Language, Music and Computing: Second International Workshop, LMAC 2017, St. Petersburg, Russia, April 17–19, 2017, Revised Selected Papers

239 Pages·2019·13.51 MB·English

by  Polina Eismont

Polina Eismont
Olga Mitrenina
Asya Pereltsvaig (Eds.)
Communications in Computer and Information Science 943
Language, Music
and Computing
Second International Workshop, LMAC 2017
St. Petersburg, Russia, April 17–19, 2017
Revised Selected Papers
123
Communications
in Computer and Information Science 943
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Indian Institute of Technology Madras, Chennai, India
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Polina Eismont Olga Mitrenina
(cid:129)
Asya Pereltsvaig (Eds.)
Language, Music
and Computing
Second International Workshop, LMAC 2017
–
St. Petersburg, Russia, April 17 19, 2017
Revised Selected Papers
123
Editors
Polina Eismont Asya Pereltsvaig
Saint PetersburgState University SantaClara University
of Aerospace Instrumentation SantaClara, USA
Saint Petersburg, Russia
OlgaMitrenina
Saint PetersburgState University
St.Petersburg, Russia
ISSN 1865-0929 ISSN 1865-0937 (electronic)
Communications in Computer andInformation Science
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Preface
Inhis1871bookTheDescentofManandSelectioninRelationtoSex,CharlesDarwin
putforwardaso-calledCarusotheory:Singing,hesurmised,wasakintopeacock’stail
inthatitgaveamaleanedgeinattractingmorefemales.But,asnotedbyBerwickand
Chomsky[1:3],thingsdidnotstopatsexualselection:Darwinthoughtthatsingingled
to improvement of the vocal apparatus, and better vocal competence led in turn to a
general increase in brain size, which subsequently allowed for the development of
language,includinglanguageusedforinternalthought.WhilesomeaspectsofDarwin’s
thinkingonthematterhavebecomeoutdated,theCarusotheoryexperiencedsomething
of a revival in the past 25 years, especially in the works of Robert C. Berwick and
William TecumsehFitch(see,forexample,[2]).Yet,theissueoftherelation between
languageandmusicremainshighlycontroversialandprovocative.
In order toshed new light on the connection—or disparity—between language and
music, we conducted two International Workshops on Language, Music, and Com-
puting.(Thelatterwasaddedtothemixlargely,butnotexclusively,becauseoftherole
that computers play in the scientific study of both linguistic outputs and music.) The
first edition of this workshop was held in 2015 and became a great success [3]. The
secondworkshoptookplaceduringApril17–19,2017,inSaintPetersburg,Russia,and
attractedabout100scholarsfromaroundtheworldincludingsuchcountriesasFrance,
Japan, USA, India, Germany, Russia, Thailand, Croatia, Spain, Georgia, etc. Among
the keynote speakers we are proud to name Prof. Sabine Iatridou (Massachusetts
InstituteofTechnologies,USA);Prof.SergiJorda(UniversitatPompeuFabra, Spain);
Prof. Meryl Goldberg (California State University San Marcos, USA); and Dr. Elena
Riekhakaynen (Saint-Petersburg State University, Russia).
The present volume contains 17 articles based on papers selected from the list of
more than 50 presentations presented at the Second Workshop on Language, Music,
and Computing. The papers went through a thorough double-blind peer-review pro-
cess.Thevolumeisdividedintofiveblocks,eachofwhichcoversadistinct subtopic:
the universal grammar of music, the parallelism between music and singing, language
as music, technical aspects of computational study of both language and music, and
formalizing the informal. The following is a brief overview of the contributions and
their impact on the field.
Part One, “The Universal Grammar of Music,” contains three contributions that
presentopposingviewsontheuseoftheconceptofuniversalgrammar,developedina
Chomskian approach to linguistics, and applying such linguistic concepts to the study
ofmusic.Thus,thearticlesinthissectionofthevolumerepresentthelivelydebatethat
characterizes the field today: some scholars believe that generative grammar is appli-
cable to music (cf. the paper by Oriol Quintana), while others challenge extending
concepts of the generative grammar to the domain of music (cf. the paper by Rafael
Barbosa).Thethirdcontributioninthissection,byRodmongaPotapovaandVsevolod
Potapov,uses asemioticapproachandconsidersspeechandmusicastwosubsystems
VI Preface
ofthecommonsemioticinterpersonalcommunicationsystemwithregardtosemantics,
semiotic syntactics, and pragmatics.
