Results for 'Evolution of music'

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  1.  6
    The Evolution of Music: One Trait, Many Ultimate-Level Explanations.Edgar Dubourg, Jean-Baptiste André & Nicolas Baumard - 2021 - Behavioral and Brain Sciences 44.
    We propose an approach reconciling the ultimate-level explanations proposed by Savage et al. and Mehr et al. as to why music evolved. We also question the current adaptationist view of culture, which too often fails to disentangle distinct fitness benefits.
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  2.  50
    The Biology and Evolution of Music: A Comparative Perspective.W. Tecumseh Fitch - 2006 - Cognition 100 (1):173-215.
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  3. Cognition and the Evolution of Music: Pitfalls and Prospects.Henkjan Honing & Annemie Ploeger - 2012 - Topics in Cognitive Science 4 (4):513-524.
    What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, (...)
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  4. The Evolution of Music as Artistic Cultural Innovation Expressing Intuitive Thought Symbolically.Valerie van Mulukom - 2021 - Behavioral and Brain Sciences 44.
    Music is an artistic cultural innovation, and therefore it may be considered as intuitive thought expressed in symbols, which can efficiently convey multiple meanings in learning, thinking, and transmission, selected for and passed on through cultural evolution. The symbolic system has personal adaptive benefits besides social ones, which should not be overlooked even if music may tend more to the latter.
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  5.  9
    Relating the Evolution of Music-Readiness and Language-Readiness Within the Context of Comparative Neuroprimatology.Uwe Seifert - 2018 - Interaction Studies. Social Behaviour and Communication in Biological and Artificial Systemsinteraction Studies / Social Behaviour and Communication in Biological and Artificial Systemsinteraction Studies 19 (1-2):86-101.
    Language- and music-readiness are demonstrated as related within comparative neuroprimatology by elaborating three hypotheses concerning music-readiness : The rhythm-first hypothesis, the combinatoriality hypothesis, and the socio-affect-cohesion hypothesis. MR-1 states that rhythm precedes evolutionarily melody and tonality. MR-2 states that complex imitation and fractionation within the expanding spiral of the mirror system/complex imitation hypothesis lead to the combinatorial capacities of rhythm necessary for building up a musical lexicon and complex structures; and rhythm, in connection with repetition and variation, scaffolds (...)
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  6.  6
    Editorial: The Evolution of Music.Aleksey Nikolsky & Leonid Perlovsky - 2020 - Frontiers in Psychology 11.
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  7.  26
    On the Evolution of Musical Perception.Zofia Lissa, Eugenia Tanska & Eugenia Tarska - 1965 - Journal of Aesthetics and Art Criticism 24 (2):273-286.
  8.  36
    Musicality and the Evolution of Mind, Mimesis, and Entrainment: Gary Tomlinson: A Million Years of Music: The Emergence of Human Modernity. Zone, New York, 2015.Anton Killin - 2016 - Biology and Philosophy 31 (3):421-434.
    In A Million Years of Music, Gary Tomlinson develops an extensive evolutionary narrative that emphasises several important components of human musicality and proposes a theory of the coalescence of these components. In this essay I tie some of Tomlinson’s ideas to five constraints on theories of music’s evolution. This provides the framework for organising my reconstruction of his model. Thereafter I focus on Tomlinson’s description of ‘entraining’ Acheulean toolmakers and offer several criticisms. I close with some tentative (...)
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  9.  34
    Evolution of Tonal Organization in Music Mirrors Symbolic Representation of Perceptual Reality. Part-1: Prehistoric.Aleksey Nikolsky - 2015 - Frontiers in Psychology 6.
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  10. The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music.Aleksey Nikolsky, Eduard Alekseyev, Ivan Alekseev & Varvara Dyakonova - 2020 - Frontiers in Psychology 10.
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  11.  9
    White Matter Correlates of Musical Anhedonia: Implications for Evolution of Music.Loui Psyche, Patterson Sean, E. Sachs Matthew, Leung Yvonne, Zeng Tima & Przysinda Emily - 2017 - Frontiers in Psychology 8.
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  12.  3
    Evolution of Tonal Organization in Music Optimizes Neural Mechanisms in Symbolic Encoding of Perceptual Reality. Part-2: Ancient to Seventeenth Century.Aleksey Nikolsky - 2016 - Frontiers in Psychology 7.
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  13. Music and the Evolution of Embodied Cognition.Stephen Asma - forthcoming - In M. Clasen J. Carroll (ed.), Evolutionary Perspectives on Imaginative Culture. pp. pp 163-181.
