Interdisciplinary perspectives on the capacity to perceive, appreciate, and make music.ISBN : 9780262037457

W Tecumseh Fitch; Bjö Merker; Iain Morley; Willem Zuidema; Laurel Trainor; Aniruddh Patel; Sandra E Trehub; Judith Becker; Marisa Hoeschele; Henkjan Honing

Henkjan Honing, W. Tecumseh Fitch, Bjö Merker, Iain Morley, Willem Zuidema

Henkjan Honing; William Tecumseh Fitch

AAAI Press

United States, United States of America

MIT Press Ser, Cambridge, 2018

Illustrated, PS, 2018

Interdisciplinary perspectives on the capacity to perceive, appreciate, and make music.Research shows that all humans have a predisposition for music, just as they do for language. All of us can perceive and enjoy music, even if we can't carry a tune and consider ourselves “unmusical.” This volume offers interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Scholars from biology, musicology, neurology, genetics, computer science, anthropology, psychology, and other fields consider what music is for and why every human culture has it; whether musicality is a uniquely human capacity; and what biological and cognitive mechanisms underlie it.Contributors outline a research program in musicality, and discuss issues in studying the evolution of music; consider principles, constraints, and theories of origins; review musicality from cross-cultural, cross-species, and cross-domain perspectives; discuss the computational modeling of animal song and creativity; and offer a historical context for the study of musicality. The volume aims to identify the basic neurocognitive mechanisms that constitute musicality (and effective ways to study these in human and nonhuman animals) and to develop a method for analyzing musical phenotypes that point to the biological basis of musicality.ContributorsJorge L. Armony, Judith Becker, Simon E. Fisher, W. Tecumseh Fitch, Bruno Gingras, Jessica Grahn, Yuko Hattori, Marisa Hoeschele, Henkjan Honing, David Huron, Dieuwke Hupkes, Yukiko Kikuchi, Julia Kursell, Marie-Élaine Lagrois, Hugo Merchant, Björn Merker, Iain Morley, Aniruddh D. Patel, Isabelle Peretz, Martin Rohrmeier, Constance Scharff, Carel ten Cate, Laurel J. Trainor, Sandra E. Trehub, Peter Tyack, Dominique Vuvan, Geraint Wiggins, Willem Zuidema

Interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Research shows that all humans have a predisposition for music, just as they do for language. All of us can perceive and enjoy music, even if we can't carry a tune and consider ourselves unmusical. This volume offers interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Scholars from biology, musicology, neurology, genetics, computer science, anthropology, psychology, and other fields consider what music is for and why every human culture has it; whether musicality is a uniquely human capacity; and what biological and cognitive mechanisms underlie it. Contributors outline a research program in musicality, and discuss issues in studying the evolution of music; consider principles, constraints, and theories of origins; review musicality from cross-cultural, cross-species, and cross-domain perspectives; discuss the computational modeling of animal song and creativity; and offer a historical context for the study of musicality. The volume aims to identify the basic neurocognitive mechanisms that constitute musicality (and effective ways to study these in human and nonhuman animals) and to develop a method for analyzing musical phenotypes that point to the biological basis of musicality. Contributors
Jorge L. Armony, Judith Becker, Simon E. Fisher, W. Tecumseh Fitch, Bruno Gingras, Jessica Grahn, Yuko Hattori, Marisa Hoeschele, Henkjan Honing, David Huron, Dieuwke Hupkes, Yukiko Kikuchi, Julia Kursell, Marie-laine Lagrois, Hugo Merchant, Bjrn Merker, Iain Morley, Aniruddh D. Patel, Isabelle Peretz, Martin Rohrmeier, Constance Scharff, Carel ten Cate, Laurel J. Trainor, Sandra E. Trehub, Peter Tyack, Dominique Vuvan, Geraint Wiggins, Willem Zuidema

Research shows that all humans have a predisposition for music, just as they do for language. All of us can perceive and enjoy music, even if we can't carry a tune and consider ourselves unmusical. This volume offers interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Scholars from biology, musicology, neurology, genetics, computer science, anthropology, psychology, and other fields consider what music is for and why every human culture has it; whether musicality is a uniquely human capacity; and what biological and cognitive mechanisms underlie it. Contributors outline a research program in musicality, and discuss issues in studying the evolution of music; consider principles, constraints, and theories of origins; review musicality from cross-cultural, cross-species, and cross-domain perspectives; discuss the computational modeling of animal song and creativity; and offer a historical context for the study of musicality. The volume aims to identify the basic neurocognitive mechanisms that constitute musicality (and effective ways to study these in human and nonhuman animals) and to develop a method for analyzing musical phenotypes that point to the biological basis of musicality. - Henkjan Honing is Professor of Music Cognition at the University of Amsterdam

Research shows that all humans have a predisposition for music, just as they do for language. All of us can perceive and enjoy music, even if we can't carry a tune and consider ourselves "unmusical." This volume offers interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Scholars from biology, musicology, neurology, genetics, computer science, anthropology, psychology, and other fields consider what music is for and why every human culture has it; whether musicality is a uniquely human capacity; and what biological and cognitive mechanisms underlie it. Contributors outline a research program in musicality, and discuss issues in studying the evolution of music; consider principles, constraints, and theories of origins; review musicality from cross-cultural, cross-species, and cross-domain perspectives; discuss the computational modeling of animal song and creativity; and offer a historical context for the study of musicality. The volume aims to identify the basic neurocognitive mechanisms that constitute musicality (and effective ways to study these in human and nonhuman animals) and to develop a method for analyzing musical phenotypes that point to the biological basis of musicality [Publisher description]

Intro -- Title page -- Copyright page -- Table of Contents -- Foreword -- Preface -- I#Introduction -- 1#Musicality as an Upbeat to Music: Introduction and Research Agenda -- II#Origins, Principles, and Constraints -- 2#Four Principles of Biomusicology -- 3#Five Fundamental Constraints on Theories of the Origins of Music -- 4#The Origins of Music: Auditory Scene Analysis, Evolution, and Culture in Musical Creation -- 5#Music as a Transformative Technology of the Mind: An Update -- III#Cross-Cultural, Cross-Species, and Cross-Domain Studies -- 6#Cross-Cultural Perspectives on Music and Musicality -- 7#Searching for the Origins of Musicality across Species -- 8#Finding the Beat: A Neural Perspective across Humans and Nonhuman Primates -- 9#Neural Overlap in Processing Music and Speech -- 10#Defining the Biological Bases of Individual Differences in Musicality -- IV#Structure, Affect, and History -- 11#Formal Models of Structure Building in Music, Language, and Animal Song -- 12#The Evolutionary Roots of Creativity: Mechanisms and Motivations -- 13#Affect Induction through Musical Sounds: An Ethological Perspective -- 14#Carl Stumpf and the Beginnings of Research in Musicality -- Contributors -- Index

Edited By Henkjan Honing. Includes Bibliographical References And Index.

2024-03-30