A Flute, Musical Bows and Bamboo Clarinets that “Speak” in the Amazon Rainforest; Speech and Music in the Gavião Language of Rondônia

The Gavião, a native Amazonian group in Rondônia, Brazil, use three different traditional musical instruments that they identify as “speaking” ones and that are characterized by a very tight music-lyric relation through similar pitch patterns: a flute (called kotiráp), a pair of mouth bows (iridináp), and three large bamboo clarinets (totoráp), played by three different players, each one playing a single-note clarinet. They show in different ways the relation of acoustic iconicity which exists between the words of the songs’ lyrics and the music played on such instruments to “sing” the songs. Linguistic analysis makes it possible to understand the phonetic and phonological nature of the iconicity. The sung speech form, being intermediate between the spoken and the instrumental forms, is useful for both learning and explaining the musical notes. In a language with distinctive tone and length, such as Gavião of Rondônia, the first question about speech that is played by musical instruments is the relation between the melodies and the supersegmental phonology of the corresponding words in sung speech and in modal spoken speech. It is influenced by the phonological possibilities of the spoken form and by the musical possibilities of the instrumental form. The description and analysis of Gavião instrumental speech and song practices are found to be a noteworthy contribution to the typology of instrumental language surrogates associated with a tone language, one that calls for a reexamination of hypotheses about which aspects of the phonological/phonetic structure can be transposed in instrumental speech and how this can be done. The role of this kind of instrumental sung speech is artistic and also practical as it contributes to maintain the oral heritage. Such practice represents a little-studied and threatened cultural heritage of the traditional substratum of the cultures of Amazonia.

Tonality or Atonality in Bartók’s Sonata for Violin and Piano no. 2? From Folk Modalities to a Twelve-tone Language

External political circumstances as well as Bartók’s personal activities in the early 1920s were decisive in contributing to the expansion of the basic principles of his musical language. Bartók’s Second Sonata for Violin and Piano (1922) may be considered a focal point in his evolution toward ultramodernism. Concomitant with this tendency, both Sonatas for Violin and Piano of this period have become paradigmatic of the controversial notion set forth by certain scholars regarding the existence of an atonal Bartók idiom. Within the ultramodernist style of the Second Sonata, the essence of Eastern-European folk music is still very much in evidence. The intention of this article is to show how Bartók’s move toward synthesis of varied folk and art-music elements in this work produces a sense of an organic connection between atonality and tonality. The close connection between these two principles was suggested by Bartók in an essay of 1920. I intend to show how both contradictory principles are conjoined within a highly complex polymodal idiom based on the tendency toward equalization of the twelve tones. Within the stanzaic structure of the Romanian “long song,” stylistic elements of recitation, improvisation, and declamation are essential in the gradual unfolding between these two contrasting concepts of pitch organization. Despite tonal ambiguity on both local and large-scale levels, the sense of polymodal tonality is ultimately established as primary.

Auditory-Motor Mapping Training Facilitates Speech and Word Learning in Tone Language–Speaking Children With Autism: An Early Efficacy Study

Purpose It has been reported that tone language–speaking children with autism demonstrate speech-specific lexical tone processing difficulty, although they have intact or even better-than-normal processing of nonspeech/melodic pitch analogues. In this early efficacy study, we evaluated the therapeutic potential of Auditory-Motor Mapping Training (AMMT) in facilitating speech and word output for Mandarin-speaking nonverbal and low-verbal children with autism, in comparison with a matched non–AMMT-based control treatment. Method Fifteen Mandarin-speaking nonverbal and low-verbal children with autism spectrum disorder participated and completed all the AMMT-based treatment sessions by intoning (singing) and tapping the target words delivered via an app, whereas another 15 participants received control treatment. Generalized linear mixed-effects models were created to evaluate speech production accuracy and word production intelligibility across different groups and conditions. Results Results showed that the AMMT-based treatment provided a more effective training approach in accelerating the rate of speech (especially lexical tone) and word learning in the trained items. More importantly, the enhanced training efficacy on lexical tone acquisition remained at 2 weeks after therapy and generalized to untrained tones that were not practiced. Furthermore, the low-verbal participants showed higher improvement compared to the nonverbal participants. Conclusions These data provide the first empirical evidence for adopting the AMMT-based training to facilitate speech and word learning in Mandarin-speaking nonverbal and low-verbal children with autism. This early efficacy study holds promise for improving lexical tone production in Mandarin-speaking children with autism but should be further replicated in larger scale randomized studies. Supplemental Material https://doi.org/10.23641/asha.16834627

