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Rampinini A, Balboni I, Golestani N, Berthele R. A behavioural exploration of language aptitude and experience, cognition and more using Graph Analysis. Brain Res 2024; 1842:149109. [PMID: 38964704 DOI: 10.1016/j.brainres.2024.149109] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/28/2024] [Revised: 06/01/2024] [Accepted: 07/01/2024] [Indexed: 07/06/2024]
Abstract
Language aptitude has recently regained interest in cognitive neuroscience. Traditional language aptitude testing included phonemic coding ability, associative memory, grammatical sensitivity and inductive language learning. Moreover, domain-general cognitive abilities are associated with individual differences in language aptitude, together with factors that have yet to be elucidated. Beyond domain-general cognition, it is also likely that aptitude and experience in domain-specific but non-linguistic fields (e.g. music or numerical processing) influence and are influenced by language aptitude. We investigated some of these relationships in a sample of 152 participants, using exploratory graph analysis, across different levels of regularisation, i.e. sensitivity. We carried out a meta cluster analysis in a second step to identify variables that are robustly grouped together. We discuss the data, as well as their meta-network groupings, at a baseline network sensitivity level, and in two analyses, one including and the other excluding dyslexic readers. Our results show a stable association between language and cognition, and the isolation of multilingual language experience, musicality and literacy. We highlight the necessity of a more comprehensive view of language and of cognition as multivariate systems.
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Affiliation(s)
- Alessandra Rampinini
- Department of Psychology, Faculty of Psychology and Education Science, University of Geneva, Geneva, Switzerland; National Centre for Competence in Research Evolving Language, Switzerland
| | - Irene Balboni
- Department of Psychology, Faculty of Psychology and Education Science, University of Geneva, Geneva, Switzerland; Institute of Multilingualism, University of Fribourg, Fribourg, Switzerland; National Centre for Competence in Research Evolving Language, Switzerland
| | - Narly Golestani
- Department of Psychology, Faculty of Psychology and Education Science, University of Geneva, Geneva, Switzerland; Cognitive Science Hub, University of Vienna, Vienna, Austria; Department of Behavioural and Cognitive Biology, Faculty of Life Sciences, University of Vienna, Vienna, Austria; National Centre for Competence in Research Evolving Language, Switzerland
| | - Raphael Berthele
- Institute of Multilingualism, University of Fribourg, Fribourg, Switzerland; National Centre for Competence in Research Evolving Language, Switzerland.
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Morita M, Nishikawa Y, Tokumasu Y. 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. Evol Anthropol 2024; 33:e22031. [PMID: 38757853 DOI: 10.1002/evan.22031] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/06/2024] [Revised: 04/14/2024] [Accepted: 04/26/2024] [Indexed: 05/18/2024]
Abstract
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.
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Affiliation(s)
- Masahito Morita
- Evolutionary Anthropology Lab, Department of Biological Sciences, The University of Tokyo, Tokyo, Japan
- Department of Health Sciences of Mind and Body, University of Human Arts and Sciences, Saitama, Japan
| | - Yuri Nishikawa
- Evolutionary Anthropology Lab, Department of Biological Sciences, The University of Tokyo, Tokyo, Japan
- Department of Molecular Life Science, Tokai University School of Medicine, Kanagawa, Japan
| | - Yudai Tokumasu
- Evolutionary Anthropology Lab, Department of Biological Sciences, The University of Tokyo, Tokyo, Japan
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De Gregorio C, Maiolini M, Raimondi T, Carugati F, Miaretsoa L, Valente D, Torti V, Giacoma C, Ravignani A, Gamba M. Isochrony as ancestral condition to call and song in a primate. Ann N Y Acad Sci 2024; 1537:41-50. [PMID: 38925552 DOI: 10.1111/nyas.15151] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 06/28/2024]
Abstract
Animal songs differ from calls in function and structure, and have comparative and translational value, showing similarities to human music. Rhythm in music is often distributed in quantized classes of intervals known as rhythmic categories. These classes have been found in the songs of a few nonhuman species but never in their calls. Are rhythmic categories song-specific, as in human music, or can they transcend the song-call boundary? We analyze the vocal displays of one of the few mammals producing both songs and call sequences: Indri indri. We test whether rhythmic categories (a) are conserved across songs produced in different contexts, (b) exist in call sequences, and (c) differ between songs and call sequences. We show that rhythmic categories occur across vocal displays. Vocalization type and function modulate deployment of categories. We find isochrony (1:1 ratio, like the rhythm of a ticking clock) in all song types, but only advertisement songs show three rhythmic categories (1:1, 1:2, 2:1 ratios). Like songs, some call types are also isochronous. Isochrony is the backbone of most indri vocalizations, unlike human speech, where it is rare. In indri, isochrony underlies both songs and hierarchy-less call sequences and might be ancestral to both.
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Affiliation(s)
- Chiara De Gregorio
- Department of Life Sciences and Systems Biology, University of Torino, Turin, Italy
- Department of Psychology, University of Warwick, Coventry, UK
| | - Marco Maiolini
- Department of Life Sciences and Systems Biology, University of Torino, Turin, Italy
| | - Teresa Raimondi
- Department of Life Sciences and Systems Biology, University of Torino, Turin, Italy
- Department of Human Neurosciences, Sapienza University of Rome, Rome, Italy
| | - Filippo Carugati
- Department of Life Sciences and Systems Biology, University of Torino, Turin, Italy
| | - Longondraza Miaretsoa
- Groupe d'étude et de recherche sur les primates de Madagascar (GERP), Antananarivo, Madagascar
| | - Daria Valente
- Department of Life Sciences and Systems Biology, University of Torino, Turin, Italy
- Parco Natura Viva Garda Zoological Park (PNV), Verona, Italy
| | - Valeria Torti
- Department of Life Sciences and Systems Biology, University of Torino, Turin, Italy
| | - Cristina Giacoma
- Department of Life Sciences and Systems Biology, University of Torino, Turin, Italy
| | - Andrea Ravignani
- Department of Human Neurosciences, Sapienza University of Rome, Rome, Italy
- Comparative Bioacoustics Group, Max Planck Institute for Psycholinguistics, Nijmegen, The Netherlands
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University & The Royal Academy of Music Aarhus, Aalborg, Denmark
| | - Marco Gamba
- Department of Life Sciences and Systems Biology, University of Torino, Turin, Italy
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De Gregorio C, Raimondi T, Bevilacqua V, Pertosa C, Valente D, Carugati F, Bandoli F, Favaro L, Lefaux B, Ravignani A, Gamba M. Isochronous singing in 3 crested gibbon species ( Nomascus spp.). Curr Zool 2024; 70:291-297. [PMID: 39035758 PMCID: PMC11255994 DOI: 10.1093/cz/zoad029] [Citation(s) in RCA: 7] [Impact Index Per Article: 7.0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/17/2023] [Accepted: 06/28/2023] [Indexed: 07/23/2024] Open
Abstract
The search for common characteristics between the musical abilities of humans and other animal species is still taking its first steps. One of the most promising aspects from a comparative point of view is the analysis of rhythmic components, which are crucial features of human communicative performance but also well-identifiable patterns in the vocal displays of other species. Therefore, the study of rhythm is becoming essential to understand the mechanisms of singing behavior and the evolution of human communication. Recent findings provided evidence that particular rhythmic structures occur in human music and some singing animal species, such as birds and rock hyraxes, but only 2 species of nonhuman primates have been investigated so far (Indri indri and Hylobates lar). Therefore, our study aims to consistently broaden the list of species studied regarding the presence of rhythmic categories. We investigated the temporal organization in the singing of 3 species of crested gibbons (Nomascus gabriellae, Nomascus leucogenys, and Nomascus siki) and found that the most prominent rhythmic category was isochrony. Moreover, we found slight variation in songs' tempo among species, with N. gabriellae and N. siki singing with a temporal pattern involving a gradually increasing tempo (a musical accelerando), and N. leucogenys with a more regular pattern. Here, we show how the prominence of a peak at the isochrony establishes itself as a shared characteristic in the small apes considered so far.
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Affiliation(s)
- Chiara De Gregorio
- Department of Life Sciences and Systems Biology, University of Turin, via Accademia Albertina 13, Torino 10125, Italy
| | - Teresa Raimondi
- Department of Life Sciences and Systems Biology, University of Turin, via Accademia Albertina 13, Torino 10125, Italy
| | - Valeria Bevilacqua
- Department of Biology, University of Padua, Via VIII Febbraio, 2, Padova 35122, Italy
| | - Chiara Pertosa
- Department of Life Sciences and Systems Biology, University of Turin, via Accademia Albertina 13, Torino 10125, Italy
| | - Daria Valente
- Department of Life Sciences and Systems Biology, University of Turin, via Accademia Albertina 13, Torino 10125, Italy
| | - Filippo Carugati
- Department of Life Sciences and Systems Biology, University of Turin, via Accademia Albertina 13, Torino 10125, Italy
| | - Francesca Bandoli
- Giardino Zoologico di Pistoia, Via Pieve a Celle, 160/A, Pistoia 5110, Italy
| | - Livio Favaro
- Department of Life Sciences and Systems Biology, University of Turin, via Accademia Albertina 13, Torino 10125, Italy
| | - Brice Lefaux
- Botanical and Zoological Garden of Mulhouse, 11 Av. de la 1ère Division Blindée, Mulhouse 68100, France
| | - Andrea Ravignani
- Comparative Bioacoustics Group, Max Planck Institute for Psycholinguistics, Wundtlaan 1, Nijmegen 6525 XD, The Netherlands
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Building 1710, Universitetsbyen 38000, Aarhus, Denmark
- Department of Human Neuroscience, Sapienza University of Rome, Viale Regina Elena 334, Rome 00185, Italy
| | - Marco Gamba
- Department of Life Sciences and Systems Biology, University of Turin, via Accademia Albertina 13, Torino 10125, Italy
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Pedra Cruz Bettin B, Urquiza Nogueira L, Bertasso de Araujo PA, Antunes LC. Visual art- and music-based interventions as adjuvants in the treatment of eating disorders: a systematic review and a theoretical model. Arts Health 2024; 16:167-188. [PMID: 37259246 DOI: 10.1080/17533015.2023.2218408] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/02/2022] [Accepted: 05/13/2023] [Indexed: 06/02/2023]
Abstract
AIM To assess the effect of visual art- and music-based interventions in the treatment of eating disorders. METHODS This study was registered in PROSPERO (CRD42020161503). Six databases (CINAHL, EMBASE, Lilacs, PsycINFO, PubMed and The Cochrane Library) were consulted. The searches were performed on 19 June 2019, and updated on 18 March 2022. No restriction on language, date, or publication status was applied. Methodological quality was assessed using Joanna Briggs Institute's instruments. All steps were performed by two independent reviewers and a third participated in the event of disagreement. RESULTS Eight studies were included. Few statistically significant results were found. Overall, both interventions might help to reduce negative emotional states. CONCLUSION Visual art- and music-based interventions present limited and inconclusive scientific evidence in patients with eating disorders and therefore their effectiveness is currently unknown. A theoretical model is proposed to guide future research. Further studies are needed to clarify their clinical relevance.
