The self-domestication hypothesis suggests that, like mammalian domesticates, humans have gone through a process of selection against aggression – a process that in the case of humans was self-induced. Here, we extend previous proposals and suggest that what underlies human social evolution is selection for socially mediated emotional control and plasticity. In the first part of the paper we highlight general features of human social evolution, which, we argue, is more similar to that of other social mammals than to that (...) of mammalian domesticates and is therefore incompatible with the notion of human self-domestication. In the second part, we discuss the unique aspects of human evolution and propose that emotional control and social motivation in humans evolved during two major, partially overlapping stages. The first stage, which followed the emergence of mimetic communication, the beginnings of musical engagement, and mimesis-related cognition, required socially mediated emotional plasticity and was accompanied by new social emotions. The second stage followed the emergence of language, when individuals began to instruct the imagination of their interlocutors, and to rely even more extensively on emotional plasticity and culturally learned emotional control. This account further illustrates the significant differences between humans and domesticates, thus challenging the notion of human self-domestication. (shrink)

This essay reviews Iain Morley’s The Prehistory of Music, an up-to-date and authoritative overview of recent research on evolution and cognition of musicality from an interdisciplinary viewpoint. Given the diversity of the project explored, integration of evidence from multiple fields is particularly pressing, required for any novel evolutionary account to be persuasive, and for the project’s continued progress. Moreover, Morley convincingly demonstrates that there is much more to understanding musicality than is supposed by some theorists. I outline Morley’s review of (...) the archaeological and ethnographic literature, and then go on to critique his assessment of philosophical and evolutionary theories, offering some alternative perspectives that might better benefit his project. (shrink)

What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we show that (...) a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter–gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation. (shrink)

Brojna su istraživanja potvrdila vezu između glazbenog obrazovanja i dobrobiti za opći razvoj djeteta. Glazbene aktivnosti koje stavljaju težište na ritam u nekim su se istraživanjima istakle kao sredstvo poticaja djetetovog razvoja u ne-glazbenim domenama. Rad se bavi ulogom temporalne dimenzije glazbe u glazbenom i općem razvoju djeteta. Iznose se dosadašnje spoznaje o percepciji, obradi i izvođenju glazbenog ritma, pulsa i metra te tijeku ritamskog razvoja djeteta. Daje se pregled istraživanja utjecaja glazbenih aktivnosti koje se temelje na ritmu na ne-glazbene (...) domene razvoja te se preporuča rani rad na ritmu. Ističe se potreba provođenja eksperimentalnih istraživanja koja bi rasvijetlila ulogu ritma u razvoju djeteta i modeli rada na ritmu primjenjivi u institucijama koje se bave djecom, uključujući i terapijske te rehabilitacijske ustanove. Numerous studies have confirmed the correlation between music education and child development. In some studies, musical activities based on rhythm have been highlighted as a means of stimulating children’s development in non-music domains. The paper deals with the role of the temporal dimension of music for both the musical and general development of the child. The text presents knowledge about the perception, processing, and performance of music rhythm, pulse, and meter, as well as the course of the rhythmic development of the child. An overview is provided of the impact of rhythm-based music activities on non-music developmental domains together with recommendation for early work on rhythm. We emphasized the need to conduct experimental research to shed light on the role of rhythm in the development of the child and the rhythmic models applicable in child care institutions, including therapeutic and rehabilitation institutions. (shrink)