Editorial: The Evolution of Rhythm Cognition: Timing in Music and Speech

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

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

Collective Rhythm as an Emergent Property During Human Social Coordination

The literature on social interactions has shown that participants coordinate not only at the behavioral but also at the physiological and neural levels, and that this coordination gives a temporal structure to the individual and social dynamics. However, it has not been fully explored whether such temporal patterns emerge during interpersonal coordination beyond dyads, whether this phenomenon arises from complex cognitive mechanisms or from relatively simple rules of behavior, or which are the sociocultural processes that underlie this phenomenon. We review the evidence for the existence of group-level rhythmic patterns that result from social interactions and argue that the complexity of group dynamics can lead to temporal regularities that cannot be predicted from the individual periodicities: an emergent collective rhythm. Moreover, we use this interpretation of the literature to discuss how taking into account the sociocultural niche in which individuals develop can help explain the seemingly divergent results that have been reported on the social influences and consequences of interpersonal coordination. We make recommendations on further research to test these arguments and their relationship to the feeling of belonging and assimilation experienced during group dynamics.

Synchrony and rhythm interaction: from the brain to behavioural ecology

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'.

The Neurological Basis of Developmental Dyslexia and Related Disorders: A Reappraisal of the Temporal Hypothesis, Twenty Years on

In a now-classic article published a couple of decades ago (Brain, 2000; 123: 2373-2399), I proposed an "extended temporal processing deficit hypothesis of dyslexia", suggesting that a deficit in temporal processing could explain not only language-related peculiarities usually noticed in dyslexic children, but also a wider range of symptoms related to impaired processing of time in general. In the present review paper, I will revisit this "historical" hypothesis both in the light of a new clinical perspective, including the central yet poorly explained notion of comorbidity, and also taking a new look at the most recent experimental work, mainly focusing on brain imaging data. First, consistent with daily clinical practice, I propose to distinguish three groups of children who fail to learn to read, of fairly equal occurrence, who share the same initial presentation (difficulty in mastering the rules of grapheme-phoneme correspondence) but with differing associated signs and/or comorbid conditions (language disorders in the first group, attentional deficits in the second one, and motor coordination problems in the last one), thus suggesting, at least in part, potentially different triggering mechanisms. It is then suggested, in the light of brain imaging information available to date, that the three main clinical presentations/associations of cognitive impairments that compromise reading skills acquisition correspond to three distinct patterns of miswiring or "disconnectivity" in specific brain networks which have in common their involvement in the process of learning and their heavy reliance on temporal features of information processing. With reference to the classic temporal processing deficit of dyslexia and to recent evidence of an inability of the dyslexic brain to achieve adequate coupling of oscillatory brain activity to the temporal features of external events, a general model is proposed according to which a common mechanism of temporal uncoupling between various disconnected-and/or mis-wired-processors may account for distinct forms of specific learning disorders, with reading impairment being a more or less constant feature. Finally, the potential therapeutic implications of such a view are considered, with special emphasis on methods seeking to enhance cross-modal connectivity between separate brain systems, including those using rhythmic and musical training in dyslexic patients.

Attentional modulation of neural entrainment to sound streams in children with and without ADHD

To extract meaningful information from complex auditory scenes like a noisy playground, rock concert, or classroom, children can direct attention to different sound streams. One means of accomplishing this might be to align neural activity with the temporal structure of a target stream, such as a specific talker or melody. However, this may be more difficult for children with ADHD, who can struggle with accurately perceiving and producing temporal intervals. In this EEG study, we found that school-aged children's attention to one of two temporally-interleaved isochronous tone 'melodies' was linked to an increase in phase-locking at the melody's rate, and a shift in neural phase that aligned the neural responses with the attended tone stream. Children's attention task performance and neural phase alignment with the attended melody were linked to performance on temporal production tasks, suggesting that children with more robust control over motor timing were better able to direct attention to the time points associated with the target melody. Finally, we found that although children with ADHD performed less accurately on the tonal attention task than typically developing children, they showed the same degree of attentional modulation of phase locking and neural phase shifts, suggesting that children with ADHD may have difficulty with attentional engagement rather than attentional selection.

Infant Spontaneous Motor Tempo

Spontaneous Motor Tempo (SMT) is influenced by individual differences in age and body size. We present the first data documenting the SMT of infants from 5 to 37 months of age using a simple drumming task. As in late childhood and adulthood, we predicted that infant SMT would slow across the first years of life. However, we find that older infants drum more quickly than younger infants. Furthermore, studies of adults suggest larger bodies prefer slower rhythms. This relationship may be the product of biomechanical resonance, or effects may be driven by rhythmic experience, such as of locomotion. We used infants, whose body size is dissociated from their predominant experience of locomotion as their parent often carries them, to test this argument. We reveal that infant SMT is predicted by parent, but not own, body size, supporting a passive experience-based argument, and propose that early rhythm may be set by repetitive vestibular stimulation when carried by the caregiver.

