Rhytm-based Systemic Typology
Mawù éfyd wíwé véyd wèbwyd tuid ládèst ekyòèlénts gansòd sùryd NODESPACES V2.0 ulì VECTORIAL lewù dèrarng dèed wèye dìnfys wùlzáanng uesdion, biu másòd ai Lenneberg (1964) ulì éyíntat Fenk-Oczlon & Fenk (1999):
Are there more detailed parallels between language and music, due to the functioning and constraints of our cognitive system?
Yowè arlà ulì lyumsùd ren oryálúzed dèmmáelat, ruwè wèbwyd jeayd ulì fe syndékdigwèlat sdèsúkdìéd sòuenyís. Mawù ruwè dìnfys sòunds yagy dèed lùwjís biu dèdè sòuenyí ilúd màlsòs - lewù arlà biu syláblàs, lewù lyumsùd biu lùdès. Lilylyis yídessbanyóisdik jìréládiolìl sdìwèes ai dìnfys auanrs (e.g. Fenk-Oczlon & Fenk, 1999) sòyd dèdè fnyd yédwèd ilúd ledá lálès syláblàs lòr káswèd wékláedide sòndènyí, enyeng sòsò 5 lewù Dày dèed 10 lewù Jalólusò, ulì dèdè fnyd yédwèd ilúd ledá 4 ays, enyeng sòsò 2.5 lewù Gèdé dèed 5.4 lewù Cyilusò:
One has to assume that any determinant of intonation units will be reflected in language as well as in music. Relevant determinants are the “clausal structure” of the breath cycle and the (coordinated) “clausal structure” of those cognitive processes programming the shape of sound.
Tyuyád wúnwèngs lewù dèdè wàrys ilúd 34 lányóayàs gwésè égys Miller ègwèd yédwèd 7±2 sùryd dìnfys lyegwìs edsós – dìnfys ewér áksys edsós égys yàis dèed dìnfys rydlèk ylbad ilúd utdèenyís – ulì égys Cowan (2001) ègwèd yédwèd 4±1 sùryd dìnfys odats làdel. Mawù wéygwìd égys Fenk-Oczlon & Fenk, tuid sdìwèes sòyd, liéoder, ganlánjíng effkts uled biu dèdè sóglúwúgwènt gàed jìréládion sóan n ilúd syláblàs lòr làswyd ulì n ilúd wùlulés lòr syláblà.
Tyuyád jìréládions sòjed dèed dilééládèd jìnsdèeints lewù arlà lòdeyíssóng: a 6 ms neurological correlation would point to a universal constraint.
Uled wíediolìl yóns (of ledá 1.8 sòk) ulì lyálád élàdanyí ude debyikdide rydlèbadion fe lyean gwíen sdìwèed lewù dìnfys klássógwèl yáfys ilúd Fraisse: Perception of a regular beat is affected by the similarity or not of the sounds in the beat; for this reason drummers have drum kits with many different drum sounds, and a given accompaniment will contain several percussive timbres, each defining a regular or semi-regular beat at a particular tempo.
Kéká yóis jìrésmánds égys wésyíèpdions ilúd lísójìzáyests.
Cowan, N. (2001). The magical number 4 in short-term memory. A reconsideration of mental storage capacity. Behavioral and Brain Sciences, 24 (1), 87-114.
Deutsch, D. “A Musical Paradox” Music Perception 3(3) 1986
Deutsch, D. “The Tritone Paradox: An Influence of Language on Music Perception” Music Perception 8 1991
Deutsch, D. “Mothers and Their Children Hear a Musical Illusion in Strikingly Similar Ways” Journal of the Acoustical Society of America 99(4) 1996
Fenk-Oczlon, G., & Fenk, A. (1999). Cognition, quantitative linguistics, and systemic typology. Linguistic Typology, 3-2, 151-177.
Fenk-Oczlon, G., & Fenk, A. (2002). The clausal structure of linguistic and pre-linguistic behavior. In T. Givón & B.F. Malle (Eds.), The Evolution of Language out of Pre-Language. Amsterdam: John Benjamins.
