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Text-setting patterns in music have served as a key data source in the development of theories of prosody and rhythm in stress-based languages, but have been explored less from a rhythmic perspective in the realm of tone languages. African tone languages have been especially under-studied in terms of rhythmic patterns in text-setting, likely in large part due to the ill-understood status of metrical structure and prosodic prominence asymmetries in many of these languages. Here, we explore how language is mapped to rhythmic structure in traditional folksongs sung in Medʉmba, a Grassfields Bantu language spoken in Cameroon. We show that, despite complex and varying rhythmic structures within and across songs, correspondences emerge between musical rhythm and linguistic structure at the level of stem position, tone, and prosodic structure. Our results reinforce the notion that metrical prominence asymmetries are present in African tone languages, and that they play an important coordinative role in music and movement. 

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.