Origins of music in credible signaling

Chinese Folk Songs Can Facilitate Chinese Language Learning - A Pilot Study

While previous research has demonstrated the beneficial role of pop music in foreign language learning, there is a lack of studies exploring the potential impact of Chinese folk songs on Mandarin language acquisition. This study aimed to investigate whether a curriculum based on Chinese folk songs enhances the outcomes of Mandarin Chinese learning in foreign speakers. International students in a university in Beijing who were attending regular Mandarin courses were allocated into two groups: the group receiving an additional Chinese folk song-based curriculum (intervention) and the group not (control). Mandarin proficiency after one and two semesters between the two groups was assessed using the Chinese Proficiency Test (i.e., Hanyu Shuiping Kaoshi, HSK) by the Generalized Estimating Equations (GEE) analyses. 16 international students were analysed (intervention: 8; control: 8). After adjusting for time, the intervention group showed a significantly higher HSK score in listening section (adjusted β = 7.86, p = 0.015) than that of the control group. In conclusions, Chinese folk song-based curriculum has the potential to enhance Mandarin listening among foreign speakers.

The underlying architecture of musical sensibility: One general factor, four subdimensions, and strong genetic effects

Current evidence suggests moderate heritability of music phenotypes, such as music listening and achievement. However, other fundamental traits underlying people's interest in music and its relevance for their lives have been largely neglected, and little is known about the genetic and environmental etiology of what we refer to as musical sensibility-the tendency to be emotionally and aesthetically engaged by music. This study investigated the latent structure, as well as the genetic and environmental factors influencing individual variability in multiple domains of musical sensibility, and the etiological architecture of the relationship between the dimensions. To this end, we used phenotypic confirmatory factor analytic and biometric twin modeling to analyze self-reported ratings on four dimensions of musical sensibility in a sample of Norwegian twins (N = 2600). The results indicate a phenotypic higher-order structure, whereby both the resulting general musical sensibility factor and the conceptually narrower domains were strongly heritable (49-65%). Multivariate analyses of the genetic and environmental covariance further revealed substantial overlap in genetic variance across domains.

Music Listening as Exploratory Behavior: From Dispositional Reactions to Epistemic Interactions with the Sonic World

Listening to music can span a continuum from passive consumption to active exploration, relying on processes of coping with the sounds as well as higher-level processes of sense-making. Revolving around the major questions of "what" and "how" to explore, this paper takes a naturalistic stance toward music listening, providing tools to objectively describe the underlying mechanisms of musical sense-making by weakening the distinction between music and non-music. Starting from a non-exclusionary conception of "coping" with the sounds, it stresses the exploratory approach of treating music as a sound environment to be discovered by an attentive listener. Exploratory listening, in this view, is an open-minded and active process, not dependent on simply recalling pre-existing knowledge or information that reduces cognitive processing efforts but having a high cognitive load due to the need for highly focused attention and perceptual readiness. Music, explored in this way, is valued for its complexity, surprisingness, novelty, incongruity, puzzlingness, and patterns, relying on processes of selection, differentiation, discrimination, and identification.

Should absolute pitch be considered as a unique kind of absolute sensory judgment in humans? A systematic and theoretical review of the literature

Absolute pitch is the name given to the rare ability to identify a musical note in an automatic and effortless manner without the need for a reference tone. Those individuals with absolute pitch can, for example, name the note they hear, identify all of the tones of a given chord, and/or name the pitches of everyday sounds, such as car horns or sirens. Hence, absolute pitch can be seen as providing a rare example of absolute sensory judgment in audition. Surprisingly, however, the intriguing question of whether such an ability presents unique features in the domain of sensory perception, or whether instead similar perceptual skills also exist in other sensory domains, has not been explicitly addressed previously. In this paper, this question is addressed by systematically reviewing research on absolute pitch using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) method. Thereafter, we compare absolute pitch with two rare types of sensory experience, namely synaesthesia and eidetic memory, to understand if and how these phenomena exhibit similar features to absolute pitch. Furthermore, a common absolute perceptual ability that has been often compared to absolute pitch, namely colour perception, is also discussed. Arguments are provided supporting the notion that none of the examined abilities can be considered like absolute pitch. Therefore, we conclude by suggesting that absolute pitch does indeed appear to constitute a unique kind of absolute sensory judgment in humans, and we discuss some open issues and novel directions for future research in absolute pitch.

Human musical capacity and products should have been induced by the hominin-specific combination of several biosocial features: A three-phase scheme on socio-ecological, cognitive, and cultural evolution

Various selection pressures have shaped human uniqueness, for instance, music. When and why did musical universality and diversity emerge? Our hypothesis is that "music" initially originated from manipulative calls with limited musical elements. Thereafter, vocalizations became more complex and flexible along with a greater degree of social learning. Finally, constructed musical instruments and the language faculty resulted in diverse and context-specific music. Music precursors correspond to vocal communication among nonhuman primates, songbirds, and cetaceans. To place this scenario in hominin history, a three-phase scheme for music evolution is presented herein. We emphasize (1) the evolution of sociality and life history in australopithecines, (2) the evolution of cognitive and learning abilities in early/middle Homo, and (3) cultural evolution, primarily in Homo sapiens. Human musical capacity and products should be due to the hominin-specific combination of several biosocial features, including bipedalism, stable pair bonding, alloparenting, expanded brain size, and sexual selection.

A framework for joint music making: Behavioral findings, neural processes, and computational models

Across different epochs and societies, humans occasionally gather to jointly make music. This universal form of collective behavior is as fascinating as it is fragmentedly understood. As the interest in joint music making (JMM) rapidly grows, we review the state-of-the-art of this emerging science, blending behavioral, neural, and computational contributions. We present a conceptual framework synthesizing research on JMM within four components. The framework is centered upon interpersonal coordination, a crucial requirement for JMM. The other components imply the influence of individuals' (past) experience, (current) social factors, and (future) goals on real-time coordination. Our aim is to promote the development of JMM research by organizing existing work, inspiring new questions, and fostering accessibility for researchers belonging to other research communities.

Spectro-temporal acoustical markers differentiate speech from song across cultures

Humans produce two forms of cognitively complex vocalizations: speech and song. It is debated whether these differ based primarily on culturally specific, learned features, or if acoustical features can reliably distinguish them. We study the spectro-temporal modulation patterns of vocalizations produced by 369 people living in 21 urban, rural, and small-scale societies across six continents. Specific ranges of spectral and temporal modulations, overlapping within categories and across societies, significantly differentiate speech from song. Machine-learning classification shows that this effect is cross-culturally robust, vocalizations being reliably classified solely from their spectro-temporal features across all 21 societies. Listeners unfamiliar with the cultures classify these vocalizations using similar spectro-temporal cues as the machine learning algorithm. Finally, spectro-temporal features are better able to discriminate song from speech than a broad range of other acoustical variables, suggesting that spectro-temporal modulation-a key feature of auditory neuronal tuning-accounts for a fundamental difference between these categories.

