ABSTRACT: Although both language and music are governed by the "Biological Principle of Rhythm" (Feng 2022), the roles of repetition and alternation in the two domains differ significantly. In language, repetition and alternation exist within abstract phonological structure, and the repetition of phonetic units serves only rhetorical purposes. In contrast, the repetition of musical units is obligatory to construct a perceivable and predictable periodicity. This paper introduces the concept of "tactus," identifying it as the inner pulse in human rhythmic perception, which can serve as an interface between linguistic and musical rhythm. For music, sequences of tactus realize repetition, while alternation occurs between tactus and nontactus positions. In poetry, grammatical prosodic units are mapped onto tactus positions to form the skeleton of poetic lines, whereas non-tactus positions accommodate non-branching prosodic constituents. Thus, the tactus-based framework defines the poetic meter generation as a process wherein well-formed prosodic units are mapped onto tactus positions within designated poetic templates. 摘要: 本文在前人对诗律生成原理的既有研究基础上，论证了诗歌运用语言 韵律单位实现音乐节律效应的原理与机制。基于冯胜利提出的"节奏 生理原则 Biological Principle of Rhythm"，本文认为尽管语言与音乐 均受到节律生理本能的支配，但重复与交替在二者中扮演的角色并不 相同：语言中重复与交替存在于抽象的音系结构中，表层语音单位的 重复仅为实现修辞效果，不具有强制性；音乐单位的重复则必不可少， 唯有通过节拍的重复才能构建可感知、可预测的周期性，进而产生节 律美感。文章引入"律拍 tactus"这一概念，指出其为人类节律感知 时的基本脉冲，可作为语言节律与音乐节律的界面：音乐节律中，成 序列的律拍实现重复，律拍与非律拍之间构成交替，而语言中合语法 的韵律单位映射在律拍位置构成诗行骨架，非律拍位置则允准非分枝 的韵律成分(单韵素、弱音节、停延等)填入。如此，此前被描述为"重 音—模板映射"的诗律生成机制可重新定义为特定诗歌模板内合格韵 律单位向律拍映射的过程。基于律拍的分析框架具有跨语言的适用性， 对西方诗歌(如拉丁语《埃涅阿斯纪》、英语十四行诗)、东方诗歌(如 松尾芭蕉日语俳句以及《关雎》《离骚》等中国古典诗歌)的诗歌韵律 的生成均具有解释力。
Yinan Wu (Thu,) studied this question.