Rhythmic swaying induced by sound in chimpanzees (Pan troglodytes)

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.

The geometry of interpersonal synchrony in human dance

Collective synchronized behavior has powerful social-communicative functions observed across several animal taxa.1,2,3,4,5,6,7 Operationally, synchronized behavior can be explained by individuals responding to shared external cues (e.g., light, sound, or food) as well as by inter-individual adaptation.3,8,9,10,11 We contrasted these accounts in the context of a universal human practice-collective dance-by recording full-body kinematics from dyads of laypersons freely dancing to music in a "silent disco" setting. We orthogonally manipulated musical input (whether participants were dancing to the same, synchronous music) and visual contact (whether participants could see their dancing partner). Using a data-driven method, we decomposed full-body kinematics of 70 participants into 15 principal movement patterns, reminiscent of common dance moves, explaining over 95% of kinematic variance. We find that both music and partners drive synchrony, but through distinct dance moves. This leads to distinct kinds of synchrony that occur in parallel by virtue of a geometric organization: anteroposterior movements such as head bobs synchronize through music, while hand gestures and full-body lateral movements synchronize through visual contact. One specific dance move-vertical bounce-emerged as a supramodal pacesetter of coordination, synchronizing through both music and visual contact, and at the pace of the musical beat. These findings reveal that synchrony in human dance is independently supported by shared musical input and inter-individual adaptation. The independence between these drivers of synchrony hinges on a geometric organization, enabling dancers to synchronize to music and partners simultaneously by allocating distinct synchronies to distinct spatial axes and body parts.

[Effects of classical or heavy metal music in humans and animals: implications for intensive care medicine]

BACKGROUND

The importance of music in intensive care medicine is still controversial and the mechanisms of music are unclear. It is important whether different music styles (classical music [CM], Heavy Metal [HM] show measurable effects on blood pressure (BP) or heart rate (HR) in humans or not. It is also unclear whether behavioral patterns are influenced by music (CM, HM) in animals.

METHODS

We studied the influence of CM (Bach, Orchestral Suite No. 3, BWV 1068) and HM (Band Disturbed: Indestructible) compared to a control group (CO) without music exposure in 120 healthy subjects (60 study subjects, 60 control subjects) and 36 young pigs (18 Pietrains, 18 Wiesenauer Minipigs) according to an identical study protocol (21 minutes of music exposure (CM, HM) or 21 minutes of no music (C0).

RESULTS

We were able to clearly demonstrate in 36 pigs that CM led to significantly more activity behavior than HM or CO (p<0,01). HM caused significantly more stress behavior than CM or CO (p<0,01). In humans, there was a decrease in BPsyst, BPdiast or HR (beats per minute [bpm]) among CM: decrease BPsyst -7,5±9,1 mm Hg, BPdiast -4,9±7,5 mm Hg, HR -7,2±10,2 bpm. This was observed less frequently in HM: BPsyst -3,6±7,1 mm Hg, BPdiast -2,7±6,9 mm Hg, HR -5,9±9,0 bpm. The influence of BP and HR was significantly lower in CO compared to music: BPsyst -2,3±7,2 mm Hg, BPdiast -2,0±7,3 mm Hg, HR -5,8±12,3 bpm.

CONCLUSIONS

BP and HR in humans and behavioral patterns in animals are clearly influenced by music. CM leads more frequently to activity behavior in animals and to lower BP and HR in humans compared to HM or CO. In both animal breeds, stress behavior was observed more frequently in HM compared to CM or CO. Therefore, music may play a role in intensive care medicine.

