Theoretical Aspects of Music Definition Language and Music Manipulation Language

Author(s):  
Hanchao Li ◽  
Xiang Fei ◽  
Ming Yang ◽  
Kuo-ming Chao ◽  
Chaobo He
Primates ◽  
2021 ◽  
Author(s):  
Rie Asano

AbstractA central property of human language is its hierarchical structure. Humans can flexibly combine elements to build a hierarchical structure expressing rich semantics. A hierarchical structure is also considered as playing a key role in many other human cognitive domains. In music, auditory-motor events are combined into hierarchical pitch and/or rhythm structure expressing affect. How did such a hierarchical structure building capacity evolve? This paper investigates this question from a bottom-up perspective based on a set of action-related components as a shared basis underlying cognitive capacities of nonhuman primates and humans. Especially, I argue that the evolution of hierarchical structure building capacity for language and music is tractable for comparative evolutionary study once we focus on the gradual elaboration of shared brain architecture: the cortico-basal ganglia-thalamocortical circuits for hierarchical control of goal-directed action and the dorsal pathways for hierarchical internal models. I suggest that this gradual elaboration of the action-related brain architecture in the context of vocal control and tool-making went hand in hand with amplification of working memory, and made the brain ready for hierarchical structure building in language and music.


2014 ◽  
Vol 44 (13) ◽  
pp. 2739-2748 ◽  
Author(s):  
J. T. Kantrowitz ◽  
N. Scaramello ◽  
A. Jakubovitz ◽  
J. M. Lehrfeld ◽  
P. Laukka ◽  
...  

BackgroundBoth language and music are thought to have evolved from a musical protolanguage that communicated social information, including emotion. Individuals with perceptual music disorders (amusia) show deficits in auditory emotion recognition (AER). Although auditory perceptual deficits have been studied in schizophrenia, their relationship with musical/protolinguistic competence has not previously been assessed.MethodMusical ability was assessed in 31 schizophrenia/schizo-affective patients and 44 healthy controls using the Montreal Battery for Evaluation of Amusia (MBEA). AER was assessed using a novel battery in which actors provided portrayals of five separate emotions. The Disorganization factor of the Positive and Negative Syndrome Scale (PANSS) was used as a proxy for language/thought disorder and the MATRICS Consensus Cognitive Battery (MCCB) was used to assess cognition.ResultsHighly significant deficits were seen between patients and controls across auditory tasks (p < 0.001). Moreover, significant differences were seen in AER between the amusia and intact music-perceiving groups, which remained significant after controlling for group status and education. Correlations with AER were specific to the melody domain, and correlations between protolanguage (melody domain) and language were independent of overall cognition.DiscussionThis is the first study to document a specific relationship between amusia, AER and thought disorder, suggesting a shared linguistic/protolinguistic impairment. Once amusia was considered, other cognitive factors were no longer significant predictors of AER, suggesting that musical ability in general and melodic discrimination ability in particular may be crucial targets for treatment development and cognitive remediation in schizophrenia.


2008 ◽  
Vol 25 (4) ◽  
pp. 357-368 ◽  
Author(s):  
ANIRUDDH D. PATEL ◽  
MEREDITH WONG ◽  
JESSICA FOXTON ◽  
ALIETTE LOCHY ◽  
ISABELLE PERETZ

TO WHAT EXTENT DO MUSIC and language share neural mechanisms for processing pitch patterns? Musical tone-deafness (amusia) provides important evidence on this question. Amusics have problems with musical melody perception, yet early work suggested that they had no problems with the perception of speech intonation (Ayotte, Peretz, & Hyde, 2002). However, here we show that about 30% of amusics from independent studies (British and French-Canadian) have difficulty discriminating a statement from a question on the basis of a final pitch fall or rise. This suggests that pitch direction perception deficits in amusia (known from previous psychophysical work) can extend to speech. For British amusics, the direction deficit is related to the rate of change of the final pitch glide in statements/ questions, with increased discrimination difficulty when rates are relatively slow. These findings suggest that amusia provides a useful window on the neural relations between melodic processing in language and music.


1964 ◽  
Vol 11 (1) ◽  
pp. 21-30 ◽  
Author(s):  
D. J. Farber ◽  
R. E. Griswold ◽  
I. P. Polonsky

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