Language Log

Jonathan Secora Pearl, "Eavesdropping with a Master: Leoš Janáček and the Music of Speech", Empirical Musicology Review 2006:

The composer Leoš Janáček (1854-1928) has been noted for his interest in speech melodies. Little discussion has focused however on the field methods that he used in gathering them, nor on the products themselves. Janáček spent more than three decades, transcribing thousands of what he termed nápěvky mluvy [tunelets of speech] in standard musical notation. The record that remains of these efforts is impressive both for its volume and its quality, as well as for its potential to reveal aspects of the perceptual overlap between music and language.

Here's an edited and typeset example of one of his "tunelets":

Because comments were turned off on "Root haughtiness", reader JCL added this comment to a different post:

I just wanted to propose that the unwritten restrictions on the use of -ass has NOTHING to do with the meaning of the adjective, and everything to do with meter. One-syllable words (/), trochees (/ -), and dactyls (/ – -) work, but everything else doesn't. For example: smart-ass, purple-ass, raggedy-ass.

Try it with words that aren't monosyllabic, trochees, or dactyls. Doesn't seem right, does it? Again, has nothing to do with the meaning of the words. What do you think of this hypothesis?

Kira Simon-Kennedy wrote to me from Beijing that she is chaperoning 30 French high school students on their first trip to China to learn Mandarin.

Yesterday afternoon, the French students were trying to decipher the following banner at a bus stop:  "没有共产党, 没有新中国."  Most of the students have already taken a couple years of lessons, so they could be classed as having reached intermediate level.  They got as far in their interpretation of the sign on the banner as "There is no collective __, there is no new China."  Not bad for intermediate level learners, but the banner remained a mystery to them, if only at the lexical level because they didn't know what 共产党 meant.  However, when Kira told the students that 共产党 meant Communist Party, they were all the more puzzled.  "Are they allowed to say that ('there is no Communist Party')?" one student asked.  "Isn't that really dangerous to deny the existence of the Party in public?"

The students thought that someone had the nerve to buy a public ad to tell the world:  "There is no Communist Party, there is no New China" — superficially that's what the sign on the banner seemed to be saying.  The close grammatical parallelism of the two clauses only made such an interpretation seem all the more certain.

In "Wow…?", 7/17/2011, I presented 10 isolated examples of "wow" or "oh wow" from published telephone conversations, and invited readers to judge the intensity and valence of each of the ten items (where "valence" is taken to mean the speaker's apparent negative or positive evaluation of the situation under discussion). There were 56 usable responses — I discarded another 5 or 6 because of  problems like 9 or 11 judgments instead of 10. I've done some simple analysis, described below.

The 56 sets of usable responses were well differentiated and fairly consistent: people evaluated these utterances in a lawful way. This kind of survey has promise as a source of input for efforts to learn the mapping between acoustic properties and human responses.

There's no obvious independent check on the "intensity" judgments, so the main question was how consistent they would be. In the case of the "valence" judgments, we can also look at the context to see how the speakers seems to be evaluating the state of affairs that they're responding to.

Robert Coren, in a comment on "X là là", 7/7/2011:

Surely the various shades of meaning of such exclamations are conveyed as much or more by tone of voice than by choice of vowel. I can certainly imagine saying "wow" to mean "That's really amazingly beautiful", and also saying "wow" to mean "Oh, that sounds really bad, I hope it gets better soon", and there being no doubt in my hearers' minds which one I meant.

Andy Coughlan, "First evidence that birds tweet using grammar", New Scientist 6/26/2011:

They may not have verbs, nouns or past participles, but birds challenge the notion that humans alone have evolved grammatical rules.

Bengal finches have their own versions of such rules – known as syntax – says Kentaro Abe of Kyoto University, Japan. "Songbirds have a spontaneous ability to process syntactic structures in their songs," he says.

To show a sense of syntax in the animals, Abe's team played jumbled "ungrammatical" remixes of finch songs to the birds and measured the response calls.

The basic article is Kentaro Abe & Dai Watanabe, "Songbirds possess the spontaneous ability to discriminate syntactic rules", Nature Neuroscience 6/26/2011. And like the coverage in New Scientist, it's both true and misleading.

