For many years the evolution of language has been seen as a disreputable topic, mired in fanciful “just so stories” about language origins. However, in the last decade a new synthesis of modern linguistics, cognitive neuroscience and neo-Darwinian evolutionary theory has begun to make important contributions to our understanding of the biology and evolution of language. I review some of this recent progress, focusing on the value of the comparative method, which uses data from animal species to draw inferences about (...) language evolution. Discussing speech first, I show how data concerning a wide variety of species, from monkeys to birds, can increase our understanding of the anatomical and neural mechanisms underlying human spoken language, and how bird and whale song provide insights into the ultimate evolutionary function of language. I discuss the “descended larynx” of humans, a peculiar adaptation for speech that has received much attention in the past, which despite earlier claims is not uniquely human. Then I will turn to the neural mechanisms underlying spoken language, pointing out the difficulties animals apparently experience in perceiving hierarchical structure in sounds, and stressing the importance of vocal imitation in the evolution of a spoken language. Turning to ultimate function, I suggest that communication among kin (especially between parents and offspring) played a crucial but neglected role in driving language evolution. Finally, I briefly discuss phylogeny, discussing hypotheses that offer plausible routes to human language from a non-linguistic chimp-like ancestor. I conclude that comparative data from living animals will be key to developing a richer, more interdisciplinary understanding of our most distinctively human trait: language. (shrink)

Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psychological adaptations that are specific to music (e.g., rhythmic entrainment) and the effects of adaptations for non-musical functions (e.g., auditory scene analysis). How did music evolve? Here, we show that prevailing views on the evolution of music – that music is a byproduct of other evolved faculties, evolved for social bonding, or evolved to signal mate quality – are incomplete or wrong. We argue instead that (...) music evolved as a credible signal in at least two contexts: coalitional interactions and infant care. Specifically, we propose that (1) the production and reception of coordinated, entrained rhythmic displays is a co-evolved system for credibly signaling coalition strength, size, and coordination ability; and (2) the production and reception of infant-directed song is a co-evolved system for credibly signaling parental attention to secondarily altricial infants. These proposals, supported by interdisciplinary evidence, suggest that basic features of music, such as melody and rhythm, result from adaptations in the proper domain of human music. The adaptations provide a foundation for the cultural evolution of music in its actual domain, yielding the diversity of musical forms and musical behaviors found worldwide. (shrink)

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)

Computational simulations have provided evidence that the use of linguistic cues as group markers plays an important role in the development of linguistic diversity shortcite. Other simulations, however, have contradicted these findings. Similar disagreements exist in sociolinguistics. This paper describes an experimental study in which participants played an anonymous economic game using an instant-messenger-style program and an artificial ‘alien language’. The competitiveness of the game and the frequency with which players interacted were manipulated. Given frequent enough interaction with team-mates, players (...) were able to use linguistic cues to identify themselves. In the most competitive condition, this led to divergence in the language, which did not occur in other conditions. This suggests that both frequency of interaction and a pressure to use language to mark identity play a significant role in encouraging linguistic divergence over short periods, but that neither is suffi cient on its own. (shrink)

Based on their social bonding hypothesis, Savage et al. predict a relation between “musical” behaviors and social complexity across species. However, our qualitative comparative review suggests that, although learned contact calls are positively associated with complex social dynamics across species, songs are not. Yet, in contrast to songs, and arguably consistent with their functions, contact calls are not particularly music-like.

Computational simulations have provided evidence that the use of linguistic cues as group markers plays an important role in the development of linguistic diversity shortcite. Other simulations, however, have contradicted these findings. Similar disagreements exist in sociolinguistics. This paper describes an experimental study in which participants played an anonymous economic game using an instant-messenger-style program and an artificial ‘alien language’. The competitiveness of the game and the frequency with which players interacted were manipulated. Given frequent enough interaction with team-mates, players (...) were able to use linguistic cues to identify themselves. In the most competitive condition, this led to divergence in the language, which did not occur in other conditions. This suggests that both frequency of interaction and a pressure to use language to mark identity play a significant role in encouraging linguistic divergence over short periods, but that neither is suffi cient on its own. (shrink)

It is my contention that understanding natural phenomena such as vocal mimicry can bolster theories of the evolution of language and music as well as inform evolutionary and naturalistic aesthetics more generally. In this commentary I present this phenomena as a case study in order to stimulate further aesthetic theorising.