Phylogenetic reconstruction of the cultural evolution of electronic music via dynamic community detection (1975–1999)

Global musical diversity is largely independent of linguistic and genetic histories

Music is a universal yet diverse cultural trait transmitted between generations. The extent to which global musical diversity traces cultural and demographic history, however, is unresolved. Using a global musical dataset of 5242 songs from 719 societies, we identify five axes of musical diversity and show that music contains geographical and historical structures analogous to linguistic and genetic diversity. After creating a matched dataset of musical, genetic, and linguistic data spanning 121 societies containing 981 songs, 1296 individual genetic profiles, and 121 languages, we show that global musical similarities are only weakly and inconsistently related to linguistic or genetic histories, with some regional exceptions such as within Southeast Asia and sub-Saharan Africa. Our results suggest that global musical traditions are largely distinct from some non-musical aspects of human history.

Universality, domain-specificity, and development of psychological responses to music

Humans can find music happy, sad, fearful, or spiritual. They can be soothed by it or urged to dance. Whether these psychological responses reflect cognitive adaptations that evolved expressly for responding to music is an ongoing topic of study. In this Review, we examine three features of music-related psychological responses that help to elucidate whether the underlying cognitive systems are specialized adaptations: universality, domain-specificity, and early expression. Focusing on emotional and behavioural responses, we find evidence that the relevant psychological mechanisms are universal and arise early in development. However, the existing evidence cannot establish that these mechanisms are domain-specific. To the contrary, many findings suggest that universal psychological responses to music reflect more general properties of emotion, auditory perception, and other human cognitive capacities that evolved for non-musical purposes. Cultural evolution, driven by the tinkering of musical performers, evidently crafts music to compellingly appeal to shared psychological mechanisms, resulting in both universal patterns (such as form-function associations) and culturally idiosyncratic styles.

Semantics of European poetry is shaped by conservative forces: The relationship between poetic meter and meaning in accentual-syllabic verse

Recent advances in cultural analytics and large-scale computational studies of art, literature and film often show that long-term change in the features of artistic works happens gradually. These findings suggest that conservative forces that shape creative domains might be underestimated. To this end, we provide the first large-scale formal evidence of the association between poetic meter and semantics in 18-19th century European literatures, using Czech, German and Russian collections with additional data from English poetry and early modern Dutch songs. Our study traces this association through a series of unsupervised classifications using the abstracted semantic features of poems that are inferred for individual texts with the aid of topic modeling. Topics alone enable recognition of the meters in each observed language, as may be seen from the same-meter samples clustering together (median Adjusted Rand Index between 0.48 and 1 across traditions). In addition, this study shows that the strength of the association between form and meaning tends to decrease over time. This may reflect a shift in aesthetic conventions between the 18th and 19th centuries as individual innovation was increasingly favored in literature. Despite this decline, it remains possible to recognize semantics of the meters from past or future, which suggests the continuity in meter-meaning relationships while also revealing the historical variability of conditions across languages. This paper argues that distinct metrical forms, which are often copied in a language over centuries, also maintain long-term semantic inertia in poetry. Our findings highlight the role of the formal features of cultural items in influencing the pace and shape of cultural evolution.

Quantifying the dynamics of nearly 100 years of dominance hierarchy research

Dominance hierarchies have been studied for almost 100 years. The science of science approach used here provides high-level insight into how the dynamics of dominance hierarchy research have shifted over this long timescale. To summarize these patterns, I extracted publication metadata using a Google Scholar search for the phrase 'dominance hierarchy', resulting in over 26 000 publications. I used text mining approaches to assess patterns in three areas: (1) general patterns in publication frequency and rate, (2) dynamics of term usage and (3) term co-occurrence in publications across the history of the field. While the overall number of publications per decade continues to rise, the percent growth rate has fallen in recent years, demonstrating that although there is sustained interest in dominance hierarchies, the field is no longer experiencing the explosive growth it showed in earlier decades. Results from title term co-occurrence networks and community structure show that the different subfields of dominance hierarchy research were most strongly separated early in the field's history while modern research shows more evidence for cohesion and a lack of distinct term community boundaries. These methods provide a general view of the history of research on dominance hierarchies and can be applied to other fields or search terms to gain broad synthetic insight into patterns of interest, especially in fields with large bodies of literature. This article is part of the theme issue 'The centennial of the pecking order: current state and future prospects for the study of dominance hierarchies'.

Sequence alignment of folk song melodies reveals cross-cultural regularities of musical evolution

Culture evolves,^1-5 but the existence of cross-culturally general regularities of cultural evolution is debated.^6-8 As a diverse but universal cultural phenomenon, music provides a novel domain to test for the existence of such regularities.^9-12 Folk song melodies can be thought of as culturally transmitted sequences of notes that change over time under the influence of cognitive and acoustic/physical constraints.^9-15 Modeling melodies as evolving sequences constructed from an "alphabet" of 12 scale degrees¹⁶ allows us to quantitatively test for the presence of cross-cultural regularities using a sample of 10,062 melodies from musically divergent Japanese and English (British/American) folk song traditions.^17,18 Our analysis identifies 328 pairs of highly related melodies, finding that note changes are more likely when they have smaller impacts on a song's melody. Specifically, (1) notes with stronger rhythmic functions are less likely to change, and (2) note substitutions are most likely between neighboring notes. We also find that note insertions/deletions ("indels") are more common than note substitutions, unlike genetic evolution where the reverse is true. Our results are consistent across English and Japanese samples despite major differences in their scales and tonal systems. These findings demonstrate that even a creative art form such as music is subject to evolutionary constraints analogous to those governing the evolution of genes, languages, and other domains of culture.