The DOI matches its Crossref record; 36 of the 36 references it cites were found in a registry or an index.
A musical model of speech rhythm
Abstract
. . iambic [is] the verse-form closest to speech. There is evidence of this: we speak iambics in conversation with each other very often. . . .Aristotle in PoeticsMuch work on speech has been driven far more by a desire to classify languages into categories than by the need to elucidate the actual rhythms of spoken utterances. Common approaches to speech focus, for example, on the variability of syllabic durations within utterances (Grabe & Low, 2002) or the proportion of an utterance's duration that is occupied by vowels (Ramus, Nespor, & Mehler, 1999). But these features do not specify actual rhythms-that is, the temporal patterns of syllable onsets within an utterance-and instead reduce whole languages to descriptive statistics. Knowing that English is 40% vocalic (Ramus et al., 1999) indicates little about the timing of syllable onsets within any given English utterance, even though this information may be useful in differentiating English taxonomically from languages having different types of syllable structure.Outside of linguistics, though, representations of sentence rhythms are commonplace, and it is unclear why such representations have not had a larger impact on linguistic theories. Poetic verse, song, Shakespearean dialogue, and rap are all based on musical notions of the periodicity of syllable onsets. Consider the rhythmic transcription of the text of the children's song Twinkle Twinkle shown in Figure 1a. The is organized as a two-beat cycle alternating between…
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“The system should show similarities to features of stress timing seen in speech and music, whereby syllabic units often occur in 2- or 3-unit groupings, with a sense of stress on the initial syllable (Brown et al., 2017).”
From A Joint Prosodic Origin of Language and Music (2017) · cites this paper as Brown et al., 2017
In the citing paper
“The rhythmic properties of this system would not be the isometric type of rhythm found in much music, but instead the “heterometric” type of rhythm that is characteristic of speech (Brown et al., 2017).”
From A Joint Prosodic Origin of Language and Music (2017) · cites this paper as Brown et al., 2017
In the citing paper
“By contrast, experimental work from my lab has explored the potential musical properties of speech, and has found that speech is atonal (Chow and Brown, submitted) and based on heterometric rhythms (Brown et al., 2017), both of which conform with properties of the proposed precursor.”
From A Joint Prosodic Origin of Language and Music (2017) · cites this paper as Brown et al., 2017
Citations
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Self-citationRepresenting Speech Through Musical Notation1
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Cited by
A Joint Prosodic Origin of Language and Music
Brown, S. (2017) · Frontiers in Psychology · doi:10.3389/fpsyg.2017.01894 · Cited by 132
Self-citation
Metadata
- Authors
- Brown, S., Pfordresher, P. Q., & Chow, I.
- Venue
- Psychomusicology: Music, Mind, and Brain
- Published
- 2017-06
- Volume
- 27
- Issue
- 2
- Pages
- 95-112
- ISSN
- 2162-1535
- 0275-3987
- Cited by
- 12
- References
- 36
- Language
- en
- Funders
- Natural Sciences and Engineering Research Council
- National Science Foundation (BCS-1256964)
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