Thesecondpartofthevolume,“TheSurfaceofMusicandSinging,”focusesonthe
acoustic and articulatory parallelism between music and the aspect of language that is
closest to music, namely, singing. The first contribution, by Karina Evgrafova, Vera
Evdokimova, Pavel Skrelin, and Tatjana Chukaeva, investigates synchronization of
musicalacoustics(pitch,frequencies,durations)andarticulatorymovementsinRussian
classical romance. Their research employs the method of electromagnetic articulo-
graphy(EMA)tostudythedifferenceofvowelarticulationinsingingandinspeaking.
Chawadon Ketkaew and Yanin Sawanakunanon in their contribution compare rhyth-
mic properties of speech, pop, and folk songs in Thai using the normalized pairwise
variability index (nPVI). The study questions whether music with lyrics exhibits the
sameinfluencesasdoesinstrumentalmusic,andshowsthatthetwotypesofpopsongs
patterndifferentlywithrespecttothenPVIandascribethisdifferencetotheinfluences
of Western music and folk melodies, respectively. Gregory Martynenko, the author
ofthethirdcontribution,analyzesacorpusoffiveperformancesofacertainvocalpiece
by Sergei Rachmaninoff by different vocalists and proposes to extend this research in
the future by examining other characteristics besides tempo: height, loudness, and
timbre.Theclosingarticleinthissection,byIlyaSaitanov,examinestraditionaldance
melodiesfromMacedonia(Greece)andshowsthattonality,mode,meter,andtunemay
vary in different performances of the same melody.
Thethirdpartofthevolume,“LanguageasMusic,”containsfourcontributionsthat
focus on the study of linguistic phenomena from the perspective of such articulatory
and acoustic characteristics that are also useful in the study of music: tempo, speech
breaks, etc. Jana Jurčević’s article examines sound symbolism of Croatian occasional
expressions (auuuuuch, brm brm brm, etc.) used in chats in social communication
platforms such as Facebook Messenger, WhatsApp, and Hangouts. She adopts the
position that sound symbolism plays a much greater role in oral communication than
the standard structuralist view of linguistics would allow. Elena Riekhakaynen and
AlenaBalanovskaiaintheirpaperfocusontheprocessingofRussianspokenwordsby
nativespeakersandsecond-languagelearners.Theauthorsdiscussdifferentmethodsof
studying slips of the ear showing how they can contribute to the understanding of
speech processing. The next article, by Natalia Bogdanova-Beglarian, studied speech
breaks in oral discourse, based on the annotated part of the Russian corpus “One
Speaker’s Day.” Sociolinguistic analysis of the data showed that speech breaks are
more frequent in the speech of men (rather than women), seniors (as opposed to
children, youth, and middle-aged speakers), and unemployed and retired people (in
contrasttothespeechofmanagers,whoproducesignificantlyfewerspeechbreaksthan
other speakers in other groups). This study also investigates what causes disfluencies
and how the speaker gets out of communicative difficulties. The contribution by
Tatiana Sherstinova is based on the same speech corpus of everyday Russian con-
taining long-term audio recordings of conversations made in natural circumstances.
Thefocusofherinvestigationistheaudiblenon-linguistic(paralinguistic)elementsin
conversation, such as laughter, inhalation noise, cough, various e-like and m-like
vocalizations, tongue clicking, hesitations, yawns, etc. The analysis uncovered some
specific unexpected results such as laughter is the undeniable leader among
Preface VII
paralinguistic elements, taking up nearly 40% of all paralinguistic elements in the
corpusbutitsfrequencygoesdownwithage(from0.9087forage18–30to0.3876for
age55+),whiletheincidenceofsighingincreaseswithage(from0.0086forage18–30
to 0.0426 for age 55+).
The fourth part of the volume, “Music Computing,” is concerned with technical
aspects of the computational study of both language and music. The opening contri-
butioninthissectionisbyGlebG.Rogozinsky,KonstantinLyzhinkin,AnnaEgorova,
and Dmitry Podolsky, who present a hardware software solution for sonification of
complex networks and systems. The suggested solution facilitates the system and
allows one to produce the traffic suitable for appropriate audio environment. The
second article, by Alexander Kalinin and Anastasia Kolmogorova, describes tools for
selecting special music for the “mood” of a given text extract. The main model that
underlies this research is Lövheim’s Cube emotional model which comprises eight
emotional states rather than merely two (positive and negative) as typically used in
sentimentanalysis.Bybeingabletoselectanappropriatepieceofmusictocorrespond
to the emotional state of a text fragment, one is able to create a synergistic effect,
makingtheachievementofthetargetemotionalstatebythereader/listenermorelikely.
