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Journal articles on the topic 'Music and language'

To see the other types of publications on this topic, follow the link: Music and language.

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Sparling, Heather. "“Music is Language and Language is Music”." Ethnologies 25, no. 2 (April 13, 2004): 145–71. http://dx.doi.org/10.7202/008052ar.

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Abstract In this article, the author considers the effects of language attitudes, a sociolinguistic concern, on musical practice. This article assumes that language and music attitudes are related as different expressions in and of a common cultural context. The author demonstrates how Scots Gaelic language attitudes in Cape Breton (where a few hundred people still speak the language) have developed, and considers the possible interplay with current attitudes towards two particular Gaelic song genres. Gaelic language learners and native/fluent speakers in Cape Breton articulated distinct and opposing attitudes towards the song genre of puirt-a-beul [mouth music], and these attitudes are examined in relation to those towards the Gaelic language and compared with their response to eight-line songs, a literary Gaelic song type. Detailed musical and lyric analyses of three Gaelic songs are provided to illustrate the connection between language and music attitudes. The current attitude towards Gaelic in Cape Breton is traced through the history of language policy in Scotland and Cape Breton. These sociolinguistic and musicological analyses are supplemented with ethnographic evidence.

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2

Brown, Steven. "Music of language or language of music?" Trends in Cognitive Sciences 12, no. 7 (July 2008): 246–47. http://dx.doi.org/10.1016/j.tics.2008.04.003.

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3

Redhead, Lauren. "Musik und Sprache: Music/Language/Speech." Contemporary Music Review 39, no. 3 (May 3, 2020): 293–98. http://dx.doi.org/10.1080/07494467.2020.1821520.

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4

Küpper, Joachim. "Einige Überlegungen zu Musik und Sprache." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 1 51, no. 1 (2006): 9–41. http://dx.doi.org/10.28937/1000107608.

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Der Artikel nimmt die vieldiskutierte Frage des Verhältnisses von absoluter Musik und Sprache auf. Einleitend setzt er sich mit den beiden gängigen Thesen der Forschung: Musik habe keine Bedeutung, oder aber Musik habe eine Bedeutung analog der der Sprache, kritisch auseinander. In einem zweiten Schritt wird gezeigt, daß die Prozesse der Semantisierung absoluter Musik im Prinzip den Prozessen ähnlich sind, vermittels deren wir sprachlichen Lauten bestimmte Bedeutungen zuweisen. In einem weiteren Schritt indes wird die These entwickelt, daß die Struktur von Musiklaut-Verknüpfungen und von Sprachlaut-Verknüpfungen unterschiedlichen Prinzipien folgt und auf diese Weise die Bedeutung von Sprachlauten immer eine wesentlich andere ist als die von Musiklauten. Abschließend wird aus Sicht dieser These die besondere Musik-Affinität der poetischen Sprache neu begründet. The article resumes the discussion on the relation of absolute music and language. Firstly, a critical look is taken at the two current theses: that music bears no meaning, or rather, that music is meaningful analogue to language. The second step describes the concept that processes conferring meaning upon music do not differ from corresponding processes regarding language. In a further step, however, the case is made that the structure of sound concatenations follows different principles concerning music on the one hand and language on the other, so that ›meaning‹ should be considered as a separate category with regard to music and language. Finally, the article tries to shed a new light on the particular affinity of the language of poetry to music.

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5

Schellenberg. "Does Language Determine Music in Tone Languages?" Ethnomusicology 56, no. 2 (2012): 266. http://dx.doi.org/10.5406/ethnomusicology.56.2.0266.

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6

Temperley, David. "Music and Language." Annual Review of Linguistics 8, no. 1 (January 14, 2022): 153–70. http://dx.doi.org/10.1146/annurev-linguistics-031220-121126.

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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.

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7

Bollinger, C. E. "Language of Music." Science News 166, no. 2 (July 10, 2004): 31. http://dx.doi.org/10.2307/4015533.

