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

**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, Bj�rn 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

Why do people attach importance to the wordless language we call music? Music Cognition: The Basics considers the role of our cognitive functions such as perception, memory, attention, and expectation in perceiving, making, and appreciating music. In this volume, Henkjan Honing explores the active role these functions play in how music makes us feel; exhilarated, soothed, or inspired. Grounded in the latest research in areas of psychology, biology, and cognitive neuroscience, and with clear examples throughout, this book concentrates on underappreciated musical skills such as sense of rhythm, beat induction and relative pitch, that make people intrinsically musical creatures -- supporting the conviction that all humans have a unique, instinctive attraction to music. The scope of the topics discussed ranges from the ability of newborns to perceive a beat, to the unexpected musical expertise of ordinary listeners. It is a must read for anyone studying the Psychology of Music, Auditory Perception, or simply interested in why we enjoy music the way we do.

A music researcher's quest to discover other musical species. Even those of us who can't play a musical instrument or lack a sense of rhythm can perceive and enjoy music. Research shows that all humans possess the trait of musicality. We are a musical speciesbut are we the only musical species? Is our musical predisposition unique, like our linguistic ability? In The Evolving Animal Orchestra , Henkjan Honing embarks upon a quest to discover if humans share the trait of musicality with other animals. Charles Darwin believed that musicality was a capacity of all animals, human and nonhuman, with a clear biological basis. Taking this as his starting point, Honinga music cognition researchervisits a series of biological research centers to observe the ways that animals respond to music. He has studied scientists' accounts of Snowball, the cockatoo who could dance to a musical beat, and of Ronan, the sea lion, who was trained to move her head to a beat. Now Honing will be able to make his own observations. Honing tests a rhesus monkey for beat perception via an EEG; performs a listening experiment with zebra finches; considers why birds sing, and if they intend their songs to be musical; explains why many animals have perfect pitch; and watches marine mammals respond to sounds. He reports on the unforeseen twists and turns, doubts, and oversights that are a part of any scientific researchand which point to as many questions as answers. But, as he shows us, science is closing in on the biological and evolutionary source of our musicality.

**A music researcher's quest to discover other musical species.**Even those of us who can't play a musical instrument or lack a sense of rhythm can perceive and enjoy music. Research shows that all humans possess the trait of musicality. We are a musical species--but are we the only musical species? Is our musical predisposition unique, like our linguistic ability? In__The Evolving Animal Orchestra__, Henkjan Honing embarks upon a quest to discover if humans share the trait of musicality with other animals.Charles Darwin believed that musicality was a capacity of all animals, human and nonhuman, with a clear biological basis. Taking this as his starting point, Honing--a music cognition researcher--visits a series of biological research centers to observe the ways that animals respond to music. He has studied scientists' accounts of Snowball, the cockatoo who could dance to a musical beat, and of Ronan, the sea lion, who was trained to move her head to a beat. Now Honing will be able to make his own observations.Honing tests a rhesus monkey for beat perception via an EEG; performs a listening experiment with zebra finches; considers why birds sing, and if they intend their songs to be musical; explains why many animals have perfect pitch; and watches marine mammals respond to sounds. He reports on the unforeseen twists and turns, doubts, and oversights that are a part of any scientific research--and which point to as many questions as answers. But, as he shows us, science is closing in on the biological and evolutionary source of our musicality.

**A music researcher's quest to discover other musical species.**Even those of us who can't play a musical instrument or lack a sense of rhythm can perceive and enjoy music. Research shows that all humans possess the trait of musicality. We are a musical species--but are we the only musical species? Is our musical predisposition unique, like our linguistic ability? In__The Evolving Animal Orchestra__, Henkjan Honing embarks upon a quest to discover if humans share the trait of musicality with other animals.Charles Darwin believed that musicality was a capacity of all animals, human and nonhuman, with a clear biological basis. Taking this as his starting point, Honing--a music cognition researcher--visits a series of biological research centers to observe the ways that animals respond to music. He has studied scientists' accounts of Snowball, the cockatoo who could dance to a musical beat, and of Ronan, the sea lion, who was trained to move her head to a beat. Now Honing will be able to make his own observations.Honing tests a rhesus monkey for beat perception via an EEG; performs a listening experiment with zebra finches; considers why birds sing, and if they intend their songs to be musical; explains why many animals have perfect pitch; and watches marine mammals respond to sounds. He reports on the unforeseen twists and turns, doubts, and oversights that are a part of any scientific research--and which point to as many questions as answers. But, as he shows us, science is closing in on the biological and evolutionary source of our musicality.

