The origins of music in auditory scene analysis and the roles of evolution and culture in musical creation

Whether music was an evolutionary adaptation that conferred survival advantages or a cultural creation has generated much debate. Consistent with an evolutionary hypothesis, music is unique to humans, emerges early in development and is universal across societies. However, the adaptive benefit of music is far from obvious. Music is highly flexible, generative and changes rapidly over time, consistent with a cultural creation hypothesis. In this paper, it is proposed that much of musical pitch and timing structure adapted to preexisting features of auditory processing that evolved for auditory scene analysis (ASA). Thus, music may have emerged initially as a cultural creation made possible by preexisting adaptations for ASA. However, some aspects of music, such as its emotional and social power, may have subsequently proved beneficial for survival and led to adaptations that enhanced musical behaviour. Ontogenetic and phylogenetic evidence is considered in this regard. In particular, enhanced auditory–motor pathways in humans that enable movement entrainment to music and consequent increases in social cohesion, and pathways enabling music to affect reward centres in the brain should be investigated as possible musical adaptations. It is concluded that the origins of music are complex and probably involved exaptation, cultural creation and evolutionary adaptation.     

Without it no music: cognition,biology and evolution of musicality

Musicality can be defined as a natural, spontaneously developing trait based on and constrained by biology and cognition. Music, by contrast, can be defined as a social and cultural construct based on that very musicality. One critical challenge is to delineate the constituent elements of musicality. What biological and cognitive mechanisms are essential for perceiving, appreciating and making music? Progress in understanding the evolution of music cognition depends upon adequate characterization of the constituent mechanisms of musicality and the extent to which they are present in non-human species. We argue for the importance of identifying these mechanisms and delineating their functions and developmental course, as well as suggesting effective means of studying them in human and non-human animals. It is virtually impossible to underpin the evolutionary role of musicality as a whole, but a multicomponent perspective on musicality that emphasizes its constituent capacities, development and neural cognitive specificity is an excellent starting point for a research programme aimed at illuminating the origins and evolution of musical behaviour as an autonomous trait.     

Precursors of Dancing and Singing to Music in Three- to Four-Months-Old Infants

Dancing and singing to music involve auditory-motor coordination and have been essential to our human culture since ancient times. Although scholars have been trying to understand the evolutionary and developmental origin of music, early human developmental manifestations of auditory-motor interactions in music have not been fully investigated. Here we report limb movements and vocalizations in three- to four-months-old infants while they listened to music and were in silence. In the group analysis, we found no significant increase in the amount of movement or in the relative power spectrum density around the musical tempo in the music condition compared to the silent condition. Intriguingly, however, there were two infants who demonstrated striking increases in the rhythmic movements via kicking or arm-waving around the musical tempo during listening to music. Monte-Carlo statistics with phase-randomized surrogate data revealed that the limb movements of these individuals were significantly synchronized to the musical beat. Moreover, we found a clear increase in the formant variability of vocalizations in the group during music perception. These results suggest that infants at this age are already primed with their bodies to interact with music via limb movements and vocalizations.     

Situational influences on rhythmicity in speech,music, and their interaction

Brain processes underlying the production and perception of rhythm indicate considerable flexibility in how physical signals are interpreted. This paper explores how that flexibility might play out in rhythmicity in speech and music. There is much in common across the two domains, but there are also significant differences. Interpretations are explored that reconcile some of the differences, particularly with respect to how functional properties modify the rhythmicity of speech, within limits imposed by its structural constraints. Functional and structural differences mean that music is typically more rhythmic than speech, and that speech will be more rhythmic when the emotions are more strongly engaged, or intended to be engaged. The influence of rhythmicity on attention is acknowledged, and it is suggested that local increases in rhythmicity occur at times when attention is required to coordinate joint action, whether in talking or music-making. Evidence is presented which suggests that while these short phases of heightened rhythmical behaviour are crucial to the success of transitions in communicative interaction, their modality is immaterial: they all function to enhance precise temporal prediction and hence tightly coordinated joint action.     

Prolegomenon for a hypothesis on music as expression of an evolutionary early homeostatic feedback-mechanism. A biomusicological proposal.