Signatures of speech and song: "Universal" links despite cultural diversity

Equitable collaboration between culturally diverse scientists reveals that acoustic fingerprints of human speech and song share parallel relationships across the globe.

Globally, songs and instrumental melodies are slower and higher and use more stable pitches than speech: A Registered Report

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech.

The origins of musicality in the motion of primates

Animals communicate acoustically to report location, identity, and emotive state to conspecifics. Acoustic signals can also function as displays to potential mates and as territorial advertisement. Music and song are terms often reserved only for humans and birds, but elements of both forms of acoustic display are also found in non-human primates. While culture, bonding, and side-effects all factor into the emergence of musicality, biophysical insights into what might be signaled by specific acoustic features are less well understood.

OBJECTIVES

Here we probe the origins of musicality by evaluating the links between musical features (structural complexity, rhythm, interval, and tone) and a variety of potential ecological drivers of its evolution across primate species. Alongside other hypothesized causes (e.g. territoriality, sexual selection), we evaluated the hypothesis that perilous arboreal locomotion might favor musical calling in primates as a signal of capacities underlying spatio-temporal precision in motor tasks.

MATERIALS AND METHODS

We used musical features found in spectrographs of vocalizations of 58 primate species and corresponding measures of locomotion, diet, ranging, and mating. Leveraging phylogenetic information helped us impute missing data and control for relatedness of species while selecting among candidate multivariate regression models.

RESULTS

Results indicated that rapid inter-substrate arboreal locomotion is highly correlated with several metrics of music-like signaling. Diet, alongside mate-choice and range size, emerged as factors that also correlated with complex calling patterns.

DISCUSSION

These results support the hypothesis that musical calling may function as a signal, to neighbors or potential mates, of accuracy in landing on relatively narrow targets.

The human auditory system uses amplitude modulation to distinguish music from speech

Music and speech are complex and distinct auditory signals that are both foundational to the human experience. The mechanisms underpinning each domain are widely investigated. However, what perceptual mechanism transforms a sound into music or speech and how basic acoustic information is required to distinguish between them remain open questions. Here, we hypothesized that a sound's amplitude modulation (AM), an essential temporal acoustic feature driving the auditory system across processing levels, is critical for distinguishing music and speech. Specifically, in contrast to paradigms using naturalistic acoustic signals (that can be challenging to interpret), we used a noise-probing approach to untangle the auditory mechanism: If AM rate and regularity are critical for perceptually distinguishing music and speech, judging artificially noise-synthesized ambiguous audio signals should align with their AM parameters. Across 4 experiments (N = 335), signals with a higher peak AM frequency tend to be judged as speech, lower as music. Interestingly, this principle is consistently used by all listeners for speech judgments, but only by musically sophisticated listeners for music. In addition, signals with more regular AM are judged as music over speech, and this feature is more critical for music judgment, regardless of musical sophistication. The data suggest that the auditory system can rely on a low-level acoustic property as basic as AM to distinguish music from speech, a simple principle that provokes both neurophysiological and evolutionary experiments and speculations.

How music-induced emotions affect sexual attraction: evolutionary implications

More than a century ago, Darwin proposed a putative role for music in sexual attraction (i.e., sex appeal), a hypothesis that has recently gained traction in the field of music psychology. In his writings, Darwin particularly emphasized the charming aspects of music. Across a broad range of cultures, music has a profound impact on humans' feelings, thoughts and behavior. Human mate choice is determined by the interplay of several factors. A number of studies have shown that music and musicality (i.e., the ability to produce and enjoy music) exert a positive influence on the evaluation of potential sexual partners. Here, we critically review the latest empirical literature on how and why music and musicality affect sexual attraction by considering the role of music-induced emotion and arousal in listeners as well as other socio-biological mechanisms. Following a short overview of current theories about the origins of musicality, we present studies that examine the impact of music and musicality on sexual attraction in different social settings. We differentiate between emotion-based influences related to the subjective experience of music as sound and effects associated with perceived musical ability or creativity in a potential partner. By integrating studies using various behavioral methods, we link current research strands that investigate how music influences sexual attraction and suggest promising avenues for future research.

Pace setting as an adaptive precursor of rhythmic musicality

Human musicality (the capacity to make and appreciate music) is difficult to explain in evolutionary terms, though many theories attempt to do so. This paper focuses on musicality's potential adaptive precursors, particularly as related to rhythm. It suggests that pace setting for walking and running long distances over extended time periods (endurance locomotion, EL) is a good candidate for an adaptive building block of rhythmic musicality. The argument is as follows: (1) over time, our hominin lineage developed a host of adaptations for efficient EL; (2) the ability to set and maintain a regular pace was a crucial adaptation in the service of EL, providing proximate rewards for successful execution; (3) maintaining a pace in EL occasioned hearing, feeling, and attending to regular rhythmic patterns; (4) these rhythmic patterns, as well as proximate rewards for maintaining them, became disassociated from locomotion and entrained in new proto-musical contexts. Support for the model and possibilities for generating predictions to test it are discussed.

Love songs and serenades: a theoretical review of music and romantic relationships

In this theoretical review, we examine how the roles of music in mate choice and social bonding are expressed in romantic relationships. Darwin's Descent of Man originally proposed the idea that musicality might have evolved as a sexually selected trait. This proposition, coupled with the portrayal of popular musicians as sex symbols and the prevalence of love-themed lyrics in music, suggests a possible link between music and attraction. However, recent scientific exploration of the evolutionary functions of music has predominantly focused on theories of social bonding and group signaling, with limited research addressing the sexual selection hypothesis. We identify two distinct types of music-making for these different functions: music for attraction, which would be virtuosic in nature to display physical and cognitive fitness to potential mates; and music for connection, which would facilitate synchrony between partners and likely engage the same reward mechanisms seen in the general synchrony-bonding effect, enhancing perceived interpersonal intimacy as a facet of love. Linking these two musical functions to social psychological theories of relationship development and the components of love, we present a model that outlines the potential roles of music in romantic relationships, from initial attraction to ongoing relationship maintenance. In addition to synthesizing the existing literature, our model serves as a roadmap for empirical research aimed at rigorously investigating the possible functions of music for romantic relationships.

