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  1. Movement and musical performance.Andrew Geeves & John Sutton - 2021 - In William Forde Thompson & Kirk N. Olsen (eds.), The Science and Psychology of Music: from Beethoven at the office to Beyoncé at the gym. Greenwood. pp. 269-273.
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  • Music and Its Inductive Power: A Psychobiological and Evolutionary Approach to Musical Emotions.Mark Reybrouck & Tuomas Eerola - 2017 - Frontiers in Psychology 8.
    The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background is provided (...)
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  • Cross-cultural similarities and differences.William Forde Thompson & Balkwill & Laura-Lee - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
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  • Remembering melodies from another culture: Turkish and American listeners demonstrate implicit knowledge of musical scales.Timothy Justus, Charles Yates, Nart Bedin Atalay, Nazike Mert & Meagan Curtis - 2019 - Analytical Approaches to World Music 7 (1).
    Beyond the major-minor tonality that characterizes classical and contemporary Western musical genres, Turkish classical and folk music offer experimental psychologists a rich modal system in which cognition, development, and enculturation can be studied. Here, we present a cross-cultural experiment concerning implicit knowledge of musical scales. Five groups of participants—American musicians and nonmusicians, Turkish musicians and nonmusicians, and Turkish classical and folk music listeners—were asked to listen to brief melodies composed using the member tones of either the major scale or the (...)
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  • Genomics approaches to study musical aptitude.Jaana Oikkonen & Irma Järvelä - 2014 - Bioessays 36 (11):1102-1108.
    Although music and other forms of art can develop in diverse directions, they are linked to the genetic profiles of populations. Hearing music is a strong environmental trigger that serves as an excellent model to study the crosstalk between genes and the environment. We propose that the ability to enjoy and practice music requires musical aptitude, which is a common and innate trait facilitating the enjoyment and practice of music. The innate drive for music can only have arisen by exposure (...)
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  • The (Co)Evolution of Language and Music Under Human Self-Domestication.Antonio Benítez-Burraco & Aleksey Nikolsky - 2023 - Human Nature 34 (2):229-275.
    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 (...)
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  • Two Challenges in Cognitive Musicology.David Huron - 2012 - Topics in Cognitive Science 4 (4):678-684.
    Two themes in music cognition research are highlighted—inspired by the contributions in this volume: (a) statistical learning and (b) evolutionary theorizing. Our ability to test alternatives to statistical learning is threatened by the rapidly diminishing opportunities for cross‐cultural studies unconfounded by bimusicalism. Our ability to infer possible evolutionary origins for music is confounded by the “hedonic plenitude” of modern music‐making—where multiple pleasure channels are activated simultaneously. Cognitively inspired music research will benefit by studying a wider range of musical cultures. Evolutionary (...)
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  • White Matter Correlates of Musical Anhedonia: Implications for Evolution of Music.Loui Psyche, Patterson Sean, E. Sachs Matthew, Leung Yvonne, Zeng Tima & Przysinda Emily - 2017 - Frontiers in Psychology 8.
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  • Auditory expectation: The information dynamics of music perception and cognition.Marcus T. Pearce & Geraint A. Wiggins - 2012 - Topics in Cognitive Science 4 (4):625-652.
    Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.
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  • Cognition and the evolution of music: Pitfalls and prospects.Henkjan Honing & Annemie Ploeger - 2012 - Topics in Cognitive Science 4 (4):513-524.
    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 (...)
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