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Abstract

The investigation of the development of first and second language skills from a linguistic and developmental psychologic perspective is at the core of this chapter. First, a brief historical outline of the main developments in 20th-century linguistics is provided, introducing current theories on language acquisition. Particular interest is put into the history of linguistics in Italy.

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Notes

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    Original: Metodo speciale di psicoterapia, che cerca di esercitare un influsso terapeutico sui pazienti servendosi di vari elementi e tipi di musica, di diverse forme di ricezione musicale e di attività musicale.

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    Original: Utilizzo della musica nella terapia di patologie nervose e mentali; la m. può essere passiva (il paziente ascolta) o attiva (il paziente produce suoni), ma le due tecniche possono in vari modi integrarsi. Le numerose osservazioni cliniche degli ultimi decenni hanno confermato che la musica influenza positivamente le funzioni neuropsichiche, ed è famoso il cosiddetto ‘effetto Mozart’, che consiste nel conferimento di abilità non musicali e nel miglioramento delle abilità spaziali, linguistiche, matematiche dopo l’ascolto della musica di Mozart. […].

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    Original: Uso dell’espressione musicale e/o dei singoli elementi musicali—suono, ritmo, melodia e armonia—a scopo terapeutico, volto al ristabilimento, mantenimento e miglioramento della salute mentale e fisica dell’individuo. Si distinguono due procedimenti fondamentali, che spesso risultano in stretto rapporto fra loro: uno attivo, consistente nel fare concretamente musica, nell’accezione più ampia, utilizzando strumenti musicali, oggetti, parti del corpo; uno recettivo, consistente nell’ascolto di messaggi sonori, ritmici e musicali. La m. attiva è un procedimento clinico che, sviluppando una relazione non verbale tra terapeuta e paziente attraverso la comunicazione corporeo-sonoro-musicale, cerca di soddisfare le necessità fisiche e psichiche del paziente stesso. In questi casi, il musicoterapeuta è anche un musicista che opera nell’ambito di un’équipe costituita, generalmente, da uno psichiatra, uno psicologo clinico e un assistente sociale. Insegnanti di musica, preparati anche dal punto di vista medico e psicologico, possono avviare i pazienti all’uso di diversi strumenti musicali, a volte costruiti appositamente a seconda della patologia. La m. d’ascolto, o recettiva, prevede invece l’ascolto di brani musicali che possono suscitare sentimenti ed emozioni, utilizzati poi dall’équipe di terapeuti per sondare il mondo inconscio dei pazienti, in modo da ridare loro una maggiore consapevolezza di sé e del mondo che li circonda. La m. d’ascolto, infatti, stimola l’immaginazione e la socializzazione e può aiutare a scaricare ansia e aggressività. La m. viene sempre più spesso proposta come sostegno nei casi di malattie mentali e fisiche anche gravi e complesse, come i disturbi psichiatrici (psicosi, schizofrenia, autismo), o nei problemi di handicap e nelle sindromi di Down, ma anche negli stati di coma e nei malati oncologici.

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    Original: È un termine piuttosto lato in cui attualmente si fa rientrare una vasta area di esperienze di applicazione della musica, secondo diversi indirizzi e in vari settori, anche se non strettamente terapeutici: clinico-psichiatrico, psicoanalitico, pedagogico-sociale. Nel primo campo di applicazione la musica, anche in ambito ambulatoriale e ospedaliero, può essere sia strumento principale che coadiuvante di cura per nevrosi e psicosi e handicap non solo motori, particolarmente nelle terapie occupazionali, e anche di tecniche anestetiche. In campo pedagogico l’applicazione ha carattere soprattutto preventivo, con uso frequente nel settore dell’animazione, particolarmente ma non esclusivamente in ambito scolastico. […] Oggi il panorama degli indirizzi interpretativi si presenta abbastanza complesso e non molto unitario. Si va da concezioni radiate nella tradizione più remota, come quella dello svedese Pontvik […] a tutta una serie di orientamenti che mettono in luce talvolta la rilevanza dell’elemento artistico […].

