Solresol

Solresol is an invented language of the 19th century based on the seven notes of the C major scale, although in principle one could use any seven-note scale. This may seem an odd origin for an a priori system, unless one realizes that the inventor, one Francois Sudre, a French patriot, had developed it for military communications before the invention of the telegraph. This musical origin explains the use of relative length and stress in determining gender and plurality, and the profoundly non-anthropic use of a pause after every word. Sudre, a native French speaker, was still bound by the gender and number constraints of his mother tongue. Sudre's musical language was deemed brilliant, but unusable by the French military, which devastated the patriot. Since his system rested on the use of seven distinct units, there was no restriction in principle to the realm of music or speech. Sudre developed Solresol formats based on noise, touch, color and other media. All this creativity took place before Gallatin and the invention of Braille, so a communication system for the blind, the deaf, and the mute was a pressing concern for creators of invented languages or those who serves the disadvantaged communities. Whereas previous a priori languages had categorized concepts in a tree familiar to present-day biology students, Sudre used a series of notes or repetition of the same note to indicate the categories. Since Solresol had to be spoken as well as played and sung, the words were monophonic rather than polyphonic. Solresol suffered from this characteristic flaw of logical languages: the systematic categorization of concepts result in similar concepts sounding too similiar in phonology. This, in fact, may have been one of the reasons for the French military's rejection of Solresol. For some years, Sudre toured Europe promoting his language, but the audiences tended to view Solresol as an ingenious parlor trick rather than a valid method of communication.

Solresol enjoyed a brief popularity at the end of the 19th century, but then died out. Its infamy among those who are interested in logical and creative languages stems from its inherent bizarreness, while other, more conventional spoken systems have been forgotten. The Esperanto Wikipedia, naturally, has an extensive article on it. I suspect it was more tolerable to hear in the days when every cultured person was expected to play an instrument or sing. I suspect there were severe constraints on its flexibility and ability to create new vocabulary, but the current resources I can find on Solresol are so meager it is hard to be sure. There is a grammar (http://mozai.com/writing/not_mine/solresol/sorsoeng.htm), but the dictionary is missing, and somehow I doubt that the early 20th-century Paris address is still valid. I have watched an extraordinary video of the balcony scene in Solresol
( http://www.youtube.com/watch?v=CK9lspk0hAM )
( http://www.youtube.com/watch?v=Zf83Z1rUMCo&feature=related )
and the band Melomane has a song called Solresol
( http://www.youtube.com/watch?v=XPISqn7VfNY )
, although the song is neither in Solresol nor, I suspect, translatable into it due to the presence of of flats and sharps in the song. The most famous, if unnoticed, use of Solresol in modern media is its use as the language of the aliens in Encounters of the Third Kind
( http://www.imdb.com/find?s=all&q=encounters+of+the+third+kind ).
This seems to be an homage to the use of Esperanto as a non-descript human language in films set "abroad", and explains why the notes at the end have the feel of a language, despite their brevity.