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This review presents a highly selective survey of connections between music and language. I begin by considering some fundamental differences between music and language and some nonspecific similarities that may arise out of more general characteristics of human cognition and communication. I then discuss an important, specific interaction between music and language: the connection between linguistic stress and musical meter. Next, I consider several possible connections that have been widely studied but remain controversial: cross-cultural correlations between linguistic and musical rhythm, effects of musical training on linguistic abilities, and connections in cognitive processing between music and linguistic syntax. Finally, I discuss some parallels regarding the use of repetition in music and language, which until now has been a little-explored topic.

We report the short- to medium-term outcomes for patients with Kienböck’s disease and ulnar positive or neutral wrists treated by capitate shortening osteotomy combined with a 4 + 5 extensor compartmental artery vascularized bone graft placed in the lunate. This is a retrospective study of seven consecutive patients with Lichtman Stage 2 to 3B. Radiological and clinical outcomes were evaluated. Six patients maintained their Lichtman stage, one progressed. Mean time to union of the capitate was 10 weeks. Five of six lunates were completely revascularized on MRI scans, with one partial revascularization. Mean follow-up for functional scores was 40 months (range 15 to 62). Mean pain score improved significantly from 7.4/10 preoperatively to 1.9/10 postoperatively, and patient satisfaction was 9.2/10. Mean postoperative Quick Disabilities of Arm, Shoulder and Hand, Patient Evaluation Measure and Patient-Rated Wrist Evaluation scores were improved. All patients returned to their previous work. We conclude that this procedure has good short- to medium-term outcomes. Level of evidence: IV

The origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

While syncopation generally refers to any conflict between surface accents and underlying meter, in rock and other recent popular styles it takes a more specific form in which accented notes occur just before strong beats. Such “anticipatory” syncopations suggest that there is an underlying cognitive representation in which the accented notes and strong beats align. Syllabic stress is crucial to the identification of such syncopations; to facilitate this, we present a corpus of rock melodies annotated with lyrics and syllabic stress values. We propose a new measure of syncopation that incorporates syllabic stress; we also propose a measure of anticipatory syncopation, and show that it reveals a strong presence of this type of syncopation in rock music. We then use these measures to explore other aspects of syncopation in rock, including its occurrence in different parts of the 4/4 measure, its dependence on tempo, its historical evolution, and its aesthetic functions.

This is an overview of radiological imaging of the hand highlighting the various imaging modalities used in the work-up and diagnosis of a range of orthopaedic and rheumatological disorders. The biomechanics and anatomy of the human hand is extremely complex, and a good understanding is required to diagnose pathology. In this article we explain the anatomy and highlight pathology of the hand from a radiological perspective with respect to plain film, CT, ultrasound and MR imaging. Trauma of the hand is extremely common and radiology plays an important role in the diagnosis of treatable injuries including fractures, dislocations and ligament tears. Plain radiography and CT are excellent at evaluating bony injury (e.g. Rolondo or Bennett's fracture) whereas ultrasound and MR are better at evaluating soft tissue injury (e.g. Stener lesion). The hands are a common location for degenerate and inflammatory arthropathies which all have hallmark radiological features. Radiology also plays an important role in the diagnosis and work-up of bone lesions in the hand including enchondromas, osteoid osteomas and chondrosarcomas.

Background The elbow is the second most commonly dislocated joint. Stability depends on the degree of soft tissue injury, with 2 proposed patterns, one starting laterally and the other medially. The purpose of this study was to describe the injured structures observed in magnetic resonance images (MRIs) in a prospective cohort of simple elbow dislocations. Methods We evaluated 17 consecutive cases of simple elbow dislocations. Two musculoskeletal radiologists assessed the initial x-ray images and MRIs performed for all elbows. Radiologists evaluated the following soft tissue structures: medial collateral ligament complex (MCL), flexor-pronator muscle mass origin, anterior capsule (AC), posterior capsule, lateral collateral ligament complex (LCL), and extensor muscle mass origin. The radiologists were blinded to the study hypothesis. Results The initial radiographs in 16 patients showed the dislocation was posterolateral in 12, posterior in 3, and posteromedial in 1. We observed complete AC tear in 12 patients, MCL in 10, and LCL in 9. The inter-rater reliability for the radiologists was 0.70 (substantial) for MRI. Conclusions In our series after simple elbow dislocation, complete AC tears were most common, followed by MCL and LCL tears. No single mechanism-related soft tissue injury pattern of simple elbow dislocation was observed, and different grades of soft tissue injury exist.

