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.

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 (...) in conjunction with the emergence of language and as a domain for the expression of emotion, linked to music’s benefits for social coherence, are discussed. More recent views on the emergence of consciousness, on semiosis and on music as a manifestation of biocultural co-evolution, especially in conjunction with ritual, are then presented. Finally, the merit of exploiting the concept of play to help account for the systematicity of music’s semiosis is examined.Contribution: In line with the intent of this special collection of articles, the above considerations are placed into the context of materialist versus nonmaterialist perspectives on the emergence of the human mind. The overarching argument is that music contributes crucially to what it means to be human. (shrink)

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 (...) to that of mammalian domesticates and is therefore incompatible with the notion of human self-domestication. In the second part, we discuss the unique aspects of human evolution and propose that emotional control and social motivation in humans evolved during two major, partially overlapping stages. The first stage, which followed the emergence of mimetic communication, the beginnings of musical engagement, and mimesis-related cognition, required socially mediated emotional plasticity and was accompanied by new social emotions. The second stage followed the emergence of language, when individuals began to instruct the imagination of their interlocutors, and to rely even more extensively on emotional plasticity and culturally learned emotional control. This account further illustrates the significant differences between humans and domesticates, thus challenging the notion of human self-domestication. (shrink)

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 (...) provide the mechanism for cultural evolution. The human capacity for metarepresentation - thinking about how we think - accelerates cultural evolution, because it frees cultural information from the conceptual limitations of each individual language. Distin shows how the concept of cultural evolution outlined in this book can help us to understand the complexity and diversity of human culture, relating her theory to a range of subjects including economics, linguistics, and developmental biology. (shrink)

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 (...) pourquoi, en montrant qu'il est la conséquence nécessaire d'un petit nombre de propositions admises comme évidentes. S'élevant du concret à l'abstrait, ils dégagent l'essence intelligible de l'accident sensible et substituent au réel le possible. Les disciplines empiriques des Orientaux font place aux sciences théoriques et explicatives: l'astronomie, la mécanique, l'optique, la théorie musicale. Toutefois, au lieu de voir dans les concepts mathématiques une création de l'esprit, les penseurs‐géomètres de la Grèce les assimilent à une découverte par les yeux de l'ǎme d'essences préexistantes. Ils méprisèrent, en outre, les applications pratiques qui seules peuvent stimuler les sciences expérimentales. De là procèdent les limites, puis l'arrět de la science hellénique.Les conquětes d'Alexandre déversèrent sur l'Occident méditerranéen les religions de salut de l'Orient. A la recherche désintéressée du vrai se substitue la gnose, la révélation de mystères transcendants à la raison. Lorsque le message chrétien devint une philosophie puis une théologie, on en vint à distinguer » la démonstration hellénique « par le raisonnement et la dialectique, et » la démonstration hébraique « par les prophéties et les miracles des articles de la foi. La Scolastique rechercha l'accord de la raison et de la foi, en entendant par raison l'apport de la science et de la philosophie helléniques, assimilées, à partir du XIIIe siècle dans la Latinité, à l'encyclopédie aristotélicienne. La Scolastique échoua dans cette tentative. La doctrine de » la double vérité « fut l'aveu de cette impuissance.Pour se libérer de la mentalité scolastique, il fallut s'affranchir dans l'étude des phénomènes naturels de l'autorité d'Aristote, du joug de la théologie et parvenir à une théorie correcte de la connaissance, en particulier de la valeur des idées abstraites et de la distinction des vérités formelles et des vérités empiriques. Il fallut interpréter comme une création de l'esprit ce que les Grecs assimilaient à une découverte de vérités préexistantes. La désagrégation de l'a priori synthétique, conçu à la façon des Cartésiens et des Kantiens, conduit à se demander ce qui subsiste des exigences a priori de la raison. C'est à quoi s'évertue de répondre la dernière partie de l'article.ZusammenfassungEs gibt keinen geeigneteren Gegenstand zur Rechtfertigung der offenen Philosophie, die von der Dialectica vertreten wird, als das Studium der Entwicklung des Vernunftsbegriffes im abendländischen Denken.Mit der Entstehung der deduktiven Geometrie erhält das Wort Vernunft bei den Griechen des 5. Jahrhunderts vor Christo einen Sinn. An Stelle der gefühlsmässigen Evidenz, die auf der Gewissheit unserer Sinne beruht und lediglich das Wieeiner beobachteten Tatsache feststellt, setzen die griechischen Geometer die logische Evidenz, die das Warum erklärt, indem sie zeigt, dass es eine Folge einer kleinen Zahl von Voraussetzungen ist, die als evident angesehen werden können. Sich vom Konkreten zum Abstrakten erhebend, befreien sie das intelligible Wesen von der Zufälligkeit des Sinnlichen und ersetzen das Reelle durch das Mögliche. Die empirischen Disziplinen der Morgenländer schaffen Platz für die theoretischen und erklärenden Wissenschaften wie Astronomie, Mechanik, Optik, Musiktheorie. Immerhin, anstatt in den mathematischen Konzepten eine Schöpfung des Geistes zu sehen, setzen die geometrischen Denker Griechenlands diese der Entdeckung präexistenter Essenzen durch die Augen der Seele gleich. Sie verachten im übrigen die praktischen Anwendungen, die nur die Experimentalwissen‐schaften anregen können. Daher kommt es, dass die griechische Wissenschaft bei einer gewissen Grenze Halt machen musste.Die Schlachten Alexanders verschlangen im Abendland des Mittelmeeres die Heilsreligionen des Orients. An Stelle des uneigennützigen Suchens nach der Wahrheit tritt die Gnosis, das Erheben des mysteriös‐Transzendenten in den Bereich der Vernunft. Als die christliche Botschaft eine Philosophie, darauf eine Theologie wurde, begann man zu unterscheiden zwischen der » griechischen Beweisführung « mittels Vernunft und Dialektik und der » hebräischen Beweisführung « mittels Prophezeiungen und Wundern des zu Glaubenden. Die Scholastik forschte nach dem Zusammenhang zwischen Vernunft und Glaube, indem sie unter Vernunft den Beitrag der griechischen Wissenschaft und Philosophie verstand, der Aristotelischen Enzyklopädie angeglichen in der Folgezeit des 13. Jahrhunderts im Römischen Reich. Die Scholastik scheiterte in diesem Versuch. Die Lehre der » doppelten Wahrheit « war das Geständnis dieses Unvermögens.Um sich von der scholastischen Mentalität zu befreien, hiess es sich im Studium der Naturereignisse von der Autorität des Aristoteles befreien, vom Joch der Theologie und zu einer korrekten Theorie der Erkenntnis zu gelangen, speziell des Wertes der abstrakten Ideen und der Unterscheidung zwischen formellen und empirischen Wahrheiten. Was die Griechen einer Entdeckung von präexistenten Wahrheiten gleichsetzten, musste als Schöpfung des Geistes interpretiert werden. Die Desagregation des synthetischen Apriori, aufgefasst im Sinne von Descartes und Kant, führte zur Frage, was vorhanden sei von den apriori‐Erfordernissen der Vernunft.Dies zu beantworten, bemüht sich der letzte Teil des Artikels.There is no subject more suitable to the open philosophy of Dialectica than the study of the development of the concept of reason in Western thought.The word » reason « acquired a meaning with the creation of deductive geometry by the Greeks of the Vth cent. B. C. These geometers substituted for the sensible evidence, which only establishes the » what « of an observed fact, the intelligible evidence which explains the » why « of such an observed fact, by showing that it is the necessary result of a small number of statements, accepted as self‐evident. Rising from the concrete to the abstract, the geometers isolated the intelligible essence from the sensible accident, and substituted for the real the possible. The empirical technics of the Orientals made place for the theoretical sciences of the Greeks: astronomy, mechanics, optics and musical theory. Instead, however, of seeing mathematical concepts as creations of the mind, the Greek geometers considered them as preexisting entities, discovered by the eyes of the soul. They furthermore disregarded the practical applications which alone can stimulate experimental sciences. These were the limitations and the causes of the eventual end of hellenic science.The conquests of Alexander brought to the Western Mediterranean the religions of salvation of the East. The gnose, revelation of mysteries transcending reason, took the place of the disinterested search for truth. As the Christian message became a philosophy and then a theology, the distinction came to be made between the » hellenic demonstration of the faith « by logic and dialectics, and the » hebrew demonstration « by the prophecies and the miracles. The scholastics sought to reconcile reason with faith, by defining reason as the legacy of Greek science and philosophy, identified, after the XIIIth century, with the Aristotelian Encyclopedia. They failed in this endeavour. The doctrine of the » double truth « was the admission of this failure.In order to progress beyond the scholastic outlook, it was necessary to reject the precepts of Aristotle in the study of natural phenomena, to become free of the tyranny of theology, to develop a correct theory of knowledge, especially as regards the role of abstract ideas and the distinction between formal and empirical truths. It was necessary to interpret as a creation of the mind what the Greeks considered the discovery of preexisting truths. The breakdown of the synthetic apriori of the Cartesians and the Kantians leads one to wonder what remains of the a priori requisites of reason. The last part of the article suggests an answer to this question. (shrink)

