| Topic: |
Science > Physics |
| User: |
"Ha SATAN [Sin Tet Nun]" |
| Date: |
02 Nov 2006 05:16:05 AM |
| Object: |
Punctuation, Pitch, Music, Mnemotechnics |
"It was only under the influence of Charlemagne in the ninth century
that punctuation
systems developed in Western Europe. By this time the churches were
beginning to
use Neumes as an early musical notation for chanting and some of these,
along with
Aristophanes. Komma and Periodos, were gradually added to the
punctuation
schema, notably the punctus elevatus (!) and the punctus interrogativus
(?). These
had a dual function: they indicated both a change of pitch and a
grammatical nuance.
Although this system was fully developed by the twelfth century it was
largely
confined to chanting ....
"2. Punctuation in Hebrew
Masoretic Hebrew punctuation is similar to that based on the neumes in
that it is very
closely related to the musical pitch used in incantation. It is
different in two major
respects: on the one hand, it is far more comprehensive, and on the
other, it became
a norm for all Jews who read their scriptures as soon as it was
introduced."
http://www.bfbs.org.uk/documents/Masoretes.pdf
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| User: "hippo" |
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| Title: Re: Punctuation, Pitch, Music, Mnemotechnics |
02 Nov 2006 11:28:26 AM |
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"Ha SATAN [Sin Tet Nun]" wrote in message
"It was only under the influence of Charlemagne in the ninth century
that punctuation
systems developed in Western Europe. By this time the churches were
beginning to
use Neumes as an early musical notation for chanting and some of these,
along with
Aristophanes. Komma and Periodos, were gradually added to the
punctuation
schema, notably the punctus elevatus (!) and the punctus interrogativus
(?). These
had a dual function: they indicated both a change of pitch and a
grammatical nuance.
Although this system was fully developed by the twelfth century it was
largely
confined to chanting ....
"2. Punctuation in Hebrew
Masoretic Hebrew punctuation is similar to that based on the neumes in
that it is very
closely related to the musical pitch used in incantation. It is
different in two major
respects: on the one hand, it is far more comprehensive, and on the
other, it became
a norm for all Jews who read their scriptures as soon as it was
introduced."
http://www.bfbs.org.uk/documents/Masoretes.pdf
It was the opinion of Dr. Morris, my Classical Greek prof. and at the time
Secretary of, I think, the American Philological Society, that ancient Greek
used syllabic pitch rather than stress. He reached this opinion mostly from
reading Pindar, if memory serves. From the student perspective it made
reading aloud in class a far more onerous, and sometimes amusing,
undertaking than usual in the study of language, especially for the tone
deaf. -the Troll
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| User: "Ha SATAN [Sin Tet Nun]" |
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| Title: Re: Punctuation, Pitch, Music, Mnemotechnics |
03 Nov 2006 01:49:41 AM |
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hippo wrote:
"Ha SATAN [Sin Tet Nun]" wrote in message
"It was only under the influence of Charlemagne in the ninth century
that punctuation
systems developed in Western Europe. By this time the churches were
beginning to
use Neumes as an early musical notation for chanting and some of these,
along with
Aristophanes. Komma and Periodos, were gradually added to the
punctuation
schema, notably the punctus elevatus (!) and the punctus interrogativus
(?). These
had a dual function: they indicated both a change of pitch and a
grammatical nuance.
Although this system was fully developed by the twelfth century it was
largely
confined to chanting ....
"2. Punctuation in Hebrew
Masoretic Hebrew punctuation is similar to that based on the neumes in
that it is very
closely related to the musical pitch used in incantation. It is
different in two major
respects: on the one hand, it is far more comprehensive, and on the
other, it became
a norm for all Jews who read their scriptures as soon as it was
introduced."
http://www.bfbs.org.uk/documents/Masoretes.pdf
It was the opinion of Dr. Morris, my Classical Greek prof. and at the time
Secretary of, I think, the American Philological Society, that ancient Greek
used syllabic pitch rather than stress. He reached this opinion mostly from
reading Pindar, if memory serves. From the student perspective it made
reading aloud in class a far more onerous, and sometimes amusing,
undertaking than usual in the study of language, especially for the tone
deaf. -the Troll
including 'silent' syllables.
in any case which is easier, to sing a song without "thinking" about
the words,
or to remember the PRECISE contents of perhaps a one minute length
conversation one has had only this morning ?
surely one has already interpreted the conversation and selected only
the salient wrods, in one's opinion ?
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| User: "hippo" |
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| Title: Re: Punctuation, Pitch, Music, Mnemotechnics |
03 Nov 2006 09:27:32 AM |
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"Ha SATAN [Sin Tet Nun]" wrote in message
hippo wrote:
[.]
