Music is a deeply entrenched human phenomenon. In this article, I argue that its evolutionary origins are intrinsically intertwined with the incremental anatomical, cognitive, social, and technological evolution of the hominin lineage. I propose an account of the evolution of Plio-Pleistocene hominins, focusing on traits that would be later implicated in music making. Such traits can be conceived as comprising the musicality mosaic or the multifaceted foundations of musicality. I then articulate and defend an account of protomusical behaviour, drawing theoretical (...) licence from the social brain framework of Robin Dunbar and colleagues, as well as the evolutionary framework for human culture and cooperation developed by Kim Sterelny. The role of gene-culture co-evolution and niche construction is brought to the fore in articulating the evolutionary account. Finally, I defend the view that music subsequently developed via processes of social learning and cumulative culture. (shrink)

Birdsong is widely analysed and discussed by people coming from both musical and scientific backgrounds. Both approaches provide valuable insight, but I argue that it is only through combining musical and scientific points of view, as well as perspectives from more tangentially related fields, that we can obtain the best possible understanding of birdsong. In this paper, I discuss how my own training as a musician, and in particular as a composer, affects how I listen to and parse birdsong. I (...) identify nine areas of overlap between human music and birdsong, which may serve as starting points both for musical and scientific analysis, as well as for interdisciplinary analysis as practiced in the developing field of “zoomusicology.” Using the hermit thrush (Catharus guttatus) as an example, I discuss how the song of a single species has been described by writers from a variety of disciplines, including music, literature, and the sciences, as well as how we can contextualise these varied perspectives in terms of broader cultural thought trends. I end with discussion of how combining approaches from multiple fields can help us to figure out new questions to ask, can help us identify how our own cultural biases may affect how we hear birdsong, and ultimately can help us develop richer and more nuanced understandings of the songs themselves. (shrink)

While ethnomusicologists often write about musical instruments and engage with social theories, these two predilections are typically distinct, and rarely are instruments theorized let alone considered in social terms. Drawing on recent work in Science and Technology Studies, I argue for a study of the social where musical objects (including instruments) and people are actors within patterned heterogeneous networks. I begin with literary examples of instruments framed as having agency, then move to the treatment of instrument-agency within organology. As an (...) exemplar for this methodology, I consider the social life of the saz, an ubiquitous lute from Turkey. (shrink)