Beat processing in newborn infants cannot be explained by statistical learning based on transition probabilities

Newborn infants have been shown to extract temporal regularities from sound sequences, both in the form of learning regular sequential properties, and extracting periodicity in the input, commonly referred to as a regular pulse or the 'beat'. However, these two types of regularities are often indistinguishable in isochronous sequences, as both statistical learning and beat perception can be elicited by the regular alternation of accented and unaccented sounds. Here, we manipulated the isochrony of sound sequences in order to disentangle statistical learning from beat perception in sleeping newborn infants in an EEG experiment, as previously done in adults and macaque monkeys. We used a binary accented sequence that induces a beat when presented with isochronous timing, but not when presented with randomly jittered timing. We compared mismatch responses to infrequent deviants falling on either accented or unaccented (i.e., odd and even) positions. Results showed a clear difference between metrical positions in the isochronous sequence, but not in the equivalent jittered sequence. This suggests that beat processing is present in newborns. Despite previous evidence for statistical learning in newborns the effects of this ability were not detected in the jittered condition. These results show that statistical learning by itself does not fully explain beat processing in newborn infants.

Recursive self-embedded vocal motifs in wild orangutans

Recursive procedures that allow placing a vocal signal inside another of a similar kind provide a neuro-computational blueprint for syntax and phonology in spoken language and human song. There are, however, no known vocal sequences among nonhuman primates arranged in self-embedded patterns that evince vocal recursion or potential incipient or evolutionary transitional forms thereof, suggesting a neuro-cognitive transformation exclusive to humans. Here, we uncover that wild flanged male orangutan long calls feature rhythmically isochronous call sequences nested within isochronous call sequences, consistent with two hierarchical strata. Remarkably, three temporally and acoustically distinct call rhythms in the lower stratum were not related to the overarching rhythm at the higher stratum by any low multiples, which suggests that these recursive structures were neither the result of parallel non-hierarchical procedures nor anatomical artifacts of bodily constraints or resonances. Findings represent a case of temporally recursive hominid vocal combinatorics in the absence of syntax, semantics, phonology, or music. Second-order combinatorics, 'sequences within sequences', involving hierarchically organized and cyclically structured vocal sounds in ancient hominids may have preluded the evolution of recursion in modern language-able humans.

Neural encoding of musical expectations in a non-human primate

The appreciation of music is a universal trait of humankind.1,2,3 Evidence supporting this notion includes the ubiquity of music across cultures4,5,6,7 and the natural predisposition toward music that humans display early in development.8,9,10 Are we musical animals because of species-specific predispositions? This question cannot be answered by relying on cross-cultural or developmental studies alone, as these cannot rule out enculturation.11 Instead, it calls for cross-species experiments testing whether homologous neural mechanisms underlying music perception are present in non-human primates. We present music to two rhesus monkeys, reared without musical exposure, while recording electroencephalography (EEG) and pupillometry. Monkeys exhibit higher engagement and neural encoding of expectations based on the previously seeded musical context when passively listening to real music as opposed to shuffled controls. We then compare human and monkey neural responses to the same stimuli and find a species-dependent contribution of two fundamental musical features-pitch and timing12-in generating expectations: while timing- and pitch-based expectations13 are similarly weighted in humans, monkeys rely on timing rather than pitch. Together, these results shed light on the phylogeny of music perception. They highlight monkeys' capacity for processing temporal structures beyond plain acoustic processing, and they identify a species-dependent contribution of time- and pitch-related features to the neural encoding of musical expectations.

Probing Beat Perception with Event-Related Potentials (ERPs) in Human Adults, Newborns, and Nonhuman Primates

The aim of this chapter is to give an overview of how the perception of rhythmic temporal regularity such as a regular beat in music can be studied in human adults, human newborns, and nonhuman primates using event-related brain potentials (ERPs). First, we discuss different aspects of temporal structure in general, and musical rhythm in particular, and we discuss the possible mechanisms underlying the perception of regularity (e.g., a beat) in rhythm. Additionally, we highlight the importance of dissociating beat perception from the perception of other types of structure in rhythm, such as predictable sequences of temporal intervals, ordinal structure, and rhythmic grouping. In the second section of the chapter, we start with a discussion of auditory ERPs elicited by infrequent and frequent sounds: ERP responses to regularity violations, such as mismatch negativity (MMN), N2b, and P3, as well as early sensory responses to sounds, such as P1 and N1, have been shown to be instrumental in probing beat perception. Subsequently, we discuss how beat perception can be probed by comparing ERP responses to sounds in regular and irregular sequences, and by comparing ERP responses to sounds in different metrical positions in a rhythm, such as on and off the beat or on strong and weak beats. Finally, we will discuss previous research that has used the aforementioned ERPs and paradigms to study beat perception in human adults, human newborns, and nonhuman primates. In doing so, we consider the possible pitfalls and prospects of the technique, as well as future perspectives.