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Affiliation(s)
- Bibiana Pedra Cruz Bettin
- Multiprofessional Residency in Family Health, University of Santa Catarina State, Florianópolis, SC, Brazil
| | - Lauriana Urquiza Nogueira
- Multiprofessional Residency in Family Health, University of Santa Catarina State, Florianópolis, SC, Brazil
| | | | - Luciana C Antunes
- Health Sciences Center, Department of Nutrition, Clinical Nutrition Division, Federal University of Santa Catarina, SC, Brazil
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Rathcke T, Smit E, Zheng Y, Canzi M. Perception of temporal structure in speech is influenced by body movement and individual beat perception ability. Atten Percept Psychophys 2024:10.3758/s13414-024-02893-8. [PMID: 38769276 DOI: 10.3758/s13414-024-02893-8] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Accepted: 04/03/2024] [Indexed: 05/22/2024]
Abstract
The subjective experience of time flow in speech deviates from the sound acoustics in substantial ways. The present study focuses on the perceptual tendency to regularize time intervals found in speech but not in other types of sounds with a similar temporal structure. We investigate to what extent individual beat perception ability is responsible for perceptual regularization and if the effect can be eliminated through the involvement of body movement during listening. Participants performed a musical beat perception task and compared spoken sentences to their drumbeat-based versions either after passive listening or after listening and moving along with the beat of the sentences. The results show that the interval regularization prevails in listeners with a low beat perception ability performing a passive listening task and is eliminated in an active listening task involving body movement. Body movement also helped to promote a veridical percept of temporal structure in speech at the group level. We suggest that body movement engages an internal timekeeping mechanism, promoting the fidelity of auditory encoding even in sounds of high temporal complexity and irregularity such as natural speech.
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Affiliation(s)
- Tamara Rathcke
- Department of Linguistics, University of Konstanz, Konstanz, 78464, Baden-Württemberg, Germany.
| | - Eline Smit
- Department of Linguistics, University of Konstanz, Konstanz, 78464, Baden-Württemberg, Germany
- The MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Street, Penrith, 2751, NSW, Australia
| | - Yue Zheng
- Department of Psychology, University of York, York, YO10 5DD, UK
- Department of Hearing Sciences, University of Nottingham, Nottingham, NG7 2RD, UK
| | - Massimiliano Canzi
- Department of Linguistics, University of Konstanz, Konstanz, 78464, Baden-Württemberg, Germany
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Zapata-Cardona J, Ceballos MC, Rodríguez BDJ. Music and Emotions in Non-Human Animals from Biological and Comparative Perspectives. Animals (Basel) 2024; 14:1491. [PMID: 38791707 PMCID: PMC11117248 DOI: 10.3390/ani14101491] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/21/2024] [Revised: 05/10/2024] [Accepted: 05/14/2024] [Indexed: 05/26/2024] Open
Abstract
The effects of sound stimulation as a sensorial environmental enrichment for captive animals have been studied. When appropriately implemented for farm animals, it can improve welfare, health, and productivity. Furthermore, there are indications that music can induce positive emotions in non-human animals, similar to humans. Emotion is a functional state of the organism involving both physiological processes, mediated by neuroendocrine regulation, and changes in behavior, affecting various aspects, including contextual perception and welfare. As there is very limited information on non-human animals, the objective of this review is to highlight what is known about these processes from human biological and comparative perspectives and stimulate future research on using music to improve animal welfare.
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Affiliation(s)
- Juliana Zapata-Cardona
- Grupo de Investigación Patobiología QUIRON, Escuela de Medicina Veterinaria, Universidad de Antioquia, Calle 70 No. 52-21, Medellín 50010, Colombia;
| | - Maria Camila Ceballos
- Faculty of Veterinary Medicine, University of Calgary, Clinical Skills Building, 11877-85th Street NW, Calgary, AB T3R 1J3, Canada
| | - Berardo de Jesús Rodríguez
- Grupo de Investigación Patobiología QUIRON, Escuela de Medicina Veterinaria, Universidad de Antioquia, Calle 70 No. 52-21, Medellín 50010, Colombia;
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Pinelli C, Scandurra A, Giacoma C, Di Lucrezia A, D'Aniello B. In "Tone" with dogs: exploring canine musicality. Anim Cogn 2024; 27:38. [PMID: 38750339 PMCID: PMC11096221 DOI: 10.1007/s10071-024-01875-5] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/22/2023] [Revised: 05/01/2024] [Accepted: 05/02/2024] [Indexed: 05/18/2024]
Abstract
This study investigates the musical perception skills of dogs through playback experiments. Dogs were trained to distinguish between two different target locations based on a sequence of four ascending or descending notes. A total of 16 dogs of different breeds, age, and sex, but all of them with at least basic training, were recruited for the study. Dogs received training from their respective owners in a suitable environment within their familiar home settings. The training sequence consisted of notes [Do-Mi-Sol#-Do (C7-E7-G7#-C8; Hz frequency: 2093, 2639, 3322, 4186)] digitally generated as pure sinusoidal tones. The training protocol comprised 3 sequential training levels, with each level consisting of 4 sessions with a minimum of 10 trials per session. In the test phase, the sequence was transposed to evaluate whether dogs used relative pitch when identifying the sequences. A correct response by the dog was recorded as 1, while an incorrect response, occurring when the dog chose the opposite zone of the bowl, was marked as 0. Statistical analyses were performed using a binomial test. Among 16 dogs, only two consistently performed above the chance level, demonstrating the ability to recognize relative pitch, even with transposed sequences. This study suggests that dogs may have the ability to attend to relative pitch, a critical aspect of human musicality.
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Affiliation(s)
- Claudia Pinelli
- Department of Environmental, Biological and Pharmaceutical Sciences & Technologies, University of Campania "Luigi Vanvitelli", Caserta, 81100, Italy
| | - Anna Scandurra
- Department of Biology, University of Naples Federico II, Naples, 80126, Italy
| | - Cristina Giacoma
- Department of Life Sciences and System Biology, University of Torino, Torino, 10123, Italy
| | - Alfredo Di Lucrezia
- Department of Biology, University of Naples Federico II, Naples, 80126, Italy
| | - Biagio D'Aniello
- Department of Biology, University of Naples Federico II, Naples, 80126, Italy.
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9
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Schruth DM, Templeton CN, Holman DJ, Smith EA. The origins of musicality in the motion of primates. AMERICAN JOURNAL OF BIOLOGICAL ANTHROPOLOGY 2024; 184:e24891. [PMID: 38180286 DOI: 10.1002/ajpa.24891] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Subscribe] [Scholar Register] [Received: 06/02/2022] [Revised: 11/08/2023] [Accepted: 11/28/2023] [Indexed: 01/06/2024]
Abstract
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.
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Affiliation(s)
- David M Schruth
- Department of Anthropology, University of Washington, Seattle, Washington, USA
| | | | - Darryl J Holman
- Department of Anthropology, University of Washington, Seattle, Washington, USA
| | - Eric A Smith
- Department of Anthropology, University of Washington, Seattle, Washington, USA
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Marin MM, Gingras B. How music-induced emotions affect sexual attraction: evolutionary implications. Front Psychol 2024; 15:1269820. [PMID: 38659690 PMCID: PMC11039867 DOI: 10.3389/fpsyg.2024.1269820] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/30/2023] [Accepted: 03/29/2024] [Indexed: 04/26/2024] Open
Abstract
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.
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Affiliation(s)
- Manuela M. Marin
- Department of Cognition, Emotion and Methods in Psychology, University of Vienna, Vienna, Austria
- Austrian Research Institute of Empirical Aesthetics, Innsbruck, Austria
| | - Bruno Gingras
- Austrian Research Institute of Empirical Aesthetics, Innsbruck, Austria
- Department of Cognitive Biology, Faculty of Life Sciences, University of Vienna, Vienna, Austria
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Li Q, Liu G, Zhang Y, Wu J, Huang R. Neural correlates of musical familiarity: a functional magnetic resonance study. Cereb Cortex 2024; 34:bhae177. [PMID: 38679480 DOI: 10.1093/cercor/bhae177] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/20/2024] [Revised: 04/04/2024] [Accepted: 04/09/2024] [Indexed: 05/01/2024] Open
Abstract
Existing neuroimaging studies on neural correlates of musical familiarity often employ a familiar vs. unfamiliar contrast analysis. This singular analytical approach reveals associations between explicit musical memory and musical familiarity. However, is the neural activity associated with musical familiarity solely related to explicit musical memory, or could it also be related to implicit musical memory? To address this, we presented 130 song excerpts of varying familiarity to 21 participants. While acquiring their brain activity using functional magnetic resonance imaging (fMRI), we asked the participants to rate the familiarity of each song on a five-point scale. To comprehensively analyze the neural correlates of musical familiarity, we examined it from four perspectives: the intensity of local neural activity, patterns of local neural activity, global neural activity patterns, and functional connectivity. The results from these four approaches were consistent and revealed that musical familiarity is related to the activity of both explicit and implicit musical memory networks. Our findings suggest that: (1) musical familiarity is also associated with implicit musical memory, and (2) there is a cooperative and competitive interaction between the two types of musical memory in the perception of music.