Syntactic dependencies are head/modifier relations between words in a sentence that organize sentences into a syntactic tree structure. The general principle that languages have a preference to group syntactically related words close together can be made precise as a preference for shorter dependencies. We examine evidence for this principle in the development of languages’ grammars as well as in the choices made by individual speakers where syntactic variation is licensed. We survey evidence from corpus studies, computational simulations, and experiments on comprehension; altogether, this evidence makes a compelling case for dependency length minimization as an important factor in language structure and cognition.

Rhythmic variability in the vocal music of four European nations was examined, using the nPVI measure (normalized pairwise variability index). It was predicted that English and German songs would show higher nPVI than French and Italian ones, mirroring the differences between these nations in speech rhythm, and in accord with previous studies of instrumental music. Surprisingly, there was no evidence of this pattern, and some evidence of the opposite pattern: nPVI is higher in French and Italian vocal music than in English and German vocal music. This casts doubt on the theory that the differences in instrumental rhythm between these nations are due to differences in speech rhythm.

The anatomy and biomechanics of the wrist are complex and the joint can be affected by a wide range of pathology. Here, we explain the radiological anatomy of the wrist joint with respect to various imaging modalities. Trauma is a major cause of wrist pain and disability and can involve fractures, ligamentous and other soft tissue injuries. Fractures of the scaphoid can lead to avascular necrosis, non-union and accelerated osteoarthritis. Injuries of the intrinsic ligaments can disrupt the normal biomechanical relationship of the scaphoid and trapezium and cause instability and scapholunate advanced collapse. Carpal dislocations are severe injuries and include lunate dislocation, where the lunate dislocates in a volar direction, or perilunate dislocation, where there is dislocation of the carpus relative to the lunate. Tears of the triangular fibrocartilage can be traumatic or degenerate and best imaged with MR arthrography. Diagnosis of distal radioulnar joint instability can be problematic but there are various methods which can be employed, including the Mino, epicentre and congruency techniques. The wrist joint can be involved in all types of arthropathy, most commonly osteoarthritis which is commonly seen at the base of the thumb. Rheumatoid arthritis is an inflammatory condition and ultrasound is a very sensitive examination for assessment of active synovitis, tenosynovitis or tendon rupture.

In a prior study (Temperley & Tan, 2013), participants rated the “happiness” of melodies in different diatonic modes. A strong pattern was found, with happiness decreasing as scale steps were lowered. We wondered: Does this pattern reflect the familiarity of diatonic modes? The current study examines familiarity directly. In the experiments reported here, college students without formal music training heard a series of melodies, each with a three-measure beginning (“context”) in a diatonic mode and a one-measure ending that was either in the context mode or in a mode that differed from the context by one scale degree. Melodies were constructed using four pairs of modes with the same tonic: Lydian/Ionian, Ionian/Mixolydian, Dorian/Aeolian, and Aeolian/Phrygian. Participants rated how well the ending “fit” the context. Two questions were of interest: (1) Do listeners give higher ratings to some modes (as endings) overall? (2) Do listeners give a higher rating to the ending if its mode matches that of the context? The results show a strong main effect of ending, with Ionian (major) and Aeolian (natural minor) as the most familiar (highly rated) modes. This aligns well with corpus data representing the frequency of different modes in popular music. There was also a significant interaction between ending and context, whereby listeners rated an ending higher if its mode matched the context. Our findings suggest that (1) our earlier “happiness” results cannot be attributed to familiarity alone, and (2) listeners without formal knowledge of diatonic modes are able to internalize diatonic modal frameworks.