**A music researcher's quest to discover other musical species.**Even those of us who can't play a musical instrument or lack a sense of rhythm can perceive and enjoy music. Research shows that all humans possess the trait of musicality. We are a musical species--but are we the only musical species? Is our musical predisposition unique, like our linguistic ability? In__The Evolving Animal Orchestra__, Henkjan Honing embarks upon a quest to discover if humans share the trait of musicality with other animals.Charles Darwin believed that musicality was a capacity of all animals, human and nonhuman, with a clear biological basis. Taking this as his starting point, Honing--a music cognition researcher--visits a series of biological research centers to observe the ways that animals respond to music. He has studied scientists' accounts of Snowball, the cockatoo who could dance to a musical beat, and of Ronan, the sea lion, who was trained to move her head to a beat. Now Honing will be able to make his own observations.Honing tests a rhesus monkey for beat perception via an EEG; performs a listening experiment with zebra finches; considers why birds sing, and if they intend their songs to be musical; explains why many animals have perfect pitch; and watches marine mammals respond to sounds. He reports on the unforeseen twists and turns, doubts, and oversights that are a part of any scientific research--and which point to as many questions as answers. But, as he shows us, science is closing in on the biological and evolutionary source of our musicality.

Why do people attach importance to the wordless language we call music? Musical Cognition suggests that music is a game. In music, our cognitive functions such as perception, memory, attention, and expectation are challenged; yet, as listeners, we often do not realize that the listener plays an active role in reaching the awareness that makes music so exhilarating, soothing, and inspiring. In reality, the author contends, listening does not happen in the outer world of audible sound, but in the inner world of our minds and brains.Recent research in the areas of psychology and neuro-cognition allows Henkjan Honing to be explicit in a way that many of his predecessors could not. His lucid, evocative writing style guides the reader through what is known about listening to music while avoiding jargon and technical diagrams. With clear examples, the book concentrates on underappreciated musical skills-'sense of rhythm'and'relative pitch'-skills that make people musical creatures. Research on how living creatures respond to music supports the conviction that all humans have a unique, instinctive attraction to music. Everyone is musical.Musical Cognition includes a selection of intriguing examples from recent literature exploring the role that an implicit or explicit knowledge of music plays when one listens to it. The scope of the topics discussed ranges from the ability of newborns to perceive a beat, to the unexpected musical expertise of ordinary listeners. The evidence shows that music is second nature to most human beings-biologically and socially.

**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, Bj�rn 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.ISBN : 9780262037457

We Have Known For Some Time That Babies Possess A Keen Perceptual Sensitivity For The Melodic, Rhythmic And Dynamic Aspects Of Speech And Music: Aspects That Linguists Are Inclined To Categorize Under The Term ‘prosody’, But Which Are In Fact The Building Blocks Of Music. Only Much Later In A Child’s Development Does He Make Use Of This ‘musical Prosody’, For Instance In Delineating And Subsequently Recognizing Word Boundaries. In This Essay Henkjan Honing Makes A Case For ‘illiterate Listening’, The Human Ability To Discern, Interpret And Appreciate Musical Nuances Already From Day One, Long Before A Single Word Has Been Uttered, Let Alone Conceived. It Is The Preverbal And Preliterate Stage That Is Dominated By Musical Listening. See Also The Download Version.

