The evolution of human language, and the kind of thought the communication of which requires it, raises considerable explanatory challenges. These systems of representation constitute a radical discontinuity in the natural world. Even species closely related to our own appear incapable of either thought or talk with the recursive structure, generalized systematicity, and task-domain neutrality that characterize human talk and the thought it expresses. W. Tecumseh Fitch’s proposal (2004, in press) that human language is descended from a sexually selected, prosodic (...) proto-language that approximated its syntactic complexity, and later acquired semantics thanks to kin selection for its use as a means of pedagogical transmission, has the promise of meeting these explanatory challenges. However, Fitch’s theory raises two problems of its own: (1) according to Boyd and Richerson (1996, Proc. Br. Acad. 88: 77–93), circumstances in which pedagogy is adaptive are inevitably rare in nature, and (2) it is unlikely that our non-discursive precursors had generally systematic, task-domain neutral thoughts to communicate to their offspring. I propose solutions to these problems. Pedagogy would be favored in a population where complex rituals dominated diverse aspects of life. Prosodic proto-language could emerge as the medium of pedagogic transmission. As this medium was used to teach a greater variety of tasks, it would become increasingly general and domain neutral. The presence and importance of such a system of communication in hominid populations could then drive, via Baldwinian mechanisms, the evolution of a kind of ‘thinking for speaking’ (Slobin 1991, Pragmatics 1: 7–25) characterized by recursive structure, generalized systematicity, and task-domain neutrality. (shrink)

Art is a human communicative system that relies on referential cognition of thoughts, emotions, and experiences through symbolic meanings, which explains why only humans have art and why it is ubiquitously present throughout human societies. Archaeological evidence for early material art signals presence of symbolic and abstract cognition. In early human life in Africa the symbolism afforded by group dance formation would have been more advantageous for survival than individual artistic expression, but it would not leave archaeological physical traces. Slipping (...) into synchronized movements is a natural form of expressing interpersonal unity and symbolically signaling the members' affiliation to the group. In sharp contrast, production of material art encourages individual virtuosity in talent, something only a select few would possess, and in this regard it is not as inclusive as group dance. It is proposed here that the early Homo sapiens relied on symbolic expressions of intermember unity through group dance. (shrink)

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers, and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, (...) an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main “communicative portal” with respect to the transmission of intent, affect and empathy. (shrink)

The cognitive and evolutionary sciences of religion offer a standard model of religious representations, but no equivalent paradigm for investigating religiously interpreted altered states of consciousness (religious ASCs). Here, I describe a neo‐Durkheimian framework for studying religious ASCs that centralizes social predictive cognition. Within a processual model of ritual, ritual behaviors toggle between reinforcing normative social structures and downplaying them. Specifically, antistructural ritual shifts cognitive focus away from conventional affordances, collective intentionality, and social prediction, and toward physical affordances and behavioral (...) motivations that make few references to others’ intentional states. Using synchrony and dance as paradigmatic examples of antistructural ritual that stimulate religious ASCs, I assemble literature from anthropology, cognitive neuroscience, and philosophy of language to offer fruitful empirical predictions and opportunities for testing based on this framework. Among the empirical predictions is that antistructural ritual may provide for cultural change in religions when religions are construed as complex adaptive systems. (shrink)

This study investigated an evolutionary-adaptive explanation for the cultural ubiquity of choreographed synchronous dance: that it evolved to increase interpersonal aesthetic appreciation and/or attractiveness. In turn, it is assumed that this may have facilitated social bonding and therefore procreation between individuals within larger groups. In this dual-dancer study, individuals performed fast or slow hip-hop choreography to fast-, medium-, or slow-tempo music; when paired laterally, this gave rise to split-screen video stimuli in which there were four basic categories of dancer and (...) music synchrony: synchronous dancers, synchronous music; synchronous dancers, asynchronous music; asynchronous dancers, one dancer synchronous with music; and asynchronous dancers, asynchronous music. Participants’ pupil dilations and aesthetic appreciation of the dancing were recorded for each video, with the expectation that these measures would covary with levels of synchronization. While results were largely consistent with the hypothesis, the findings also indicated that interpersonal aesthetic appreciation was driven by a hierarchy of synchrony between the dancers: stimuli in which only one dancer was synchronous with the music were rated lower than stimuli in which the dancers were asynchronous with each other and with the music; i.e., stimuli in which the dancers were unequal were judged less favorably than those in which the dancers were equal, albeit asynchronously. Stimuli in which all elements were synchronous, dancers and music, were rated highest and, in general, elicited greater pupil dilations. (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)

To corroborate the music and social bonding hypothesis, we propose that future investigations isolate specific components of social bonding and consider the influence of context. We deconstruct and operationalize social bonding through the lens of social psychology and provide examples of specific measures that can be used to assess how the link between music and sociality varies by context.