    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 (...)
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  14. Simultaneous Cooperation and Competition in the Evolution of Musical Behavior: Sex-Related Modulations of the Singer's Formant in Human Chorusing.Peter E. Keller, Rasmus König & Giacomo Novembre - 2017 - Frontiers in Psychology 8.
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  15. Toward Inclusive Theories of the Evolution of Musicality.Patrick E. Savage, Psyche Loui, Bronwyn Tarr, Adena Schachner, Luke Glowacki, Steven Mithen & W. Tecumseh Fitch - 2021 - Behavioral and Brain Sciences 44.
    We compare and contrast the 60 commentaries by 109 authors on the pair of target articles by Mehr et al. and ourselves. The commentators largely reject Mehr et al.'s fundamental definition of music and their attempts to refute our social bonding hypothesis, byproduct hypotheses, and sexual selection hypotheses for the evolution of musicality. Instead, the commentators generally support our more inclusive proposal that social bonding and credible signaling mechanisms complement one another in explaining cooperation within and competition between (...)
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  16. Ecological and Psychological Factors in the Cultural Evolution of Music.Thom Scott-Phillips, Atsuko Tominaga & Helena Miton - 2021 - Behavioral and Brain Sciences 44.
    The two target articles agree that processes of cultural evolution generate richness and diversity in music, but neither address this question in a focused way. We sketch one way to proceed – and hence suggest how the target articles differ not only in empirical claims, but also in their tacit, prior assumptions about the relationship between cognition and culture.
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  17.  1
    Human Evolution of Gestural Messaging and its Critical Role in the Human Development of Music.Martin F. Gardiner - 2021 - Behavioral and Brain Sciences 44.
    By fostering bonding, music illustrates marvelously its ability to induce emotional experience. But, music can induce emotion more generally as well. To help explain how music fosters bonding and induces other emotions, I propose that music derives this power from the evolution of what I term “gestural messaging.”.
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  18.  46
    The Concept of Music Evolution in Herbert Spencer’s and Charles Darwin’s Theories.Ana Petrov - 2012 - Filozofija I Društvo 23 (3):253-273.
    This paper deals with the discourses on music in Herbert Spencer?s and Charles Darwin?s theories of evolution. Even though both Spencer and Darwin construed music as a carrier of the expression of affects and a part of a ubiquitous evolutional process towards ever increasing progress of culture, these authors? discourses differed from each other in the understanding of the origin and function of music. Darwin considered music as being one of the means of making a (...)
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  19.  1
    What Vowels Can Tell Us About the Evolution of Music.Fenk-Oczlon Gertraud - 2017 - Frontiers in Psychology 8.
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  20. The Nature of Music and its Evolution.Ian Cross - 2008 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
     
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  21. Against Unitary Theories of Music Evolution.Peter M. C. Harrison & Madeleine Seale - 2021 - Behavioral and Brain Sciences 44.
    Savage et al. and Mehr et al. provide well-substantiated arguments that the evolution of musicality was shaped by adaptive functions of social bonding and credible signalling. However, they are too quick to dismiss byproduct explanations of music evolution, and to present their theories as complete unitary accounts of the phenomenon.
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  22.  26
    Musicality in Human Evolution, Archaeology and Ethnography: Iain Morley: The Prehistory of Music: Human Evolution, Archaeology, and the Origins of Musicality. Oxford University Press, Oxford, 2013.Anton Killin - 2014 - Biology and Philosophy 29 (4):597-609.
    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 (...)
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  23.  11
    Origins of Music in Credible Signaling.Samuel A. Mehr, Max M. Krasnow, Gregory A. Bryant & Edward H. Hagen - 2021 - Behavioral and Brain Sciences 44:1-41.
    Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psychological adaptations that are specific to music and the effects of adaptations for non-musical functions. 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 (...) evolved as a credible signal in at least two contexts: coalitional interactions and infant care. Specifically, we propose that the production and reception of coordinated, entrained rhythmic displays is a co-evolved system for credibly signaling coalition strength, size, and coordination ability; and 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)
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  24.  19
    The Future of Music: An Investigation Into the Evolution of Forms.Ralph Alan Dale - 1968 - Journal of Aesthetics and Art Criticism 26 (4):477-488.
