Симпатичная особенность мышления некоторых азиатов
Когда году в 1994 (кажись) южнокорейский пассажирский самолет врезался в гору где-то в Индонезии из-за неполадки автопилота, запал в душу комментарий какого-то эксперта по Би-Би-Си о том, что виновато традиционное конфуцианское воспитание пилотов, основанное на уважении к старшим. Дескать, подсознательно пилоты воспринимают автопилот как своего начальника, и хотя до столкновения с горой у них заблаговременно уже зародились сомнения в разумности его поведения (типа, высота по альтиметру не совпадала с высотой по данным автопилота, и они это заметили), они невольно гнали от себя столь непочтительные мысли, пока не увидели гору перед носом, но было уже поздно. Эксперт тогда сказал, что будь на их месте пилоты западного воспитания, чуть менее почтительно относящиеся к старшим, они, ни секунды не колебаясь, вовремя отключили бы этого сбрендившего робота и легко избежали бы столкновения. Комментарий прозвучал недели через 2 после катастрофы, после анализа записей разговоров в черных ящиках - подчеркиваю, это были не абстрактные предположения.
Два года назад переводя с английского половинку инструкции пользователя какого-то корейского оборудования, с удивлением заметил, что автор зачем-то везде искусственно выдерживает одинаковую глубину членения текста. Например, в нашей традиции в разделах 2 и 3 может не быть подразделов, а в разделах 4 и 5 (например), они есть. А в подразделе 3.3 могут быть подпункты:
1. Предостережения
2. Назначение
3. Описание основных узлов
3.1 Обзорное описание маслоочистителя
3.2 Шланги
3.3 Сепаратор
3.3.1 вал
3.3.2 барабан
3.3.3 подшипник
3.4 Насос
5. Блок запуска и управления
Так вот, корейский составитель инструкции пишет:
1. Предостережения
1.1 Предостережения
1.1.1 Предостережения
2. Назначение
2.1 Назначение
2.1.1 Назначение
3. Описание основных узлов
3.1 Обзорное описание маслоочистителя
3.1.1 Обзорное описание маслоочистителя
3.2 Шланги
3.2.1 Шланги
3.3 Сепаратор
3.3.1 вал
3.3.2 барабан
3.3.3 подшипник
3.4 Насос
3.4.1 Насос
5. Блок запуска и управления
и т.п.
Причем, ненужные, дублирующие подзаголовки есть не только на странице оглавления, но и на соответствующих страницах теста.
Теперь амбула, любуйтесь, господа:
Music, Language, and the Brain
Aniruddh D. Patel
OUP USA
526 pages
1: Introduction
2: Sound Elements: Pitch and Timbre
2.1: Introduction
2.2: Musical Sound Systems
2.3: Linguistic Sound Systems
2.4: Sound Category Learning as a Key Link
2.5: Conclusion
Appendixes
3: Rhythm
3.1: Introduction
3.2: Rhythm in Music
3.3: Rhythm in Speech
3.4: Interlude: Rhythm in Poetry and Song
3.5: Non-Periodic Aspects of Rhythm as a Key Link
3.6: Conclusion
Appendixes
4: Melody
4.1: Introduction
4.2: Melody in Music: Comparisons to Speech
4.3: Speech Melody: Links to Music
4.4: Interlude: Musical and Linguistic Melody in Song
4.5: Melodic Statistics and Melodic Contour as Key Links
4.6: Conclusion
Appendix
5: Syntax
5.1: Introduction
5.2: The Structural Richness of Musical Syntax
5.3: Formal Differences and Similarities between Musical and Linguistic Syntax
5.4: Neural Resources for Syntactic Integration as a Key Link
5.5: Conclusion
6: Meaning
6.1: Introduction
6.2: A Brief Taxonomy of Musical Meaning
6.3: Linguistic Meaning in Relation to Music
6.4: Interlude: Linguistic and Musical Meaning in Song
6.5: The Expression and Appraisal of Emotion as a Key Link
6.6: Conclusion
7: Evolution
7.1: Introduction
7.2: Language and Natural Selection
7.3: Music and Natural Selection
7.4: Music and Evolution: Neither Adaptation nor Frill
7.5: Beat-Based Rhythm Processing as a Key Research Area
7.6: Conclusion
Appendix
Afterword
References
List of Sound Examples
Lis of Credits
Author Index
Subject Index
Забавно, конечно, видеть отдельные введения и заключения к каждой главе.