This paper argues that for both creators of a choreomusical work, a collaborative creative process must be worthwhile, enjoyable, or contribute something unique to motivate artists to collaborate at a time where, to some degree, technology negates the necessity to do so. Therefore, the scholar interested in choreomusical relationships should also be interested in collaborative, creative methods. The research considers cross-disciplinary and inter-disciplinary working processes in music and dance in the twentieth and twenty-first centuries to enquire into the ways that (...) choreomusical relationships have developed for composers and choreographers working collaboratively. It asks whether there are factors which should be considered in a collaborative working method between composer and choreographer to achieve a co-creative endeavor which is satisfactory for both parties. Satisfactory, co-creative results are defined by the satisfaction of both collaborators throughout the creative process, regardless of the end result. These questions were addressed both through historical analysis of collaborations within contemporary dance, and exploration of how choreomusical collaboration can be successful or unsuccessful in terms of co-creation and the satisfaction of each party within current artistic practice. Informed practical research and the use of journals coincide with a grounded theory approach: through analysis of both sets of data, factors which help and hinder choreomusical collaboration in terms of co‑creative approaches were identified. The results of this analysis are presented in a spectrum model of possible working relationships between composer and choreographer; this paper applies this to case studies identified within the research in terms of cognitive innovation. (shrink)

We employ the Social Signaling Model and life history of a Western Dani big-man, Tibenuk, to analyze a neglected curiosity in the career of the big-man type. The big-man is renowned as an economic entrepreneur, the master of material displays. In New Guinea, however, big-men had invariably first gained fame and some influence as eminent warriors. The SSM accounts for this two-part career path by proposing that small-scale social organization rests on honest, competitive signaling of individual and collective fighting strength, (...) with leaders being those who excel in these contests. The performances for which big-men are already known, conspicuous ceremonial displays, broadcast this strength indirectly. Explicitly conceptualized as symbolic fighting, they constituted indexical proxies for their sponsors’ individual and collective willingness and ability to fight. Success on the battlefield, though, signaled fighting strength more directly. Men therefore had to demonstrate strength on both the battlefield and the ceremonial ground if they were to become big-men. This was Tibenuk’s achievement. When he was young and at his physical peak, he demonstrated outstanding capability in war. War is a young man’s game, however, and as his physical capacities waned, he shifted to politics, an older man’s game, honing his political talents and developing extensive political networks that allowed him to sponsor massive pig feasts, the principal form of conspicuous ceremonial display. Tibenuk’s career also reveals synergies between warrior and political talents that hitherto have been overlooked in big-man analysis. (shrink)

The communicative phenomena of tonal music and speech observed in all human societies differ qualitatively from other human sound expressions. This difference consists mainly of the fact that both tonal music and speech are generative, i.e., they are composed of a limited number of discrete, perceptual units organized according to some tacit rules. In the case of tonal music, these units are experienced as pitch classes ordered in time. Listening to tonally organized pitch classes leads to the experience of specific (...) and relative emotions. These emotional qualities are called tonal qualia (often described as different tinges of tension and relaxation, or instability and stability), which are elicited thanks to our predictions concerning musical pitch structure. However, the emotional component of the recognition of musical structure seems to be incomparable with the experience of speech structure or other generative phenomena. Therefore, I propose that emotional reactions to mentally discrete pitches became an important part of the cognitive mechanism designated for music perception. I suggest that the general mechanism of prediction which acts permanently during the perception of the external world was specifically incorporated into the processing of musical pitch structure. As a result, a new, cortico-subcortical loop evolved that enables the recognition of musical pitch structure. The connection and exploitation of separate, evolutionarily old mechanisms for a new adaptive function is accordant with the evolutionary operational rule called “tinkering.” I will also discuss possible adaptive functions of pitch structure and the evolution of the ability to recognize tonal qualia by means of the Baldwin effect. (shrink)

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, an (...) important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

We discuss approaches to the study of the evolution of music (sect. R1); challenges to each of the two theories of the origins of music presented in the companion target articles (sect. R2); future directions for testing them (sect. R3); and priorities for better understanding the nature of music (sect. R4).

