Is the human tendency toward musicality better thought of as the product of a specific, evolved instinct or an acquired skill? Developmental and evolutionary arguments are considered, along with issues of domain‐specificity. The article also considers the question of why humans might be consistently and intensely drawn to music if musicality is not in fact the product of a specifically evolved instinct.

The vast majority of experimental studies of music to date have explored music in terms of the processes involved in the perception and cognition of complex sonic patterns that can elicit emotion. This paper argues that this conception of music is at odds both with recent Western musical scholarship and with ethnomusicological models, and that it presents a partial and culture‐specific representation of what may be a generic human capacity. It argues that the cognitive sciences must actively engage with the (...) problems of exploring music as manifested and conceived in the broad spectrum of world cultures, not only to elucidate the diversity of music in mind but also to identify potential commonalities that could illuminate the relationships between music and other domains of thought and behavior. (shrink)

Perception of temporal patterns is fundamental to normal hearing, speech, motor control, and music. Certain types of pattern understanding are unique to humans, such as musical rhythm. Although human responses to musical rhythm are universal, there is much we do not understand about how rhythm is processed in the brain. Here, I consider findings from research into basic timing mechanisms and models through to the neuroscience of rhythm and meter. A network of neural areas, including motor regions, is regularly implicated (...) in basic timing as well as processing of musical rhythm. However, fractionating the specific roles of individual areas in this network has remained a challenge. Distinctions in activity patterns appear between "automatic" and "cognitively controlled" timing processes, but the perception of musical rhythm requires features of both automatic and controlled processes. In addition, many experimental manipulations rely on participants directing their attention toward or away from certain stimulus features, and measuring corresponding differences in neural activity. Many temporal features, however, are implicitly processed whether attended to or not, making it difficult to create controlled baseline conditions for experimental comparisons. The variety of stimuli, paradigms, and definitions can further complicate comparisons across domains or methodologies. Despite these challenges, the high level of interest and multitude of methodological approaches from different cognitive domains (including music, language, and motor learning) have yielded new insights and hold promise for future progress. (shrink)

Although music is universal, there is a great deal of cultural variability in music structures. Nevertheless, some aspects of music processing generalize across cultures, whereas others rely heavily on the listening environment. Here, we discuss the development of musical knowledge, focusing on four themes: (a) capabilities that are present early in development; (b) culture-general and culture-specific aspects of pitch and rhythm processing; (c) age-related changes in pitch perception; and (d) developmental changes in how listeners perceive emotion in music.

Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via (...) emotional response. Further research is needed to test deep-rooted psychological assumptions about music cognition with diverse materials and groups in dynamic contexts. Although empirical musicology provides keystones to unlock musical structures and organization, the psychological reality of those theorized structures for listeners and performers, and the broader implications for theories of music perception and cognition, awaits investigation. (shrink)

The past 15 years have witnessed an increasing interest in the comparative study of language and music as cognitive systems. This book presents an interdisciplinary study of language and music, exploring the following core areas - structural comparisons, evolution, learning and processing, and neuroscience.

A successor to the acclaimed 'Music and Emotion', The Handbook of Music and Emotion provides comprehensive coverage of the field, in all its breadth and depth. As well as summarizing what is currently known about music and emotion, it will also stimulate further research in promising directions that have been little studied.

This volume consists of a collection of articles published by Spencer in leading Victorian periodicals, such as The Westminster Review, The Fortnightly Review and Mind. The wide range of subjects explored includes science, philosophy, aesthetics, ethics, psychology and politics.

