Abstract
1. Background: the music-language connection Deeply rooted in the public consciousness is a pervasive, if for the most part unarticulated, suspicion that a language-music conspiracy lurks somewhere in the recesses of the human brain. The Boston Symphony Orchestra’s rousing visit to China a few years ago (widely publicized by television networks) illustrates vividly this popular sentiment. According to a report carried in the 2 April, 1979 issue of Time Magazine, one major criticism of Chinese musicianship focused on the inability to sustain rhythm and tempo over a long stretch. Conductor Seiji Ozawa commented thus:
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