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Ray Jackendoff
Ray Jackendoff.jpg
Born (1945-01-23)January 23, 1945
Fields Generative grammar, Cognitive science, Music cognition
Institutions Tufts, Brandeis
Alma mater MIT, Swarthmore
Doctoral advisor Noam Chomsky
Notable awards Fellow of the AAAS, Jean Nicod Prize

Ray Jackendoff (born January 23, 1945) is an American linguist. He is professor of philosophy, Seth Merrin Chair in the Humanities and, with Daniel Dennett, Co-director of the Center for Cognitive Studies at Tufts University. He has always straddled the boundary between generative linguistics and cognitive linguistics, committed as he is both to the existence of an innate Universal Grammar (an important thesis of generative linguistics) and to giving an account of language that meshes well with the current understanding of the human mind and cognition (the main purpose of cognitive linguistics).

Jackendoff's research deals with the semantics of natural language, its bearing on the formal structure of cognition and its lexical and syntactic expression. He has also done extensive research on the relationship between conscious awareness and the computational theory of mind, on syntactic theory, and, with Fred Lerdahl, on musical cognition, culminating in their Generative theory of tonal music. His theory of conceptual semantics developed into a comprehensive theory on the foundations of language, which indeed is the title of a recent monograph (2002): Foundations of Language. Brain, Meaning, Grammar, Evolution. Much earlier, in his 1983 Semantics and Cognition, he was one of the first linguists to integrate the vision faculty into his account of meaning and human language.

Jackendoff studied under the famed linguists Noam Chomsky and Morris Halle at the Massachusetts Institute of Technology, where he received his PhD in linguistics in 1969. Both Chomsky and Halle are now Institute Professors emeriti at MIT.

Before moving to Tufts in 2005, Jackendoff was professor of linguistics and Chair of the Linguistics Program at Brandeis University from 1971 to 2005. During the 2009 spring semester, he was an external professor at the Santa Fe Institute.

Jackendoff was awarded the Jean Nicod Prize in Paris in 2003.

Contents

Interfaces and generative grammar[edit]

Jackendoff argues against a syntax-centered view of generative grammar (called syntactocentrism by him), at variance with earlier models such as Standard Theory (1968); Extended Standard Theory (1972); Revised Extended Standard Theory (1975); Government and binding theory (1981); Minimalist program (1993), in which syntax is the sole generative component in the language. Jackendoff takes syntax, semantics and phonology all to be generative, connected amongst each other via interface components. Thus, the task of his theory is to formalize the proper interface rules.

While rejecting mainstream generative grammar due to its syntactocentrism, the cognitive semantics school has offered an insight that Jackendoff would sympathize with, namely, that meaning is a separate combinatorial system not entirely dependent upon syntax. Unlike many of the cognitive semantics approaches, he contends that neither syntax alone should determine semantics, nor vice-versa. Syntax need only interface with semantics to the degree necessary to produce properly ordered phonological output (see Jackendoff 1996, 2002; Culicover & Jackendoff 2005).

Contribution to musical cognition[edit]

Jackendoff, together with Fred Lerdahl, has been interested in the human capacity for music and its relationship to the human capacity for language. In particular, music has structure as well as grammar (a means by which sounds are combined into structures). When a listener hears music in an idiom he or she is familiar with, the music is not merely heard as a stream of sounds; rather, the listener constructs an unconscious understanding of the music and is able to understand pieces of music never heard previously. Jackendoff is interested in what cognitive structures or "mental representations" this understanding consists of in the listener's mind, how a listener comes to acquire the musical grammar necessary to understand a particular musical idiom, what innate resources in the human mind make this acquisition possible and, finally, what parts of the human music capacity are governed by general cognitive functions and what parts result from specialized functions geared specifically for music (Jackendoff & Lerdahl, 1983; Lerdahl, 2001). Similar questions have also been raised regarding human language, although there are differences. For instance, it is more likely that humans evolved a specialized language module than having evolved one for music, since even the specialized aspects of music comprehension are tied to more general cognitive functions [1]

See also[edit]

References[edit]

Selected works[edit]

