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.     

Cross-cultural perspectives on physician and lay models of the common cold

We compare physicians and laypeople within and across cultures, focusing on similarities and differences across samples, to determine whether cultural differences or lay-professional differences have a greater effect on explanatory models of the common cold. Data on explanatory models for the common cold were collected from physicians and laypeople in South Texas and Guadalajara, Mexico. Structured interview materials were developed on the basis of open-ended interviews with samples of lay informants at each locale. A structured questionnaire was used to collect information from each sample on causes, symptoms, and treatments for the common cold. Consensus analysis was used to estimate the cultural beliefs for each sample. Instead of systematic differences between samples based on nationality or level of professional training, all four samples largely shared a single-explanatory model of the common cold, with some differences on subthemes, such as the role of hot and cold forces in the etiology of the common cold. An evaluation of our findings indicates that, although there has been conjecture about whether cultural or lay-professional differences are of greater importance in understanding variation in explanatory models of disease and illness, systematic data collected on community and professional beliefs indicate that such differences may be a function of the specific illness. Further generalizations about lay-professional differences need to be based on detailed data for a variety of illnesses, to discern patterns that may be present. Finally, a systematic approach indicates that agreement across individual explanatory models is sufficient to allow for a community-level explanatory model of the common cold.     

Why developmental psychology is incomplete without comparative and cross-cultural perspectives

As a discipline, developmental psychology has a long history of relying on animal models and data collected among distinct cultural groups to enrich and inform theories of the ways social and cognitive processes unfold through the lifespan. However, approaches that draw together developmental, cross-cultural and comparative perspectives remain rare. The need for such an approach is reflected in the papers by Heyes (2015 Phil. Trans. R. Soc. B 371, 20150069. (doi:10.1098/rstb.2015.0069)), Schmelz & Call (2015 Phil. Trans. R. Soc. B 371, 20150067. (doi:10.1098/rstb.2015.0067)) and Keller (2015 Phil. Trans. R. Soc. B 371, 20150070. (doi:10.1098/rstb.2015.0070)) in this theme issue. Here, we incorporate these papers into a review of recent research endeavours covering a range of core aspects of social cognition, including social learning, cooperation and collaboration, prosociality, and theory of mind. In so doing, we aim to highlight how input from comparative and cross-cultural empiricism has altered our perspectives of human development and, in particular, led to a deeper understanding of the evolution of the human cultural mind.     

Neural overlap in processing music and speech

Neural overlap in processing music and speech, as measured by the co-activation of brain regions in neuroimaging studies, may suggest that parts of the neural circuitries established for language may have been recycled during evolution for musicality, or vice versa that musicality served as a springboard for language emergence. Such a perspective has important implications for several topics of general interest besides evolutionary origins. For instance, neural overlap is an important premise for the possibility of music training to influence language acquisition and literacy. However, neural overlap in processing music and speech does not entail sharing neural circuitries. Neural separability between music and speech may occur in overlapping brain regions. In this paper, we review the evidence and outline the issues faced in interpreting such neural data, and argue that converging evidence from several methodologies is needed before neural overlap is taken as evidence of sharing.     

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.     

Five fundamental constraints on theories of the origins of music

The diverse forms and functions of human music place obstacles in the way of an evolutionary reconstruction of its origins. In the absence of any obvious homologues of human music among our closest primate relatives, theorizing about its origins, in order to make progress, needs constraints from the nature of music, the capacities it engages, and the contexts in which it occurs. Here we propose and examine five fundamental constraints that bear on theories of how music and some of its features may have originated. First, cultural transmission, bringing the formal powers of cultural as contrasted with Darwinian evolution to bear on its contents. Second, generativity, i.e. the fact that music generates infinite pattern diversity by finite means. Third, vocal production learning, without which there can be no human singing. Fourth, entrainment with perfect synchrony, without which there is neither rhythmic ensemble music nor rhythmic dancing to music. And fifth, the universal propensity of humans to gather occasionally to sing and dance together in a group, which suggests a motivational basis endemic to our biology. We end by considering the evolutionary context within which these constraints had to be met in the genesis of human musicality.     