Synchrony Influences Estimates of Cooperation in a Public-Goods Game

Benefiting from a cooperative interaction requires people to estimate how cooperatively other members of a group will act so that they can calibrate their own behavior accordingly. We investigated whether the synchrony of a group's actions influences observers' estimates of cooperation. Participants (recruited through Prolific) watched animations of actors deciding how much to donate in a public-goods game and using a mouse to drag donations to a public pot. Participants then estimated how much was in the pot in total (as an index of how cooperative they thought the group members were). Experiment 1 (N = 136 adults) manipulated the synchrony between players' decision-making time, and Experiment 2 (N = 136 adults) manipulated the synchrony between players' decision-implementing movements. For both experiments, estimates of how much was in the pot were higher for synchronous than asynchronous groups, demonstrating that the temporal dynamics of an interaction contain signals of a group's level of cooperativity.

Music as aposematic signal: predator defense strategies in early human evolution

The article draws attention to a neglected key element of human evolutionary history-the defense strategies of hominins and early humans against predators. Possible reasons for this neglect are discussed, and the historical development of this field is outlined. Many human morphological and behavioral characteristics-musicality, sense of rhythm, use of dissonances, entrainment, bipedalism, long head hair, long legs, strong body odor, armpit hair, traditions of body painting and cannibalism-are explained as predator avoidance tactics of an aposematic (warning display) defense strategy. The article argues that the origins of human musical faculties should be studied in the wider context of an early, multimodal human defense strategy from predators.

Convergent evolution in a large cross-cultural database of musical scales

Scales, sets of discrete pitches that form the basis of melodies, are thought to be one of the most universal hallmarks of music. But we know relatively little about cross-cultural diversity of scales or how they evolved. To remedy this, we assemble a cross-cultural database (Database of Musical Scales: DaMuSc) of scale data, collected over the past century by various ethnomusicologists. Statistical analyses of the data highlight that certain intervals (e.g., the octave, fifth, second) are used frequently across cultures. Despite some diversity among scales, it is the similarities across societies which are most striking: step intervals are restricted to 100-400 cents; most scales are found close to equidistant 5- and 7-note scales. We discuss potential mechanisms of variation and selection in the evolution of scales, and how the assembled data may be used to examine the root causes of convergent evolution.

Biological principles for music and mental health

Efforts to integrate music into healthcare systems and wellness practices are accelerating but the biological foundations supporting these initiatives remain underappreciated. As a result, music-based interventions are often sidelined in medicine. Here, I bring together advances in music research from neuroscience, psychology, and psychiatry to bridge music's specific foundations in human biology with its specific therapeutic applications. The framework I propose organizes the neurophysiological effects of music around four core elements of human musicality: tonality, rhythm, reward, and sociality. For each, I review key concepts, biological bases, and evidence of clinical benefits. Within this framework, I outline a strategy to increase music's impact on health based on standardizing treatments and their alignment with individual differences in responsivity to these musical elements. I propose that an integrated biological understanding of human musicality-describing each element's functional origins, development, phylogeny, and neural bases-is critical to advancing rational applications of music in mental health and wellness.

Sing to me, baby: Infants show neural tracking and rhythmic movements to live and dynamic maternal singing

Infant-directed singing has unique acoustic characteristics that may allow even very young infants to respond to the rhythms carried through the caregiver's voice. The goal of this study was to examine neural and movement responses to live and dynamic maternal singing in 7-month-old infants and their relation to linguistic development. In total, 60 mother-infant dyads were observed during two singing conditions (playsong and lullaby). In Study 1 (n = 30), we measured infant EEG and used an encoding approach utilizing ridge regressions to measure neural tracking. In Study 2 (n =40), we coded infant rhythmic movements. In both studies, we assessed children's vocabulary when they were 20 months old. In Study 1, we found above-threshold neural tracking of maternal singing, with superior tracking of lullabies than playsongs. We also found that the acoustic features of infant-directed singing modulated tracking. In Study 2, infants showed more rhythmic movement to playsongs than lullabies. Importantly, neural coordination (Study 1) and rhythmic movement (Study 2) to playsongs were positively related to infants' expressive vocabulary at 20 months. These results highlight the importance of infants' brain and movement coordination to their caregiver's musical presentations, potentially as a function of musical variability.

The origins and function of musical performance

Music is widely recognised as a human universal, yet there is no agreed explanation for its function, or why and when it evolved. I summarise experimental evidence that the primary function of musicking lies in social bonding, both at the dyadic and community levels, via the effect that performing any form of music has on the brain's endorphin system (the principal neurohormonal basis for social bonding in primates). The many other functions associated with music-making (mate choice, pleasure, coalition signalling, etc) are all better understood as derivative of this, either as secondary selection pressures or as windows of evolutionary opportunity (exaptations). If music's function is primarily as an adjunct of the social bonding mechanism (a feature it shares with laughter, feasting, storytelling and the rituals of religion), then reverse engineering the problem suggests that the capacity for music-making most likely evolved with the appearance of archaic humans. This agrees well with anatomical evidence for the capacity to sing.

The shared genetic architecture and evolution of human language and musical rhythm

Rhythm and language-related traits are phenotypically correlated, but their genetic overlap is largely unknown. Here, we leveraged two large-scale genome-wide association studies performed to shed light on the shared genetics of rhythm (N=606,825) and dyslexia (N=1,138,870). Our results reveal an intricate shared genetic and neurobiological architecture, and lay groundwork for resolving longstanding debates about the potential co-evolution of human language and musical traits.

Sex-related communicative functions of voice spectral energy in human chorusing

Music is a human communicative art whose evolutionary origins may lie in capacities that support cooperation and/or competition. A mixed account favouring simultaneous cooperation and competition draws on analogous interactive displays produced by collectively signalling non-human animals (e.g. crickets and frogs). In these displays, rhythmically coordinated calls serve as a beacon whereby groups of males 'cooperatively' attract potential female mates, while the likelihood of each male competitively attracting an actual mate depends on the precedence of his signal. Human behaviour consistent with the mixed account was previously observed in a renowned boys choir, where the basses-the oldest boys with the deepest voices-boosted their acoustic prominence by increasing energy in a high-frequency band of the vocal spectrum when girls were in an otherwise male audience. The current study tested female and male sensitivity and preferences for this subtle vocal modulation in online listening tasks. Results indicate that while female and male listeners are similarly sensitive to enhanced high-spectral energy elicited by the presence of girls in the audience, only female listeners exhibit a reliable preference for it. Findings suggest that human chorusing is a flexible form of social communicative behaviour that allows simultaneous group cohesion and sexually motivated competition.

