Shakila Shayan

The Thickness of Musical Pitch Psychophysical Evidence for Linguistic Relativity

Do people who speak different languages think differently, even when they are not using language? To find out, we used nonlinguistic psychophysical tasks to compare mental representations of musical pitch in native speakers of Dutch and Farsi. Dutch speakers describe pitches as high (hoog) or low (laag), whereas Farsi speakers describe pitches as thin (na-zok) or thick (koloft). Differences in language were reflected in differences in performance on two pitch-reproduction tasks, even though the tasks used simple, nonlinguistic stimuli and responses. To test whether experience using language influences mental representations of pitch, we trained native Dutch speakers to describe pitch in terms of thickness, as Farsi speakers do. After the training, Dutch speakers’ performance on a nonlinguistic psychophysical task resembled the performance of native Farsi speakers. People who use different linguistic space-pitch metaphors also think about pitch differently. Language can play a causal role in shaping nonlinguistic representations of musical pitch.

The thickness of pitch: Crossmodal metaphors in Farsi, Turkish and Zapotec

ABSTRACT Speakers use vocabulary for spatial verticality and size to describe pitch. A high—low contrast is common to many languages, but others show contrasts like thick—thin and big—small. We consider uses of thick for low pitch and thin for high pitch in three languages: Farsi, Turkish, and Zapotec. We ask how metaphors for pitch structure the sound space. In a language like English, high applies to both high-pitched as well as high-amplitude (loud) sounds; low applies to low-pitched as well as low-amplitude (quiet) sounds. Farsi, Turkish, and Zapotec organize sound in a different way. Thin applies to high pitch and low amplitude and thick to low pitch and high amplitude. We claim that these metaphors have their sources in life experiences. Musical instruments show co-occurrences of higher pitch with thinner, smaller objects and lower pitch with thicker, larger objects. On the other hand bodily experience can ground the high—low metaphor. A raised larynx produces higher pitch and lowered larynx lower pitch. Low-pitched sounds resonate the chest, a lower place than high-pitched sounds. While both patterns are available from life experience, linguistic experience privileges one over the other, which results in differential structuring of the multiple dimensions of sound.