The Legacy of Lerdahl and Jackendoff's a Generative Theory Of
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Structures in the Mind: Chap18
© 2015 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or informa- tion storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected]. edu. This book was set in Times by Toppan Best-set Premedia Limited. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Structures in the mind : essays on language, music, and cognition in honor of Ray Jackendoff / edited by Ida Toivonen, Piroska Csúri, and Emile van der Zee. pages cm Includes bibliographical references and index. ISBN 978-0-262-02942-1 (hardcover : alk. paper) 1. Psycholinguistics. 2. Cognitive science. 3. Neurolinguistics. 4. Cognition. I. Jackendoff, Ray, 1945- honoree. II. Toivonen, Ida. III. Csúri, Piroska. IV. Zee, Emile van der. P37.S846 2015 401 ′ .9–dc23 2015009287 10 9 8 7 6 5 4 3 2 1 18 The Friar’s Fringe of Consciousness Daniel Dennett Ray Jackendoff’s Consciousness and the Computational Mind (1987) was decades ahead of its time, even for his friends. Nick Humphrey, Marcel Kinsbourne, and I formed with Ray a group of four disparate thinkers about consciousness back around 1986, and, usually meeting at Ray’s house, we did our best to understand each other and help each other clarify the various difficult ideas we were trying to pin down. Ray’s book was one of our first topics, and while it definitely advanced our thinking on various lines, I now have to admit that we didn’t see the importance of much that was expressed therein. -
This Is a Review Article on Jackendoff's Languages of the Mind: Essays on Mental Representation (Henceforth, LM)
REVIEW ARTICLE Languages of the Mind: Essays on Mental Representation, by Ray Jackendoff, MIT Press, Cambridge, 1992, ix+200pp. Reviewed by MITSUAKI YONEYAMA, Seikei University* 0. Introduction This is a review article on Jackendoff's Languages of the Mind: Essays on Mental Representation (henceforth, LM). LM is a collection of papers on semantics and cognition originally written independently within the framework of Conceptual Semantics. There is a certain amount of duplication in their contents, although we can see a consis- tent line of argument. And LM is not a book intended to present an alternative solution to a specific problem. In this paper, I will summa- rize the main points of LM and try to analyze verbs of motion within Conceptual Semantics. 1. Background LM is Jackendoff's fourth book on semantics and cognition. It is in order here to look back at his three previous books because most of the papers in LM are based on his previous books. In Semantics and Cognition (1983) (henceforth, SC), he regards semantics as independent of syntax. In his framework, syntax, seman- tics, and phonology each have their own structure and function. In SC, he mentions four requirements on semantic theory which have * This is a revised version of a paper read at the meeting of Tokyo University English Linguistic Circle in January 1994. Sections 4.1-4.3 are based on a part of a paper read at the symposium on lexical semantics in the 65th General Meeting of the English Literary Society of Japan held at the University of Tokyo in May 1993. -
May 2020 CURRICULUM VITAE Ray Jackendoff Center for Cognitive Studies Department of Philosophy Tufts University Medford, MA
May 2020 CURRICULUM VITAE Ray Jackendoff Center for Cognitive Studies Department of Philosophy Tufts University Medford, MA 02155 USA Department of Brain and Cognitive Sciences Massachusetts Institute of Technology Cambridge, MA 02139 Telephone: 617-484-5394 E-mail: ray (dot)jackendoff(at)tufts(dot)edu Born: Chicago, IL, 23 January 1945 Academic training 1961-65 Swarthmore College (mathematics honors) B.A. 1965 1965-69 M.I.T. (linguistics) Ph.D. 1969 Thesis advisor: Noam Chomsky Teaching 1969-70 UCLA Lecturer 1971-73 Brandeis University Assistant Professor 1973-78 Brandeis University Associate Professor 1978-2006 Brandeis University Professor (Chair of Linguistics Program, 1972-1981) (Chair of Linguistics and Cognitive Science, 1981-1992, 2002-2006) 2006- Brandeis University Professor Emeritus 