Results for ' Music evolution'

952 found
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  1.  17
    Against unitary theories of music evolution.Peter M. C. Harrison & Madeleine Seale - 2021 - Behavioral and Brain Sciences 44:e76.
    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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  2.  18
    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:e85.
    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 (Savage et al.) or coalition signaling (Mehr et al.) remain incomplete.
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  3. Music and the Evolution of Embodied Cognition.Stephen Asma - forthcoming - In M. Clasen J. Carroll, 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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  4. Sweet Participation: The Evolution of Music as an Interactive Technology.Dor Shilton - 2022 - Music and Science 5.
    Theories of music evolution rely on our understanding of what music is. Here, I argue that music is best conceptualized as an interactive technology, and propose a coevolutionary framework for its emergence. I present two basic models of attachment formation through behavioral alignment applicable to all forms of affiliative interaction and argue that the most critical distinguishing feature of music is entrained temporal coordination. Music's unique interactive strategy invites active participation and allows interactions to (...)
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  5.  9
    The evolution of music as artistic cultural innovation expressing intuitive thought symbolically.Valerie van Mulukom - 2021 - Behavioral and Brain Sciences 44:e91.
    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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  6.  61
    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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  7.  32
    “The Two Brothers”: Reconciling Perceptual-Cognitive and Statistical Models of Musical Evolution.Steven Jan - 2018 - Frontiers in Psychology 9.
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  8.  22
    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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  9.  60
    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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  10.  55
    The (Co)Evolution of Language and Music Under Human Self-Domestication.Antonio Benítez-Burraco & Aleksey Nikolsky - 2023 - Human Nature 34 (2):229-275.
    Together with language, music is perhaps the most distinctive behavioral trait of the human species. Different hypotheses have been proposed to explain why only humans perform music and how this ability might have evolved in our species. In this paper, we advance a new model of music evolution that builds on the self-domestication view of human evolution, according to which the human phenotype is, at least in part, the outcome of a process similar to domestication (...)
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  11.  30
    Perspectives on music and evolution.Winfried A. Lüdemann - 2022 - HTS Theological Studies 78 (2):13.
    Many scholars of philosophy, aesthetics, religion, history or social science have ventured to offer a comprehensive explanation of music, one of the most intangible and elusive phenomena in the world. A palaeoanthropological approach, which places music into an evolutionary paradigm, can add important perspectives to our understanding of this phenomenon. To begin with, the question whether music is an adaptation that has survival value in the classical Darwinian sense is contemplated. Views on the origin of music (...)
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  12.  20
    Music, bonding, and human evolution: A critique.Bjorn Merker - 2021 - Behavioral and Brain Sciences 44:e83.
    Savage et al. propose that music filled a hypothetical “bonding gap” in human sociality by Baldwinian gene-culture coevolution (or protracted cognitive niche construction). 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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  13.  41
    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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  14. 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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  15.  68
    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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  16.  35
    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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  17.  20
    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 10:469843.
    This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” (...)
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  18.  15
    Re-Thinking Boundaries: The Evolution and Impact of AI in Music and Soundscapes.Tufan Acil - forthcoming - Avant: Trends in Interdisciplinary Studies.
    This essay offers a comprehensive review of the transformative role of Artificial Intelligence (AI) in music composition and soundscape generation, providing both a historical overview and a critical analysis of its impact. Tracing AI’s evolution from its early applications in the mid-20th century to its sophisticated use in contemporary auditory arts, the paper explores how AI has reshaped creative processes, blurred traditional boundaries between music and soundscapes, and catalyzed the emergence of new genres. Additionally, it critically examines (...)
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  19.  35
    Relating the evolution of Music-Readiness and Language-Readiness within the context of comparative neuroprimatology.Uwe Seifert - 2018 - Interaction Studies 19 (1-2):86-101.
    Language- and music-readiness are demonstrated as related within comparative neuroprimatology by elaborating three hypotheses concerning music-readiness (MR): The (musicological) rhythm-first hypothesis (MR-1), the combinatoriality hypothesis (MR-2), and the socio-affect-cohesion hypothesis (MR-3). 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 (MS/CIH) lead to the combinatorial capacities of rhythm necessary for building up a musical lexicon and complex structures; and rhythm, in connection (...)
