语言和音乐层级结构的加工

语言和音乐在呈现过程中, 小单元相互结合组成更大的单元, 最终形成层级结构。已有研究表明, 听者能够将连续的语流和音乐切分成层级结构, 并在大脑中形成层级表征。在感知基础之上, 听者还能将新出现的语言和音乐事件整合到层级结构之中, 形成连贯理解, 最终顺利地完成交流过程。未来研究应剖析边界线索在层级结构感知中的作用, 考察不同层级整合过程的影响因素, 进一步探索语言和音乐层级结构加工的关系。     

Change deafness across voices in music and language

ABSTRACT

Listeners made same/different evaluations of a pair of musical presentations separated by a broadband noise. In the first experiment, the pair had either the same or a different: singers voice, language (Spanish or English), and reverberation (dry or very high reverb). A second experiment was conducted using the same vocal melodies played on guitars to emphasize non-linguistic content. In both Experiments 1 and 2, large-scale changes to Reverb were either completely undetected or ignored. A change of language in Experiment 1 supported only minimal sensitivity to change detection. Changes to multiple variables tended to increase listener sensitivity to a stimulus change. The results seem to indicate that the semantic coherence created by a musical background may limit attention to linguistic changes and voicing. Rather, those changes that more directly influence musical quality may be of greater salience in a musical context.     

An empirical comparison of rhythm in language and music

Musicologists and linguists have often suggested that the prosody of a culture's spoken language can influence the structure of its instrumental music. However, empirical data supporting this idea have been lacking. This has been partly due to the difficulty of developing and applying comparable quantitative measures to melody and rhythm in speech and music. This study uses a recently-developed measure for the study of speech rhythm to compare rhythmic patterns in English and French language and classical music. We find that English and French musical themes are significantly different in this measure of rhythm, which also differentiates the rhythm of spoken English and French. Thus, there is an empirical basis for the claim that spoken prosody leaves an imprint on the music of a culture.     

Parallel constraint-based generative theories of language

A re-evaluation of the goals and techniques of generative grammar since the mid-1960s suggests that its mentalistic/biological program for describing language is still sound and has been borne out by subsequent developments. Likewise, the idea of a generative system of combinatorial rules has led to a tremendous expansion of our understanding of linguistic phenomena. However, certain fundamental features of the versions of generative grammar based on Chomsky’s work prevent the theory from making deep liaisons with related fields such as language processing and neuroscience. Perhaps the most prominent of these is the assumption that all creative aspects of language stem from syntactic structure. In this article, I propose a model of generative grammar that generalizes features of several, alternative, non-Chomskyan generative frameworks. In this model, language is seen as composed of three independent generative components (phonological, syntactic, and semantic/conceptual structure), whose respective structures are placed in correspondence by ‘interface components’. Besides being able to incorporate a host of purely linguistic facts, this view leads to a more direct relationship between the theory of grammar and the theory of lexical and grammatical processing.     

Structural integration in language and music: Evidence for a shared system

In this study, we investigate whether language and music share cognitive resources for structural processing. We report an experiment that used sung materials and manipulated linguistic complexity (subject-extracted relative clauses, object-extracted relative clauses) and musical complexity (in-key critical note, out-of-key critical note, auditory anomaly on the critical note involving a loudness increase). The auditory-anomaly manipulation was included in order to test whether the difference between in-key and out-of-key conditions might be due to any salient, unexpected acoustic event. The critical dependent measure involved comprehension accuracies to questions about the propositional content of the sentences asked at the end of each trial. The results revealed an interaction between linguistic and musical complexity such that the difference between the subject- and object-extracted relative clause conditions was larger in the out-of-key condition than in the in-key and auditory-anomaly conditions. These results provide evidence for an overlap in structural processing between language and music.     

Eye-fixation patterns during reading confirm theories of language comprehension

Eye-movement patterns during reading are consistent with proposition-by-proposition models of speech comprehension. (1) Fixation times are least affected by word length at ends of clauses: this confirms the theory based on the study of speech comprehension that, at such points, attention is directed inward to text integration. (2) Fixation time for words at the end of clauses is longer for canonical sequences which conform to the pattern, “N-V-N = actor-action-object”; this confirms the view that complete semantic integration of such sequences is routinely delayed until their completion. A two-variable model based on principles of exhaustive visual search and speech comprehension accounts for 80% of the fixation durations in a sample paragraph from Just and Carpenter (1980) and Thibodeou, Just ond Carpenter (1982). This comprehension-based model compares favorably with their models constructed within a production-system framework. This result clarifies the relationship between reading and listening.     

On the concept of language in some recent theories of meaning

The work on this paper was done in the research project V ra begrepp om spr k supported byHumanistisk-samhälls-vetenskapliga forskningsr det. I am indebted to Per Martin-Löf, Hans Ruin, Pär Segerdahl, and Sven Öhman for valuable comments on a previous version of this paper. Thanks to the comments of the anonymous referee I was able to improve some formulations in the paper.     

