Íslenskt mál og almenn málfræði


Íslenskt mál og almenn málfræði - 01.01.2006, Side 161

Íslenskt mál og almenn málfræði - 01.01.2006, Side 161
Setningafrœði og tónfræði 159 Sigríður Siguijónsdóttir og Þórunn Blöndal. íslensk tunga III. Almenna bókafé- lagið, Reykjavík. Kristján Ámason. 2005. Hljóð. Handbók um hljóðfræði og hljóðkerfisfræði. Meðhöf- undur Jörgen Pind. íslensk tunga III. Almenna bókafélagið, Reykjavík. Lerdahl, Fred, og Ray Jackendoff. 1983. A Generative Theory ofTonal Music. MIT Press, Cambridge, Mass. Palmer, Willard A., Morton Manus og Amanda Vick Lethco. 1994. The Complete Book of Scales, Chords, Arpeggios and Cadences. Alfred Publishing, Van Nuys. Stefán Edelstein. 1994. Tónfrœði ásamt verkefnum. Seinni hluti. Tónfræðiútgáfan, Reykjavík. SUMMARY ‘Syntax and musicology’ Keywords: movement rules, competence, performance, chord inversions This squib discusses the fact that it is often difficult for students of linguistics (and others) to understand the role and nature of derivations in linguistic descriptions, and syntactic movement rules in particular. It is argued that the method of assuming a movcment mle like Topicalization, for instance, relating, say, an object in sentence- initial position to the default object position after the main verb in a language like Icelandic, is similar in nature to a common way of describing chord inversions in music. It is thus common in musicology to say, for instance, that the first inversion of a C-major chord is formed by “moving” the root up one octave, “deriving” the in- verted C-chord E-G-C from the normal form C-E-G. The C in the topmost position of the first inversion of the C-major chord is still interpreted as the root of the chord, much as a topicalized object is still interpreted as the object of the relevant sentence although it is not in the default object position. But this does not imply that a piano Player, for instance, actually “moves” the root from the lowest position to the highest V/hen playing. Similarly, assuming Topicalization as a mle of grammar does not necessarily imply that the speaker actually “first” forms a sentence with default word order when speaking and “then” moves the object to its initial position. Drawing this parallel between musicology and syntax might help students of linguistics (and others) understanding the tme nature of syntactic movement mles — or linguistic derivations in general — and distinguishing between competence and performance. föskuldur Þráinsson islenskuskor fáskóla íslands Arnagarði við Suðurgötu IS-10] Reykjavík, ICELAND hoski@hi.is
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Íslenskt mál og almenn málfræði

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