How being perceived to be an artist boosts feelings of attraction in others

Music production is a universal phenomenon reaching far back into our past. Given its ubiquity, evolution theorists have postulated adaptive functions for music, such as strengthening in-group cohesion, intimidating enemies, or promoting child bonding. Here, we focus on a longstanding Darwinian hypothesis, suggesting that music production evolved as a vehicle to display an individual's biological fitness in courtship competition, thus rendering musicality a sexually selected trait. We also extend this idea to visual artists. In our design, we employed different versions of naturalistic portraits that manipulated the presence or absence of visual cues suggesting that the person was an artist or a non-artist (e.g., farmer, teacher, physician). Participants rated each portrayed person's appeal on multiple scales, including attractiveness, interestingness, sympathy, and trustworthiness. Difference scores between portrait versions revealed the impact of the artistic/non-artistic visual cues. We thus tested Darwin's hypothesis on both a within-subject and within-stimulus level. In addition to this implicit approach, we collected explicit ratings on the appeal of artists versus non-artists. The results demonstrate divergent findings for both types of data, with only the explicit statements corroborating Darwin's hypothesis. We discuss this divergence in detail, along with the particular role of interestingness revealed by the implicit data.

Nocturnal selective pressures on the evolution of human musicality as a missing piece of the adaptationist puzzle

Human musicality exhibits the necessary hallmarks for biological adaptations. Evolutionary explanations focus on recurrent adaptive problems that human musicality possibly solved in ancestral environments, such as mate selection and competition, social bonding/cohesion and social grooming, perceptual and motor skill development, conflict reduction, safe time-passing, transgenerational communication, mood regulation and synchronization, and credible signaling of coalition and territorial/predator defense. Although not mutually exclusive, these different hypotheses are still not conceptually integrated nor clearly derived from independent principles. I propose The Nocturnal Evolution of Human Musicality and Performativity Theory in which the night-time is the missing piece of the adaptationist puzzle of human musicality and performing arts. The expansion of nocturnal activities throughout human evolution, which is tied to tree-to-ground sleep transition and habitual use of fire, might help (i) explain the evolution of musicality from independent principles, (ii) explain various seemingly unrelated music features and functions, and (iii) integrate many ancestral adaptive values proposed. The expansion into the nocturnal niche posed recurrent ancestral adaptive challenges/opportunities: lack of luminosity, regrouping to cook before sleep, imminent dangerousness, low temperatures, peak tiredness, and concealment of identity. These crucial night-time features might have selected evening-oriented individuals who were prone to acoustic communication, more alert and imaginative, gregarious, risk-taking and novelty-seeking, prone to anxiety modulation, hedonistic, promiscuous, and disinhibited. Those night-time selected dispositions may have converged and enhanced protomusicality into human musicality by facilitating it to assume many survival- and reproduction-enhancing roles (social cohesion and coordination, signaling of coalitions, territorial defense, antipredatorial defense, knowledge transference, safe passage of time, children lullabies, and sexual selection) that are correspondent to the co-occurring night-time adaptive challenges/opportunities. The nocturnal dynamic may help explain musical features (sound, loudness, repetitiveness, call and response, song, elaboration/virtuosity, and duetting/chorusing). Across vertebrates, acoustic communication mostly occurs in nocturnal species. The eveningness chronotype is common among musicians and composers. Adolescents, who are the most evening-oriented humans, enjoy more music. Contemporary tribal nocturnal activities around the campfire involve eating, singing/dancing, storytelling, and rituals. I discuss the nocturnal integration of musicality's many roles and conclude that musicality is probably a multifunctional mental adaptation that evolved along with the night-time adaptive landscape.

Early social communication through music: State of the art and future perspectives

A growing body of research shows that the universal capacity for music perception and production emerges early in development. Possibly building on this predisposition, caregivers around the world often communicate with infants using songs or speech entailing song-like characteristics. This suggests that music might be one of the earliest developing and most accessible forms of interpersonal communication, providing a platform for studying early communicative behavior. However, little research has examined music in truly communicative contexts. The current work aims to facilitate the development of experimental approaches that rely on dynamic and naturalistic social interactions. We first review two longstanding lines of research that examine musical interactions by focusing either on the caregiver or the infant. These include defining the acoustic and non-acoustic features that characterize infant-directed (ID) music, as well as behavioral and neurophysiological research examining infants' processing of musical timing and pitch. Next, we review recent studies looking at early musical interactions holistically. This research focuses on how caregivers and infants interact using music to achieve co-regulation, mutual engagement, and increase affiliation and prosocial behavior. We conclude by discussing methodological, technological, and analytical advances that might empower a comprehensive study of musical communication in early childhood.

Coordinated rhythms in animal species, including humans: Entrainment from bushcricket chorusing to the philharmonic orchestra

Coordinated group displays featuring precise entrainment of rhythmic behavior between neighbors occur not only in human music, dance and drill, but in the acoustic or optical signaling of a number of species of arthropods and anurans. In this review we describe the mechanisms of phase resetting and phase and tempo adjustments that allow the periodic output of signaling individuals to be aligned in synchronized rhythmic group displays. These mechanisms are well described in some of the synchronizing arthropod species, in which conspecific signals reset an individual's endogenous output oscillators in such a way that the joint rhythmic signals are locked in phase. Some of these species are capable of mutually adjusting both the phase and tempo of their rhythmic signaling, thereby achieving what is called perfect synchrony, a capacity which otherwise is found only in humans. We discuss this disjoint phylogenetic distribution of inter-individual rhythmic entrainment in the context of the functions such entrainment might perform in the various species concerned, and the adaptive circumstances in which it might evolve.

