Music's putative adaptive function hinges on a combination of distinct mechanisms

2021 ◽  
Vol 44 ◽  
Author(s):  
Bruno Gingras

Abstract Music's efficacy as a credible signal and/or as a tool for social bonding piggybacks on a diverse set of biological and cognitive processes, implying different proximate mechanisms. It is likely this multiplicity of mechanisms that explains why it is so difficult to account for music's putative biological role(s), as well as its possible origins, by proposing a single adaptive function.

2019 ◽  
pp. 139-153
Author(s):  
Carel P. van Schaik ◽  
Judith M. Burkart

Normative behavior is a human universal that is intimately linked to morality. Morality is an adaptation to the specifically human subsistence niche of hunting and gathering, which is skill-intensive and therefore relies on transmission of opaque knowledge and involves critical interdependence, reliance on coordinated division of labor, and synchronized collective action. This lifestyle requires the presence of a variety of emotions that coevolved with it as the proximate mechanisms enabling this adaptive function. The high-urgency feel to many of these emotions reflects their functional importance: it serves to give them priority over other motivations. It is also what, to contemporary humans, makes them recognizable as moral. The key components of human morality are (1) prosocial emotions, and (2) an urge to conform. Together, they produce the urge to comply with moral norms. Normativity is thus an integral part of human morality. It evolved when two preferences came together. Strong informational conformity, needed to enable the transmission of opaque knowledge, was already present in the anthropoid primate ancestors of hominids and hominins. The added component evolved with the evolution of strong interdependence: a strong concern for one’s reputation and fear of punishment, and thus strongly prosocial emotions. Thus, the emergence of normativity in our ancestors does not require a special explanation: it was an automatic byproduct of the emergence of moral behavior in our ancestors.


2020 ◽  
pp. 102986492094155
Author(s):  
Piotr Podlipniak

Pitch syntax is an important part of musical syntax. It is a complex hierarchical system that involves generative production and perception based on pitch. Because hierarchical systems are also present in language grammar, the processing of a pitch hierarchy is predominantly explained by the activity of cognitive mechanisms that are not solely specific to music. However, in contrast to the processing of language grammar, which is mainly cognitive in nature, the processing of pitch syntax includes subtle emotional sensations that are often described in terms of tension and resolution or instability and stability. This difference suggests that the very nature of pitch syntax may be evolutionarily older than grammar in language, and has served another adaptive function. The aim of this paper is to indicate that the recognition of pitch structure may be a separate ability, rather than merely being part of general syntactic processing. It is also proposed that pitch syntax has evolved as a specific tool for social bonding in which subtle emotions of tension and resolution are indications of mutual trust. From this perspective, it is considered that musical pitch started to act as a medium of communication by the means of spectral synchronization between the brains of hominins. Pitch syntax facilitated spectral synchronization between performers of a well-established, enduring, communal ritual and in this way increased social cohesion. This process led to the evolution of new cortico-subcortical pathways that enabled the implicit learning of pitch hierarchy and the intuitive use of pitch structure in music before language, as we know it now, began.


2014 ◽  
Vol 369 (1653) ◽  
pp. 20130532 ◽  
Author(s):  
Leonardo L. Gollo ◽  
Michael Breakspear

Cognitive function depends on an adaptive balance between flexible dynamics and integrative processes in distributed cortical networks. Patterns of zero-lag synchrony likely underpin numerous perceptual and cognitive functions. Synchronization fulfils integration by reducing entropy, while adaptive function mandates that a broad variety of stable states be readily accessible. Here, we elucidate two complementary influences on patterns of zero-lag synchrony that derive from basic properties of brain networks. First, mutually coupled pairs of neuronal subsystems—resonance pairs—promote stable zero-lag synchrony among the small motifs in which they are embedded, and whose effects can propagate along connected chains. Second, frustrated closed-loop motifs disrupt synchronous dynamics, enabling metastable configurations of zero-lag synchrony to coexist. We document these two complementary influences in small motifs and illustrate how these effects underpin stable versus metastable phase-synchronization patterns in prototypical modular networks and in large-scale cortical networks of the macaque (CoCoMac). We find that the variability of synchronization patterns depends on the inter-node time delay, increases with the network size and is maximized for intermediate coupling strengths. We hypothesize that the dialectic influences of resonance versus frustration may form a dynamic substrate for flexible neuronal integration, an essential platform across diverse cognitive processes.


2020 ◽  
Author(s):  
Tudor Popescu ◽  
Nathan Oesch ◽  
Bryony Buck

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: 1) overlap between the two; 2) direct versus derived biological functions, and 3) aspects of music embedded in cultural evolution, e.g. departures from tonality.