Но цимус не в этом. Автор, по скромности, постеснялся указать в этом оглавлении, что после введения в КАЖДОЙ ГЛАВЕ есть свое оглавление, причем, гораздо более подробное, чем соответствующий раздел в основном:
Chapter 2 Sound Elements: Pitch and Timbre 7
2.1 Introduction 9
2.2 Musical Sound Systems 11
2.2.1 Introduction to Musical Sound Systems 11
2.2.2 Pitch Contrasts in Music 12
Introduction to Musical Scales 14
Cultural Diversity and Commonality in 16
Musical Scale Systems
2.2.3 Pitch Intervals as Learned Sound 22
Categories in Music
Pitch Intervals and a Perceptual Illusion 22
Pitch Intervals and Melody Perception 23
Pitch Intervals and Categorical Perception 24
Pitch Intervals and Neuroscience 26
2.2.4 Timbral Contrasts in Music 28
The Rarity of Timbral Contrasts as a 30
Basis for Musical Sound Systems
Example of a Timbre-Based Musical System 34
2.3 Linguistic Sound Systems 37
2.3.1 Introduction to Linguistic Sound 37
Systems
2.3.2 Pitch Contrasts in Language 39
Pitch Contrasts Between Level Tones in 41
Language: General Features
A Closer Look at Pitch Contrasts Between 42
Level Tones in Tone Languages
Absolute Pitch in Speech? 46
Mapping Linguistic Tone Contrasts Onto 48
Musical Instruments
2.3.3 Timbral Contrasts in Language 50
Timbral Contrasts in Language: Overview 52
Timbral Contrasts Among Vowels 54
Spectrum, Timbre, and Phoneme 58
A Brief Introduction to the Spectrogram 60
Mapping Linguistic Timbral Contrasts Onto 62
Musical Sounds
2.3.4 Consonants and Vowels as Learned 67
Sound Categories in Language
Consonants: Perception of Nonnative 68
Contrasts
Vowels: Brain Responses to Native Versus 71
Nonnative Contrasts
Sound Category Learning as a Key Link 71
2.4.1 Background for Comparative Studies 72
Dissociations 73
Hemispheric Asymmetries 73
A "Speech Mode" of Perception 76
Summary of Background for Comparative 77
Studies
2.4.2 Relations Between Musical Ability and 78
Linguistic Phonological Abilities
2.4.3 Sound Category-Based Distortions of 80
Auditory Perception
2.4.4 Decay in Sensitivity to Nonnative 82
Sound Categories
2.4.5 Exploring a Common Mechanism for 83
Sound Category Learning
2.5 Conclusion 86
Appendixes
A.1 Sonic Notes on Pitch 86
A.2 Semitone Equations 87
A.3 Theories for the Special Perceptual 88
Qualities of Different Pitch Intervals
A.3.1 Sensory Consonance and Dissonance 88
as the Basis for Musical Intervals
A.3.2 Pitch Relationships as the Basis 91
for Musical Intervals
A.3.3 The Overtone Series as the Basis 92
for Musical Intervals
A.3.4 Future Directions in Research on 93
the Basis of Musical Intervals
A.4 Lexical Pitch Scaling as a Proportion 94
of the Current Range
Chapter 3 Rhythm 95
3.1 Introduction 96
3.2 Rhythm in Music 97
3.2.1 The Beat: A Stable Mental Periodicity 99
3.2.2 Meter: Multiple Periodicities 103
3.2.3 Grouping: The Perceptual Segmentation 106
of Events
3.2.4 Durational Patterning in Music 112
Duration Categories in Music 112
Expressive Timing in Music 114
3.2.5 The Psychological Dimensions of 117
Musical Rhythm
3.3 Rhythm in Speech 118
3.3.1 Rhythmic Typology 119
Periodicity and Typology 119
Phonology and Typology 122
Duration and Typology 126
Perception and Typology 135
3.3.2 Principles Governing the Rhythmic 138
Shape of Words and Utterances
Differences Between Linguistic and 141
Musical Metrical Grids
Questioning the Principle of Rhythmic 141
Alternation in Speech
3.3.3 The Perception of Speech Rhythm 143