In noun phrase (NP) coordinate constructions (e.g., NP and NP), there is a strong tendency for the syntactic structure of the second conjunct to match that of the first; the second conjunct in such constructions is therefore low in syntactic information. The theory of uniform information density predicts that low-information syntactic constructions will be counterbalanced by high information in other aspects of that part of the sentence, and high-information constructions will be counterbalanced by other low-information components. Three predictions follow: (a) lexical probabilities (measured by N-gram probabilities and head-dependent probabilities) will be lower in second conjuncts than first conjuncts; (b) lexical probabilities will be lower in matching second conjuncts (those whose syntactic expansions match the first conjunct) than nonmatching ones; and (c) syntactic repetition should be especially common for low-frequency NP expansions. Corpus analysis provides support for all three of these predictions.

A c orpus analysis of common-practice themes shows that, when an intervallic pattern is repeated with one changed interval, the changed interval tends to be larger in the second instance of the pattern than in the first; the analysis also shows that the second instance of an intervallic pattern tends to contain more chromaticism than the first. An explanation is offered for these phenomena, using the theory of uniform infor- mation density. This theory states that communication is optimal when the density of information (the nega- tive log of probability) maintains a consistent, moderate level. The repetition of a pattern of intervals is (in some circumstances, at least) highly probable; in some cases, the information density of such repetitions may be undesirably low. The composer can balance this low information by injecting a high-information (i.e., low- probability) element into the repetition such as a large interval or a chromatic note. A perceptual model is proposed, showing how the probabilities of intervals, scale degrees, and repetition might be calculated and combined. consider the melodies shown in Example 1. These five melodies all have several things in common. First and most obviously, each one involves a melodic pattern that is repeated in some way (marked with brackets above the score). In each case, the pattern is repeated at a different pitch level from the original, but the repetition maintains the same rhythm and, for the most part, the same pattern of generic intervals (i.e., intervals measured in steps on the staff). However, the pattern is not simply shifted along the underlying scale; in each case, it is slightly altered in some way. In the first melody, for example, a sixth in the first instance of the pattern (E ♭ 4-C5) is changed to an octave in the second instance (F4-F5); similarly, in the third, fourth, and fifth melodies, an interval in the first pattern instance is replaced by a larger generic interval in the second instance. Other changes involve the addition of chromaticism: in the second and fifth melodies, diatonic scale degrees in the first instance of the pattern are replaced by chromatic degrees in the second instance. There is another, more abstract commonality across these melodies that is perhaps less obvious than those mentioned above. Large intervals are I am grateful to David Huron for making available to me his Humdrum encoding of the Barlow and Morgenstern corpus.

Two probabilistic models of melodic interval are compared. In the Markov model, the “interval probability” of a note is defined by the corpus frequency of its melodic interval (the interval to the previous note), conditioned on the previous one or two intervals; in the Gaussian model, the interval probability is a simple mathematical function of the size of the note’s melodic interval and its position in relation to the range of the melody. In both models, this interval probability is then multiplied by the probability of the note’s scale degree to yield its actual probability. The two models were tested on four corpora of tonal melodies using cross-entropy. The Markov model yielded a somewhat lower (better) cross-entropy than the Gaussian model, but is also much more complex, requiring far more parameters. The models were also tested on melodic expectation data, and on their ability to predict the distribution of intervals in a corpus. Possible ways of improving the models are discussed, as well as their broader implications for music cognition.

Background Management of degenerate rotator cuff tears associated with subacromial impingement is debatable. Methods We performed a prospective, randomised controlled trial to assess the efficacy of arthroscopic subacromial decompression (ASD) with or without repair of the rotator cuff using a mini-open technique. Results 42 patients (29 males and 13 females) with a mean age of 64 years (range 54–77 years) were recruited. 25 patients underwent ASD and cuff repair using mini-open technique whereas 17 patients had only ASD alone. All the patients were followed for a minimal of 1 year post-operatively. At final follow-up the mean Constant scores and patient satisfaction scores were not different between the groups (p value 0.06 and 0.44 respectively). The mean DASH scores were marginally significant (p value 0.05) and mean ASES scores were significant (p value 0.03). A 38% cuff rerupture rate was noted in the cuff repair group. Conclusions Our study demonstrates that in short-term the results of ASD with or without rotator cuff repair are not significantly different, however positive trends were noted in the cuff repair group. Although a significant rerupture rate was noted (38%) this had little effect on the outcome.

