Jackendoff and Lerdahl

Transcription

1 Taal en Muziek in Optimaliteitstheorie eerste uur: OT als algemene cognitieve theorie taal en muziek Language and Music in Optimality Theory Outline Structural resemblance between language and music Claim: every form of temporally ordered behaviour is structured the same way Claim: insights of music theory can help out in phonological issues Rate adjustments in language and music: compression or restructuring? Jackendoff and Lerdahl Jackendoff & Lerdahl (198) point out the resemblance between the ways both linguists and musicologists structure their research objects. Lerdahl & Jackendoff (1983) A Generative Theory of Tonal Music, MIT Press, Cambridge, Massachusetts. Synthesis of linguistic methodology and the insights of music theory A Generative Theory of Tonal Music Description of how a listener (mostly unconciously) constructs connections in the perceived sounds The listener is capable of recognizing the construction of a piece of music by considering some notes/chords as more prominent than others cf. Language Our cognition thus works in a way comparable to how a reader divides a tet (often unconciously too) into different parts A Generative Theory of Tonal Music (Lerdahl & Jackendoff, 1983) The research object is structured hierarchically and in each domain the important (heads) and less important (dependents) constituents are defined by preference rules Preference rules determine which outputs, i.e. the possible interpretations of a musical piece, are well-formed 1

2 Preference Rules Preference rules indicate the optimal interpretation of a piece. Some outputs are more preferred than others Preference rules, however, are not strict claims on outputs. It is even possible for a preferred interpretation of a musical piece to violate a certain preference rule as long as this violation leads to the satisfaction of a more important preference rule cf. Optimality Theory (Prince & Smolensky 1993) Optimality Theory is a theory of language and grammar in which wellformedness constraints on outputs determine grammaticality. These constraints apply simultaneously to representations of structures. They are potentially conflicting and they are soft, which means violable. Tuedo Junction motif Structuring of the Domains phrase section Prosodic Construction of a Phrase Comparison structuring rules Mis sis sip pi Del ta s w s w s w w s s w syllable level foot level phrase level Music: The domains in the music theory are called Timespans: Rhythmical units constructed from the interaction of the metrical structure and the grouping structure. metrical structure (lower domains): = =... melodic/harmonic (or grouping) structure (higher domains): motif < phrase < section...xtc: English roundabout 2

3 Comparison structuring rules Language: phoneme < σ (syllable) < Σ (foot) < ω (phrase) p pa papa de oude papa Comparison Preference Rules phoneme < morpheme < word < compound p -pje bloempje muurbloempje Comparison preference rules 1 Music (time-span reduction preference rule 1): Choose as the head of a time-span the chord (or the note) which is in a relative strong metrical position (= the first position in a measure) Language: Choose the first σ in a Σ as the head Arguments for trochaic feet Neologisms: Acquisition data: Cito, Prolog, Brinta Mispronunciations: narcis, parfum 1;6 Comparison preference rules 2 Music (time-span reduction preference rule 2): Choose as the head of a time-span the chord (or the note) which is relatively harmonically consonant (segmental markedness) Language (peak prominence): Choose as the head the heaviest available syllable Comparison preference rules Language: Peak Prominence: stress the heaviest available syllable: CVVC; CVCC > CVC; CVV > CV ki.dhar as.baab reez.ga.rii sa.mi.ti ru.kaa.yaa aas.maan.jaah Stress assignment in Hindi: Peak Prom. >> Nonfinality 3

4 Comparison preference rules Music (time-span reduction preference rule 2): Choose as the head of a time-span the chord (or the note) which is relatively harmonically consonant (segmental markedness) C > Cdim C vs C Fifth C - G.5 C > C7 > > Csus4 > Cdim Over smaak valt te twisten C > Cdim C vs C C > Cdim C vs C.5 C - Gb.5 Fifth C - G C > Cdim C vs C C > Cdim C vs C.5 Fifth C - G.5 C - Gb

5 C vs C C vs C wave C+G wave C+Gb Comparison preference rules Music (time-span reduction preference rule 7): Choose as the head of a time-span the chord (or the note) which emphasizes the end of a group as a cadence C7-B tonic > dominant > subdominant > parallel... C7-F cf. Language: Phrasal rule cadence Tonic -Dominant -Subdominant Eamples of 3 chord songs: mccoys - hang on sloopy (russell & farrell) royal guardsmen - snoopy vs. the red baron (gernhard & holler) rolling stones - get off of my cloud (jagger & richard) grease soundtrack -summer nights (jacobs & casey) any trouble - second choice (gregson) sonics - psycho (roslie) standells - sometimes good guys don t wear white (cobb) r.e.m.- stand! (buck, stipe, mills, berry) rare breed - beg, borrow and steal (difrancesco & zerato) kingsmen - louie louie (r.berry) Time-span reduction Mozart: Sonata K.331, I Conflict Time-spans Conflict TSRPR1 - TSRPR7 The A6-chord is in a metrically stronger position, but E-chord is harmonically more consonant constraints TSRPR 7 TSRPR 2 TSRPR 1 candidates E * A6 *! * 5