Inter-lingual Homophony: Neige as a Demonstrative/Filler in Mandarin Chinese

The demonstrative/filler neige in Mandarin Chinese is potentially contentious outside that language,as it bears resemblance in terms of pronunciation with a racial slur in English. Nonetheless, neigedoes not possess any racist connotation in Mandarin Chinese, and its analysis needs to take intoconsideration historical and contextual information. The form neige is a colloquialism of its formalequivalent nage, which has functioned as a demonstrative determiner/pronoun or a discoursemarker in verbal communication since ancient periods. The derivation of nei from na is realisedvia suppression of the demonstrative with the numeral yi ‘one’, and this phenomenon occurredeven before Mandarin was invented as a national lingua franca. Differently from languages suchas English in which the number of homophones is limited, Chinese contains an enormous amountof syllables with myriads of homophones, owing to the fact that Chinese is a tone language thatdepends on tone implications to differentiate meanings and syllables/words are hence predominantlymono- or bi-morphemic. As a consequence, homophones pertaining to Chinese aboundboth language-internally and cross-linguistically. Among the repercussions of homophony are theliterary inquisitions during the Qing era that sabotaged freedom of creation. Therefore, the interpretationand comprehension of neige need to be objective and impartial.

Native language, L2 experience, and pitch processing in music

The current study investigated how the role of pitch in one’s native language and L2 experience influenced musical melodic processing by testing Turkish and Mandarin Chinese advanced and beginning learners of English as an L2. Pitch has a lower functional load and shows a simpler pattern in Turkish than in Chinese as the former only contrasts between presence and the absence of pitch elevation, while the latter makes use of four different pitch contours lexically. Using the Musical Ear Test as the tool, we found that the Chinese listeners outperformed the Turkish listeners, and the advanced L2 learners outperformed the beginning learners. The Turkish listeners were further tested on their discrimination of bisyllabic Chinese lexical tones, and again an L2 advantage was observed. No significant difference was found for working memory between the beginning and advanced L2 learners. These results suggest that richness of tonal inventory of the native language is essential for triggering a music processing advantage, and on top of the tone language advantage, the L2 experience yields a further enhancement. Yet, unlike the tone language advantage that seems to relate to pitch expertise, learning an L2 seems to improve sound discrimination in general, and such improvement exhibits in non-native lexical tone discrimination.

Tone and genes: New cross-linguistic data and methods support the weak negative effect of the “derived” allele of ASPM on tone, but not of Microcephalin

While it is generally accepted that language and speech have genetic foundations, and that the widespread inter-individual variation observed in many of their aspects is partly driven by variation in genes, it is much less clear if differences between languages may also be partly rooted in our genes. One such proposal is that the population frequencies of the so-called “derived” alleles of two genes involved in brain growth and development, ASPM and Microcephalin, are related to the probability of speaking a tone language or not. The original study introducing this proposal used a cross-linguistic statistical approach, showing that these associations are “special” when compared with many other possible relationships between genetic variants and linguistic features. Recent experimental evidence supports strongly a negative effect of the “derived” allele of ASPM on tone perception and/or processing within individuals, but failed to find any effect for Microcephalin. Motivated by these experimental findings, I conduct here a cross-linguistic statistical test, using a larger and updated dataset of 175 samples from 129 unique (meta)populations, and a battery of methods including mixed-effects regression (Bayesian and maximum-likelihood), mediation and path analysis, decision trees and random forests, using permutations and restricted sampling to control for the confounding effects of genealogy (language families) and contact (macroareas). Overall, the results support a negative weak effect of ASPM-D against the presence of tone above and beyond the strong confounding influences of genealogy and contact, but they suggest that the original association between tone and MCPH1 might have been a false positive, explained by differences between populations and languages within and outside Africa. Thus, these cross-linguistic population-scale statistical results are fully consonant with the inter-individual-level experimental results, and suggest that the observed linguistic diversity may be, at least in some cases, partly driven by genetic diversity.

