Why birdsong is sometimes like music

The sounds and songs of birds have inspired the musical compositions of numerous cultures throughout the globe. This article examines a variety of compositions from Western music that feature birdsong and explores the concept of birds as both vocalists and instrumentalists. The concept of birds as composers is then developed-how they use rhythmic variations, pitch relationships, and combinations of notes similar to those found in music-and the theory that birds create variation in their songs partially to avoid monotony is considered. Various families of birds that borrow sounds from other species are surveyed, in particular the European starling (Sturnus vulgaris), which may have inspired a Mozart composition. We conclude that the fusion of avian bioacoustics and the study of birdsong in music may function as a conservation tool, raising the awareness of humans and stimulating future generations to save for posterity what remains of the natural world.     

Bach Is the Father of Harmony: Revealed by a 1/f Fluctuation Analysis across Musical Genres

Harmony is a fundamental attribute of music. Close connections exist between music and mathematics since both pursue harmony and unity. In music, the consonance of notes played simultaneously partly determines our perception of harmony; associates with aesthetic responses; and influences the emotion expression. The consonance could be considered as a window to understand and analyze harmony. Here for the first time we used a 1/f fluctuation analysis to investigate whether the consonance fluctuation structure in music with a wide range of composers and genres followed the scale free pattern that has been found for pitch, melody, rhythm, human body movements, brain activity, natural images and geographical features. We then used a network graph approach to investigate which composers were the most influential both within and across genres. Our results showed that patterns of consonance in music did follow scale-free characteristics, suggesting that this feature is a universally evolved one in both music and the living world. Furthermore, our network analysis revealed that Bach’s harmony patterns were having the most influence on those used by other composers, followed closely by Mozart.     

Known symptoms and diseases of a number of classical European composers during 17th and 20th century in relation with their artistic musical expressions

Medical history and relationship to the medical conditions as well as to the music creativity and productivity of some of the classical European composers have been described. In this review article we analyzed their illnesses as well as association between physical or mental diseases and their creativity and adaptability to disease. Some classical composers suffered from organic diseases, while others complained of mental disturbances. However, in spite of their disorders, the intensity of their creativity mostly remained unchanged.     

Menstrual cycle phase alters women's sexual preferences for composers of more complex music

Over 140 years ago Charles Darwin first argued that birdsong and human music, having no clear survival benefit, were obvious candidates for sexual selection. Whereas the first contention is now universally accepted, his theory that music is a product of sexual selection through mate choice has largely been neglected. Here, I provide the first, to my knowledge, empirical support for the sexual selection hypothesis of music evolution by showing that women have sexual preferences during peak conception times for men that are able to create more complex music. Two-alternative forced-choice experiments revealed that woman only preferred composers of more complex music as short-term sexual partners when conception risk was highest. No preferences were displayed when women chose which composer they would prefer as a long-term partner in a committed relationship, and control experiments failed to reveal an effect of conception risk on women''s preferences for visual artists. These results suggest that women may acquire genetic benefits for offspring by selecting musicians able to create more complex music as sexual partners, and provide compelling support for Darwin''s assertion ‘that musical notes and rhythm were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex’.     

Between history and physics

Biology has traditionally occupied a middle ground between the determinism of classical physics and the uncertainties of history. These issues are analyzed with respect to statistical laws which are applied to the prebiotic domain and strategy laws which characterize evolutionary biology. The differences in approach between biology and physics are discussed in detail. The origin of life is discussed in the context of physical chemical laws. A scenario for biogenesis is presented in terms of known molecular hardware. Evolutionary biology is then examined with respect to the kinds of laws that are possible in a domain where thermal fluctuations (mutations) have macroscopic effects. Game theory is employed to demonstrate the kinds of theory appropriate to this historical domain. The transition point between physics and history is the origin and development of the code. This is discussed and it is concluded that we are not yet able to assign the code to either the deterministic domain or to the arena of history.     

Discriminative and reinforcing stimulus properties of music for rats

We trained rats to discriminate music by Bach from that by Stravinsky using operant conditioning. The rats successfully learned the discrimination and transferred their discrimination to novel music by the same artists. Then, we trained rats on concurrent-chain schedule in which the terminal links were associated with different music, Bach or Stravinsky. The rats did not show strong preference for either style of music, although one subject showed a preference for Bach and another subject preferred Stravinsky. Finally, we examined the validity of the concurrent-chain procedure as a method of preference measurement with conspecific vocalization evoked by an aversive experience. Most of the rats preferred white noise to the conspecific vocalization. Therefore, music has a discriminative stimulus property but not a clear reinforcing property for rats.     

Food web dynamics in correlated and autocorrelated environments

The densities of populations in a community or food web vary as a consequence of both population interactions and environmental (e.g. weather) fluctuations. Populations often respond to the same kinds of environmental fluctuations, and therefore experience correlated environments. Furthermore, some environmental factors change slowly over time, thereby producing positive environmental autocorrelation. We show that the effects of environmental correlation and autocorrelation on the dynamics of the populations in a food web can be large and unintuitive, but can be understood by analyzing the eigenvectors of the community (system) matrix of interactions among populations. For example, environmental correlation and autocorrelation may either obscure or enhance the cyclic dynamics that generally characterize predator-prey interactions even when there is no direct effect of the environment on how species interact. Thus, understanding the population dynamics of species in a food web requires explicit attention to the correlation structure of environmental factors affecting all species.     