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 (...) students. These recordsinclude classes taken, grades earned, and school-related information. Kanten (in Japanese) has become a key word in the evaluation of academic achievement in Japan. It represents the qualitative factors that should be considered when evaluating a student's learning achievements. In this essay, I review how these qualitative factors have evolved, both for general subjects and for fine arts.From the beginning of the educational system (1872) to 1938, the "assessment" [Hyoutei] of a student depended on the comprehensiveness of the student's achievement in each subject. (Overall assessments are now usually made using a three-point scale; 1-3, a five-point scale; 1-5, or an ABC scale.) However, it was not clearly specified how scholastic ability and learning accomplishment should be assessed or which qualitative factors should be considered.Starting in 1941, teachers were required to evaluate, comprehensively assess, and record the student's learning, consideration, dealing, application, skill, appreciation, practice, and learning attitude through his or her daily learning and activity. 1 The factors seem to be basically equivalent to those recently used as "interest/aspiration/attitude," "thinking," "judgment," [End Page 50] and "expressive power." After 1941, the point of view in the area of fine arts gradually changed from focusing on the "field-content-based factor" to the "ability-concept-based factor" in both the educational content and in evaluation.This report focuses on the evolution in the qualitative factors used in evaluations in the postwar era. From 1949 to 1991 "Understanding," "attitude," and "skill" were specified as factors that shouldbe considered when evaluating a student's learning achievements in 1949. For a few years, these factors were considered independently in the non-referenced evaluation of five-point ratings. The two basic viewpoints, "field-content-based factor" and "ability-concept-based factor," coexisted in the course of study in the early 1950s, according to a tentative plan published in 1951. "Attitude" and "habits" carried the same weight as "understanding" and "skill." These factors received minimal attention at the elementary school level. Evaluations thus evolved from simply an overall assessment of the student's achievement in a subject to an assessment of these specific factors. For instance, at the elementary school level, drawing and handicrafts both had factors related to "field content difference" (for example, drawing, color, and pattern) and to "ability concept difference" (for example, attitude and habit). At the junior high level, the factors were represented by a double-layer structure (Table 1). The elements underlined in Table 1 reflect on the "ability concept difference" (for example, expression activities and understanding activities) instead on the "field content difference." Following the revision of the permanent cumulative records in 1955, students were evaluated based only on an overall assessment of their individual [End Page 51] performance in each subject (Japanese language, mathematics, social studies, music, and drawing and handicrafts). There were three main reasons for this change.The effort it takes to evaluate each factor analytically. The difficulty of evaluating "attitude." The demand by schools at the next level for a comprehensive and uniform evaluation for each student for each subject. 3Furthermore, although "interest" was added as one of factors to be considered in the evaluation, it was not to be dealt with analytically in the evaluation of what the student learned. Consequently, evaluations became clearer and more comprehensive, although the weights of the factors, referred to as the "affective domain," took a step backward. In 1961, the factor "interest/attitude toward fine arts" was added. At the same time, "interest" was given more weight. However, the higher weighting of the factor was short-lived because intangible factors such as... (shrink)