2005-2017 Tufts University Seth Merrin Professor of Humanities (Co-director, Center for Cognitive Studies) 2018- Tufts University Seth Merrin Professor Emeritus 1969 (summer) University of Illinois (LSA Linguistic Institute) 1974 (summer) University of Massachusetts, Amherst (LSA Linguistic Institute) 1980 (summer) University of New Mexico (LSA Linguistic Institute) 1987 University of Arizona (Visiting Professor) 1989 (summer) University of Arizona (LSA Linguistic Institute) 1996 (summer) Institute for Research in Cognitive Science, University of Pennsylvania 1999 (summer) University of Illinois (LSA Linguistic Institute) 2003 (summer) Michigan State University (Sapir Professor, LSA Linguistic Institute) 1 Research 1966 (summer) Technical Operations, -
Cognition, Constraints and Conceptual Blends in Modernist Music the Pleasure of Modernism: Intention, Meaning, and the Compositional Avant-Garde, Ed
“Tone-color, movement, changing harmonic planes”: Cognition, Constraints and Conceptual Blends in Modernist Music The Pleasure of Modernism: Intention, Meaning, and the Compositional Avant-Garde, ed. Arved Ashby (Rochester: University of Rochester Press, 2004), 121–152. Amy Bauer I. Ligeti and the “Listenability” of Modernist Music György Ligeti has discussed his "micropolyphonic" music of the mid-1960s at some length, in an attempt to explain why its composed structure seems to bear no relation to its actual sound. Although works such as Lontano are based on strict canons, their compositional method assumes a listener will 'mishear' its structure: [In the large orchestral work Lontano] I composed . an extensively branching and yet strictly refined polyphony which, however, veers suddenly into something else. I don’t have a name for it and I don’t want to create a term for it. A kind of complex of tone-color, movement, changing harmonic planes. The polyphonic structure does not actually come through, you cannot hear it; it remains hidden in a microscopic underwater world, to us inaudible. I have retained melodic lines in the process of composition, they are governed by rules as strict as Palestrina's or those of the Flemish school, but the rules of polyphony are worked out by me. the polyphony is dissolved, like the harmony and the tone-color – to such an extent that it does not manifest itself, and yet it is there, just beneath the threshold.1 In the above passages, Ligeti appears to ally himself with modernists such as Boulez and Babbit, composers who use twelve-tone and other methods to systematically organize pitch structure. -
Peter Culicover's Curriculum Vitae, 2019-20
CURRICULUM VITAE June 2020 PETER W. CULICOVER Distinguished University Professor Emeritus, The Ohio State University Affiliate Professor, University of Washington Phone (cell): 614-361-4744 Email: [email protected] Primary research interests: Syntactic theory, constructions, typology, syntactic change, language learnability, English syntax, representation of language in the mind/brain, linguistics and cognitive science, computational simulation of language acquisition and language change, jazz. EDUCATION PhD Massachusetts Institute of Technology (1971), Linguistics B.A. City College of NeW York (1966), Mathematics ACADEMIC POSITIONS HELD 2019- Affiliate Professor, University of Washington 2018- Distinguished University Professor Emeritus, OSU 2016-2018 Distinguished University Professor, The Ohio State University 2008 Professeur invité, Université de Paris VII (Feb-Mar 2008) 2006-7 Visiting Scholar, Seminar für Sprachwissenschaft, Universität Tübingen 2005- Humanities Distinguished Professor in Linguistics, The Ohio State University 2003 Linguistics Institute, Michigan State University (Summer 2003) 2002 Visiting Scientist, University of Groningen (Autumn 2002) 2000 Distinguished Visiting Professor, University of Tübingen (June 2000) 1998-2006 Chair, Department of Linguistics, The Ohio State University 1997 Fulbright Distinguished Chair in Theoretical Linguistics, University of Venice (Spring 1997) 1991-92 Visiting Scientist, Center for Cognitive Science, MIT 1989-2003 Director, Center for Cognitive Science, The Ohio State University -