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    Original: In der heutigen Musiktherapie wird der Therapiebegriff je nach Praxisfeld, Menschenbild und Methode unterschiedlich definiert. […] Diese Zielsetzungen zeigen die Möglichkeiten auf der methodischen Ebene: angesprochen wird hier zum einen das Spektrum von Musikpsychotherapie bis hin zum Entspannungstraining mit Musik sowie der kreative Umgang mit Musik. Zum zweiten wird deutlich, daß Musiktherapie in den verschiedenen Bereichen der Gesundheitsvorsorge (Prävention), -fürsorge (gezielte therapeutische Maßnahme) und -nachsorge (Rehabilitation) bedeutsam sein kann.Der Umgang mit den Zielsetzungen verläuft sehr unterschiedlich. So sind aus übungszentriert ausgerichteten Verfahren Zielkataloge bekannt, die eine starke Affinität zu pädagogischen Lernprozessen aufweisen.

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    Original: In linea con la definizione della World Federation of Music Therapy, la musicoterapia è l’uso professionale della musica e dei suoi elementi da parte di un musicoterapeuta qualificato con individui, gruppi, famiglie o comunità che cercano di migliorare la loro qualità di vita e la loro condizione fisica, sociale, comunicativa, emotiva, intellettiva e spirituale. La ricerca, la pratica, l’educazione e la formazione in musicoterapia si basano su standard professionali in base a contesti culturali, sociali e politici. (WFMT, 2011) […] Il Musicoterapeuta definito dalla Norma UNI 11,592:2015 è un professionista formato che utilizza pratiche specifiche, attente ai processi creativi sia individuali sia collettivi; opera cooperando e dialogando in contesti ed équipe multidisciplinari. La Musicoterapia è pertanto impiegata nei contesti educative, preventive, riabilitative e clinici come risorsa complementare aggiuntiva, su indicazione e sotto la responsabilità di personale sanitario.

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    Original: Essendo la musica l’origine delle Arti e dei Linguaggi, la musicoterapia può significare “ricerca” del modo di comunicare proprio di ogni persona, prima ancora che la parola nasca. Gli uomini, nella storia e nella preistoria, per questioni di sopravvivenza, hanno trasformato i ritmi/suoni/rumori del lavoro, in attività musicali. La musicoterapia da valore al canto, alla danza, all’espressione delle emozioni, anche di quelle più terribili, nel tentativo di sopravvivere. Il gridare, sfogare, cantare, picchiare, saltare, fanno parte del “fare musica”, e sono l’espressione nello spazio e nel tempo delle emozioni; l’espressione condivisa è comunicazione. La musica è cullamento, delicatezza, accoglienza, ascolto. I motivi potrebbero essere molteplici.

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    Original: La musica come fenomeno culturale può essere espressione dell’ambiente, influire sull’educazione dell’individuo, sulla sua vita di relazione, sulla sua personalità. Come fenomeno naturale di tipo acustico, che coinvolge la mente, le emozioni, il corpo, la musica può inoltre consistere di stimoli sonori che influenzano o comunque condizionano la vita fisiologica.

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    French-British cellist, viola da gamba player, and pioneering music therapist.

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    Tony Wigram (1953–2011) was among others Professor and Head of PhD Studies in Music Therapy at the University of Aalborg, Denmark, Honorary Research Fellow in the Faculty of Music at the University of Melbourne, Australia.

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    Idem.

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    De Angelis, B. (1991). Linguaggi non verbali e musicoterapia. In: De Anna, L. (ed) (1991). La scuola e i disabili, Roma: L’Ed, p. 183.

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    De Angelis, B. (1992). La musicoterapia in ambito scolastico. In: De Anna, L. (ed) (1992). Il Diritto Allo Studio, Roma: L’ed, p. 18.

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    De Angelis, B. (2004). La musicoterapia e lo sviluppo della persona. In: Favorini, A. (ed), Musicoterapia e danzaterapia: Disabilità ed esperienze di integrazione scolastica, Milano: Franco Angeli, p. 43.

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    De Angelis, B. (2010). L’educazione musicale nell’età postunitaria. In: Covato, C., Venzo, M. (eds) (2010). Scuola e itinerari formativi dallo Stato pontificio a Roma capitale. L’istruzione secondaria, Milano: Edizioni Unicopli, p. 309.

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    De Angelis, B., & Botes, P. (2016). Incontriamoci musicando. In: Dovigo, F. (eds) (2016). Nessuno Escluso: Trasformare l’educazione e l’apprendimento per realizzare l’educazione inclusiva, Proceedings, Bergamo: University Bergamo Press, p. 265.

