404:" this understanding consists of in the listener's mind, how a listener comes to acquire the musical grammar necessary to understand a particular musical idiom, what innate resources in the human mind make this acquisition possible and, finally, what parts of the human music capacity are governed by general cognitive functions and what parts result from specialized functions geared specifically for music (Jackendoff & Lerdahl, 1983; Lerdahl, 2001). Similar questions have also been raised regarding human language, although there are differences. For instance, it is more likely that humans evolved a specialized language
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school has offered an insight that
Jackendoff would sympathize with, namely, that meaning is a separate combinatorial system not entirely dependent upon syntax. Unlike many of the cognitive semantics approaches, he contends that neither syntax alone should determine semantics, nor vice versa. Syntax
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he or she is familiar with, the music is not merely heard as a stream of sounds; rather, the listener constructs an unconscious understanding of the music and is able to understand pieces of music never heard previously. Jackendoff is interested in what cognitive structures or
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395:, has been interested in the human capacity for music and its relationship to the human capacity for language. In particular, music has structure as well as a "grammar" (a means by which sounds are combined into structures). When a listener hears music in an
375:(1993), in which syntax is the sole generative component in the language. Jackendoff takes syntax, semantics, and phonology all to be generative, interconnected via interface components. The task of his theory is to formalize the proper interface rules.
351:. He has also been granted honorary degrees by the Université du Québec à Montréal (2010), the National Music University of Bucharest (2011), the Music Academy of Cluj-Napoca (2011), the Ohio State University (2012), and Tel Aviv University (2013).
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need only interface with semantics to the degree necessary to produce properly ordered phonological output (see
Jackendoff 1996, 2002; Culicover & Jackendoff 2005).
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than having evolved one for music, since even the specialized aspects of music comprehension are tied to more general cognitive functions.
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developed into a comprehensive theory on the foundations of language, which indeed is the title of a monograph (2002):
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and syntactic expression. He has conducted extensive research on the relationship between conscious awareness and the
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Jackendoff, R.& Lerdahl, F. The capacity for music: what is it and what's special about it?,
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Language, Consciousness, Culture: Essays on Mental
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Lexicon: The Parallel Architecture 1975–2010
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Language. Brain, Meaning, Grammar, Evolution
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Possible stages in the evolution of the language capacity
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Jackendoff argues against a syntax-centered view of
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280:, its bearing on the formal structure of
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532:Consciousness and the Computational Mind
233:(born January 23, 1945) is an American
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