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, (...) which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

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, (...) which took place over thousands of years? In other words, do aesthetic practice and appreciation help people to survive or reproduce? Do aesthetic behaviors help to propel natural selection? If so, what does that tell us about ourselves as human beings? What does it tell us about art, our other aesthetic practices, and aesthetic experience? (shrink)

I want to begin with four quotations, fairly typical of their type, and germane to our topic because they encapsulate what many artists and art lovers feel about art and music. These feelings are often inchoate, to be sure, and in the cold light of analytical day they may look extravagant and exaggerated. But they do capture something of the experience people often have of art and beauty, and for that reason alone must be given some phenomenological plausibility at (...) least. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and Evolution:Spiegelman's The Narrative CorpseBrian BoydIHas art evolved, like opposable thumbs and the whites of our eyes? If it has, will knowing so help us understand better not just art in general but particular works, even works of avant-garde art? Over recent decades many have come to accept that not only have humans evolved from other animals but that many features of their minds and behavior can (...) be explained by the deep past of evolution.1 Yet art remains a puzzle for biocultural analysis. How can we explain art in the hard-nosed terms of biological advantage, especially if it lacks analogies or precursors in other species and seems so pleasurably part of being distinctly human?2Nevertheless we have good reasons to examine whether art might be an adaptation. All cognitively normal individuals in all known societies engage in some form of art, actively or at least passively: music and dance, story, visual art. No one has to be pressured into listening to music on a radio or an iPod. And like language but unlike reading and writing, art develops reliably to a basic level without special training.Art could be what evolutionary biologists call a byproduct, a mere side-effect of our bigger brains or of culture. Yet that seems unlikely. Byproducts by definition do not offer advantages in terms of survival and reproduction: a bodily or behavioral feature whose design offers such advantages we classify as an adaptation. But if art were a byproduct, if it offered on average no advantage in terms of survival and reproduction, many generations of intense evolutionary competition would have eliminated it. If art offered no benefits but exacted the costs it does in time, [End Page 31] energy and resources, it would over many generations have been selected against through the superior fitness of those less inclined to pay such costs, those who preferred to devote their time and energy to securing material or social advantage or simply to save energy by resting.We can understand art in all its varieties, I suggest, as cognitive play with pattern, with multiple, high-intensity patterns. Play exists throughout much of the animal kingdom: in all mammals in which it has been looked for, in birds, and even in invertebrates like octopi. Play, like sleep and dreaming, puzzles and fascinates biologists because it is so widespread and so highly conserved (evolutionary lineages in which play has arisen do not lose it as they continue to evolve) that it must fulfill some function, because it has high costs in energy and risk, and because its functions are not as evident as those of "serious" behavior.3The amount of play in a species correlates highly with the flexibility of its behavior. In all species in which it occurs, play seems remarkably self-rewarding. Animals like pigs and rats play compulsively. In fact this seems the core of play: the self-rewarding nature of play makes animals engage in exuberant, intense behaviors that, under conditions of relative security, allow them to extend their capacities and improve their competence in situations of minimal risk. The skills honed will prove of advantage in real world situations where it is too late to learn on the job, in situations like fight or flight. Because play is compulsive, animals engage in it again and again, incrementally altering their neural wiring, strengthening and speeding up synaptic pathways, improving their capacity and performance.Humans uniquely inhabit what has been called "the cognitive niche":4 we gain most of our advantages from intelligence. We have an appetite for information, and especially for pattern, for information that falls into meaningful arrays from which we can make rich inferences. We therefore like bright, distinct colors, crisp outlines, complex shape or surface design: think of our special fondness for butterflies and flowers. And we have an appetite for open-ended pattern, new kinds of patterns, not only the patterns we have evolved to detect automatically. Vervet monkeys signal to one another in different ways when they see snakes, or leopards, or eagles, because they need to react in different ways to different threats, but they never learn to associate... (shrink)

Cultural transmission in non-literate societies (including that of Homer) is first discussed, partly to test some theories of Dan Sperber, and partly to consider thetheory of memes, which is sometimes held applicable to Homeric formulae, and is considered next. After discussing Sperber's criticism of memeticism, I turn toSperber's susceptibility theory of culture, and his discussions of religion and of music. Further examples drawn from Homeric religion are found to be in tension with aspects of this theory. Two diverse interpretations (...) of susceptibility present in Sperber's text are elicited and contrasted, of which one is criticised and the other welcomed as consistent with the role of reflection, artifice and rationality in the development of culture, activities that theories of culture cannot afford to disregard. (shrink)

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 (...) from archeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene–culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution because of their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music. (shrink)