Musical Expertise and the Ability to Imagine Loudness

Most perceived parameters of sound (e.g. pitch, duration, timbre) can also be imagined in the absence of sound. These parameters are imagined more veridically by expert musicians than non-experts. Evidence for whether loudness is imagined, however, is conflicting. In music, the question of whether loudness is imagined is particularly relevant due to its role as a principal parameter of performance expression. This study addressed the hypothesis that the veridicality of imagined loudness improves with increasing musical expertise. Experts, novices and non-musicians imagined short passages of well-known classical music under two counterbalanced conditions: 1) while adjusting a slider to indicate imagined loudness of the music and 2) while tapping out the rhythm to indicate imagined timing. Subtests assessed music listening abilities and working memory span to determine whether these factors, also hypothesised to improve with increasing musical expertise, could account for imagery task performance. Similarity between each participant’s imagined and listening loudness profiles and reference recording intensity profiles was assessed using time series analysis and dynamic time warping. The results suggest a widespread ability to imagine the loudness of familiar music. The veridicality of imagined loudness tended to be greatest for the expert musicians, supporting the predicted relationship between musical expertise and musical imagery ability.     

Evidence for Shared Cognitive Processing of Pitch in Music and Language

Language and music epitomize the complex representational and computational capacities of the human mind. Strikingly similar in their structural and expressive features, a longstanding question is whether the perceptual and cognitive mechanisms underlying these abilities are shared or distinct – either from each other or from other mental processes. One prominent feature shared between language and music is signal encoding using pitch, conveying pragmatics and semantics in language and melody in music. We investigated how pitch processing is shared between language and music by measuring consistency in individual differences in pitch perception across language, music, and three control conditions intended to assess basic sensory and domain-general cognitive processes. Individuals’ pitch perception abilities in language and music were most strongly related, even after accounting for performance in all control conditions. These results provide behavioral evidence, based on patterns of individual differences, that is consistent with the hypothesis that cognitive mechanisms for pitch processing may be shared between language and music.     

Co-variation of tonality in the music and speech of different cultures

Whereas the use of discrete pitch intervals is characteristic of most musical traditions, the size of the intervals and the way in which they are used is culturally specific. Here we examine the hypothesis that these differences arise because of a link between the tonal characteristics of a culture's music and its speech. We tested this idea by comparing pitch intervals in the traditional music of three tone language cultures (Chinese, Thai and Vietnamese) and three non-tone language cultures (American, French and German) with pitch intervals between voiced speech segments. Changes in pitch direction occur more frequently and pitch intervals are larger in the music of tone compared to non-tone language cultures. More frequent changes in pitch direction and larger pitch intervals are also apparent in the speech of tone compared to non-tone language cultures. These observations suggest that the different tonal preferences apparent in music across cultures are closely related to the differences in the tonal characteristics of voiced speech.     

Psychophysiology and psychoacoustics of music: Perception of complex sound in normal subjects and psychiatric patients

Perception of complex sound is a process carried out in everyday life situations and contributes in the way one perceives reality. Attempting to explain sound perception and how it affects human beings is complicated. Physics of simple sound can be described as a function of frequency, amplitude and phase. Psychology of sound, also termed psychoacoustics, has its own distinct elements of pitch, intensity and tibre. An interconnection exists between physics and psychology of hearing.Music being a complex sound contributes to communication and conveys information with semantic and emotional elements. These elements indicate the involvement of the central nervous system through processes of integration and interpretation together with peripheral auditory processing.Effects of sound and music in human psychology and physiology are complicated. Psychological influences of listening to different types of music are based on the different characteristics of basic musical sounds. Attempting to explain music perception can be simpler if music is broken down to its basic auditory signals. Perception of auditory signals is analyzed by the science of psychoacoustics. Differences in complex sound perception have been found between normal subjects and psychiatric patients and between different types of psychopathologies.     

Fluctuations of Hi-Hat Timing and Dynamics in a Virtuoso Drum Track of a Popular Music Recording

Long-range correlated temporal fluctuations in the beats of musical rhythms are an inevitable consequence of human action. According to recent studies, such fluctuations also lead to a favored listening experience. The scaling laws of amplitude variations in rhythms, however, are widely unknown. Here we use highly sensitive onset detection and time series analysis to study the amplitude and temporal fluctuations of Jeff Porcaro’s one-handed hi-hat pattern in “I Keep Forgettin’”—one of the most renowned 16th note patterns in modern drumming. We show that fluctuations of hi-hat amplitudes and interbeat intervals (times between hits) have clear long-range correlations and short-range anticorrelations separated by a characteristic time scale. In addition, we detect subtle features in Porcaro’s drumming such as small drifts in the 16th note pulse and non-trivial periodic two-bar patterns in both hi-hat amplitudes and intervals. Through this investigation we introduce a step towards statistical studies of the 20th and 21st century music recordings in the framework of complex systems. Our analysis has direct applications to the development of drum machines and to drumming pedagogy.     