What we know and don't know about great ape cultural communication in the wild

Following the first descriptions of culture in primates, widespread agreement has developed that the term can be applied to nonhumans as group-specific, socially learned behaviors. While behaviors such as those involving extractive tool use have been researched intensively, we propose that behaviors that are more subtle, less likely to be ecologically constrained, and more likely to be socially shaped, such as cultural forms of communication, provide compelling evidence of culture in nonhuman primates. Additionally, cultural forms of communication can provide novel insights into animal cognition such as the capacity for conformity, conventionalized meanings, arbitrariness in signal forms, and even symbolism. In this paper we focus on evidence from studies conducted on wild great apes. First, we provide a thorough review of what exactly we do know, and by extension don't know, about great ape cultural communication. We argue that detailed research on both vocal and gestural communication in wild great apes shows a more nuanced and variable repertoire than once assumed, with increasing support for group-specific variation. Second, we discuss the relevance of great ape cultural communication and its potential for illustrating evolutionary continuity for human-like cultural attributes, namely cumulative culture and symbolism. In sum, a concerted effort to examine cultural forms of communication in great apes could reveal novel evidence for cultural capacities that have thus far been heavily debated in the literature and can simultaneously contribute to an improved understanding of the complex minds of our closest living relatives.

Human and chimpanzee shared and divergent neurobiological systems for general and specific cognitive brain functions

A long-standing topic of interest in human neurosciences is the understanding of the neurobiology underlying human cognition. Less commonly considered is to what extent such systems may be shared with other species. We examined individual variation in brain connectivity in the context of cognitive abilities in chimpanzees (n = 45) and humans in search of a conserved link between cognition and brain connectivity across the two species. Cognitive scores were assessed on a variety of behavioral tasks using chimpanzee- and human-specific cognitive test batteries, measuring aspects of cognition related to relational reasoning, processing speed, and problem solving in both species. We show that chimpanzees scoring higher on such cognitive skills display relatively strong connectivity among brain networks also associated with comparable cognitive abilities in the human group. We also identified divergence in brain networks that serve specialized functions across humans and chimpanzees, such as stronger language connectivity in humans and relatively more prominent connectivity between regions related to spatial working memory in chimpanzees. Our findings suggest that core neural systems of cognition may have evolved before the divergence of chimpanzees and humans, along with potential differential investments in other brain networks relating to specific functional specializations between the two species.

Cortical encoding of rhythmic kinematic structures in biological motion

Biological motion (BM) perception is of great survival value to human beings. The critical characteristics of BM information lie in kinematic cues containing rhythmic structures. However, how rhythmic kinematic structures of BM are dynamically represented in the brain and contribute to visual BM processing remains largely unknown. Here, we probed this issue in three experiments using electroencephalogram (EEG). We found that neural oscillations of observers entrained to the hierarchical kinematic structures of the BM sequences (i.e., step-cycle and gait-cycle for point-light walkers). Notably, only the cortical tracking of the higher-level rhythmic structure (i.e., gait-cycle) exhibited a BM processing specificity, manifested by enhanced neural responses to upright over inverted BM stimuli. This effect could be extended to different motion types and tasks, with its strength positively correlated with the perceptual sensitivity to BM stimuli at the right temporal brain region dedicated to visual BM processing. Modeling results further suggest that the neural encoding of spatiotemporally integrative kinematic cues, in particular the opponent motions of bilateral limbs, drives the selective cortical tracking of BM information. These findings underscore the existence of a cortical mechanism that encodes periodic kinematic features of body movements, which underlies the dynamic construction of visual BM perception.