Musical experience and creativity are regarded to be largely depending on cultural conditions and hence on higher cognitive functions. True as this may be, there are, however, numerous responses to music-the urge to make music taken into account-which derive from deeper levels of the human organism, namely from arousing alternatively moderating vegetative and limbic functions. Although the behavioral intensity and quality emanating from such evolutionary early nervous structures may be affected by cultural influence, they still seem to be essentially independent. Similar specific responses to acoustical and/or motor patterned stimuli are found among some other higher vertebrates which like humans are equipped with sophisticated mechanisms for hearing, sound production and locomotion, well tuned to each other. However, it is even today an open question whether these manifestations of auditive-phonatory-locomotor abilities just are analogues or if they share a common evolutionary background. The current discussion on this matter has accumulated data which apparently support the latter view pointing to that sexual selection would be the common force, first suggested by Charles Darwin (153). Other, and still more recent data in genetics and neuroscience, may be interpreted as hints at that the common origin would be a more elemental organismic feature, a metabolic-homeostatic variable which due to its evolutionary strength eventually created the platform for a radiation of adaptations concerning species-specific patterned sounds and locomotions with a broad spectrum of tasks, among them sexual selection. This line of reasoning is here, under reference to recent biological data, made the basis for a hypothetical model of music as an expression of an early homeostatic feedback mechanism. Accordingly, in music there is a central variable, a “heart” or a “core”, which is not to be found exclusively in music but appears globally as a releasing mechanism for basic endocrine, autonomous and elementally cognitive functions. It is of acoustical or motoric nature, or of a combination of these characters, and is performed in repetitive trains of impulses. It is further assumed that the target of its operations is mainly proteins with a regulatory effect on the cellular and synaptic states. The principal representatives for these proteins are growth factors, especially the NGF which originally was regarded as a growth stimulator within the peripheral and sympathetical systems but which eventually appeared to be also a synergetic modulator of neuro-endocrine-immuno-reactions, i.e. of the three central homeostatic systems (5, 80). One can speculate that this variable is functionally active at an elemental level such that it has escaped to be knocked out by forceful “higher” and evolutionary younger factors (49:13). This hypothesis — that music has its roots within and is a part of a globally occurring natural acoustical-motoric stimulus, manifested in a great variety of auditory and motoric behavior in humans and among some other higher vertebrates — implies that humankind has developed this stimulus into a category of acoustical structures which oscillate round an instable point of equilibrium. Exactly such structures, not stochastic but neither too predictable, affect the organism mainly on a sensory-vegetative level (59, 102, 137, 151). They are in addition perceptionally optimal in creating cortical space-temporal neural patterns with strong interhemispheric coherence (110, 130). According to this scenario, music did not originate from a human need of communication or as an aspect of sexual selection. It emerged from elemental processes within the individual organism with the aspiration to maintain his bodily and mental fitness, thus on a pre-social level. What was beneficial to the single individual in his fight for survival, was good also for the group and its survival. Starting from that platform music has evolved in symbiosis with dance and play within a large spectrum of social functions, where sexual selection and ritual and autonomously aesthetical tasks got a focal role that increased over time and always was accompanied by emotional events. Behind, the ticking in the deep structure of music of this in cultural-ethical terms totally value-neutral archaic mechanism goes on without pause, contributing to the maintenance of an optimal functional balance in body and mind of the individual, and the group as well.     

Culture evolves

Culture pervades human lives and has allowed our species to create niches all around the world and its oceans, in ways quite unlike any other primate. Indeed, our cultural nature appears so distinctive that it is often thought to separate humanity from the rest of nature and the Darwinian forces that shape it. A contrary view arises through the recent discoveries of a diverse range of disciplines, here brought together to illustrate the scope of a burgeoning field of cultural evolution and to facilitate cross-disciplinary fertilization. Each approach emphasizes important linkages between culture and evolutionary biology rather than quarantining one from the other. Recent studies reveal that processes important in cultural transmission are more widespread and significant across the animal kingdom than earlier recognized, with important implications for evolutionary theory. Recent archaeological discoveries have pushed back the origins of human culture to much more ancient times than traditionally thought. These developments suggest previously unidentified continuities between animal and human culture. A third new array of discoveries concerns the later diversification of human cultures, where the operations of Darwinian-like processes are identified, in part, through scientific methods borrowed from biology. Finally, surprising discoveries have been made about the imprint of cultural evolution in the predispositions of human minds for cultural transmission.     