Learning to pause: Fidelity of and biases in the developmental acquisition of gaps in the communicative signals of a songbird

The temporal organization of sounds used in social contexts can provide information about signal function and evoke varying responses in listeners (receivers). For example, music is a universal and learned human behavior that is characterized by different rhythms and tempos that can evoke disparate responses in listeners. Similarly, birdsong is a social behavior in songbirds that is learned during critical periods in development and used to evoke physiological and behavioral responses in receivers. Recent investigations have begun to reveal the breadth of universal patterns in birdsong and their similarities to common patterns in speech and music, but relatively little is known about the degree to which biological predispositions and developmental experiences interact to shape the temporal patterning of birdsong. Here, we investigated how biological predispositions modulate the acquisition and production of an important temporal feature of birdsong, namely the duration of silent pauses ("gaps") between vocal elements ("syllables"). Through analyses of semi-naturally raised and experimentally tutored zebra finches, we observed that juvenile zebra finches imitate the durations of the silent gaps in their tutor's song. Further, when juveniles were experimentally tutored with stimuli containing a wide range of gap durations, we observed biases in the prevalence and stereotypy of gap durations. Together, these studies demonstrate how biological predispositions and developmental experiences differently affect distinct temporal features of birdsong and highlight similarities in developmental plasticity across birdsong, speech, and music. RESEARCH HIGHLIGHTS: The temporal organization of learned acoustic patterns can be similar across human cultures and across species, suggesting biological predispositions in acquisition. We studied how biological predispositions and developmental experiences affect an important temporal feature of birdsong, namely the duration of silent intervals between vocal elements ("gaps"). Semi-naturally and experimentally tutored zebra finches imitated the durations of gaps in their tutor's song and displayed some biases in the learning and production of gap durations and in gap variability. These findings in the zebra finch provide parallels with the acquisition of temporal features of speech and music in humans.

Music in the Middle: A Culture-Cognition-Mediator Model of Musical Functionality

Music is both universal, appearing in every known human culture, and culture-specific, often defying intelligibility across cultural boundaries. This duality has been the source of debate within the broad community of music researchers, and there have been significant disagreements both on the ontology of music as an object of study and the appropriate epistemology for that study. To help resolve this tension, I present a culture-cognition-mediator model that situates music as a mediator in the mutually constitutive cycle of cultures and selves representing the ways individuals both shape and are shaped by their cultural environments. This model draws on concepts of musical grammars and schema, contemporary theories in developmental and cultural psychology that blur the distinction between nature and nurture, and recent advances in cognitive neuroscience. Existing evidence of both directions of causality is presented, providing empirical support for the conceptual model. The epistemological consequences of this model are discussed, specifically with respect to transdisciplinarity, hybrid research methods, and several potential empirical applications and testable predictions as well as its import for broader ontological conversations around the evolutionary origins of music itself.

Preliminary evidence for selective cortical responses to music in one-month-old infants

Prior studies have observed selective neural responses in the adult human auditory cortex to music and speech that cannot be explained by the differing lower-level acoustic properties of these stimuli. Does infant cortex exhibit similarly selective responses to music and speech shortly after birth? To answer this question, we attempted to collect functional magnetic resonance imaging (fMRI) data from 45 sleeping infants (2.0- to 11.9-weeks-old) while they listened to monophonic instrumental lullabies and infant-directed speech produced by a mother. To match acoustic variation between music and speech sounds we (1) recorded music from instruments that had a similar spectral range as female infant-directed speech, (2) used a novel excitation-matching algorithm to match the cochleagrams of music and speech stimuli, and (3) synthesized "model-matched" stimuli that were matched in spectrotemporal modulation statistics to (yet perceptually distinct from) music or speech. Of the 36 infants we collected usable data from, 19 had significant activations to sounds overall compared to scanner noise. From these infants, we observed a set of voxels in non-primary auditory cortex (NPAC) but not in Heschl's Gyrus that responded significantly more to music than to each of the other three stimulus types (but not significantly more strongly than to the background scanner noise). In contrast, our planned analyses did not reveal voxels in NPAC that responded more to speech than to model-matched speech, although other unplanned analyses did. These preliminary findings suggest that music selectivity arises within the first month of life. A video abstract of this article can be viewed at https://youtu.be/c8IGFvzxudk. RESEARCH HIGHLIGHTS: Responses to music, speech, and control sounds matched for the spectrotemporal modulation-statistics of each sound were measured from 2- to 11-week-old sleeping infants using fMRI. Auditory cortex was significantly activated by these stimuli in 19 out of 36 sleeping infants. Selective responses to music compared to the three other stimulus classes were found in non-primary auditory cortex but not in nearby Heschl's Gyrus. Selective responses to speech were not observed in planned analyses but were observed in unplanned, exploratory analyses.

Prenatal daily musical exposure is associated with enhanced neural representation of speech fundamental frequency: Evidence from neonatal frequency-following responses

Fetal hearing experiences shape the linguistic and musical preferences of neonates. From the very first moment after birth, newborns prefer their native language, recognize their mother's voice, and show a greater responsiveness to lullabies presented during pregnancy. Yet, the neural underpinnings of this experience inducing plasticity have remained elusive. Here we recorded the frequency-following response (FFR), an auditory evoked potential elicited to periodic complex sounds, to show that prenatal music exposure is associated to enhanced neural encoding of speech stimuli periodicity, which relates to the perceptual experience of pitch. FFRs were recorded in a sample of 60 healthy neonates born at term and aged 12-72 hours. The sample was divided into two groups according to their prenatal musical exposure (29 daily musically exposed; 31 not-daily musically exposed). Prenatal exposure was assessed retrospectively by a questionnaire in which mothers reported how often they sang or listened to music through loudspeakers during the last trimester of pregnancy. The FFR was recorded to either a /da/ or an /oa/ speech-syllable stimulus. Analyses were centered on stimuli sections of identical duration (113 ms) and fundamental frequency (F0  = 113 Hz). Neural encoding of stimuli periodicity was quantified as the FFR spectral amplitude at the stimulus F0 . Data revealed that newborns exposed daily to music exhibit larger spectral amplitudes at F0 as compared to not-daily musically-exposed newborns, regardless of the eliciting stimulus. Our results suggest that prenatal music exposure facilitates the tuning to human speech fundamental frequency, which may support early language processing and acquisition. RESEARCH HIGHLIGHTS: Frequency-following responses to speech were collected from a sample of neonates prenatally exposed to music daily and compared to neonates not-daily exposed to music. Neonates who experienced daily prenatal music exposure exhibit enhanced frequency-following responses to the periodicity of speech sounds. Prenatal music exposure is associated with a fine-tuned encoding of human speech fundamental frequency, which may facilitate early language processing and acquisition.

