The Origins Of Musicality

Interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Research shows that all humans have a predisposition for music, just as they do for language. All of us can perceive and enjoy music, even if we can't carry a tune and consider ourselves “unmusical.” This volume offers interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Scholars from biology, musicology, neurology, genetics, computer science, anthropology, psychology, and other fields consider what music is for and why every human culture has it; whether musicality is a uniquely human capacity; and what biological and cognitive mechanisms underlie it. Contributors outline a research program in musicality, and discuss issues in studying the evolution of music; consider principles, constraints, and theories of origins; review musicality from cross-cultural, cross-species, and cross-domain perspectives; discuss the computational modeling of animal song and creativity; and offer a historical context for the study of musicality. The volume aims to identify the basic neurocognitive mechanisms that constitute musicality (and effective ways to study these in human and nonhuman animals) and to develop a method for analyzing musical phenotypes that point to the biological basis of musicality. Contributors Jorge L. Armony, Judith Becker, Simon E. Fisher, W. Tecumseh Fitch, Bruno Gingras, Jessica Grahn, Yuko Hattori, Marisa Hoeschele, Henkjan Honing, David Huron, Dieuwke Hupkes, Yukiko Kikuchi, Julia Kursell, Marie-Élaine Lagrois, Hugo Merchant, Björn Merker, Iain Morley, Aniruddh D. Patel, Isabelle Peretz, Martin Rohrmeier, Constance Scharff, Carel ten Cate, Laurel J. Trainor, Sandra E. Trehub, Peter Tyack, Dominique Vuvan, Geraint Wiggins, Willem Zuidema

Interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Research shows that all humans have a predisposition for music, just as they do for language. All of us can perceive and enjoy music, even if we can't carry a tune and consider ourselves “unmusical.” This volume offers interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Scholars from biology, musicology, neurology, genetics, computer science, anthropology, psychology, and other fields consider what music is for and why every human culture has it; whether musicality is a uniquely human capacity; and what biological and cognitive mechanisms underlie it. Contributors outline a research program in musicality, and discuss issues in studying the evolution of music; consider principles, constraints, and theories of origins; review musicality from cross-cultural, cross-species, and cross-domain perspectives; discuss the computational modeling of animal song and creativity; and offer a historical context for the study of musicality. The volume aims to identify the basic neurocognitive mechanisms that constitute musicality (and effective ways to study these in human and nonhuman animals) and to develop a method for analyzing musical phenotypes that point to the biological basis of musicality. Contributors Jorge L. Armony, Judith Becker, Simon E. Fisher, W. Tecumseh Fitch, Bruno Gingras, Jessica Grahn, Yuko Hattori, Marisa Hoeschele, Henkjan Honing, David Huron, Dieuwke Hupkes, Yukiko Kikuchi, Julia Kursell, Marie-Élaine Lagrois, Hugo Merchant, Björn Merker, Iain Morley, Aniruddh D. Patel, Isabelle Peretz, Martin Rohrmeier, Constance Scharff, Carel ten Cate, Laurel J. Trainor, Sandra E. Trehub, Peter Tyack, Dominique Vuvan, Geraint Wiggins, Willem Zuidema

This volume investigates the evolutionary origins of our musical abilities, the nature of music, and the earliest archaeological evidence for musical activities amongst our ancestors. It seeks to understand the relationship between our musical capabilities and the development of our social, emotional, and communicative abilities as a species.

A music researcher's quest to discover other musical species. Even those of us who can't play a musical instrument or lack a sense of rhythm can perceive and enjoy music. Research shows that all humans possess the trait of musicality. We are a musical species—but are we the only musical species? Is our musical predisposition unique, like our linguistic ability? In The Evolving Animal Orchestra, Henkjan Honing embarks upon a quest to discover if humans share the trait of musicality with other animals. Charles Darwin believed that musicality was a capacity of all animals, human and nonhuman, with a clear biological basis. Taking this as his starting point, Honing—a music cognition researcher—visits a series of biological research centers to observe the ways that animals respond to music. He has studied scientists' accounts of Snowball, the cockatoo who could dance to a musical beat, and of Ronan, the sea lion, who was trained to move her head to a beat. Now Honing will be able to make his own observations. Honing tests a rhesus monkey for beat perception via an EEG; performs a listening experiment with zebra finches; considers why birds sing, and if they intend their songs to be musical; explains why many animals have perfect pitch; and watches marine mammals respond to sounds. He reports on the unforeseen twists and turns, doubts, and oversights that are a part of any scientific research—and which point to as many questions as answers. But, as he shows us, science is closing in on the biological and evolutionary source of our musicality.

