The Evolution of Musical Diversity: The Key Role of Vertical Transmission

Deep history of cultural and linguistic evolution among Central African hunter-gatherers

Human evolutionary history in Central Africa reflects a deep history of population connectivity. However, Central African hunter-gatherers (CAHGs) currently speak languages acquired from their neighbouring farmers. Hence it remains unclear which aspects of CAHG cultural diversity results from long-term evolution preceding agriculture and which reflect borrowing from farmers. On the basis of musical instruments, foraging tools, specialized vocabulary and genome-wide data from ten CAHG populations, we reveal evidence of large-scale cultural interconnectivity among CAHGs before and after the Bantu expansion. We also show that the distribution of hunter-gatherer musical instruments correlates with the oldest genomic segments in our sample predating farming. Music-related words are widely shared between western and eastern groups and likely precede the borrowing of Bantu languages. In contrast, subsistence tools are less frequently exchanged and may result from adaptation to local ecologies. We conclude that CAHG material culture and specialized lexicon reflect a long evolutionary history in Central Africa.

Latent evolutionary signatures: a general framework for analysing music and cultural evolution

Cultural processes of change bear many resemblances to biological evolution. The underlying units of non-biological evolution have, however, remained elusive, especially in the domain of music. Here, we introduce a general framework to jointly identify underlying units and their associated evolutionary processes. We model musical styles and principles of organization in dimensions such as harmony and form as following an evolutionary process. Furthermore, we propose that such processes can be identified by extracting latent evolutionary signatures from musical corpora, analogously to identifying mutational signatures in genomics. These signatures provide a latent embedding for each song or musical piece. We develop a deep generative architecture for our model, which can be viewed as a type of variational autoencoder with an evolutionary prior constraining the latent space; specifically, the embeddings for each song are tied together via an energy-based prior, which encourages songs close in evolutionary space to share similar representations. As illustration, we analyse songs from the McGill Billboard dataset. We find frequent chord transitions and formal repetition schemes and identify latent evolutionary signatures related to these features. Finally, we show that the latent evolutionary representations learned by our model outperform non-evolutionary representations in such tasks as period and genre prediction.

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

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

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

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

High-fidelity transmission of auditory symbolic material is associated with reduced right-left neuroanatomical asymmetry between primary auditory regions

The intergenerational stability of auditory symbolic systems, such as music, is thought to rely on brain processes that allow the faithful transmission of complex sounds. Little is known about the functional and structural aspects of the human brain which support this ability, with a few studies pointing to the bilateral organization of auditory networks as a putative neural substrate. Here, we further tested this hypothesis by examining the role of left-right neuroanatomical asymmetries between auditory cortices. We collected neuroanatomical images from a large sample of participants (nonmusicians) and analyzed them with Freesurfer's surface-based morphometry method. Weeks after scanning, the same individuals participated in a laboratory experiment that simulated music transmission: the signaling games. We found that high accuracy in the intergenerational transmission of an artificial tone system was associated with reduced rightward asymmetry of cortical thickness in Heschl's sulcus. Our study suggests that the high-fidelity copying of melodic material may rely on the extent to which computational neuronal resources are distributed across hemispheres. Our data further support the role of interhemispheric brain organization in the cultural transmission and evolution of auditory symbolic systems.

Cultural transmission of traditional songs in the Ryukyu Archipelago

Geographic patterns of cultural variations are affected by how cultural traits are transmitted within and between populations. It has been argued that cultural traits are transmitted in different manners depending on their characteristics; for example, words for basic concepts are less liable to horizontal transmission between populations (i.e., borrowing) than other words. Here we examine the geographic variation of traditional songs in the Ryukyu Archipelago, southwestern islands of Japan, to explore cultural evolution of music with a focus on different social contexts in which songs are sung. Published scores of 1,342 traditional songs are coded using the CantoCore song classification scheme and distances between the songs are calculated from the codings. Neighbor-Net graphs of regions/islands are generated on the basis of the musical distances, and delta scores are obtained to examine the treelikeness of the networks. We also perform analysis of molecular variance (AMOVA) to evaluate the extent of musical diversification among regions/islands. Our results suggest that horizontal transmission between populations has played a greater role in the formation of musical diversity than that of linguistic diversity in the Ryukyu Archipelago and that the social context in which songs are sung has an effect on how they are transmitted within and between populations. In addition, we compare the observed patterns of song diversity among regions/islands with those of lexical and mitochondrial-DNA (mtDNA) diversity, showing that the variation of songs sung in the "work" context are associated with the linguistic variation, whereas no association is found between the musical and genetic variation.

