scholarly journals Review of: Francesca R. Sborgi Lawson, "The Narrative Arts of Tianjin: Between Music and Language"

2016 ◽  
Vol 75 (1) ◽  
Author(s):  
Lauren Meeker
Keyword(s):  
Music And Language

Distinct and Shared Neural Basis Underlying Music and Language: A Perspective from Meta-analysis

2014 ◽  
Vol 46 (3) ◽  
pp. 285 ◽  
Author(s):  
Han LAI ◽  
Miao XU ◽  
Yiying SONG ◽  
Jia LIU
Keyword(s):  
Meta Analysis ◽  
Neural Basis ◽  
Music And Language

Neural Mechanisms of Music and Language

2019 ◽  
pp. 906-952
Author(s):  
Mattson Ogg ◽  
L. Robert Slevc
Keyword(s):  
Auditory Cortex ◽  
Language Processing ◽  
Auditory Processing ◽  
Cortical Plasticity ◽  
Speaker Identification ◽  
Auditory Pathway ◽  
Cognitive Mechanisms ◽  
Cross Domain ◽  
Music And Language ◽  
Cortical Regions

Music and language are uniquely human forms of communication. What neural structures facilitate these abilities? This chapter conducts a review of music and language processing that follows these acoustic signals as they ascend the auditory pathway from the brainstem to auditory cortex and on to more specialized cortical regions. Acoustic, neural, and cognitive mechanisms are identified where processing demands from both domains might overlap, with an eye to examples of experience-dependent cortical plasticity, which are taken as strong evidence for common neural substrates. Following an introduction describing how understanding musical processing informs linguistic or auditory processing more generally, findings regarding the major components (and parallels) of music and language research are reviewed: pitch perception, syntax and harmonic structural processing, semantics, timbre and speaker identification, attending in auditory scenes, and rhythm. Overall, the strongest evidence that currently exists for neural overlap (and cross-domain, experience-dependent plasticity) is in the brainstem, followed by auditory cortex, with evidence and the potential for overlap becoming less apparent as the mechanisms involved in music and speech perception become more specialized and distinct at higher levels of processing.

SPEECH INTONATION PERCEPTION DEFICITS IN MUSICAL TONE DEAFNESS (CONGENITAL AMUSIA)

2008 ◽  
Vol 25 (4) ◽  
pp. 357-368 ◽  
Author(s):  
ANIRUDDH D. PATEL ◽  
MEREDITH WONG ◽  
JESSICA FOXTON ◽  
ALIETTE LOCHY ◽  
ISABELLE PERETZ
Keyword(s):  
Rate Of Change ◽  
Neural Mechanisms ◽  
French Canadian ◽  
Congenital Amusia ◽  
Music And Language ◽  
Pitch Direction ◽  
Melody Perception ◽  
Language And Music ◽  
Musical Tone ◽  
Important Evidence

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.

The Genesis of Music and Language

1992 ◽  
Vol 36 (2) ◽  
pp. 147 ◽  
Author(s):  
Bryan G. Levman
Keyword(s):  
Music And Language

The Unification of the Arts

2021 ◽  
Author(s):  
Steven Brown
Keyword(s):  
Cultural Evolution ◽  
Visual Art ◽  
Comparative Approach ◽  
New Approach ◽  
Aesthetic Responses ◽  
Music And Language ◽  
The Arts ◽  
Dance Movements ◽  
Evolution Of Music

The Unification of the Arts presents the first integrated cognitive account of the arts that attempts to unite all of the arts into a single framework, covering visual art, theatre, literature, dance, and music, with supporting discussions about creativity and aesthetics that span all of the arts. The book’s comparative approach identifies both what is unique to each artform and what artforms share with one another. An understanding of shared mechanisms sheds light on how the arts are able to combine with one another to form syntheses, such as choreographing dance movements to music, or setting lyrics to music to create a song. While most psychological analyses of the arts focus on perceptual mechanisms alone—most commonly aesthetic responses—the book offers a holistic sensorimotor account of the arts that examines the full gamut of processes from creation to perception for each artform. This allows for a broad discussion of the evolution of the arts, including the origins of rhythm, the co-evolution of music and language, the evolution of drawing, and cultural evolution of the arts. Finally, the book aims to unify a number of topics that have not been adequately related to one another in previous discussions, including theatre and literature, music and language, creativity and aesthetics, dancing and acting, and visual art and music. The Unification of the Arts provides a bold new approach to the integration of the arts, one that covers cognition, evolution, and neuroscience.

A Grammatical Parallel between Music and Language

1982 ◽  
pp. 83-117 ◽  
Author(s):  
Ray Jackendoff ◽  
Fred Lerdahl
Keyword(s):  
Music And Language

The Role of Musical Development in Early Language Acquisition

2018 ◽  
pp. 565-591
Author(s):  
Anthony Brandt ◽  
L. Robert Slevc ◽  
Molly Gebrian
Keyword(s):  
Language Acquisition ◽  
Cultural Transmission ◽  
Developmental Disorders ◽  
Native Language ◽  
Current Understanding ◽  
Early Language ◽  
Music And Language ◽  
Language And Music ◽  
Infant Brain

Language and music are readily distinguished by adults, but there is growing evidence that infants first experience speech as a special type of music. By listening to the phonemic inventory and prosodic patterns of their caregivers’ speech, infants learn how their native language is composed, later bootstrapping referential meaning onto this musical framework. Our current understanding of infants’ sensitivities to the musical features of speech, the co-development of musical and linguistic abilities, and shared developmental disorders, supports the view that music and language are deeply entangled in the infant brain and modularity emerges over the course of development. This early entanglement of music and language is crucial to the cultural transmission of language and children’s ability to learn any of the world’s tongues.

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