6 First Language Acquisition Data segmental & positional markedness: same preference syllabe Segmental markedness: /s/ > // Positional markedness: // > /s/ syllabe onset rhyme (2;) onset rhyme margin nucleus margin nucleus pre-m. m.core satellite peak satellite coda app. k l n k b r o d s t u l pre-m. m.core satellite peak satellite coda app. s a p *Comple >> Pos. Markedness >> Segm. Markedness Conclusion 1 Structural resemblance between language and music (cf. also Lasher (1978), Mallen (2)) Every form of temporally ordered behaviour is structured the same way LabPhon Phonetics in Phonology Outline Restructuring Rhythm Patterns: Phonological Analysis Phonetic Evidence? Restructuring the melodic content of feet Maartje Schreuder & Dicky Gilbers Paper available on 6

7 Outline Research Question Topic: Rhythmic variability due to rate differences Phonologically-based Account Eperiment: Phonetic evidence? Does a higher speaking rate lead to adjustment of the phonological structure or are we only dealing with phonetic compression? Phonetic compression is mainly shortening and merging of vowels and consonants with preservation of the phonological structure normal stretched Music: Re-/misinterpretation of rhythm in accelerated or sloppy playing Language: Re-/misinterpretation of rhythm in accelerated or sloppy speaking Rhythmic restructuring: dotted notes rhythm triplet rhythm Zuidafrikaans Blueberry hill Zuidafrikaans Blueberry hill 12 bpm: 8 bpm: Data Data type 1: stúdie tòela ge stú die toe là ge type 1: stúdie tòela ge stú die toe là ge study grant Rightward Stress Shift type 2: study grant per fèc tio níst pèr fec tio níst Leftward Stress Shift 7

8 Data Phonological Analysis in OT type 1: type 2: type 3: stúdie tòela ge stú die toe là ge study grant per fèc tio níst pèr fec tio níst blùe bèr ry híll blùe ber ry híll zùidàfrikáans zùid a fri káans Analysis based on conflict between: Output Output Correspondence (cf. Burzio 1998) Clash Avoidance (cf. Kager 1994) south african Beat Reduction Output Output Correspondence Output Output Correspondence compensation condensation s w s w s w s w compensation condensation s w s w s w s w [n] *[n] Output Output Correspondence Output Output Correspondence compensate condense s w s w s [n] *[n] compensation condensation s w s w s w s w [n] *[n] 8

9 Language: Re-/misinterpretation of rhythm in accelerated or sloppy speaking Language: Re-/misinterpretation of rhythm in accelerated or sloppy speaking zùidàfrikáans (andante) perfèctioníst stúdietòelage zùidafrikáans (allegro) pèrfectioníst stúdietoelàge Data: bijstandsuitkeringsgerechtigde studietoelage tijdsduurindeling In fast speech it is more important to avoid clashes The triplet patterns in fast Dutch speech resemble the patterns of Estonian rhythm Conclusion 2 There are different OT-grammars for different rates and styles of speaking (???) Phonetic Compression is not the sole eplanation Phonetic Evidence? Is there phonetic evidence for rhythmic restructuring in allegro speech? In fast speech it is more important to avoid clashes. The triplet patterns in fast Dutch speech resemble the patterns of e.g. Estonian rhythm. Parameters stress: Duration Pitch (Intensity) (Sluijter, 1995) Phonetic Evidence? Just Notable Differences: variable stress patterns Picture (PRAAT) studie toela ge Duration JND: 4.5% (Eefting & Rietveld, 1989) Pitch JND: 2.5% ( thart et al, 199) 9

10 variable stress patterns Picture (PRAAT) stu die toe la ge variable stress patterns Picture (PRAAT) stu die toe la ge (1.164 ms) (.85 ms) stu die toe la ge [u] [a] pitch Hz 99.5 Hz duration.11 ms.169 ms intensity 85.7 db 8.7 db [u] [a] pitch Hz 99.8 Hz duration.41 ms.143 ms intensity 8.7 db 78.5 db variable stress patterns Picture (PRAAT) stu die toe la ge stu die toe la ge (1.164 ms) (.85 ms) multi-plying factor 1.37 [u] [a] pitch Hz 99.5 Hz duration.11 ms.169 ms intensity 85.7 db 8.7 db [u] [a] pitch Hz 99.8 Hz duration.56 ms.196 ms intensity 8.7 db 78.5 db 1