  302. 302.

    De Angelis, B. (2017). Sostenere la motivazione degli alunni autistici. Un progetto di didattica inclusiva con la musicoterapia. Italian Journal of Special Education for Inclusion, 2, 151–162.

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    Chiappetta Cajola, L., et al. (2008). Musicoterapia per l’integrazione strategie didattiche e strumenti valutativi, Milano: Franco Angeli.

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    Chiappetta Cajola, L., & Rizzo, A. (2016). Didattica inclusiva e musicoterapia. Proposte operative in ottica ICF-CY e EBE, Milano: Franco Angeli.

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    Professor at Roma Tre University, Italy.

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    Chiappetta Cajola, L. (2016). Musica e musicoterapia per la didattica inclusiva. In: Idem, p. 46.

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    Rizzo, A. (2016). L’apporto della musicoterapia all’organizzazione didattica. In: Idem, pp. 114–115.

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    Argentinian psychotherapist, musician and pioneer in music therapy.

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    In the school context, the term “patient” is rather controversial, as music therapy is not used clinically. Thus, Cajola and Rizzo, for example, use the term “student” instead. Since Benenzon’s work focuses on clinical work, the term “patient” will be used in this section when referring to him.

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    Rizzo, A. (2016). L’apporto della musicoterapia all’organizzazione didattica. In: Idem, pp. 114–117;

    Benenzon, R. (2004). La parte dimenticata della personalità: Nuove tecniche per la musicoterapia, Roma: Phoenix.

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    Chiappetta Cajola, L., Pecoraro, P., & Rizzo, A. (2008). Musicoterapia per l’integrazione: Strategie didattiche e strumenti valutativi, Milano: Franco Angeli, pp. 94–95.

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    Chiappetta Cajola, L., et al. (2008). Musicoterapia per l’integrazione strategie didattiche e strumenti valutativi, Milano: Franco Angeli, p. 45.

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    Professor at University Telematica Pegaso, Italy.

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    Corona, F., et al. (2012) Music therapy a special mediator for the school integration. Journal of Education, 2(1), 36–40.

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    Professor in Teaching Methods and Special Education at the University of Padova, Italy.

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    Santi, M. (2016). Education as Jazz: A Framework to escape the Monologue of Teaching and Learning. In: Santi, M., & Zorzi, E. (2016). Education as Jazz: Interdisciplinary Sketches on a New Metaphor. Newcastle upon Tyne: Cambridge Scholars Publishing, p. 5.

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    Idem.

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    Idem, p. 10.

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    Lecturer at Università degli Studi di Padova, Italy.

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    Researcher at University of Edinburgh, UK.

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    Zorzi E., Camedda, D., & Santi, M. (2019). Tra improvvisazione e inclusione: il profilo polifonico delle professioni educative. Italian Journal of Special Education for Inclusion, 7(1), 91–100.

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    Scarlata, E. (2015). Italy: Country report on professional recognition of music therapy. Approaches: Music Therapy & Special Music Education, 7(1), 161–162.

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    FAQ: AIM (2018, November). Retrieved July 20, 2019, from www.aiemme.it.

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    MuthG, BGBl. I Nr. 93/2008.

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    Deutsche Musiktherapeutische Gesellschaft: Definition (2019). Retrieved July 20, 2019, from www.musiktherapie.de.

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    Professor Emeriti, and Adjunct Instructor for Music Therapy and Music Psychology at Potsdam State University of New York, USA.

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    Solomon, A. (1980). Music in special education before 1930: Hearing and speech development. Journal of Research in Music Education, 28(4), 236–242.

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    French-British cellist and pioneer of music therapy.

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    Alvin, J. (1965). Music for the Handicapped Child. London: Oxford University Press.

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    Sears, M. (1965). Music for the Handicapped Child: Book Review, Journal of Music Therapy, 2(4), 137.

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    Idem.

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    Nordoff, P., & Robbins, C. (1965). Music Therapy for Handicapped Children, Blauvelt—New York: Rudolf Steiner Publications.

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    Sears, M. (1965). Music Therapy for Handicapped Children: Book Review, Journal of Music Therapy, 2(4), 137.

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    Alvin, J. (1966). Music Therapy, London: John Baker; Alvin, J. (1978). Music for the Autistic Child, New York—Oxford: Oxford University Press.