Culture can be defined as “group typical behaviour patterns shared by members of a community that rely on socially learned and transmitted information”. Once thought to be a distinguishing characteristic of humans relative to other animals it is now generally accepted to exist more widely, with especially abundant evidence in non-human primates, cetaceans, and birds. More recently, cumulative cultural evolution has taken on this distinguishing role. CCE, it is argued, allows humans, uniquely, to ratchet up the complexity or efficiency (...) of cultural traits over time. This “ratchet effect” gives the capacity to accumulate beneficial modifications over time beyond the capacities of a single individual. Mesoudi and Thornton define a core set of criteria for identifying CCE in humans and non-human animals that places emphasis on some performance measure of traits increasing over time. They suggest this emphasis is also pertinent to cultural products in the aesthetic domain, but is this the case? Music, art and dance evolve over time, but can we say they gain beneficial modifications that increase their aesthetic value? Here we bring together perspectives from philosophy, musicology and biology to build a conceptual analysis of this question. We summarise current thinking on cumulative culture and aesthetics across fields to determine how aesthetic culture fits into the concept of CCE. We argue that this concept is problematic to reconcile with dominant views of aesthetics in philosophical analysis and struggles to characterise aesthetic cultures that evolve over time. We suggest that a tension arises from fundamental differences between cultural evolution in aesthetic and technological domains. Furthermore, this tension contributes to current debates between reconstructive and preservative theories of cultural evolution. (shrink)

Recently theorists have developed competing accounts of the origins and nature of protolanguage and the subsequent evolution of language. Debate over these accounts is lively. Participants ask: Is music a direct precursor of language? Were the first languages gestural? Or is language continuous with primate vocalizations, such as the alarm calls of vervets? In this article I survey the leading hypotheses and lines of evidence, favouring a largely gestural conception of protolanguage. However, the “sticking point” of gestural accounts, (...) to use Robbins Burling’s phrase, is the need to explain how language shifted to a largely vocal medium. So with a critical eye I consider Michael Corballis’s most recent expression of his ideas about this transition. Corballis’s view is an excellent foil to mine and I present it as such. Contrary to Corballis’s account, and developing Burling’s conjecture that musicality played some role, I argue that the foundations of an evolving musicality provided the means and medium for the shift from gestural to vocal dominance in language. In other words, I suggest that an independently evolving musicality prepared ancient hominins, morphologically and cognitively, for intentional articulate vocal production, enabling the evolution of speech. (shrink)

Can the law benefit from an evolutionary perspective? This little book shows how the idea of survival of the fittest can help explain legal development and the rise and fall of legal institutions. The reader is invited to join in on a journey of discovery in which the world of Darwin is connected to the topics of legal change, convergence of law, legal complexity, law in hip-hop music and the adoption of the price-payment rule. Exploring these five themes from (...) an evolutionary angle indisputably upsets our traditional view of the law, but it does fit the author's view of academia as a place for cross-disciplinary research steered by curiosity. (shrink)

Why should music be of interest to cognitive scientists, and what role does it play in human cognition? We review three factors that make music an important topic for cognitive scientific research. First, music is a universal human trait fulfilling crucial roles in everyday life. Second, music has an important part to play in ontogenetic development and human evolution. Third, appreciating and producing music simultaneously engage many complex perceptual, cognitive, and emotional processes, rendering (...) class='Hi'>music an ideal object for studying the mind. We propose an integrated status for music cognition in the Cognitive Sciences and conclude by reviewing challenges and big questions in the field and the way in which these reflect recent developments. (shrink)

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, (...) an important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

Professor Michael Edgeworth McIntyre is an eminent scientist who has also had a part-time career as a musician. From a lifetime's thinking, he offers this extraordinary synthesis exposing the deepest connections between science, music, and mathematics, while avoiding equations and technical jargon. He begins with perception psychology and the dichotomization instinct and then takes us through biological evolution, human language, and acausality illusions all the way to the climate crisis and the weaponization of the social media, and beyond (...) that into the deepest parts of theoretical physics - demonstrating our unconscious mathematical abilities. He also has an important message of hope for the future. Contrary to popular belief, biological evolution has given us not only the nastiest, but also the most compassionate and cooperative parts of human nature. This insight comes from recognizing that biological evolution is more than a simple competition between selfish genes. Rather, he suggests, in some ways it is more like turbulent fluid flow, a complex process spanning a vast range of timescales. Professor McIntyre is a Fellow of the Royal Society of London (FRS) and has worked on problems as diverse as the Sun's magnetic interior, the Antarctic ozone hole, jet streams in the atmosphere, and the psychophysics of violin sound. He has long been interested in how different branches of science can better communicate with each other and with the public, harnessing aspects of neuroscience and psychology that point toward the deep 'lucidity principles' that underlie skilful communication. (shrink)

As to what distinguishes music from other sound, some investigators in both philosophy and cognitive scientists have answered “tonality.” It seems subservient even to rhythm. Tonality is considered to be the central factor around which the piece is oriented; it gives a sense of home, expectation, and completeness. Most important, much of this inquiry builds on naturalistic, evolutionary explanation to account for human nature and behavior. The conclusion of such line of thought is that sounds missing tonality or tonal (...) focus cannot be music. This article challenges such sort of naturalistic criteria distinguishing music from nonmusic. Permitting certain sets of sounds to be considered music does not necessitate denial or approval of naturalistic explanations but does allow nontonal music to serve a part of human and musical evolution. (shrink)

Experimental research with human infants has demonstrated a level of sensitivity to music comparable to that of musically unsophisticated adults. This evidence points to the biologically hard‐wired nature of musical responsivity, and further raises the question of the evolutionary roots of the phenomenon. The question is addressed by examining (1) the ontogenetic and phylogenetic order in which speech and music are acquired, (2) the possible adaptive properties of music and dance, and (3) cognitive evolutionary retrodictions about the (...) period in prehistory when art began. Much uncertainty continues to surround these issues, but there is a strong indication that the performing and visual arts are natural phenomena with distinctively different evolutionary roots. (shrink)

