecology of Kalimantan. [Singapore]: Periplus Editions, 1996, xxiv + 802 pp., tables, figures, boxes, index. [The Ecology of Indonesia Series 3.], Gusti Hatta, Hakimah Halim (eds.) - Bernice de Jong Boers, Manon Ossewiejer, Kathryn A. Monk, The ecology of Nusa Tenggara and Maluku. [Singapore]: Periplus Editions, Oxford: Oxford University Press, 1997, xvii + 966 pages, tables, figures, boxes, annexes, appendixes, index. [The Ecology of Indonesia Series 5.], Yance de Fretes, Gayatri Reksodiharjo-Lilley (eds.) - Freek Colombijn, Tomas Tomascik, The ecology of the Indonesian seas [2 volumes]. Hong Kong: Periplus, 1997, xiv + vi + 1388 pp., photographs, figures, tables, indexes. [The Ecology of Indonesia Series 7-8.], Anmarie Janice Mah, Anugerah Nontji (eds.)

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Clarke, David. "Editorial: Twentieth-Century Music – Plural." Twentieth-Century Music 1, no. 2 (September 2004): 155–59. http://dx.doi.org/10.1017/s1478572205000010.

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Difference is among the twentieth century’s most volatile legacies to the twenty-first. Over this period it has increasingly lodged itself in our cultural consciousness, as both theoretical concept and lived experience. Its workings are refracted through culture (through phenomena such as music) and the way we contemplate and study it (through a journal such as this). A Brief History of Difference, at least the chapter relevant to the present story, might start in the early part of the last century with Ferdinand de Saussure’s courses on linguistics. Not only language, but potentially all signifying phenomena, Saussure argued, articulate the world for us by cutting it into units (e.g. phonemes, concepts, words, signs) that carry meaning precisely through being differentiated from one another: reality is rendered as a system of mutually conditioning differences. By mid-century these ideas had become decisive for literary and cultural theory under the banner of structuralism and semiotics, in which even a cultural practice such as fashion could be seen to signify as a system of difference. With the rise of poststructuralism and deconstruction, difference (or différance) was again seminal in debates about the very nature of meaning, which in turn informed later twentieth-century cultural politics of class and society, gender and sexuality, race and ethnicity. (As we know, all these movements would also in the end, and no less contentiously, make their mark on musicology.) Most recently – in terms far from academic – cultural difference has moved into the foreground of global consciousness with the literally shattering and explosive events of our new century.

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Moncada Linares, Sthephanny, and Xin Zhi-Ying. "Representations of Christmastide in Latin American Christmas Folk Songs: A Transitivity Analysis." Language Circle: Journal of Language and Literature 15, no. 1 (October 21, 2020): 59–66. http://dx.doi.org/10.15294/lc.v15i1.25903.

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Considered as the universal language, music has been historically a means of communication and personal expression about the inner and outer world of its creator, it is present in almost every social activity of human beings as in the habitual religious celebration of Christmas across the largely Catholic countries. Therefore, the present paper will provide a descriptive text analysis of ten traditional Latin American Christmas folk songs on the base of the transitivity system informed by the Hallidayan Systemic Functional Linguistics theory. To reach this goal, both a quantitative and qualitative research method approach was applied. Findings indicated that among the six analyzed transitivity process types, the material processes (32%) dominate the construal of the musical pieces, followed by the mental (23%), behavioral (18%), and relational realizations (13%) whereas the verbal and existential processes are relatively low all together representing an overall frequency of 14%. This reveals the singers’ attempt to represent the Christmas season as a nostalgic time leap, an immediate enjoyment, and a rewarding exchange.

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Ortiz Ballesteros, Antonia María. "La intertextualidad en las revistas científicas de Didáctica de la lengua y la literatura." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 83–116. http://dx.doi.org/10.17398/1988-8430.32.83.

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Gutiérrez Gil, Alberto. "Tras los pasos de los grandes escritores áureos en la enseñanza universitaria: de las biografías canónicas a la visión del cine, la televisión y la publicidad." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 171–96. http://dx.doi.org/10.17398/1988-8430.32.171.

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Sánchez Rodríguez, Susana, and Alicia Santolària Òrrios. "Análisis de publicaciones sobre alfabetización inicial desde una perspectiva didáctica." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 229–61. http://dx.doi.org/10.17398/1988-8430.32.229.

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31

Reverter Oliver, Beatriz. "La lengua materna y la traducción en el aula de lenguas extranjeras: ¿dos recursos perjudiciales?" TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 331–57. http://dx.doi.org/10.17398/1988-8430.32.331.

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32

Alcaraz-Mármol, Gema. "Developing intercultural communication in the EFL primary education classroom: Internationalization through virtual team collaboration with eTwinning." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 147–70. http://dx.doi.org/10.17398/1988-8430.32.147.

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33

Fernández Martín, Patricia. "Escritoras, mística y política para estudiantes de posgrado: una propuesta didáctica." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 197–228. http://dx.doi.org/10.17398/1988-8430.32.197.

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Gómez García, Luis Vicente, Elva Morales-Robles, and Margarida Morgado. "Telecolaboración y desarrollo efectivo de competencias de comunicación intercultural en el aula de español para fines económicos y comerciales." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 37–54. http://dx.doi.org/10.17398/1988-8430.32.37.