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8

Ready, Trisha. "Music as Language." American Journal of Hospice and Palliative Medicine® 27, no. 1 (July 2009): 7–15. http://dx.doi.org/10.1177/1049909109338387.

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9

Christensen, Erik. "Music Precedes Language." Norsk Tidsskrift for Musikkterapi 9, no. 2 (July 2000): 32–35. http://dx.doi.org/10.1080/08098130009477999.

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10

Feld, Steven, and Aaron A. Fox. "Music and Language." Annual Review of Anthropology 23, no. 1 (October 1994): 25–53. http://dx.doi.org/10.1146/annurev.an.23.100194.000325.

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11

Botstein, Leon. "Music and Language." Musical Quarterly 77, no. 3 (1993): 367–72. http://dx.doi.org/10.1093/mq/77.3.367.

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12

Schwehr, Cornelius, and Alistair Zaldua. "Music and Language." Contemporary Music Review 39, no. 3 (May 3, 2020): 299–309. http://dx.doi.org/10.1080/07494467.2020.1821521.

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13

Kim, Chin W. "Language and Music." Lingua Humanitatis 21, no. 1 (June 30, 2019): 13–54. http://dx.doi.org/10.16945/201921113.

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14

Volkmann, Roberta. "Music through Language." General Music Today 8, no. 1 (October 1994): 18–19. http://dx.doi.org/10.1177/104837139400800105.

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15

Liang, Yutong, and Zixin Lin. "The Influence of the Language Used in the Lyrics on How People Perceive the Emotions in Music." Lecture Notes in Education Psychology and Public Media 49, no. 1 (May 17, 2024): 52–55. http://dx.doi.org/10.54254/2753-7048/49/20231769.

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According to the existing research, the part of the brain in charge of language is also linked with musical functions. Besides, it is not a secret that music can influence language development in the human brain. However, there is seldom research on how language can influence the processing of musics. Here, research is designed to measure how the presence of language can alter the perception of music and, specifically, how lyrics (language) can affect how people perceive the emotions in the music. The scores given by the participants about how strong the emotions perceived (including positive to negative ones) in the music will be the operational definition.

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16

MATIYCHYN, Iryna. "UKRAINIAN CHURCH MUSIC: THE ISSUE OF LANGUAGE." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 67–79. http://dx.doi.org/10.30970/vas.20.2019.10640.

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The article considers developmen to fUkrainian church music from the perspective of the accompanying linguistic processes. The issue of liturgical language was actualized when Ukraine gained its independence,Ukrainian churches (the Autocephalous Orthodox Church, Greek Catholic Church) resume dtheir work, and new church organizations appeared. The linguistic issue assumed critical importance with the restoration of autocephaly of the Orthodox Church in Ukraine. Ukrainianization of all areas of church life is also reflected in church music and determines certain tendencies of its present-day existence. At the same time, certain traditions left their marks on the spiritual heritage of Ukrainian composers, who worked in different confessional and political circumstances. The purpose of the proposed article is to highlight the dynamics of linguistic changes that accompanied Ukrainian church music at various stages of its creation, and to identify the specificity of its functioning in modern conditions. The following methods are used for this purpose: the method of retrospective (to explore the processes of historical development of Ukrainian church music),the comparative historical method(to reveal the general tendencies of the liturgical language evolution in different parts of Ukraine in a particular historical period), the method of musical and textual analysis for considering the texts of church musical compositions and identifying the historical features of their text fixation), the linguistic method (to analyze linguistic phenomena in church music). Scientific novelty. The study validates a significant influence of linguistic processes that accompanied the evolution of Ukrainian church music on the modern practice of liturgical singing. The logic of historical development proves an indisputable vector for Ukrainianization of the church life of Ukrainians. At the present stage we can talk about Ірина МАТІЙЧИН ISSN 2078-6794. Вісник Львівського університету. Серія мист-во. 2019. Вип. 20 79 convergence of two tendencies in Ukrainization of church music: the performance of ancient song samples in Church Slavonic with Ukrainian pronunciation; the performance of ancient church songs translated into Ukrainian, as well as the performance of liturgical and paraliturgical songs written in Ukrainian. Conclusions. Preserving an original linguistic basis in old compositions, liturgical singing becomes a conservative element of church services, because it prolongs an active life of the Church Slavonic language, in which a wide array of Ukrainian church songs was written.

