The task set out for us in this curated section of the Yearbook is, from the perspective I present here, problematic. We are invited to consider utterances on the boundaries between speech and song, and I cannot help thinking that this is like being asked to consider bodies at the border between the air and Canada. Though the terms “speech” and “song” both have numerous meanings, speech generally refers to something relatively concrete: the use of the human voice to convey linguistic meaning. The term speech is like the term air; it refers to something intangible but still concrete. Song, on the other hand, is like Canada. It is a reification. How do we address the space between something concrete and something imagined? Song's borders lie at a variety of distinct perceived locations. Unlike with speech, we cannot objectively determine the line between song and non-song. Even if no one shares your sense of where the borders of song lie, no one has the authority to claim you are wrong. Others may be correct to deem your judgment as culturally inappropriate in a given context, but not objectively untrue. If I hear all speech as song, you cannot prove me wrong. If you see all running as dance, I have no solid ground to assert that it's not. We can quibble over intention and the importance of shared cultural conceptions, but ultimately there is no objectively verifiable way to confirm an utterance as song.