This paper presents a new line of inquiry into when and how music as a semiotic system was born. Ten principal expressive aspects of music retain specific structural patterns to signify a certain affective state, which distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages. Therefore, the question of music’s origin can be answered by establishing the point in human history, at which expressive aspects might have been abstracted from the instinct-driven primate calls and (...) used to express human psycho-emotional states. Etic analysis of acoustic parameters is the prime means of cross-comparison of the typical patterns of expression of the same basic emotions in human music versus animal vocal communication. A new method of such analysis is proposed here. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information as a result of frequent switching from one call-type to another within the limited repertory of calls adopted for ongoing caretaking of human youngsters and domestic animals. The efficacy of rhythm and pitch contour in affective communication must have been discovered spontaneously in new important cultural activities. The most likely scenario for music to have become fully semiotically functional is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music. This article discusses the most likely ways in which such music evolved. (shrink)

ZusammenfassungIn diesem Beitrag diskutiere ich Whitehouses Theorie der Modi der Religiosität, die den imagistischen Modus, basierend auf dem episodischen Gedächtnis, dem doktrinalen Modus, basierend auf dem semantischen Gedächtnis, gegenüber stellt. Anhand von drei Beispielen aus der religiösen Praxis und der Geschichte einer südafrikanischen Kirche – dem sakralen Tanz, dem öffentlichen Zeugnis von persönlichen Heilungserlebnissen sowie der Spaltung der Kirche – zeige ich die Begrenztheit von Whitehouses kognitivem Erklärungsmodell. Dennoch ist Whitehouses Theorie für die säkulare Religionswissenschaft von Nutzen, da er ihren (...) von postkolonialer Kritik in Frage gestellten vergleichenden Ansatz naturalistisch untermauert. Wünschenswert ist dabei die verstärkte Aufmerksamkeit für die vielfältigen Wechselwirkungen zwischen kognitiven, sozialen und kulturellen Faktoren, auch unter Preisgabe der einfachen Klarheit von Whitehouses bipolarem Erklärungsmodell. (shrink)

Substantial advances in our understanding of the neural bases of emotional processing have been made over the past decades. Overall, studies in humans and other animals highlight the key role of the amygdala in the detection and evaluation of stimuli with affective value. Nonetheless, contradictory findings have been reported, especially in terms of the exact role of this structure in the processing of different emotions, giving rise to different neural models of emotion. For instance, although the amygdala has traditionally been (...) considered as exclusively involved in fear (and possibly anger), more recent work suggests that it may be important for processing other types of emotions, and even nonemotional information. A review of the main findings in this field is presented here, together with some of the hypotheses that have been put forward to interpret this literature and explain its inconsistencies. (shrink)

This paper discusses contemporary empirical approaches to the topic of music and emotions that are conducted at the intersection of psychology, neuroscience and musicology. I show that within this interdisciplinary programme a number of general issues were posed that are not that distant from the questions asked by the classical authors such as Stravinsky and Hanslick. The main purpose of the paper is to show that there are three areas of cognitive and behavioural activity of the listener and the respective (...) types of musical emotions: embodied emotions, cognitive emotions, as well as associative and contextual emotions. (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)