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17

Huang, Shu. "Music and Language Acquisition." SHS Web of Conferences 174 (2023): 02026. http://dx.doi.org/10.1051/shsconf/202317402026.

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This literature review is aimed at how music affects language acquisition throughout the long term music training process or music therapy sessions. We discussed, analyzed and summarized several experiment’s results about music’s effects on both physiological(brain, natural system…) and psychological side of people in different life stages. We found the obvious similarity and differences of music and language and their mutual effect. Also, we developed music as a therapeutic tool to improve language acquisition. All in all, we come to the conclusion that specific attention will be paid to the influence of music on the language learner, as well as the implications of incorporating music into the language learning curriculum.

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18

Høghaug, Leif. "«Language, language, and sweet music too»." Agora 25, no. 01-02 (March 19, 2007): 151–70. http://dx.doi.org/10.18261/issn1500-1571-2007-01-02-07.

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19

Kessler, Jörg, and Robert Lang. "Fremdsprachliches und musikalisches Lernen – Überlegungen zu einem Strukturmodell am Beispiel Islands." Babylonia Journal of Language Education 1 (April 28, 2021): 88–95. http://dx.doi.org/10.55393/babylonia.v1i.40.

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In our paper we introduce our model “Structures of Language and Music” and report about a case study in Iceland.We show how language und music education partly draw from similar concepts in either discipline and how theseconcepts may be combined for a deeper understanding of language and music learning both in natural as well asin instructed settings. Looking at data collected in a focus group discussion at the University of Iceland and byobservations in Icelandic music and foreign language classrooms in an inclusive school in Reykjavík we show inthis paper how music and language learning can inspire each other.By understanding the relationship between music and language learning from a more theoretical approachsuggested by our model and its reception by specialists from the music and modern languages departments of theUniversity of Iceland as well as its application to classroom practice, we suggest that our model can make acontribution to language and music education as well as teacher education

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20

Koopman, Constantijn. "Music as language: An analogy to be pursued with caution." International Journal of Music Education os-29, no. 1 (May 1997): 40–46. http://dx.doi.org/10.1177/025576149702900106.

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The Conference themes all suggest that music may be considered as a language. However, I argue that this is a misleading analogy. I shall point out some crucial differences between language and music by examining the concept of meaning. Two types of meaning will be distinguished and explained: extrinsic and intrinsic meaning. Whereas the former kind of meaning is typical of language, the latter kind is characteristic of the arts in general and of music in particular. Conceiving music as a language may easily lead us to concentrate on the extrinsic aspects of music rather than on its intrinsic meaning. The distinction between intrinsic and extrinsic meaning is also relevant to understanding music of other cultures. I argue that properties related to intrinsic meaning can generally be apprehended by outsiders more easily than properties related to extrinsic meaning. Since we cannot initiate children fully into all musical traditions and styles in music education, I recommend that we pay special attention to furthering children's sensitivity to intrinsic aspects of music. Thus we can best assure that they gain a passport to musics of all cultures.

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21

Foxley, Eric. "Music—A language for typesetting music scores." Software: Practice and Experience 17, no. 8 (August 1987): 485–502. http://dx.doi.org/10.1002/spe.4380170802.

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22

Gomez-Dominguez, Maria, M. Carmen Fonseca-Mora, and Francisco H. Machancoses. "First and foreign language early reading abilities: The influence of musical perception." Psychology of Music 47, no. 2 (January 15, 2018): 213–24. http://dx.doi.org/10.1177/0305735617746734.

