1 Rhythm and Phrasing in Language and Music (part 1) Dicky Gilbers & Maartje Schreuder Paper available on http://www.let.rug.nl/~gilbers /papers http://www.let.rug.nl/~s chreudr/ F aculty of Arts Department of L inguis tics P.O. Box 716 9700 AS Groningen T he Netherlands • Structural resemblance between language and music • Claim: every form of temporally ordered behaviour is structured the same way • Claim: insights of music theory can help out in phonological issues • Rate adjustments in language and music: rhythmic variability Outline • Jackendoff & Lerdahl (1980) point out the resemblance between the ways both linguists and musicologists structure their research objects • Lerdahl & Jackendoff (1983) A Generative Theory of Tonal Music , MIT Press, Cambridge, Massachusetts Synthesis of linguistic methodology and the insights of music theory Jackendoff and Lerdahl • Description of how a listener (mostly unconciously) constructs connections in the perceived sounds • The listener is capable of recognizing the construction of a piece of music by considering some notes/chords as more prominent than others A Generative Theory of Tonal Music cf. Language • Our cognition thus works in a way comparable to how a reader divides a text (often unconciously too) into different parts • The research object is structured hierarchically and in each domain the important (heads) and less important (dependents) constituents are defined by preference rules • Preference rules determine which outputs, i.e. the possible interpretations of a musical piece, are well-formed A Generative Theory of Tonal Music (Lerdahl & Jackendoff, 1983) Preference Rules • Preference rules indicate the optimal interpretation of a piece • Preference rules, however, are not strict claims on outputs • It is even possible for a preferred interpretation of a musical piece to violate a certain preference rule as long as this violation leads to the satisfaction of a more important preference rule
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Rhythm and Phrasingin Language and Music (part 1)
Dicky Gilbers & Maartje Schreuder
Paper available onhttp://www.let.rug.nl/~gilbers/papers
http://www.let.rug.nl/~schreudr/
Faculty of ArtsDepartment of L inguis tics
P.O. Box 7169700 AS Groningen
T he Netherlands
• Structural resemblance between language andmusic
• Claim: every form of temporally orderedbehaviour is structured the same way
• Claim: insights of music theory can help out inphonological issues
• Rate adjustments in language and music:rhythmic variability
Outline
• Jackendoff & Lerdahl (1980) point out theresemblance between the ways both linguistsand musicologists structure their researchobjects
• Lerdahl & Jackendoff (1983) A GenerativeTheory of Tonal Music, MIT Press, Cambridge,Massachusetts Synthesis of linguistic methodology and the
insights of music theory
Jackendoff and Lerdahl• Description of how a listener (mostly
unconciously) constructs connections in theperceived sounds
• The listener is capable of recognizing the construction of a pieceof music by considering some notes/chords as more prominentthan others
A Generative Theory of Tonal Music
cf. Language
• Our cognition thus works in a way comparableto how a reader divides a text (oftenunconciously too) into different parts
• The research object is structured hierarchicallyand in each domain the important (heads) andless important (dependents) constituents aredefined by preference rules
• Preference rules determine which outputs, i.e. thepossible interpretations of a musical piece, arewell-formed
A Generative Theory of TonalMusic
(Lerdahl & Jackendoff, 1983)
Preference Rules
• Preference rules indicate the optimalinterpretation of a piece
• Preference rules, however, are not strictclaims on outputs
• It is even possible for a preferred interpretation of amusical piece to violate a certain preference rule aslong as this violation leads to the satisfaction of amore important preference rule
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• This evaluation system appears to be veryfamiliar to linguists
• In OT well-formedness constraints onoutputs also determine grammaticality
Optimality Theory(Prince & Smolensky 1993)
Potentially Conflicting, Soft Constraints
• In both theories well-formedness constraintson outputs apply simultaneously torepresentations of structures
• In both theories these constraints arepotentially conflicting and they are soft,which means violable
Structuring of the Domains
Tuxedo Junction
motif
section
phrase
Prosodic Construction of a Phrase
x x xx x xx x x x x xMis sis sip pi Del ta
s w s w s w
w s s
w
syllable level
foot level
phrase level
Comparison Preference Rules
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Comparison preference rules 1
• Music (time-span reduction preference rule 1):
Choose as the head of a time-span the chord (orthe note) which is in a relative strong metricalposition (= the first position in a measure)
Stress assignment in Hindi: Peak Prom. >> Nonfinality
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Comparison preference rules
• Music (time-span reduction preference rule 7):
Choose as the head of a time-span the chord (orthe note) which emphasizes the end of a group asa cadence
tonic > dominant > subdominant > parallel ...
• cf. Language: Phrasal rule
C7-B
C7-F
cadence
Tonic - Dominant - Subdominant
• Examples of 3 chord songs:mccoys - hang on sloopy (russell & farrell)royal guardsmen - snoopy vs. the red baron (gernhard & holler)rolling stones - get off of my cloud (jagger & richard)grease soundtrack -summer nights (jacobs & casey)any trouble - second choice (gregson)sonics - psycho (roslie)standells - sometimes good guys don’t wear white (cobb)r.e.m.- stand! (buck, stipe, mills, berry)