in this study we examine a rhythmic pattern known as the Scotch Snap (SS): a sixteenth-note on the beat followed by a dotted eighth-note. A musical corpus analysis shows that the SS is common in both Scottish and English songs, but virtually nonexistent in German and Italian songs. We explore possible linguistic correlates for this phenomenon. Our reasoning is that languages in which stressed syllables are often short might tend to favor the SS pattern. The traditional distinction between long and short vowels correlates partly with the SS pattern across languages, but not completely. (German allows short stressed vowels, but the SS pattern is not common in German music.) We then examine the duration of stressed syllables in four modern speech corpora: one British English, one German, and two Italian. British English shows a much higher proportion of very short stressed syllables (less than 100 ms) than the other two languages. Four vowels account for a large proportion of very short stressed syllables in British English, and also constitute a large proportion of SS tokens in our English musical corpus. This is the first study known to us that establishes a correlation between speech rhythms in languages and musical rhythms in the songs of those languages.

In this study, we report a corpus analysis of rock harmony. As a corpus, we used Rolling Stone magazine's list of the ‘500 Greatest Songs of All Time’; we took the 20 top-ranked songs from each decade (the 1950s through the 1990s), creating a set of 100 songs. Both authors analysed all 100 songs by hand, using conventional Roman numeral symbols. Agreement between the two sets of analyses was over 90 per cent. The analyses were encoded using a recursive notation, similar to a context-free grammar, allowing repeating sections to be encoded succinctly. The aggregate data was then subjected to a variety of statistical analyses. We examined the frequency of different chords and chord transitions. The results showed that IV is the most common chord after I and is especially common preceding the tonic. Other results concern the frequency of different root motions, patterns of co-occurrence between chords, and changes in harmonic practice across time.

THIS STUDY EXPLORES WAYS OF MODELING the compositional processes involved in common-practice rhythm (as represented by European classical music and folk music). Six probabilistic models of rhythm were evaluated using the method of cross-entropy: according to this method, the best model is the one that assigns the highest probability to the data. Two corpora were used: a corpus of European folk songs (the Essen Folksong Collection) and a corpus of Mozart and Haydn string quartets. The model achieving lowest cross-entropy was the First-Order Metrical Duration Model, which chooses a metrical position for each note conditional on the position of the previous note. Second best was the Hierarchical Position Model, which decides at each beat whether or not to generate a note there, conditional on the note status of neighboring strong beats (i.e., whether or not they contain notes).When complexity (number of parameters) is also considered, it is argued that the Hierarchical Position Model is preferable overall.

A well-established principle of language is that there is a preference for closely related words to be close together in the sentence. This can be expressed as a preference for dependency length minimization (DLM). In this study, we explore quantitatively the degree to which natural languages reflect DLM. We extract the dependencies from natural language text and reorder the words in such a way as to minimize dependency length. Comparing the original text with these optimal linearizations (and also with random linearizations) reveals the degree to which natural language minimizes dependency length. Tests on English data show that English shows a strong effect of DLM, with dependency length much closer to optimal than to random; the optimal English grammar also has many specific features in common with English. In German, too, dependency length is significantly less than random, but the effect is much weaker than in English. We conclude by speculating about some possible reasons for this difference between English and German.

DEBELLIS (2009) ARGUES THAT INTROSPECTIONIST music theory, as represented in my book The Cognition of Basic Musical Structures (CBMS; Temperley, 2001), makes an ungrounded assumption that the intuitions of the author are shared by other theorists and by experienced listeners generally. But this inductive leap is motivated by experimental and corpus evidence showing that, with regard to basic structures such as meter, listeners largely do hear things in the same way; and this assumption is confirmed in CBMS by corpus tests in which my analyses are compared to those of other listeners. DeBellis suggests that what I was doing in CBMS was not accessing unconscious representations, but rather bringing new representations into existence. But this implies either that experienced listeners in general do not represent meter at all, or that they arrive at metrical analyses by a pre-theoretic process that is not available to music theorists; neither of these options is plausible.

This article presents a probabilistic model of polyphonic music analysis. Taking a note pattern as input, the model combines three aspects of symbolic music analysis—metrical analysis, harmonic analysis, and stream segregation—into a single process, allowing it to capture the complex interactions between these structures. The model also yields an estimate of the probability of the note pattern itself; this has implications for the modelling of music transcription. I begin by describing the generative process that is assumed and the analytical process that is used to infer metrical, harmonic, and stream structures from a note pattern. I then present some tests of the model on metrical analysis and harmonic analysis, and discuss ongoing work to integrate the model into a transcription system.