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There is a growing body of literature that recognises how music perception affects first-language learning, but much less is known about its influence on foreign-language reading skills. The purpose of this paper is to examine the effect of music perception abilities on the acquisition of some foreign early reading skills based on their transference from first language. Data for this study were collected from 63 Spanish-speaking English-language learners studying second grade of primary school. We used a music perception test and the Early Grade Reading Assessment battery, which measures early reading skills in both languages. A mediation analysis using structural equation modelling was performed, integrating music perception and letter-sound knowledge, initial sound identification, and familiar word and pseudoword reading in Spanish and English. This research provides new insights into how music perception affects early reading skills in both languages. These findings indicate a transfer of music perception abilities to first-language alphabetic principle, phonemic awareness and word recognition skills that affect foreign language early reading abilities.

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23

Qian, Yinhua, and Minxi Liu. "Tone Languages Effect on Emotional Detective Music." Lecture Notes in Education Psychology and Public Media 6, no. 1 (May 17, 2023): 154–59. http://dx.doi.org/10.54254/2753-7048/6/20220230.

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We already know tone language has different tones, but non-tone language does not. Music can cause our emotions to change. According to the relationship between languages and music, music and emotions, we want to design a study that uses the reaction of Autonomic Nervous System(ANS), especially the part of Heart rate (HR), heart rate variability (HRV), and electrometal activity (EDA) to detect the emotional arousal caused by joyful pleasant music, isochronous tones, and unpleasant control stimuli. The main purpose of the test is that to see if there are some differences from the sensitivity of music caused emotional changes between tone language speakers and non-tone language speakers. Also, further aim is to determine whether music therapy for different language speakers should be detailed to different frequency pitches changed music.

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24

Abel, Mark. "Is Music a Language?" Historical Materialism 26, no. 4 (December 17, 2018): 59–86. http://dx.doi.org/10.1163/1569206x-00001616.

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AbstractMarxists regard works of art as meaningful, and look for political meanings in apparently non-political literature, films and paintings. But where does music’s meaning lie? The conventional view is that music is non-referential, capable only of supporting other artforms or of expressing emotions. Adorno rejects the idea of music as a language of emotions, and does not believe that music has universal grammatical and syntactical rules. Yet he claims that music has language characteristics which make it as political as other artforms. What does he mean, and is he right? To answer those questions, we need to know how he understands language. This article examines how Adorno’s view compares with the Marxist theory of language and consciousness developed by Valentin Voloshinov, and explores the extent to which approaching music from this direction might clarify a Marxist understanding of music and contribute to solving the thorny question of musical meaning.

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25

Jadmiko, Rahmad Setyo, and Rian Damariswara. "Perkembangan Bahasa Anak Penggemar Musik Dangdut Koplo Berbahasa Jawa." Stilistika: Jurnal Pendidikan Bahasa dan Sastra 14, no. 2 (July 31, 2021): 145. http://dx.doi.org/10.30651/st.v14i2.7930.