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  20.  21
    Evolution of the ontology of ancient Chinese music.Irina Aleksandrovna Zhernosenko & Tszyayui Lun - forthcoming - Philosophy and Culture (Russian Journal).
    The subject of the study is the ontological ideas of ancient Chinese music in the context of the formation of philosophical schools of Ancient China, which make it possible to identify a number of philosophical categories that underlie traditional chinese music and outline different approaches to its understanding and interpretation. Most Chinese researchers in the field of musical aesthetics focus on the art of music, rare to pay attention to the philosophical origins of the categories of (...) that past thinkers wrote about when analyzing laws of existence of the universe. Restoring and rethinking these values in the context of the philosophical and cultural analysis of ancient Chinese music is key to this work, which allows us to gain an understanding of the specifics of ancient Chinese culture and its musical heritage. The novelty of the work lies in carrying out the correlation of genesis of the musical ontology of Ancient China with the dynamics of the formation of the philosophical schools of Confucianism, Taoism and Buddhism, their rise or fall depending on the historical and cultural situation. Musical philosophy in China has not yet become an independent discipline, so the presented work makes a significant contribution to the field of musical ontology. During the study, the authors revealed three main aspects which are basic for the ontology of ancient Chinese music: The nature of music has its source three categories: Tao, air and sound, existing both in a natural state in nature and embodied in musical structure and instruments; Sound and rhythm being the essence to any musical work, organize the sounding space in accordance with the cosmic order; The metaphysical nature of music is justified by the basic principles of Taoist philosophy and number theory. (shrink)
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  21.  8
    Music: the keynote of human evolution.Corinne Heline - 1965 - Santa Barbara, Calif.: J. F. Rowny Press.
  22. Music and cognitive evolution.Ian Cross - 2009 - In Robin Dunbar & Louise Barrett, Oxford Handbook of Evolutionary Psychology. Oxford University Press.
     
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  23.  56
    Music and biocultural evolution.I. Cross - 2003 - In Martin Clayton, Trevor Herbert & Richard Middleton, The Cultural Study of Music: A Critical Introduction. Routledge. pp. 19.
  24.  15
    The Evolution of Music, 2023.Nicholas Bannan - forthcoming - Evolutionary Studies in Imaginative Culture:62-66.
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  25.  66
    Human Social Evolution: Self-Domestication or Self-Control?Dor Shilton, Mati Breski, Daniel Dor & Eva Jablonka - 2020 - Frontiers in Psychology 11:505032.
    The self-domestication hypothesis suggests that, like mammalian domesticates, humans have gone through a process of selection against aggression – a process that in the case of humans was self-induced. Here, we extend previous proposals and suggest that what underlies human social evolution is selection for socially mediated emotional control and plasticity. In the first part of the paper we highlight general features of human social evolution, which, we argue, is more similar to that of other social mammals than (...)
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  26.  55
    Culture, Cooperation, and Communication: The Co-evolution of Hominin Cognition, Sociality, and Musicality.Anton Killin - 2024 - British Journal of Aesthetics 64 (3):335-360.
    Music is a deeply entrenched human phenomenon. In this article, I argue that its evolutionary origins are intrinsically intertwined with the incremental anatomical, cognitive, social, and technological evolution of the hominin lineage. I propose an account of the evolution of Plio-Pleistocene hominins, focusing on traits that would be later implicated in music making. Such traits can be conceived as comprising the musicality mosaic or the multifaceted foundations of musicality. I then articulate and defend an account of (...)
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  27.  83
    The biology and evolution of music: A comparative perspective.W. Tecumseh Fitch - 2006 - Cognition 100 (1):173-215.
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  28. Horizons sonores. Évolution actuelle de l'art musical.Robert Siohan & Etienne Souriau - 1956 - Revue Philosophique de la France Et de l'Etranger 146:575-576.
     
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  29. 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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  30.  27
    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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  31. The nature of music and its evolution.Ian Cross - 2008 - In Susan Hallam, Ian Cross & Michael Thaut, Oxford Handbook of Music Psychology. Oxford University Press.
     
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  32.  12
    Cultural Evolution.Kate Distin - 2010 - Cambridge University Press.
