Evolutionary origins of music. Classical and recent hypotheses

How music-induced emotions affect sexual attraction: evolutionary implications

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

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

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

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

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

Evolution of Artistic and Athletic Propensities: Testing of Intersexual Selection and Intrasexual Competition

Since Darwin proposed that human musicality evolved through sexual selection, empirical evidence has supported intersexual selection as one of the adaptive functions of artistic propensities. However, intrasexual competition has been overlooked. We tested their relative importance by investigating the relationship between the self-perceived talent/expertise in 16 artistic and 2 sports modalities and proxies of intersexual selection (i.e., mate value, mating and parenting efforts, sociosexuality, and number of sexual partners) and intrasexual competition (i.e., aggressiveness, intrasexual competitiveness) in heterosexuals. Participants were 82 Brazilian men, 166 Brazilian women, 146 Czech men, and 458 Czech women (Mage = 26.48, SD = 7.12). Factor analysis revealed five factors: Literary-arts (creative writing, humor, acting/theater/film, poetry, storytelling), Visual-arts (painting/drawing, sculpting, handcrafting, culinary arts, architecture design), Musical-arts (playing/instruments, singing, dance, whistling), Circus-arts (juggling, acrobatics), and Sports (individual, collective). Multivariate General Linear Model (GLM) showed more associations of the arts to intersexual selection in women and to intrasexual selection in men, and overall more relationships in women than in men. In women, literary and musical-arts were related to elevated inter- and intrasexual selections proxies, visual and circus-arts were related to elevated intersexual selection proxies, and sports were related to intrasexual selection proxies. In men, literary-arts and sports were related to elevated inter- and intrasexual selection proxies, musical-arts were related to intrasexual proxies, and circus-arts were related to intersexual proxies; visual-arts did not have predictors. Although present in both sexes, each sexual selection component has different relative importance in each sex. Artisticality functions to attract and maintain long/short-term partners, and to compete with mating rivals.