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Language Development In Children Who Are Dangdut Koplo Music Fans In Java ABSTRAKAnak-anak usia SD di Desa Purworejo Kecamatan Ngunut Kabupaten Tulungagung mempunyai kegemaran mendengarkan musik dangdut koplo berlirik bahasa Jawa. Anak-anak ini mempunyai komunitas penggemar sound system. Hal itu menyebabkan perkembangan bahasa mereka terpengaruh oleh lirik-lirik yang sering mereka dengarkan. Perkembangan bahasa secara behavioristik menjadi teori untuk membuktikan perkembangan bahasa anak selaku penggemar musik dangdut koplo. Metode penelitian ini adalah kualitatif dengan instrumen berupa wawancara dan angket. Dari hasil data, dapat disimpulkan bahwa ada empat faktor yang mempengaruhi perkembangan bahasa anak, yaitu imitasi, reward, reinforcement, dan frekuensi. Imitasi terbukti dengan ditirukannya apa saja yang didengar dari musik dangdut koplo yang diputar. Reward juga terbukti mempengaruhi perekembangan bahasa, yaitu dari pihak keluarga dan lingkungan. Reinforcement juga mempengaruhi perkembangan bahasanya. Penguat tersebut tidak sengaja terjadi, namun memberikan dukungan perkembangan bahasanya. Pada frekuensi, diketahui bahwa dibutuhkan waktu lebih dari tiga jam sehari dalam mendengarkan musik dangdut koplo.Kata kunci: perkembangan bahasa anak, penggemar, dangdut koploABSTRACTElementary school age children in Purworejo Village, Ngunut District, Tulungagung Regency have hobby to listen dangdut koplo music with Javanese lyrics. They have sound system enthusiasts community. This causes their language development to be influenced by the lyrics they often listen to. Behavioristic language development becomes a theory to prove their language development as fans of dangdut koplo music. This research method uses a qualitative approach wit two instruments namely, interview and questionare. Based on the data results, it can be described that, there are four factors that influence their language development, namely imitation, reward, reinforcement, and frequency. Imitation is proven by them imitating whatever they hear from the dangdut koplo music that is played. Rewards are also proven to affect their language development, from the family and environment. Reinforcement also affects language development, the reinforcement does not happen accidentally, but provides support for language development. In the frequency, it is known that they listen to dangdut koplo music for more than three hours a day.Keyword: children's language development, fans, dangdut koplo

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26

Rey, Georges, and Diana Raffman. "Language, Music and Mind." Philosophical Review 106, no. 4 (October 1997): 641. http://dx.doi.org/10.2307/2998535.

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27

Horton, Jim, David Anderson, and Ron Kuivila. "Formula (Forth Music Language)." Leonardo Music Journal 1, no. 1 (1991): 118. http://dx.doi.org/10.2307/1513146.

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28

Yadlowsky, Peter M., Phil Burk, Larry Polansky, and David Rosenboom. "Hierarchical Music Specification Language." Leonardo Music Journal 1, no. 1 (1991): 119. http://dx.doi.org/10.2307/1513147.

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29

Smoliar, Stephen W., and Deryck Cooke. "The Language of Music." Computer Music Journal 18, no. 2 (1994): 101. http://dx.doi.org/10.2307/3680449.

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30

Parncutt, Richard, and Diana Raffman. "Language, Music, and Mind." Computer Music Journal 18, no. 4 (1994): 101. http://dx.doi.org/10.2307/3681366.

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31

Garcia, Ofelia, and Angélica Ortega. "Making music, making language." Journal of Multilingual Theories and Practices 1, no. 1 (October 15, 2020): 44–65. http://dx.doi.org/10.1558/jmtp.16529.

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This article reframes how the making of music by minoritized bilingual Latinxchildren is interrelated to their languaging and their literacies’ performances.Taking a translanguaging approach, musicking/languaging/performing literacies are described here as holistic critical meaning-making processes. Focusing on the process by which students make meaning of texts, and not simply on the output or product of such meaning-making, this article shows how a music education programme based on El Sistema and designed for social change transforms minoritized children’s critical sense of their positions and subjectivities as producers of language and literacies. Through music education, long considered only an enrichment activity from which language minoritized students are often excluded, bilingual Latinx children are able to crack open a vision for themselves and others as competent, dignified, and valid meaning-makers—as performers of complex acts of language and literacies.

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32

Davies, Stephen, and Diana Raffman. "Language, Music, and Mind." Journal of Aesthetics and Art Criticism 52, no. 3 (1994): 360. http://dx.doi.org/10.2307/431438.

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33

Celinska, Angelica. "The language of music." Early Years Educator 23, no. 13 (August 2, 2022): 42. http://dx.doi.org/10.12968/eyed.2022.23.13.42.

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Music is a form of self-expression, and children in the early years are encouraged to express themselves in as many different ways as possible, however, musical development still doesn't seem to play an important enough role in practice. Abigail Leow introduced this in her student spotlight last month, and will build on this in her follow up articles, but for now, take some time to get to know her.

