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, we show that (...) a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter–gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation. (shrink)

Fighting ability, although recognized as fundamental to intrasexual competition in many nonhuman species, has received little attention as an explanatory variable in the social sciences. Multiple lines of evidence from archaeology, criminology, anthropology, physiology, and psychology suggest that fighting ability was a crucial aspect of intrasexual competition for ancestral human males, and this has contributed to the evolution of numerous physical and psychological sex differences. Because fighting ability was relevant to many domains of interaction, male psychology should have evolved such (...) that a man’s attitudes and behavioral responses are calibrated according to his formidability. Data are reviewed showing that better fighters feel entitled to better outcomes, set lower thresholds for anger/aggression, have self-favoring political attitudes, and believe more in the utility of warfare. New data are presented showing that among Hollywood actors, those selected for their physical strength (i.e., action stars) are more likely to believe in the utility of warfare. (shrink)

A methodological imperative, reproducibility, is proposed for experimental research. This is motivated by recent discussions of normative naturalism as well as the recent interest in the philosophical implications of experimental research. The role of this norm is examined in the context of the routine research procedures in a high-energy scattering experiment. The specific details of the experimental analysis of resonance production in the interaction π +P→ Pπ + π + π - π 0 at 18.5 Ge V/c are discussed in (...) light of the importance of reproducing experimental results. In this context, a more complex meaning of this norm emerges. It is suggested that this type of empirical evaluation of hypothetical imperatives should be at the core of the normative naturalist's program. (shrink)

In experimental scientific research, such as that conducted in High-Energy Physics (HEP), there are a number of problems which are unique to the experimental endeavor in contrast to theoretical research. The preparation of a sample of data to be analyzed requires a number of complicated and interrelated procedures to insure the purity or quality of the data. Thus, for example, in an experimental study of meson-baryon scattering, the separation of events of one type of scattering from others of similar configuration (...) (see the discussion of different configurations in section II) requires intricate and sophisticated procedures along with the application of a number of criteria and standards of analysis. In the case of theoretical research, there are a number of philosophical discussions which formulate certain criteria or norms that theorists usually invoke in their evaluation of theories as well as in the actual choice of one theory over another. (shrink)

While Aby Warburg, in his younger years, advocated a completely rational, mathematical understanding of the world, he lost confidence in this scientific ideal later on. This article proposes that this crucial shift in perspective, redefining Warburg’s opinions about empiricism, rationality and thus cultural evolution as a whole, took place very early on, namely in the summer of 1890. The present article studies, for the first time, an unpublished student essay by Warburg on probability theory. While discussing stochastic and the possibility (...) of mathematical prediction of future events, Warburg’s belief in the infallible exactitude of numerical sciences got first cracks. (shrink)

The issue of scientific realism is discussed in terms of the specific details of the practice of experimental meson and baryon spectroscopy in the field of High-Energy Physics (HEP), during the period from 1966 to 1970. The philosophical positions of I. Hacking, A. Fine, J. Leplin, and N. Rescher that concern scientific realism are presented in such a manner as to allow for the evaluation of their appropriateness in the description of this experimental research field. This philosophical analysis focuses on (...) the empirical adequacy of these four philosophical models that purport to describe the process of acquiring knowledge of the physical world. In this specific case, an experiment performed by the HEP research group at the University of Notre Dame to study the scattering interaction. (shrink)

The two target articles address the origins of music in complementary ways. However, both proposals focus on overt musical behaviour, largely ignoring the role of perception and cognition, and they blur the boundaries between the potential origins of language and music. To resolve this, an alternative research strategy is proposed that focuses on the core cognitive components of musicality.

Halevy (1872-1962) was a French historian who became a friend of Marcel Proust while studying at the Lycee Condorcet. This biography of the celebrated German philosopher, Nietzsche, was first published in the original French in 1909 and appeared in this English translation in 1911.

Enculturation is known to shape the perception of meter in music but this is not explicitly accounted for by current cognitive models of meter perception. We hypothesize that meter perception is a strategy for increasing the predictability of rhythmic patterns and that the way in which it is shaped by the cultural environment can be understood in terms of probabilistic predictive coding. Based on this hypothesis, we present a probabilistic model of meter perception that uses statistical properties of the relation (...) between rhythm and meter to infer meter from quantized rhythms. We show that our model can successfully predict annotated time signatures from quantized rhythmic patterns derived from folk melodies. Furthermore, we show that by inferring meter, our model can better predict the onsets of future events than a similar probabilistic model that does not infer meter. Finally, we demonstrate how our model can be used in a proof-of-concept simulation of enculturation. From this simulation, we derive a class of rhythms that are likely to be interpreted differently by enculturated listeners with different histories of exposure to rhythms. (shrink)

Nathaniel Hone’s three portraits of Sir John Fielding establish a public image for the magistrate and a visual language for representing his blindness. Fielding is represented in 1757 as a family man, in 1762 as a sociable member of the Republic of Letters, and finally in 1773 as the embodiment of Justice. The movement across the portraits from empiricism to allegory not only conveys his increasing social status and celebrity, but also the mingling of philosophical and poetic ideas about blindness (...) in Enlightenment thinking. This paper argues that Hone’s construction of Fielding’s vision impairment in the latter two portraits reflects changing attitudes to blindness resulting from Lockean sensationalism and the widespread success of cataract operations. The more academically ambitious final portrait, however, also draws on iconographic tropes of blind justice, casting Fielding in allegorical guise that confers upon him heightened powers of reason and impartiality. For Hone, Fielding’s blindness is a crucial part of his status and identity, but it also provides opportunities to push portraiture beyond its association with the imitation of the visible and into the realm of invention. (shrink)