2020 ◽  
Vol 42 (1) ◽  
pp. 29-45
Author(s):  
James W Jones

Several models of the evolution of religion claim that ritual creates “religion” and gives it a positive evolutionary role. Robert Bellah suggests that the evolutionary roots of ritual lay in the play of animals. For Homo sapiens, Bellah argues, rituals generate a world of experience different from the world of everyday life, and that different world of experience is the foundation of later religious developments. Robin Dunbar points to trance dancing as the original religious behavior. Trance dancing both alters ordinary consciousness and generates trance experiences that will give rise to religious concepts and also, through the production of endorphins, bonds people into tight-knit social groups whose social bonding gives them a survival advantage. The role of ritual in social bonding has been well established through the research on the production of endorphins by synchronized activity and the role of endorphins in social bonding. The role of ritual in generating religious experience has been much less developed. Drawing on the extensive research on the ways in which bodily activity can impact and transform our sensory and cognitive processes, and the ways in which sensory and cognitive processes are neurologically connected with somatic processes, this article will propose one neuropsychological model of how ritual activity might give rise to religion. Starting from bodily activity means that here religion will be understood more as a set of practices and less as a set of beliefs. Theological implications of this model will be discussed.


2021 ◽  
Author(s):  
◽  
Paul Reddish

<p>The universality and antiquity of music and dance suggest that they may serve some important adaptive function. Why are music and dance cultural universals? One popular theory is that music and dance function to enhance mutually benefiting cooperation. While the cooperation hypothesis finds support from anthropological observations and recent experiments, the proximate mechanisms remain unclear. In this thesis, I examine if being in synchrony is a critical factor underlying music and dance’s cooperative effects. I define synchrony as rhythmically moving or vocalising in time with others. In support of synchrony’s role in fostering cooperation, a number of studies exploring two person interactions have found positive social effects from synchrony. However, it is not clear whether synchrony enhances cooperation in groups larger than two as typical with music and dance. This thesis describes five laboratory experiments that were conducted to investigate: (1) whether group synchrony increases cooperation; and (2) which psychological mechanisms are involved in producing synchrony’s cooperative effects. In the first three experiments, small groups of participants were asked to perform body movements or to vocalise words in time with the same (synchrony condition) or different (asynchrony condition) metronome beats. Cooperative behaviour was measured with a helping scenario and an economic game. A small increase in cooperation was found with synchronous movement compared to asynchronous movement (experiment 1 and 3). However, this difference was only significant with the economic game measure (experiment 3). When vocalisation was isolated (experiment 2), contrary to expectations, the highest level of helping occurred after the asynchrony vocal condition. A plausible explanation for such small and inconsistent effects comes from the method in which synchrony was manipulated. Following previous methodologies, the goal for participants was to entrain to their own beat. Yet in natural human ecologies, synchrony is a product of shared intentionality – the sharing of psychological states to produce collaborative behaviour. To better understand the contribution of shared intentionality, experiments 4 and 5 varied synchrony with shared intentionality, and then measured cooperation. These experiments revealed that when participants worked together to create synchrony, substantial increases in cooperation were found, for both synchronous vocalisations (experiment 4) and for synchronous movements (experiment 5). Synchrony was also found to significantly amplify two key hypothesised mediating variables: perceived similarity and entitativity (the degree to which a collection of people are perceived as a group). Path analysis supported a proposed mechanism by which synchrony combines with shared intentionality to produce greater cooperation through: (1) increased attention to the behaviours of other participants; and (2) reinforcement of successful cooperation. This thesis, therefore, extends previous research on group music and dance in three ways. First, the combined effect of synchrony and shared intentionality is identified as critical to the cooperation enhancing effects of music and dance. Second, it describes plausible mechanisms for how synchrony may lead to increased cooperation. Third, it provides empirical evidence in support of these mechanisms.</p>


2021 ◽  
Vol 44 ◽  
Author(s):  
Tudor Popescu ◽  
Nathan Oesch ◽  
Bryony Buck

Abstract 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: (1) overlap between the two; (2) direct versus derived biological functions, and (3) aspects of music embedded in cultural evolution, for example, departures from tonality.


2021 ◽  
Vol 44 ◽  
Author(s):  
Joshua M. Tybur ◽  
Debra Lieberman

Abstract To understand the consequences of cleansing, Lee and Schwarz favor a grounded procedures perspective over recently developed disgust theory. We believe that this position stems from three errors: (1) interpreting cleansing effects as broader than they are; (2) not detailing the proximate mechanisms underlying disgust; and (3) not detailing adaptive function versus system byproducts when developing the grounded procedures perspective.