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34

Burrows, David, Diana Raffman, and Michael Krausz. "Language, Music, and Mind." Notes 51, no. 1 (September 1994): 94. http://dx.doi.org/10.2307/899183.

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35

Wedel, Sara Hochstetler. "Music and Whole Language." Music Educators Journal 81, no. 4 (January 1995): 8. http://dx.doi.org/10.2307/3398824.

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36

Masataka, Nobuo. "Music, evolution and language." Developmental Science 10, no. 1 (January 2007): 35–39. http://dx.doi.org/10.1111/j.1467-7687.2007.00561.x.

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37

Higgins, Kathleen Marie, and Diana Raffman. "Language, Music, and Mind." Philosophy and Phenomenological Research 55, no. 3 (September 1995): 734. http://dx.doi.org/10.2307/2108459.

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38

Madanifard, Mehdi. "Language, Music, and Brain." Neuroscience Journal of Shefaye Khatam 7, no. 3 (July 1, 2019): 102–10. http://dx.doi.org/10.29252/shefa.7.3.102.

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39

Brayley, Helen. "Developing language through music." Practical Pre-School 2010, no. 113 (June 2010): 10–11. http://dx.doi.org/10.12968/prps.2010.1.113.48276.

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40

Subramanian, Lakshmi. "A language for music." Indian Economic & Social History Review 44, no. 1 (March 2007): 19–40. http://dx.doi.org/10.1177/001946460604400102.

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41

Dunn, David, and René van Peer. "Music, Language and Environment." Leonardo Music Journal 9 (December 1999): 63–67. http://dx.doi.org/10.1162/096112199750316820.

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Interviewed by music journalist René van Peer, the composer and sound recordist David Dunn discusses the sound work he has done in natural environments, his motivations for doing this work, and the thoughts and theories he has developed from it. Most of these works are unique events created for a specific time and location or for specific circumstances. In these events, the sounds generated by the players set up interactions with their immediate surroundings. Soundscape recordings are another aspect of Dunn's work. His work in different natural and cultural environments has enabled him to research areas where music and language intersect.

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42

SLOBODA, JOHN. "Language, Music, and Mind." Mind & Language 9, no. 3 (September 1994): 377–85. http://dx.doi.org/10.1111/j.1468-0017.1994.tb00232.x.

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43

Mihaly, Ryan. "Is Music a Language?" Massachusetts Review 61, no. 2 (2020): 249–53. http://dx.doi.org/10.1353/mar.2020.0037.

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44

Charnock, Ross. "Language, music, and mind." Journal of Pragmatics 24, no. 4 (October 1995): 455–59. http://dx.doi.org/10.1016/0378-2166(95)90013-6.

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45

Adorno, Theodor W. "Music, Language, and Composition." Musical Quarterly 77, no. 3 (1993): 401–14. http://dx.doi.org/10.1093/mq/77.3.401.

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46

Stokes, W. Ann, and Diana Raffman. "Language, Music, and Mind." Journal of Aesthetic Education 29, no. 1 (1995): 116. http://dx.doi.org/10.2307/3333529.

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47

Haueisen, Julie, and Kelley Kruczynski. "Language Arts and Music." Music Educators Journal 81, no. 1 (July 1994): 52–53. http://dx.doi.org/10.1177/002743219408100102.

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48

Hall, Liz Scott. "The language of music." Early Years Educator 8, no. 9 (December 2006): 60–61. http://dx.doi.org/10.12968/eyed.2006.8.9.22496.

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49

Miller, Beth Ann. "Whole Language? Whole Music!" General Music Today 8, no. 1 (October 1994): 3–8. http://dx.doi.org/10.1177/104837139400800102.

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50

Cutietta, Robert A. "Language and Music Programs." General Music Today 9, no. 2 (January 1996): 26–31. http://dx.doi.org/10.1177/104837139600900209.

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