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Musical surrogate languages like talking drums remain understudied in the linguistics literature, despite their close connection with the phonetics and phonology of the spoken language. African surrogate languages tend to be based on tone, making them a unique angle for studying a language’s tonal system. This paper looks at the encoding of Akan tone in three instrumental surrogate languages: the atumpan drums, the seperewa harp, and the abɛntia horn trumpet. Each instrument presents different organological constraints that could shape how the tone system is transposed to musical form. Drawing on novel data elicited with musicians in Ghana, we show that all three systems are built on a two-tone foundation mirroring the Akan tone system, but with subtle differences in the treatment of downstep and intonational effects like phrase-final lowering and lax question intonation. 

This paper analyzes the musical surrogate encoding of Seenku (Mande, Burkina Faso) syllable structure on the balafon, a resonator xylophone used by the Sambla ethnicity. The elements of syllable structure that are encoded include vowel length, sesquisyllabicity, diphthongs, and nasal codas. Certain elements, like vowel length and sesquisyllabicity, involve categorical encoding through conscious rules of surrogate speech, while others, like diphthongs and nasal codas, vary between being treated as simple or complex. Beyond these categorical encodings, subtler aspects of rhythmic structure find their way into the speech surrogate through durational differences; these include duration differences from phonemic distinctions like vowel length in addition to subphonemic differences due to phrasal position. I argue that these subconscious durational differences arise from a “phonetic filter”, which mediates between the musician’s inner voice and their non-verbal behavior. Specifically, syllables encoded on the balafon may be timed according to the perceptual center (p-center) of natural spoken rhythm, pointing to a degree of phonetic detail in a musician’s inner speech. 

The tonal nature of many African languages has long raised questions about mu- sical expression and the relationship between language and music. The two main areas of inquiry have been the relationship between tone and melody in vocal mu- sic (tonal textsetting) and the role of tone in musical surrogate languages (e.g. talk- ing drums). However, the degree of similarity between these two genres in terms of tonal adaptation has remained an open question. In this paper, we present a case study comparing the role of tone in two musical traditions from the Sambla ethnic group of Burkina Faso: vocal music and a balafon (xylophone) surrogate lan- guage. We show that the two have different systems of tone-note correspondence and level of phonological encoding, indicating that musical adaptation of tone is not monolithic. We suggest that these different systems of tonal adaptation may stem from functional, structural, and cultural differences between the two musical genres. 

Languages in the Samogo group display a phenomenon referred to as “floating” or “latent” nasals. Though belonging to the end of a word (either synchronically or diachronically) in coda position, latent nasals more often appear as mutations or modifications to either the initial consonant of the following morpheme or the preceding vowel. This paper draws together extant descriptive data on Samogo nasals and considers them in the broader typology of consonant and vowel nasality in Mande. Finally, the question of phonological representation vs. phonetic realization is considered with preliminary acoustic data from Seenku [sos]; the weak surface realization of the nasal raises questions about an analysis in which it is floating and suggests that recent developments in Gradient Symbolic Representation (Smolensky & Goldrick 2016) may be applicable to the data. 

This article makes the case for linguists to take part in the study of musical surrogate languages, where linguistic form is transposed onto music. It draws on the case study of the Sambla balafon, a West African resonator xylophone. Seenku (Northwestern Mande, Samogo), the language of the Sambla people, has a highly complex tonal system, whose four contrastive levels and multiple contour tones are encoded musically in the notes of the balafon, allowing musicians to communicate without ever opening their mouths. I analyze the grammar of the surrogate language and demonstrate its use in both phonological analysis and language documentation. 

Though the study of metrics and poetic verse has long informed phonological theory, studies of musical adaptation remain on the fringe of linguistic theory. In this paper, I argue that musical adaptation provides a unique window in speakers’ knowledge of their phonological system, which can provide crucial evidence for phonological theory. I draw on two case studies from my fieldwork in West Africa: tonal textsetting of sung folk music in Tommo So (Dogon, Mali) and the balafon surrogate language in Seenku (Mande, Burkina Faso). I show how results of these studies provide evidence for different levels of phonological grammar, the phonetics-phonology interface, and incomplete application of grammatical tone. Further, the case of the balafon surrogate language shows how studying music can be a valuable tool in language documentation and phonological description. Finally, preliminary study of Seenku tonal textsetting suggests important differences in the level of phonological encoding in vocal music vs. instrumental surrogate speech. 

Seenku (ISO 639-3: sos) is a Western Mande language of the Samogo group, whose other members include languages like Dzùùngoo (Solomiac 2014), Jowulu (Djilla, Eenkhoorn & Eenkhoorn-Pilon 2004), and Duungooma (Hochstetler 1996), spoken on either side of the Mali-Burkina Faso border. The endonymic language name Seenku sɛ̃́ː-kû] (also spelled on Ethnologue as Seeku) literally means ‘thing of the Sɛ̃ː ethnicity’, but it is widely known to outsiders as Sembla (variant spelling Sambla), which doubles as an exonym for the ethnicity. Seenku has two primary dialects, Northern and Southern, spoken in villages approximately 40 km west of Bobo-Dioulasso in Burkina Faso (see map in Figure 1). This study focuses on the more populous southern dialect, particularly the variety spoken in and around the large village center of Bouendé (local name [ɡ͡béné-ɡũ]), with a population of approximately 12,000 speakers; the Northern dialect, spoken around the village center of Karangasso (local name [təmî]), has a population of approximately 5000 speakers and was the subject of a sketch grammar (Prost 1971). The southern dialect had until recently received little scholarly attention, with the exception of a Master's thesis on the morphophonology at the Université de Ouagadougou (Congo 2013), but is now the subject of the NSF Documenting Endangered Languages grant supporting this research (BCS-1664335). Other published work includes McPherson (2017a, b, c, d). 

When faced with complex phrasal phonological patterns, linguists are faced with a dilemma: since complex phenomena rarely lend themselves to simple analyses, where is the analytical complexity best justified? This talk explores the question using the test case of argument-head tone sandhi in Seenku (Western Mande, Burkina Faso), arguing that a morphological approach with a hierarchical lexicon offers a fuller account of the data than a complex phonological one. In Seenku, internal arguments trigger sandhi on their following heads. Like Taiwanese, tone changes are largely paradigmatic, but unlike most Sinitic sandhi systems, each base tone has more than one sandhi tone, depending on the argument's tone and whether it is pronominal or non-pronominal. A phonological account would necessitate mechanisms like anti-faithfulness or contrast preservation, but just a single underlying form could be maintained. A morphological account treats the alternations as allomorph selection, which requires a hierarchical lexicon with paradigms of subcategorization frames. Both approaches introduce complexity, but the phonological approach fails to account for several data patterns, including differences between pronominal and non-pronominal arguments, the immutability of multi-tonal heads, and lexical exceptions. Further, the single underlying form would be necessarily abstract, since certain heads appear obligatorily with an argument and hence always undergo sandhi. The allomorph selection approach addresses each of these complications and more naturally characterizes the linguistic competence of Seenku speakers. This result suggests that the lexicon may play a more powerful role than is often assumed, especially in cases where sound change has obscured once transparent phonological motivations.