The Perception of Isochrony in Speech 143
The Role of Rhythmic Predictability in 145
Speech Perception
The Role of Rhythm in Segmenting 147
Connected Speech
The Role of Rhythm in the Perception of 148
Nonnative Accents
3.3.4 Final Comments on Speech Rhythm: 149
Moving Beyond Isochrony
3.4 Interlude: Rhythm in Poetry and Song 154
3.4.1 Rhythm in Poetry 154
3.4.2 Rhythm in Song 156
3.5 Nonperiodic Aspects of Rhythm as a Key 159
Link
3.5.1 Relations Between Musical Structure 159
and Linguistic Rhythm
3.5.2 Relations Between Nonlinguistic 168
Rhythm Perception and Speech Rhythm
3.5.3 Neural Relationships Between Rhythm 173
in Speech and Music
3.6 Conclusion 176
Appendixes
A.1 The nPVI Equation 177
A.2 Musical nPVI Values of Different Nations 178
Chapter 4 Melody 181
4.1 Introduction 182
4.1.1 Important Differences Between Musical 183
and Linguistic Melody
4.1.2 A Brief Introduction to Linguistic 185
Intonation
4.2 Melody in Music: Comparisons to Speech 190
4.2.1 Grouping Structure 190
4.2.2 Beat and Meter 194
4.2.3 Melodic Contour 194
4.2.4 Intervallic Implications 196
4.2.5 Motivic Similarity 197
4.2.6 Tonality Relations: Pitch Hierarchies 198
4.2.7 Tonality Relations: Event Hierarchies 201
4.2.8 Tonality Relations: Implied Harmony 202
4.2.9 Meta-Relations 203
4.2.10 Musical Versus Linguistic Melody: 204
Interim Summary
4.3 Speech Melody: Links to Music 205
4.3.1 Intonation and Phonology 206
4.3.2 Intonation and Perception 211
4.4 Interlude: Musical and Linguistic Melody 216
in Song
4.5 Melodic Statistics and Melodic Contour as 218
Key Links
4.5.1 Melodic Statistics 218
4.5.2 Melodic Contour Perception 225
Melodic Contour Perception in Acquired 226
Amusia
Melodic Contour Perception in Musical 228
Tone Deafness
The Melodic Contour Deafness Hypothesis 233
4.6 Conclusion 238
Appendix 238
Chapter 5 Syntax 239
5.1 Introduction 240
5.2 The Structural Richness of Musical Syntax 242
5.2.1 Multiple Levels of Organization 244
Scale Structure 245
Chord Structure 248
Key Structure 251
5.2.2 The Hierarchical Structure of 253
Sequences
Musical Event Hierarchies I: Structure 254
and Ornamentation
Musical Event Hierarchies II: Tension and 256
Resolution
Order and Meaning 259
5.2.3 Context Dependent Structural Functions 259
5.2.4 Some Final Comments on Musical Syntax 261
5.3 Formal Differences and Similarities 262
Between Musical and Linguistic Syntax
5.3.1 Formal Differences 263
5.3.2 Formal Similarities: Hierarchical 264
Structure
5.3.3 Formal Similarities: Logical Structure 265
5.3.4 Formal Differences and Similarities: 267
Summary
5.4 Neural Resources for Syntactic 267
Integration as a Key Link
5.4.1 Neuropsychology and Dissociation 268
5.4.2 Neuroimaging and Overlap 271
5.4.3 Using Cognitive Theory to Resolve the 276
Paradox
Syntactic Processing in Language I: 277
Dependency Locality Theory
Syntactic Processing in Language II: 278
Expectancy Theory
Syntactic Processing in Music: Tonal 280
Pitch Space Theory
Convergence Between Syntactic Processing 282
in Language and Music
Reconciling the Paradox 284
5.4.4 Predictions of a Shared-Resource 285
Hypothesis
Interference Between Linguistic and 285
Musical Syntactic Processing
Musical Syntactic Deficits in Aphasia 290
5.5 Conclusion 297
Chapter 6 Meaning 299
6.1 Introduction 300
6.1.1 Music and Translation 301
6.1.2 What Does One Mean by "Meaning"? 303
6.2 A Brief Taxonomy of Musical Meaning 305