  25. The Evolution of Culture.Daniel C. Dennett - 2001 - The Monist 84 (3):1-26.
    Cultures evolve. In one sense, this is a truism; in other senses, it asserts one or another controversial, speculative, unconfirmed theory of culture. Consider a cultural inventory of some culture at some time—say A.D. 1900. It should include all the languages, practices, ceremonies, edifices, methods, tools, myths, music, art, and so forth, that compose that culture. Over time, that inventory changes. Today, a hundred years later, some items will have disappeared, some multiplied, some merged, some changed, and many new (...)
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  26.  2
    Where They Sing Solo: Accounting for Cross-Cultural Variation in Collective Music-Making in Theories of Music Evolution.Aniruddh D. Patel & Chris von Rueden - 2021 - Behavioral and Brain Sciences 44.
    Collective, synchronous music-making is far from ubiquitous across traditional, small-scale societies. We describe societies that lack collective music and offer hypotheses to help explain this cultural variation. Without identifying the factors that explain variation in collective music-making across these societies, theories of music evolution based on social bonding or coalition signaling remain incomplete.
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  27.  9
    The Evolution of Culture.Daniel C. Dennett - 2001 - The Monist 84 (3):305-324.
    Cultures evolve. In one sense, this is a truism; in other senses, it asserts one or another controversial, speculative, unconfirmed theory of culture. Consider a cultural inventory of some culture at some time—say A.D. 1900. It should include all the languages, practices, ceremonies, edifices, methods, tools, myths, music, art, and so forth, that compose that culture. Over time, that inventory changes. Today, a hundred years later, some items will have disappeared, some multiplied, some merged, some changed, and many new (...)
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  28.  56
    Musical Pluralism and the Science of Music.Adrian Currie & Anton Killin - 2016 - European Journal for Philosophy of Science 6 (1):9-30.
    The scientific investigation of music requires contributions from a diverse array of disciplines. Given the diverse methodologies, interests and research targets of the disciplines involved, we argue that there is a plurality of legitimate research questions about music, necessitating a focus on integration. In light of this we recommend a pluralistic conception of music—that there is no unitary definition divorced from some discipline, research question or context. This has important implications for how the scientific study of (...) ought to proceed: we show that some definitions are complementary, that is, they reflect different research interests and ought to be retained and, where possible, integrated, while others are antagonistic, they represent real empirical disagreement about music’s nature and how to account for it. We illustrate this in discussion of two related issues: questions about the evolutionary function of music, and questions of the innateness of music. These debates have been, in light of pluralism, misconceived. We suggest that, in both cases, scientists ought to proceed by constructing integrated models which take into account the dynamic interaction between different aspects of music. (shrink)
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  29.  14
    “The Two Brothers”: Reconciling Perceptual-Cognitive and Statistical Models of Musical Evolution.Steven Jan - 2018 - Frontiers in Psychology 9.
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  30.  3
    Elizabeth Archibald, Megan G. Leitch, and Corinne Saunders, Eds., Romance Rewritten: The Evolution of Middle English Romance. A Tribute to Helen Cooper. (Studies in Medieval Romance 22.) Woodbridge, UK: D. S. Brewer, 2018. Pp. Xii, 295. $99. ISBN: 978-1-8438-4509-6.Table of Contents Available Online at Https://Boydellandbrewer.Com/Romance-Rewritten-Hb.Html Ad Putter and Judith A. Jefferson, Eds., The Transmission of Medieval Romance: Metres, Manuscripts and Early Prints. (Studies in Medieval Romance 21.) Woodbridge, UK: D. S. Brewer, 2018. Pp. Xiv, 241; 7 Color and 21 Black-and-White Figures, 9 Tables, and 2 Musical Examples. $99. ISBN: 978-1-8438-4510-2.Table of Contents Available Online at Https://Boydellandbrewer.Com/the-Transmission-of-Medieval-Romance-Hb.Html. [REVIEW]Emily Dolmans - 2020 - Speculum 95 (2):501-503.
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  31.  5
    Gradually Adaptive Frameworks: Reasonable Disagreement and the Evolution of Evaluative Systems in Music Education. Haskins - 2013 - Philosophy of Music Education Review 21 (2):197.
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  32.  1
    The Evolution of Coordinated Vocalizations Before Language.Gregory A. Bryant - 2014 - Behavioral and Brain Sciences 37 (6):549-550.
    Ackermann et al. briefly point out the potential significance of coordinated vocal behavior in the dual pathway model of acoustic communication. Rhythmically entrained and articulated pre-linguistic vocal activity in early hominins might have set the evolutionary stage for later refinements that manifest in modern humans as language-based conversational turn-taking, joint music-making, and other behaviors associated with prosociality.