  • Jackendoff, Ray (1972). Semantic Interpretation in Generative Grammar. Cambridge, MA: MIT Press. p. 400. ISBN 0-262-10013-4. 
  • Jackendoff, Ray (1977). X-Bar Syntax: A Study of Phrase Structure. Cambridge, MA: MIT Press. p. 248. ISBN 0-262-10018-5. 
  • Jackendoff, Ray (1983). Semantics and Cognition. Cambridge, MA: MIT Press. p. 283. ISBN 0-262-10027-4. 
  • Lerdahl, Fred & Ray Jackendoff (1983). A Generative Theory of Tonal Music. Cambridge, MA: MIT Press. p. 369. ISBN 0-262-12094-1. 
  • Jackendoff, Ray (1987). Consciousness and the Computational Mind. Cambridge, MA: MIT Press. p. 356. ISBN 0-262-10037-1. 
  • Jackendoff, Ray (1990). Semantic Structures. Cambridge, MA: MIT Press. p. 322. ISBN 0-262-10043-6. 
  • Jackendoff, Ray (1992). Languages of the Mind: Essays on Mental Representation. Cambridge, MA: MIT Press. p. 200. ISBN 0-262-10047-9. 
  • Jackendoff, Ray (1993). Patterns in the Mind: Language and Human Nature. New York, NY: Harvester Wheatsheaf. p. 243. ISBN 0-7450-0962-X. 
  • Jackendoff, Ray (1997). The Architecture of the Language Faculty. Cambridge, MA: MIT Press. p. 262. ISBN 0-262-10059-2. 
  • Jackendoff, Ray (2002). Foundations of Language: Brain, Meaning, Grammar, Evolution. Oxford: Oxford University Press. p. 477. ISBN 0-19-827012-7. 
  • Culicover, Peter W. & Ray Jackendoff (2005). Simpler syntax. Oxford: Oxford University Press. p. 589. ISBN 0-19-927108-9. 
  • Jackendoff, Ray (2007). Language, Consciousness, Culture: Essays on Mental Structure (Jean Nicod Lectures). Cambridge, MA: MIT Press. p. 403. ISBN 0-262-10119-X. 
  • Jackendoff, Ray (2010). Meaning and the Lexicon: The Parallel Architecture 1975–2010. Oxford: Oxford University Press. p. 504. ISBN 0-19-956888-X. 

Footnotes[edit]

External links[edit]


Original courtesy of Wikipedia: http://en.wikipedia.org/wiki/Ray_Jackendoff — Please support Wikipedia.
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44 videos foundNext > 

50 years of Linguistics at MIT, Lecture 1

Lexicon-syntax interactions: Beth Levin (1983 Computer Science), Idan Landau (1999), Ray Jackendoff (1969) Landau's handout can be downloaded at: http://web....

The Peculiar Logic of Human Values

Ray Jackendoff, External Professor, Santa Fe Institute February 13, 2008 How do humans conceptualize systems of value? Value can be thought of as an abstract...

Authors@Google: Ray Jackendoff

Jackendoff's talk on "The Peculiar Logic of Value" centers on how humans conceptualize systems of value. He hypothesizes that value is conceptualized as an a...

Nouns and Verbs

Ray Jackendoff (I think) talks about the metaphorical ontology of nouns and verbs, indicating that they exist within our cognitive apparatus as entities whic...

Education Book Review: Simpler Syntax by Peter W. Culicover, Ray Jackendoff

http://www.EducationBookMix.com This is the summary of Simpler Syntax by Peter W. Culicover, Ray Jackendoff.

Rhythm - Wiki Article

Rhythm generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions." This general mean...

The Record Players Concert VIII

The Record Players in 2008, performing (part of) movement 2 and 3 of Weber Clarinet Quintet; Ray Jackendoff, clarinet; Colin Davis, Lena Wong, violins; Kenne...

Talking 'bout Things

There is a fantastic poem by Borges called 'Things' which consists 'simply' of a list of magically realist things or entities, some of which might actually e...

Fred Lerdahl "Duo for Violin and Piano" Part 2/2 Elegy played by Rachel Field & Mia Elezovic

The Duo is in two contrasting parts that share underlying motivic, harmonic, and gestural patterns. The first movement, after quiet introductory chords in th...

Fred Lerdahl "Duo for Violin and Piano" Part 1/2 Disputation played by Rachel Field & Mia Elezovic

The Duo is in two contrasting parts that share underlying motivic, harmonic, and gestural patterns. The first movement, after quiet introductory chords in th...

44 videos foundNext > 

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