The Generalized Robinson-Foulds Distance for Phylogenetic Trees

The Robinson-Foulds (RF) distance, one of the most widely used metrics for comparing phylogenetic trees, has the advantage of being intuitive, with a natural interpretation in terms of common splits, and it can be computed in linear time, but it has a very low resolution, and it may become trivial for phylogenetic trees with overlapping taxa, that is, phylogenetic trees that share some but not all of their leaf labels. In this article, we study the properties of the Generalized Robinson-Foulds (GRF) distance, a recently proposed metric for comparing any structures that can be described by multisets of multisets of labels, when applied to rooted phylogenetic trees with overlapping taxa, which are described by sets of clusters, that is, by sets of sets of labels. We show that the GRF distance has a very high resolution, it can also be computed in linear time, and it is not (uniformly) equivalent to the RF distance.

The treeness of the tree of historical trees of life

This paper compares and categorizes historical ideas about trees showing relationships among biological entities. The hierarchical structure of a tree is used to test the global consistency of similarities among these ideas; in other words we assess the "treeness" of the tree of historical trees. The collected data are figures and ideas about trees showing relationships among biological entities published or drawn by naturalists from 1555 to 2012. They are coded into a matrix of 235 historical trees and 141 descriptive attributes. From the most parsimonious "tree" of historical trees, treeness is measured by consistency index, retention index and homoplasy excess ratio. This tree is used to create sets or categories of trees, or to study the circulation of ideas. From an unrooted network of historical trees, treeness is measured by the delta-score. This unrooted network is used to measure and visualize treeness. The two approaches show a rather good treeness of the data, with respectively a retention idex of 0.83 and homoplasy excess ratio of 0.74, on one hand, and a delta-score of 0.26 on the other hand. It is interpreted as due to vertical transmission, i.e. an inheritance of shared ideas about biological trees among authors. This tree of trees is then used to test categories previously made. For instance, cladists and gradists are « paraphyletic ». The branches of this tree of trees suggest new categories of tree-thinkers that could have been overlooked by historians or systematists.

Statistical Evolutionary Laws in Music Styles

If a cultural feature is transmitted over generations and exposed to stochastic selection when spreading in a population, its evolution may be governed by statistical laws and be partly predictable, as in the case of genetic evolution. Music exhibits steady changes of styles over time, with new characteristics developing from traditions. Recent studies have found trends in the evolution of music styles, but little is known about their relations to the evolution theory. Here we analyze Western classical music data and find statistical evolutionary laws. For example, distributions of the frequencies of some rare musical events (e.g. dissonant intervals) exhibit steady increase in the mean and standard deviation as well as constancy of their ratio. We then study an evolutionary model where creators learn their data-generation models from past data and generate new data that will be socially selected by evaluators according to the content dissimilarity (novelty) and style conformity (typicality) with respect to the past data. The model reproduces the observed statistical laws and can make non-trivial predictions for the evolution of independent musical features. In addition, the same model with different parameterization can predict the evolution of Japanese enka music, which is developed in a different society and has a qualitatively different tendency of evolution. Our results suggest that the evolution of musical styles can partly be explained and predicted by the evolutionary model incorporating statistical learning, which can be important for other cultures and future music technologies.

Functional connectivity in human auditory networks and the origins of variation in the transmission of musical systems

Music producers, whether original composers or performers, vary in their ability to acquire and faithfully transmit music. This form of variation may serve as a mechanism for the emergence of new traits in musical systems. In this study, we aim to investigate whether individual differences in the social learning and transmission of music relate to intrinsic neural dynamics of auditory processing systems. We combined auditory and resting-state functional magnetic resonance imaging (fMRI) with an interactive laboratory model of cultural transmission, the signaling game, in an experiment with a large cohort of participants (N=51). We found that the degree of interhemispheric rs-FC within fronto-temporal auditory networks predicts—weeks after scanning—learning, transmission, and structural modification of an artificial tone system. Our study introduces neuroimaging in cultural transmission research and points to specific neural auditory processing mechanisms that constrain and drive variation in the cultural transmission and regularization of musical systems.