6.2.1 The Structural Interconnection of 305
Musical Elements
6.2.2 The Expression of Emotion 309
6.2.3 The Experience of Emotion 315
6.2.4 Motion 319
6.2.5 Tone Painting 320
6.2.6 Musical Topics 321
6.2.7 Social Associations 322
6.2.8 Imagery and Narrative 323
6.2.9 Association With Life Experience 324
6.2.10 Creating or Transforming the Self 324
6.2.11 Musical Structure and Cultural 325
Concepts
6.3 Linguistic Meaning in Relation to Music 327
6.3.1 Music and Semantics 327
The Semantics of Leitmotifs 328
Neural Evidence That Music Can Evoke 331
Semantic Concepts
6.3.2 Music and Pragmatics 335
Cognitive Aspects of Discourse Coherence 337
Neural Aspects of Discourse Coherence 340
6.4 Interlude: Linguistic and Musical Meaning 342
in Song
6.5 The Expression and Appraisal of Emotion 344
as a Key Link
6.5.1 Acoustic Cues to Emotion in Speech 345
and Music
6.5.2 Neural Aspects of Auditory Affect 347
Perception
6.5.3 Cross-Domain Influences 348
6.5.4 Emotion in Speech and Music: Future 349
Directions
6.6 Conclusion 350
Chapter 7 Evolution 353
7.1 Introduction 355
7.2 Language and Natural Selection 358
7.2.1 Babbling 359
7.2.2 Anatomy of the Human Vocal Tract 360
7.2.3 Vocal Learning 361
7.2.4 Precocious Learning of Linguistic 361
Sound Structure
7.2.5 Critical Periods for Language 362
Acquisition
7.2.6 Commonalities of Structure and 363
Development in Spoken and Signed Language
7.2.7 Robustness of Language Acquisition 364
7.2.8 Adding Complexity to Impoverished 365
Linguistic Input
7.2.9 Fixation of a Language-Relevant Gene 365
7.2.10 Biological Cost of Failure to 366
Acquire Language
7.2.11 Other Evidence 366
7.3 Music and Natural Selection 367
7.3.1 Adaptationist Hypotheses 368
Sexual Selection 368
Mental and Social Development 369
Social Cohesion 369
7.3.2 Testing Music Against the Evidence 371
Used for Language Evolution
Rate of Learning of Musical Structure 372
Critical Period Effects 374
Robustness of Acquisition of Musical 375
Abilities
Biological Cost of Failure to Acquire 376
Musical Abilities
7.3.3 Infant Studies: Are We "Born Musical"? 377
Innate Perceptual Predispositions: A 378
Biological Example
Innate Learning Preferences: A Biological 378
Example
Music and Infancy: Questions of Innateness 379
Music and Infancy: Questions of 385
Specificity
7.3.4 Genetic Studies: What Is the Link 387
Between Genetics and Music?
An Example From Language 388
Genetics and Musical Tone Deafness 391
Genetics and Absolute Pitch 393
7.3.5 Animal Studies: What Aspects of 395
Musicality Are Shared With Other Animals?
Animals, Absolute Pitch, and Relative 396
Pitch
Animals, Consonance, and Dissonance 396
Animals and Tonality 398
7.4 Music and Evolution: Neither Adaptation 400
nor Frill
7.5 Beat-Based Rhythm Processing as a Key 402
Research Area
7.5.1 Domain-Specificity 403
7.5.2 Development 405
7.5.3 Human-Specificity 408
7.6 Conclusion 411
Appendix 412
Вот, скачал на узтранслейшнз, а как увидел это оглавление, начисто отшибло всякое желание ее прочитать...
Осталось только разбить весь текст на главы, каждая из которых состоит из одного предложения, и сделать его же заголовком своей главы, типа:
Глава 1 - Вышел ёжик из тумана
Вышел ёжик из тумана.
Глава 2 - Вынул ножик из кармана
Вынул ножик из кармана.
Кажись, где-то у Борхеса что-то подобное было: текст, который сам является своим же оглавлением.
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