After seven rounds of balloting, the new chairman of the Republican National Committee is Reince Priebus (Jeff Zeleny, "G.O.P. Elects a New Chairman as Steele Drops Out", NYT 1/14/2011). My reaction is a parochial one: as a linguist interested in prosody, I'm looking forward to Mr. Preibus's contributions to the study of English intonation.

A New York Times Room for Debate piece on "Killing Pythons, and Regulating Them" (3/5/2010) supplies another piece of anecdata for my on-going quest to document the North American varieties of uptalk. This one is from the sound track of a YouTube video about a python wrangler in central Florida.

I'm still noodling over Grant Barrett's  "On Language" column in the New York Times the week before last, which tracked the recurring claim that cellar door is the most beautiful phrase in English. It was a model of dogged word-sleuthing, which took us from George Jean Nathan to Dorothy Parker to Norman Mailer and Donnie Darko (winnowed down, Grant said on the ADS list, from more than 80 citations for the story he collected).  But the very breadth of the material raised questions that couldn't be addressed in that forum. What accounts for the enduring appeal of this claim in English linguistic folklore? And more specifically: is there a reason why everybody settles on cellar door in particular? I think there is, ultimately. Are you sitting comfortably?

Commenting on "Three-syllable Mom" (12/28/2009), Brooke observes that

You can hear a genuine three-syllable "Mom" in the opening title sequence of the kids' television show, "Phineas and Ferb." The character Candace says,

"Mmm-MO-om, Phineas and Ferb are making a title sequence!"

The pitch matches the stress, low-high-low. The first syllable is brief but clearly discernible. I suppose one could argue that it's not a true syllable, since it lacks a vowel, but the word is certainly three distinct beats.

In today's newspapers and magazines:

"Newborns cry in their native language".
"Babies cry with an accent within the first week of life".
"Babies cry wiith the same 'prosody' or melody used in their native language by the second day of life".
"Newborn babies mimic the intonation of their native tongue when they cry".
"French babies cry in French, German babies cry in German and, no doubt, the wail of an English infant betrays the distinct tones of a soon-to-be English speaker".

The science behind these statements is in a paper released yesterday: Birgit Mampe, Angela D. Friederici, Anne Christophe and Kathleen Wermke, "Newborns' Cry Melody Is Shaped by Their Native Language", Current Biology, in press. Does it support these journalistic generalizations? Before reading the paper, I give ten-to-one odds against, on the general principle that journalistic statements involving generic plurals are almost never true. Mesdames et messieurs, faites vos jeux. Let's spin the wheel.

A few days ago, Kurt Andersen interviewed the novelist Richard Powers on Studio360. You can listen to the whole nine-minute interview here.

In the middle of the interview, Powers breaks into a sequence of declarative phrases with final rising pitch — what's sometimes called "uptalk". Before and after this sequence, which sets the stage for an account of his decision to become a writer, he consistently uses falling patterns. It seems clear that he means the rising contours to have a rhetorical effect. But it's equally clear that the intended effect is not to signal insecurity or to call into question his commitment to the truth of what he's saying. So as part of my on-going campaign to document uptalk — especially non-stereotypical examples — here's a description.

A couple of years ago, I wrote about the off-beat placement of song syllables (and other other notes) in popular music of the past century. This can be seen as the displacement of events from an underlyingly regular meter, but often it can also be seen as a basic metrical pattern in which events don't fall at evenly-spaced time intervals  ("Rock syncopation: stress shifts or polyrhythms?", 11/26/2007).  The example that I looked at was a maximally simple one — the 3+3+2=4+4 "habanera" rhythm that rocked America in the late 19th century.

Today's post is about some rhythms that arrange events in a recurring cycle of 12 time-units. And although I'll start with another Afro-Cuban pattern, the Bembé, today's analysis will look at connections in renaissance Italy and ancient Rome, rather than in 20th-century America. (Attention conservation notice: unless you're interested in geeking out on a detailed analysis of metrical patterns, you'll probably want to skip onwards to some of our other fine posts…)