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Affiliation(s)
- Qiang Li
- Department of Applied Psychology, College of Education Science, Guizhou Education University, No. 115, Gaoxin Street, Wudang, Guiyang 550018, China
| | - Guangyuan Liu
- Department of Electronic and Information Engineering, College of Electronic and Information Engineering, Southwest University, Tian Sheng road, No. 2, Beibei, Chongqing 400715, China
| | - Yuan Zhang
- Department of Applied Psychology, College of Education Science, Guizhou Education University, No. 115, Gaoxin Street, Wudang, Guiyang 550018, China
| | - Junhua Wu
- Department of Applied Psychology, College of Education Science, Guizhou Education University, No. 115, Gaoxin Street, Wudang, Guiyang 550018, China
| | - Rong Huang
- Department of Applied Psychology, College of Education Science, Guizhou Education University, No. 115, Gaoxin Street, Wudang, Guiyang 550018, China
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12
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Bamford JS, Vigl J, Hämäläinen M, Saarikallio SH. Love songs and serenades: a theoretical review of music and romantic relationships. Front Psychol 2024; 15:1302548. [PMID: 38420176 PMCID: PMC10899422 DOI: 10.3389/fpsyg.2024.1302548] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/26/2023] [Accepted: 01/23/2024] [Indexed: 03/02/2024] Open
Abstract
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.
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Affiliation(s)
- Joshua S Bamford
- Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland
- Institute of Human Sciences, University of Oxford, Oxford, United Kingdom
| | - Julia Vigl
- Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland
- Department of Psychology, University of Innsbruck, Innsbruck, Austria
| | - Matias Hämäläinen
- Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland
| | - Suvi Helinä Saarikallio
- Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland
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13
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Edens BM, Bronner ME. Making developmental sense of the senses, their origin and function. Curr Top Dev Biol 2024; 159:132-167. [PMID: 38729675 DOI: 10.1016/bs.ctdb.2024.01.015] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 05/12/2024]
Abstract
The primary senses-touch, taste, sight, smell, and hearing-connect animals with their environments and with one another. Aside from the eyes, the primary sense organs of vertebrates and the peripheral sensory pathways that relay their inputs arise from two transient stem cell populations: the neural crest and the cranial placodes. In this chapter we consider the senses from historical and cultural perspectives, and discuss the senses as biological faculties. We begin with the embryonic origin of the neural crest and cranial placodes from within the neural plate border of the ectodermal germ layer. Then, we describe the major chemical (i.e. olfactory and gustatory) and mechanical (i.e. vestibulo-auditory and somatosensory) senses, with an emphasis on the developmental interactions between neural crest and cranial placodes that shape their structures and functions.
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Affiliation(s)
- Brittany M Edens
- Division of Biology and Biological Engineering, California Institute of Technology, Pasadena, CA, United States
| | - Marianne E Bronner
- Division of Biology and Biological Engineering, California Institute of Technology, Pasadena, CA, United States.
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14
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Háden GP, Bouwer FL, Honing H, Winkler I. Beat processing in newborn infants cannot be explained by statistical learning based on transition probabilities. Cognition 2024; 243:105670. [PMID: 38016227 DOI: 10.1016/j.cognition.2023.105670] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/27/2023] [Revised: 11/08/2023] [Accepted: 11/17/2023] [Indexed: 11/30/2023]
Abstract
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.
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Affiliation(s)
- Gábor P Háden
- Institute of Cognitive Neuroscience and Psychology, HUN-REN Research Centre for Natural Sciences, Magyar tudósok körútja 2, H-1117 Budapest, Hungary; Department of Telecommunications and Media Informatics, Faculty of Electrical Engineering and Informatics, Budapest University of Technology and Economics, Magyar tudósok körútja 2, 1117 Budapest, Hungary.
| | - Fleur L Bouwer
- Music Cognition Group, Institute for Logic, Language, and Computation, University of Amsterdam, P.O. Box 94242, 1090 GE Amsterdam, the Netherlands; Amsterdam Brain and Cognition, University of Amsterdam, P.O. Box 15900, 1001 NK Amsterdam, the Netherlands; Department of Psychology, Brain & Cognition, University of Amsterdam, P.O. Box 15900, 1001 NK Amsterdam, the Netherlands; Cognitive Psychology Unit, Institute of Psychology & Leiden Institute for Brain and Cognition, Leiden University, 2333 AK Leiden, the Netherlands.
| | - Henkjan Honing
- Music Cognition Group, Institute for Logic, Language, and Computation, University of Amsterdam, P.O. Box 94242, 1090 GE Amsterdam, the Netherlands; Amsterdam Brain and Cognition, University of Amsterdam, P.O. Box 15900, 1001 NK Amsterdam, the Netherlands.
| | - István Winkler
- Institute of Cognitive Neuroscience and Psychology, HUN-REN Research Centre for Natural Sciences, Magyar tudósok körútja 2, H-1117 Budapest, Hungary.
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15
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Fram NR, Liu T, Lense MD. Social interaction links active musical rhythm engagement and expressive communication in autistic toddlers. Autism Res 2024; 17:338-354. [PMID: 38197536 PMCID: PMC10922396 DOI: 10.1002/aur.3090] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/19/2023] [Accepted: 12/17/2023] [Indexed: 01/11/2024]
Abstract
Rhythm is implicated in both social and linguistic development. Rhythm perception and production skills are also key vulnerabilities in neurodevelopmental disorders such as autism which impact social communication. However, direct links between musical rhythm engagement and expressive communication in autism is not clearly evident. This absence of a direct connection between rhythm and expressive communication indicates that the mechanism of action between rhythm and expressive communication may recruit other cognitive or developmental factors. We hypothesized that social interactions, including general interpersonal relationships and interactive music-making involving children and caregivers, were a significant such factor, particularly in autism. To test this, we collected data from parents of autistic and nonautistic children 14-36 months of age, including parent reports of their children's rhythmic musical engagement, general social skills, parent-child musical interactions, and expressive communication skills. Path analysis revealed a system of independent, indirect pathways from rhythmic musical engagement to expressive communication via social skills and parent-child musical interactions in autistic toddlers. Such a system implies both that social and musical interactions represent crucial links between rhythm and language and that different kinds of social interactions play parallel, independent roles linking rhythmic musical engagement with expressive communication skills.
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Affiliation(s)
- Noah R. Fram
- Department of Otolaryngology–Head and Neck Surgery, Vanderbilt University Medical Center
| | - Talia Liu
- Department of Otolaryngology–Head and Neck Surgery, Vanderbilt University Medical Center
- Department of Speech, Language, and Hearing Sciences, Boston University
| | - Miriam D. Lense
- Department of Otolaryngology–Head and Neck Surgery, Vanderbilt University Medical Center
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16
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Kobayashi K, Shiba Y, Honda S, Nakajima S, Fujii S, Mimura M, Noda Y. Short-Term Effect of Auditory Stimulation on Neural Activities: A Scoping Review of Longitudinal Electroencephalography and Magnetoencephalography Studies. Brain Sci 2024; 14:131. [PMID: 38391706 PMCID: PMC10887208 DOI: 10.3390/brainsci14020131] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/03/2023] [Revised: 12/24/2023] [Accepted: 01/24/2024] [Indexed: 02/24/2024] Open
Abstract
Explored through EEG/MEG, auditory stimuli function as a suitable research probe to reveal various neural activities, including event-related potentials, brain oscillations and functional connectivity. Accumulating evidence in this field stems from studies investigating neuroplasticity induced by long-term auditory training, specifically cross-sectional studies comparing musicians and non-musicians as well as longitudinal studies with musicians. In contrast, studies that address the neural effects of short-term interventions whose duration lasts from minutes to hours are only beginning to be featured. Over the past decade, an increasing body of evidence has shown that short-term auditory interventions evoke rapid changes in neural activities, and oscillatory fluctuations can be observed even in the prestimulus period. In this scoping review, we divided the extracted neurophysiological studies into three groups to discuss neural activities with short-term auditory interventions: the pre-stimulus period, during stimulation, and a comparison of before and after stimulation. We show that oscillatory activities vary depending on the context of the stimuli and are greatly affected by the interplay of bottom-up and top-down modulational mechanisms, including attention. We conclude that the observed rapid changes in neural activitiesin the auditory cortex and the higher-order cognitive part of the brain are causally attributed to short-term auditory interventions.
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Affiliation(s)
- Kanon Kobayashi
- Department of Neuropsychiatry, Keio University School of Medicine, 35 Shinanomachi, Shinjuku-ku, Tokyo 160-8582, Japan
| | - Yasushi Shiba
- Faculty of Medicine, University of Tokyo, Tokyo 113-8655, Japan
| | - Shiori Honda
- Department of Neuropsychiatry, Keio University School of Medicine, 35 Shinanomachi, Shinjuku-ku, Tokyo 160-8582, Japan
| | - Shinichiro Nakajima
- Department of Neuropsychiatry, Keio University School of Medicine, 35 Shinanomachi, Shinjuku-ku, Tokyo 160-8582, Japan
| | - Shinya Fujii
- Faculty of Environment and Information Studies, Keio University, Fujisawa 252-0816, Japan
| | - Masaru Mimura
- Department of Neuropsychiatry, Keio University School of Medicine, 35 Shinanomachi, Shinjuku-ku, Tokyo 160-8582, Japan
| | - Yoshihiro Noda
- Department of Neuropsychiatry, Keio University School of Medicine, 35 Shinanomachi, Shinjuku-ku, Tokyo 160-8582, Japan
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17
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Jordania J. Music as aposematic signal: predator defense strategies in early human evolution. Front Psychol 2024; 14:1271854. [PMID: 38298362 PMCID: PMC10828848 DOI: 10.3389/fpsyg.2023.1271854] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/03/2023] [Accepted: 12/18/2023] [Indexed: 02/02/2024] Open
Abstract
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.