Infant-directed song potentiates infants' selective attention to adults' mouths over the first year of life

The mechanisms by which infant-directed (ID) speech and song support language development in infancy are poorly understood, with most prior investigations focused on the auditory components of these signals. However, the visual components of ID communication are also of fundamental importance for language learning: over the first year of life, infants' visual attention to caregivers' faces during ID speech switches from a focus on the eyes to a focus on the mouth, which provides synchronous visual cues that support speech and language development. Caregivers' facial displays during ID song are highly effective for sustaining infants' attention. Here we investigate if ID song specifically enhances infants' attention to caregivers' mouths. 299 typically developing infants watched clips of female actors engaging them with ID song and speech longitudinally at six time points from 3 to 12 months of age while eye-tracking data was collected. Infants' mouth-looking significantly increased over the first year of life with a significantly greater increase during ID song versus speech. This difference was early-emerging (evident in the first 6 months of age) and sustained over the first year. Follow-up analyses indicated specific properties inherent to ID song (e.g., slower tempo, reduced rhythmic variability) in part contribute to infants' increased mouth-looking, with effects increasing with age. The exaggerated and expressive facial features that naturally accompany ID song may make it a particularly effective context for modulating infants' visual attention and supporting speech and language development in both typically developing infants and those with or at risk for communication challenges. A video abstract of this article can be viewed at https://youtu.be/SZ8xQW8h93A. RESEARCH HIGHLIGHTS: Infants' visual attention to adults' mouths during infant-directed speech has been found to support speech and language development. Infant-directed (ID) song promotes mouth-looking by infants to a greater extent than does ID speech across the first year of life. Features characteristic of ID song such as slower tempo, increased rhythmicity, increased audiovisual synchrony, and increased positive affect, all increase infants' attention to the mouth. The effects of song on infants' attention to the mouth are more prominent during the second half of the first year of life.

Group singing is globally dominant and associated with social context

Music is an interactive technology associated with religious and communal activities and was suggested to have evolved as a participatory activity supporting social bonding. In post-industrial societies, however, music's communal role was eclipsed by its relatively passive consumption by audiences disconnected from performers. It was suggested that as societies became larger and more differentiated, music became less participatory and more focused on solo singing. Here, we consider the prevalence of group singing and its relationship to social organization through the analysis of two global song corpora: 5776 coded audio recordings from 1024 societies, and 4709 coded ethnographic texts from 60 societies. In both corpora, we find that group singing is more common than solo singing, and that it is more likely in some social contexts (e.g. religious rituals, dance) than in others (e.g. healing, infant care). In contrast, relationships between group singing and social structure (community size or social differentiation) were not consistent within or between corpora. While we cannot exclude the possibility of sampling bias leading to systematic under-sampling of solo singing, our results from two large global corpora of different data types provide support for the interactive nature of music and its complex relationship with sociality.

The Development of Speaking and Singing in Infants May Play a Role in Genomics and Dementia in Humans

The development of the central auditory system, including the auditory cortex and other areas involved in processing sound, is shaped by genetic and environmental factors, enabling infants to learn how to speak. Before explaining hearing in humans, a short overview of auditory dysfunction is provided. Environmental factors such as exposure to sound and language can impact the development and function of the auditory system sound processing, including discerning in speech perception, singing, and language processing. Infants can hear before birth, and sound exposure sculpts their developing auditory system structure and functions. Exposing infants to singing and speaking can support their auditory and language development. In aging humans, the hippocampus and auditory nuclear centers are affected by neurodegenerative diseases such as Alzheimer's, resulting in memory and auditory processing difficulties. As the disease progresses, overt auditory nuclear center damage occurs, leading to problems in processing auditory information. In conclusion, combined memory and auditory processing difficulties significantly impact people's ability to communicate and engage with their societal essence.

Music as a window into real-world communication

Communication has been studied extensively in the context of speech and language. While speech is tremendously effective at transferring ideas between people, music is another communicative mode that has a unique power to bring people together and transmit a rich tapestry of emotions, through joint music-making and listening in a variety of everyday contexts. Research has begun to examine the behavioral and neural correlates of the joint action required for successful musical interactions, but it has yet to fully account for the rich, dynamic, multimodal nature of musical communication. We review the current literature in this area and propose that naturalistic musical paradigms will open up new ways to study communication more broadly.

The human language system, including its inferior frontal component in "Broca's area," does not support music perception

Language and music are two human-unique capacities whose relationship remains debated. Some have argued for overlap in processing mechanisms, especially for structure processing. Such claims often concern the inferior frontal component of the language system located within "Broca's area." However, others have failed to find overlap. Using a robust individual-subject fMRI approach, we examined the responses of language brain regions to music stimuli, and probed the musical abilities of individuals with severe aphasia. Across 4 experiments, we obtained a clear answer: music perception does not engage the language system, and judgments about music structure are possible even in the presence of severe damage to the language network. In particular, the language regions' responses to music are generally low, often below the fixation baseline, and never exceed responses elicited by nonmusic auditory conditions, like animal sounds. Furthermore, the language regions are not sensitive to music structure: they show low responses to both intact and structure-scrambled music, and to melodies with vs. without structural violations. Finally, in line with past patient investigations, individuals with aphasia, who cannot judge sentence grammaticality, perform well on melody well-formedness judgments. Thus, the mechanisms that process structure in language do not appear to process music, including music syntax.

The (Co)Evolution of Language and Music Under Human Self-Domestication

Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process similar to domestication in other mammals, triggered by the reduction in reactive aggression responses to environmental changes. We specifically argue that self-domestication can account for some of the cognitive changes, and particularly for the behaviors conducive to the complexification of music through a cultural mechanism. We hypothesize four stages in the evolution of music under self-domestication forces: (1) collective protomusic; (2) private, timbre-oriented music; (3) small-group, pitch-oriented music; and (4) collective, tonally organized music. This line of development encompasses the worldwide diversity of music types and genres and parallels what has been hypothesized for languages. Overall, music diversity might have emerged in a gradual fashion under the effects of the enhanced cultural niche construction as shaped by the progressive decrease in reactive (i.e., impulsive, triggered by fear or anger) aggression and the increase in proactive (i.e., premeditated, goal-directed) aggression.

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.

Earth Systems to Anthropocene Systems: An Evolutionary, System-of-Systems, Convergence Paradigm for Interdependent Societal Challenges

Humans have made profound changes to the Earth. The resulting societal challenges of the Anthropocene (e.g., climate change and impacts, renewable energy, adaptive infrastructure, disasters, pandemics, food insecurity, and biodiversity loss) are complex and systemic, with causes, interactions, and consequences that cascade across a globally connected system of systems. In this Critical Review, we turn to our "origin story" for insight, briefly tracing the formation of the Universe and the Earth, the emergence of life, the evolution of multicellular organisms, mammals, primates, and humans, as well as the more recent societal transitions involving agriculture, urbanization, industrialization, and computerization. Focusing on the evolution of the Earth, genetic evolution, the evolution of the brain, and cultural evolution, which includes technological evolution, we identify a nested evolutionary sequence of geophysical, biophysical, sociocultural, and sociotechnical systems, emphasizing the causal mechanisms that first formed, and then transformed, Earth systems into Anthropocene systems. Describing how the Anthropocene systems coevolved, and briefly illustrating how the ensuing societal challenges became tightly integrated across multiple spatial, temporal, and organizational scales, we conclude by proposing an evolutionary, system-of-systems, convergence paradigm for the entire family of interdependent societal challenges of the Anthropocene.

