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This chapter discusses a theoretical framework for the cognitive study of music-language relations called resource sharing. Resource sharing makes a basic conceptual distinction between domain-specific knowledge and shared neural resources that operate upon this knowledge as part of cognitive processing. This framework was originally proposed as a way to reconcile contradictory evidence on music-language relations with respect to syntactic processing, since neuropsychology had pointed to independence and neuroimaging had pointed to overlap. The chapter expands this framework, applying it to online processes of syntactic comprehension and to developmental processes involved in learning the phonemic structure of language. In both cases, resource sharing suggests that aspects of language and music, which are very different in their structural organization, can have deep connections in terms of cognitive processing.

This chapter comments on the discussion in Chapter 22. Although it largely agrees with the chapter's notion of shared resource networks, it points out that little research has analysed in detail which cognitive mechanisms are shared between the two domains. It describes some of the processes that are likely to be limited to the processing of musical syntax and suggests cognitive functions that are shared between the syntactic processing of language and music.

This chapter expands the modularity position to action rather than to perception. Modularity in perception has been treated in several prior papers; action refers to singing and speaking. It reviews the literature on these two major modes of vocal expression and discusses their respective modularity. First, it provides a brief background on the contemporary notion of modularity. Next, it reviews the evidence for modularity in speaking and singing as arising from four sources: neuropsychological dissociation; overlap in neuroimaging; interference effects; and domain-transfer effects. Finally, it contrasts the modularity position with the resource-sharing framework proposed by Patel.

This chapter adds more comments to Chapter 22. It is sceptical of the chapter's proposal. It argues that the syntax of music and language are fundamentally different, and that music is not ‘syntactic’ in the way that language is. It then discusses the implications of this view for the chapter's resource sharing framework.

This chapter comments further on the arguments presented in Chapter 22. It discusses advances in neuroimaging techniques and implications for the chapter's shared syntactic integration resource hypothesis (SSIRH). It focuses on the predictions made by that chapter's SSIRH and on ways in which these can be tested by means of functional neuroimaging. It reviews a selection of novel techniques, including multivoxel pattern analysis (MVPA), and argues that tools such as MVPA might provide definite evidence for or against the SSIRH.

This chapter demonstrates how resource rights can be shared by overlapping groups with territorial rights. The allocation of resource rights between groups will follow roughly the same principles as the allocation of jurisdictional rights and competencies argued for in Chapters 9 and 10. The allocation of resource rights between units should, first, support the functional autonomy of each unit, relative to its jurisdictional remit and competencies. Second, the allocation of resource rights between units should follow the narrow principle of subsidiarity and the logic of achievement. The second half of the chapter argues that groups can legitimately acquire use-rights and property rights over resources, uniquely limited by the sustainability proviso. The final section introduces a warning against greedy takings that can be found in both Pufendorf’s and Locke’s work.

This chapter analyzes the political economy of digital critical editions and the development of research networks, as well as the ecological environment and the concrete human resources in digital critical edition. The first part builds on the scope of scholarly editing's “political economy in a pre-digital era,” and describes the human resources context that has followed the migration of critical edition to the digital world. Meanwhile, the second part discusses the impacts of collaborative work, human networks, open software ideology, and resource sharing on the new political economy of digital scholarly edition. Particular attention is given to the role of institutions such as publishers, research organizations and universities, and scientific networks in this new production environment.

This chapter interrogates the ‘musical’ aspects of Baudelaire’s poetry, including the music that inspired Baudelaire, the technical properties of his poetic texts which might be considered music-like, and the different music genres within which his poems have been set. It sets out a typology of song, examining how categorizations shift, particularly around the perceived boundaries between popular and classical music (such as chanson or mélodie). It addresses how the language we use to describe poetry’s relationship with music relies on extensive interart analogies, and explores whether recent developments in cognitive neuroscience can enhance our understanding of the connections between words and music through the model of shared resources. The chapter closes by proposing that scrutinizing the role of listeners’ imaginative capabilities in response to musical settings of poetry affords us a fresh way to understand how and why we use shared language to talk about both poetry and music.