We argue that an understanding of the faculty of language requires substantial interdisciplinary cooperation. We suggest how current developments in linguistics can be profitably wedded to work in evolutionary biology, anthropology, psychology, and neuroscience. We submit that a distinction should be made between the faculty of language in the broad sense (FLB)and in the narrow sense (FLN). FLB includes a sensory-motor system, a conceptual-intentional system, and the computational mechanisms for recursion, providing the capacity to generate an infinite range of expressions (...) from a finite set of elements. We hypothesize that FLN only includes recursion and is the only uniquely human component of the faculty of language. We further argue that FLN may have evolved for reasons other than language, hence comparative studies might look for evidence of such computations outside of the domain of communication (for example, number, navigation, and social relations). (shrink)

A provocative assessment of human thought and behavior, reissued with a new afterword, explores a range of conundrums from the ability of the mind to perceive three dimensions to the nature of consciousness, in an account that draws on ...

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...) cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction. (shrink)

We examine the question of which aspects of language are uniquely human and uniquely linguistic in light of recent suggestions by Hauser, Chomsky, and Fitch that the only such aspect is syntactic recursion, the rest of language being either specific to humans but not to language (e.g. words and concepts) or not specific to humans (e.g. speech perception). We find the hypothesis problematic. It ignores the many aspects of grammar that are not recursive, such as phonology, morphology, case, agreement, and (...) many properties of words. It is inconsistent with the anatomy and neural control of the human vocal tract. And it is weakened by experiments suggesting that speech perception cannot be reduced to primate audition, that word learning cannot be reduced to fact learning, and that at least one gene involved in speech and language was evolutionarily selected in the human lineage but is not specific to recursion. The recursion-only claim, we suggest, is motivated by Chomsky’s recent approach to syntax, the Minimalist Program, which de-emphasizes the same aspects of language. The approach, however, is sufficiently problematic that it cannot be used to support claims about evolution. We contest related arguments that language is not an adaptation, namely that it is “perfect,” non-redundant, unusable in any partial form, and badly designed for.. (shrink)

The article first addresses the importance of cognitive modeling, in terms of its value to cognitive science (as well as other social and behavioral sciences). In particular, it emphasizes the use of cognitive architectures in this undertaking. Based on this approach, the article addresses, in detail, the idea of a multi-level approach that ranges from social to neural levels. In physical sciences, a rigorous set of theories is a hierarchy of descriptions/explanations, in which causal relationships among entities at a high (...) level can be reduced to causal relationships among simpler entities at a more detailed level. We argue that a similar hierarchy makes possible an equally productive approach toward cognitive modeling. The levels of models that we conceive in relation to cognition include, at the highest level, sociological/anthropological models of collective human behavior, behavioral models of individual performance, cognitive models involving detailed mechanisms, representations, and processes, as well as biological/physiological models of neural circuits, brain regions, and other detailed biological processes. (shrink)

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 (...) theorizing will benefit by further work involving comparative animal behavior. (shrink)

Implicit learning is a core process for the acquisition of a complex, rule‐based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert participants acquire complex melodic, harmonic, and other features from mere exposure. While current findings and computational modeling largely support the learning of chunks, some results indicate learning of more complex structures. Despite the (...) body of evidence, more research is required to support the cross‐cultural validity of implicit learning and to show that core and more complex music theoretical features are acquired implicitly. (shrink)

We address the problem of musical variation (identification of different musical sequences as variations) and its implications for mental representations of music. According to reductionist theories, listeners judge the structural importance of musical events while forming mental representations. These judgments may result from the production of reduced memory representations that retain only the musical gist. In a study of improvised music performance, pianists produced variations on melodies. Analyses of the musical events retained across variations provided support for the reductionist account (...) of structural importance. A neural network trained to produce reduced memory representations for the same melodies represented structurally important events more efficiently than others. Agreement among the musicians' improvisations, the network model, and music‐theoretic predictions suggest that perceived constancy across musical variation is a natural result of a reductionist mechanism for producing memory representations. (shrink)