The Biological Foundations of Music
ANNALS OF THE NEW YORK ACADEMY OF SCIENCES Volume 930 THE BIOLOGICAL FOUNDATIONS OF MUSIC Edited by Robert J. Zatorre and Isabelle Peretz The New York Academy of Sciences New York, New York 2001 ANNALS OF THE NEW YORK ACADEMY OF SCIENCES Volume 930 June 2001 THE BIOLOGICAL FOUNDATIONS OF MUSIC Editors ROBERT J. ZATORRE AND ISABELLE PERETZ This volume is the result of a conference entitled The Biological Foundations of Music held by the New York Academy of Sciences on May 20-22, 2000 at The Rockefeller Uni- versity, New York, New York. CONTENTS Preface. By ROBERT J. ZATORRE AND ISABELLE PERETZ ix Part L The Origins of Music Musical Predispositions in Infancy. By SANDRA E. TREHUB 1 The Quest for Universals in Temporal Processing in Music. By CAROLYN DRAKE AND DAISY BERTRAND 17 Music, Cognition, Culture, and Evolution. By IAN CROSS 28 Is Music an Evolutionary Adaptation? By DAVID HURON 43 Part II. The Musical Mind Similarity, Invariance, and Musical Variation. By STEPHEN MCADAMS AND DANIEL MATZKIN 62 Tonal Cognition. By CAROL L. KRUMHANSL AND PETRI TOIVI AINEN 77 Part III. The Neurons of Music Neurobiological Foundations for the Theory of Harmony in Western Tonal Music. By MARK JUDE TRAMO, PETER A. CARIANI, BERTRAND DELGUTTE, AND LOUIS D. BRAIDA 92 Intracerebral Evoked Potentials in Pitch Perception Reveal a Functional Asymmetry of the Human Auditory Cortex. By CATHERINE LIEGEOIS- CHAUVEL, KIMBERLY GIRAUD, JEAN-MICHEL BADIER, PATRICK MARQUIS, AND PATRICK CHAUVEL 117 The Neural Processing of Complex Sounds. By TIMOTHY D. GRIFFITHS 133 Part IV. The Musical Brain Music and the Neurologist: A Historical Perspective. -
Prolongation, Expanding Variation, and Pitch Hierarchy: a Study of Fred Lerdahl’S Waves and Coffin Hollow
PROLONGATION, EXPANDING VARIATION, AND PITCH HIERARCHY: A STUDY OF FRED LERDAHL’S WAVES AND COFFIN HOLLOW J. Corey Knoll A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2006 Committee: Nora Engebretsen, Advisor Mikel Kuehn, Advisor William Lake Marilyn Shrude ii ABSTRACT Mikel Kuehn, Co-Advisor Nora Engebretsen, Co-Advisor This thesis consists of two independent yet interrelated portions. The theory portion explores connections between Fred Lerdahl’s theoretical and compositional output by examining his work Waves in relation to his theoretical writings, primarily A Generative Theory of Tonal Music and “Tonal Pitch Space.” The theories together form a generative theory of tonal music that strives to create a musical grammar. “Tonal Pitch Space” defines a hierarchy among pitches and chords within and across tonal regions. Lerdahl uses these ideas in Waves, which is in the key of D minor. All other pitch classes, and likewise all other chords and tonal regions, are elaborations of the tonic D. The initial D tonic statement, called a flag motive because it heralds each variation, is the fundamental construct in Waves. Just as all other pitches elaborate D, all other motives in Waves are elaborations of the flag motive. Thus rich hierarchies are established. Lerdahl also incorporates ideas from GTTM into his compositional process. GTTM focuses on four categories of event hierarchies: grouping and metrical structures and time-span and prolongational reductions. These four hierarchies and a set of stability conditions all interact with one another to form a comprehensive musical grammar. -
For Special Issue of Cognitive Science in Honor of Ray Jackendoff. 1 One
For special issue of Cognitive Science in honor of Ray Jackendoff. One among many: anaphoric one and its relationship to numeral one. Adele E. Goldberg & Laura A. Michaelis1 Abstract One anaphora (e.g., She has a better one) has been used as a key diagnostic in syntactic analyses of the English noun phrase, and ‘one-replacement’ has also figured prominently in debates about the learnability of language. However, much of this work has been based on faulty premises, as a few perceptive researchers, including Ray Jackendoff, have made clear. Abandoning the view of anaphoric one (A-ONE) as a form of syntactic replacement allows us to take a fresh look at various uses of the word one. In