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, 2012). In considering ��syntax�� there is tendency to get stuck into the narrow notion of [http://www.selleckchem.com/products/ly2157299.html selleck kinase inhibitor] syntax in language, but considering broad notion of syntax could provide deeper  insight into similarities and differences of music and language. Limitation of Language-Based Explanation for Musical Syntax The problem of such language-based comparison is, however, that musical syntactic structures, in which several mechanisms such as tonal encoding of pitch, meter, and grouping are interacting, cannot be perfectly aligned with hierarchical structures of language (see Table ?Table1).1). That is, comparative research on syntax in music and language includes some ��gray zones�� where similarities and differences exist at the same time. Even though we adapt  the broad notion of syntax including phonology, insofar as we adapt specific linguistic concepts to music, the comparison cannot be achieved. TABLE 1 Overview of similarities and differences of music and language. The similarity between musical and linguistic syntax at the level of narrow-sense syntax comparison boils down to the fact that they can be organized as headed hierarchies (Jackendoff, 2009). Musical headed hierarchy (prolongational structure), in which relative structural importance of the pitch event is determined by rhythmic and harmonic stability, cannot be perfectly aligned with linguistic headed hierarchy based on syntactic categories, propositional meaning, and lexical combinatorial units. In music, first of all, some elements are regarded as head and the others as modifiers or elaborations of the head based on the relative importance and syntactic categories like (N)oun or V(erb) does not exist (Jackendoff, 2009).  Tonal functions (e.g., tonic, dominant, and subdominant) are regarded as ��categorical�� in some sense (Patel, 2013), but they are ��categorical�� in the way a certain noun can be interpreted as several syntactic functions (e.g., subject as well as object) depending on its current context and not like the syntactic categories (London, 2012a). Thus, prolongational structures represent ��noncategorical elaborative relations�� (Lerdahl, 2013). Moreover, there are many musical idioms that do not make use of such a complex pitch structure. Thus, only focusing on tonal functions without considering rhythmic syntax (Fitch, 2013) is not fruitful for the comparison of syntax in music and language.6 Second, the relationship between head and elaborations in music define the tension-relaxation pattern of the sequence and thus encodes affect (Lerdahl and Jackendoff, 1983) which is regarded as more directly corresponding with the level of body representation rather than with conceptual structure (Jackendoff, 1987).