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Ozaki Y, Tierney A, Pfordresher PQ, McBride JM, Benetos E, Proutskova P, Chiba G, Liu F, Jacoby N, Purdy SC, Opondo P, Fitch WT, Hegde S, Rocamora M, Thorne R, Nweke F, Sadaphal DP, Sadaphal PM, Hadavi S, Fujii S, Choo S, Naruse M, Ehara U, Sy L, Parselelo ML, Anglada-Tort M, Hansen NC, Haiduk F, Færøvik U, Magalhães V, Krzyżanowski W, Shcherbakova O, Hereld D, Barbosa BS, Varella MAC, van Tongeren M, Dessiatnitchenko P, Zar SZ, El Kahla I, Muslu O, Troy J, Lomsadze T, Kurdova D, Tsope C, Fredriksson D, Arabadjiev A, Sarbah JP, Arhine A, Meachair TÓ, Silva-Zurita J, Soto-Silva I, Millalonco NEM, Ambrazevičius R, Loui P, Ravignani A, Jadoul Y, Larrouy-Maestri P, Bruder C, Teyxokawa TP, Kuikuro U, Natsitsabui R, Sagarzazu NB, Raviv L, Zeng M, Varnosfaderani SD, Gómez-Cañón JS, Kolff K, der Nederlanden CVB, Chhatwal M, David RM, Setiawan IPG, Lekakul G, Borsan VN, Nguqu N, Savage PE. Globally, songs and instrumental melodies are slower and higher and use more stable pitches than speech: A Registered Report. SCIENCE ADVANCES 2024; 10:eadm9797. [PMID: 38748798 PMCID: PMC11095461 DOI: 10.1126/sciadv.adm9797] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Subscribe] [Scholar Register] [Received: 11/15/2023] [Accepted: 04/19/2024] [Indexed: 05/19/2024]
Abstract
Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech.
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Affiliation(s)
- Yuto Ozaki
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
| | - Adam Tierney
- Department of Psychological Sciences, Birkbeck, University of London, London, UK
| | - Peter Q. Pfordresher
- Department of Psychology, University at Buffalo, State University of New York, Buffalo, NY, USA
| | - John M. McBride
- Center for Algorithmic and Robotized Synthesis, Institute for Basic Science, Ulsan, South Korea
| | - Emmanouil Benetos
- School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK
| | - Polina Proutskova
- School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK
| | - Gakuto Chiba
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
| | - Fang Liu
- School of Psychology and Clinical Language Sciences, University of Reading, Reading, UK
| | - Nori Jacoby
- Computational Auditory Perception Group, Max-Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Suzanne C. Purdy
- School of Psychology, University of Auckland, Auckland, New Zealand
- Centre for Brain Research and Eisdell Moore Centre for Hearing and Balance Research, University of Auckland, Auckland, New Zealand
| | - Patricia Opondo
- School of Arts, Music Discipline, University of KwaZulu Natal, Durban, South Africa
| | - W. Tecumseh Fitch
- Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria
| | - Shantala Hegde
- Music Cognition Lab, Department of Clinical Psychology, National Institute of Mental Health and Neuro Sciences, Bangalore, Karnataka, India
| | - Martín Rocamora
- Universidad de la República, Montevideo, Uruguay
- Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain
| | - Rob Thorne
- School of Music, Victoria University of Wellington, Wellington, New Zealand
| | - Florence Nweke
- Department of Creative Arts, University of Lagos, Lagos, Nigeria
- Department of Music, Mountain Top University, Ogun, Nigeria
| | - Dhwani P. Sadaphal
- Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria
| | | | - Shafagh Hadavi
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
| | - Shinya Fujii
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Kanagawa, Japan
| | - Sangbuem Choo
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
| | - Marin Naruse
- Faculty of Policy Management, Keio University, Fujisawa, Kanagawa, Japan
| | | | - Latyr Sy
- Independent researcher, Tokyo, Japan
- Independent researcher, Dakar, Sénégal
| | - Mark Lenini Parselelo
- Memorial University of Newfoundland, St. John’s, NL, Canada
- Department of Music and Dance, Kenyatta University, Nairobi, Kenya
| | | | - Niels Chr. Hansen
- Aarhus Institute of Advanced Studies, Aarhus University, Aarhus, Denmark
- Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland
- Interacting Minds Centre, School of Culture and Society, Aarhus University, Aarhus, Denmark
- Royal Academy of Music Aarhus/Aalborg, Aarhus, Denmark
| | - Felix Haiduk
- Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria
- Department of General Psychology, University of Padua, Padua, Italy
| | - Ulvhild Færøvik
- Institute of Biological and Medical Psychology, Department of Psychology, University of Bergen, Bergen, Norway
| | - Violeta Magalhães