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    Darnley-Smith, R. (2012). What is the Music of Music Therapy? An Enquiry into the Aesthetics of Clinical Improvisation, (Thesis). Durham: University of Durham, pp. 57–63.

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    History: Nordoff-Robbins Center for Music Therapy (2019). Retrieved July 19, 2019, from www. steinhardt.nyu.edu.

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    Music Therapist in Clare, Ireland.

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    Hayes, T. (2015). Music Therapy in the context of the Special School. In: Edwards, J. (2015). The Oxford Handbook of Music Therapy, kindle version, New York—Oxford: Oxford University Press, p. 178.

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    Arculus, C. (2013). Musical Communication with Two Year Olds. Pitt, J., & Retra, J. (eds.) (2013). Proceedings of the 6th Conference of the European Network of Music Educators and Researchers of Young Children, July 17–20 2013, The Hague (The Netherlands), 172–180;

    Dionyssiou, Z. (2013). Analyzing reactions of toddlers in music concerts designed for a six month to three years old audience. Pitt, J., & Retra, J. (eds.) (2013). Proceedings of the 6th Conference of the European Network of Music Educators and Researchers of Young Children, July 17–20 2013, The Hague (The Netherlands), 52–64.

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    Professor Emeritus of Child Psychology and Psychobiology at the University of Edinburgh.

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    Trevarthen, C. (1999). In: Barriga, M., & Rodrigues, H. (eds) (2013). Spotlights on Musical Development in Infancy: A Description of Infant Rhythmic Motor Behaviours in group music Sessions. In: Pitt, J., & Retra, J. (eds.) (2013). Proceedings of the 6th Conference of the European Network of Music Educators and Researchers of Young Children, July 17–20 2013, The Hague (The Netherlands), 32–42.

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    Ielmini, M. (2013). Children of 0–3 years and parents: Musical Communication as the favoured discovery and meeting channel. In: Pitt, J., & Retra, J. (eds.) (2013). Proceedings of the 6th Conference of the European Network of Music Educators and Researchers of Young Children, July 17–20 2013, The Hague (The Netherlands), 108–116;

    Trevarthen, C. (1999). Musicality and the intrinsic motive pulse: Evidence from human psychobiology and infant communication. Musicae Scientiae (Special Issue), 155–215.

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    Nordoff, P., & Robbins, C. (2006). Music Therapy in Special Education, second edition, Gilsum: Barcelona Publishers, p. 21.

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    McFerran, K., & Shanahan, E. (2011). Music therapy practice in special education and children’s hospice: A systematic comparison of two music therapists’ strategies with three preadolescent boys. Music Therapy Perspectives, 29(2), 103–111.

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    Bergmann, T. (2015). Music Therapy for People with Autism Spectrum Disorder. In: Edwards, J. (ed) (2015). The Oxford Handbook of Music Therapy, Kindle Version, New York—Oxford: Oxford University Press, p. 194.

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    Professor in music therapy at the University of the West of England, UK;

    e.g.: Bunt, L. (1994). An art beyond words, London: Routledge.

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    Professor in Music Therapy at Anglia Ruskin’s Cambridge Institute for Music Therapy Research (CIMTR), UK;

    e.g.: Oldfield, A. (2006). Interactive music therapy: a positive approach, London: Jessica Kingsley Publishers.

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    Professor of Music Therapy, Director of the Cambridge Institute for Music Therapy Research (CIMTR), UK.

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    Professor and Head of PhD Studies in Music Therapy at the University of Aalborg, Denmark, 1953–2011.

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    Derrington, P. (2018). Musiktherapie in Schulen in Großbritannien: Fokus auf Inklusion. In: Jordan, A. et al. (eds.) (2018). Musiktherapie in paedagogischen Settings: Impulse aus Praxis, Theorie und Forschung, Muenster: Waxmann, p. 117.

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    Bunt, L., & Hoskyns, S. (2002). Setting the Scene. In: Leslie Bunt, et al. (eds) (2002). The Handbook of Music Therapy, London—New York: Routledge, pp. 16–17.

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    Researcher at Queen Mary, University of London and East London NHS Foundation Trust, UK.

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    Carr, C., & Wigram, T. (2009). Music Therapy with Children and Adolescents in Mainstream Schools: A Systematic Review. British Journal of Music Therapy, 23(1), 3–18.