Music Alters Conscious Distance Monitoring without Changing Pacing and Performance during a Cycling Time Trial

Athletes use their own perception to monitor distance and regulate their pace during exercise, avoiding premature fatigue before the endpoint. On the other hand, they may also listen to music while training and exercising. Given the potential role of music as a distractor, we verified if music influenced the athletes' ability to monitor the distance covered during a 20-km cycling time trial (TT20km). We hypothesized that music would elongate cyclists' perceived distance due to reduced attentional focus on exercise-derived signals, which would also change their ratings of perceived exertion (RPE). We also expected that the motivational role of music would also be beneficial in pacing and performance. After familiarization sessions, ten recreational cyclists performed an in-laboratory TT20km while either listening to music or not (control). They reported their RPE, associative thoughts to exercise (ATE), and motivation when they each perceived they had completed 2-km. Power output and heart rate (HR) were continuously recorded. Cyclists elongated their distance perception with music, increasing the distance covered for each perceived 2 km (p = 0.003). However, music reduced the error of conscious distance monitoring (p = 0.021), pushing the perceived distance towards the actual distance. Music increased the actual distance-RPE relationship (p = 0.004) and reduced ATE (p < 0.001). However, music affected neither performance assessed as mean power output (p = 0.564) and time (p = 0.524) nor psychophysiological responses such as HR (p = 0.066), RPE (p = 0.069), and motivation (p = 0.515). Cyclists elongated their distance perception during the TT20km and changed the actual distance-RPE relationship, which is likely due to a music-distractive effect. Although there was a reduced error of conscious distance monitoring, music affected neither pacing nor performance.

How Awe Shaped Us: An Evolutionary Perspective

Research shows the experience of awe is associated with a variety of benefits ranging from increased well-being and prosocial behavior to enhanced cognition. The adaptive purpose of awe, however, is elusive. In this article, we aim to show that the current framework used to conceptualize awe points towards higher-order cognition as the key adaptive function. This goes against past evolutionary positions that posit social benefits or unidimensional behavioral adaptations. In the second half of the article, we highlight a distinct cognitive advantage of awe. The literature connecting awe and cognition is surveyed and used to develop a view that situates awe as a critical component in the cognitive success of the human species.

Narrative as co-regulation: A review of embodied narrative in infant development

We review evidence of non-verbal, embodied narratives in human infancy to better understand their form and function as generators of common experience, regulation, and learning. We examine their development prior to the onset of language, with a view to improve understanding of narrative as regular motifs or schemas of early experience in both solitary and social engagement. Embodied narratives are composed of regular patterns of interest, arousal, affect, and intention that yield a characteristic four-part structure of (i) introduction, (ii) development, (iii) climax, and (iv) resolution. Made with others these form co-created shared acts of meaning, and are parsed in time with discreet beginnings and endings that allow a regular pattern to frame and give predictive understanding for prospective regulation (especially important within social contexts) that safely returns to baseline again. This characteristic pattern, co-created between infant and adult from the beginning of life, allows the infant to contribute to, and learn, the patterns of its culture. We conclude with a view on commonalities and differences of co-created narrative in non-human primates, and discuss implications of disruption to narrative co-creation for developmental psychopathology.

Resonance as a Design Strategy for AI and Social Robots

Resonance, a powerful and pervasive phenomenon, appears to play a major role in human interactions. This article investigates the relationship between the physical mechanism of resonance and the human experience of resonance, and considers possibilities for enhancing the experience of resonance within human-robot interactions. We first introduce resonance as a widespread cultural and scientific metaphor. Then, we review the nature of "sympathetic resonance" as a physical mechanism. Following this introduction, the remainder of the article is organized in two parts. In part one, we review the role of resonance (including synchronization and rhythmic entrainment) in human cognition and social interactions. Then, in part two, we review resonance-related phenomena in robotics and artificial intelligence (AI). These two reviews serve as ground for the introduction of a design strategy and combinatorial design space for shaping resonant interactions with robots and AI. We conclude by posing hypotheses and research questions for future empirical studies and discuss a range of ethical and aesthetic issues associated with resonance in human-robot interactions.

