This book forms a conceptual account of the relationship between music and poetry in the late eighteenth and early nineteenth centuries.

This book brings together selected revised papers representing a multidisciplinary approach to language, music, and gesture, as well as their interaction. Among the number of multidisciplinary and comparative studies of the structure and organization of language and music, the presented book broadens the scope with the inclusion of gesture problems in the analyzed spectrum. A unique feature of the presented collection is that the papers, compiled in one volume, allow readers to see similarities and differences in gesture as an element of non-verbal communication and gesture as the main element of dance. In addition to enhancing the analysis, the data on the perception and comprehension of speech, music, and dance in regard to both their functioning in a natural situation and their reflection in various forms of performing arts makes this collection extremely useful for those who are interested in human cognitive abilities and performing skills. The book begins with a philosophical overview of recent neurophysiological studies reflecting the complexity of higher cognitive functions, which references the idea of the baroque style in art being neither linear nor stable. The following papers are allocated into 5 sections. The papers of the section “Language-Music-Gesture As Semiotic Systems” discuss the issues of symbolic and semiotic aspects of language, music, and gesture, including from the perspective of their notation. This is followed by the issues of "Language-Music-Gesture Onstage" and interaction within the idea of the "World as a Text." The papers of “Teaching Language and Music” present new teaching methods that take into account the interaction of all the cognitive systems examined. The papers of the last two sections focus on issues related primarily to language: The section "Verbalization Of Music And Gesture" considers the problem of describing musical text and non-verbal behavior with language, and papers in the final section "Emotions In Linguistics And Ai-Communication Systems” analyze the ways of expressing emotions in speech and the problems of organizing emotional communication with computer agents.

The music sign is made by taking your non-dominant forearm and holding it across your body. Then, take your dominant hand and wave it back and forth above your other forearm, as if conducting an orchestra. Have you ever wondered how to put Sign Language into music gracefully and artistically? This book takes you on a step-by-step journey to making you able to "sing" in Sign Language!

The music sign is made by taking your non-dominant forearm and holding it across your body. Then, take your dominant hand and wave it back and forth above your other forearm, as if conducting an orchestra. Have you ever wondered how to put Sign Language into music gracefully and artistically? This book takes you on a step-by-step journey to making you able to "sing" in Sign Language!

Music is the universal language, reaching all races and all ages. Now you can enhance this universal language with the beautiful gestures of sign language. With Sign Language for Singers, you will learn over 16 beautiful movements most commonly used by singers. The gestures are alphabetized for ease of use, with easy-to-follow definitions and demonstration photos for further visual reference. The DVD features John Jacobson demonstrating each gesture and with the DVD submenus, you can go directly to the move you desire. Also included are 1 featured songs with John performing the sign language, so you can see first-hand how these beautiful hand movements add meaning and depth to any musical performance. Add another dimension to your performances by incorporating the beautiful art of sign language into your movements with Sign Language for Singers. Featured Songs: Hearts Around the World, I See with My Heart, I'll Care, We Remember, Child of the World, Like a Mighty Stream, We Live the Dream (with "Dona Nobis Pacem"), Silent Night, Kumbaya, America the Beautiful.

A presentation of music and language within an integrative, embodied perspective of brain mechanisms for action, emotion, and social coordination. This book explores the relationships between language, music, and the brain by pursuing four key themes and the crosstalk among them: song and dance as a bridge between music and language; multiple levels of structure from brain to behavior to culture; the semantics of internal and external worlds and the role of emotion; and the evolution and development of language. The book offers specially commissioned expositions of current research accessible both to experts across disciplines and to non-experts. These chapters provide the background for reports by groups of specialists that chart current controversies and future directions of research on each theme. The book looks beyond mere auditory experience, probing the embodiment that links speech to gesture and music to dance. The study of the brains of monkeys and songbirds illuminates hypotheses on the evolution of brain mechanisms that support music and language, while the study of infants calibrates the developmental timetable of their capacities. The result is a unique book that will interest any reader seeking to learn more about language or music and will appeal especially to readers intrigued by the relationships of language and music with each other and with the brain. Contributors Francisco Aboitiz, Michael A. Arbib, Annabel J. Cohen, Ian Cross, Peter Ford Dominey, W. Tecumseh Fitch, Leonardo Fogassi, Jonathan Fritz, Thomas Fritz, Peter Hagoort, John Halle, Henkjan Honing, Atsushi Iriki, Petr Janata, Erich Jarvis, Stefan Koelsch, Gina Kuperberg, D. Robert Ladd, Fred Lerdahl, Stephen C. Levinson, Jerome Lewis, Katja Liebal, Jônatas Manzolli, Bjorn Merker, Lawrence M. Parsons, Aniruddh D. Patel, Isabelle Peretz, David Poeppel, Josef P. Rauschecker, Nikki Rickard, Klaus Scherer, Gottfried Schlaug, Uwe Seifert, Mark Steedman, Dietrich Stout, Francesca Stregapede, Sharon Thompson-Schill, Laurel Trainor, Sandra E. Trehub, Paul Verschure