the present work, we investigate its use as a cardinal number (1-ONE) in order to better understand its anaphoric use. Like all cardinal numbers, 1-ONE can only quantify an individuated entity and provides an indefinite reading by default. Owing to unique combinatoric properties, cardinal numbers defy consistent classification as determiners, quantifiers, adjectives or nouns. Once the semantics and distribution of cardinal numbers including 1-ONE are appreciated, many properties of A-ONE follow with minimal stipulation. We claim that 1-ONE and A-ONE are distinct but very closely related lexemes. When 1- ONE appears without a noun (e.g., Take ONE), it is nearly indistinguishable from A- ONE (e.g., TAKE one)—the only differences being interpretive (1-ONE foregrounds its cardinality while A-ONE does not) and prosodic (presence versus absence of primary accent). While we ultimately argue that a family of constructions is required to describe the full range of syntactic contexts in which one appears, the proposed network accounts for properties of A-ONE by allowing it to share (inherit) most of its syntactic and interpretive constraints from its historical predecessor, 1- ONE. -
Edited by KAREN PAINTER JOHN HAILE and CLAUDIA
Edited by KAREN PAINTER ARTICLES JOHN HAILE AND 3 A Generative Textsetting Model FRED LERDAHL CLAUDIA MACDONALD 24 Critical Perception and the Woman Composer: The Early Reception of Piano Concertos by Clara Wieck Schumann and Amy Beach MARK DEBELLIS 56 Is There an Observation/Theory Distinction in Music? REVIEWS FLOYD GRAVE 88 Elaine R. Sisman, Haydn and the Classi- cal Variation. CHRISTOPHER HAILEY 94 Bryan Gilliam, ed. Richard Strauss and His World, and Richard Strauss: New Perspectives on the Composer and His Work. SANDER GILMAN 102 Alexander Ringer. Arnold Schoenberg: The Composer as Jew. NADINE SINE 105 James Zychowicz, ed. The Seventh Symphony of Gustav Mahler: A Symposium. REPORTS 113 from Madrid, Brussels, and Bangor 121 COMMUNICATION A Generative Textsetting Model ByJohn Halle and Fred Lerdahl One aspect of musical practice that has received comparatively little attention in recent years is the system of intuitions operating when a com- poser assigns notes to words. In contrast to the extremely varied composi- tional techniques of Western music, composers' impulses are narrowly constrained by both musical and linguistic intuitions in textsetting. That this is the case can be seen by attempting to match the lines of poetry with their associated rhythmic settings: (Ia) Tell me not in mournful numbers. -Longfellow, "A Psalm of Life," line 1 (1 b) Through all the compass of the notes. -Dryden, "A Song for St. Cecilia's Day," line 15 (Ic) I J! J! J! J! I J! J! J! J! I (Id) I 'I J! J! J! I J! J! J! J! I J! One need not have had much musical training to know to pair (Ia) with (Ic), and (Ib) with (Id). -
Another Look at the Universal Grammar Hypothesis: Commentary on Evans 2014 Adele E
200 LANGUAGE, VOLUME 92, NUMBER 1 (2016) quickly becomes evident that this is not a genuine tour de force, à la Pinker 1994. No, TLM is not the antidote to the long cognitivist nightmare that is The language instinct . In fact, by the end of the book, I fear it not only misses the point, but if adopted to any degree within the field, will also mislead young researchers and students of language into thinking that the debate is between E’s brand of linguistics on the one hand, and a bunch of raving, delusional, irrational bullies on the other. Ultimately, then, TLM will do little to advance the debate on linguistic nativism, although it might very well energize those already in E’s camp. REFERENCES Bickerton, Derek . 1981. The roots of language . Ann Arbor, MI: Karoma. Bickerton, Derek . 1984. The language bioprogram hypothesis. Behavioral and Brain Sciences 7.173–88. DOI: 10.1017/S0140525X00044149 . Crain, Stephen, and Mineharu Nakayama. 1987. Structure dependence in grammar formation. Language 63.522–43. DOI: 10.2307/415004 . Evans, Vyvyan. 2014 . The language myth: Why language is not an instinct . Cambridge: Cambridge Uni - versity Press. Pinker , Steven . 1994. The language instinct . New York: William Morrow & Company. Department of Linguistics University of Hawai‘i at Manoa [[email protected]] Another look at the universal grammar hypothesis: Commentary on Evans 2014 Adele E. Goldberg Princeton University * It is important to recognize that The language myth (TLM ) is not a research monograph, but is instead aimed at a popular audience, and therefore it should be judged in this light. -