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18
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Kim G, Kim DK, Jeong H. Spontaneous emergence of rudimentary music detectors in deep neural networks. Nat Commun 2024; 15:148. [PMID: 38168097 PMCID: PMC10761941 DOI: 10.1038/s41467-023-44516-0] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/14/2021] [Accepted: 12/15/2023] [Indexed: 01/05/2024] Open
Abstract
Music exists in almost every society, has universal acoustic features, and is processed by distinct neural circuits in humans even with no experience of musical training. However, it remains unclear how these innate characteristics emerge and what functions they serve. Here, using an artificial deep neural network that models the auditory information processing of the brain, we show that units tuned to music can spontaneously emerge by learning natural sound detection, even without learning music. The music-selective units encoded the temporal structure of music in multiple timescales, following the population-level response characteristics observed in the brain. We found that the process of generalization is critical for the emergence of music-selectivity and that music-selectivity can work as a functional basis for the generalization of natural sound, thereby elucidating its origin. These findings suggest that evolutionary adaptation to process natural sounds can provide an initial blueprint for our sense of music.
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Affiliation(s)
- Gwangsu Kim
- Department of Physics, Korea Advanced Institute of Science and Technology, Daejeon, 34141, Korea
| | - Dong-Kyum Kim
- Department of Physics, Korea Advanced Institute of Science and Technology, Daejeon, 34141, Korea
| | - Hawoong Jeong
- Department of Physics, Korea Advanced Institute of Science and Technology, Daejeon, 34141, Korea.
- Center for Complex Systems, Korea Advanced Institute of Science and Technology, Daejeon, 34141, Korea.
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19
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Ishida K, Nittono H. Statistical Learning of Chord-Transition Regularities in a Novel Equitempered Scale: An MMN Study. Neurosci Lett 2023; 815:137478. [PMID: 37714286 DOI: 10.1016/j.neulet.2023.137478] [Citation(s) in RCA: 1] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/04/2023] [Revised: 08/02/2023] [Accepted: 09/11/2023] [Indexed: 09/17/2023]
Abstract
In music and language domains, it has been suggested that patterned transitions of sounds can be acquired implicitly through statistical learning. Previous studies have investigated the statistical learning of auditory regularities by recording early neural responses to a sequence of tones presented at high or low transition probabilities. However, it remains unclear whether the statistical learning of musical chord transitions is reflected in endogenous, regularity-dependent components of the event-related potential (ERP). The present study aimed to record the mismatch negativity (MMN) elicited by chord transitions that deviated from newly learned transitional regularities. Chords were generated in a novel 18 equal temperament pitch class scale to avoid interference from the existing tonal representations of the 12 equal temperament pitch class system. Thirty-six adults without professional musical training listened to a sequence of randomly inverted chords in which certain chords were presented with high (standard) or low (deviant) transition probabilities. An irrelevant timbre change detection task was assigned to make them attend to the sequence during the ERP recording. After that, a familiarity test was administered in which the participants were asked to choose the more familiar chord sequence out of two successive sequences. The results showed that deviant transitions elicited the MMN, although the participants could not recognize the standard transition beyond the level of chance. These findings suggest that humans can statistically learn new transitional regularities of chords in a novel musical scale, even though they did not recognize them explicitly. This study provides further evidence that music-syntactic regularities can be acquired implicitly through statistical learning.
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Affiliation(s)
- Kai Ishida
- Graduate School of Human Sciences, Osaka University, 1-2 Yamadaoka, Suita, Osaka 565-0871, JAPAN.
| | - Hiroshi Nittono
- Graduate School of Human Sciences, Osaka University, 1-2 Yamadaoka, Suita, Osaka 565-0871, JAPAN
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20
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Varella MAC. Nocturnal selective pressures on the evolution of human musicality as a missing piece of the adaptationist puzzle. Front Psychol 2023; 14:1215481. [PMID: 37860295 PMCID: PMC10582961 DOI: 10.3389/fpsyg.2023.1215481] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/02/2023] [Accepted: 09/11/2023] [Indexed: 10/21/2023] Open
Abstract
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.
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21
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Mehr SA, Bortfeld H. Music, a piece of many puzzles in developmental science. Dev Sci 2023; 26:e13438. [PMID: 37501524 DOI: 10.1111/desc.13438] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 07/29/2023]
Affiliation(s)
- Samuel A Mehr
- School of Psychology, University of Auckland, Auckland, New Zealand
- Child Study Center, Yale University, New Haven, Connecticut, USA
| | - Heather Bortfeld
- Department of Psychology, University of California at Merced, Merced, California, USA
- Department of Cognitive and Information Sciences, University of California at Merced, Merced, California, USA
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22
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Davin L, Tejero JM, Simmons T, Shaham D, Borvon A, Tourny O, Bridault A, Rabinovich R, Sindel M, Khalaily H, Valla F. Bone aerophones from Eynan-Mallaha (Israel) indicate imitation of raptor calls by the last hunter-gatherers in the Levant. Sci Rep 2023; 13:8709. [PMID: 37296190 PMCID: PMC10256695 DOI: 10.1038/s41598-023-35700-9] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/26/2023] [Accepted: 05/22/2023] [Indexed: 06/12/2023] Open
Abstract
Direct evidence for Palaeolithic sound-making instruments is relatively rare, with only a few examples recorded from Upper Palaeolithic contexts, particularly in European cultures. However, theoretical considerations suggest that such artefacts have existed elsewhere in the world. Nevertheless, evidence for sound production is tenuous in the prehistoric archaeological record of the Levant, the study of music and its evolution being sparsely explored. Here we report new evidence for Palaeolithic sound-making instruments from the Levant with the discovery of seven aerophones made of perforated bird bones in the Final Natufian site of Eynan-Mallaha, Northern Israel. Through technological, use-wear, taphonomic, experimental and acoustical analyses, we demonstrate that these objects were intentionally manufactured more than 12,000 years ago to produce a range of sounds similar to raptor calls and whose purposes could be at the crossroads of communication, attracting hunting prey and music-making. Although similar aerophones are documented in later archaeological cultures, such artificial bird sounds were yet to be reported from Palaeolithic context. Therefore, the discovery from Eynan-Mallaha contributes new evidence for a distinctive sound-making instrument in the Palaeolithic. Through a combined multidisciplinary approach, our study provides important new data regarding the antiquity and development of the variety of sound-making instruments in the Palaeolithic at large and particularly at the dawn of the Neolithic in the Levant.
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Affiliation(s)
- Laurent Davin
- Institute of Archaeology, The Hebrew University of Jerusalem, Jerusalem, Israel.
- CNRS, UAR 3132 Centre de Recherche français à Jérusalem (CRFJ), Jerusalem, Israel.
- CNRS, UMR 8068 Technologie et Ethnologie des Mondes PréhistoriqueS (TEMPS), Nanterre, France.
| | - José-Miguel Tejero
- Department of Evolutionary Anthropology, University of Vienna, Vienna, Austria.
- Human Evolution and Archeological Sciences (HEAS), University of Vienna, Vienna, Austria.
- Seminari d'Estudis I Recerques Prehistoriques (SERP), University of Barcelona, Barcelona, Spain.
| | - Tal Simmons
- Department of Forensic Science, Virginia Commonwealth University, Richmond, VA, USA
| | - Dana Shaham
- Institute of Archaeology, The Hebrew University of Jerusalem, Jerusalem, Israel
| | - Aurélia Borvon
- CNRS, UAR 3132 Centre de Recherche français à Jérusalem (CRFJ), Jerusalem, Israel
- CNRS, UMR 7041 Archéologies Environnementales, Nanterre, France
- Laboratoire d'Anatomie Comparée, École Nationale Vétérinaire, Agroalimentaire et de l'Alimentation (ONIRIS), Nantes, France
| | - Olivier Tourny
- CNRS, UAR 3132 Centre de Recherche français à Jérusalem (CRFJ), Jerusalem, Israel
- CNRS, UMR 7307 Institut d'ethnologie mediterraneenne, europeenne et Comparative (IDEMEC), Aix-en-Provence, France
| | - Anne Bridault
- CNRS, UAR 3132 Centre de Recherche français à Jérusalem (CRFJ), Jerusalem, Israel
- CNRS, UMR 7041 Archéologies Environnementales, Nanterre, France
| | - Rivka Rabinovich
- Institute of Archaeology, The Hebrew University of Jerusalem, Jerusalem, Israel
- Institute of Earth Sciences, National Natural History Collections, The Hebrew University of Jerusalem, Jerusalem, Israel
| | - Marion Sindel
- CNRS, UAR 3132 Centre de Recherche français à Jérusalem (CRFJ), Jerusalem, Israel
- Israel Antiquities Authority (IAA), Jerusalem, Israel
| | - Hamudi Khalaily
- CNRS, UAR 3132 Centre de Recherche français à Jérusalem (CRFJ), Jerusalem, Israel
- Israel Antiquities Authority (IAA), Jerusalem, Israel
| | - François Valla
- CNRS, UAR 3132 Centre de Recherche français à Jérusalem (CRFJ), Jerusalem, Israel
- CNRS, UMR 8068 Technologie et Ethnologie des Mondes PréhistoriqueS (TEMPS), Nanterre, France
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23
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Huang JK, Yin B. Phylogenic evolution of beat perception and synchronization: a comparative neuroscience perspective. Front Syst Neurosci 2023; 17:1169918. [PMID: 37325439 PMCID: PMC10264645 DOI: 10.3389/fnsys.2023.1169918] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/20/2023] [Accepted: 05/16/2023] [Indexed: 06/17/2023] Open
Abstract
The study of music has long been of interest to researchers from various disciplines. Scholars have put forth numerous hypotheses regarding the evolution of music. With the rise of cross-species research on music cognition, researchers hope to gain a deeper understanding of the phylogenic evolution, behavioral manifestation, and physiological limitations of the biological ability behind music, known as musicality. This paper presents the progress of beat perception and synchronization (BPS) research in cross-species settings and offers varying views on the relevant hypothesis of BPS. The BPS ability observed in rats and other mammals as well as recent neurobiological findings presents a significant challenge to the vocal learning and rhythm synchronization hypothesis if taken literally. An integrative neural-circuit model of BPS is proposed to accommodate the findings. In future research, it is recommended that greater consideration be given to the social attributes of musicality and to the behavioral and physiological changes that occur across different species in response to music characteristics.