It was the opinion of Dr. Morris, my Classical Greek prof. and at the
time
Secretary of, I think, the American Philological Society, that ancient
Greek
used syllabic pitch rather than stress. He reached this opinion mostly
from
reading Pindar, if memory serves. From the student perspective it made
reading aloud in class a far more onerous, and sometimes amusing,
undertaking than usual in the study of language, especially for the tone
deaf. -the Troll
including 'silent' syllables.
in any case which is easier, to sing a song without "thinking" about
the words,
or to remember the PRECISE contents of perhaps a one minute length
conversation one has had only this morning ?
surely one has already interpreted the conversation and selected only
the salient wrods, in one's opinion ?
There isn't much doubt that tonality is an aid to memory as it is a second
dimension to poetry, which then becomes song. In Anglo-Saxon poetry, stress
was more important than rhyme (although it had both). When I was a kid in
prep school, it was the custom to commit large poems to memory. It was far
easier once one had the meter down than trying to remember the words and
meaning alone. -the Troll
.
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| User: "Ha SATAN [Sin Tet Nun]" |
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| Title: Re: Punctuation, Pitch, Music, Mnemotechnics |
04 Nov 2006 02:38:32 AM |
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hippo wrote:
"Ha SATAN [Sin Tet Nun]" wrote in message
hippo wrote:
[.]
It was the opinion of Dr. Morris, my Classical Greek prof. and at the
time
Secretary of, I think, the American Philological Society, that ancient
Greek
used syllabic pitch rather than stress. He reached this opinion mostly
from
reading Pindar, if memory serves. From the student perspective it made
reading aloud in class a far more onerous, and sometimes amusing,
undertaking than usual in the study of language, especially for the tone
deaf. -the Troll
including 'silent' syllables.
in any case which is easier, to sing a song without "thinking" about
the words,
or to remember the PRECISE contents of perhaps a one minute length
conversation one has had only this morning ?
surely one has already interpreted the conversation and selected only
the salient wrods, in one's opinion ?
There isn't much doubt that tonality is an aid to memory as it is a second
dimension to poetry, which then becomes song. In Anglo-Saxon poetry, stress
was more important than rhyme (although it had both). When I was a kid in
prep school, it was the custom to commit large poems to memory. It was far
easier once one had the meter down than trying to remember the words and
meaning alone. -the Troll
You are exactly correct.
thus punctuated prose becomes "sheet music"
and the harmonics of all sounds including spoken language "music"
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| User: "Ha SATAN [Sin Tet Nun]" |
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| Title: Re: Punctuation, Pitch, Music, Mnemotechnics |
25 Nov 2006 05:09:45 AM |
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hippo wrote:
"Ha SATAN [Sin Tet Nun]" wrote in message
including 'silent' syllables.
in any case which is easier, to sing a song without "thinking" about
the words,
or to remember the PRECISE contents of perhaps a one minute length
conversation one has had only this morning ?
There isn't much doubt that tonality is an aid to memory as it is a second
dimension to poetry, which then becomes song. In Anglo-Saxon poetry, stress
was more important than rhyme (although it had both). When I was a kid in
prep school, it was the custom to commit large poems to memory. It was far
easier once one had the meter down than trying to remember the words and
meaning alone. -the Troll
"In The Greek View of Life, G. Lowes Dickinson defines mousikas, from
which our word "music"derives, as an "intimate union of melody, verse,
and dance (1909, p. 217)." The Greek concept of mousikas was much more
inclusive than ours. Music implied language, Plato himself considering
a tune without words a "sign of a want of true artistic taste."
Language uniquely enabled the Greek listener "to distinguish the exact
character of the mood which the rhythm and tune is supposed to
represent (Dickinson, 1909, p. 217)." Language in a musical context is
justified, but Plato does not mention use of music in a language
context. For insight into this, one must look to the Greek myths. The
word mousikas means "from the muses," and understanding the origins of
the muses shows how they understood music's role in the development of
linguistic genres.
Thomas Bullfinch's Mythology describes the Muses' birth to Mnemosyne,
one of the Titans, original rulers of the mythic universe (Bullfinch,
1913, p. 22). Mnemosyne's main concern was the human memory, a primal
dominion as important to the ancient Greeks as the sea and sky. Her
daughters, the nine Muses, presided over song and prompted the memory.