Toward a comparative socioecology of the genus Macaca: Different dominance styles in rhesus and stumptail monkeys

Captive studies can make a unique contribution to primate socioecology by documenting species-typical social dispositions under controlled conditions. Recent theories seek to connect the dominance relationships, group cohesiveness, and feeding ecology of primates. The present study explores the first two aspects by comparing the social organization of rhesus (Macaca mulatta) and stumptail monkeys (M. arctoides). Data were collected over a period of eight years, with five different methods, on three well-established captive groups in identical environments. The groups were found to share one characteristic: a clear-cut, linear formal dominance hierarchy as expressed in teeth-baring displays. The two main study groups (one of each species) differed significantly, however, with respect to nine of eleven behavioral measures. In addition to a previously reported higher frequency of reconciliation in the stumptail group, this group showed (1) more frequent but less severe aggressive behavior, (2) greater symmetry of contests, (3) greater social tolerance, (4) more nonagonistic approaches, and (5) more allogrooming. The differences can be summarized as a contrast in dominance “style,” with the stumptails having a more relaxed style and placing greater emphasis on social cohesion than the rhesus monkeys. An egalitarian attitude was also reflected in approach behavior: contacts in the rhesus group were mostly initiated by dominants, whereas contacts in the stumptail group were initiated independent of rank. Comparisons with a second rhesus group, and with published reports, suggest that while some of the observed differences are probably representative of the two species, considerable intraspecific variation does exist, and a more comprehensive program of comparative studies is needed.     

Teaching music in the flat world: Reflections on the work of Darling-Hammond and Rothman

Authors and scholars published within Arts Education Policy Review have been diligent to investigate various topics surrounding music educator preparation, mentoring, retention, as well as avenues for continued professional development and growth. Linda Darling-Hammond and Robert Rothman, along with various chapter authors, address education reform on an international level within Teaching in the Flat World: Learning from High-Performing Systems (2015 Rothman, R., & Darling-Hammond, L. (2015). Teaching quality initiatives in the United States. In L. Darling-Hammond & R. Rothman (Eds.), Teaching in the flat world: Learning from high-performing systems (pp. 6–27). New York, NY: Teachers College Press. [Google Scholar]). The purpose of this article is to examine the recommendations presented by Darling-Hammond, Rothman, and colleagues through the lens of music education research and policy review. Specific areas of focus include: (a) recruitment and rigor of teacher education programs, (b) alternative routes into the teaching profession, (c) teacher induction and new teacher support, (d) career advancement and professional development support, and (e) teacher evaluation.     

Refugees' perspectives on barriers to communication about trauma histories in primary care

Objective This study explores refugees'' perspectives regarding the nature of communication barriers that impede the exploration of trauma histories in primary care.Method Brief interviews were conducted with 53 refugee patients in a suburban primary care clinic in the Midwest USA. Participants were asked if they or their doctors had initiated conversations about the impact of political conflict in their home countries. Qualitative data analysis was guided by grounded theory. Peer debriefings of refugee healthcare professionals were incorporated into the analysis.Results Two-thirds of refugee patients reported that they never shared how they were affected by political conflict with their doctors and that their doctors never asked them about it. Most refugees stated that they would like to learn more about the impact of trauma on their health and to discuss their experiences with their doctors.Conclusion Refugees are hesitant to initiate conversations with physicians due to cultural norms requiring deference to the doctor''s authority. They also lack knowledge about how trauma affects health. Physicians should be educated to inquire directly about trauma histories with refugee patients. Refugees can benefit from education about the effects of trauma on health and about the collaborative nature of the doctor–patient relationship.     