Postural and Gestural Synchronization, Sequential Imitation, and Mirroring Predict Perceived Coupling of Dancing Dyads

Body movement is a primary nonverbal communication channel in humans. Coordinated social behaviors, such as dancing together, encourage multifarious rhythmic and interpersonally coupled movements from which observers can extract socially and contextually relevant information. The investigation of relations between visual social perception and kinematic motor coupling is important for social cognition. Perceived coupling of dyads spontaneously dancing to pop music has been shown to be highly driven by the degree of frontal orientation between dancers. The perceptual salience of other aspects, including postural congruence, movement frequencies, time-delayed relations, and horizontal mirroring remains, however, uncertain. In a motion capture study, 90 participant dyads moved freely to 16 musical excerpts from eight musical genres, while their movements were recorded using optical motion capture. A total from 128 recordings from 8 dyads maximally facing each other were selected to generate silent 8-s animations. Three kinematic features describing simultaneous and sequential full body coupling were extracted from the dyads. In an online experiment, the animations were presented to 432 observers, who were asked to rate perceived similarity and interaction between dancers. We found dyadic kinematic coupling estimates to be higher than those obtained from surrogate estimates, providing evidence for a social dimension of entrainment in dance. Further, we observed links between perceived similarity and coupling of both slower simultaneous horizontal gestures and posture bounding volumes. Perceived interaction, on the other hand, was more related to coupling of faster simultaneous gestures and to sequential coupling. Also, dyads who were perceived as more coupled tended to mirror their pair's movements.

Confronting ethical and social issues related to the genetics of musicality

New interdisciplinary research into genetic influences on musicality raises a number of ethical and social issues for future avenues of research and public engagement. The historical intersection of music cognition and eugenics heightens the need to vigilantly weigh the potential risks and benefits of these studies and the use of their outcomes. Here, we bring together diverse disciplinary expertise (complex trait genetics, music cognition, musicology, bioethics, developmental psychology, and neuroscience) to interpret and guide the ethical use of findings from recent and future studies. We discuss a framework for incorporating principles of ethically and socially responsible conduct of musicality genetics research into each stage of the research lifecycle: study design, study implementation, potential applications, and communication.

Children infer the behavioral contexts of unfamiliar foreign songs

Music commonly appears in behavioral contexts in which it can be seen as playing a functional role, as when a parent sings a lullaby with the goal of soothing a baby. Humans readily make inferences, based on the sounds they hear, regarding the behavioral contexts associated with music. These inferences tend to be accurate, even if the songs are in foreign languages or unfamiliar musical idioms; upon hearing a Blackfoot lullaby, a Korean listener with no experience of Blackfoot music, language, or broader culture is far more likely to judge the music's function as "used to soothe a baby" than "used for dancing". Are such inferences shaped by musical exposure or does the human mind naturally detect links between musical form and function of these kinds? Children's developing experience of music provides a clear test of this question. We studied musical inferences in a large sample of children recruited online (N = 5,033), who heard dance, lullaby, and healing songs from 70 world cultures and who were tasked with guessing the original behavioral context in which each was performed. Children reliably inferred the original behavioral contexts with only minimal improvement in performance from the youngest (age 4) to the oldest (age 16), providing little evidence for an effect of experience. Children's inferences tightly correlated with those of adults for the same songs, as collected from a similar online experiment (N = 98,150). Moreover, similar acoustical features were predictive of the inferences of both samples. These findings suggest that accurate inferences about the behavioral contexts of music, driven by universal links between form and function in music across cultures, do not always require extensive musical experience. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Testosterone, oxytocin and co-operation: A hypothesis for the origin and function of music

Since the time of Darwin, theories have been proposed on the origin and functions of music; however, the subject remains enigmatic. The literature shows that music is closely related to important human behaviours and abilities, namely, cognition, emotion, reward and sociality (co-operation, entrainment, empathy and altruism). Notably, studies have deduced that these behaviours are closely related to testosterone (T) and oxytocin (OXT). The association of music with important human behaviours and neurochemicals is closely related to the understanding of reproductive and social behaviours being unclear. In this paper, we describe the endocrinological functions of human social and musical behaviour and demonstrate its relationship to T and OXT. We then hypothesised that the emergence of music is associated with behavioural adaptations and emerged as humans socialised to ensure survival. Moreover, the proximal factor in the emergence of music is behavioural control (social tolerance) through the regulation of T and OXT, and the ultimate factor is group survival through co-operation. The "survival value" of music has rarely been approached from the perspective of musical behavioural endocrinology. This paper provides a new perspective on the origin and functions of music.

What made us "hunter-gatherers of words"

This paper makes three interconnected claims: (i) the "human condition" cannot be captured by evolutionary narratives that reduce it to a recent 'cognitive modernity', nor by narratives that eliminates all cognitive differences between us and out closest extinct relatives, (ii) signals from paleogenomics, especially coming from deserts of introgression but also from signatures of positive selection, point to the importance of mutations that impact neurodevelopment, plausibly leading to temperamental differences, which may impact cultural evolutionary trajectories in specific ways, and (iii) these trajectories are expected to affect the language phenotypes, modifying what is being learned and how it is put to use. In particular, I hypothesize that these different trajectories influence the development of symbolic systems, the flexible ways in which symbols combine, and the size and configurations of the communities in which these systems are put to use.

The sexual selection of creativity: A nomological approach

Cultural innovations, such as tools and other technical articles useful for survival, imply that creativity is an outcome of evolution. However, the existence of purely ornamental items obfuscates the functional value of creativity. What is the functional or adaptive value of aesthetic and intellectual ornaments? Recent evidence shows a connection between ornamental creativity, an individual's attractiveness, and their reproductive success. However, this association is not sufficient for establishing that creativity in humans evolved by sexual selection. In this critical review, we synthesize findings from many disciplines about the mechanisms, ontogeny, phylogeny, and the function of creativity in sexual selection. Existing research indicates that creativity has the characteristics expected of a trait evolved by sexual selection: genetic basis, sexual dimorphism, wider variety in males, influence of sex hormones, dysfunctional expressions, an advantage in mating in humans and other animals, and psychological modules adapted to mating contexts. Future studies should investigate mixed findings in the existing literature, such as creativity not being found particularly attractive in a non-WEIRD society. Moreover, we identified remaining knowledge gaps and recommend that further research should be undertaken in the following areas: sexual and reproductive correlates of creativity in non-WEIRD societies, relationship between androgens, development, and creative expression, as well as the impact of ornamental, technical and everyday creativity on attractiveness. Evolutionary research should analyze whether being an evolved signal of genetic quality is the only way in which creativity becomes sexually selected and therefore passed on from generation to generation. This review has gone a long way toward integrating and enhancing our understanding of ornamental creativity as a possible sexual selected psychological trait.

