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who asked the first question? - International Research Center For ...

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321referential function. In contemporary tone languages both functions of pitch modulationare clear, and <strong>the</strong>y are overlaid on each o<strong>the</strong>r in a flow of speech.It seems that during <strong>the</strong> last major evolutionary change of human communication,when so-called “fully articulated language” came into existence, articulated speech didnot fully replace <strong>the</strong> older pitch language. In some regions speech replaced <strong>the</strong> pitchlanguage’s lexical and grammatical functions. In o<strong>the</strong>r regions <strong>the</strong> lexical and evengrammatical functions of pitch language were preserved. This is <strong>the</strong> case in contemporarytone languages. Therefore it would be more appropriate to talk about <strong>the</strong> “partialreplacement” of <strong>the</strong> ancient pitch languages. There is no language in <strong>the</strong> world that doesnot ma ke use of tone (prosodic elements), and in tone languages many more instances of<strong>the</strong> referential use of <strong>the</strong> ancient pitch element are preserved.• Pitch language: The <strong>first</strong> Dead Language inHuman HistoryThe statement of Steven Pinker, that “even a plot as simple as ‘Boy meets girl,boy loses girl’ cannot be narrated by a sequence of tones in any musical idiom” does nottell us <strong>the</strong> <strong>who</strong>le truth. In <strong>the</strong> example of whistle and drum languages we can see thatpitch contour can convey meaning precise enough to enable quite complex commercialagreements to made between two parties. Despite this possibility, today pitch-basedlanguage is used only as a marginal means of communication, mostly for communicatingover big distances. Readers might remember Karl Stumpf’s interest in pitch-basedcommunication over long distances from <strong>the</strong> brief survey of different ideas on <strong>the</strong> originsof music earlier in this part of <strong>the</strong> book. This need in referential pitch communication wasmostly lost after <strong>the</strong> much more efficient medium – speech - entered <strong>the</strong> scene, so unlesswe need to communicate over big distances in <strong>the</strong> mountains of Central America or <strong>the</strong>African savannah, we communicate with speech.Our Australopi<strong>the</strong>cine ancestors were roaming <strong>the</strong> African savanna during <strong>the</strong>longest period of our prehistory, when time was passing in millions of years. During thisperiod our ancestors learned to survive without <strong>the</strong> safety of tree branches, sharing <strong>the</strong>ground with major African predators. We have already discussed <strong>the</strong> possible survivalimportance of loud singing and shouting displays, magnified by <strong>the</strong> precise rhythmicstomping of a <strong>who</strong>le collective of hominids. The impressive “lion dance”, very effectivefor defence (and even attack to obtain carcasses), was more an ancestor of future humanmusic than a language. The language of more “peaceful” everyday communication musthave been quite different, although still mostly based on <strong>the</strong> pitch element (modulationsof a fundamental frequency).This early system of communication I will be mentioning with a term “pitchlanguage”. Pitch language is a referential system of communication, basedpredominantly on pitch modulations (See also Fonagy, 1981). Freedom from limbiccontrol and cultural learning during <strong>the</strong> early years were its o<strong>the</strong>r characteristics.Increasing data about <strong>the</strong> freedom from limbic control of primate vocalizations suggestthat both <strong>the</strong>se featurescould have been present among our ancestors before <strong>the</strong>emergence of bipedal Australopi<strong>the</strong>cines. At least at <strong>the</strong> stage of Australopi<strong>the</strong>cine <strong>the</strong>se

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