We compare and contrast the 60 commentaries by 109 authors on the pair of target articles by Mehr et al. and ourselves. The commentators largely reject Mehr et al.'s fundamental definition of music and their attempts to refute (1) our social bonding hypothesis, (2) byproduct hypotheses, and (3) sexual selection hypotheses for the evolution of musicality. Instead, the commentators generally support our more inclusive proposal that social bonding and credible signaling mechanisms complement one another in explaining cooperation within and competition (...) between groups in a coevolutionary framework (albeit with some confusion regarding terminologies such as “byproduct” and “exaptation”). We discuss the proposed criticisms and extensions, with a focus on moving beyond adaptation/byproduct dichotomies and toward testing of cross-species, cross-cultural, and other empirical predictions. (shrink)

Vocal theories of the origin of language rarely make a case for the precursor functions that underlay the evolution of speech. The vocal expression of emotion is unquestionably the best candidate for such a precursor, although most evolutionary models of both language and speech ignore emotion and prosody altogether. I present here a model for a joint prosodic precursor of language and music in which ritualized group-level vocalizations served as the ancestral state. This precursor combined not only affective and intonational (...) aspects of prosody, but also holistic and combinatorial mechanisms of phrase generation. From this common stage, there was a bifurcation to form language and music as separate, though homologous, specializations. This separation of language and music was accompanied by their (re)unification in songs with words. (shrink)

In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...) to go about the practical task of actually increasing our level of wellbeing, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of wellbeing. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I’m of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of wellbeing. (shrink)

Savage et al. do an excellent job of making the case for social bonding in general, but do a less good job of distinguishing the manners by which dance and music achieve this. It is important to see dance and music as two parallel and interactive mechanisms that employ the “group body” and “group voice,” respectively, in engendering social cohesion.

This paper argues that, contrary to what many musicologists and classical musicians have maintained, music can, and should, be analysed as discourse. It then surveys a number of approaches to the critical analysis of musical discourse and applies these approaches to a range of examples, including sonatas, advertising jingles and news signature tunes.

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archeology, anthropology, (...) biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene–culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution because of their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music. (shrink)

In 1965, the American folklorist Alan Lomax set out on a mission: to view, code, catalogue and preserve the totality of the world’s dance traditions. Believing that dance carried otherwise inaccessible information about social structures, work practices and the history of human migration, Lomax and his collaborators gathered more than 250,000 feet of raw film footage and analyzed it using a new system of movement analysis. Lomax’s aims, however, went beyond the merely scientific. He hoped to use his ‘Choreometrics’ project (...) as the foundation for a universally available visual and textual atlas of human movement. This article explores how Lomax’s archival ambitions supported his efforts to enact a wholesale ‘recalibration of the human perceptual apparatus’ and situates Choreometrics at the nexus of new techniques of data-gathering and the cultural ferment of the 1960s. (shrink)

In the proposed gynecentric aesthetic, which follows the work of Heide Göttner-Abendroth and Alan Lomax, aesthetic activity would function to integrate the individual and society. Intellect, emotion and action would combine to achieve a synthesis of body and spirit. Song and dance would involve the equal expressions of all participants, and aesthetic structures would reflect this egalitarianism. The erotic would be expressed as a vital, positive force, divorced from repression and pornography. The emphasis would be off aesthetic objects to be (...) coveted, hoarded and contemplated, and on dynamic process, fully engaging and socially significant. (shrink)

The perpetual music track is a new concept that describes a condition of constant or near-constant musical imagery. This condition appears to be very rare even among composers and musicians. I present here a detailed self-analysis of musical imagery for the purpose of defining the psychological features of a perpetual music track. I have music running through my head almost constantly during waking hours, consisting of a combination of recently- heard pieces and distant pieces that spontaneously pop into the head. (...) Imagery consists mainly of short musical fragments that get looped repeatedly upon themselves. Corporeal manifestations of imagery occur in the form of unconscious finger movements whose patterns correspond to the melodic contour of the imagined piece. Musical dreams occur every week or two, and contain a combination of familiar and originally- composed music. These results are discussed in light of theories of imagery, consciousness, hallucination, obsessive cognition, and most especially the notion that acoustic consciousness can be split into multiple parallel streams. (shrink)

The core question behind this Frontiers research topic is whether explaining linguistic phenomena requires appeal to properties of human cognition that are specialized to language. We argue here that investigating this issue requires taking linguistic research results seriously, and evaluating these for domain-specificity. We present a particular empirical phenomenon, bound variable interpretations of pronouns dependent on a quantifier phrase, and argue for a particular theory of this empirical domain that is couched at a level of theoretical depth which allows its (...) principles to be evaluated for domain-specialization. We argue that the relevant principles are specialized when they apply in the domain of language, even if analogs of them are plausibly at work elsewhere in cognition or the natural world more generally. So certain principles may be specialized to language, though not, ultimately, unique to it. Such specialization is underpinned by ultimately biological factors, hence part of UG. (shrink)

Focusing on clothing and adornment (dress), this worldwide cross-cultural comparison asks why people in some societies appear to dress in uniform or standardized ways, whereas in other societies individuals display considerable variability in dress. The broader research question is why some societies have more within-group variation than others. Hypotheses are tested on 80 societies drawn from the Standard Cross-Cultural Sample (SCCS). The central hypotheses consider the impact of general societal tightness or looseness, degree of egalitarianism as well as other aspects (...) of societal complexity, and the role of resource stress on dress standardization. Exploratory methods identify four latent constructs of dress from newly coded variables, one latent construct for tightness/looseness, and one latent construct for resource stress. As expected, (1) increased societal tightness was positively related to increased standardization and rules regarding dress and (2) increased resource stress is generally related to more standardization of dress and rules regarding adornment. However, contrary to theoretical expectations, the predictors of tightness–looseness differ from the predictors of dress. Most importantly, resource stress negatively predicts tightness but positively predicts three of the latent dress constructs. The relationship between dress standardization and societal complexity may be curvilinear, with mid-range societies having more standardization. Although some of the theorized relationships are supported (including that standardization of dress is predicted by societal tightness and more resource stress), at the end of paper we discuss some puzzling findings, speculate about possible explanations, and suggest further lines of research. (shrink)

El baile de las Águilas y San Juan Pelós es una manifestación clave del acervo cultural mallorquín que ha sobrevivido hasta el presente a pesar de las censuras eclesiásticas y prohibiciones por parte del poder civil. Los habitantes de Pollensa participan en este acto comunitario, de raíz religiosa, como parte de la solemnidad del Corpus Christi. Esta investigación ahonda en su evolución histórica para contribuir a la explicación de su vigencia, relación con las instituciones, función social y significado desde el (...) punto de vista antropológico. Desde un origen didáctico, este complejo teatral bascula hacia un rito de solidaridad útil para mantener la cohesión y reproducción del grupo. Como consecuencia de las sucesivas disputas por el control del pensamiento y la conducta, así como de los cambios en la estructura económica y política del pueblo, el contenido material de la ceremonia atravesará distintas fases de transformación, desembocando en su función vigente como seña de identidad local a través de la reproducción de una tradición ancestral. (shrink)