Evidence suggests that humans might have neurological specializations for music processing, but a compelling adaptationist account of music and dance is lacking. The sexual selection hypothesis cannot easily account for the widespread performance of music and dance in groups (especially synchronized performances), and the social bonding hypothesis has severe theoretical difficulties. Humans are unique among the primates in their ability to form cooperative alliances between groups in the absence of consanguineal ties. We propose that this unique form (...) of social organization is predicated on music and dance. Music and dance may have evolved as a coalition signaling system that could, among other things, credibly communicate coalition quality, thus permitting meaningful cooperative relationships between groups. This capability may have evolved from coordinated territorial defense signals that are common in many social species, including chimpanzees. We present a study in which manipulation of music synchrony significantly altered subjects’ perceptions of music quality, and in which subjects’ perceptions of music quality were correlated with their perceptions of coalition quality, supporting our hypothesis. Our hypothesis also has implications for the evolution of psychological mechanisms underlying cultural production in other domains such as food preparation, clothing and body decoration, storytelling and ritual, and tools and other artifacts. (shrink)

Is the human tendency toward musicality better thought of as the product of a specific, evolved instinct or an acquired skill? Developmental and evolutionary arguments are considered, along with issues of domain‐specificity. The article also considers the question of why humans might be consistently and intensely drawn to music if musicality is not in fact the product of a specifically evolved instinct.

Sources such as diaries, letters and inventories suggest that certain places were preferred for music-making during the seventeenth century: the great chamber for eating and dancing, the chamber and the cabinet for private concerts, and the gallery for great occasions. In the middle of the seventeenth century, the ballroom appears in some beautiful castles and town mansions, equipped with a balcony all around or a small loft to house musicians. During the same period, some people had a cabinet devoted (...) to music. It is only during the second half of the century that we find precise terms such as ‘chamber for music’ at Chenonceau Castle or ‘music room’ as it appears in the well-known Parisian mansion of the duchesse de Guise. This evolution is naturally symptomatic of both the royal examples and the creation of multiple social circles, the so-called ‘salons’. (shrink)

Nearly all listeners consider the subjective aspects of music, such as its emotional tone, to have primary importance. But contemporary philosophers often downplay, ignore, or even deny such aspects of experience. Moreover, traditional philosophies of music try to decontextualize it. Using music as an example, this paper explores the structure of qualitative experience, demonstrating that it is multi-layer emergent, non-compositional, enacted, and situation dependent, among other non-Cartesian properties. Our explanations draw on recent work in cognitive science, including (...) blending, image schemas, and sensory memory, as well as on phenomenology. A hierarchical structure transformation based complexity theory is applied to obtain a non-linear dynamical systems explanation of qualia and emotion that respects phenomenological insights about time, including retention and protention. The complexity measure provides both a metric structure and a potential function, on spaces of pieces that are constructed using given elements and transformations, with weights that reflect their cognitive difficulty. However, the approach is not reductionist; using improvisation and the evolution of musical notation as data, we argue that situatedness, especially enactment and social context, are key aspects of musical consciousness. (shrink)

The question of why music evolved has been contemplated and debated for centuries across multiple disciplines. While many theories have been posited, they still do not fully answer the question of why humans began making music. Adding to the effort to solve this mystery, we propose the socio-affective fiction (SAF) hypothesis. Humans have a unique biological need for emotion regulation strengthening. Simulated emotional situations, like dreams, can help address that need. Immersion is key for such simulations to successfully (...) exercise people's emotions. Therefore, we propose that music evolved as a signal for SAF to increase the immersive potential of storytelling and thereby better exercise people's emotions. In this review, we outline the SAF hypothesis and present cross-disciplinary evidence. (shrink)

Stephen Davies taught philosophy at the University of Auckland, Auckland, New Zealand. His research specialty is the philosophy of art. He is a former President of the American Society for Aesthetics. His books include Definitions of Art (Cornell UP, 1991), Musical Meaning and Expression (Cornell UP, 1994), Musical Works and Performances (Clarendon, 2001), Themes in the Philosophy of Music (OUP, 2003), Philosophical Perspectives on Art (OUP, 2007), Musical Understandings and Other Essays on the Philosophy of Music (OUP, 2011), (...) The Artful Species: Aesthetics, Art, and Evolution (OUP, 2012), The Philosophy of Art (Wiley-Blackwell, 2016 second ed.), and Adornment: What Self-decorations Tells Us about Who We Are, (Bloomsbury Academic, 2020). (shrink)

The past 15 years have witnessed an increasing interest in the comparative study of language and music as cognitive systems. This book presents an interdisciplinary study of language and music, exploring the following core areas - structural comparisons, evolution, learning and processing, and neuroscience.

Savage et al. make a compelling case, Mehr et al. less so, for social bonding and credible signalling, respectively, as the main adaptive function of human musicality. We express general advocacy for the former thesis, highlighting: overlap between the two; direct versus derived biological functions, and aspects of music embedded in cultural evolution, for example, departures from tonality.

Both papers – to different degrees – underplay the interactive dimensions of music, and both would have benefited from integrating the concept of attachment into their treatments of social bonding. I further suggest that their treatment of music as a discrete domain of human experience and behaviour weakens their arguments concerning its functions in human evolution.