Network cohesion,group size and neocortex size in female-bonded Old World primates

Most primates are intensely social and spend a large amount of time servicing social relationships. In this study, we use social network analysis to examine the relationship between primate group size, total brain size, neocortex ratio and several social network metrics concerned with network cohesion. Using female grooming networks from a number of Old World monkey species, we found that neocortex size was a better predictor of network characteristics than endocranial volumes. We further found that when we controlled for group size, neocortex ratio was negatively correlated with network density, connectivity, relative clan size and proportional clan membership, while there was no effect of neocortex ratio on change in connectivity following the removal of the most central female in the network. Thus, in species with larger neocortex ratios, females generally live in more fragmented networks, belong to smaller grooming clans and are members of relatively fewer clans despite living in a closely bonded group. However, even though groups are more fragmented to begin with among species with larger neocortices, the removal of the most central individual does cause groups to fall apart, suggesting that social complexity may ultimately involve the management of highly fragmented social groups while at the same time maintaining overall social cohesion. These results emphasize a need for more detailed brain data on a wider sample of primate species.     

Correlations in the population structure of music,genes and language

We present, to our knowledge, the first quantitative evidence that music and genes may have coevolved by demonstrating significant correlations between traditional group-level folk songs and mitochondrial DNA variation among nine indigenous populations of Taiwan. These correlations were of comparable magnitude to those between language and genes for the same populations, although music and language were not significantly correlated with one another. An examination of population structure for genetics showed stronger parallels to music than to language. Overall, the results suggest that music might have a sufficient time-depth to retrace ancient population movements and, additionally, that it might be capturing different aspects of population history than language. Music may therefore have the potential to serve as a novel marker of human migrations to complement genes, language and other markers.     

From "Rights" to "Ritual": AIDS Activism in South Africa

In this article, I investigate how the moral politics of HIV/AIDS activism in South Africa is contributing toward new forms of citizenship that are concerned with both rights-based struggles and with creating collectively shared meanings of the extreme experiences of illness and stigmatization of individual HIV/AIDS sufferers. I argue that it is precisely the extremity of the "near death" experiences of full-blown AIDS, and the profound stigma and "social death" associated with the later stages of the disease, that produce the conditions for HIV/AIDS survivors' commitment to "new life" and social activism. It is the activist mediation and retelling of these traumatic experiences that facilitates HIV/AIDS activist commitment and grassroots mobilization. It is also the profound negativity of stigma and social death that animates the activist's construction of a new positive HIV-positive identity and understanding of what it means to be a citizen–activist and member of a social movement.     

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.     

Female competition and aggression: interdisciplinary perspectives

This paper introduces a Theme Issue combining interdisciplinary perspectives in the study of female competition and aggression. Despite a history of being largely overlooked, evidence is now accumulating for the widespread evolutionary significance of female competition. Here, we provide a synthesis of contributions to this Theme Issue on humans and other vertebrates, and highlight directions for future research. Females compete for resources needed to survive and reproduce, and for preferred mates. Although female aggression takes diverse forms, under most circumstances relatively low-risk competitive strategies are favoured, most probably due to constraints of offspring production and care. In social species, dominance relationships and threats of punishment can resolve social conflict without resort to direct aggression, and coalitions or alliances may reduce risk of retaliation. Consistent with these trends, indirect aggression is a low cost but effective form of competition among young women. Costs are also minimized by flexibility in expression of competitive traits, with aggressive behaviour and competitive signalling tailored to social and ecological conditions. Future research on female competition and the proximate mediators of female aggression will be greatly enhanced by opportunities for interdisciplinary exchange, as evidenced by contributions to this Theme Issue.     

