The Origins of Music

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Overview

What biological and cognitive forces have shaped humankind's musical behavior and the rich global repertoire of musical structures? What is music for, and why does every human culture have it? What are the universal features of music and musical behavior across cultures? In this groundbreaking book, musicologists, biologists, anthropologists, archaeologists, psychologists,neuroscientists, ethologists, and linguists come together for the first time to examine these and related issues. The book can be viewed as representing the birth of evolutionary biomusicology —the study of which will contribute greatly to our understanding of the evolutionary precursors of human music, the evolution of the hominid vocal tract, localization of brain function, the structure of acoustic-communication signals, symbolic gesture, emotional manipulation through sound,self-expression, creativity, the human affinity for the spiritual, and the human attachment to music itself.

Contributors: Simha Arom, Derek Bickerton, Steven Brown, EllenDissanayake, Dean Falk, David W. Frayer, Walter Freeman, Thomas Geissmann, Marc D. Hauser, MichelImberty, Harry Jerison, Drago Kunej, François-Bernard Mâche, Peter Marler, Björn Merker, GeoffreyMiller, Jean Molino, Bruno Nettl, Chris Nicolay, Katharine Payne, Bruce Richman, Peter J.B. Slater,Peter Todd, Sandra Trehub, Ivan Turk, Maria Ujhelyi, Nils L. Wallin, Carol Whaling.

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Product Details

  • ISBN-13: 9780262731430
  • Publisher: MIT Press
  • Publication date: 9/1/2001
  • Series: Bradford Books Series
  • Edition description: New Edition
  • Pages: 512
  • Sales rank: 703,245
  • Product dimensions: 7.00 (w) x 10.00 (h) x 1.20 (d)

Meet the Author

Nils L. Wallin is Director of the Institute for Biomusicology at Mid Sweden University,Östersund.

Björn Merker is Senior Fellow at the Institute for Biomusicology at Mid Sweden University,Östersund.

Steven Brown is Fellow at the Institute for Biomusicology at Mid Sweden University,Östersund.

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Table of Contents

Preface
Contributors
I The Beginning 1
1 An Introduction to Evolutionary Musicology 3
II Vocal Communication in Animals 25
2 Prolegomena to a Biomusicology 27
3 Origins of Music and Speech: Insights from Animals 31
4 Birdsong Repertoires: Their Origins and Use 49
5 What's Behind a Song? The Neural Basis of Song Learning in Birds 65
6 The Sound and the Fury: Primate Vocalizations as Reflections of Emotion and Thought 77
7 Gibbon Songs and Human Music from an Evolutionary Perspective 103
8 Social Organization as a Factor in the Origins of Language and Music 125
9 The Progressively Changing Songs of Humpback Whales: A Window on the Creative Process in a Wild Animal 135
III Music, Language, and Human Evolution 151
10 Can Biomusicology Learn from Language Evolution Studies? 153
11 Toward an Evolutionary Theory of Music and Language 165
12 Paleoneurology and the Biology of Music 177
13 Hominid Brain Evolution and the Origins of Music 197
14 Fossil Evidence for the Origin of Speech Sounds 217
15 New Perspectives on the Beginnings of Music: Archeological and Musicological Analysis of a Middle Paleolithic Bone "Flute" 235
IV Theories of Music Origin 269
16 The "Musilanguage" Model of Music Evolution 271
17 How Music Fixed "Nonsense" into Significant Formulas: On Rhythm, Repetition, and Meaning 301
18 Synchronous Chorusing and Human Origins 315
19 Evolution of Human Music through Sexual Selection 329
20 Simulating the Evolution of Musical Behavior 361
21 Antecedents of the Temporal Arts in Early Mother-Infant Interaction 389
22 A Neurobiological Role of Music in Social Bonding 411
V Universals in Music 425
23 Human Processing Predispositions and Musical Universals 427
24 The Question of Innate Competencies in Musical Communication 449
25 An Ethnomusicologist Contemplates Universals in Musical Sound and Musical Culture 463
26 The Necessity of and Problems with a Universal Musicology 473
VI The End of the Beginning 481
27 Listening to Music 483
Author Index 485
Subject Index 495
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