Music in the brain

Music is ubiquitous across human cultures - as a source of affective and pleasurable experience, moving us both physically and emotionally - and learning to play music shapes both brain structure and brain function. Music processing in the brain - namely, the perception of melody, harmony and rhythm - has traditionally been studied as an auditory phenomenon using passive listening paradigms. However, when listening to music, we actively generate predictions about what is likely to happen next. This enactive aspect has led to a more comprehensive understanding of music processing involving brain structures implicated in action, emotion and learning. Here we review the cognitive neuroscience literature of music perception. We show that music perception, action, emotion and learning all rest on the human brain's fundamental capacity for prediction - as formulated by the predictive coding of music model. This Review elucidates how this formulation of music perception and expertise in individuals can be extended to account for the dynamics and underlying brain mechanisms of collective music making. This in turn has important implications for human creativity as evinced by music improvisation. These recent advances shed new light on what makes music meaningful from a neuroscientific perspective.

Musicality in human vocal communication: an evolutionary perspective

Studies show that specific vocal modulations, akin to those of infant-directed speech (IDS) and perhaps music, play a role in communicating intentions and mental states during human social interaction. Based on this, we propose a model for the evolution of musicality-the capacity to process musical information-in relation to human vocal communication. We suggest that a complex social environment, with strong social bonds, promoted the appearance of musicality-related abilities. These social bonds were not limited to those between offspring and mothers or other carers, although these may have been especially influential in view of altriciality of human infants. The model can be further tested in other species by comparing levels of sociality and complexity of vocal communication. By integrating several theories, our model presents a radically different view of musicality, not limited to specifically musical scenarios, but one in which this capacity originally evolved to aid parent-infant communication and bonding, and even today plays a role not only in music but also in IDS, as well as in some adult-directed speech contexts. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact (Part II)'.

Stimulus modality affects the accuracy of rhythm production in rats

Vocal learning species such as humans and parrots show auditory dominance when they synchronize their actions to an external rhythm. However, whether non-vocal-learners show a specific modality dominance in a rhythmic task has scarcely been examined. We predicted that rats, who are nocturnal and known to rely on acoustic communication, would exhibit higher sensitivity to auditory rhythm compared to visual rhythm. We investigated whether performance of a synchronization task by rats differs based on stimulus modality. We trained five rats to press a lever in time to auditory-visual, isochronous stimuli presented at three different tempos. Rats showed a lower correct response rate when auditory stimuli were presented than when visual or auditory-visual stimuli were presented in the 0.5-s inter-onset interval condition. Neither the asynchrony with the stimulus onset, nor the variability of interval production differed significantly based on the stimulus modality. Therefore, contrary to the prediction, they did not show auditory dominance; rather, rats showed poor performance on the task when a visual stimulus was not present. These results are consistent with the gradual audio-motor evolution hypothesis, and suggest that rats share ability for rhythm production, but this might not necessarily depend on auditory modality.

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'.

Bonding system in nonhuman primates and biological roots of musicality

Comparative studies of primates indicate that humans have evolved unique motivations and cognitive skills for sharing emotions, experiences, and collaborative actions. Given the characteristics of music, the music and social bonding (MSB) hypothesis by Savage et al. fits this view. Within a cross-species approach, predispositions not observed in current communication system may contribute to a better understanding of the biological roots of human musicality.

Is the MSB hypothesis (music as a coevolved system for social bonding) testable in the Popperian sense?

"Music As a Coevolved System for Social Bonding" (MSB) is a brilliant synthesis and appealing hypothesis offering insights into the evolution and social bonding of musicality, but is so broad and sweeping it will be challenging to test, prove or falsify in the Popperian sense (Popper, 1959). After general comments, I focus my critique on underlying neurobiological mechanisms, and offer some suggestions for experimental tests of MSB.

