The hypothesis: The supra-segments cannot be cut off.
Sed contra: Yes, it can be cut off by using musical notation.
Existing literature on gauging intonational contours in Linguistics, mainly depends on the three parameters (High, Mid, Low) to be determined by the trained ears of the professional Phoneticians. Though there are software and machines for analyzing sound waves, those software do not provide us with a generalized picture of intonational contours with varied and specific reference points with calculated intervals. Parameters like “High, Mid, Low” (as they are used in linguistics) as reference points for intonational contours do not tell us anything as none exactly knows the proportionate distances or intervals among such naïve parameters. Therefore, I thought to take cue from music, where there is a rich system of archewriting or making notation of musical pieces.
This paper deals with the differAnce (a la Derrida) between so-called normal speech and music. The author, for the time being, is deferring the difference between speech and music. Though the melody of music is “heavy” and the melody of speaking is “light”, still both of them follows the same algorithm — the algorithm of do, re, mi, fa, so, la, ti and do 2, i.e., the ad hoc hypothesis is that, any normal speech falls within the octave that has a definite range. If the lower DO 1 is x, upper Sa DO 2 is 2x and this x to 2x octave range is considered as y, the intermediate noticeable frequency-points, as per Indian musical system, are 22. Therefore, our point of concentration is Y/22. In a scale y that has a range of x to 2x (i.e., any points on y, say yp, satisfies the relation x yp 2x). And the interval between two notes follows logarithmic pattern as the gap between two notes (say yp and yq ) is 2 multiplied by root 22 (please note the human love for binary-figure in the formulated representation). Thus, this hypothesis leads to an activity — i.e., making notation of “normal” speech to understand the intonation pattern of speaking vis a vismusicking.The ad hoc hypothesis is that any normal human speech falls within the octave that has a definite range. The speaking range must fall within the Sa (Do1) and upper Sa (Do2). If the lower Sa (DO) is x, upper Sa (DO2) must be 2x and this x to 2x octave range is considered as y, the intermediate notable frequency-points are 22. It is proposed here to follow the conventional pattern of musical notes as reference-points for gauging human intonational pattern. The other variables considered here are: metrics, speed, rhythm, moods/speech acts and context or pre-text.
From the perspective of cognitive psychology or Cartesian bio-lingustics, the formal algorithm of proportionate distances among different notes or the musicking algorithm, Npm = n.2m (12Ö2)p, is a matter of cognitive ability or a genetic endowment—a competence for performing speech act. However, depending on the outside-sociality, it is either erased or proliferated, either repressed or rejected (in a form of foreclosure) or formalized (as in school or army). Therefore, a person or a society may or may not be harmony-impaired –it depends on the structure of the society that en-/discourages musicking. The crippling of creativity hypothesis is proposed in connection with empty linguistic organism and human malleability. (cf. CHOMSKIAN LINGUISTIC CREATIVITY, CRIPPLED CREATIVITY AND PSI-PROPERTIES)
Computer Science: Text to Speech Software development; Simulation of intonated speech;
Speech Pathology: Rehabilitation of hearing impaired persons through tactile sensation—tangible intelligibility of speech.
- 2006. “TECHNOLOGY WITHOUT MACHINE: GAUGING NORMAL INTONATION BY DEPLOYING THE CONVENTIONAL MUSICAL ALGORITHMS: A PROPOSAL” © Reg. No. L-26150/2006 Download (.pdf)
- “কথায় সুরে, সুরে কথায় Musicking in Speaking or Speaking in Musicking”. Prasanta Chattopadhyay ed. Kalodhvani. XIII: 2. (pp. 52-57) Download (.pdf)
- “Kirtana: Speaking in Musicking”. Journal of Indian Music, Movement for understanding Sangeet- The Indian Concept. Kolkata. ( pp. 32-54)
- “Wor(l)d Spaces: The Definition of ‘Word’” Encyclopedia of Science of Language. Milan, Italy: Polimetrica Onlus. (p. 127)
See also: Musicology: http://www.scribd.com/collections/3469366/Musicology
Colophon: De Penning & De Penning, Raj Kumar Roychoudhuri
Digiart: Akhar Bandyopadhyay