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Affiliation(s)
- Jin-Kun Huang
- Laboratory for Learning and Behavioral Sciences, School of Psychology, Fujian Normal University, Fuzhou, Fujian, China
| | - Bin Yin
- Laboratory for Learning and Behavioral Sciences, School of Psychology, Fujian Normal University, Fuzhou, Fujian, China
- Department of Applied Psychology, School of Psychology, Fujian Normal University, Fuzhou, Fujian, China
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24
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Gordon RL, Martschenko DO, Nayak S, Niarchou M, Morrison MD, Bell E, Jacoby N, Davis LK. Confronting ethical and social issues related to the genetics of musicality. Ann N Y Acad Sci 2023; 1522:5-14. [PMID: 36851882 PMCID: PMC10613828 DOI: 10.1111/nyas.14972] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 03/01/2023]
Abstract
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.
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Affiliation(s)
- Reyna L. Gordon
- Department of Otolaryngology- Head & Neck Surgery, Vanderbilt University Medical Center, TN, USA
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, TN, USA
| | | | - Srishti Nayak
- Department of Otolaryngology- Head & Neck Surgery, Vanderbilt University Medical Center, TN, USA
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, TN, USA
| | - Maria Niarchou
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, TN, USA
- Division of Genetic Medicine, Department of Medicine, Vanderbilt University Medical Center, TN, USA
| | - Matthew D. Morrison
- Clive Davis Institute of Recorded Music, Tisch School of the Arts, New York University, New York, NY, USA
| | - Eamonn Bell
- Department of Music/Graduate School of Arts and Sciences, Columbia University, New York, NY, USA
- Department of Computer Science, Durham University, Durham, United Kingdom
| | - Nori Jacoby
- Computational Auditory Perception Research Group, Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany
| | - Lea K. Davis
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, TN, USA
- Division of Genetic Medicine, Department of Medicine, Vanderbilt University Medical Center, TN, USA
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25
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Majno M. “The two voices,” or more? Music and gender from myth and conquests to the neurosciences. J Neurosci Res 2023; 101:604-632. [PMID: 36971041 DOI: 10.1002/jnr.25175] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/28/2021] [Revised: 11/18/2022] [Accepted: 01/20/2023] [Indexed: 03/29/2023]
Abstract
Music is a unique phenomenon, constantly eliciting interest from a variety of viewpoints, several of which intersect the universal trait of musicality with sex/gender studies and the neurosciences. Its unparalleled power and physical, social, aesthetic, as well as cognitive, emotional and clinical ramifications make it a specially promising terrain for studies and reflections on sex and gender differences and their impact. This overview wishes to enhance awareness of such issues, also fostering an interdisciplinary exchange between the natural sciences, the humanities, and the arts. Over the centuries, different associations of music with the feminine gender have contributed to a pendulum between progressive recognition and stereotypical setbacks requiring to be overcome. Against this backdrop, music-related neurophysiological and psychological studies on sex and gender specificities are reviewed in their multiple approaches and results, exposing or questioning differences in structural, auditory, hormonal, cognitive, and behavioral areas, also in relation to abilities, treatment, and pedagogy. Thus, the bridging potential of music as universal yet diverse language, art, and practice, recommends its gender-aware integration into education, protective endeavors, and therapeutic interventions, to promote equality and well-being.
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Affiliation(s)
- Maria Majno
- Mariani Foundation for Child Neurology, Milan, Italy
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26
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Garcia-Falgueras A. Possible Gender Differences in Classical Music, Flamenco and Fado. Neurosci Insights 2023; 18:26331055221147009. [PMID: 36620125 PMCID: PMC9813978 DOI: 10.1177/26331055221147009] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/07/2022] [Accepted: 12/07/2022] [Indexed: 01/04/2023] Open
Abstract
Music is an art form and cultural activity whose language, the sounds and silences, is organized in time with logic and sensitivity. Music as a whole is the result of an ancestral nonverbal and international mode of human expression and communication. The primitive and former mother-child bonding might be highly influenced and modulated by the music and singing with their babies. Musicality and music imply two different sides of the same coin, where the former is based on the human capacity to produce the latter. Some theories about evolution suggest music might have an adaptive advantage for humans in society. Historical examples of different styles in music point out that if any allusion or reminder about gender in music might happen most probably occurs in folk non always written pagan or secular music with lyrics or voice. This genre of music usually tells about traditional gender differences in jobs, habits, lifestyles, etc., and has a clear preference for male musicians, while on the contrary, classical music usually does not have a clear gender difference in meaning, and instruments are played by both. In this text, I explore and empirically describe, neuroanatomically or functionally, some examples of different genres of music and brain differences, related to music and dance. Three different genres of music (Classical music, Fado and Flamenco) are explored in an attempt to elucidate some reasons for possible gender differences.
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Affiliation(s)
- Alicia Garcia-Falgueras
- Biblioteca Nacional de España, Madrid, Spain,Netherlands Institute for Neuroscience, Amsterdam, The Netherlands,Alicia Garcia-Falgueras, Biblioteca Nacional de España, Paseo de Recoletos 20-22, Madrid 28001, Spain.
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Welch D, Reybrouck M, Podlipniak P. Meaning in Music Is Intentional, but in Soundscape It Is Not-A Naturalistic Approach to the Qualia of Sounds. INTERNATIONAL JOURNAL OF ENVIRONMENTAL RESEARCH AND PUBLIC HEALTH 2022; 20:269. [PMID: 36612591 PMCID: PMC9819651 DOI: 10.3390/ijerph20010269] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Figures] [Subscribe] [Scholar Register] [Received: 10/21/2022] [Revised: 12/14/2022] [Accepted: 12/21/2022] [Indexed: 06/17/2023]
Abstract
The sound environment and music intersect in several ways and the same holds true for the soundscape and our internal response to listening to music. Music may be part of a sound environment or take on some aspects of environmental sound, and therefore some of the soundscape response may be experienced alongside the response to the music. At a deeper level, coping with music, spoken language, and the sound environment may all have influenced our evolution, and the cognitive-emotional structures and responses evoked by all three sources of acoustic information may be, to some extent, the same. This paper distinguishes and defines the extent of our understanding about the interplay of external sound and our internal response to it in both musical and real-world environments. It takes a naturalistic approach to music/sound and music-listening/soundscapes to describe in objective terms some mechanisms of sense-making and interactions with the sounds. It starts from a definition of sound as vibrational and transferable energy that impinges on our body and our senses, with a dynamic tension between lower-level coping mechanisms and higher-level affective and cognitive functioning. In this way, we establish both commonalities and differences between musical responses and soundscapes. Future research will allow this understanding to grow and be refined further.
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Affiliation(s)
- David Welch
- Audiology Section, School of Population Health, University of Auckland, Auckland 2011, New Zealand
| | - Mark Reybrouck
- Faculty of Arts, University of Leuven, 3000 Leuven, Belgium
- Department of Art History, Musicology and Theater Studies, IPEM Institute for Psychoacoustics and Electronic Music, 9000 Ghent, Belgium
| | - Piotr Podlipniak
- Institute of Musicology, Adam Mickiewicz University in Poznań, 61-712 Poznan, Poland
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28
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Weiss MW, Peretz I. Improvisation is a novel tool to study musicality. Sci Rep 2022; 12:12595. [PMID: 35869086 PMCID: PMC9307610 DOI: 10.1038/s41598-022-15312-5] [Citation(s) in RCA: 2] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/19/2021] [Accepted: 06/22/2022] [Indexed: 11/10/2022] Open
Abstract
Humans spontaneously invent songs from an early age. Here, we exploit this natural inclination to probe implicit musical knowledge in 33 untrained and poor singers (amusia). Each sang 28 long improvisations as a response to a verbal prompt or a continuation of a melodic stem. To assess the extent to which each improvisation reflects tonality, which has been proposed to be a core organizational principle of musicality and which is present within most music traditions, we developed a new algorithm that compares a sung excerpt to a probability density function representing the tonal hierarchy of Western music. The results show signatures of tonality in both nonmusicians and individuals with congenital amusia, who have notorious difficulty performing musical tasks that require explicit responses and memory. The findings are a proof of concept that improvisation can serve as a novel, even enjoyable method for systematically measuring hidden aspects of musicality across the spectrum of musical ability.
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Peretz I, Ross J, Bourassa CV, Perreault LPL, Dion PA, Weiss MW, Felezeu M, Rouleau GA, Dubé MP. Do variants in the coding regions of FOXP2, a gene implicated in speech disorder, confer a risk for congenital amusia? Ann N Y Acad Sci 2022; 1517:279-285. [PMID: 35980667 DOI: 10.1111/nyas.14883] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/27/2022]
Abstract
Congenital amusia is a lifelong disorder that compromises the normal development of musical abilities in 1.5-4% of the general population. There is a substantial genetic contribution to congenital amusia, and it bears similarities to neurodevelopmental disorders of language. Here, we examine the extent to which variants in the forkhead box P2 gene (FOXP2)-the first gene to be identified as causal in developmental speech deficits-are associated with the amusic trait. Using a cohort of 49 individuals with amusia, of which 27 were unrelated, the role of FOXP2 variants in amusia was evaluated. Fourteen variants were examined in the cohort. None segregated with the amusic trait among participants for whom family information was available; nor were they predicted to be deleterious to protein function. Thus, variants in FOXP2 are not likely to cause amusia. Implications for ongoing debates about the distinction between musicality and language are discussed.