Fully seven of these divine beings used their "music" to inspire
language, including the spoken genres of epic poetry, lyric poetry,
sacred poetry, love poetry, comedy, tragedy, and history (Bullfinch,
1913, p. 22). Another Muse, Terpsichore did something different;
through her "music," mortals became inspired to choral song and dance
(Bullfinch, 1913, p. 22). Each originating from these sisters of
inspiration, the arts of poetry, theater, song, and dance comprised
almost everything worth remembering in Greek civilization. With music
and language, the drama and dance of life can occur. The developmental
sections that follow echo this powerful metaphor.
W. Jane Bancroft references Apollo and Dionysus, both of whom used
music. These two, one the wise physician to the gods, and other a
sensual corruptor of mortals, represent the modern therapeutic uses of
music either "to assuage and soothe" or "to arouse and energize
(Bancroft, 1985, p. 4)."
"... Joanne Loewy proposes that language should be considered not in a
cognitive context, but in a musical one, which she calls the Musical
Stages of Speech (Loewy, 1995, p. 48). It evolved from the work of
Charles Van Riper, a founder of modern speech therapy. Infants begin
with 1) crying and comfort utterances, proceed to 2) babbling, and
eventually begin 3) acquiring/ comprehending words. All of these sounds
developmentally prepare for the telegraphic speech that follows (Van
Riper, 1984, p. 87). Loewy's model specifies the mental, physical, and
emotional developments at each level and offers specific techniques to
encourage vocalizing (Loewy, 1995, p.49). Instead of thinking about
language development from the first words, caretakers can follow a
child's orientation to communication from the first utterances.
Physicians can tell if an infant will have problems with speech by
testing their production of cooing sounds, which are a precursor to and
predictor of speech (Loewy, 1995, p. 52). Prelinguistically, music
serves as the carrier for communicative intent."
"...Although the previous section has shown a close connection between
music and language, discrete intelligences govern these two systems,
which oversee different types of information. Though intelligence as a
single construct began to be discounted in testing situations prior to
1983, in that year, Howard Gardner proposed that IQ be replaced by MI,
or Multiple Intelligences. The candidates for intelligence status had
to meet the following eight criteria: 1) Potential isolation by brain
damage; 2) The existence of idiot savants, prodigies and other
exceptional individuals; 3) An identifiable core operation or set of
operations; 4) A distinctive development history, along with a
definable set of 'end-state' performances; 5) An evolutionary history
and evolutionary plausibility; 6) Support from experimental
psychological tasks; 7) Support from psychometric findings; and 8)
Susceptibility to encoding in a symbol system (Howard Gardner 1993,
62-69). Gardner has to date discovered eight distinct domains of
intelligence, including verbal-linguistic, mathematical-logical,
visual-spatial, bodily-kinesthetic, musical-rhythmic, interpersonal,
intrapersonal, and naturalistic (Gardner, 1999, p. 41-43). The
linguistic and musical intelligences are separate, as will be shown in
detail following, but the two work together and the outcome is stronger
because of the cooperation. Task sharing occurs all of the time; in
fact, language intonation relies heavily upon perception of
musicality."
"...When songs and words match in stress and accent, the learner can
experience gains in comprehension of word stress, attention span,
anticipation of new text, and memory (Palmer & Kelly, 1992, p. 539)."
"...Event-related brain potentials have been recorded while musicians
listened to excerpts from an opera sung without accompaniment. Excerpts
were ended by semantically congruous or incongruous words sung either
in or out of key. The evoked responses associated with the semantically
incongruous sung word showed a negative waveform component that peaked
400 ms (N400) after word onset. In contrast, the brain potentials
evoked by a congruous word that is sung out of key showed a late
positive deflection (P600). When the sung word is both semantically and
melodically unexpected, the obtained waveform shows an additive effect
of the N400 and the P600. This electrophysiological pattern suggests
that the monitoring of speech and music in songs is performed by
independent neural processors. (Peretz, 2002, p. 174)"
(lost URL)
[ The Use of Music for Learning Languages: A Review of the
LiteratureJon Weatherford StansellUniversity of Illinois at
Urbana-Champaign
Updated September 14, 2005 ]
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| User: "Ha SATAN [Sin Tet Nun]" |
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| Title: Re: Myth as Artistic Expression of Raw Reality |
25 Nov 2006 11:05:23 AM |
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Ha SATAN [Sin Tet Nun] wrote:
Thomas Bullfinch's Mythology describes the Muses' birth to Mnemosyne,
one of the Titans, original rulers of the mythic universe (Bullfinch,
1913, p. 22). Mnemosyne's main concern was the human memory, a primal
dominion as important to the ancient Greeks as the sea and sky. Her
Thus it is inaccurate to call such myths mere "superstitions" as they
correspond precisely to the structure of the raw reality we observe
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