Modal Pitch Space
Modal pitch space COSTAS TSOUGRAS Affiliation: Aristotle University of Thessaloniki, Faculty of Fine Arts, School of Music Abstract The Tonal Pitch Space Theory was introduced in 1988 by Fred Lerdahl as an expansion of the Generative Theory of Tonal Music with the purpose of providing explicit stability conditions and optimally clarified preference rules for the construction of GTTM's Time-Span Reduction and Prolongational Reduction analysis parts. The Diatonic Pitch Space model is based largely on experimental work in the Music Psychology field, mainly by Krumhansl and Deutch & Feroe and conforms successfully to models from the Music Theory field, mainly by Weber, Riemann, Schoenberg and Lewin. This paper explores the Pitch Space of the seven diatonic modes. The model developed comes up as an expansion and adaptation of Fred Lerdahl’s Tonal Pitch Space model, with the purpose of being able to describe more accurately the situations involved in the analysis of diatonic modal music. The original methodology and set of algebraic calculating formulas is kept, but it is applied on Modal instead of Tonal Space, considering the latter to be a subset of the former. After the calculation of the chordal and regional space algebraic representations, geometrical representations of the Modal Pitch Space model are attempted. 1. Introduction - Background This paper examines the Pitch Space of the seven diatonic modes. The model emerges as an expansion and adaptation of Fred Lerdahl’s Tonal Pitch Space, with the purpose of describing more accurately the situations involved in the analysis of diatonic modal music. The original methodology and set of algebraic calculating formulas is retained, but it is applied to Modal instead of Tonal Diatonic Space, considering the latter a subset of the former. -
1 Publications of Ray Jackendoff Books Semantic
Publications of Ray Jackendoff Books Semantic Interpretation in Generative Grammar, MIT Press, 1972 X-Bar Syntax: A Study of Phrase Structure, MIT Press, 1977 A Generative Theory of Tonal Music (with Fred Lerdahl), MIT Press, 1982 (Spanish translation, Ediciones Akal, 2003) Semantics and Cognition, MIT Press, 1983 (Italian translation, Il Mulino, 1989) Consciousness and the Computational Mind, Bradford/MIT Press, 1987 (Italian translation, Il Mulino, 1990; Spanish translation, Visor, 1998) Semantic Structures, MIT Press, 1990 (Korean translation, Hanshin Publishing Co., 2000) Languages of the Mind, Bradford/MIT Press, 1992 Patterns in the Mind: Language and Human Nature, Harvester Wheatsheaf, 1993 (Europe); Basic Books, 1994 (USA) (Natural Science Book Club selection, May 1994) Dutch translation, Het Spectrum, 1996; Italian translation, Il Mulino, 1998; Korean translation, Thaehaksa, 2000) The Architecture of the Language Faculty, MIT Press, 1997 Foundations of Language: Brain, Meaning, Grammar, Evolution, Oxford University Press, 2002 Edited volumes Language, Logic, and Concepts: Essays in Memory of John Macnamara (co-edited with Paul Bloom and Karen Wynn), Bradford/MIT Press, 1999 Verb-Particle Explorations (co-edited with Nicole Dehé, Andrew McIntyre, and Silke Urban), Mouton de Gruyter, 2002 Recording Romanian Music for Clarinet and Piano (with Valentina Sandu-Dediu, piano): works by Martian Negrea, Stefan Niculescu, Constantin Silvestri, and Dan Dediu. Bucharest: Editura Muzicala, 2002; Albany, NY: Albany Records, 2003 Articles 1968 a. An Interpretive Theory of Pronouns and Reflexives, Indiana University Linguistics Club b. Quantifiers in English, Foundations of Language 4.4, 422-442. 1969 a. Some Rules of Semantic Interpretation for English, MIT doctoral dissertation b. An Interpretive Theory of Negation, Foundations of Language 5.2, 218-241.