Does Biology Constrain Culture?

Most social scientists would agree that the capacity for human culture was probably fashioned by natural selection, but they disagree about the implications of this supposition. Some believe that natural selection imposes important constraints on the ways in which culture can vary, while others believe that any such constraints must be negligible. This article employs a "thought experiment" to demonstrate that neither of these positions can be justified by appeal to general properties of culture or of evolution. Natural selection can produce mechanisms of cultural transmission that are neither adaptive nor consistent with the predictions of acultural evolutionary models (those ignoring cultural evolution). On the other hand, natural selection can also produce mechanisms of cultural transmission that are highly consistent with acultural models. Thus, neither side of the sociobiology debate is justified in dismissing the arguments of the other. Natural selection may impose significant constraints on some human behaviors, but negligible constraints on others. Models of simultaneous genetic/cultural evolution will be useful in identifying domains in which acultural evolutionary models are, and are not, likely to be useful.     

Do Women Prefer More Complex Music around Ovulation?

The evolutionary origins of music are much debated. One theory holds that the ability to produce complex musical sounds might reflect qualities that are relevant in mate choice contexts and hence, that music is functionally analogous to the sexually-selected acoustic displays of some animals. If so, women may be expected to show heightened preferences for more complex music when they are most fertile. Here, we used computer-generated musical pieces and ovulation predictor kits to test this hypothesis. Our results indicate that women prefer more complex music in general; however, we found no evidence that their preference for more complex music increased around ovulation. Consequently, our findings are not consistent with the hypothesis that a heightened preference/bias in women for more complex music around ovulation could have played a role in the evolution of music. We go on to suggest future studies that could further investigate whether sexual selection played a role in the evolution of this universal aspect of human culture.     

Affective responses in tamarins elicited by species-specific music

Theories of music evolution agree that human music has an affective influence on listeners. Tests of non-humans provided little evidence of preferences for human music. However, prosodic features of speech (‘motherese’) influence affective behaviour of non-verbal infants as well as domestic animals, suggesting that features of music can influence the behaviour of non-human species. We incorporated acoustical characteristics of tamarin affiliation vocalizations and tamarin threat vocalizations into corresponding pieces of music. We compared music composed for tamarins with that composed for humans. Tamarins were generally indifferent to playbacks of human music, but responded with increased arousal to tamarin threat vocalization based music, and with decreased activity and increased calm behaviour to tamarin affective vocalization based music. Affective components in human music may have evolutionary origins in the structure of calls of non-human animals. In addition, animal signals may have evolved to manage the behaviour of listeners by influencing their affective state.     

Speech-Like Rhythm in a Voiced and Voiceless Orangutan Call

The evolutionary origins of speech remain obscure. Recently, it was proposed that speech derived from monkey facial signals which exhibit a speech-like rhythm of ∼5 open-close lip cycles per second. In monkeys, these signals may also be vocalized, offering a plausible evolutionary stepping stone towards speech. Three essential predictions remain, however, to be tested to assess this hypothesis'' validity; (i) Great apes, our closest relatives, should likewise produce 5Hz-rhythm signals, (ii) speech-like rhythm should involve calls articulatorily similar to consonants and vowels given that speech rhythm is the direct product of stringing together these two basic elements, and (iii) speech-like rhythm should be experience-based. Via cinematic analyses we demonstrate that an ex-entertainment orangutan produces two calls at a speech-like rhythm, coined “clicks” and “faux-speech.” Like voiceless consonants, clicks required no vocal fold action, but did involve independent manoeuvring over lips and tongue. In parallel to vowels, faux-speech showed harmonic and formant modulations, implying vocal fold and supralaryngeal action. This rhythm was several times faster than orangutan chewing rates, as observed in monkeys and humans. Critically, this rhythm was seven-fold faster, and contextually distinct, than any other known rhythmic calls described to date in the largest database of the orangutan repertoire ever assembled. The first two predictions advanced by this study are validated and, based on parsimony and exclusion of potential alternative explanations, initial support is given to the third prediction. Irrespectively of the putative origins of these calls and underlying mechanisms, our findings demonstrate irrevocably that great apes are not respiratorily, articulatorilly, or neurologically constrained for the production of consonant- and vowel-like calls at speech rhythm. Orangutan clicks and faux-speech confirm the importance of rhythmic speech antecedents within the primate lineage, and highlight potential articulatory homologies between great ape calls and human consonants and vowels.     

