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Deduced from this thought an interaction between music-syntactic and language-syntactic processing would be very likely.There are different possibilities in neuroscience to approach to an answer to the question of an overlap between the neuronal processing of linguistic and musical syntax.
In music, prosody is the way the composer sets the text of a vocal composition in the assignment of syllables to notes in the melody to which the text is sung, or to set the music with regard to the ambiance of the lyrics. However, the relationship between syllables and melodic notes is just one dimension of musical prosody.
Music and language are alike in that they both utilize rhythm to organize and convey ideas. Time signatures in music contain patterns of strong and weak beats. In every time signature, the first beat, or the downbeat , is the strongest. 4/4, 3/4, and 6/8 time are the most common time signatures in popular styles.
For example, a car company may be interested in how to name their car to make it sound faster or stronger. Furthermore, sound symbolism can be used to create a meaningful relationship between a company's brand name and the brand mark itself. Sound symbolism can relate to the color, shade, shape, and size of the brand mark. [21]
This relation between language and music may explain why, it has been found that exposure to music has produced an acceleration in the development of behaviors related to the acquisition of language. The Suzuki music education which is very widely known, emphasizes learning music by ear over reading musical notation and preferably begins with ...
Cognitive musicology investigates topics such as the parallels between language and music in the brain. Research often includes biologically inspired models of computation, such as neural networks and evolutionary programs. [116] This field seeks to model how musical knowledge is represented, stored, perceived, performed, and generated.
The work of Leonard B. Meyer in Style and Music [13] theorizes the relationship between ideologies and musical structures and the phenomena of style change, and focuses on Romanticism as a case study. Fred Lerdahl and Ray Jackendoff [14] analyze how music is structured like a language with its own semiotics and syntax.
Strong correlations between the ERAN (Early Right Anterior Negativity—a specific ERP measure) amplitude and linguistic and musical abilities provide additional evidence for the relationship of syntactical processing in music and language. [53] However, production of melody and production of speech may be subserved by different neural networks.