    In this book, Kate Distin proposes a theory of cultural evolution and shows how it can help us to understand the origin and development of human culture. Distin introduces the concept that humans share information not only in natural languages, which are spoken or signed, but also in artefactual languages like writing and musical notation, which use media that are made by humans. Languages enable humans to receive and transmit variations in cultural information and resources. In this way, they (...)
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  33.  3
    The Evolution and Preservation of the Cultural Heritage of the Ti-Tzu Ten Hole Bamboo Flute in Sichuan Province, China.Qiang Wang, Chalermsak Pikulsri & Pornpan Kaenampornpan - forthcoming - Evolutionary Studies in Imaginative Culture:46-57.
    This study focuses on the evolution and preservation of the cultural heritage of the Ti-Tzu ten-hole bamboo flute in Sichuan Province, China. For collecting data, the researchers conducted interviews and observations. The results of the study show that Shen Wenyi's original work resulted in the invention of bamboo flutes with seven, nine, and ten holes, which are significant findings. These developments resolved issues with pitch discrepancies and broadened the range of playing techniques, influencing the flute's cultural importance and musical (...)
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  34.  53
    On the evolution of musical perception.Zofia Lissa, Eugenia Tanska & Eugenia Tarska - 1965 - Journal of Aesthetics and Art Criticism 24 (2):273-286.
  35.  34
    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.
  36.  28
    Editorial: The Evolution of Music.Aleksey Nikolsky & Leonid Perlovsky - 2020 - Frontiers in Psychology 11.
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  37.  33
    Evolution of the Parietal Lobe in the Formation of an Enhanced “Sense of Self”.Daniel Cohen & Brick Johnstone - 2024 - Journal of Cognition and Culture 24 (1-2):91-120.
    Recent neuropaleontological research suggests that the parietal lobe has increased in size as much as the frontal lobes in Homo Sapiens over the past 150,000 years, but has not provided a neuropsychological explanation for the evolution of human socialization or the development of religion. Drawing from several areas of research, (i.e., neurodevelopment, neuropsychology, paleoneurology, cognitive science, archeology, and anthropology), we argue that parietal evolution in Homo sapiens integrated sensations and mental processes into a more integrated subjective “sense of (...)
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  38. Evolution and Aesthetics.Evental Aesthetics - 2015 - Evental Aesthetics 4 (2):1-170.
    Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, (...)
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  39.  57
    Editorial. Evolution and Aesthetics.Mandy-Suzanne Wong - 2015 - Evental Aesthetics 4 (2):4-21.
    Is aesthetics a product of evolution? Are human aesthetic behaviors in fact evolutionary adaptations? The creation of artistic objects and experiences is an important aesthetic behavior. But so is the perception of aesthetic phenomena qua aesthetic. The question of evolutionary aesthetics is whether humans have evolved the capacity not only to make beautiful things but also to appreciate the aesthetic qualities in things. Are our near-universal love of music and cute baby animals essential to our species’ evolutionary development, (...)
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  40. Music and Language in Social Interaction: Synchrony, Antiphony, and Functional Origins.Nathan Oesch - 2019 - Frontiers in Psychology 10.
    Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, (...)
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  41.  24
    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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  42.  13
    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:e121.
    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 (1) our social bonding hypothesis, (2) byproduct hypotheses, and (3) 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 (...)
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  43.  29
    L‘évolution du concept de raison dans la pensée occidentale.Louis Rougier - 1957 - Dialectica 11 (3-4):306-326.
    RésuméIl n'y a pas de sujet plus idoine à justifier la philosophie ouverte qui est celle de Dialectica que l'étude de l'évolution du concept de raison dans la pensée occidentale.C'est avec la création de la géométrie déductive que le mot raison prit un sens chez les Grecs du ***Ve siècle av. J.‐C. A l'évidence sensible qui résulte du témoignage de nos sens et ne constate que le comment d'un fait observé, les géomètres grecs substituent l'évidence intelligible qui en explique le (...)
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  44.  45
    Evolution in Qualitative Factors Used to Evaluate Japanese Students.Kazumi Yamada - 2003 - Journal of Aesthetic Education 37 (4):50.