A wide range of evidence points to a preference for syntactic structures in which dependencies are short. Here we examine the question: what kinds of dependency configurations minimize dependency length? We consider two well-established principles of dependency-length minimization; that dependencies should be consistently right-branching or left-branching, and that shorter dependent phrases should be closer to the head. We also add a third, novel, principle; that some “opposite-branching” of one-word phrases is desirable. In a series of computational experiments, using unordered dependency trees gathered from written English, we examine the effect of these three principles on dependency length, and show that all three contribute significantly to dependency-length reduction. Finally, we present what appears to be the optimal “grammar” for dependency-length minimization.

THIS STUDY EXAMINES THE DISTRIBUTIONAL VIEW OF key-finding, which holds that listeners identify key by monitoring the distribution of pitch-classes in a piece and comparing this to an ideal distribution for each key. In our experiment, participants judged the key of melodies generated randomly from pitch-class distributions characteristic of tonal music. Slightly more than half of listeners' judgments matched the generating keys, on both the untimed and the timed conditions. While this performance is much better than chance, it also indicates that the distributional view is far from a complete explanation of human key identification. No difference was found between participants with regard to absolute pitch ability, either in the speed or accuracy of their key judgments. Several key-finding models were tested on the melodies to see which yielded the best match to participants' responses.

Several authors have observed that rock music sometimes features a kind of independence or ‘divorce’ between melody and harmony. In this article, I examine this phenomenon more systematically than has been done in the past. A good indicator of melodic-harmonic divorce is cases where non-chord-tones in the melody do not resolve by step. I argue that this does occur frequently in rock – often with respect to the local harmony, and sometimes with respect to the underlying tonic harmony as well. This melodic-harmonic ‘divorce’ tends to occur in rather specific circumstances: usually in pentatonically based melodies, and in verses rather than choruses. Such situations could be said to reflect a ‘stratified’ pitch organisation. A particularly common situation is where the verse of a song features stratified organisation, followed by a chorus which shifts to a ‘unified’ organisation in which both melody and accompaniment are regulated by the harmonic structure.

Hudson (1990) proposes that each conjunct in a coordinate phrase forms dependency relations with heads or dependents outside the coordinate phrase (the "multi-head" view). This proposal is tested through corpus analysis of Wall Street Journal text. For right-branching constituents (such as direct-object NPs), a short-long preference for conjunct ordering is observed; this is predicted by the multi-head view, under the assumption that structures resulting in shorter dependencies are preferred. A short-long preference is also observed for left-branching constituents (such as subject NPs), which is less obviously accommodated by the multi-head view but not incompatible with it. The repetition of determiners was also examined (the dog and cat versus the dog and the cat), and a stronger preference was found for repetition with singular count nouns as opposed to mass or plural nouns; this accords well with the multi-head view, under the reasoning that single-determiner constructions require crossing dependencies with count nouns but not with plural or mass nouns.

Music functions, at least in part, to convey certain structures to the listener via a surface of notes. For communication to occur successfully, the structures must be recoverable from the surface. I argue that this consideration has been an important factor in the shaping of musical styles, and sheds light on a number of phenomena: the greater degree of syncopation and lower degree of rubato in traditional African music and rock versus common-practice music; the extensive use of rubato in pieces with consistent repeated patterns (e.g., much Romantic piano music); the rise of swing tempo and the higher degree of syncopation in jazz as opposed to ragtime; and the greater variety of chord-tones and lower tolerance for chordal inversion in jazz as opposed to common-practice music.