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  33.  23
    Secret Languages: The Roots of Musical Modernism.Robert P. Morgan - 1984 - Critical Inquiry 10 (3):442-461.
    It is frequently noted that a “crisis in language” accompanied the profound changes in human consciousness everywhere evident near the turn of the century. As the nature of reality itself became problematic—or at least suspect, distrusted for its imposition of limits upon individual imagination—so, necessarily, did the relationship of language to reality. Thus in the later nineteenth century, the adequacy of an essentially standardized form of “classical” writing was increasingly questioned as an effective vehicle for artistic expression: even though often (...)
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  34.  7
    Fundamental Issues in the Evolutionary Psychology of Music: Assessing Innateness and Domain-Specificity.Timothy Justus & Jeffrey Hutsler - 2005 - Music Perception 23 (1):1–27.
    Evolutionary psychology often does not sufficiently document the innate constraint and domain specificity required for strong adaptationist argument. We develop these criteria within the domain of music. First, we advocate combining computational, developmental, cross-cultural, and neuroscience research to address the ways in which a domain is innately constrained. Candidate constraints in music include the importance of the octave and other simple pitch ratios, the categorization of the octave into tones, the importance of melodic contour, tonal hierarchies, and principles (...)
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  35.  11
    In Search of a Unified Theory of Sensory Perception: Possible Links between the Vibrational Mechanism of Olfaction and the Evolution of Language.Amelia Lewis - 2020 - Biosemiotics 13 (2):261-270.
    Here, I outline the idea of a unified hypothesis of sensory perception, developed from the theoretical vibrational mechanism of olfaction, which can be applied across all sensory modalities. I propose that all sensory perception is based upon the detection of mechanical forces at a cellular level, and the subsequent mechanotransduction of the signal via the nervous system. Thus, I argue that the sensory modalities found in the animal kingdom may all be viewed as being mechanoreceptory, rather than being discrete neurophysiological (...)
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  36. Music: The Key of Human Evolution.Corinne Heline - 1965 - Santa Barbara, Calif., J. F. Rowny Press.
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  37.  1
    Toward a Productive Evolutionary Understanding of Music.Samuel A. Mehr, Max M. Krasnow, Gregory A. Bryant & Edward H. Hagen - 2021 - Behavioral and Brain Sciences 44.
    We discuss approaches to the study of the evolution of music ; challenges to each of the two theories of the origins of music presented in the companion target articles ; future directions for testing them ; and priorities for better understanding the nature of music.
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  38.  30
    Rethinking Music's Status as Adaptation Versus Technology: A Niche Construction Perspective.Anton Killin - 2016 - Ethnomusicology Forum 25 (2):210-233.
    In this article I critique F. R. S. Lawson's evolutionary theorising about music that appeared in a recent issue of Ethnomusicology Forum. Moreover, I argue that asking whether music is an adaptation or technology, as Lawson does, artificially splits the interwoven, dynamic co-evolutionary forces at work. In my view, in cases of complex, dynamic co-evolution, the distinction between the ‘biological’ and the ‘cultural’ is undermined. I suggest that human musicality is one such example, calling into question the (...)
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  39.  2
    Quantitative Analysis of Comprehensive Influence of Music Network Based on Logistic Regression and Bidirectional Clustering.Yi-Kun Zhao, Guo-Qing Wang, Xiao-Xiao Zhan & Peng-Hui Yang - 2021 - Complexity 2021:1-15.
    This paper makes a quantitative analysis of the comprehensive influence of music networks. Firstly, 11 music features are selected from energy, popularity, and other aspects to build a comprehensive evaluation index of music influence, and the PageRank algorithm is used to quantify the music influence. Secondly, the multiobjective logistic regression is used to construct the music similarity measurement model and, combined with music influence and music similarity, to judge whether the influence of different (...)
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  40.  16
    Innovation, Choice, and the History of Music.Leonard B. Meyer - 1983 - Critical Inquiry 9 (3):517-544.
    Before going further, it will be helpful to consider briefly the notion that novelty per se is a fundamental human need. Experiments with human beings, as well as with animals, indicate that the maintenance of normal, successful behavior depends upon an adequate level of incoming stimulation—or, as some have put it, of novelty.2 But lumping all novelty together is misleading. At least three kinds of novelty need to be distinguished. Some novel patterns arise out of, or represent, changes in the (...)
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  41. Music and Cognitive Evolution.Ian Cross - 2009 - In Robin Dunbar & Louise Barrett (eds.), Oxford Handbook of Evolutionary Psychology. Oxford University Press.