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    Idem.

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    Tomlinson, J., Derrington, P., & Oldfield, A. (2012). Music Therapy in Schools: Working with Children of All Ages in Mainstream and Special Education, London: Jessica Kingsley.

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    Music therapist in schools in Cambridgeshire, UK.

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    Senior Lecturer and Programme Leader in Music Therapy, Queen Margaret University, Edinburgh, Scottland.

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    DfES (2001). Inclusive schooling: Children with Special Educational Needs, London: Department for Education and Skills.

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    Rickson, D., & McFerran, K. (2014). Creating music cultures in the schools: A perspective from community music therapy, Illinois: Barcelona Publishers.

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    Edwards, J. (ed) (2015). The Oxford Handbook of Music Therapy, kindle version, New York—Oxford: Oxford University Press.

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    Hayes, T. (2015). Music Therapy in the context of the Special School. In: Edwards, J. (2015). The Oxford Handbook of Music Therapy, kindle version, New York—Oxford: Oxford University Press, pp. 179–181.

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    Lecturer at the Center for Music Therapy at Berlin University of Arts, Germany.

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    Bergmann, T. (2015). Music Therapy for People with Autism Spectrum Disorder. In: Edwards, J. (ed) (2015). The Oxford Handbook of Music Therapy, kindle version, New York—Oxford: Oxford University Press, p. 194.

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    Wigram, T., et al. (2002). A Comprehensive Guide to Music Therapy: Theory, Clinical Practice, Research and Training, Jessica Kingsley Publishers, p. 127.

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    Florian, L. (2008). Inclusion: Special or inclusive education: future trends. British Journal of Special Education, 35(4), 202–208;

    Minou, T. (2011). New trends in education of children with disabilities. Procedia Social and Behavioral Sciences, 15, 1955–1959.

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    Böhm-Öp**er, S. (2015). Austria: Country report on professional recognition of music therapy. Approaches: Music Therapy and Special Music Education, 7(1), 133–134.

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    Voigt, M. (2015). Germany: Country report on professional recognition of music therapy. Approaches: Music Therapy and Special Music Education, 7(1), 151–152.

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    Idem.

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    Kandé-Staehelin, B. (2015). Switzerland: Country report on professional recognition of music therapy. Approaches: Music Therapy and Special Music Education, 7(1), 185–186.

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    Tüpker, R., et al. (eds) (2005). Musiktherapie in der Schule, Wiesbaden: Reichert.

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    Professor for music therapy at the University Muenster, Germany.

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    Jordan, A., et al. (2018). Musiktherapie in pädagogischen Settings: Impulse aus Praxis, Theorie und Forschung, Muenster: Waxmann.

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    Researcher at the University Bremen, Germany.

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    Pfeifer, E. (2014). Musiktherapie als Fördermaßnahme in der Schule: Eine Studie zum Zusammenhang von Fremdheitserfahrung, Integration und Prävention in Schulklassen, Wiesbaden: Reichert.

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    Professor at the Katholischen Hochschule Freiburg, Germany.

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    Lutz-Hochreutener, S. (2018). Musiktherapie im schulischen Kontext. In: Jordan, A. et al. (eds.) (2018). Musiktherapie in pädagogischen Settings: Impulse aus Praxis, Theorie und Forschung, Muenster: Waxmann, p. 18.

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    Pfeifer, E., et al. (2018). Resümierende Gedanken. In: Jordan, A. et al. (eds.) (2018). Musiktherapie in paedagogischen Settings: Impulse aus Praxis, Theorie und Forschung, Muenster: Waxmann, p. 213.

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    Schmidt, H, & Timmermann, T. (2019). Was kann Musiktherapie in der Schule leisten?. Musik und Gesundsein, 20, 3–8.

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    German Musician and music teacher, 1889–1964.

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    Jacoby, H. (1984). Jenseits von ‚Begabt‘ und ‚Unbegabt‘. Hamburg: Christians.

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    Jacoby, H. (1984). Jenseits von ‚Musikalisch‘ und ‚Unmusikalisch‘. Hamburg: Christians.

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    Austrian doctor, psychotherapist and founder of the school of individual psychology.