- Centre of Linguistics of the University of Porto (CLUP), Porto, Portugal
- Faculty of Arts and Humanities of the University of Porto (FLUP), Porto, Portugal
- School of Education of the Polytechnic of Porto (ESE IPP), Porto, Portugal
| | - Wojciech Krzyżanowski
- Adam Mickiewicz University, Faculty of Art Studies, Musicology Institute, Poznań, Poland
| | | | - Diana Hereld
- Department of Psychiatry, UCLA Semel Institute for Neuroscience and Human Behavior, Los Angeles, CA, USA
| | | | | | | | | | - Su Zar Zar
- Headmistress, The Royal Music Academy, Yangon, Myanmar
| | - Iyadh El Kahla
- Department of Cultural Policy, University of Hildesheim, Hildesheim, Germany
| | - Olcay Muslu
- Centre for the Study of Higher Education, University of Kent, Canterbury, UK
- MIRAS, Centre for Cultural Sustainability, Istanbul, Turkey
| | - Jakelin Troy
- Director, Indigenous Research, Office of the Deputy Vice-Chancellor (Research); Department of Linguistics, Faculty of Arts and Social Sciences, The University of Sydney, Camperdown, NSW, Australia
| | - Teona Lomsadze
- International Research Center for Traditional Polyphony of the Tbilisi State Conservatoire, Tbilisi, Georgia
- Georgian Studies Fellow, University of Oxford, Oxford, UK
| | - Dilyana Kurdova
- South-West University Neofit Rilski, Blagoevgrad, Bulgaria
- Phoenix Perpeticum Foundation, Sofia, Bulgaria
| | | | | | - Aleksandar Arabadjiev
- Department of Folk Music Research and Ethnomusicology, University of Music and Performing Arts–MDW, Wien, Austria
| | | | - Adwoa Arhine
- Department of Music, University of Ghana, Accra, Ghana
| | - Tadhg Ó Meachair
- Department of Ethnomusicology and Folklore, Indiana University, Bloomington, IN, USA
| | - Javier Silva-Zurita
- Department of Humanities and Arts, University of Los Lagos, Osorno, Chile
- Millennium Nucleus on Musical and Sound Cultures (CMUS NCS 2022-16), Santiago, Chile
| | - Ignacio Soto-Silva
- Department of Humanities and Arts, University of Los Lagos, Osorno, Chile
- Millennium Nucleus on Musical and Sound Cultures (CMUS NCS 2022-16), Santiago, Chile
| | | | | | - Psyche Loui
- Music, Imaging and Neural Dynamics Lab, Northeastern University, Boston, MA, USA
| | - Andrea Ravignani
- Department of Human Neurosciences, Sapienza University of Rome, Rome, Italy
- Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark & The Royal Academy of Music Aarhus/Aalborg, Aarhus, Denmark
| | - Yannick Jadoul
- Department of Human Neurosciences, Sapienza University of Rome, Rome, Italy
- Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands
| | - Pauline Larrouy-Maestri
- Music Department, Max-Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
- Max Planck—NYU Center for Language, Music, and Emotion (CLaME), New York, NY, USA
| | - Camila Bruder
- Music Department, Max-Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Tutushamum Puri Teyxokawa
- Txemim Puri Project–Puri Language Research, Vitalization and Teaching/Recording and Preservation of Puri History and Culture, Rio de Janeiro, Brasil
| | | | | | | | - Limor Raviv
- Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands
- cSCAN, University of Glasgow, Glasgow, UK
| | - Minyu Zeng
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
- Rhode Island School of Design, Providence, RI, USA
| | - Shahaboddin Dabaghi Varnosfaderani
- Institute for English and American Studies (IEAS), Goethe University of Frankfurt am Main, Frankfurt am Main, Germany
- Cognitive and Developmental Psychology Unit, Centre, for Cognitive Science, University of Kaiserslautern-Landau (RPTU), Kaiserslautern, Germany
| | | | - Kayla Kolff
- Institute of Cognitive Science, University of Osnabrück, Osnabrück, Germany
| | | | - Meyha Chhatwal
- Department of Psychology, University of Toronto Mississauga, Mississauga, ON, Canada
| | - Ryan Mark David
- Department of Psychology, University of Toronto Mississauga, Mississauga, ON, Canada
| | | | - Great Lekakul
- Faculty of Fine Arts, Chiang Mai University, Chiang Mai, Thailand
| | - Vanessa Nina Borsan
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
- Université de Lille, CNRS, Centrale Lille, UMR 9189 CRIStAL, F-59000 Lille, France
| | - Nozuko Nguqu
- School of Arts, Music Discipline, University of KwaZulu Natal, Durban, South Africa
| | - Patrick E. Savage
- School of Psychology, University of Auckland, Auckland, New Zealand
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Kanagawa, Japan
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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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