     
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  42.  6
    Absolute Music: The History of an Idea.Mark Evan Bonds - 2014 - Oup Usa.
    In Absolute Music: The History of an Idea, author Mark Evan Bonds examines how writers have struggled to isolate the essence of music in ways that account for its profound effects on the human spirit. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to twentieth-century America, Bonds provides the first comprehensive history of this pivotal concept, and provokes new thoughts on the essence of music and how this essence (...)
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  43. Music and the Forms of Life.Lawrence Kramer - 2022 - University of California Press.
    Inventors in the age of the Enlightenment created lifelike androids capable of playing music on real instruments. _Music and the Forms of Life_ examines the link between such simulated life and music, which began in the era's scientific literature and extended into a series of famous musical works by Haydn, Mozart, and Beethoven. Music invented auditory metaphors for the scientific elements of life, investigated the affinities and antagonisms between life and mechanism, and explored questions of whether and (...)
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  44.  4
    Lecture Three: From Empathy to Embodied Faith: Interdisciplinary Perspectives on the Evolution of Religion.J. Wentzel Van Huyssteen - 2017 - Hts Theological Studies 73 (3).
    In a series of three articles, presented at the Goshen Annual Conference on Science and Religion in 2015, with the theme ‘Interdisciplinary Theology and the Archeology of Personhood’, J. Wentzel van Huyssteen considers the problem of human evolution – also referred to as ‘the archaeology of personhood’ – and its broader impact on theological anthropology. This trajectory of lectures tracks a select number of challenging contemporary proposals for the evolution of crucially important aspects of human personhood. These are (...)
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  45.  34
    Music and Biocultural Evolution.I. Cross - 2003 - In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge. pp. 19.
  46.  33
    Space Through the Ages: The Evolution of Geometrical Ideas From Pythagoras to Hilbert and Einstein.James R. McConnell - 1971 - Philosophical Studies (Dublin) 20:272-274.
    Cornelius Lanczos is professor emeritus at the Dublin Institute for Advanced Studies. Hungarian-born he made significant contributions to the development of relativity and quantum theory in the earlier decades of this century, and during the past twenty years he has established himself as an authority on numerical analysis. In addition he has a deep appreciation of literature from the Old Testament onwards, of music and of the arts. His writings in recent years have consisted largely in philosophical speculations on (...)
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  47.  14
    Spontaneous Emergence of Language-Like and Music-Like Vocalizations From an Artificial Protolanguage.Weiyi Ma, Anna Fiveash & William Forde Thompson - 2019 - Semiotica 2019 (229):1-23.
    How did human vocalizations come to acquire meaning in the evolution of our species? Charles Darwin proposed that language and music originated from a common emotional signal system based on the imitation and modification of sounds in nature. This protolanguage is thought to have diverged into two separate systems, with speech prioritizing referential functionality and music prioritizing emotional functionality. However, there has never been an attempt to empirically evaluate the hypothesis that a single communication system can split (...)
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  48. Music of the Spheres and the Dance of Death: Studies in Musical Iconology.Kathi Meyer-Baer - 1970 - Princeton: Da Capo Press.
    The roots and evolution of two concepts usually thought to be Western in origin-musica mundana (the music of the spheres) and musica humana (music's relation to the human soul)-are explored. Beginning with a study of the early creeds of the Near East, Professor Meyer-Baer then traces their development in the works of Plato and the Gnostics, and in the art and literature of the Middle Ages and the Renaissance. Previous studies of symbolism in music have tended (...)
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  49.  1
    Music, Bonding, and Human Evolution: A Critique.Bjorn Merker - 2021 - Behavioral and Brain Sciences 44.
    Savage et al. propose that music filled a hypothetical “bonding gap” in human sociality by Baldwinian gene-culture coevolution. Both these stepping stones to an evolutionary account of the function and origin of music are problematic. They are scrutinized in this commentary, and an alternative is proposed.
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  50.  1
    Oxytocin as an Allostatic Agent in the Social Bonding Effects of Music.Niels Chr Hansen & Peter E. Keller - 2021 - Behavioral and Brain Sciences 44.
    Despite acknowledging that musicality evolved to serve multiple adaptive functions in human evolution, Savage et al. promote social bonding to an overarching super-function. Yet, no unifying neurobiological framework is offered. We propose that oxytocin constitutes a socio-allostatic agent whose modulation of sensing, learning, prediction, and behavioral responses with reference to the physical and social environment facilitates music's social bonding effects.
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