Riku Kivelä wrote:What is the most fit planned auxlang for popular music?
I do have some understanding of music, and have read textbooks on producing lyrics and writing songs, mostly with an eye for features to include in an auxlang. Basically a perfect tail rhyming language, where the words end in vowels would universally be pleasing to the ear. English actually is very difficult and indeed unnatural to tail rhyme in, so it requires great skill and vocabulary to write tail rhyming stanzas. It is in fact so difficult that many (English) musicians and (English) modern poets have given up on it altogether or for the most part or use alternative forms of "rhyme". Old English poetry was based more on alliteration and stress-timed meter, which isn't as powerful for music. A perfect tail rhyme, is one where the stressed vowel and subsequent sounds are the same, and the preceding sounds are different. So for instance in trocpyac the phonotactics is such that each word has many perfect rhyming words, since there is only once final consonant, and two initial consonants. for example there are 82 words that rhyme with pyac, and 47 that rhyme with troc. once conjugated they end in vowels. for example: mina trocci pyacka hzakli /mina troʃʃi pjäʃka ʰzakli/ mina srocci hwacka ryakli /mina sroʃʃi ʰwaʃka rjakli/ (I international language, speaker) (I supportive world, thank) that was actually 3 perfect rhymes, and usually it's enough to have simple the one at the end of the phrase rhyming. My theory is that we intuitively like perfect rhymes, since it is similar to the "mother tongue(s)" from which we descend. which was likely an SOV suffixing/post-positional language, that had suffixes/post-positions ending in vowels. The reason it is important to end in vowels, is that it is easier to sing, since can hold the last vowel. Not having a short-long vowel distinction is also important, as it gives more musical freedom on which vowels to hold. Hope that helps, Logan P.S. In terms of my personal preferences, I generally don't like music that has words, unless it have some positive or otherwise agreeable message. Much of pop-music nowadays is not virtuous and not informative. I would personally be much more interested in music that could for instance teach me calculus, or educate me about machine learning. Hopefully this will be possible in the future with AI generated music.
email@example.com <mailto:firstname.lastname@example.org>>: On 2016-05-24, Victor Chan wrote: I want to know what make English superior over other languages in the music industries? If it is about socio-linguistics traits then that will not be much of an issues since English will (hopefully) lose its prestige to other languages like Mandarin. What I am really concern about is the possibility that the 'qualities of the language', as stated by Riku Kivelä, actually refer to the more innate aspects of the language; the phonology can give a certain sound quality while the morphosyntax and lexicon can affect the semantic aspects of vocal music. I do not consider aesthetics as a priority in the construction of auxlang due to its subjective and culturally dependent value. If the aesthetic aspects of a language can help it gain speakers then an auxlang will either need to incorporate those aesthetic aspects or have a aesthetic register for artistic/musical purpose. I do not have musical skill, and I will not pretend otherwise. However, my estimation is that the somewhat precedence of English in the popular music arena correlates with the relative dominance of English otherwise, not that English is somehow so superior in musical characteristics. I do not have widespread familiarity, but so far as I know there have been some efforts at "popular type" musical productions in Esperanto, so I think it is possible in languages, including auxiliary languages, other than English. -- Paul Bartlett2016-05-24 23:25 GMT+03:00 Paul Bartlett <
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