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    Linke (1977). In: Schmidt, H, & Timmermann, T. (2019). Was kann Musiktherapie in der Schule leisten?. Musik und Gesundsein, 20, 3–8.

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    Specialist in psychiatry, neurology and suicide research, 1921–1994.

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    Austrian neurologist and author, 1924–1997.

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    Austrian doctor, deep psychologist and psychotherapist, 1917–1994.

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    Professor at the Psychiatrischen Universitätsklinik Wien, Austria.

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    Schmidt, H, & Timmermann, T. (2019). Was kann Musiktherapie in der Schule leisten?. Musik und Gesundsein, 20, 3–8;

    Böhm-Öp**er, S. (2015). Austria: Country report on professional recognition of music therapy. Approaches: Music Therapy and Special Music Education, 7(1), 133–134;

    Schmoelz, A. (1982). Musiktherapie: Forschung und Methoden einer aufstrebenden alten Disziplin unter besonderer Beruecksichtigung der Wiener Schule fuer Musiktherapie. Der Sprachheilpädagoge, 14(3), 3–23.

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    Head of the Viennese music therapy education at the University of Music and Performing Arts Vienna, Austria, 1921–1995.

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    Gathmann, P., & Schmölz, A. (1991). In: Schmidt, H, & Timmermann, T. (2019). Was kann Musiktherapie in der Schule leisten?. Musik und Gesundsein, 20, 3–8.

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    Timmermann, T. (2004). Tiefenpsychologisch orientierte Musiktherapie: Bausteine für eine Lehre. Wiesbaden: Reichert, p. 25.

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    Patel, A. (2012). The OPERA hypothesis: Assumptions and clarifications. Annals of the New York Academy of Sciences, 1252(1), 124–128.

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    German music therapist.

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    Schumacher, K. (1994). Musiktherapie mit autistischen Kindern. Musik-, Bewegungs- und Sprachspiele zur Integration gestörter Sinneswahrnehmung. Stuttgart: Fischer;

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    German music therapists, musician and painter.

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    Voigt (2010). In: Voigt, M. (2015). Germany: Country report on professional recognition of music therapy. Approaches: Music Therapy and Special Music Education, 7(1), 151–152.

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    German music therapist, 1923–2011.

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    German music therapist.

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    Idem.

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    Pitch: Music (2019, June 11). Retrieved August 7, 2019, from www.britannica.com.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 15.

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    Idem, p. 20.

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    Idem, p. 21.

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    Professor of Music Psychology at Cornell University, USA.

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    Krumhansl, C. (1990). Cognitive Foundations of Musical Pitch. New York: Oxford University Press, p. 262.

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    Pitch: Speech (1998, July 20). Retrieved August 7, 2019, from www.britannica.com.

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    Hart et al. (1990). In: Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 40.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 40.

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    Morett, L., & Chang, L. (2015). Emphasising Sound and Meaning: Pitch Gestures Enhance Mandarin Lexical Tone Acquisition. Language, Cognition and Neuroscience, 30(3), 1–7.

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    Timbre: Sound (2018, July 20). Retrieved August 7, 2019, from www.britannica.com.

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    Professor of Music Research at McGill University, Canada.

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    Marie Curie Fellow at the Institute of Neuroscience and Psychology, University of Glasgow, Scotland.

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    Mc Adams, S., & Giordano, B. (2016). The perception of Musical Timbre. In: Hallam, S., Cross, I., & Thaut, M. (2016). Music Psychology. New York: Oxford University Press, p. 113.

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    Melody: Music (2017, September 8). Retrieved August 7, 2019, from www.britannica.com.

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    Robledo, J., et al. (2016). Music intervals in speech: Psychological disposition modulates ratio precision among interlocutors’ nonlocal f0 production in real-time dyadic conversation. Psychology of Music, 44(6), 1404–1418.

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    Stevens, C. (2012). Music Perception and Cognition: A Review of Recent Cross‐Cultural Research. Topics in Cognitive Science, 4(4), 653–667.

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    Kim, M., & Nam, H. (2009). Pitch accommodation in synchronous speech. The Journal of the Acoustical Society of America, 125(4), 2575.

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    Sundararajan, J., Lake, J., & Purves, D. (2011). Co-Variation of Tonality in the Music and Speech of Different Cultures. PLoS One, 6(5), 20,160.