Principles of structure building in music,language and animal song

Human language, music and a variety of animal vocalizations constitute ways of sonic communication that exhibit remarkable structural complexity. While the complexities of language and possible parallels in animal communication have been discussed intensively, reflections on the complexity of music and animal song, and their comparisons, are underrepresented. In some ways, music and animal songs are more comparable to each other than to language as propositional semantics cannot be used as indicator of communicative success or wellformedness, and notions of grammaticality are less easily defined. This review brings together accounts of the principles of structure building in music and animal song. It relates them to corresponding models in formal language theory, the extended Chomsky hierarchy (CH), and their probabilistic counterparts. We further discuss common misunderstandings and shortcomings concerning the CH and suggest ways to move beyond. We discuss language, music and animal song in the context of their function and motivation and further integrate problems and issues that are less commonly addressed in the context of language, including continuous event spaces, features of sound and timbre, representation of temporality and interactions of multiple parallel feature streams. We discuss these aspects in the light of recent theoretical, cognitive, neuroscientific and modelling research in the domains of music, language and animal song.     

Panic Disorder,Somatization, and the New Cross-cultural Psychiatry: The Seven Bodies of a Medical Anthropology of Panic

This article aims to adduce aframework that will allow for thecross-cultural study of panic disorder. Theauthors take sensation as the key unit ofanalysis, aiming to contribute to a medicalanthropology of sensation. The seven analyticperspectives that are suggested in the articleare the following: the full spectrum of panicattack sensations (the sensation body), thebiological generation of panic sensations (thebiological body), sensation as invoking anethnophysiology (the ethnophysiological body),sensation as metaphor (the metaphoric body),sensation as invoking the landscape (thelandscape body), sensation as invokingcatastrophic cognitions (the catastrophiccognitions body), and sensation as invokingmemory (the memory-associational body).     

Effects of blood flow to the prefrontal cortex on high-intensity exercise combined with high-decibel music

We studied the effects of high-intensity exercise (70-75% of VO₂ max) combined with high-decibel music (100 dB) on cognitive function (measured by the Stroop test) and related blood flow changes to the prefrontal cortex (measured by Oxy-hemoglobin (Hb), Deoxy-Hb, tissue oxygen index (TOI), and normalized tissue hemoglobin index (nTHI)). The subjects of the study were 28 healthy female university students in their early 20s. Subjects were categorized into control group (CG), music group (MG), exercise group (Ex), and music and exercise group (MnEx). A crossover design was implemented so that all subjects participated in all test groups. We found no significant difference in reaction time between CG and MG for the neutral and incongruent tasks of Stroop test. However, there were significant improvements in the neutral and incongruent tasks for both the Ex (p < 0.01) and MnEx (p < 0.01) groups. Oxy-Hb measurements in the prefrontal cortex of the brain supported the Stroop test data. We found no difference between Ex and MnEx in the TOI; however, there was a significant decrease (p < 0.05) in MnEx compared to Ex. In addition, Ex resulted in a significant increase (p < 0.05) in nTHI as compared to CG. These results indicate that high decibel music could negatively affect prefrontal cortex activation of the brain during exercise.     

Harmonic medicine: the influence of music over mind and medical practice

The Yale Medical Orchestra displayed exceptional talent and inspiration as it performed a timeless composition to celebrate Yale School of Medicine's bicentennial anniversary during a December 2010 concert. Under the leadership of musical directors Robert Smith and Adrian Slywotzky, the richly emotional meditations of Mendelssohn, Dvorak, Schubert, and Yale's own Thomas C. Duffy filled the minds and hearts of an audience as diverse as the orchestra. I intend to retrace the steps of that melodic journey in this essay, fully aware of the limits imposed on me to recreate the aural art form through the medium of text. While these symbols can be pale representations of the beauty and complexity of the music, I hope they will be the building blocks for the emotional experience of the audience. I describe the works' inception and their salient musical features and then review what we know about the effects of melody, meter, and timbre on our brains. My intentions are to provide evidence to encourage the further use of music as a tool in medical practice, provide interest in the works explored by the Yale orchestra, support the orchestra itself, and investigate a personal passion.