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DTSTAMP:20260510T192600Z
DESCRIPTION:Rhythm in Speech and Music - Organized by the Music Perception
 \nand Cognition research axis of the Centre for Interdisciplinary\nResearc
 h in Music Media and Technology (CIRMMT) in collaboration\nwith the Centre
  for Research in Language\, Mind and Brain\n(CRLMB)\n \n\nSynopsis: Until 
 recently\, comparisons of\nsimilarities and differences between speech and
  music were for the\nmost part purely theoretical. Things have changed wit
 h the\ndevelopment of experimental paradigms for exploring the structure\n
 and nuances of speech and music production and perception. One of\nthe mos
 t fruitful areas of comparison has been in the realm of\nrhythm. This work
 hop will present research situated within both\nfields\, as well as compar
 ative work between them\, bringing together\ncognitive\, developmental and
  cross-cultural perspectives on the\nproduction and reception of rhythm in
  speech and music\, and\ndemonstrating their specificities and interaction
 s in human\nauditory cognition.\n \n\nDate: April 21\, 2011\, 10:00am-2:30
 pm\nPlace: A832\, New Music Building\, Schulich\nSchool of Music\, Â鶹´«Ã½ÍøÕ¾ 
 University\, 527 Sherbrooke Street West\n \nModerator: Stephen McAdams\, C
 IRMMT\, Schulich\nSchool of Music\, Â鶹´«Ã½ÍøÕ¾\n9:30 Coffee\n10:00 
 Introduction\n10:05 Ani Patel\, Music and the Brain Program\, The Neurosci
 ences\nInstitute\, La Jolla\, CA\nRhythm in speech and music\nRhythm is fu
 ndamental to speech and music\, yet empirical\ncomparsions between rhythmi
 c patterns in the two domains are rare.\nI suggest that progress in empiri
 cal comparative research depends\non a clear distinction between periodic 
 and nonperiodic rhythms in\nhuman auditory cognition. I argue that speech 
 and music have\nfundamental differences in terms of periodic rhythms\, and
  important\nconnections in terms of nonperiodic rhythms.\n \n10:20 Erin Ha
 nnon\,  Department of Psychology\, University of\nNevada\, Las Vegas\nThe 
 ontogeny of rhythm processing in music and\nspeech\nRhythmic similarities 
 exist in the music and speech of a given\nculture\, raising crucial questi
 ons about the extent to which\ncognitive representations of rhythm overlap
  in the two domains.\nDevelopmental research has the unique potential to i
 lluminate the\norigins of domain-specificity and domain-generality of rhyt
 hm\nprocessing. Given that exposure to auditory input profoundly shapes\nt
 he acquisition of culture-specific knowledge of both music and\nlanguage\,
  an important question is whether or not music-speech\nsimilarities predom
 inate in child-directed input\, and how such\nsimilarities might influence
  developing knowledge. The position\nwill be taken that by examining the o
 ntogeny of rhythmic\nrepresentations\, we may better understand the basis 
 and function of\nrhythm in both domains.\n \n10:35 Linda Polka\, CRLMB\, S
 chool of Communication Sciences and\nDisorders\, Â鶹´«Ã½ÍøÕ¾ and Suz
 anne Curtin\, Department of\nPsychology\, University of Calgary\nThe impri
 nt of native language rhythm on speech\nsegmentation\nIn this talk we will
  provide a survey of research on word\nsegmentation in infants highlightin
 g studies conducted with infants\nwho are acquiring either English or Fren
 ch or both languages.\nEnglish and French belong to different rhythmical f
 amilies with\nEnglish being stress-timed and French being syllable timed. 