This important study in ethnomusicology is an attempt by the author -- a musician who has become a social anthropologist -- to compare his experiences of music-making in different cultures. He is here presenting new information resulting from his research into African music, especially among the Venda. Venda music, he discovered is in its way no less complex in structure than European music. Literacy and the invention of nation may generate extended musical structures, but they express differences of degree, and not the difference in kind that is implied by the distinction between 'art' and 'folk' music. Many, if not all, of music's essential processes may be found in the constitution of the human body and in patterns of interaction of human bodies in society. Thus all music is structurally, as well as functionally, 'folk' music in the sense that music cannot be transmitted of have meaning without associations between people. If John Blacking's guess about the biological and social origins of music is correct, or even only partly correct, it would generate new ideas about the nature of musicality, the role of music in education and its general role in societies which (like the Venda in the context of their traditional economy) will have more leisure time as automation increases.

A fascinating and incisive examination of our language instinct from award-winning science writer Steven Mithen. Along with the concepts of consciousness and intelligence, our capacity for language sits right at the core of what makes us human. But while the evolutionary origins of language have provoked speculation and impassioned debate, music has been neglected if not ignored. Like language it is a universal feature of human culture, one that is a permanent fixture in our daily lives. In THE SINGING NEANDERTHALS, Steven Mithen redresses the balance, drawing on a huge range of sources, from neurological case studies through child psychology and the communication systems of non-human primates to the latest paleoarchaeological evidence. The result is a fascinating and provocative work and a succinct riposte to those, like Steven Pinker, who have dismissed music as a functionless and unimportant evolutionary byproduct.

The book can be viewed as representing the birth of evolutionary biomusicology. What biological and cognitive forces have shaped humankind's musical behavior and the rich global repertoire of musical structures? What is music for, and why does every human culture have it? What are the universal features of music and musical behavior across cultures? In this groundbreaking book, musicologists, biologists, anthropologists, archaeologists, psychologists, neuroscientists, ethologists, and linguists come together for the first time to examine these and related issues. The book can be viewed as representing the birth of evolutionary biomusicology—the study of which will contribute greatly to our understanding of the evolutionary precursors of human music, the evolution of the hominid vocal tract, localization of brain function, the structure of acoustic-communication signals, symbolic gesture, emotional manipulation through sound, self-expression, creativity, the human affinity for the spiritual, and the human attachment to music itself. Contributors Simha Arom, Derek Bickerton, Steven Brown, Ellen Dissanayake, Dean Falk, David W. Frayer, Walter Freeman, Thomas Geissmann, Marc D. Hauser, Michel Imberty, Harry Jerison, Drago Kunej, François-Bernard Mâche, Peter Marler, Björn Merker, Geoffrey Miller, Jean Molino, Bruno Nettl, Chris Nicolay, Katharine Payne, Bruce Richman, Peter J.B. Slater, Peter Todd, Sandra Trehub, Ivan Turk, Maria Ujhelyi, Nils L. Wallin, Carol Whaling

Listening is a social process. Even apparently trivial acts of listening are expert performances of acquired cognitive and bodily habits. Contemporary scholars acknowledge this fact with the notion that there are “auditory cultures.” In the fourth century BCE, Greek philosophers recognized a similar phenomenon in music, which they treated as a privileged site for the cultural manufacture of sensory capabilities, and proof that in a traditional culture perception could be ordered, regular, and reliable. This approachable and elegantly written book tells the story of how music became a vital topic for understanding the senses and their role in the creation of knowledge. Focussing in particular on discussions of music and sensation in Plato and Aristoxenus, Sean Gurd explores a crucial early chapter in the history of hearing and gently raises critical questions about how aesthetic traditionalism and sensory certainty can be joined together in a mutually reinforcing symbiosis.