Musical investigation of the Faahae Tabu using concepts of music (rhythm, duration, tonality, texture, melody, harmony, dynamics, instrumentation and expressive)

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The relationship of music to language has been a topic of renewed debate in recent years. Many orientations and methodologies have been applied to musico-linguistic studies, from Chomsky's generative grammar to semiotics. Many writers have felt that such linguistic approaches have been at best limited in their applicability to music, although some recent studies of syntax have generated interest.


In order to understand the position adopted herein, the reader may find it helpful to review some previous avenues of exploration in the comparison of music and language.
While Chomsky has recently rethought his theories of deep structure in language, applications of this theory to music have held a fascinating lure for musicians and theorists, from Bernstein's Schenkerian speculations to Lerdahl and Jackendoff's Generative Theory of Tonal Music (hereinafter GTTM). One of GTTM's main contributions is a systematized version of the hierarchical structure of meter, incorporating the linguistic studies of Liberman & Prince. (Liberman 249-336) Referencing transformational grammars, GTTM places a good deal of emphasis on the deep structure in composition, particularly in regard to metrical hierarchies and tonality. Lerdahl & Jackendoff are less interested in the 'surface' structure of a piece, which is generally defined to include melody, rhythmic patterns (as opposed to meter), dynamics, timbre, register, etc.
In an effort to empirically demonstrate the theories contained in GTTM, many cognitive scholars gave designed experiments to measure performance variables. ...
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