Cultural evolution of emotional expression in 50 years of song lyrics

Popular music offers a rich source of data that provides insights into long-term cultural evolutionary dynamics. One major trend in popular music, as well as other cultural products such as literary fiction, is an increase over time in negatively valenced emotional content, and a decrease in positively valenced emotional content. Here we use two large datasets containing lyrics from n = 4913 and n = 159,015 pop songs respectively and spanning 1965-2015, to test whether cultural transmission biases derived from the cultural evolution literature can explain this trend towards emotional negativity. We find some evidence of content bias (negative lyrics do better in the charts), prestige bias (best-selling artists are copied) and success bias (best-selling songs are copied) in the proliferation of negative lyrics. However, the effects of prestige and success bias largely disappear when unbiased transmission is included in the models, which assumes that the occurrence of negative lyrics is predicted by their past frequency. We conclude that the proliferation of negative song lyrics may be explained partly by content bias, and partly by undirected, unbiased cultural transmission.

Rhythm in speech and animal vocalizations: a cross-species perspective

Why does human speech have rhythm? As we cannot travel back in time to witness how speech developed its rhythmic properties and why humans have the cognitive skills to process them, we rely on alternative methods to find out. One powerful tool is the comparative approach: studying the presence or absence of cognitive/behavioral traits in other species to determine which traits are shared between species and which are recent human inventions. Vocalizations of many species exhibit temporal structure, but little is known about how these rhythmic structures evolved, are perceived and produced, their biological and developmental bases, and communicative functions. We review the literature on rhythm in speech and animal vocalizations as a first step toward understanding similarities and differences across species. We extend this review to quantitative techniques that are useful for computing rhythmic structure in acoustic sequences and hence facilitate cross-species research. We report links between vocal perception and motor coordination and the differentiation of rhythm based on hierarchical temporal structure. While still far from a complete cross-species perspective of speech rhythm, our review puts some pieces of the puzzle together.

Music and Language in Social Interaction: Synchrony, Antiphony, and Functional Origins

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, an important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of "musilanguage" in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language.

Does dance training influence beat sensorimotor synchronization? Differences in finger-tapping sensorimotor synchronization between competitive ballroom dancers and nondancers

Sensorimotor synchronization is the coordination of rhythmic movement with an external beat. Dancers often synchronize each beat of their motion with an external rhythm. Compared with social dancing, competitive ballroom dancing requires a higher level of sensorimotor ability. Although previous studies have found that dance experience may facilitate sensorimotor synchronization, they did not examine this in competitive ballroom dancers. Thus, the present study compared sensorimotor synchronization in 41 nondancers and 41 skilled, competitive ballroom dancers as they performed a simple beat synchronization finger-tapping task. All participants finger-tapped freely at their preferred tempo before the formal experiments. Participants were then required to synchronize their finger-tapping with auditory, visual, or combined audiovisual signals in separate experiments and at varying tempos. To assess sensorimotor plasticity, the participants then repeated the free-tapping task after completing all three finger-tapping experiments. Compared with nondancers, dancers showed more accurate and stable beat synchronization. Dancers tapped before onset of all three types of sensorimotor stimulation, indicating a significant negative mean asynchrony and had a tendency to anticipate (predict) the stimuli. Dancers tended to auditory stimulation for beat sensorimotor synchronization, whereas nondancers tended to visual stimuli. Dancers had a faster tempo preference in the initial free-tapping task; however, the preferred tapping tempo increased in all participants in the second free-tapping task, suggesting that beat induction is affected by practice. Together these findings suggest that dance experience enhances sensorimotor synchronization and sensorimotor plasticity, with ballroom dancers tending to auditory stimulation for beat induction.

Darwin, Sexual Selection, and the Origins of Music

Humans devote ample time to produce and perceive music. How and why this behavioral propensity originated in our species is unknown. For centuries, speculation dominated the study of the evolutionary origins of musicality. Following Darwin's early intuitions, recent empirical research is opening a new chapter to tackle this mystery.

Musical rhythm and reading development: does beat processing matter?

There is mounting evidence for links between musical rhythm processing and reading-related cognitive skills, such as phonological awareness. This may be because music and speech are rhythmic: both involve processing complex sound sequences with systematic patterns of timing, accent, and grouping. Yet, there is a salient difference between musical and speech rhythm: musical rhythm is often beat-based (based on an underlying grid of equal time intervals), while speech rhythm is not. Thus, the role of beat-based processing in the reading-rhythm relationship is not clear. Is there is a distinct relation between beat-based processing mechanisms and reading-related language skills, or is the rhythm-reading link entirely due to shared mechanisms for processing nonbeat-based aspects of temporal structure? We discuss recent evidence for a distinct link between beat-based processing and early reading abilities in young children, and suggest experimental designs that would allow one to further methodically investigate this relationship. We propose that beat-based processing taps into a listener's ability to use rich contextual regularities to form predictions, a skill important for reading development.

