Trends in Music Information Seeking, Behavior, and Retrieval for Creativity (original) (raw)
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The Knowledge Instinct, Cognitive Functions of Music and Cultural Evolution
Advances in Multimedia and Interactive Technologies
Evolution of music ability has been considered a mystery from Aristotle to Darwin and as no adaptive purpose has been identified yet, making music is still a puzzle for evolutionary biologists. This chapter considers a new theory of music origin and evolution, identifying a cognitive function of music which helps overcoming cognitive dissonance based on the unification of consciousness that is differentiated by language. According to this theory, music is fundamental for cultural evolution. The reason for music strongly affecting us is that it helps overcoming unpleasant emotions of cognitive contradictions, which are conditions of accumulating knowledge. The chapter considers experimental evidence supporting this theory and the joint evolution of music, culture, and consciousness.
Music, Cognition, Culture, and Evolution
Annals of the New York Academy of Sciences, 2006
We seem able to define the biological foundations for our musicality within a clear and unitary framework, yet music itself does not appear so clearly definable. Music is different things and does different things in different cultures; the bundles of elements and functions that are music for any given culture may overlap minimally with those of another culture, even for those cultures where "music" constitutes a discrete and identifiable category of human activity in its own right. The dynamics of culture, of music as cultural praxis, are neither necessarily reducible, nor easily relatable, to the dynamics of our biologies. Yet music appears to be a universal human competence. Recent evolutionary theory, however, affords a means for exploring things biological and cultural within a framework in which they are at least commensurable. The adoption of this perspective shifts the focus of the search for the foundations of music away from the mature and particular expression of music within a specific culture or situation and on to the human capacity for musicality. This paper will survey recent research that examines that capacity and its evolutionary origins in the light of a definition of music that embraces music's multifariousness. It will be suggested that music, like speech, is a product of both our biologies and our social interactions; that music is a necessary and integral dimension of human development; and that music may have played a central role in the evolution of the modern human mind.
Cognition and the Evolution of Music: Pitfalls and Prospects
Topics in Cognitive Science, 2012
What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we show that a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter-gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation.
Cognitive function, origin, and evolution of musical emotions
Based on recent advancements in cognitive science and mathematical models of the mind, this paper proposes a hypothesis on a fundamental role of music in cognition, and in the evolution of the mind, consciousness, and cultures. The vocalizations of proto-humans split into two types: one less emotional and more concretely semantic, evolving into language, and the other preserving emotional connections along with semantic ambiguity, evolving into music. The proposed hypothesis considers specific mechanisms of the mind-brain, which required the evolution of music in parallel with the evolution of cultures and languages. The evolution of language toward becoming the semantically powerful tool used today has required emancipation from emotional encumbrances. Arguments explore why no less powerful mechanisms required a compensatory evolution of music toward more differentiated and refined emotionality. Due to this common origin, language and music in all cultures still retain both semantics and emotionality; however, in this article we emphasize differences in the functions of music and language. The fast differentiation of knowledge due to language has created cognitive dissonances among knowledge and instincts. Differentiated emotions were needed for resolving these dissonances. Thus the need for refined music in the process of cultural evolution is grounded in fundamental mechanisms of cognition. This is why today's human mind and cultures cannot exist without today's music. Empirical data on the parallel evolution of cognition, emotions, consciousness, and music during the last three thousand years are discussed. Data on changes in musical styles parallel to changes in consciousness support the proposed hypothesis. We propose experimental approaches toward verification of this hypothesis in psychological and neuroimaging research.
Without it no music: Cognition, biology, and evolution of musicality
Philosophical Transactions of the Royal Society B, 2015
Musicality can be defined as a natural, spontaneously developing trait based on and constrained by biology and cognition. Music, by contrast, can be defined as a social and cultural construct based on that very musicality. One critical challenge is to delineate the constituent elements of musicality. What biological and cognitive mechanisms are essential for perceiving, appreciating and making music? Progress in understanding the evolution of music cognition depends upon adequate characterization of the constituent mechanisms of musicality and the extent to which they are present in nonhuman species. We argue for the importance of identifying these mechanisms and delineating their functions and developmental course, as well as suggesting effective means of studying them in human and nonhuman animals. It is virtually impossible to underpin the evolutionary role of musicality as a whole, but a multicomponent perspective on musicality that emphasizes its constituent capacities, development and neural cognitive specificity is an excellent starting point for a research program aimed at illuminating the origins and evolution of musical behaviour as an autonomous trait.
Music, Culture and the Evolution of the Human Mind: Looking Beyond Dichotomies
Hellenic Journal of Music, Education and Culture Vol. 4, 2014
The origin of human musicality is often discussed within a dichotomous nature-or-culture framework. However, recent developments in neuroscience and evolutionary theory are opening up possibilities for ‘dual inheritance’ models. Emerging evidence of music’s deep roots in the most primordial areas of the brain––and of its effects on the plasticity of the neocortex––supports connections between the emotional communications of animals, musicality in human ontogenesis, and the wide variety of musical activities we participate in as the cultural creatures we are. Furthermore, a growing number of theories support a shared evolutionary origin for music and language, suggesting that music played a crucial role in the evolution of the human mind and the development of social and cultural cognition. Key literature associated with music and evolution is critically reviewed; and possibilities for integrated bio-cultural conceptions of music’s origins are considered.
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.
Two challenges in cognitive musicology
Two themes in music cognition research are highlighted-inspired by the contributions in this volume: (a) statistical learning and (b) evolutionary theorizing. Our ability to test alternatives to statistical learning is threatened by the rapidly diminishing opportunities for cross-cultural studies unconfounded by bimusicalism. Our ability to infer possible evolutionary origins for music is confounded by the ''hedonic plenitude'' of modern music-making-where multiple pleasure channels are activated simultaneously. Cognitively inspired music research will benefit by studying a wider range of musical cultures. Evolutionary theorizing will benefit by further work involving comparative animal behavior.
Music and the Evolution of Embodied Cognition
Evolutionary Perspectives on Imaginative Culture, 2020
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 still available to us as contemporary music creators and consumers.