Feeling the Beat in an African Tone Language: Rhythmic Mapping Between Language and Music

Text-setting patterns in music have served as a key data source in the development of theories of prosody and rhythm in stress-based languages, but have been explored less from a rhythmic perspective in the realm of tone languages. African tone languages have been especially under-studied in terms of rhythmic patterns in text-setting, likely in large part due to the ill-understood status of metrical structure and prosodic prominence asymmetries in many of these languages. Here, we explore how language is mapped to rhythmic structure in traditional folksongs sung in Medʉmba, a Grassfields Bantu language spoken in Cameroon. We show that, despite complex and varying rhythmic structures within and across songs, correspondences emerge between musical rhythm and linguistic structure at the level of stem position, tone, and prosodic structure. Our results reinforce the notion that metrical prominence asymmetries are present in African tone languages, and that they play an important coordinative role in music and movement.

Online Processing of Temporal Agreement in a Grammatical Tone Language: An ERP Study

Previous electrophysiological studies that have examined temporal agreement violations in (Indo-European) languages that use grammatical affixes to mark time reference, have found a Left Anterior Negativity (LAN) and/or P600 ERP components, reflecting morpho-syntactic and syntactic processing, respectively. The current study investigates the electrophysiological processing of temporal relations in an African language (Akan) that uses grammatical tone, rather than morphological inflection, for time reference. Twenty-four native speakers of Akan listened to sentences with time reference violations. Our results demonstrate that a violation of a present context by a past verb yields a P600 time-locked to the verb. There was no such effect when a past context was violated by a present verb. In conclusion, while there are similarities in both Akan and Indo-European languages, as far as the modulation of the P600 effect is concerned, the nature of this effect seems to be different for these languages.

Word Prosody in Lung’Ie: One System or Two?

Creole languages have generally not figured prominently in cross-linguistic studies of word-prosodic typology. In this paper, we present a phonological analysis of the prosodic system of Lung’Ie or Principense (ISO 639-3 code: pre), a Portuguese-lexifier creole language spoken in São Tomé and Príncipe. Lung’Ie has produced a unique result of the contact between the two different prosodic systems common in creolization: a stress-accent lexifier and tone language substrates. The language has a restrictive privative H/Ø tone system, in which the /H/ is culminative, but non-obligatory. Since rising and falling tones are contrastive on long vowels, the tone must be marked underlyingly. While it is clear that tonal indications are needed, Lung’Ie reveals two properties more expected of an accentual system: (i) there can only be one heavy syllable per word; (ii) this syllable must bear a H tone. This raises the question of whether syllables with a culminative H also have metrical prominence, i.e. stress. However, the problem with equating stress with H tone is that Lung’Ie has two kinds of nouns: those with a culminative H and those which are toneless. The nouns with culminative H are 87% of Portuguese origin, incorporated through stress-to-tone alignment, while the toneless ones are 92% of African origin. Although other creole languages have been reported with split systems of “accented” vs. fully specified tonal lexemes, and others with mixed systems of tone and stress, Lung’Ie differs from these cases in treating African origin words as toneless, a quite surprising result. We consider different analyses and conclude that Lung’Ie has a privative /H/ tone system with the single unusual stress-like property of weight-to-tone.

Word Prosody in Lung’Ie: One System or Two?

Creole languages have generally not figured prominently in cross-linguistic studies of word-prosodic typology. In this paper, we present a phonological analysis of the prosodic system of Lung’Ie or Principense (ISO 639-3 code: pre), a Portuguese-based creole language spoken in São Tomé and Príncipe. Lung’Ie has produced a unique result of the contact between the two different prosodic systems common in creolization: a stress-accent lexifier and tone language substrates. The language has a restrictive privative H/Ø tone system, in which the /H/ is culminative, but non-obligatory. Since rising and falling tones are contrastive on long vowels, the tone must be marked underlyingly. While it is clear that tonal indications are needed, Lung’Ie reveals two properties more expected of an accentual system: (i) there can only be one heavy syllable per word; (ii) this syllable must bear a H tone. This raises the question of whether syllables with a culminative H also have metrical prominence, i.e. stress. However, the problem with equating stress with H tone is that Lung’Ie has two kinds of nouns: those with a culminative H and those which are toneless. The nouns with culminative H are 87% of Portuguese origin, incorporated through stress-to-tone alignment, while the toneless ones are 92% of African origin. Although other creole languages have been reported with split systems of “accented” vs. fully specified tonal lexemes, and others with mixed systems of tone and stress, Lung’Ie differs from these cases in treating African origin words as toneless, a quite surprising result. We consider different analyses and conclude that Lung’Ie has a privative /H/ tone system with the single unusual stress-like property of weight-to-tone.