    In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 50-58 [Access article in PDF] Evolution in Qualitative Factors Used to Evaluate Japanese Students [Tables] Introduction Two basic viewpoints are typically taken in the evaluation of achievement in Japanese schools: either the focus is primarily on "field-content-basedevaluation" or on "ability-concept-based evaluation." I have compared the qualitative factors encompassed by these two viewpoints as reflected in the permanent school records of Japanese (...)
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  45.  41
    Evolution of Artistic and Athletic Propensities: Testing of Intersexual Selection and Intrasexual Competition.Marco Antonio Correa Varella, Zuzana Štěrbová, Klára Bártová, Maryanne L. Fisher & Jaroslava Varella Valentova - 2022 - Frontiers in Psychology 13.
    Since Darwin proposed that human musicality evolved through sexual selection, empirical evidence has supported intersexual selection as one of the adaptive functions of artistic propensities. However, intrasexual competition has been overlooked. We tested their relative importance by investigating the relationship between the self-perceived talent/expertise in 16 artistic and 2 sports modalities and proxies of intersexual selection and intrasexual competition in heterosexuals. Participants were 82 Brazilian men, 166 Brazilian women, 146 Czech men, and 458 Czech women. Factor analysis revealed five factors: (...)
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  46. Part One. Cultural and Cross-Cultural Agencies. The Year the Music Died : Agency in the Context of Demise on Takū, Papua New Guinea / Richard Moyle ; "One of the finest and best-appointed theatres in the colonies" : His Majesty's Theatre and the Evolution of Entertainment in Dunedin, New Zealand / Sandra Crawshaw ; "In the Tiki Tiki Tiki Tiki Tiki Room" : Musicalizing the South Pacific in Disney's Theme Parks.Gregory Camp - 2023 - In Nancy November, Music, society, agency. Boston: Academic Studies Press.
     
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  47.  20
    Gradually Adaptive Frameworks: Reasonable Disagreement and the Evolution of Evaluative Systems in Music Education.Stanley Haskins - 2013 - Philosophy of Music Education Review 21 (2):197.
    The concept of “gradually adaptive frameworks” is introduced as a model with the potential to describe the evolution of belief evaluative systems through the consideration of reasonable arguments and evidence. This concept is demonstrated through an analysis of specific points of disagreement between David Elliott’s praxial philosophy and Bennett Reimer’s aesthetic philosophy. A parallel case of disagreement is introduced from the literature of contemporary epistemology. This case, comprised of a disagreement between Thomas Kelly and Richard Feldman, deals explicitly with (...)
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  48.  15
    Movement Is the Song of the Body: Reflections on the Evolution of Rhythm and Music and Its Possible Significance for the Treatment of Parkinson’s Disease.Matz Larsson, Benjamin W. Abbott & Adrian D. Meehan - 2017 - Evolutionary Studies in Imaginative Culture 1 (2):73-86.
    Schooling fish, swarms of starlings, plodding wildebeest, and musicians all display impressive synchronization. To what extent do they use acoustic cues to achieve these feats? Could the acoustic cues used in movement synchronization be relevant to the treatment of movement disorders such as Parkinson's disease in humans? In this article, we build on the emerging view in evolutionary biology that the ability to synchronize movement evolved long before language, in part due to acoustic advantages. We use this insight to explore (...)
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  49.  59
    Music as a coevolved system for social bonding.Patrick E. Savage, Psyche Loui, Bronwyn Tarr, Adena Schachner, Luke Glowacki, Steven Mithen & W. Tecumseh Fitch - 2021 - Behavioral and Brain Sciences 44:e59.
    Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence (...)
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  50.  17
    Modeling Discontinuous Cultural Evolution: The Impact of Cross-Domain Transfer.Kirthana Ganesh & Liane Gabora - 2022 - Frontiers in Psychology 13.
    This paper uses autocatalytic networks to model discontinuous cultural transitions involving cross-domain transfer, using as an illustrative example, artworks inspired by the oldest-known uncontested example of figurative art: the carving of the Hohlenstein-Stadel Löwenmensch, or lion-human. Autocatalytic networks provide a general modeling setting in which nodes are not just passive transmitters of activation; they actively galvanize, or “catalyze” the synthesis of novel nodes from existing ones This makes them uniquely suited to model how new structure grows out of earlier structure, (...)
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