Why do people attach importance to the wordless language we call music? Music Cognition: The Basics considers the role of our cognitive functions, such as perception, memory, attention, and expectation in perceiving, making, and appreciating music.In this volume, Henkjan Honing explores the active role these functions play in how music makes us feel; exhilarated, soothed, or inspired. Grounded in the latest research in areas of psychology, biology, and cognitive neuroscience, and with clear examples throughout, this book concentrates on underappreciated musical skills such as sense of rhythm, beat induction, and relative pitch, that make people intrinsically musical creatures-supporting the conviction that all humans have a unique, instinctive attraction to music.The scope of the topics discussed ranges from the ability of newborns to perceive a beat, to the unexpected musical expertise of ordinary listeners. It is a must read for anyone studying the psychology of music, auditory perception, or simply interested in why we enjoy music the way we do.

Why do people attach importance to the wordless language we call music? Music Cognition: The Basics considers the role of our cognitive functions, such as perception, memory, attention, and expectation in perceiving, making, and appreciating music. In this volume, Henkjan Honing explores the active role these functions play in how music makes us feel; exhilarated, soothed, or inspired. Grounded in the latest research in areas of psychology, biology, and cognitive neuroscience, and with clear examples throughout, this book concentrates on underappreciated musical skills such as sense of rhythm, beat induction, and relative pitch, that make people intrinsically musical creatures—supporting the conviction that all humans have a unique, instinctive attraction to music. The scope of the topics discussed ranges from the ability of newborns to perceive a beat, to the unexpected musical expertise of ordinary listeners. It is a must read for anyone studying the psychology of music, auditory perception, or simply interested in why we enjoy music the way we do.

Human speech and music share a number of similarities and differences. One of the closest similarities is their temporal nature as both (i) develop over time, (ii) form sequences of temporal intervals, possibly differing in duration and acoustical marking by different spectral properties, which are perceived as a rhythm, and (iii) generate metrical expectations. Human brains are particularly efficient in perceiving, producing, and processing fine rhythmic information in music and speech. However a number of critical questions remain to be answered: Where does this human sensitivity for rhythm arise? How did rhythm cognition develop in human evolution? How did environmental rhythms affect the evolution of brain rhythms? Which rhythm-specific neural circuits are shared between speech and music, or even with other domains? Evolutionary processes’ long time scales often prevent direct observation: understanding the psychology of rhythm and its evolution requires a close-fitting integration of different perspectives. First, empirical observations of music and speech in the field are contrasted and generate testable hypotheses. Experiments exploring linguistic and musical rhythm are performed across sensory modalities, ages, and animal species to address questions about domain-specificity, development, and an evolutionary path of rhythm. Finally, experimental insights are integrated via synthetic modeling, generating testable predictions about brain oscillations underlying rhythm cognition and its evolution. Our understanding of the cognitive, neurobiological, and evolutionary bases of rhythm is rapidly increasing. However, researchers in different fields often work on parallel, potentially converging strands with little mutual awareness. This research topic builds a bridge across several disciplines, focusing on the cognitive neuroscience of rhythm as an evolutionary process. We welcome contributions encompassing, although not limited to: (1) developmental and comparative studies of rhythm (e.g. critical acquisition periods, innateness); (2) evidence of rhythmic behavior in other species, both spontaneous and in controlled experiments; (3) comparisons of rhythm processing in music and speech (e.g. behavioral experiments, systems neuroscience perspectives on music-speech networks); (4) evidence on rhythm processing across modalities and domains; (5) studies on rhythm in interaction and context (social, affective, etc.); (6) mathematical and computational (e.g. connectionist, symbolic) models of “rhythmicity” as an evolved behavior. We envision contributions from cognitive, social and affective neuroscience, developmental psychology, psycholinguistics, phonology, music cognition, animal behaviour, comparative cognition, system neuroscience, artificial intelligence, etc. This research topic will contain novel empirical findings and state of the art reviews of hot topics in each discipline, constituting a reference volume on the evolution of rhythm cognition. We welcome all submission formats, with emphasis on the following Frontiers Article types: Original Research (presenting original experiments or novel analyses of empirical data), Methods (introducing new experimental paradigms), Hypothesis and Theory (suggesting testable hypotheses), and Mini Review (focused on a specific theme and aimed at a broad audience of researchers in neighboring fields). Manuscripts, although of an interdisciplinary nature, must have a primary focus on psychology or neuroscience, as expressed in the mission statements of Frontiers in Psychology and Frontiers in Human Neuroscience. Important Note: All contributions to this Research Topic must be within the scope of the section and journal to which they are submitted, as defined in their mission statements. Frontiers reserves the right to guide an out-of-scope manuscript to a more suitable section or journal at any stage of peer review.

