This CD has featured a number of curiosities concerning speech, and also concerning music. Finally, we examine the mysterious no-man's-land between the two, and show how fragile the boundary between them can be. Composers throughout the ages - Monteverdi, Mussorgsky, Steve Reich, and Jean-Claude Risset to name a few - have played with relationships between speech and music, either by composing music that has some of the qualities of speech, or by embedding short segments of speech in musical contexts.
In particular, Mussorgsky has argued that music and speech are in essence so similar that with practice a composer could even reproduce a conversation in music. As he wrote in a letter to Rimsky-Korsakoff: 'whatever speech I hear, no matter who is speaking...my brain immediately sets to working out a musical exposition for this speech'.
In our final demonstration, speech is made to be heard as song, and this is achieved without transforming the sounds in any way, or by adding any musical context, but simply by repeating a phrase several times over. The demonstration is based on a sentence at the beginning of the CD Musical Illusions and Paradoxes. When you listen to this sentence in the usual way, it appears to be spoken normally - as indeed it is. However, when you play the phrase that is embedded in it: 'sometimes behave so strangely' over and over again, a curious thing happens. At some point, instead of appearing to be spoken, the words appear to be sung, rather as in the figure below.
GO TO: http://philomel.com/phantom_words/sometimes.php
After listening to the repeated phrase, listen to the full sentence again. You might find that it begins by sounding like normal speech, just as before, but that when you come to the phrase that had earlier been repeated: 'sometimes behave so strangely', the words again appear to be sung.
So I leave you with a conundrum: Why should the simple repetition of a phrase, without any change at all, cause our perception to shift so dramatically from speech to song?
The 'mysterious melody' was first described and published
by Deutsch in 1972. This musical brain teaser shows how our of a piece of
music can strongly influence how we hear it. Example 1 (on Track 20)
consists of a well-known tune. All the names (C, D, E and so on) are
correct, but the tones are distributed haphazardly among three different
octaves. Listen to the tune and try to guess its name. The task is
surprisingly difficult!
Example 2 (on Track 21) is identical to Example 1, except
that now the tones are all in the same octave. You should have no
difficulty in recognizing this tune. Once you know what to listen for, try
Example 1 again - you might find it much easier to follow. If it is not
obvious right away, listen a few more times and the tune should finally
emerge.
GO TO: http://philomel.com/musical_illusions/mys.php
References:
Deutsch, D. Octave generalization and tune recognition. Perception and Psychophysics,1972, 11, 411-412. [PDF Document]
Deutsch, D. Octave equivalence and the processing of melodic sequences. Journal of the Acoustical Society of America, 1976, 60 , s94.
Deutsch, D. Octave generalization and melody identification. Perception and Psychophysics, 1978, 23, 91-92.
Deutsch, D. Octave generalization and the consolidation of melodic information. Canadian Journal of Psychology, 1979, 33, 201-205.
Deutsch, D. and Boulanger, R. C. Octave equivalence and the processing of tonal sequences. Music Perception, 1984, 2, 40-51.
Deutsch, D. Processing of pitch combinations. In D. Deutsch (Ed.) The psychology of music, 2nd Edition, Academic Press, 1999, 349-412. [PDF Document]