Biological adaptations for functional features of language in the face of cultural evolution

Although there may be no true language universals, it is nonetheless possible to discern several family resemblance patterns across the languages of the world. Recent work on the cultural evolution of language indicates the source of these patterns is unlikely to be an innate universal grammar evolved through biological adaptations for arbitrary linguistic features. Instead, it has been suggested that the patterns of resemblance emerge because language has been shaped by the brain, with individual languages representing different but partially overlapping solutions to the same set of nonlinguistic constraints. Here, we use computational simulations to investigate whether biological adaptation for functional features of language, deriving from cognitive and communicative constraints, may nonetheless be possible alongside rapid cultural evolution. Specifically, we focus on the Baldwin effect as an evolutionary mechanism by which previously learned linguistic features might become innate through natural selection across many generations of language users. The results indicate that cultural evolution of language does not necessarily prevent functional features of language from becoming genetically fixed, thus potentially providing a particularly informative source of constraints on cross-linguistic resemblance patterns.     

The evolution of cultural adaptations: Fijian food taboos protect against dangerous marine toxins

The application of evolutionary theory to understanding the origins of our species'' capacities for social learning has generated key insights into cultural evolution. By focusing on how our psychology has evolved to adaptively extract beliefs and practices by observing others, theorists have hypothesized how social learning can, over generations, give rise to culturally evolved adaptations. While much field research documents the subtle ways in which culturally transmitted beliefs and practices adapt people to their local environments, and much experimental work reveals the predicted patterns of social learning, little research connects real-world adaptive cultural traits to the patterns of transmission predicted by these theories. Addressing this gap, we show how food taboos for pregnant and lactating women in Fiji selectively target the most toxic marine species, effectively reducing a woman''s chances of fish poisoning by 30 per cent during pregnancy and 60 per cent during breastfeeding. We further analyse how these taboos are transmitted, showing support for cultural evolutionary models that combine familial transmission with selective learning from locally prestigious individuals. In addition, we explore how particular aspects of human cognitive processes increase the frequency of some non-adaptive taboos. This case demonstrates how evolutionary theory can be deployed to explain both adaptive and non-adaptive behavioural patterns.     

Preference for consonant music over dissonant music by an infant chimpanzee

It has been shown that humans prefer consonant sounds from the early stages of development. From a comparative psychological perspective, although previous studies have shown that birds and monkeys can discriminate between consonant and dissonant sounds, it remains unclear whether nonhumans have a spontaneous preference for consonant music over dissonant music as humans do. We report here that a five-month-old human-raised chimpanzee (Pan troglodytes) preferred consonant music. The infant chimpanzee consistently preferred to produce, with the aid of our computerized setup, consonant versions of music for a longer duration than dissonant versions. This result suggests that the preference for consonance is not unique to humans. Further, it supports the hypothesis that one major basis of musical appreciation has some evolutionary origins.     

Origins of altruism diversity ii: runaway coevolution of altruistic strategies via "reciprocal niche construction"

Understanding the evolution of altruism requires knowledge of both its constraints and its drivers. Here we show that, paradoxically, ecological constraints on altruism may ultimately be its strongest driver. We construct a two-trait, coevolutionary adaptive dynamics model of social evolution in a genetically structured population with local resource competition. The intensity of local resource competition, which influences the direction and strength of social selection and which is typically treated as a static parameter, is here allowed to be an evolvable trait. Evolution of survival/fecundity altruism, which requires weak local competition, increases local competition as it evolves, creating negative environmental feedback that ultimately inhibits its further evolutionary advance. Alternatively, evolution of resource-based altruism, which requires strong local competition, weakens local competition as it evolves, also ultimately causing its own evolution to stall. When evolving independently, these altruistic strategies are intrinsically self-limiting. However, the coexistence of these two altruism types transforms the negative ecoevolutionary feedback generated by each strategy on itself into positive feedback on the other, allowing the presence of one trait to drive the evolution of the other. We call this feedback conversion "reciprocal niche construction." In the absence of constraints, this process leads to runaway coevolution of altruism types. We discuss applications to the origins and evolution of eusociality, division of labor, the inordinate ecological success of eusocial species, and the interaction between technology and demography in human evolution. Our theory suggests that the evolution of extreme sociality may often be an autocatalytic process.     