 Our\nreview includes findings from native language\, cross-language\, and
 \ncross-dialect investigations using natural speech materials and\nalso da
 ta obtained with infants and adults using more\ncontrolled speech material
 s in which statistical cues and\nlanguage-appropriate stress cues are mani
 pulated\nindependently. The findings reveal that language\nexperience guid
 es segmentation along different developmental paths\nusing different strat
 egies\, favoring stress\npatterns (trochees) in English perceivers and syl
 lables\nin French perceivers.  We will argue that word\nsegmentation is a 
 language-specific skill that is strongly biased\nby the native language rh
 ythm at every stage of development. \nThus\, native language rhythm has an
  early and lasting imprint on\nspeech segmentation.\n \n10:50 Lawrence Zbi
 kowski\, Department of Music\, University of\nChicago\; Fulbright Visiting
  Research Scholar\, CIRMMT\, Â鶹´«Ã½ÍøÕ¾\nUniversity\nRhythm in human communica
 tion\nIt seems quite evident that rhythmic processes can serve as a\nresou
 rce for both speech and music. That said\, I would argue that\nthe differe
 nt functions of speech and music within human cultures\nlead to their draw
 ing on this resource in different ways. In my\npresentation I shall sketch
  some of these differences\, and suggest\nhow they can inform our research
  into the role of rhythm in human\ncommunication.\n \n11:05 Leigh van Hand
 el\, College of Music and Program in\nCognitive Science\, Michigan State U
 niversity\nRhythm and meter as a compositional\nfingerprint?\nPrior studie
 s of the relationship between musical rhythm and\nspeech rhythm focused on
  cross-language results. As a music\ntheorist\, I believe that there is mu
 ch more musically meaningful\ninformation available in such studies\, and 
 I would urge researchers\nto consider the musical ramifications of recent 
 developments in\nspeech/music rhythm studies.\n \n11:20 Godfried Toussaint
 \, CIRMMT\, School of Computer Science\,\nÂ鶹´«Ã½ÍøÕ¾ and Department
  of Music\, Harvard University\nDo there exist any nontrivial features of 
 durational\nrhythms that correlate with perceptual similarity?\nTwo genera
 l approaches to the measurement of similarity between\npurely durational r
 hythms represented as symbolic sequences are:\nthe feature-based approach 
 and the transformation method. In the\nfeature-based approach the symbolic
  sequence is represented by a\ncollection of its features\, and similarity
  between two rhythms is\nmeasured by a function of the feature values. The
  transformation\nmethod measures similarity between two rhythms by the\nef
 fortlessness with which one sequence is transformed to the other.\nThis ef
 fortlessness is typically measured by a function of the\nminimum number of
  some elementary mutations required to carry out\nthe transformation. The 
 proposition is put forward that good\nnon-trivial features of duration pat
 terns are hard to find\, and as\na consequence\, the transformation method
  is superior to the\nfeature-based approach for predicting human judgments
  of durational\nrhythm similarity.\n \n11:35 Anna Tirovolas\, CIRMMT\, Dep
 artment of Psychology\, Â鶹´«Ã½ÍøÕ¾\nUniversity\nPerception of emotional expres
 sion in musical\nperformance\nIn music\, timing and amplitude are the prin
 cipal variables a\nperformer will explicitly vary in order to convey an ex
 pressive\nperformance. A series of experiments conducted in our laboratory
 \nsuggest that listeners are sensitive to subtle variations in timing\nand
  amplitude conveyed in piano performances. We found that\nvariation in tim
 ing serves to convey expressivity to a greater\nextent than variation in a
 mplitude. Expressivity in musical\nperformance can be viewed as a parallel
  to prosody in speech.\nTiming varies from one musical performance to anot
 her\, as does\ntiming of successive linguistic utterances. Furthermore\, i
 t has\nbeen observed that a language’s inherent rhythm\, or prosody\, is\n
 associated to that particular culture’s music. The position we take\nhere 
 is that timing (or rhythm) can be considered a common prosodic\nfeature of
  language and music.\n11:50-1:00 - Buffet lunch\n1:00-2:30 - Structured di
 scussion of the emerging issues\n
DTSTART:20110421T140000Z
DTEND:20110421T183000Z
LOCATION:CA\, 527 Sherbrooke Street West\, 527 Sherbrooke Street West\, A 8
 32\, New Music Building\, Schulich School of Music\, Montreal
SUMMARY:Rhythm in speech and music
URL:/channels/event/rhythm-speech-and-music-173479
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