Which Melodic Universals Emerge from Repeated Signaling Games? A Note on Lumaca and Baggio (2017) ‡

Music is a peculiar human behavior, yet we still know little as to why and how music emerged. For centuries, the study of music has been the sole prerogative of the humanities. Lately, however, music is being increasingly investigated by psychologists, neuroscientists, biologists, and computer scientists. One approach to studying the origins of music is to empirically test hypotheses about the mechanisms behind this structured behavior. Recent lab experiments show how musical rhythm and melody can emerge via the process of cultural transmission. In particular, Lumaca and Baggio (2017) tested the emergence of a sound system at the boundary between music and language. In this study, participants were given random pairs of signal-meanings; when participants negotiated their meaning and played a "game of telephone" with them, these pairs became more structured and systematic. Over time, the small biases introduced in each artificial transmission step accumulated, displaying quantitative trends, including the emergence, over the course of artificial human generations, of features resembling properties of language and music. In this Note, we highlight the importance of Lumaca and Baggio's experiment, place it in the broader literature on the evolution of language and music, and suggest refinements for future experiments. We conclude that, while psychological evidence for the emergence of proto-musical features is accumulating, complementary work is needed: Mathematical modeling and computer simulations should be used to test the internal consistency of experimentally generated hypotheses and to make new predictions.

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.

The Evolution of Musicality: What Can Be Learned from Language Evolution Research?

Language and music share many commonalities, both as natural phenomena and as subjects of intellectual inquiry. Rather than exhaustively reviewing these connections, we focus on potential cross-pollination of methodological inquiries and attitudes. We highlight areas in which scholarship on the evolution of language may inform the evolution of music. We focus on the value of coupled empirical and formal methodologies, and on the futility of mysterianism, the declining view that the nature, origins and evolution of language cannot be addressed empirically. We identify key areas in which the evolution of language as a discipline has flourished historically, and suggest ways in which these advances can be integrated into the study of the evolution of music.

The Paradox of Isochrony in the Evolution of Human Rhythm

Isochrony is crucial to the rhythm of human music. Some neural, behavioral and anatomical traits underlying rhythm perception and production are shared with a broad range of species. These may either have a common evolutionary origin, or have evolved into similar traits under different evolutionary pressures. Other traits underlying rhythm are rare across species, only found in humans and few other animals. Isochrony, or stable periodicity, is common to most human music, but isochronous behaviors are also found in many species. It appears paradoxical that humans are particularly good at producing and perceiving isochronous patterns, although this ability does not conceivably confer any evolutionary advantage to modern humans. This article will attempt to solve this conundrum. To this end, we define the concept of isochrony from the present functional perspective of physiology, cognitive neuroscience, signal processing, and interactive behavior, and review available evidence on isochrony in the signals of humans and other animals. We then attempt to resolve the paradox of isochrony by expanding an evolutionary hypothesis about the function that isochronous behavior may have had in early hominids. Finally, we propose avenues for empirical research to examine this hypothesis and to understand the evolutionary origin of isochrony in general.

Evolutionary Musicology Meets Embodied Cognition: Biocultural Coevolution and the Enactive Origins of Human Musicality

Despite evolutionary musicology's interdisciplinary nature, and the diverse methods it employs, the field has nevertheless tended to divide into two main positions. Some argue that music should be understood as a naturally selected adaptation, while others claim that music is a product of culture with little or no relevance for the survival of the species. We review these arguments, suggesting that while interesting and well-reasoned positions have been offered on both sides of the debate, the nature-or-culture (or adaptation vs. non-adaptation) assumptions that have traditionally driven the discussion have resulted in a problematic either/or dichotomy. We then consider an alternative "biocultural" proposal that appears to offer a way forward. As we discuss, this approach draws on a range of research in theoretical biology, archeology, neuroscience, embodied and ecological cognition, and dynamical systems theory (DST), positing a more integrated model that sees biological and cultural dimensions as aspects of the same evolving system. Following this, we outline the enactive approach to cognition, discussing the ways it aligns with the biocultural perspective. Put simply, the enactive approach posits a deep continuity between mind and life, where cognitive processes are explored in terms of how self-organizing living systems enact relationships with the environment that are relevant to their survival and well-being. It highlights the embodied and ecologically situated nature of living agents, as well as the active role they play in their own developmental processes. Importantly, the enactive approach sees cognitive and evolutionary processes as driven by a range of interacting factors, including the socio-cultural forms of activity that characterize the lives of more complex creatures such as ourselves. We offer some suggestions for how this approach might enhance and extend the biocultural model. To conclude we briefly consider the implications of this approach for practical areas such as music education.