In lieu of an abstract, here is a brief excerpt of the content:Music Education and Spirituality:Philosophical Exploration IiAnthony J. PalmerMusic, beyond its pitches and rhythms, timbres and dynamics, has elusive qualities that many have difficulty identifying and discussing. In this regard Rabindranath Tagore speaks of the "ineffable":But when our heart is fully awakened in love, or in other great emotions, our personality is in its flood-tide. Then it feels the longing to express itself for the very sake of expression. (...) Then comes art, and we forget the claims of necessity, the thrift of usefulness; the spires of our temples try to kiss the stars and the notes of our music to fathom the depth of the ineffable.1Abraham Maslow points to a similar state of being:Transcendence refers to the very highest and most inclusive or holistic levels of human consciousness, behaving and relating, as ends rather than as means, to oneself, to significant others, to human beings in general, to other species, to nature, and to the cosmos.2 [End Page 143]One deep, the other beyond, both direct attention toward something richer, exceeding technical competence and excellent rendition of the score. Yet, the very realms where these qualities reside seem to be above our ability to assess other than to say, "we know it when we experience it."3 Is there some realization that we have transcended the mundane, passed over to another plane of existence and gone beyond an egocentric mind-frame? And could subjective reports satisfy any objective criteria that the event truly happened? Moreover, could one's experience be distinguished qualitatively from another's? This is one of the quandaries when attempting to assess experience of such an elusive nature. Although, these questions lie at the foundation of such an inquiry as this, answers await additional investigation at a later time. For the present, this study will be limited to laying the groundwork for these future explorations.A clarification of terms preceding this essay is imperative. To begin, the discourse will use 'spirituality' and 'transcendence' interchangeably. Various readings suggest that there is sufficient agreement that these terms describe the same noumenal experience. For example, physicist Fritjof Capra states that:Spiritual experience is an experience of aliveness of mind and body as a unity. Moreover, this experience of unity transcends not only the separation of mind and body, but also the separation of self and world. The central awareness in these spiritual moments is a profound sense of oneness with all, a sense of belonging to the universe as a whole.4This essay continues in this vein and that of my previous article on the subject5 that the religious and doctrinal are not part of the discussion. Therefore, an effort will be made to distance spirituality, as used here, from religion. In that light, a brief comparison will prove helpful.Spirituality has its roots in the Latin: "in + spirare (Latin to breathe). Archaic: to breathe or blow into or upon; to infuse (as life) by breathing."6 This "blowing upon" is no better illustrated than in the account in Genesis. Chapter 2, verse 4, line 7 reads: "Then the Lord God formed man of dust from the ground, and breathed into his nostrils the breath of life; and man became a living being."7 Psyche in Greek and atman in Sanskrit have essentially the same meaning of breath and being alive, that is, embodying an animating force.This animating force, in my view, is not of metaphysical origins, but rather inherent in the evolution of the human species. Spirituality is a human quality as a product of supreme levels of consciousness. Additionally, it has the quality of knowing that we are conscious. C. G. Jung's statement is appropriate in describing this seemingly incomprehensible characteristic.Were organized religion to disappear by some quirk of social process, the human community still cannot and must not do without cultivating the spiritual, [End Page 144] what Jung calls the "attitude peculiar to a consciousness which has been changed by experience of the numinosum."8Diane Ackerman supports the non-metaphysical origins of the impulse.Our sensitivity to religion means that at some stage in human history, our chance of mating and surviving increased... (shrink)

This paper is about knowledge construction in music listening. It argues for an experiential approach to music cognition, stressing the dynamic-vectorial field of meaning rather than the symbolic field. Starting from the conceptual framework of deixis and indexical devices, it elaborates on the concept of pointing as a heuristic guide for sense-making which allows the listener to conceive of perceptual elements in terms of salience, valence and semantical weight. As such, the act of (mental) pointing can be predicative, (...) either in a nominalistic or processual way, giving a description of the temporal evolution of a situation as against episodic nominalizations that refer to just one single instance of the process. The latter, especially, are characterized by distancing and polarization between the listener and the music, allowing him/her to deal with the music also at a level of mental imagery and to construct a mental or cognitive map of its unfolding. (shrink)

The article dwells on the problem of Rakhmaninov’s art, style and poetics influence on the process of formation and development of national music cultures, national composer schools and some individual author’s styles of the former USSR. Three evolution stages of all national music cultures are determined: “preprofessional”, “professional” and the stage of “new music”. Two work concepts are introduced: a Rakhmaninov’s musical and style canon as an individual system including characteristic properties of the composer’s style and poetics, (...) and a national musical and style canon as a system of musical and expressive language principles typical for every musical culture and possessive of the national character. The signs representing the Rakhmaninov’s style are revealed and considered on the piano concerto genre. These two spheres outlined are disclosed in folklore and neofolklore conditions as the main evolution directions of the national musical thinking. The main principles of the Rakhmaninov’s and national canons interaction are singled out: adaptation corresponding to the early development stages of national music cultures (forlklore stage) and assimilation (by G. Golovinsky) characteristic for “new music” (neofollore stage). The problems are considered on the example of piano concertos by Z. Ismagilov, A. Khatchaturyan, A. Eshpay, R. Gazizov and some others. (shrink)

Although music and other forms of art can develop in diverse directions, they are linked to the genetic profiles of populations. Hearing music is a strong environmental trigger that serves as an excellent model to study the crosstalk between genes and the environment. We propose that the ability to enjoy and practice music requires musical aptitude, which is a common and innate trait facilitating the enjoyment and practice of music. The innate drive for music can (...) only have arisen by exposure to music, and it develops with motivation and training in musically rich environments. Recent genomic approaches have shown that the genes responsible for inner ear development, auditory pathways and neurocognitive processes may underlay musical aptitude. It is expected that genomic approaches can be applied to musical traits and will reveal new biological mechanisms that affect human evolution, brain function, and civilisation. (shrink)