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)

Today, music is ubiquitous, highly valued in all known cultures, playing many roles in human daily life. The ethnographic study of the music of extant human foragers makes this quite apparent. Moreover, music is ancient. Sophisticated bird-bone and ivory flutes dated from 40 kya reveal an even earlier musical-technological tradition. So is music likely to be an entrenched feature of human social life during the long passage to behavioral modernity—say, by 150 kya—or earlier? In this article I sketch an evolutionary (...) model that focuses on hominin vocal musicality and communication in the Pleistocene, tracking between series of phenotypes and changes in ecological, social, cognitive, and informational contexts. The model links musicality and protomusic to a bigger picture of hominin socio-cognitive evolution, making some connections clearer, motivating further theorizing and the search for new evidence. (shrink)

This essay reviews Iain Morley’s The Prehistory of Music, an up-to-date and authoritative overview of recent research on evolution and cognition of musicality from an interdisciplinary viewpoint. Given the diversity of the project explored, integration of evidence from multiple fields is particularly pressing, required for any novel evolutionary account to be persuasive, and for the project’s continued progress. Moreover, Morley convincingly demonstrates that there is much more to understanding musicality than is supposed by some theorists. I outline Morley’s review of (...) the archaeological and ethnographic literature, and then go on to critique his assessment of philosophical and evolutionary theories, offering some alternative perspectives that might better benefit his project. (shrink)

Cultural evolution depends on both innovation (the creation of new cultural variants by accident or design) and high-fidelity transmission (which preserves our accumulated knowledge and allows the storage of normative conventions). What is required is an overarching theory encompassing both dimensions, specifying the psychological motivations and mechanisms involved. The bifocal stance theory (BST) of cultural evolution proposes that the co-existence of innovative change and stable tradition results from our ability to adopt different motivational stances flexibly during social learning and transmission. (...) We argue that the ways in which instrumental and ritual stances are adopted in cultural transmission influence the nature and degree of copying fidelity and thus also patterns of cultural spread and stability at a population level over time. BST creates a unifying framework for interpreting the findings of otherwise seemingly disparate areas of enquiry, including social learning, cumulative culture, overimitation, and ritual performance. We discuss the implications of BST for competing by-product accounts which assume that faithful copying is merely a side-effect of instrumental learning and action parsing. We also set out a novel “cultural action framework” bringing to light aspects of social learning that have been relatively neglected by behavioural ecologists and evolutionary psychologists and establishing a roadmap for future research on this topic. The BST framework sheds new light on the cognitive underpinnings of cumulative cultural change, selection, and spread within an encompassing evolutionary framework. (shrink)

After they diverged from panins, hominins evolved an increasingly committed terrestrial lifestyle in open habitats that exposed them to increased predation pressure from Africa’s formidable predator guild. In the Pleistocene, _Homo_ transitioned to a more carnivorous lifestyle that would have further increased predation pressure. An effective defense against predators would have required a high degree of cooperation by the smaller and slower hominins. It is in the interest of predator and potential prey to avoid encounters that will be costly for (...) both. A wide variety of species, including carnivores and apes and other primates, have therefore evolved visual and auditory signals that deter predators by credibly signaling detection and/or the ability to effectively defend themselves. In some cooperative species, these predator deterrent signals involve highly synchronized visual and auditory displays among group members. Hagen and Bryant (_Human Nature_, _14_(1), 21–51, 2003) proposed that synchronized visual and auditory displays credibly signal coalition quality. Here, this hypothesis is extended to include credible signals to predators that they have been detected and would be met with a highly coordinated defensive response, thereby deterring an attack. Within-group signaling functions are also proposed. The evolved cognitive abilities underlying these behaviors were foundations for the evolution of fully human music and dance. (shrink)

Assuming live music can foster belonging in the workplace, this study linked companies in the secondary and tertiary sectors with the world of music performance. Specifically, students from a Swiss music university offered live mini-concerts on the premises of three companies over a period of 3 months. To analyze the impact of these brief musical interventions on the sense of belonging of staff in these companies, a mixed methods approach was adopted using a standardized questionnaire. The short concerts were much (...) appreciated. On the individual level, they led to a greater sense of pleasure and were perceived as a break, a possibility to connect to one’s emotions and above all, as a “moment for oneself.” On the group level, the short concerts allowed the members of teams to meet, prompted conversations and new ways of sharing, created links, and offered opportunities to get to know work colleagues differently and to discover them on a more personal level. (shrink)

Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance “go together” or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance “go together.” Our paper presents relevant research in perception, (...) examines factors contributing to the separation of perceptual modalities that has often appeared in twentieth-century dance, and discusses the separation in terms of the specific behaviors of dancing and looking at dance. (shrink)

Collective rituals have long puzzled anthropologists, yet little is known about how rituals affect participants. Our study investigated the effects of nine naturally occurring rituals on prosociality. We operationalized prosociality as (1) attitudes about fellow ritual participants and (2) decisions in a public goods game. The nine rituals varied in levels of synchrony and levels of sacred attribution. We found that rituals with synchronous body movements were more likely to enhance prosocial attitudes. We also found that rituals judged to be (...) sacred were associated with the largest contributions in the public goods game. Path analysis favored a model in which sacred values mediate the effects of synchronous movements on prosocial behaviors. Our analysis offers the first quantitative evidence for the long-standing anthropological conjecture that rituals orchestrate body motions and sacred values to support prosociality. Our analysis, moreover, adds precision to this old conjecture with evidence of a specific mechanism: ritual synchrony increases perceptions of oneness with others, which increases sacred values to intensify prosocial behaviors. (shrink)

Fyodor Dostoevsky is renowned as one of the greatest psychologists in world literature, but what we know about the origins and the workings of the human mind has changed drasti­cally since the late nineteenth century. If Dostoevsky was such a sensitive reader of the human condition, do his insights hold up to modern research? To judge just by the issue of the psychology of confession, the answer appears to be: yes. The work of Michael Tomasel­lo indicates that the human conscience (...) evolved in order to make people obey group norms. From this I draw the proposition that confession should be best directed to the group as a whole, and not to an individual. Judging by Raskolnikov in Crime and Punishment and an assortment of characters in The Brothers Karamazov, this appears to be exactly how confes­sion works in Dostoevsky’s novels: sin is against all, so forgiveness must be from all. (shrink)

A crucial factor in how we perceive social groups involves the signals and cues emitted by them. Groups signal various properties of their constitution through coordinated behaviors across sensory modalities, influencing receivers' judgments of the group and subsequent interactions. We argue that group communication is a necessary component of a comprehensive computational theory of social groups.

In this paper, we argue that mating games, a concept that denotes cultural practices characterized by a competitive element and an ornamental character, are essential drivers behind the emergence and maintenance of human cultural practices. In order to substantiate this claim, we sketch out the essential role of the game’s players and audience, as well as the ways in which games can mature and turn into relatively stable cultural practices. After outlining the life phase of mating games – their emergence, (...) rise, maturation, and possible eventual decline – we go on to argue that participation in these games (in each phase) does make sense from an adaptationist point of view. The strong version of our theory which proposes that all cultural practices are, or once were, mating games, allows us to derive a set of testable predictions for the fields of archaeology, economics, and psychology. (shrink)

A recently emerging view in music cognition holds that music is not only social and participatory in its production, but also in its perception, i.e. that music is in fact perceived as the sonic trace of social rela- tions between a group of real or virtual agents. While this view appears compatible with a number of intriguing music cognitive phenomena, such as the links between beat entrainment and prosocial behaviour or between strong musical emotions and empathy, direct evidence is lacking (...) that listeners are at all able to use the acoustic features of a musical interaction to infer the affiliatory or controlling nature of an underlying social intention. We created a novel experimental situation in which we asked expert music improvisers to communicate 5 types of non-musical social intentions, such as being domineering, dis- dainful or conciliatory, to one another solely using musical interaction. Using a combination of decoding studies, computational and psychoacoustical analyses, we show that both musically-trained and non musically-trained listeners can recognize relational intentions encoded in music, and that this social cognitive ability relies, to a sizeable extent, on the information processing of acoustic cues of temporal and harmonic coordination that are not present in any one of the musicians’ channels, but emerge from the dynamics of their interaction. By manipulating these cues in two-channel audio recordings and testing their impact on the social judgements of non-musician observers, we finally establish a causal relationship between the affiliation dimension of social behaviour and musical harmonic coordination on the one hand, and between the control dimension and musical temporal coordination on the other hand. These results provide novel mechanistic insights not only into the social cognition of musical interactions, but also into that of non-verbal interactions as a whole. (shrink)

Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still available to us as (...) contemporary music creators and consumers. (shrink)