Influence of Tonal Modulation in a Melodic Line on the Spectral Parameters of Human EEG

The influence of tonal modulation in pieces of music on the EEG parameters was studied. An EEG was recorded while subjects were listening to two series of fragments with modulations: controlled harmonic progressions and the fragments of classical musical compositions. Each series included modulations to the subdominant, the dominant, and the ascending minor sixth. The highly controlled and artistically impoverished harmonic progressions of the first series contrasted with the real music excerpts in the second series, which differed in tempo, rhythm, tessitura, duration, and style. Listening to harmonic progressions and musical fragments produced event-related synchronization in the α frequency band. Real musical fragments with modulation to the dominant generated lower synchronization in the α band as compared with other modulations. A lower decrease of synchronization in the α frequency band after listening was observed in the case of fragments of classical music compared with harmonic progressions.     

Cortical representations of pitch in monkeys and humans

Pitch perception is crucial for vocal communication, music perception, and auditory object processing in a complex acoustic environment. How pitch is represented in the cerebral cortex has for a long time remained an unanswered question in auditory neuroscience. Several lines of evidence now point to a distinct non-primary region of auditory cortex in primates that contains a cortical representation of pitch.     

Coping with Stress: The Effectiveness of Different Types of Music

Listening to classical and self-selected relaxing music after exposure to a stressor should result in significant reductions in anxiety, anger, and sympathetic nervous system arousal, and increased relaxation compared to those who sit in silence or listen to heavy metal music. Fifty-six college students, 15 males and 41 females, were exposed to different types of music genres after experiencing a stressful test. Several 4 x 2 mixed design analyses of variance were conducted to determine the effects of music and silence conditions (heavy metal, classical, or self-selected music and silence) and time (pre-post music) on emotional state and physiological arousal. Results indicate listening to self-select or classical music, after exposure to a stressor, significantly reduces negative emotional states and physiological arousal compared to listening to heavy metal music or sitting in silence.     

音乐绝对音高行为研究述评

音乐绝对音高(musical absolute pitch,AP)能力是一种敏锐的乐音音高知觉分类和记忆能力,表现为在没有任何其它音高参照的情况下,能够对所听到乐音音高进行准确命名或分类。本文从音乐绝对音高甄别方法、基因遗传、早期音乐训练、语言环境对音乐绝对音高能力形成的影响,以及绝对音高与音乐能力、音乐记忆和空间能力方面的研究进行了介绍,提出研究音乐绝对音高的重要性。最后展望了音乐绝对音高领域未来可能的四个研究方向。     

Effects of culture on musical pitch perception

The strong association between music and speech has been supported by recent research focusing on musicians' superior abilities in second language learning and neural encoding of foreign speech sounds. However, evidence for a double association--the influence of linguistic background on music pitch processing and disorders--remains elusive. Because languages differ in their usage of elements (e.g., pitch) that are also essential for music, a unique opportunity for examining such language-to-music associations comes from a cross-cultural (linguistic) comparison of congenital amusia, a neurogenetic disorder affecting the music (pitch and rhythm) processing of about 5% of the Western population. In the present study, two populations (Hong Kong and Canada) were compared. One spoke a tone language in which differences in voice pitch correspond to differences in word meaning (in Hong Kong Cantonese, /si/ means 'teacher' and 'to try' when spoken in a high and mid pitch pattern, respectively). Using the On-line Identification Test of Congenital Amusia, we found Cantonese speakers as a group tend to show enhanced pitch perception ability compared to speakers of Canadian French and English (non-tone languages). This enhanced ability occurs in the absence of differences in rhythmic perception and persists even after relevant factors such as musical background and age were controlled. Following a common definition of amusia (5% of the population), we found Hong Kong pitch amusics also show enhanced pitch abilities relative to their Canadian counterparts. These findings not only provide critical evidence for a double association of music and speech, but also argue for the reconceptualization of communicative disorders within a cultural framework. Along with recent studies documenting cultural differences in visual perception, our auditory evidence challenges the common assumption of universality of basic mental processes and speaks to the domain generality of culture-to-perception influences.     

On the origin and characteristics of noise-induced Lévy walks of E. coli

Lévy walks as a random search strategy have recently attracted a lot of attention, and have been described in many animal species. However, very little is known about one of the most important issues, namely how Lévy walks are generated by biological organisms. We study a model of the chemotaxis signaling pathway of E. coli, and demonstrate that stochastic fluctuations and the specific design of the signaling pathway in concert enable the generation of Lévy walks. We show that Lévy walks result from the superposition of an ensemble of exponential distributions, which occurs due to the shifts in the internal enzyme concentrations following the stochastic fluctuations. With our approach we derive the power-law analytically from a model of the chemotaxis signaling pathway, and obtain a power-law exponent μ ≈ 2.2, which coincides with experimental results. This work provides a means to confirm Lévy walks as natural phenomenon by providing understanding on the process through which they emerge. Furthermore, our results give novel insights into the design aspects of biological systems that are capable of translating additive noise on the microscopic scale into beneficial macroscopic behavior.