Music is fundamental to human existence, a cultural universal among all humans for all times. It is embedded in our evolution, encoded in our DNA, which is to say, essential to our survival. Academics in a variety of disciplines have considered this idea to devise explanations that Richard Manning, a lifelong journalist, finds hollow, arcane, incomplete, ivory-towered, and just plain wrong. He approaches the question from a wholly different angle, using his own guitar and banjo as instruments of (...) discovery. In the process, he finds himself dancing in celebration of music rough and rowdy. American roots music is not a product of an elite leisure class, as some academics contend, but of explosive creativity among slaves, hillbillies, fieldhands, drunks, slackers, and hucksters. Yet these people-poor, working people-built the foundations of jazz, gospel, blues, bluegrass, rock 'n' roll, and country music, an unparalleled burst of invention. This is the counterfactual to the academics' story. This is what tells us music is essential, but by pulling this thread, Manning takes us down a long, strange path, following music to deeper understandings of racism, slavery, inequality, meditation, addiction, the science of our brains, and ultimately to an enticing glimpse of pure religion. Use this book to follow where his guitar leads. Ultimately it sings the American body, electric. (shrink)

Both Mehr et al.'s credible signaling hypothesis and Savage et al.'s music and social bonding hypothesis emphasize the role of multilevel social structures in the evolution of music. Although empirical evidence preferentially supports the social bonding hypothesis, rhythmic music may enable bonding in a way uniquely fitted to the normative and language-based character of multilevel human societies.

“Music As a Coevolved System for Social Bonding” is a brilliant synthesis and appealing hypothesis offering insights into the evolution and social bonding of musicality, but is so broad and sweeping it will be challenging to test, prove or falsify in the Popperian sense. After general comments, I focus my critique on underlying neurobiological mechanisms, and offer some suggestions for experimental tests of MSB.

Much controversy surrounds Schenker's mature theory and its attempt to explain musical pitch motion. Becoming Heinrich Schenker brings a new perspective to Schenker's theoretical work, showing that ideas characteristic of his mature theory, although in many respects fundamentally different, developed logically out of his earlier ideas. Robert P. Morgan provides an introduction to Schenker's mature theory and traces its development through all of his major publications, considering each in detail and with numerous music examples. Morgan also explores the relationship (...) between Schenker's theory and his troubled ideology, which crucially influenced the evolution of his ideas and was heavily dependent upon both the empirical and idealist strains of contemporary German philosophical thought. Relying where possible on quotations from Schenker's own words, this book offers a balanced approach to his theory and a unique overview of this central music figure, generally considered to be the most prominent music theorist of the twentieth century. (shrink)

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical background (...) is provided in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such, there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making. (shrink)

Mehr et al. seek to explain music's evolution in terms of a unitary proper function – signalling cooperative intent – which they cash out in two guises, coalition signalling and parental attention signalling. Although we recognize the role signalling almost certainly played in the evolution of music, we reject “ultimate” causal explanations which focus on a unidirectional, narrow range of causal factors.

Mehr et al. propose a theory of the evolution music that can potentially account for most animal vocalizations as precursors to human music. Therein lies its appeal but also its Achilles' heel, for the wider the range of animal vocalizations treated as premusical expressions, the wider the gap to human music. Here, I offer a few critical observations and constructive suggestions that I hope will help the authors strengthen their case.

There have been remarkable evolutions in the Nigerian gospel music industry for the past decades. These revolutions have led to the emergence and survival of various modern and controversial musical cultures/traditions, modes and performances including worldliness and paganism in the industry. In view of these relatively nefarious musical cultures, a good number of scholars and observers tend to arguably redefine and brand Christian communication in general and Nigerian gospel music in particular. It is in following this premise that (...) this paper examines the phenomenon of religiosity and worldliness in the Nigerian gospel music industry. Based on observations and secondary data, the paper argues that the Nigerian gospel music industry is just a vivid reflection of the country’s gloomy socio-religious landscape, characterized by the emergence/prevalence of fake ministers and various ubiquitous instrumentalities that perpetrate spiritual bareness in the country. Aspects of religiosity observed in some Nigerian gospel songs include controversial rhythms, imitations/adaptations of worldly songs, lyrical emphasis on prosperity at the detriment of spirituality/salvation, gospel artists being associated with sex scandals and occult practices. (shrink)

This paper holds an evolutionary approach to musical semantics. Revolving around the nature/nurture dichotomy, it considers the role of the dispositional machinery to respond to sounding stimuli. Conceiving of music as organized sound, it stresses the dynamic tension between music as a collection of vibrational events and their potential of being structured. This structuring, however, is not gratuitous. It depends on levels of processing that rely on evolutionary older levels of reacting to the sounds as well as higher-level (...) functions of the brain, which allow listeners to emancipate themselves from mere acoustic processing of sounds to the level of epistemic interactions with the sounding music. These interactions are partly autonomous and partly constrained, but they all stress the realization of systemic cognition in the context of a living system‘s interactions with the environment. As such, listeners can be conceived as adaptive devices, which can build up new semiotic linkages with the sounding world. (shrink)