Human speech and music share a number of similarities and differences. One of the closest similarities is their temporal nature as both (i) develop over time, (ii) form sequences of temporal intervals, possibly differing in duration and acoustical marking by different spectral properties, which are perceived as a rhythm, and (iii) generate metrical expectations. Human brains are particularly efficient in perceiving, producing, and processing fine rhythmic information in music and speech. However a number of critical questions remain to be answered: Where does this human sensitivity for rhythm arise? How did rhythm cognition develop in human evolution? How did environmental rhythms affect the evolution of brain rhythms? Which rhythm-specific neural circuits are shared between speech and music, or even with other domains? Evolutionary processes’ long time scales often prevent direct observation: understanding the psychology of rhythm and its evolution requires a close-fitting integration of different perspectives. First, empirical observations of music and speech in the field are contrasted and generate testable hypotheses. Experiments exploring linguistic and musical rhythm are performed across sensory modalities, ages, and animal species to address questions about domain-specificity, development, and an evolutionary path of rhythm. Finally, experimental insights are integrated via synthetic modeling, generating testable predictions about brain oscillations underlying rhythm cognition and its evolution. Our understanding of the cognitive, neurobiological, and evolutionary bases of rhythm is rapidly increasing. However, researchers in different fields often work on parallel, potentially converging strands with little mutual awareness. This research topic builds a bridge across several disciplines, focusing on the cognitive neuroscience of rhythm as an evolutionary process. We welcome contributions encompassing, although not limited to: (1) developmental and comparative studies of rhythm (e.g. critical acquisition periods, innateness); (2) evidence of rhythmic behavior in other species, both spontaneous and in controlled experiments; (3) comparisons of rhythm processing in music and speech (e.g. behavioral experiments, systems neuroscience perspectives on music-speech networks); (4) evidence on rhythm processing across modalities and domains; (5) studies on rhythm in interaction and context (social, affective, etc.); (6) mathematical and computational (e.g. connectionist, symbolic) models of “rhythmicity” as an evolved behavior. We envision contributions from cognitive, social and affective neuroscience, developmental psychology, psycholinguistics, phonology, music cognition, animal behaviour, comparative cognition, system neuroscience, artificial intelligence, etc. This research topic will contain novel empirical findings and state of the art reviews of hot topics in each discipline, constituting a reference volume on the evolution of rhythm cognition. We welcome all submission formats, with emphasis on the following Frontiers Article types: Original Research (presenting original experiments or novel analyses of empirical data), Methods (introducing new experimental paradigms), Hypothesis and Theory (suggesting testable hypotheses), and Mini Review (focused on a specific theme and aimed at a broad audience of researchers in neighboring fields). Manuscripts, although of an interdisciplinary nature, must have a primary focus on psychology or neuroscience, as expressed in the mission statements of Frontiers in Psychology and Frontiers in Human Neuroscience. Important Note: All contributions to this Research Topic must be within the scope of the section and journal to which they are submitted, as defined in their mission statements. Frontiers reserves the right to guide an out-of-scope manuscript to a more suitable section or journal at any stage of peer review.

We Have Known For Some Time That Babies Possess A Keen Perceptual Sensitivity For The Melodic, Rhythmic And Dynamic Aspects Of Speech And Music: Aspects That Linguists Are Inclined To Categorize Under The Term ‘prosody’, But Which Are In Fact The Building Blocks Of Music. Only Much Later In A Child’s Development Does He Make Use Of This ‘musical Prosody’, For Instance In Delineating And Subsequently Recognizing Word Boundaries. In This Essay Henkjan Honing Makes A Case For ‘illiterate Listening’, The Human Ability To Discern, Interpret And Appreciate Musical Nuances Already From Day One, Long Before A Single Word Has Been Uttered, Let Alone Conceived. It Is The Preverbal And Preliterate Stage That Is Dominated By Musical Listening. See Also The Download Version.