Challenging prior evidence for a shared syntactic processor for language and music

A theoretical landmark in the growing literature comparing language and music is the shared syntactic integration resource hypothesis (SSIRH; e.g., Patel, 2008), which posits that the successful processing of linguistic and musical materials relies, at least partially, on the mastery of a common syntactic processor. Supporting the SSIRH, Slevc, Rosenberg, and Patel (Psychonomic Bulletin & Review 16(2):374–381, 2009) recently reported data showing enhanced syntactic garden path effects when the sentences were paired with syntactically unexpected chords, whereas the musical manipulation had no reliable effect on the processing of semantic violations. The present experiment replicated Slevc et al.’s (2009) procedure, except that syntactic garden paths were replaced with semantic garden paths. We observed the very same interactive pattern of results. These findings suggest that the element underpinning interactions is the garden path configuration, rather than the implication of an alleged syntactic module. We suggest that a different amount of attentional resources is recruited to process each type of linguistic manipulations, hence modulating the resources left available for the processing of music and, consequently, the effects of musical violations.     

The theory of meaning and some related theories of the learning of language

There are two basically different sorts of theory of meaning and the sort of theory one adopts has a great deal to do with the view one takes of the learning of language. Corresponding to the two kinds of theory of meaning two theories of the learning of language are delineated and the issues that are disputed by them clarified. The logical question of whether each theory is intelligible in itself is first discussed, and, it being concluded that both are genuine empirical hypotheses, an examination is made of psychological grounds for preferring one or the other. While no final decision is arrived at, it is argued that there are grounds for preferring one of the theories.     

Perceiving speech rhythm in music: Listeners classify instrumental songs according to language of origin

Recent evidence suggests that the musical rhythm of a particular culture may parallel the speech rhythm of that culture’s language (Patel, A. D., & Daniele, J. R. (2003). An empirical comparison of rhythm in language and music. Cognition, 87, B35-B45). The present experiments aimed to determine whether listeners actually perceive such rhythmic differences in a purely musical context (i.e., in instrumental music without words). In Experiment 1a, listeners successfully classified instrumental renditions of French and English songs having highly contrastive rhythmic differences. Experiment 1b replicated this result with the same songs containing rhythmic information only. In Experiments 2a and 2b, listeners successfully classified original and rhythm-only stimuli when language-specific rhythmic differences were less contrastive but more representative of differences found in actual music and speech. These findings indicate that listeners can use rhythmic similarities and differences to classify songs originally composed in two languages having contrasting rhythmic prosody.     

Two-way interactions between music and language: Evidence from priming recognition of tune and lyrics in familiar songs

A priming technique was employed to study the relations between melody and lyrics in song memory. The procedure involved the auditory presentation of a prime and a target taken from the same song, or from unrelated but equally familiar songs. To promote access to memory representations of songs, we varied the format of primes and targets, which were either spoken or sung, using the syllable /1a/. In each of the four experiments, a prime taken from the same song as the target facilitated target recognition, independently of the format in which it occurred. The facilitation effects were also found in conditions close to masked priming because prime recognizability was very low, as assessed in Experiment 1 by d' measures. Above all, backward priming effects were observed in Experiments 2, 3, and 4, where song order was reversed in the prime-target sequence, suggesting that words and tones of songs are not connected by strict temporal contingencies. Rather, the results indicate that, in song memory, text and tune are related by tight connections that are bidirectional and automatically activated by relatively abstract information. Rhythmic similarity between linguistic stress pattern and musical meter might account for these priming effects.     

The processing of rhythmic structures in music and prosody by children with developmental dyslexia and developmental language disorder

Rhythm perception seems to be crucial to language development. Many studies have shown that children with developmental dyslexia and developmental language disorder have difficulties in processing rhythmic structures. In this study, we investigated the relationships between prosody and musical processing in Italian children with typical and atypical development. The tasks aimed to reproduce linguistic prosodic structures through musical sequences, offering a direct comparison between the two domains without violating the specificities of each one. About 16 Typically Developing children, 16 children with a diagnosis of Developmental Dyslexia, and 16 with a diagnosis of developmental language disorder (age 10–13 years) participated in the experimental study. Three tasks were administered: an association task between a sentence and its humming version, a stress discrimination task (between couples of sounds reproducing the intonation of Italian trisyllabic words), and an association task between trisyllabic nonwords with different stress position and three‐notes musical sequences with different musical stress. Children with developmental language disorder perform significantly lower than Typically Developing children on the humming test. By contrast, children with developmental dyslexia are significantly slower than TD in associating nonwords with musical sequences. Accuracy and speed in the experimental tests correlate with metaphonological, language, and word reading scores. Theoretical and clinical implications are discussed within a multidimensional model of neurodevelopmental disorders including prosodic and rhythmic skills at word and sentence level.     

Individuals with congenital amusia imitate pitches more accurately in singing than in speaking: Implications for music and language processing

In this study, we investigated the impact of congenital amusia, a disorder of musical processing, on speech and song imitation in speakers of a tone language, Mandarin. A group of 13 Mandarin-speaking individuals with congenital amusia and 13 matched controls were recorded while imitating a set of speech and two sets of song stimuli with varying pitch and rhythm patterns. The results indicated that individuals with congenital amusia were worse than controls in both speech and song imitation, in terms of both pitch matching (absolute and relative) and rhythm matching (relative time and number of time errors). Like the controls, individuals with congenital amusia achieved better absolute and relative pitch matching and made fewer pitch interval and contour errors in song than in speech imitation. These findings point toward domain-general pitch (and time) production deficits in congenital amusia, suggesting the presence of shared pitch production mechanisms but distinct requirements for pitch-matching accuracy in language and music processing.