For the purpose of contributing to a clarification of the term process, different kinds of musical processes are investigated: A rule-determined phase shifting process in Steve Reich's Piano Phase (1966), a model for an indeterminate composition process in John Cage's Variations II (1961), a number of evolution processes in György Ligeti's In zart fliessender Bewegung (1976), and a generative process of fractal nature in Per Nørgård's Second Symphony (1970). In conclusion I propose that six process categories should be included (...) in a typology of processes: Rule-determined, goal-directed and indeterminate transformation processes, and rule-determined, goal-directed and indeterminate generative processes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Nos faysoms contre Nature...”: Fourteenth-Century Sophismata and the Musical Avant GardeDorit TanayThe secular musical repertory of the late fourteenth century has been described in terms of unparalleled rhythmic intricacies, reflecting a conscious tendency to exhaust the scope of free play within the parameter of time in music. 1 Historians of music see in such musical complexity a case of a musical system in disarray, to be explained (...) by patterns that seem always adequate to account for phases of aberration from stylistic norm, such as the notions of mannerism or fin de siècle phenomenon, understood literally as well as figuratively. 2Current views seem to echo contemporaneous observations. The late fourteenth-century poet-musician Guido cast his critique on what he interprets as a shift towards chaotic musical expression, in a form of an introspective ballade:Or voit tout en aventure Puis qu’ainsi me convient fayre A la novelle figure Qui doyt a chascun desplayre; Que c’est trestout en contraire De bon art qui est parfayt: Certes, ce n’est pas bien fayt. [End Page 29]Nos faysoms contre Nature De ce qu’est bien fayt deffayre; Que Philipe qui mais ne dure Nos dona boin exemplaire. Nos laisons tous ses afayres Por Marquet le contrefayt: Certes, ce n’est pas bien fayt. L’art de Marquet n’a mesureN’onques rien ne sait parfyre; D’ansuir et de portrayre C’est trop grant outrecuidure Ces figures, et tout traire Ou il n’a riens de bon trayt: Certes, ce n’est pas bien fayt. 3Curiously enough, Guido set his ballade to a melody that evokes some of the obscenities deplored in the poem. The musical text displays needless complication, being notated by deceitful figures that are willful, misleading, and difficult to decipher and follow. 4 The literary text, similarly, diversifies words in a vein of irony and ambiguity, clouding any indication as to whether the speaker is for or against the new style. In other words Guido’s esthetic position is sophistic, self-amused, and self-conscious.Since artistic expressions are generally conceived as reflecting their consumers, late-medieval chansons have been interpreted as a manifestation of the incredibly decadent yet sophisticated social milieu in which and for which the music was created. To ground further the argument for the correspondence between the countenance of the music and that of its audience, historians invoke the proximity in time and space between the evolution of the manneristic musical style, significantly in Avignon, and the Great Schism (1378–1417) that [End Page 30] followed the Babylonian Captivity. This famous crisis in the papal reign has been associated with a strong tendency to secularization in the papal Court, by which life styles became luxurious if not licentious. 5This socio-historical account is based on suggestive conjectures, comprising in part explanatory commonplaces. No direct relation can be established between the “Great Schism” or the specific social condition, of Avignon and the most refined music of the late fourteenth century. Furthermore, the claim of the above social account for a contextual approach is misleading. In fact no solid immanent relations are shown to exist between a complex, quasi-degenerate society on the one hand, and the intricate rhythms of the music on the other. The attribution of complexity in the broadest sense of the term does not satisfy our curiosity as to the possible interdependence between style and society. Interestingly enough, as far as late fourteenth-century chansons style is concerned, such an association can even be countered, considering the coincidental cultivation of the new simple style in the complex and decadent Burgundian courts of the waning Middle Ages. 6Here I propose to examine the late fourteenth-century musical style not on the background of social procedures but in the context of fourteenth century scientific thought, and to demonstrate immanent and structural cohesion between a compositional trend that features manipulations within the dimension of musical time and the sciences which investigate the properties of time qua continuum. This affinity concerns a parallel, yet not a completely overlapping, development directed towards the ultimate refinement of the notion of mensura. In other words we are dealing here... (shrink)

The twentieth century was a time of dramatic change in the structure, language, and aesthetic purpose of music. Numerous factors came together that led the musical avant-garde toward new artistic paths such as atonality and aleatoricism (use of chance elements) in music, and a shift in the idea of what music should portray away from beauty toward truth, or from idealized to actualized. If the arts are a reflection of the philosophical and aesthetic spirit of the times, (...) then an examination of prominent philosophical and aesthetic regimes of the time should reveal changes that facilitated the aesthetic and artistic innovations of the era. This article will examine the relationship between the philosophical and aesthetic writings of Henri Bergson and the affinities, and in some cases influences, they had on the development of two of the major musical innovations of the twentieth century. Specifically, Arnold Schoenberg's development of atonal compositional technique results partially from Bergson's focus on knowledge as a conveyor of truth, and John Cage's cultivation of aleatoricism as a compositional process arises out of Bergson's critique of nothingness as stated in Creative Evolution. (shrink)

Wim van der Steen charts conceptual foundations of evolutionary biology and, on the basis of this, he evaluates applications of evolutionary theory outside biology. Philosophical analysis shows that key notions of the theory such as fitness, adaptation, selection, and optimality are empty place-holder concepts that call for context-dependent specifications of meaning. For example, as he points out, the notion of optimality is empty without a specification of constraints. Hence, the controversial thesis that animals perform optimal behaviors as a result of (...) natural selection is meaningless rather than true or false. Analysis shows that many other controversies in evolutionary biology are spurious. Thus, the thesis of genic selectionism, which puts genes at center stage in evolutionary theory, is best reconstructed as an arbitrary conceptualization without substance. Disagreements over the thesis are futile. They reflect preferences for different conceptualizations which are ultimately equivalent. As concepts are properly specified, van der Steen asserts evolutionary theory turns out to be a body of interesting natural history at a low level of generality. General laws of evolution do not exist. Hence, evolutionary approaches do not allow sweeping claims about human nature. Unfortunately, in disciplines outside biology such claims are often defended with evolutionary approaches. Evolutionary theory also cannot serve as a foundation for normative views in ethics or epistemology. This is an important and controversial work for scholars and advanced researchers in biology and the philosophy of biology. (shrink)

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 (...) adaptation/technology distinction that frames Lawson's theorising about music. In place of that research framework, I offer a niche construction perspective, with reference to several brief ethnographic examples, and a ‘socio-cognitive niche’ picture of the evolution of music that takes seriously co-evolution and the project of developing empirically constrained, phylogenetically plausible scenarios for the evolution of music, in a general context of hominin evolution. I identify areas of research where ethnomusicology can weigh in on debates concerning the evolutionary career of music, including, importantly, data for phylogenetic modelling and analysis. (shrink)