An important principle of recent rhythmic theory is the distinction between meter and grouping. Meter is a hierarchical framework of beats-points in time carrying varying levels of implicit accentuationwhich in itself implies no segmentation. Grouping is a hierarchical structure of segments, which in itself implies no accentuation. This is not to say that meter and grouping do not interact and influence one another (a point I will develop below). In principle, however, meter and grouping are independent structures, which may be aligned with one another in a variety of different ways.1 Also of central importance to the current study is the distinction between group and phrase. A group is a unit of grouping structure at any hierarchical level; the term "phrase" refers to a basic, intermediate level of group-roughly four to eight measures in length, though sometimes more or less.2 My main concern in this paper will be with phrases, though I will sometimes also consider other levels of

Are syntactic choices influenced by the need to avoid ambiguity? Studies of the use of that with English embedded clauses have reached negative conclusions on this point. It is argued here that these conclusions may be premature. Statistical analysis of another phenomenon of English-use of the optional relative pronoun or complementizer with object relative clauses-in written text suggests that both AMBIGUITY AVOIDANCE and ANAPHORICITY contribute to syntactic choices. Ambiguity avoidance is shown to operate at a 'strategic' level, influenced by general considerations of syntactic structure, but not by lexical distinctions or pragmatic factors.*

The concept of pitch-class depends, as is well-known, on the assumption of octave equivalence: any two notes one or more octaves apart are members of the same category. But the pitch-class idea also entails another kind of equivalence, that is, enharmonic equivalence: any two notes of the same pitch belong to the same category. The assumptions of octave and enharmonic equivalence have proved to be extremely useful to music theory. Flrst proposed with serial music in mind, the pitch-class system has more recently opened up a new approach to the study of tonal music as well.l FIowever, we should remember that enharmonic equivalence is not the usual assumption in traditional tonal theory and music notation. There, the same pitch-class may be represented in different ways: as Ab or G", for example. Retaining the assumption of octave equivalence, we might call such categories 'tonal pitch-classes' (TPCs) as opposed to the twelve 'neutral pitch-classes' (NPCs) of atenal set theory. In this article, I shall explore the tonal pitch-class system and the role of tonal pitch-class distinctions in musical cognition. In emphasising the differentness of Ab and G", I am not in any way denying that they are, in another important sense, the same any more than distinguishing between C3 and C4 denies the essential similarity between them. It seems clear that both the neutral pitch-class and tonal pitch-class systems play important roles in tonal music. However, the tonal pitch-class system has not received the theoretical attention it deserves. I begin by proposing a very simple spatial representation of tonal pitchclasses. I then present a model of how TPC labels are inferred from neutral ones: that is, the principles for choosing one spelling of a pitch over another. I also discuss the issue of ambiguity: cases where a single event seems to be functioning as two different TPCs. In the second half of the article, I explore some of the ways in which spelling choices are consequential for other aspects of music cognition; I also consider their relevance to the problem of keyH1nding. In closing, I discuss the relevance of the TPC system to highly chromatic and post-tonal music. I should H1rst mention two issues that I do not intend to diwuss in this article. The Elrst is intonation. The premise of this study is that inferring the spelling of notes is an important part of tonal cognition; but I will argue that

While study of the social and cultural aspects of popular music has been flourishing for some time, it is only in the last few years that serious efforts have been made to analyse the music itself: what Allan Moore has called ‘the primary text’ (1993, p. 1). These efforts include general studies of styles and genres (Moore, 1993; Bowman, 1995); studies of specific aspects of popular styles such as harmony and improvisation (Winkler 1978; Moore 1992, 1995; Walser 1992), as well as more intensive analyses of individual songs (Tagg 1982; Hawkins 1992). In this paper I will investigate syncopation, a phenomenon of great importance in many genres of popular music and particularly in rock.

Previous research has shown disagreement regarding the nature of stress in French. Some have maintained that French has lexical stress on the final syllable of each word; others have argued that French has no lexical stress, only phrasal stress. A possible source of evidence on this issue is vocal music. In languages with lexical stress, such as English, it is well known that stressed syllables tend to occur at “strong” positions in the musical meter (some evidence will be presented supporting this view). A corpus analysis was performed to investigate the degree of stress-meter alignment in French songs. The analysis showed that (excluding syllables at the ends of lines) the final syllables of polysyllabic words tend to occur at stronger metrical positions than non-final syllables of those words; it also showed that monosyllabic content words tend to occur at stronger positions than monosyllabic function words. While conflicts between stress and meter are much more common in French than in English vocal music, these results suggest that French poets and composers recognized distinctions of stress between syllables of polysyllabic words and between monosyllabic content and function words.