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35

Villegas-Paredes, Gladys. "El articuento y el tratamiento de contenidos socioculturales en ELE: propuesta metodológica desde el enfoque intercultural." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 299–330. http://dx.doi.org/10.17398/1988-8430.32.299.

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De la Maya Retamar, Guadalupe, and Magdalena López Pérez. "Disponibilidad léxica en inglés de futuros profesores de Educación Primaria." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 359–90. http://dx.doi.org/10.17398/1988-8430.32.359.

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Fernández Portero, Ignacio. "Diseño Universal para el Aprendizaje: un paradigma para el desarrollo de las habilidades lectoras en lenguas extranjeras a través de las redes afectivas." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 32 (2020): 7–36. http://dx.doi.org/10.17398/1988-8430.32.7.

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Ruiz Cordero, María Begoña. "Nivel de satisfacción del alumnado sobre los programas de enseñanza bilingüe en Castilla-La Mancha." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 129–60. http://dx.doi.org/10.17398/1988-8430.33.129.

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Bahamondes Quezada, Giselle, Carolina Merino Risopatrón, and Alejandro Espinoza Guzmán. "Didáctica de la lengua y la literatura en la formación de profesores en Chile." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 217–48. http://dx.doi.org/10.17398/1988-8430.33.217.

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Mendoza Puertas, Jorge Daniel. "Razones de la renuencia a hablar en la clase de ELE en Asia oriental. Análisis cualitativo y comparación entre estudiantes taiwaneses y coreanos." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 39–74. http://dx.doi.org/10.17398/1988-8430.33.39.

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Quiles Cabrera, María del Carmen, Itaka Palmer, and Aurora Martínez Ezquerro. "Poesía infantil contemporánea en clave ecológica: la presencia del agua." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 7–38. http://dx.doi.org/10.17398/1988-8430.33.7.

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Campos Bandrés, Iris Orosia, and Ana Marco Sisamón. "Exploración de la relación entre la alfabetización familiar, las TIC y la competencia lectoescritora." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 161–84. http://dx.doi.org/10.17398/1988-8430.33.161.

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Onieva López, Juan Lucas, and Raúl Cremades. "Análisis prospectivo del uso de flipped classroom por el futuro profesorado de Lengua castellana y literatura en Secundaria." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 319–44. http://dx.doi.org/10.17398/1988-8430.33.319.

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Agrelo-Costas, Eulalia, and Alexandra Piñeiro Casal. "La poesía: educadora de emociones." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 185–216. http://dx.doi.org/10.17398/1988-8430.33.185.

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Martí Clilment, Alicia, and Pilar García Vidal. "El videoling: uso educativo del vídeo en la enseñanza de la gramática." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 75–102. http://dx.doi.org/10.17398/1988-8430.33.75.

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Iñesta Mena, Eva María, and Lidia Iglesias Montes. "Prácticas declaradas sobre enseñanza y evaluación de la oralidad en Educación Primaria." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 281–318. http://dx.doi.org/10.17398/1988-8430.33.281.

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Ballester Pardo, Ignacio. "Cómo enseñamos la diversidad: un estudio interseccional de los materiales de Lengua Castellana y Literatura." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 103–28. http://dx.doi.org/10.17398/1988-8430.33.103.

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Johansson, Ingela. "Saliendo de las sombras. Sobre la selección literaria en los estudios universitarios de español en Suecia con enfoque de género." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 33 (2021): 249–80. http://dx.doi.org/10.17398/1988-8430.33.249.

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Carter-Ényì, Aaron. "Hooked on Sol-Fa: the do-re-mi heuristic for Yorùbá speech tones." Africa 88, no. 2 (May 2018): 267–90. http://dx.doi.org/10.1017/s0001972017000912.

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AbstractSarah Ann Glover (1785–1867) believed that singing was for the public good and Samuel Àjàyí Crowther (1809–91) thought that speech tones should be preserved in writing. Their stories illustrate that diversity in thought may encounter obstacles, but can ultimately shape human consciousness. While this shows a positive side of missionary work, bringing people and ideas together, the transmission of Glover's and Crowther's ideas was mediated by the overlapping political, social and cultural hegemonies of the colonial era. Crowther was celebrated in the English-speaking world as evidence that the civilizing agenda – and colonialism – was good for all involved, but his orthographic approach was credited to the missionary linguist Johann Gottlieb Christaller. Glover's innovations in music education have been misattributed to John Curwen and Zoltán Kodály. Drawing evidence from ethnographic work, field recordings, language surveys and literature from a variety of disciplines, this article asks the question: why is do-re-mi the preferred heuristic for Yorùbá speech tone? Glover's and Crowther's physical paths never crossed, but their ideas did, converging in a remarkable inter-continental and trans-disciplinary synthesis. The do-re-mi heuristic resists the pitch-height paradigm used in formal linguistics (low-mid-high). In a culture where drums can speak, it is unsurprising that a musical model filled a void in the (European) concept of what a language could be.

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Parr, Nora. "Translating Egypt's revolution: the language of Tahrir." Journal of African Cultural Studies 25, no. 3 (September 2013): 366–67. http://dx.doi.org/10.1080/13696815.2013.819778.

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