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Affiliation(s)
- Isabelle Peretz
- Department of Psychology, University of Montreal, Montréal, Québec, Canada.,International Laboratory for Brain, Music, and Sound Research (BRAMS), Montréal, Québec, Canada
| | - Jay Ross
- Department of Human Genetics, McGill University, Montréal, Québec, Canada.,Montreal Neurological Institute and Hospital, McGill University, Montréal, Québec, Canada
| | - Cynthia V Bourassa
- Montreal Neurological Institute and Hospital, McGill University, Montréal, Québec, Canada.,Department of Neurology and Neurosurgery, Montreal Neurological Institute and Hospital, McGill University, Montréal, Québec, Canada
| | | | - Patrick A Dion
- Montreal Neurological Institute and Hospital, McGill University, Montréal, Québec, Canada.,Department of Neurology and Neurosurgery, Montreal Neurological Institute and Hospital, McGill University, Montréal, Québec, Canada
| | - Michael W Weiss
- Department of Psychology, University of Montreal, Montréal, Québec, Canada.,International Laboratory for Brain, Music, and Sound Research (BRAMS), Montréal, Québec, Canada
| | - Mihaela Felezeu
- Department of Psychology, University of Montreal, Montréal, Québec, Canada.,International Laboratory for Brain, Music, and Sound Research (BRAMS), Montréal, Québec, Canada
| | - Guy A Rouleau
- Department of Human Genetics, McGill University, Montréal, Québec, Canada.,Montreal Neurological Institute and Hospital, McGill University, Montréal, Québec, Canada.,Department of Neurology and Neurosurgery, Montreal Neurological Institute and Hospital, McGill University, Montréal, Québec, Canada
| | - Marie-Pierre Dubé
- Montreal Neurological Institute and Hospital, McGill University, Montréal, Québec, Canada
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Bonomo ME, Brandt AK, Frazier JT, Karmonik C. Music to My Ears : Neural modularity and flexibility differ in response to real-world music stimuli. IBRO Neurosci Rep 2022; 12:98-107. [PMID: 35106517 PMCID: PMC8784322 DOI: 10.1016/j.ibneur.2021.12.007] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/18/2021] [Accepted: 12/28/2021] [Indexed: 10/30/2022] Open
Abstract
Music listening involves many simultaneous neural operations, including auditory processing, working memory, temporal sequencing, pitch tracking, anticipation, reward, and emotion, and thus, a full investigation of music cognition would benefit from whole-brain analyses. Here, we quantify whole-brain activity while participants listen to a variety of music and speech auditory pieces using two network measures that are grounded in complex systems theory: modularity, which measures the degree to which brain regions are interacting in communities, and flexibility, which measures the rate that brain regions switch the communities to which they belong. In a music and brain connectivity study that is part of a larger clinical investigation into music listening and stroke recovery at Houston Methodist Hospital's Center for Performing Arts Medicine, functional magnetic resonance imaging (fMRI) was performed on healthy participants while they listened to self-selected music to which they felt a positive emotional attachment, as well as culturally familiar music (J.S. Bach), culturally unfamiliar music (Gagaku court music of medieval Japan), and several excerpts of speech. There was a marked contrast among the whole-brain networks during the different types of auditory pieces, in particular for the unfamiliar music. During the self-selected and Bach tracks, participants' whole-brain networks exhibited modular organization that was significantly coordinated with the network flexibility. Meanwhile, when the Gagaku music was played, this relationship between brain network modularity and flexibility largely disappeared. In addition, while the auditory cortex's flexibility during the self-selected piece was equivalent to that during Bach, it was more flexible during Gagaku. The results suggest that the modularity and flexibility measures of whole-brain activity have the potential to lead to new insights into the complex neural function that occurs during music perception of real-world songs.
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Affiliation(s)
- Melia E. Bonomo
- Department of Physics and Astronomy, Rice University, Houston, TX, USA
- Center for Theoretical Biological Physics, Rice University, Houston, TX, USA
| | | | - J. Todd Frazier
- Center for Performing Arts Medicine, Houston Methodist Hospital, Houston, TX, USA
| | - Christof Karmonik
- Center for Performing Arts Medicine, Houston Methodist Hospital, Houston, TX, USA
- MRI Core, Houston Methodist Research Institute, Houston, TX, USA
- Department of Radiology, Weill Cornell Medical College, New York, NY, USA
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31
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Malviya S, Zupan B, Meredith P. Evidence of religious/spiritual singing and movement in mental health: A systematic review. Complement Ther Clin Pract 2022; 47:101567. [DOI: 10.1016/j.ctcp.2022.101567] [Citation(s) in RCA: 2] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/23/2021] [Revised: 02/13/2022] [Accepted: 02/24/2022] [Indexed: 12/12/2022]
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32
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Hoeschele M, Fitch WT. Cultural evolution: Conserved patterns of melodic evolution across musical cultures. Curr Biol 2022; 32:R265-R267. [PMID: 35349809 DOI: 10.1016/j.cub.2022.01.080] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/15/2022]
Abstract
A new study finds that melodies evolve in similar ways, reminiscent of genetic evolution, across cultures. Patterns of change in music and other aesthetic domains may be the key to understanding how culture evolves when unfettered by physical or ecological constraints.
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Affiliation(s)
- Marisa Hoeschele
- Acoustics Research Institute, Austrian Academy of Science, Vienna, Austria
| | - W Tecumseh Fitch
- Cognitive Science Hub and Department of Behavioral and Cognitive Biology, Faculty of Life Sciences, University of Vienna, Vienna, Austria.
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33
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Savage PE, Passmore S, Chiba G, Currie TE, Suzuki H, Atkinson QD. Sequence alignment of folk song melodies reveals cross-cultural regularities of musical evolution. Curr Biol 2022; 32:1395-1402.e8. [PMID: 35120658 DOI: 10.1016/j.cub.2022.01.039] [Citation(s) in RCA: 10] [Impact Index Per Article: 5.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/01/2021] [Revised: 09/07/2021] [Accepted: 01/13/2022] [Indexed: 01/18/2023]
Abstract
Culture evolves,1-5 but the existence of cross-culturally general regularities of cultural evolution is debated.6-8 As a diverse but universal cultural phenomenon, music provides a novel domain to test for the existence of such regularities.9-12 Folk song melodies can be thought of as culturally transmitted sequences of notes that change over time under the influence of cognitive and acoustic/physical constraints.9-15 Modeling melodies as evolving sequences constructed from an "alphabet" of 12 scale degrees16 allows us to quantitatively test for the presence of cross-cultural regularities using a sample of 10,062 melodies from musically divergent Japanese and English (British/American) folk song traditions.17,18 Our analysis identifies 328 pairs of highly related melodies, finding that note changes are more likely when they have smaller impacts on a song's melody. Specifically, (1) notes with stronger rhythmic functions are less likely to change, and (2) note substitutions are most likely between neighboring notes. We also find that note insertions/deletions ("indels") are more common than note substitutions, unlike genetic evolution where the reverse is true. Our results are consistent across English and Japanese samples despite major differences in their scales and tonal systems. These findings demonstrate that even a creative art form such as music is subject to evolutionary constraints analogous to those governing the evolution of genes, languages, and other domains of culture.
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Affiliation(s)
- Patrick E Savage
- Faculty of Environment and Information Studies, Keio University, Shonan Fujisawa Campus, Endo, Fujisawa, Kanagawa 252-0882, Japan; School of Anthropology and Museum Archaeology, University of Oxford, Banbury Road, Oxford OX2 6PE, UK; Department of Musicology, Tokyo University of the Arts, Uenokoen, Taito, Tokyo 110-8714, Japan.
| | - Sam Passmore
- Faculty of Environment and Information Studies, Keio University, Shonan Fujisawa Campus, Endo, Fujisawa, Kanagawa 252-0882, Japan
| | - Gakuto Chiba
- Faculty of Environment and Information Studies, Keio University, Shonan Fujisawa Campus, Endo, Fujisawa, Kanagawa 252-0882, Japan
| | - Thomas E Currie
- Centre for Ecology & Conservation, College of Life & Environmental Sciences, University of Exeter, Penryn Campus, Cornwall TR10 9FE, UK
| | - Haruo Suzuki
- Faculty of Environment and Information Studies, Keio University, Shonan Fujisawa Campus, Endo, Fujisawa, Kanagawa 252-0882, Japan
| | - Quentin D Atkinson
- School of Psychology, University of Auckland, Private Bag 92019, Symonds Street, Auckland 1010, New Zealand
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34
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Schruth DM, Templeton CN, Holman DJ. On reappearance and complexity in musical calling. PLoS One 2021; 16:e0218006. [PMID: 34919558 PMCID: PMC8683036 DOI: 10.1371/journal.pone.0218006] [Citation(s) in RCA: 3] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/19/2019] [Accepted: 10/30/2021] [Indexed: 12/03/2022] Open
Abstract
Music is especially valued in human societies, but music-like behavior in the form of song also occurs in a variety of other animal groups including primates. The calling of our primate ancestors may well have evolved into the music of modern humans via multiple selective scenarios. But efforts to uncover these influences have been hindered by the challenge of precisely defining musical behavior in a way that could be more generally applied across species. We propose an acoustic focused reconsideration of "musicality" that could help enable independent inquiry into potential ecological pressures on the evolutionary emergence of such behavior. Using published spectrographic images (n = 832 vocalizations) from the primate vocalization literature, we developed a quantitative formulation that could be used to help recognize signatures of human-like musicality in the acoustic displays of other species. We visually scored each spectrogram along six structural features from human music-tone, interval, transposition, repetition, rhythm, and syllabic variation-and reduced this multivariate assessment into a concise measure of musical patterning, as informed by principal components analysis. The resulting acoustic reappearance diversity index (ARDI) estimates the number of different reappearing syllables within a call type. ARDI is in concordance with traditional measures of bird song complexity yet more readily identifies shorter, more subtly melodic primate vocalizations. We demonstrate the potential utility of this index by using it to corroborate several origins scenarios. When comparing ARDI scores with ecological features, our data suggest that vocalizations with diversely reappearing elements have a pronounced association with both social and environmental factors. Musical calls were moderately associated with wooded habitats and arboreal foraging, providing partial support for the acoustic adaptation hypothesis. But musical calling was most strongly associated with social monogamy, suggestive of selection for constituents of small family-sized groups by neighboring conspecifics. In sum, ARDI helps construe musical behavior along a continuum, accommodates non-human musicality, and enables gradualistic co-evolutionary paths between primate taxa-ranging from the more inhibited locational calls of archaic primates to the more exhibitional displays of modern apes.
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Affiliation(s)
- David M. Schruth
- Department of Anthropology, University of Washington, Seattle, Washington, United States of America
| | | | - Darryl J. Holman
- Department of Anthropology, University of Washington, Seattle, Washington, United States of America
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Abstract
Abstract. This brief statement revisits some earlier observations on what makes web-based experiments, and especially citizen science using engaging games, an attractive alternative to laboratory-based setups. It suggests web-based experimenting to be a full-grown alternative to traditional laboratory-based experiments, especially in the field of music cognition, where sampling bias is a common problem and large amounts of empirical data are needed to characterize individual variability.