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    Patel, A. D., Iversen, J. R., & Rosenberg, J. C. (2006). Comparing the rhythm and melody of speech and music: The case of British English and French. Journal of the Acoustical Society of America, 119, 3034–3047.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 238.

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    Assistant Professor of Neuro Biology at Arizona State University, USA.

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    Lacroix, A., Diaz, A., & Rogalsky, C. (2015). The relationship between the neural computations for speech and music perception is context-dependent: An activation likelihood estimate study. Frontiers in Psychology, 6(1138), 1–19.

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    Rhythm (2017, August 31). Retrieved August 8, 2019, from www.britannica.com.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 97.

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    Keyton, G., & Thaut, M. (2008). Rhythm-driven Optimization of Motor Control. In: Thaut, M. (2008). Rhythm, music, and the brain scientific foundations and clinical applications. New York: Routledge, 85–112.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, pp. 98–99.

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    Idem, pp. 100–102.

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    American linguist and anthropologist, 1912–2000.

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    Pike (1945). In: Idem, pp. 100–102.

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    Idem, p. 118.

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    Idem.

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    Idem, p. 177.

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    “events that repeat regularly in time (e.g., each Tuesday), and temporal periodicity is their temporal periodic pattern of repetition. A pattern is periodic if it can be represented by specifying a finite portion of it, and the duration of each repetition.”.

    Temporal Periodicity (2009). Retrieved August 8, 2019, from www. springer.longhoe.net.

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    Ding, N., et al. (2017). Temporal modulations in speech and music. Neuroscience and Biobehavioral Reviews, 81, 181–187.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 177.

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    Syntax (2016, April 14). Retrieved August 9, 2019, from www.britannica.com.

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    Noam Chomsky (2019, July 19). Retrieved August 9, 2019, from www.britannica.com.

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    American composer, conductor, author, music lecturer, and pianist, 1918–1990.

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    Bernstein (1976). In: Lerdahl, F. (2013). Musical Syntax and Its Relation to Linguistic Syntax. In: Arbib, M. (2013). Language, Music, and the Brain. Cambridge, MA: MIT Press, p. 260.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, pp. 261–262.

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    Idem, p. 264.

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    Krumhansl, C. (1992). Internal representations for music perception and performance. In: Jones, M., & Holleran, S. (eds) (1992). Cognitive Bases of Musical Communication. Washington, DC: American Psychological Association, p. 198.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 254. S = sentence; NP = noun phrase, VP = verb phrase, S ′ = sentence modifier [relative clause], N = noun; V = verb; Det = determiner; Rel-Pro = relative pronoun.

    Within the clause, the relative pronoun “who” is referred to as a filler and is interpreted as the actor for the verb “kissed.” This relationship is identified by the presence of a coindexed empty element e i in the subject position of the relative clause.

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    Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 263.

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    Lerdahl (2001). In: Patel, A. (2008). Music, Language, and the Brain. New York: Oxford University Press, p. 257.

    right branching indicates an increase in tension; left branching a decrease in tension.

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    Idem, p. 264.

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    Idem, p. 265.

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    Lerdahl, F. (2013). Musical Syntax and Its Relation to Linguistic Syntax. In: Arbib, M. (2013). Language, Music, and the Brain. Cambridge, MA: MIT Press, p. 272.

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    Professor of Musical Composition at Columbia University, USA.

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    Lerdahl, F. (2013). Musical Syntax and Its Relation to Linguistic Syntax. In: Arbib, M. (2013). Language, Music, and the Brain. Cambridge, MA: MIT Press p. 261.

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    Stevens, C., & Keller, P., & Tyler, M. (2013). Tonal language background and detecting pitch contour in spoken and musical items. Psychology of Music, 41, 59–74.

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    Communiction (2019, February 8). Retrieved August 9, 2019, from www.britannica.com.

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    American mathematician and electrical engineer, 1916–2001.

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    American mathematician, 1894–1978.

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    Shannon, C., & Weaver, W. (1998). The Mathematical Theory of Communication. Urbana Chicago: University of Illinois Press, pp. 33–35.

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    Sylvia Ingeborg Haering

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Haering, S.I. (2022). Literature Review. In: The Impact of Music Therapy on Children in a Multicultural Elementary School. Springer VS, Wiesbaden. https://doi.org/10.1007/978-3-658-39330-4_1

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