A simultaneous search for footprints of early human migration processes using the genetic and folk music data in Eurasia

In this study, we aimed to illustrate the efficiency of correlation analysis of musical and genetic data for certain common ethnic and ethno-musical roots of mankind. The comparison of the results to archaeogenetic data shows that correlations of recent musical and genetic data may reveal past cultural and migration processes resulting in recent connections. The significance tests verified our hypothesis supposing that propagation of oral musical traditions can be related to early human migration processes is well-founded, because the multidimensional point system determined by the inverse rank vectors of correlating Hg-UCT pairs has a very clear structure. We found that associations of Hgs jointly propagating with associations of UCTs (Unified Contour Type) can be identified as significant complex components in both modern and ancient populations, thus, modern populations can be considered as admixtures of these ancient Hg associations. It also seems obvious to conclude that these ancient Hg associations strewed their musical "parent languages" during their migrations, and the correlating UCTs of these musical parent languages may also be basic components of the recent folk music cultures. Thus, we can draw a hypothetical picture of the main characteristics of ancient musical cultures. Modern and prehistoric populations belonging to a common Hg-UCT association are located to very similar geographical areas, consequently, recent folk music cultures are basically determined by prehistoric migrations. Our study could be considered as an initial step in analysis of the correlations of prehistoric and recent musical and genetic characteristics of human evolution history.

Music and the Meeting of Human Minds

Over tens of thousands of years of human genetic and cultural evolution, many types and varieties of music and language have emerged; however, the fundamental components of each of these modes of communication seem to be common to all human cultures and social groups. In this brief review, rather than focusing on the development of different musical techniques and practices over time, the main issues addressed here concern: (i) when, and speculations as to why, modern Homo sapiens evolved musical behaviors, (ii) the evolutionary relationship between music and language, and (iii) why humans, perhaps unique among all living species, universally continue to possess two complementary but distinct communication streams. Did music exist before language, or vice versa, or was there a common precursor that in some way separated into two distinct yet still overlapping systems when cognitively modern H. sapiens evolved? A number of theories put forward to explain the origin and persistent universality of music are considered, but emphasis is given, supported by recent neuroimaging, physiological, and psychological findings, to the role that music can play in promoting trust, altruistic behavior, social bonding, and cooperation within groups of culturally compatible but not necessarily genetically related humans. It is argued that, early in our history, the unique socializing and harmonizing power of music acted as an essential counterweight to the new and evolving sense of self, to an emerging sense of individuality and mortality that was linked to the development of an advanced cognitive capacity and articulate language capability.

Music Evolution in the Laboratory: Cultural Transmission Meets Neurophysiology

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

Evolving building blocks of rhythm: how human cognition creates music via cultural transmission

Why does musical rhythm have the structure it does? Musical rhythm, in all its cross-cultural diversity, exhibits commonalities across world cultures. Traditionally, music research has been split into two fields. Some scientists focused on musicality, namely the human biocognitive predispositions for music, with an emphasis on cross-cultural similarities. Other scholars investigated music, seen as a cultural product, focusing on the variation in world musical cultures. Recent experiments found deep connections between music and musicality, reconciling these opposing views. Here, we address the question of how individual cognitive biases affect the process of cultural evolution of music. Data from two experiments are analyzed using two complementary techniques. In the experiments, participants hear drumming patterns and imitate them. These patterns are then given to the same or another participant to imitate. The structure of these initially random patterns is tracked along experimental "generations." Frequentist statistics show how participants' biases are amplified by cultural transmission, making drumming patterns more structured. Structure is achieved faster in transmission within rather than between participants. A Bayesian model approximates the motif structures participants learned and created. Our data and models suggest that individual biases for musicality may shape the cultural transmission of musical rhythm.

A computational study on outliers in world music

The comparative analysis of world music cultures has been the focus of several ethnomusicological studies in the last century. With the advances of Music Information Retrieval and the increased accessibility of sound archives, large-scale analysis of world music with computational tools is today feasible. We investigate music similarity in a corpus of 8200 recordings of folk and traditional music from 137 countries around the world. In particular, we aim to identify music recordings that are most distinct compared to the rest of our corpus. We refer to these recordings as 'outliers'. We use signal processing tools to extract music information from audio recordings, data mining to quantify similarity and detect outliers, and spatial statistics to account for geographical correlation. Our findings suggest that Botswana is the country with the most distinct recordings in the corpus and China is the country with the most distinct recordings when considering spatial correlation. Our analysis includes a comparison of musical attributes and styles that contribute to the 'uniqueness' of the music of each country.