I am struck by how little is known about so much of cognition. One goal of this paper is to argue for the need to consider a rich set of interlocking issues in the study of cognition. Mainstream work in cognition—including my own—ignores many critical aspects of animate cognitive systems. Perhaps one reason that existing theories say so little relevant to real world activities is the neglect of social and cultural factors, of emotion, and of the major points that distinguish (...) an animate cognitive system from an artificial one: the need to survive, to regulate its own operation, to maintain itself, to exist in the environment, to change from a small, uneducated, immature system to an adult, developed, knowledgeable one.Human cognition is not the same as artificial cognition, if only because the human organism must also be concerned with the problems of life, of development, of survival. There must be a regulatory system that interacts with the cognitive component. And it may well be that it is the cognitive component that is subservient, evolved primarily for the benefit of the regulatory system, working through the emotions, through affect.I argue that several concepts must become fundamental parts of the study of cognition, including the roles of culture, of social interaction, of emotions, and of motivation. I argue that there are at least 12 issues that should comprise the study of cognition, and thereby, the field of Cognitive Science. We need to study a wide variety of behavior before we can hope to understand a single class. Cognitive scientists as a whole ought to make more use of evidence from the neurosciences, from brain damage and mental illness, from cognitive sociology and anthropology, and from clinical studies of the human. These must be accompanied, of course, with the study of language, of the psychological aspects of human processing structures, and of artificially intelligent mechanisms. The study of Cognitive Science requires a complex interaction among different issues of concern, an interaction that will not be properly understood until all parts are understood, with no part independent of the others, the whole requiring the parts, and the parts the whole. (shrink)

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.

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)

Much of what we know and love about music is based on implicitly acquired mental representations of musical pitches and the relationships between them. While previous studies have shown that these mental representations of music can be acquired rapidly and can influence preference, it is still unclear which aspects of music influence learning and preference formation. This article reports two experiments that use an artificial musical system to examine two questions: (1) which aspects of music matter most for learning, and (...) (2) which aspects of music matter most for preference formation. Two aspects of music are tested: melody and harmony. In Experiment 1 we tested the learning and liking of a new musical system that is manipulated melodically so that only some of the possible conditional probabilities between successive notes are presented. In Experiment 2 we administered the same tests for learning and liking, but we used a musical system that is manipulated harmonically to eliminate the property of harmonic whole-integer ratios between pitches. Results show that disrupting melody (Experiment 1) disabled the learning of music without disrupting preference formation, whereas disrupting harmony (Experiment 2) does not affect learning and memory but disrupts preference formation. Results point to a possible dissociation between learning and preference in musical knowledge. (shrink)

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition (...) research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)

An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical features from audio-based (...) representations in a correlation design. The construction of the computational model is divided into four separate phases, with a different focus for evaluation. These phases include the theoretical selection of relevant features, empirical assessment of feature validity, actual feature selection, and overall evaluation of the model. Existing research on music and emotions and extraction of musical features is reviewed in terms of these criteria. Examples drawn from recent studies of emotions within the context of film soundtracks are used to demonstrate each phase in the construction of the model. These models are able to explain the dominant part of the listeners’ self-reports of the emotions expressed by music and the models show potential to generalize over different genres within Western music. Possible applications of the computational models of emotions are discussed. (shrink)

The cognition of music, like that of language, is partly rooted in enculturative processes of implicit and incidental learning. Musicians and nonmusicians alike are commonly found to possess detailed implicit knowledge of musical structure which is acquired incidentally through interaction with large samples of music. This paper reports an experiment combining the methodology of artificial grammar learning with musical acquisition of melodic structure. Participants acquired knowledge of grammatical melodic structures under incidental learning conditions in both experimental and untrained control conditions. (...) Subsequent analysis indicates a large effect of unsupervised online learning in the experimental and control group throughout the course of the testing phase suggesting an effective ongoing learning process. Musicians did not outperform nonmusicians, indicating that musical expertise is not advantageous for the learning of a new, unfamiliar melodic system. Confidence ratings suggest that participants became aware of the knowledge guiding their classification performance despite the incidental learning conditions. (shrink)