The third contribution in this section, by Leonid Tereshchenko, Lubov Boiko, Daria
Ivanchenko, Elena Zadneprovskaya, and Alexander Latanov, uses a technique of
eye-movement recording (without fixating the head) to investigate the so-called eye–
hand span: the time from reading a piece of musical text to playback. Their findings
revealthat“theeye–handspandependsonthetextureofthemusicalpieceperformand
inverselycorrelateswiththenumberoferrorsaswellasdirectlycorrelateswiththerate
of stability in the performance.”
The fifth and last part of the volume, “Formalization of the Informality,” suggests
freshviewsonsometopicssofarnon-formalized.Thefirstcontributionhere,byBasil
Lourié and Olga Mitrenina, uses a new logical approach for formal description of
poetical tropes and other kinds of indirect meanings, such as humor (and so-called
anti-humor), hints, and riddles, which are treated as homogeneous phenomena. The
article by Artemy Kotov, Nikita Arinkin, Ludmila Zaydelman, and Anna Zinina
describes their attempt to introduce a emotional behavioral pattern to a robot. The
following article in this section, by Polina Eismont, suggests a new description that
allows one to formalize the syntax–semantics interface in corpus studies. Finally,
AnastasiaKolmogorovastudiesthecorpusof97Russianverbstoshowthatlanguage,
music, and computer in Russian are living organisms in Lakoff’s and Johnson’s sense
of the term, she proves that in Russian, “music” enters the class of mythic heroes or
Demiurges, “language” belongs to the covert class of Humans, and “computer” inte-
grates the class of pets.
The editors are grateful to the Saint Petersburg State University of Aerospace
Instrumentation and its leadership, especially to Rector Yulia Antokhina and to
Vice-Rector for International Cooperation Konstantin Losev, and to Saint Petersburg
State Conservatory named after N.A. Rimsky-Korsakov and its leadership, especially
to Rector Alexey Vassiliev and to Vice-Rector for Scientific Research Natalia
Braginskaya,fortheenormousworkthattheydidtoorganizetheSecondInternational
Workshop on Language, Music, and Computing. We are also grateful to Springer,
LeonieKunz,NataliaUstalovaandAvulaNikeshforacceptingthisbookfortheseries
VIII Preface
Communications in Computer and Information Science (CCIS) and their help in
publication process; it is a great honor for us. For any remaining errors and short-
comings, of course, the editors alone carry the responsibility.
We hope that the publication of this volume will lead to in-depth discussions and
continuingresearchonthetopicofinteractionbetweenlanguageandmusic,withause
offormal approaches and modern computing, which is becoming more human every
day.
References
Berwick, Robert C. and Noam Chomsky (2016) Why Only Us. Language and Evolution.
Cambridge, MA:The MITPress.
Fitch, William Tecumseh (2010) The Evolution of Language. Cambridge, UK: Cambridge
University Press.
Eismont P., Konstantinova N. (eds) Language, Music, and Computing. LMAC 2015. Commu-
nications inComputer andInformationScience, vol561. Springer, Cham.
November 2018 Polina Eismont
Olga Mitrenina
Asya Pereltsvaig
Organization
Program Committee
Olga Mitrenina Saint Petersburg State University, Russia
(Chair)
Polina Eismont Saint Petersburg State University of Aerospace
(Co-chair) Instrumentation, Russia
John Frederick SUNY at Stony Brook, USA
Bailyn
Natalia Braginskaya Saint Petersburg State Conservatory, Russia
Natalia Degtyareva Saint Petersburg State Conservatory, Russia
Andrey Denisov Herzen State Pedagogical University of Russia
Elena Erofeeva Perm National Research University, Russia
Elena Grudeva Cherepovets State University, Russia
Simon Holland The Open University, UK
Olga Khomitsevitch NTENT, Inc., USA
Andrej Kibrik Russian Academy of Science, Moscow, Russia
Natalia University of Wolverhampton, UK
Konstantinova
Mikhail Kopotev University of Helsinki, Finland
Sergey Krylov Russian Academy of Science, Moscow, Russia
Guerino Mazzola University of Minnesota, USA
Constantin Orasan University of Wolverhampton, UK
Eric Reuland Utrecht University, The Netherlands
Martin Rohrmeier Technische Universität Dresden, Germany
Rafael Salinas Escola Superior de Música de Catalunya, Spain
Dmitry Sitchinava Russian Academy of Science, Moscow, Russia
Akira Takaoka Tamagawa University, Japan
Daniel Junqueira Universidade de Brasilia, Brazil
Tarquinio
Remi van Trijp Sony CSL, Paris, France
Partick Zuk University of Durham, UK