Human Genomics and the Biocultural Origin of Music

Music is an exclusive feature of humankind. It can be considered as a form of universal communication, only partly comparable to the vocalizations of songbirds. Many trends of research in this field try to address music origins, as well as the genetic bases of musicality. On one hand, several hypotheses have been made on the evolution of music and its role, but there is still debate, and comparative studies suggest a gradual evolution of some abilities underlying musicality in primates. On the other hand, genome-wide studies highlight several genes associated with musical aptitude, confirming a genetic basis for different musical skills which humans show. Moreover, some genes associated with musicality are involved also in singing and song learning in songbirds, suggesting a likely evolutionary convergence between humans and songbirds. This comprehensive review aims at presenting the concept of music as a sociocultural manifestation within the current debate about its biocultural origin and evolutionary function, in the context of the most recent discoveries related to the cross-species genetics of musical production and perception.

Decoding Music-Evoked Emotions in the Auditory and Motor Cortex

Music can induce strong subjective experience of emotions, but it is debated whether these responses engage the same neural circuits as emotions elicited by biologically significant events. We examined the functional neural basis of music-induced emotions in a large sample (n = 102) of subjects who listened to emotionally engaging (happy, sad, fearful, and tender) pieces of instrumental music while their hemodynamic brain activity was measured with functional magnetic resonance imaging (fMRI). Ratings of the four categorical emotions and liking were used to predict hemodynamic responses in general linear model (GLM) analysis of the fMRI data. Multivariate pattern analysis (MVPA) was used to reveal discrete neural signatures of the four categories of music-induced emotions. To map neural circuits governing non-musical emotions, the subjects were scanned while viewing short emotionally evocative film clips. The GLM revealed that most emotions were associated with activity in the auditory, somatosensory, and motor cortices, cingulate gyrus, insula, and precuneus. Fear and liking also engaged the amygdala. In contrast, the film clips strongly activated limbic and cortical regions implicated in emotional processing. MVPA revealed that activity in the auditory cortex and primary motor cortices reliably discriminated the emotion categories. Our results indicate that different music-induced basic emotions have distinct representations in regions supporting auditory processing, motor control, and interoception but do not strongly rely on limbic and medial prefrontal regions critical for emotions with survival value.

The Role of Canalization and Plasticity in the Evolution of Musical Creativity

Creativity is defined as the ability to generate something new and valuable. From a biological point of view this can be seen as an adaptation in response to environmental challenges. Although music is such a diverse phenomenon, all people possess a set of abilities that are claimed to be the products of biological evolution, which allow us to produce and listen to music according to both universal and culture-specific rules. On the one hand, musical creativity is restricted by the tacit rules that reflect the developmental interplay between genetic, epigenetic and cultural information. On the other hand, musical innovations seem to be desirable elements present in every musical culture which suggests some biological importance. If our musical activity is driven by biological needs, then it is important for us to understand the function of musical creativity in satisfying those needs, and also how human beings have become so creative in the domain of music. The aim of this paper is to propose that musical creativity has become an indispensable part of the gene-culture coevolution of our musicality. It is suggested that the two main forces of canalization and plasticity have been crucial in this process. Canalization is an evolutionary process in which phenotypes take relatively constant forms regardless of environmental and genetic perturbations. Plasticity is defined as the ability of a phenotype to generate an adaptive response to environmental challenges. It is proposed that human musicality is composed of evolutionary innovations generated by the gradual canalization of developmental pathways leading to musical behavior. Within this process, the unstable cultural environment serves as the selective pressure for musical creativity. It is hypothesized that the connections between cortical and subcortical areas, which constitute cortico-subcortical circuits involved in music processing, are the products of canalization, whereas plasticity is achieved by the means of neurological variability. This variability is present both at the level of an individual structure’s enlargement in response to practicing (e.g., the planum temporale) and within the involvement of neurological structures that are not music-specific (e.g., the default mode network) in music processing.

Movement-Based Therapies in Rehabilitation

Movement therapy refers to a broad range of Eastern and Western mindful movement-based practices used to treat the mind, body, and spirit concurrently. Forms of movement practice are universal across human culture and exist in ancient history. Research demonstrates forms of movement therapy, such as dance, existed in the common ancestor shared by humans and chimpanzees, approximately 6 million years ago. Movement-based therapies innately promote health and wellness by encouraging proactive participation in one's own health, creating community support and accountability, and so building a foundation for successful, permanent, positive change.