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-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 ** About the Author Henkjan Honing is Professor of Music Cognition at the University of Amsterdam and editor of The Origins of Musicality (MIT Press). Behavioral biology Music cognition Ethnomusicology Music appreciation Origins of musicality Evolution of music Contents 7 Foreword 9 Preface 11 I INTRODUCTION 15 1 Musicality as an Upbeat to Music: Introduction and Research Agenda 17 Music versus Musicality 18 A Multicomponent Approach to Musicality 19 Core Components of Musicality 20 Is Musicality Grounded in Our Biology? 22 Can the Evolution of Music Cognition Be Studied? 23 A Research Agenda on Musicality 25 Decomposing Musicality into Constituent Components 25 Probing Melodic Cognition 26 Probing Rhythmic Cognition 27 Operationalizing the Musical Phenotype 29 Constraining Evolutionary Theories of Music and Musicality 29 Summary 30 Acknowledgments 30 II ORIGINS, PRINCIPLES, AND CONSTRAINTS 35 2 Four Principles of Biomusicology 37 Defining the Object of Study: “Musicality” versus Music 37 Four Foundational Principles of Biomusicology 38 Four Core Components of Musicality 46 Conclusion 53 Acknowledgments 55 3 Five Fundamental Constraints on Theories of the Origins of Music 63 Constraints 64 The Evolutionary Context 82 Acknowledgments 86 4 The Origins of Music: Auditory Scene Analysis, Evolution, and Culture in Musical Creation 95 Auditory Scene Analysis 99 Spectral Analysis and the Origins of Musical Pitch Structure 100 Time Processing and the Origins of Musical Rhythm 111 Social and Emotional Functions and the Origins of Music 114 Conclusion 117 Acknowledgments 118 5 Music as a Transformative Technology of the Mind: An Update 127 Why Consider Music a Human Invention? 128 Updating TTM Theory in Light of Gene-Culture Coevolution 130 Why Might Musical Behavior Have Triggered Gene-Culture Evolution? 131 How to Seek Evidence of Gene-Culture Coevolution for Music Cognition 132 Pitch Control in Group Singing 133 Synchronizing Auditory-Motor Behavior with Others 134 The Use of Working Memory in Learning Songs 135 Conclusion 136 Acknowledgments 136 III CROSS-CULTURAL, CROSS-SPECIES, AND CROSS-DOMAIN STUDIES 141 6 Cross-Cultural Perspectives on Music and Musicality 143 Universals and Contrasts 143 What Is Called Music? 144 Statistical Universals 145 Scholarly and Everyday Ideas about the Origins of Music 147 The Antiquity of Musical Activities 147 Music and Social Organization 150 Music and Group Cohesion 151 Musical Caregiving 151 Music in Communal Contexts 152 Synchronous Arousal 152 Synchronous Action 153 Imitation 154 Music, Meaning, and Communication 154 Acknowledgments 155 7 Searching for the Origins of Musicality across Species 163 Key Problems in Studying Biomusicology 163 Experimental Laboratory Studies of Auditory Perception 165 Studies Linked to Natural Behavior 171 Acknowledgments 177 8 Finding the Beat: A Neural Perspective across Humans and Nonhuman Primates 185 Functional Imaging of Beat Perception and Entrainment in Humans 187 Oscillatory Mechanisms Underlying Rhythmic Behavior in Humans: Evidence from EEG and MEG 191 Neurophysiology of Rhythmic Behavior in Monkeys 196 Implications for Computational Models of Beat Induction 204 Conclusion 209 Acknowledgments 209 9 Neural Overlap in Processing Music and Speech 219 Brain Specialization: From Regions to Networks 220 Evidence of Neural Sharing 223 Intracranial Recordings 227 Future Directions 228 Implications and Conclusions 229 10 Defining the Biological Bases of Individual Differences in Musicality 235 Musicality at the Extremes 237 Altered Musicality in Known Genetic Syndromes 243 Genetic Contributions to Individual Differences in the General Population 246 Phenomics of Musicality in the Postgenomic Era 252 Broader Perspectives 256 Glossary 257 Acknowledgments 258 IV STRUCTURE, AFFECT, AND HISTORY 265 11 Formal Models of Structure Building in Music, Language, and Animal Song 267 Building Blocks and Sequential Structure 268 Shannon’s n-grams 272 The Classical Chomsky Hierarchy 273 Practical Limitations of the Chomsky Hierarchy 278 Moving Toward Different Types of Models 283 Dealing with Noisy Data: Adding Probabilities 284 Dealing with Meaning: Adding Semantics 285 Dealing with Gradations: Adding Continuous-Valued Variables 287 Discussion 290 Acknowledgments 291 12 The Evolutionary Roots of Creativity: Mechanisms and Motivations 301 Components of Creativity 301 Modeling the Process of Creativity 309 Affording Creative Behavior 311 Creativity in Animal Communication 312 A Research Program on Creativity in Vocal Communication in Humans and Nonhumans 317 Acknowledgments 319 13 Affect Induction through Musical Sounds: An Ethological Perspective 323 Size Matters 324 Signals and Cues 325 Multimodal Signals 326 Sneer as Signal 327 Grief as Signal: Sadness as Cue 328 Cuteness as Index 329 Tempo as Mirror 331 Vibrato as Association 331 Conclusion 332 14 Carl Stumpf and the Beginnings of Research in Musicality 337 Psychology of Tone 338 The Origins of Music 344 Speaking and Singing 351 Coda 355 Acknowledgments 356 Contributors 361 Index 363