2021 ◽  
Author(s):  
◽  
Reneeta Mogan Naidu

<p>Researchers conjecture that rituals have been prevalent in human activities for millennia due to tacit evolutionary functions of solidarity and cooperation. A key element of ritualistic behaviours is synchrony, defined as the matching of actions in time with others. Synchrony has been associated with a range of phenomena, including increased affiliation, connectedness, and cooperation among group members. However, there have been a number of failed replications of key studies. Furthermore, synchrony research has focused mainly on social and affective responses. Synchrony’s effects on cognitive processes remain largely unexamined, even though synchronous actions require social cognition. In this thesis, I investigate the link between synchrony and creative thinking, a basic and distinctively human cognitive process. This thesis reports four empirical studies conducted to investigate two main aims: (1) synthesise existing synchrony literature to determine synchrony’s overall effect on previously studied outcomes; and (2) investigate the relationship between synchrony and creative thinking. The focus on creativity is theoretically relevant because both sociological speculations about synchrony’s role on cultural conformity and real-world observations on reduced decision quality in highly cohesive groups (e.g., groupthink) suggest that synchrony may have detrimental effects on creativity. To address the first aim, a meta-analysis (Study 1) of experimentally manipulated synchrony studies showed that synchrony was positively associated (small to medium effect sizes) with prosocial behaviour, social bonding perceptions, partner cognition, and positive affect. Three experimental studies were conducted to address the second aim. Study 2 investigated the direct association between synchrony and two components of creative thinking – convergent thinking (i.e., synthesis of ideas toward a single creative solution) and divergent thinking (i.e., generation of multiple alternative ideas) – and aimed to replicate shared intentionality (i.e., shared goal/purpose) on positive social and affective responses. Shared intentionality has been argued as one of the main mechanisms amplifying synchrony’s positive social effects. In this study, I found that synchrony impaired convergent thinking when paired with shared intentionality, but I did not find support for a statistically significant effect of synchrony on divergent thinking. Additionally, I replicated synchrony’s positive social and affective effects. Broadening the scope, ritualistic behaviours in real-world contexts often vary in synchronicity and physical intensity simultaneously. Intensity has been shown to increase social bonding, well-being, and certain cognitive processes; therefore, it is important to study the separate effects of synchrony and intensity on these outcomes. To do so, I conducted a naturalistic field study (Study 3) of group exercises varying in synchrony and intensity, and Study 4 examined the same associations with a controlled experiment. I found that synchrony impaired divergent thinking, but high intensity facilitated divergent and convergent thinking. Synchrony paired with shared intentionality as well as high intensity increased cohesion among participants. Moreover, performing movements together regardless of synchronicity may be sufficient to increase positive affect. My thesis offers a novel theoretical and empirical contribution to knowledge by revealing that although synchronised actions may have been evolutionarily adaptive for prosocial behaviours, cohesion, and well-being, synchrony also appears to inhibit cognitive processes such as creative thinking.</p>


2021 ◽  
Author(s):  
◽  
Paul Reddish

<p>The universality and antiquity of music and dance suggest that they may serve some important adaptive function. Why are music and dance cultural universals? One popular theory is that music and dance function to enhance mutually benefiting cooperation. While the cooperation hypothesis finds support from anthropological observations and recent experiments, the proximate mechanisms remain unclear. In this thesis, I examine if being in synchrony is a critical factor underlying music and dance’s cooperative effects. I define synchrony as rhythmically moving or vocalising in time with others. In support of synchrony’s role in fostering cooperation, a number of studies exploring two person interactions have found positive social effects from synchrony. However, it is not clear whether synchrony enhances cooperation in groups larger than two as typical with music and dance. This thesis describes five laboratory experiments that were conducted to investigate: (1) whether group synchrony increases cooperation; and (2) which psychological mechanisms are involved in producing synchrony’s cooperative effects. In the first three experiments, small groups of participants were asked to perform body movements or to vocalise words in time with the same (synchrony condition) or different (asynchrony condition) metronome beats. Cooperative behaviour was measured with a helping scenario and an economic game. A small increase in cooperation was found with synchronous movement compared to asynchronous movement (experiment 1 and 3). However, this difference was only significant with the economic game measure (experiment 3). When vocalisation was isolated (experiment 2), contrary to expectations, the highest level of helping occurred after the asynchrony vocal condition. A plausible explanation for such small and inconsistent effects comes from the method in which synchrony was manipulated. Following previous methodologies, the goal for participants was to entrain to their own beat. Yet in natural human ecologies, synchrony is a product of shared intentionality – the sharing of psychological states to produce collaborative behaviour. To better understand the contribution of shared intentionality, experiments 4 and 5 varied synchrony with shared intentionality, and then measured cooperation. These experiments revealed that when participants worked together to create synchrony, substantial increases in cooperation were found, for both synchronous vocalisations (experiment 4) and for synchronous movements (experiment 5). Synchrony was also found to significantly amplify two key hypothesised mediating variables: perceived similarity and entitativity (the degree to which a collection of people are perceived as a group). Path analysis supported a proposed mechanism by which synchrony combines with shared intentionality to produce greater cooperation through: (1) increased attention to the behaviours of other participants; and (2) reinforcement of successful cooperation. This thesis, therefore, extends previous research on group music and dance in three ways. First, the combined effect of synchrony and shared intentionality is identified as critical to the cooperation enhancing effects of music and dance. Second, it describes plausible mechanisms for how synchrony may lead to increased cooperation. Third, it provides empirical evidence in support of these mechanisms.</p>


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