Music and Language

This review presents a highly selective survey of connections between music and language. I begin by considering some fundamental differences between music and language and some nonspecific similarities that may arise out of more general characteristics of human cognition and communication. I then discuss an important, specific interaction between music and language: the connection between linguistic stress and musical meter. Next, I consider several possible connections that have been widely studied but remain controversial: cross-cultural correlations between linguistic and musical rhythm, effects of musical training on linguistic abilities, and connections in cognitive processing between music and linguistic syntax. Finally, I discuss some parallels regarding the use of repetition in music and language, which until now has been a little-explored topic.

Key Challenges and Future Directions When Running Auditory Brainstem Response (ABR) Research Protocols with Newborns: A Music and Language EEG Feasibility Study

Although many musical intervention studies exist in the wider framework of neuroscience and psychology, the preliminary importance of feasibility studies is rarely discussed. Adding to this fact the limited research existing on the therapeutic and restorative potential of music exposure during early developmental periods, pushed us to concentrate on investigating newborns’ perception of music and its impact on the brain. Here, we explore the feasibility of a randomized controlled trial (RCT) approach when measuring and comparing the neurophysiological perception of music versus language on the brainstem of newborns using auditory brainstem response (ABR). Twenty-five healthy full-term infants were recruited, eight of which were measured within their first 10 days postpartum. The evaluation of the study’s feasibility appealed to five main objectives that essentially answer the question: Can our protocol work? Each objective proposes questions based on Orsmond and Cohn’s guiding framework, designed to assess, and assist feasibility in understanding barriers toward a study’s success. Our results justify that newborns are well capable of undergoing the study and given meticulous considerations and improvements on the intervention resources. The procedure’s communication and technical obstacles are resoluble. Moreover, assimilation of external factors to adapt, such as the culture variation and the ABR protocol implementation are necessary. The study was well received in the selected region (Middle East), and the recording procedure showed potential outcomes for a comprehensive RCT.

The Unification of the Arts

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.

Offenheit für unterschiedliche Formungen der Erkenntnis

Multilingualism is of central importance for the human experience of alterity in culture and scholarship. In this discussion, Carolin Krahn and Jürgen Trabant explore the challenges and benefits of multilingualism in academia, especially in the humanities. The dominance of the English language in global academic life is addressed, as are the Bologna reform and the role of international research institutes such as the German Historical Institute. The dialogue illustrates the importance of language for intellectual life, addressing further topics ranging from Wilhelm von Humboldt and the city of Rome to the relationship between music and language and the question of European identity.

The Rhythm of Communal Identity

The relationship between language, music and cultural identity has always been of special interest in the social sciences, especially in the areas of anthropology, social psychology and ethnomusicology. The main argument revolves on how language reflected through music positively impacts on the identity of a social group, and what happens where this is lacking. Cultures die and languages go into extinction when there are no creative ways of keeping them alive. The aim of this essay is to investigate how the culture and language of a particular society could be safeguarded through music. Beyond the theoretical framework, I shall substantiate this investigation with the example of the Igbo people of Southeastern Nigeria, whose cultural identity is seriously threatened by the lack of interest in the local language among the people. Part of this disinterestedness is caused by the unique tendency of Igbo people to travel outside their original communities and to culturally adapt in their diaspora communities. This essay therefore aims at a) addressing this problem of identity through a sociological analysis of communal identity, and b) seeking how identity could be rediscovered through music that is delivered in a local language, illustrated with the example of Igbo cultural group. It is hoped that such analysis would aid in presenting another means of safeguarding endangered local languages, which invariably has a lot of implications for the cultural identity of the group involved. Of course, the analysis that is advanced here is not limited to the Igbo since the argument is based on a general epistemological function of music and language with respect to cultural identity.

Using a developmental-ecological approach to understand the relation between language and music

Neurocognitive and genetic approaches have made progress in understanding language-music interaction in the adult brain. Although there is broad agreement that learning processes affect how we represent, comprehend, and produce language and music, there is little understanding of the content and dynamics of the early language-music environment in the first years of life. A developmental-ecological approach sees learning and development as fundamentally embedded in a child’s environment, and thus requires researchers to move outside of the lab to understand what children are seeing, hearing, and doing in their daily lives. In this paper, after first reviewing the limitations of traditional developmental approaches to understanding language-music interaction, we describe how a developmental-ecological approach can inform not only developmental theories of language-music learning, but also contemporary neurocognitive and genetic approaches. We then make suggestions for how researchers can best use the developmental-ecological approach to understand the similarities, differences, and co-occurrences in early music and language input.