Reybrouck Mark, Podlipniak Piotr
Musicology Research Group, KU Leuven⁻University of Leuven, 3000 Leuven, Belgium and IPEM⁻Department of Musicology, Ghent University, 9000 Ghent, Belgium.
Institute of Musicology, Adam Mickiewicz University in Poznań, ul. Umultowska 89D, 61-614 Poznań, Poland.
Brain Sci. 2019 Mar 1;9(3):53. doi: 10.3390/brainsci9030053.
This paper explores the importance of preconceptual meaning in speech and music, stressing the role of affective vocalizations as a common ancestral instrument in communicative interactions. Speech and music are sensory rich stimuli, both at the level of production and perception, which involve different body channels, mainly the face and the voice. However, this bimodal approach has been challenged as being too restrictive. A broader conception argues for an action-oriented embodied approach that stresses the reciprocity between multisensory processing and articulatory-motor routines. There is, however, a distinction between language and music, with the latter being largely unable to function referentially. Contrary to the centrifugal tendency of language to direct the attention of the receiver away from the text or speech proper, music is centripetal in directing the listener's attention to the auditory material itself. Sound, therefore, can be considered as the meeting point between speech and music and the question can be raised as to the shared components between the interpretation of sound in the domain of speech and music. In order to answer these questions, this paper elaborates on the following topics: (i) The relationship between speech and music with a special focus on early vocalizations in humans and non-human primates; (ii) the transition from sound to meaning in speech and music; (iii) the role of emotion and affect in early sound processing; (iv) vocalizations and nonverbal affect burst in communicative sound comprehension; and (v) the acoustic features of affective sound with a special emphasis on temporal and spectrographic cues as parts of speech prosody and musical expressiveness.
本文探讨了概念前意义在言语和音乐中的重要性，强调了情感发声作为一种共同的祖传工具在交流互动中的作用。言语和音乐在产生和感知层面都是富含感官刺激的，这涉及不同的身体通道，主要是面部和声音。然而，这种双峰方法受到了挑战，被认为过于局限。一种更宽泛的概念主张采用以行动为导向的具身方法，强调多感官处理与发音 - 运动程序之间的相互作用。然而，语言和音乐之间存在区别，后者在很大程度上无法发挥指称功能。与语言将接收者的注意力从文本或言语本身引开的离心倾向相反，音乐具有向心作用，将听众的注意力引向听觉材料本身。因此，声音可被视为言语和音乐的交汇点，于是可以提出关于言语和音乐领域中声音解释之间共享成分的问题。为了回答这些问题，本文详细阐述了以下主题：（i）言语和音乐之间的关系，特别关注人类和非人类灵长类动物的早期发声；（ii）言语和音乐中从声音到意义的转变；（iii）情感在早期声音处理中的作用；（iv）交流性声音理解中的发声和非言语情感爆发；以及（v）情感声音的声学特征，特别强调作为言语韵律和音乐表现力一部分的时间和频谱线索。