A Natural History of You

High school biology is typically taught with an emphasis on human biology. The human body is broken down into distinct systems without regard to the origins of its parts. As a result, students are left with the impression that our biology is incredibly unique as opposed to a consequence of conservative replication and the retention of traits over millions of years. Here, I present a brief example of how the practice of phylogenetic systematics affects how we identify ourselves, and I pay homage to a particular section of our evolutionary legacy that joins all animals great and small with an interactive laboratory exercise.     

Perspective: seven reasons (not) to neglect niche construction

The niche-construction perspective within evolutionary biology places emphasis on the changes that organisms bring about in their selective environments. Advocates of this viewpoint argue that there is both accuracy and utility in treating niche construction as an evolutionary process in its own right, rather than merely as a product of evolution. Here we discuss and assess seven putative weaknesses of the niche-construction perspective. Niche construction has been neglected or rejected on the grounds that (1) it is not prevalent, (2) its study is not tractable, (3) it is not a process, (4) it is caused by natural selection, (5) it does not change our understanding of evolution in any fundamental way, (6) it does not bring about adaptation, and (7) it is not a single phenomenon. In each case, we critically evaluate the theoretical standing of these arguments and consider the empirical evidence that can be brought to bear on the debate. We conclude that none of these are strong criticisms of the niche-construction perspective and maintain that there are compelling reasons for treating niche construction as a major evolutionary process.     

The Origins and Maintenance of Female Genital Modification across Africa

We present formal evolutionary models for the origins and persistence of the practice of Female Genital Modification (FGMo). We then test the implications of these models using normative cross-cultural data on FGMo in Africa and Bayesian phylogenetic methods that explicitly model adaptive evolution. Empirical evidence provides some support for the findings of our evolutionary models that the de novo origins of the FGMo practice should be associated with social stratification, and that social stratification should place selective pressures on the adoption of FGMo; these results, however, are tempered by the finding that FGMo has arisen in many cultures that have no social stratification, and that forces operating orthogonally to stratification appear to play a more important role in the cross-cultural distribution of FGMo. To explain these cases, one must consider cultural evolutionary explanations in conjunction with behavioral ecological ones. We conclude with a discussion of the implications of our study for policies designed to end the practice of FGMo.     

Inferring cultural reproduction from lithic data: A critical review

The cultural reproduction of lithic technology, long an implicit assumption of archaeological theories, has garnered increasing attention over the past decades. Major debates ranging from the origins of the human culture capacity to the interpretation of spatiotemporal patterning now make explicit reference to social learning mechanisms and cultural evolutionary dynamics. This burgeoning literature has produced important insights and methodological innovations. However, this rapid growth has sometimes led to confusion and controversy due to an under-examination of underlying theoretical and methodological assumptions. The time is thus ripe for a critical assessment of progress in the study of the cultural reproduction of lithic technology. Here we review recent work addressing the evolutionary origins of human culture and the meaning of artifact variation at both intrasite and intersite levels. We propose that further progress will require a more extended and context-specific evolutionary approach to address the complexity of real-world cultural reproduction.     

Synchrony as an Adaptive Mechanism for Large‐Scale Human Social Bonding

Humans have developed a number of specific mechanisms that allow us to maintain much larger social networks than would be expected given our brain size. For our primate cousins, social bonding is primarily supported using grooming, and the bonding effect this produces is primarily mechanistically underpinned by the release of endorphins (although other neurohormones are also likely to be involved). Given large group sizes and time budgeting constraints, grooming is not viable as the primary social bonding mechanism in humans. Instead, during our evolutionary history, we developed other behaviours that helped us to feel connected to our social communities. Here, we propose that synchrony might act as direct means to encourage group cohesion by causing the release of neurohormones that influence social bonding. By acting on ancient neurochemical bonding mechanisms, synchrony can act as a primal and direct social bonding agent, and this might explain its recurrence throughout diverse human cultures and contexts (e.g. dance, prayer, marching, music‐making). Recent evidence supports the theory that endorphins are released during synchronised human activities, including sport, but particularly during musical interaction. Thus, synchrony‐based activities are likely to have developed due to the fact that they allow the release of these hormones in large‐scale human communities, providing an alternative to social bonding mechanisms such as grooming.