A Dynamic Approach to Rhythm in Language: Toward a Temporal Phonology

It is proposed that the theory of dynamical systems offers appropriate tools to model many phonological aspects of both speech production and perception. A dynamic account of speech rhythm is shown to be useful for description of both Japanese mora timing and English timing in a phrase repetition task. This orientation contrasts fundamentally with the more familiar symbolic approach to phonology, in which time is modeled only with sequentially arrayed symbols. It is proposed that an adaptive oscillator offers a useful model for perceptual entrainment (or `locking in') to the temporal patterns of speech production. This helps to explain why speech is often perceived to be more regular than experimental measurements seem to justify. Because dynamic models deal with real time, they also help us understand how languages can differ in their temporal detail---contributing to foreign accents, for example. The fact that languages differ greatly in their temporal detail suggests that these effects are not mere motor universals, but that dynamical models are intrinsic components of the phonological characterization of language.Comment: 31 pages; compressed, uuencoded Postscrip

Discourse Analysis as Potential for Re-Visioning Music Education

Discourse analysis holds great potential for re-visioning the field of music education. This paper explores works from Foucault, Blommaert, Scollon and Scollon, as well as others, to suggest a theoretical and methodological approach to analyzing discourse in settings of music transmission that takes into consideration who we are, what we do, and how we do it. Discourse is defined in this paper as meaningful, mediated language-in-place. By analyzing acts of speech as well as cultural objects (such as instruments, mallets, and bows) and concepts (such as a conducting gestures or solfege syllables) used as mediational means in situ, we can reveal how discursive sources of power dominance, inequality, and bias are initiated, perpetuated, (re)produced, and transformed in sites of music transmission. Analyzing such models may help develop a more flexible way of understanding and visioning music education—one that blurs boundaries between musics, ways of knowing music, and spaces where musicking takes place

From holism to compositionality: memes and the evolution of segmentation, syntax, and signification in music and language

Steven Mithen argues that language evolved from an antecedent he terms “Hmmmmm, [meaning it was] Holistic, manipulative, multi-modal, musical and mimetic”. Owing to certain innate and learned factors, a capacity for segmentation and cross-stream mapping in early Homo sapiens broke the continuous line of Hmmmmm, creating discrete replicated units which, with the initial support of Hmmmmm, eventually became the semantically freighted words of modern language. That which remained after what was a bifurcation of Hmmmmm arguably survived as music, existing as a sound stream segmented into discrete units, although one without the explicit and relatively fixed semantic content of language. All three types of utterance – the parent Hmmmmm, language, and music – are amenable to a memetic interpretation which applies Universal Darwinism to what are understood as language and musical memes. On the basis of Peter Carruthers’ distinction between ‘cognitivism’ and ‘communicativism’ in language, and William Calvin’s theories of cortical information encoding, a framework is hypothesized for the semantic and syntactic associations between, on the one hand, the sonic patterns of language memes (‘lexemes’) and of musical memes (‘musemes’) and, on the other hand, ‘mentalese’ conceptual structures, in Chomsky’s ‘Logical Form’ (LF)

Name Strategy: Its Existence and Implications

It is argued that colour name strategy, object name strategy, and chunking strategy in memory are all aspects of the same general phenomena, called stereotyping, and this in turn is an example of a know-how representation. Such representations are argued to have their origin in a principle called the minimum duplication of resources. For most the subsequent discussions existence of colour name strategy suffices. It is pointed out that the Berlin†- Kay† universal partial ordering of colours and the frequency of traffic accidents classified by colour are surprisingly similar; a detailed analysis is not carried out as the specific colours recorded are not identical. Some consequences of the existence of a name strategy for the philosophy of language and mathematics are discussed: specifically it is argued that in accounts of truth and meaning it is necessary throughout to use real numbers as opposed to bi-valent quantities; and also that the concomitant label associated with sentences should not be of unconditional truth, but rather several real-valued quantities associated with visual communication. The implication of real-valued truth quantities is that the Continuum Hypothesis of pure mathematics is side-stepped, because real valued quantities occur ab initio. The existence of name strategy shows that thought/sememes and talk/phonemes can be separate, and this vindicates the assumption of thought occurring before talk used in psycho-linguistic speech production models.

Reclaiming Our Subjugated Truths—Using Hip Hop as a Form of Decolonizing Public Pedagogy: The Case of Didier Awadi

This paper explores how Senegalese Hip Hop pioneer, Didier Awadi, uses Hip Hop as a form of decolonizing public pedagogy that renders the contributions of Pan-African leaders visible to Africa and the world, contributions that are often omitted and vilified by mainstream history. I argue that Awadi’s work provides a strategy for reclaiming oral literature, particularly storytelling, as a legitimate way of knowing, teaching and learning history. In his album Présidents d’Afrique, Didier Awadi uses rap and traditional African music to retell the story of our resistant past through an African frame of reference. The data is comprised of (1) a one-on-one interview with Didier Awadi and (2) one song of Présidents d’Afrique that best exemplifies how his storytelling narrates notions of African histories often erased in Eurocentric history. The data is analyzed using Ruth Reviere’s five Afrocentric research criteria: “ukweli (truth), ujamaa (community), kujitoa (commitment), uhaki (justice), and utulivu (harmony)” to determine whether Didier Awadi’s stories are grounded in African knowledge

The Role of Music in Assimilation of Students at the Carlisle Indian Industrial School

Despite the vast research on the Carlisle Indian Industrial School, music is often overshadowed by the recognition of the school’s athletic program in the discussion of the place of extracurricular activities in Native American assimilation. This paper discusses the role of music in the assimilation of students at the Carlisle Indian School, drawing from the fields of both history and ethnomusicology to demonstrate that music had a much more profound effect on assimilation than athletics. Through a discussion on the differences between Native American and Western art music, and the disparity between their functions in society, it is clear that music marked a more profound transition toward assimilation for Native Americans at Indian boarding schools like the Carlisle Indian Industrial School

Designing constraints: composing and performing with digital musical systems

This paper investigates two central terms in Human Computer Interaction (HCI) – affordances and constraints – and studies their relevance to the design and understanding of digital musical systems. It argues that in the analysis of complex systems, such as new interfaces for musical expression (NIME), constraints are a more productive analytical tool than the common HCI usage of affordances. Constraints are seen as limitations enabling the musician to encapsulate a specific search space of both physical and compositional gestures, proscribing complexity in favor of a relatively simple set of rules that engender creativity. By exploring the design of three different digital musical systems, the paper defines constraints as a core attribute of mapping, whether in instruments or compositional systems. The paper describes the aspiration for designing constraints as twofold: to save time, as musical performance is typically a real-time process, and to minimize the performer’s cognitive load. Finally, it discusses skill and virtuosity in the realm of new musical interfaces for musical expression with regard to constraints