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-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 ** About the Author Henkjan Honing is Professor of Music Cognition at the University of Amsterdam and editor of The Origins of Musicality (MIT Press). Behavioral biology Music cognition Ethnomusicology Music appreciation Origins of musicality Evolution of music Interdisciplinary perspectives on the capacity to perceive, appreciate, and make music. Music appreciation; Music cognition; Origins of musicality; Evolution of music; Ethnomusicology; Behavioral biology

A music researcher's quest to discover other musical species. Music appreciation; Music cognition; Origins of musicality; Evolution of music; Ethnomusicology; Behavioral biology

Contents 10 Preface���������������������������� 12 Music and Musicality 12 Comparative Research 14 When Are You Deemed Musical? 17 Personal Account 18 1. Shaved Ear 20 By Invitation 21 Index for Beat Perception 25 The Rhythm Paradox 27 Seating Plan 31 2. Mirroring 34 Old World Primates 35 Visual Report 38 3. Beat Deaf 42 The Man without Rhythm 45 Origins of Musicality 46 4. Measuring the Beat 52 Monkey Keeps the Beat 55 Gradual Evolution 58 Synchronizing 60 5. Ai and Ayumu 62 Gray Fingers 64 6. Supernormal Stimulus 68 Herring Gull Heads 74 Replication and Falsification 75 7. Snowball 78 Why Birds Sing 79 Metronome 87 8. The Dialect of Song 94 Timbre 98 9. Perfect Pitch 100 Relative Pitch 102 To Listen like a Songbird 106 Nose Wheel 108 10. Rio and Ronan 112 Falsification? 117 Sample Calculation 118 Afterword�������������������������������� 122 History of Musicality 125 Summary���������������������������� 128 Acknowledgments�������������������������������������������� 132 Explanatory Note���������������������������������������������� 133 Notes������������������������ 134 Preface 134 1. Shaved Ear 134 2. Mirroring 135 3. Beat Deaf 136 4. Measuring the Beat 136 5. Ai and Ayumu 138 6. Supernormal Stimulus 138 7. Snowball 139 8. The Dialect of Song 140 9. Perfect Pitch 141 10. Rio and Ronan 143 Afterword 144 Explanatory Note 144 References���������������������������������� 146 Index������������������������ 156