Human melody singing by bullfinches (Pyrrhula pyrrula) gives hints about a cognitive note sequence processing

Examining the capability for rhythmic synchronization and music production in vocal learning parrot species

Vocal production learning and beat perception and synchronization (BPS) share some common characteristics, which makes the vocal learning and rhythmic synchronization hypothesis (VLH) a reasonable explanation for the evolution of the capability for rhythmic synchronization. However, even in vocal learners, it is rare to see non-human animals demonstrate BPS to human music. Therefore, the first objective of this article is to propose some possible reasons why we do not see BPS in budgerigars, an excellent vocal learning species, while presenting some of my own findings. The second objective of this article is to propose a seamless bridge to connect the capability for vocal learning and BPS in locomotion. For this purpose, I present my own findings, wherein cockatiels spontaneously sang in synchrony with a melody of human music. This behavior can be considered a vocal version of BPS. Therefore, it can establish a connection between these two capabilities. This article agrees with the possibility that some mechanisms other than the vocal learning system may enable BPS, contrary to the original idea of VLH. Nevertheless, it is still reasonable to connect the capability for vocal learning and that for BPS. At the very least, the capability for vocal learning may contribute to the evolution of BPS. From these arguments, this article also proposes a scenario which includes vocalizing in synchrony as a driving force for the evolution of BPS and the capability for music production.

Vocal learning as a preadaptation for the evolution of human beat perception and synchronization

The human capacity to synchronize movements to an auditory beat is central to musical behaviour and to debates over the evolution of human musicality. Have humans evolved any neural specializations for music processing, or does music rely entirely on brain circuits that evolved for other reasons? The vocal learning and rhythmic synchronization hypothesis proposes that our ability to move in time with an auditory beat in a precise, predictive and tempo-flexible manner originated in the neural circuitry for complex vocal learning. In the 15 years, since the hypothesis was proposed a variety of studies have supported it. However, one study has provided a significant challenge to the hypothesis. Furthermore, it is increasingly clear that vocal learning is not a binary trait animals have or lack, but varies more continuously across species. In the light of these developments and of recent progress in the neurobiology of beat processing and of vocal learning, the current paper revises the vocal learning hypothesis. It argues that an advanced form of vocal learning acts as a preadaptation for sporadic beat perception and synchronization (BPS), providing intrinsic rewards for predicting the temporal structure of complex acoustic sequences. It further proposes that in humans, mechanisms of gene-culture coevolution transformed this preadaptation into a genuine neural adaptation for sustained BPS. The larger significance of this proposal is that it outlines a hypothesis of cognitive gene-culture coevolution which makes testable predictions for neuroscience, cross-species studies and genetics. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.

Cockatiels sing human music in synchrony with a playback of the melody

It is known among aviculturists that cockatiels imitate human music with their whistle-like vocal sounds. The present study examined whether cockatiels are also able to sing “in unison”, or, line up their vocalizations with a musical melody so that they occur at the same time. Three hand-raised cockatiels were exposed to a musical melody of human whistling produced by an experimenter. All the birds learned to sing the melody. Then, two out of these three birds spontaneously joined in singing during an ongoing melody, so that the singing by the bird and the whistling by the human were nearly perfectly synchronous. Further experiments revealed that the birds actively adjusted their vocal timing to playback of a recording of the same melody. This means cockatiels have a remarkable ability for flexible vocal control similar to what is seen in human singing. The proximate/ultimate factors for this behavior and implications for musicality in humans are discussed.

Music Evolution in the Laboratory: Cultural Transmission Meets Neurophysiology

In recent years, there has been renewed interest in the biological and cultural evolution of music, and specifically in the role played by perceptual and cognitive factors in shaping core features of musical systems, such as melody, harmony, and rhythm. One proposal originates in the language sciences. It holds that aspects of musical systems evolve by adapting gradually, in the course of successive generations, to the structural and functional characteristics of the sensory and memory systems of learners and “users” of music. This hypothesis has found initial support in laboratory experiments on music transmission. In this article, we first review some of the most important theoretical and empirical contributions to the field of music evolution. Next, we identify a major current limitation of these studies, i.e., the lack of direct neural support for the hypothesis of cognitive adaptation. Finally, we discuss a recent experiment in which this issue was addressed by using event-related potentials (ERPs). We suggest that the introduction of neurophysiology in cultural transmission research may provide novel insights on the micro-evolutionary origins of forms of variation observed in cultural systems.

Songbirds use spectral shape, not pitch, for sound pattern recognition

Humans easily recognize "transposed" musical melodies shifted up or down in log frequency. Surprisingly, songbirds seem to lack this capacity, although they can learn to recognize human melodies and use complex acoustic sequences for communication. Decades of research have led to the widespread belief that songbirds, unlike humans, are strongly biased to use absolute pitch (AP) in melody recognition. This work relies almost exclusively on acoustically simple stimuli that may belie sensitivities to more complex spectral features. Here, we investigate melody recognition in a species of songbird, the European Starling (Sturnus vulgaris), using tone sequences that vary in both pitch and timbre. We find that small manipulations altering either pitch or timbre independently can drive melody recognition to chance, suggesting that both percepts are poor descriptors of the perceptual cues used by birds for this task. Instead we show that melody recognition can generalize even in the absence of pitch, as long as the spectral shapes of the constituent tones are preserved. These results challenge conventional views regarding the use of pitch cues in nonhuman auditory sequence recognition.

Searching for the origins of musicality across species

In the introduction to this theme issue, Honing et al. suggest that the origins of musicality--the capacity that makes it possible for us to perceive, appreciate and produce music--can be pursued productively by searching for components of musicality in other species. Recent studies have highlighted that the behavioural relevance of stimuli to animals and the relation of experimental procedures to their natural behaviour can have a large impact on the type of results that can be obtained for a given species. Through reviewing laboratory findings on animal auditory perception and behaviour, as well as relevant findings on natural behaviour, we provide evidence that both traditional laboratory studies and studies relating to natural behaviour are needed to answer the problem of musicality. Traditional laboratory studies use synthetic stimuli that provide more control than more naturalistic studies, and are in many ways suitable to test the perceptual abilities of animals. However, naturalistic studies are essential to inform us as to what might constitute relevant stimuli and parameters to test with laboratory studies, or why we may or may not expect certain stimulus manipulations to be relevant. These two approaches are both vital in the comparative study of musicality.

Is there a tape recorder in your head? How the brain stores and retrieves musical melodies

Music consists of strings of sound that vary over time. Technical devices, such as tape recorders, store musical melodies by transcribing event times of temporal sequences into consecutive locations on the storage medium. Playback occurs by reading out the stored information in the same sequence. However, it is unclear how the brain stores and retrieves auditory sequences. Neurons in the anterior lateral belt of auditory cortex are sensitive to the combination of sound features in time, but the integration time of these neurons is not sufficient to store longer sequences that stretch over several seconds, minutes or more. Functional imaging studies in humans provide evidence that music is stored instead within the auditory dorsal stream, including premotor and prefrontal areas. In monkeys, these areas are the substrate for learning of motor sequences. It appears, therefore, that the auditory dorsal stream transforms musical into motor sequence information and vice versa, realizing what are known as forward and inverse models. The basal ganglia and the cerebellum are involved in setting up the sensorimotor associations, translating timing information into spatial codes and back again.