Hemispheric asymmetries for music and speech: Spectrotemporal modulations and top-down influences

Hemispheric asymmetries in auditory cognition have been recognized for a long time, but their neural basis is still debated. Here I focus on specialization for processing of speech and music, the two most important auditory communication systems that humans possess. A great deal of evidence from lesion studies and functional imaging suggests that aspects of music linked to the processing of pitch patterns depend more on right than left auditory networks. A complementary specialization for temporal resolution has been suggested for left auditory networks. These diverse findings can be integrated within the context of the spectrotemporal modulation framework, which has been developed as a way to characterize efficient neuronal encoding of complex sounds. Recent studies show that degradation of spectral modulation impairs melody perception but not speech content, whereas degradation of temporal modulation has the opposite effect. Neural responses in the right and left auditory cortex in those studies are linked to processing of spectral and temporal modulations, respectively. These findings provide a unifying model to understand asymmetries in terms of sensitivity to acoustical features of communication sounds in humans. However, this explanation does not account for evidence that asymmetries can shift as a function of learning, attention, or other top-down factors. Therefore, it seems likely that asymmetries arise both from bottom-up specialization for acoustical modulations and top-down influences coming from hierarchically higher components of the system. Such interactions can be understood in terms of predictive coding mechanisms for perception.

The Musical Abilities, Pleiotropy, Language, and Environment (MAPLE) Framework for Understanding Musicality-Language Links Across the Lifespan

Using individual differences approaches, a growing body of literature finds positive associations between musicality and language-related abilities, complementing prior findings of links between musical training and language skills. Despite these associations, musicality has been often overlooked in mainstream models of individual differences in language acquisition and development. To better understand the biological basis of these individual differences, we propose the Musical Abilities, Pleiotropy, Language, and Environment (MAPLE) framework. This novel integrative framework posits that musical and language-related abilities likely share some common genetic architecture (i.e., genetic pleiotropy) in addition to some degree of overlapping neural endophenotypes, and genetic influences on musically and linguistically enriched environments. Drawing upon recent advances in genomic methodologies for unraveling pleiotropy, we outline testable predictions for future research on language development and how its underlying neurobiological substrates may be supported by genetic pleiotropy with musicality. In support of the MAPLE framework, we review and discuss findings from over seventy behavioral and neural studies, highlighting that musicality is robustly associated with individual differences in a range of speech-language skills required for communication and development. These include speech perception-in-noise, prosodic perception, morphosyntactic skills, phonological skills, reading skills, and aspects of second/foreign language learning. Overall, the current work provides a clear agenda and framework for studying musicality-language links using individual differences approaches, with an emphasis on leveraging advances in the genomics of complex musicality and language traits.

Expectancy Effects Threaten the Inferential Validity of Synchrony-Prosociality Research

Many studies argue that synchronized movement increases prosocial attitudes and behavior. We reviewed meta-analytic evidence that reported effects of synchrony may be driven by experimenter expectancy, leading to experimenter bias; and participant expectancy, otherwise known as placebo effects. We found that a majority of published studies do not adequately control for experimenter bias and that multiple independent replication attempts with added controls have failed to find the original effects. In a preregistered experiment, we measured participant expectancy directly, asking whether participants have a priori expectations about synchrony and prosociality that match the findings in published literature. Expectations about the effects of synchrony on prosocial attitudes directly mirrored previous experimental findings (including both positive and null effects)-despite the participants not actually engaging in synchrony. On the basis of this evidence, we propose an alternative account of the reported bottom-up effects of synchrony on prosociality: the effects of synchrony on prosociality may be explicable as the result of top-down expectations invoked by placebo and experimenter effects.

The Global Jukebox: A public database of performing arts and culture

Standardized cross-cultural databases of the arts are critical to a balanced scientific understanding of the performing arts, and their role in other domains of human society. This paper introduces the Global Jukebox as a resource for comparative and cross-cultural study of the performing arts and culture. The Global Jukebox adds an extensive and detailed global database of the performing arts that enlarges our understanding of human cultural diversity. Initially prototyped by Alan Lomax in the 1980s, its core is the Cantometrics dataset, encompassing standardized codings on 37 aspects of musical style for 5,776 traditional songs from 1,026 societies. The Cantometrics dataset has been cleaned and checked for reliability and accuracy, and includes a full coding guide with audio training examples (https://theglobaljukebox.org/?songsofearth). Also being released are seven additional datasets coding and describing instrumentation, conversation, popular music, vowel and consonant placement, breath management, social factors, and societies. For the first time, all digitized Global Jukebox data are being made available in open-access, downloadable format (https://github.com/theglobaljukebox), linked with streaming audio recordings (theglobaljukebox.org) to the maximum extent allowed while respecting copyright and the wishes of culture-bearers. The data are cross-indexed with the Database of Peoples, Languages, and Cultures (D-PLACE) to allow researchers to test hypotheses about worldwide coevolution of aesthetic patterns and traditions. As an example, we analyze the global relationship between song style and societal complexity, showing that they are robustly related, in contrast to previous critiques claiming that these proposed relationships were an artifact of autocorrelation (though causal mechanisms remain unresolved).

Acoustic regularities in infant-directed speech and song across cultures

When interacting with infants, humans often alter their speech and song in ways thought to support communication. Theories of human child-rearing, informed by data on vocal signalling across species, predict that such alterations should appear globally. Here, we show acoustic differences between infant-directed and adult-directed vocalizations across cultures. We collected 1,615 recordings of infant- and adult-directed speech and song produced by 410 people in 21 urban, rural and small-scale societies. Infant-directedness was reliably classified from acoustic features only, with acoustic profiles of infant-directedness differing across language and music but in consistent fashions. We then studied listener sensitivity to these acoustic features. We played the recordings to 51,065 people from 187 countries, recruited via an English-language website, who guessed whether each vocalization was infant-directed. Their intuitions were more accurate than chance, predictable in part by common sets of acoustic features and robust to the effects of linguistic relatedness between vocalizer and listener. These findings inform hypotheses of the psychological functions and evolution of human communication.