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Affiliation(s)
- Henkjan Honing
- Music Cognition Group, Institute for Logic, Language and Computation, University of Amsterdam, The Netherlands
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36
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Bouwer FL, Nityananda V, Rouse AA, ten Cate C. Rhythmic abilities in humans and non-human animals: a review and recommendations from a methodological perspective. Philos Trans R Soc Lond B Biol Sci 2021; 376:20200335. [PMID: 34420380 PMCID: PMC8380979 DOI: 10.1098/rstb.2020.0335] [Citation(s) in RCA: 5] [Impact Index Per Article: 1.7] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Accepted: 04/27/2021] [Indexed: 12/15/2022] Open
Abstract
Rhythmic behaviour is ubiquitous in both human and non-human animals, but it is unclear whether the cognitive mechanisms underlying the specific rhythmic behaviours observed in different species are related. Laboratory experiments combined with highly controlled stimuli and tasks can be very effective in probing the cognitive architecture underlying rhythmic abilities. Rhythmic abilities have been examined in the laboratory with explicit and implicit perception tasks, and with production tasks, such as sensorimotor synchronization, with stimuli ranging from isochronous sequences of artificial sounds to human music. Here, we provide an overview of experimental findings on rhythmic abilities in human and non-human animals, while critically considering the wide variety of paradigms used. We identify several gaps in what is known about rhythmic abilities. Many bird species have been tested on rhythm perception, but research on rhythm production abilities in the same birds is lacking. By contrast, research in mammals has primarily focused on rhythm production rather than perception. Many experiments also do not differentiate between possible components of rhythmic abilities, such as processing of single temporal intervals, rhythmic patterns, a regular beat or hierarchical metrical structures. For future research, we suggest a careful choice of paradigm to aid cross-species comparisons, and a critical consideration of the multifaceted abilities that underlie rhythmic behaviour. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.
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Affiliation(s)
- Fleur L. Bouwer
- Department of Experimental and Applied Psychology, Vrije Universiteit Amsterdam, Van der Boechorststraat 7, 1081 BT Amsterdam, The Netherlands
- Institute for Logic, Language and Computation (ILLC), University of Amsterdam, PO Box 94242, 1090 CE Amsterdam, The Netherlands
- Department of Psychology, University of Amsterdam, PO Box 15900, 1001 NK Amsterdam, The Netherlands
| | - Vivek Nityananda
- Biosciences Institute, Faculty of Medical Sciences, Newcastle University, Henry Wellcome Building, Framlington Place, Newcastle upon Tyne NE2 4HH, UK
| | - Andrew A. Rouse
- Department of Psychology, Tufts University, Medford, MA 02155, USA
| | - Carel ten Cate
- Institute of Biology Leiden (IBL), Leiden Institute for Brain and Cognition (LIBC), Leiden University, PO Box 9505, 2300 RA Leiden, The Netherlands
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37
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Patel AD. Vocal learning as a preadaptation for the evolution of human beat perception and synchronization. Philos Trans R Soc Lond B Biol Sci 2021; 376:20200326. [PMID: 34420384 PMCID: PMC8380969 DOI: 10.1098/rstb.2020.0326] [Citation(s) in RCA: 19] [Impact Index Per Article: 6.3] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Accepted: 05/18/2021] [Indexed: 12/18/2022] Open
Abstract
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'.
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Affiliation(s)
- Aniruddh D. Patel
- Department of Psychology, Tufts University, Medford, MA, USA
- Program in Brain, Mind, and Consciousness, Canadian Institute for Advanced Research, Toronto, Canada
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38
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Greenfield MD, Honing H, Kotz SA, Ravignani A. Synchrony and rhythm interaction: from the brain to behavioural ecology. Philos Trans R Soc Lond B Biol Sci 2021; 376:20200324. [PMID: 34420379 DOI: 10.1098/rstb.2020.0324] [Citation(s) in RCA: 10] [Impact Index Per Article: 3.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 12/17/2022] Open
Abstract
This theme issue assembles current studies that ask how and why precise synchronization and related forms of rhythm interaction are expressed in a wide range of behaviour. The studies cover human activity, with an emphasis on music, and social behaviour, reproduction and communication in non-human animals. In most cases, the temporally aligned rhythms have short-from several seconds down to a fraction of a second-periods and are regulated by central nervous system pacemakers, but interactions involving rhythms that are 24 h or longer and originate in biological clocks also occur. Across this spectrum of activities, species and time scales, empirical work and modelling suggest that synchrony arises from a limited number of coupled-oscillator mechanisms with which individuals mutually entrain. Phylogenetic distribution of these common mechanisms points towards convergent evolution. Studies of animal communication indicate that many synchronous interactions between the signals of neighbouring individuals are specifically favoured by selection. However, synchronous displays are often emergent properties of entrainment between signalling individuals, and in some situations, the very signallers who produce a display might not gain any benefit from the collective timing of their production. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.
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Affiliation(s)
- Michael D Greenfield
- Department of Ecology and Evolutionary Biology, University of Kansas, Lawrence, KS 66045, USA.,Equipe Neuro-Ethologie Sensorielle, ENES/Neuro-PSI, CNRS UMR 9197, Universtiy Lyon/Saint-Etienne, 42023 Saint Etienne, France
| | - Henkjan Honing
- Music Cognition Group (MCG), Institute for Logic, Language and Computation (ILLC), University of Amsterdam, Amsterdam 1090 GE, The Netherlands
| | - Sonja A Kotz
- Department of Neuropsychology and Psychopharmacology, Faculty of Psychology and Neuroscience, Maastricht University, Universiteitssingel 40, 6200 MD Maastricht, The Netherlands
| | - Andrea Ravignani
- Comparative Bioacoustics Group, Max Planck Institute for Psycholinguistics, Nijmegen, The Netherlands
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Savage PE, Loui P, Tarr B, Schachner A, Glowacki L, Mithen S, Fitch WT. Toward inclusive theories of the evolution of musicality. Behav Brain Sci 2021; 44:e121. [PMID: 34588076 DOI: 10.1017/s0140525x21000042] [Citation(s) in RCA: 4] [Impact Index Per Article: 1.3] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/06/2022]
Abstract
We compare and contrast the 60 commentaries by 109 authors on the pair of target articles by Mehr et al. and ourselves. The commentators largely reject Mehr et al.'s fundamental definition of music and their attempts to refute (1) our social bonding hypothesis, (2) byproduct hypotheses, and (3) sexual selection hypotheses for the evolution of musicality. Instead, the commentators generally support our more inclusive proposal that social bonding and credible signaling mechanisms complement one another in explaining cooperation within and competition between groups in a coevolutionary framework (albeit with some confusion regarding terminologies such as "byproduct" and "exaptation"). We discuss the proposed criticisms and extensions, with a focus on moving beyond adaptation/byproduct dichotomies and toward testing of cross-species, cross-cultural, and other empirical predictions.
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Affiliation(s)
- Patrick E Savage
- Faculty of Environment and Information Studies, Keio University, Fujisawa252-0882, , http://PatrickESavage.com
| | - Psyche Loui
- College of Arts, Media and Design, Northeastern University, Boston, MA02115, , http://www.psycheloui.com
| | - Bronwyn Tarr
- Department of Experimental Psychology, Institute of Cognitive and Evolutionary Anthropology, University of Oxford, OxfordOX2 6PN, , , https://www.anthro.ox.ac.uk/people/dr-bronwyn-tarr
| | - Adena Schachner
- Department of Psychology, University of California San Diego, La Jolla, CA92093, , https://madlab.ucsd.edu
| | - Luke Glowacki
- Department of Anthropology, Boston University, Boston, MA02215, , https://www.hsb-lab.org/
| | - Steven Mithen
- Department of Archaeology, University of Reading, ReadingRG6 6AB, , http://www.reading.ac.uk/archaeology/about/staff/s-j-mithen.aspx
| | - W Tecumseh Fitch
- Department of Behavioral and Cognitive Biology, University of Vienna, Vienna1090, Austria. , https://homepage.univie.ac.at/tecumseh.fitch/
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40
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The origins of music in (musi)language. Behav Brain Sci 2021; 44:e104. [PMID: 34590552 DOI: 10.1017/s0140525x20000813] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/05/2022]
Abstract
The view of music as a byproduct of other cognitive functions has been deemed incomplete or incorrect. Revisiting the six lines of evidence that support this conclusion, it is argued that it is unclear how the hypothesis that music has its origins in (musi)language is discarded. Two additional promising research lines that can support or discard the byproduct hypothesis are presented.
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41
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Unravelling the origins of musicality: Beyond music as an epiphenomenon of language. Behav Brain Sci 2021; 44:e78. [PMID: 34588038 DOI: 10.1017/s0140525x20001211] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/05/2022]
Abstract
The two target articles address the origins of music in complementary ways. However, both proposals focus on overt musical behaviour, largely ignoring the role of perception and cognition, and they blur the boundaries between the potential origins of language and music. To resolve this, an alternative research strategy is proposed that focuses on the core cognitive components of musicality.
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42
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Abstract
We discuss approaches to the study of the evolution of music (sect. R1); challenges to each of the two theories of the origins of music presented in the companion target articles (sect. R2); future directions for testing them (sect. R3); and priorities for better understanding the nature of music (sect. R4).
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Affiliation(s)
- Samuel A Mehr
- Department of Psychology, Harvard University, Cambridge, MA02138, , https://, https://projects.iq.harvard.edu/epl
- Data Science Initiative, Harvard University, Cambridge, MA02138
- School of Psychology, Victoria University of Wellington, Wellington6012, New Zealand
| | - Max M Krasnow
- Department of Psychology, Harvard University, Cambridge, MA02138, , https://, https://projects.iq.harvard.edu/epl
| | - Gregory A Bryant
- Department of Communication, University of California Los Angeles, Los Angeles, CA90095, , http://gabryant.bol.ucla.edu
- Center for Behavior, Evolution, and Culture, University of California Los Angeles, Los Angeles, CA90095, USA
| | - Edward H Hagen
- Department of Anthropology, Washington State University, Vancouver, WA98686, USA. , https://anthro.vancouver.wsu.edu/people/hagen
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43
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Ecological and psychological factors in the cultural evolution of music. Behav Brain Sci 2021; 44:e110. [PMID: 34588039 DOI: 10.1017/s0140525x20001181] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/07/2022]
Abstract
The two target articles agree that processes of cultural evolution generate richness and diversity in music, but neither address this question in a focused way. We sketch one way to proceed - and hence suggest how the target articles differ not only in empirical claims, but also in their tacit, prior assumptions about the relationship between cognition and culture.
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Abstract
Despite the remarkable variability music displays across cultures, certain recurrent musical features motivate the hypothesis that fundamental cognitive principles constrain the way music is produced. One such feature concerns the structure of musical scales. The vast majority of musical cultures use scales that are not uniformly symmetric-that is, scales that contain notes spread unevenly across the octave. Here we present evidence that the structure of musical scales has a substantial impact on how listeners learn new musical systems. Three experiments were conducted to test the hypothesis that nonuniformity facilitates the processing of melodies. Novel melodic stimuli were composed based on artificial grammars using scales with different levels of symmetry. Experiment 1 tested the acquisition of tonal hierarchies and melodic regularities on three different 12-tone equal-tempered scales using a finite-state grammar. Experiments 2 and 3 used more flexible Markov-chain grammars and were designed to generalize the effect to 14-tone and 16-tone equal-tempered scales. The results showed that performance was significantly enhanced by scale structures that specified the tonal space by providing unique intervallic relations between notes. These results suggest that the learning of novel musical systems is modulated by the symmetry of scales, which in turn may explain the prevalence of nonuniform scales across musical cultures.
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Dell’Anna A, Leman M, Berti A. Musical Interaction Reveals Music as Embodied Language. Front Neurosci 2021; 15:667838. [PMID: 34335155 PMCID: PMC8317642 DOI: 10.3389/fnins.2021.667838] [Citation(s) in RCA: 3] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/14/2021] [Accepted: 06/09/2021] [Indexed: 11/13/2022] Open
Abstract
Life and social sciences often focus on the social nature of music (and language alike). In biology, for example, the three main evolutionary hypotheses about music (i.e., sexual selection, parent-infant bond, and group cohesion) stress its intrinsically social character (Honing et al., 2015). Neurobiology thereby has investigated the neuronal and hormonal underpinnings of musicality for more than two decades (Chanda and Levitin, 2013; Salimpoor et al., 2015; Mehr et al., 2019). In line with these approaches, the present paper aims to suggest that the proper way to capture the social interactive nature of music (and, before it, musicality), is to conceive of it as an embodied language, rooted in culturally adapted brain structures (Clarke et al., 2015; D'Ausilio et al., 2015). This proposal heeds Ian Cross' call for an investigation of music as an "interactive communicative process" rather than "a manifestation of patterns in sound" (Cross, 2014), with an emphasis on its embodied and predictive (coding) aspects (Clark, 2016; Leman, 2016; Koelsch et al., 2019). In the present paper our goal is: (i) to propose a framework of music as embodied language based on a review of the major concepts that define joint musical action, with a particular emphasis on embodied music cognition and predictive processing, along with some relevant neural underpinnings; (ii) to summarize three experiments conducted in our laboratories (and recently published), which provide evidence for, and can be interpreted according to, the new conceptual framework. In doing so, we draw on both cognitive musicology and neuroscience to outline a comprehensive framework of musical interaction, exploring several aspects of making music in dyads, from a very basic proto-musical action, like tapping, to more sophisticated contexts, like playing a jazz standard and singing a hocket melody. Our framework combines embodied and predictive features, revolving around the concept of joint agency (Pacherie, 2012; Keller et al., 2016; Bolt and Loehr, 2017). If social interaction is the "default mode" by which human brains communicate with their environment (Hari et al., 2015), music and musicality conceived of as an embodied language may arguably provide a route toward its navigation.
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Affiliation(s)
- Alessandro Dell’Anna
- Department of Art, Music, and Theatre Sciences, IPEM, Ghent University, Ghent, Belgium
- SAMBA Research Group, Department of Psychology, University of Turin, Turin, Italy
| | - Marc Leman
- Department of Art, Music, and Theatre Sciences, IPEM, Ghent University, Ghent, Belgium
| | - Annamaria Berti
- SAMBA Research Group, Department of Psychology, University of Turin, Turin, Italy
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Beccacece L, Abondio P, Cilli E, Restani D, Luiselli D. Human Genomics and the Biocultural Origin of Music. Int J Mol Sci 2021; 22:5397. [PMID: 34065521 PMCID: PMC8160972 DOI: 10.3390/ijms22105397] [Citation(s) in RCA: 4] [Impact Index Per Article: 1.3] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/15/2021] [Revised: 05/03/2021] [Accepted: 05/18/2021] [Indexed: 12/11/2022] Open
Abstract
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.
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Affiliation(s)
- Livia Beccacece
- Laboratory of Molecular Anthropology, Department of Biological, Geological and Environmental Sciences, University of Bologna, 40126 Bologna, Italy;
| | - Paolo Abondio
- Laboratory of Molecular Anthropology, Department of Biological, Geological and Environmental Sciences, University of Bologna, 40126 Bologna, Italy;
| | - Elisabetta Cilli
- Department of Cultural Heritage, University of Bologna—Ravenna Campus, 48121 Ravenna, Italy; (E.C.); (D.R.)
| | - Donatella Restani
- Department of Cultural Heritage, University of Bologna—Ravenna Campus, 48121 Ravenna, Italy; (E.C.); (D.R.)
| | - Donata Luiselli
- Department of Cultural Heritage, University of Bologna—Ravenna Campus, 48121 Ravenna, Italy; (E.C.); (D.R.)
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Miton H, Wolf T, Vesper C, Knoblich G, Sperber D. Motor constraints influence cultural evolution of rhythm. Proc Biol Sci 2020; 287:20202001. [PMID: 33109010 DOI: 10.1098/rspb.2020.2001] [Citation(s) in RCA: 9] [Impact Index Per Article: 2.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 12/30/2022] Open
Abstract
While widely acknowledged in the cultural evolution literature, ecological factors-aspects of the physical environment that affect the way in which cultural productions evolve-have not been investigated experimentally. Here, we present an experimental investigation of this type of factor by using a transmission chain (iterated learning) experiment. We predicted that differences in the distance between identical tools (drums) and in the order in which they are to be used would cause the evolution of different rhythms. The evidence confirms our predictions and thus provides a proof of concept that ecological factors-here a motor constraint-can influence cultural productions and that their effects can be experimentally isolated and measured. One noteworthy finding is that ecological factors can on their own lead to more complex rhythms.
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Affiliation(s)
- Helena Miton
- Santa Fe Institute, 1399 Hyde Park Road, Santa Fe, NM 87501, USA
| | - Thomas Wolf
- Department of Cognitive Science, Central European University, Budapest, Hungary
| | - Cordula Vesper
- Department of Linguistics, Cognitive Science, and Semiotics, Aarhus University, Aarhus, Denmark.,Interacting Minds Centre, Aarhus University, Aarhus, Denmark
| | - Günther Knoblich
- Department of Cognitive Science, Central European University, Budapest, Hungary
| | - Dan Sperber
- Department of Cognitive Science, Central European University, Budapest, Hungary
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Roginsky E, Elefant C. Silent sounding: Communicability, musicality, and the use of music with nonspeaking individuals with cerebral palsies and multiple disabilities. NORDIC JOURNAL OF MUSIC THERAPY 2020. [DOI: 10.1080/08098131.2020.1810744] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/23/2022]
Affiliation(s)
- Efrat Roginsky
- School of Creative Arts Therapies, University of Haifa, Haifa, Israel
| | - Cochavit Elefant
- School of Creative Arts Therapies, University of Haifa, Haifa, Israel
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49
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Abstract
Abstract
Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archaeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene-culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution due to their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding (MSB) hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music.
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Dell'Anna A, Buhmann J, Six J, Maes PJ, Leman M. Timing Markers of Interaction Quality During Semi-Hocket Singing. Front Neurosci 2020; 14:619. [PMID: 32625057 PMCID: PMC7315043 DOI: 10.3389/fnins.2020.00619] [Citation(s) in RCA: 5] [Impact Index Per Article: 1.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/16/2019] [Accepted: 05/19/2020] [Indexed: 01/30/2023] Open
Abstract
Music is believed to work as a bio-social tool enabling groups of people to establish joint action and group bonding experiences. However, little is known about the quality of the group members' interaction needed to bring about these effects. To investigate the role of interaction quality, and its effect on joint action and bonding experience, we asked dyads (two singers) to perform music in medieval "hocket" style, in order to engage their co-regulatory activity. The music contained three relative inter-onset-interval (IOI) classes: quarter note, dotted quarter note and eight note, marking time intervals between successive onsets (generated by both singers). We hypothesized that singers co-regulated their activity by minimizing prediction errors in view of stable IOI-classes. Prediction errors were measured using a dynamic Bayesian inference approach that allows us to identify three different types of error called fluctuation (micro-timing errors measured in milliseconds), narration (omission errors or misattribution of an IOI to a wrong IOI class), and collapse errors (macro-timing errors that cause the breakdown of a performance). These three types of errors were correlated with the singers' estimated quality of the performance and the experienced sense of joint agency. We let the singers perform either while moving or standing still, under the hypothesis that the moving condition would have reduced timing errors and increased We-agency as opposed to Shared-agency (the former portraying a condition in which the performers blend into one another, the latter portraying a joint, but distinct, control of the performance). The results show that estimated quality correlates with fluctuation and narration errors, while agency correlates (to a lesser degree) with narration errors. Somewhat unexpectedly, there was a minor effect of movement, and it was beneficial only for good performers. Joint agency resulted in a "shared," rather than a "we," sense of joint agency. The methodology and findings open up promising avenues for future research on social embodied music interaction.
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Affiliation(s)
- Alessandro Dell'Anna
- Department of Musicology - IPEM, Ghent University, Ghent, Belgium.,Department of Psychology, University of Turin, Turin, Italy
| | - Jeska Buhmann
- Department of Musicology - IPEM, Ghent University, Ghent, Belgium
| | - Joren Six
- Department of Musicology - IPEM, Ghent University, Ghent, Belgium
| | - Pieter-Jan Maes
- Department of Musicology - IPEM, Ghent University, Ghent, Belgium
| | - Marc Leman
- Department of Musicology - IPEM, Ghent University, Ghent, Belgium
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