The Origins of Music

Features

• Cover Type: Paperback with 512 pages
• Published by: The MIT Press September 1, 2001
• Written in: English
• ISBN 10 Number: 0262731436
• ISBN 13 Number: 978-0262731430
• Book Dimensions: 9.9 x 7 x 1.2 inches
• Weighs: 2.3 pounds

Book Description
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, Ellen Dissanayake, Dean Falk, David W. Frayer, Walter Freeman, Thomas Geissmann, Marc D. Hauser, Michel Imberty, Harry Jerison, Drago Kunej, François-Bernard Mâche, Peter Marler, Björn Merker, Geoffrey Miller, 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.

About 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.

Reader Reviews
This review is from: The Origins of Music (Bradford Books) (Hardcover) "The Origins of Music" derives from a 1997 international workshop of the Swedish Institute for Biomusicology. The result is a fascinating journey into a vast world of ideas, with interplay, disagreement and contradiction abounding. Few readers will have the background to move easily through all these articles. However, wading through the quagmire of scientific writing rewards the reader with some remarkable insights. Little is actually proven, and the editors could have done more to reconcile or enumerate the contradictions between some of the approaches. But for the most part, the writers are sufficiently aware of the difficulties involved in applying their specific research results to general theories about the origins of music. An introductory chapter discusses the comparatively new field of biomusicology, with its tripartite subdivision into evolutionary musicology, neuromusicology, and comparative musicology. The issue, which will command much of the book, of whether certain features of music are biological or cultural is raised. Unfortunately, all too often the weight is given to the biological answer without overwhelming evidence. Another significant question is the relevance of animal "song". Only those working directly in the field of animal song approach this with caution--none argue anything stronger than a "convergent evolution" between animal and human music. To apply the terms "song" and "music" to aural animal communications is to raise a whole host of related but probably irrelevant associations--those of art, aesthetics, etc. Where music is so broadly defined as to include animal sounds (which can indeed be "musical" and quite lovely for us to listen to without being classified as "music") these associations muddy the water, and all too often the contributors simply accept these problematic issues. One writer even wallows in them--in the book's final article, composer Mache absurdly claims that birdsong can ONLY be explained as an aesthetic act. We unquestionably have very limited understanding of how even the human brain processes our own music; that we have even less understanding of how animals perceive their own sounds and how their brains process them makes any statement about any complicated animal response speculative at best. Slater's chapter is noteworthy as he addresses this very issue of relevance with commendable caution: "Considering only songbirds...there are close to 4,000 species....It would thus not be surprising if almost any characteristic found in human music were discovered in one or a few of them. But such similarities are likely to be coincidental..." Articles on human evolution of musical potential are fascinating explorations of real evidence. Although of course music does not fossilize, these scientists have taken various ingenious approaches from the thorough examination of a Paleolithic bone flute to the casting of brains inside fossil skulls to examine their gross anatomy, and the results are couched in appropriate language. Richman, in his wildly speculative theory of music origins, resorts to quite poor reasoning ("...complexity always comes from previous, but different complexity." and "...language always comes from previous language."). Similar points are articulated more thoughtfully in the subsequent chapter by Merker. Equally intriguing is Miller's, in which he argues convincingly that a Darwinian approach to the issue of musical evolution allows only the single explanation of sexual selection. His colleague Todd supports this hypothesis in his article on computer modeling of musical behavior. In perhaps the most interesting contradiction in the book, Dissanayake takes a totally different approach, arguing equally convincingly (although smothered in jargon) that musical evolution most likely occurred as an outgrowth of mother-infant interaction. Finally, Freeman suggests that music evolved to fulfil a sociological role of group bonding. These four articles, by Freeman, Dissanayake, Todd, and Merker are superbly argued and maintain the highest standards of intellectual rigor; curiously they come to wildly different but equally reasonable conclusions on the origins of music, thereby highlighting the difficulties of the issues. In the final section, the musicians get their turn, and as a composer myself I'm sorry to say that my colleagues' results are relatively disappointing. Trehub attempts to find musical universals by studying the behavior of infants. This leads her to the conclusion that "small-integer frequency ratios" are "preferable" (such as 2:1 and 3:2--the perfect octave and fifth) to large-integer ratios (the ONLY example she gives is 45:32--the tritone). She concludes that "dissonances" are not naturally a part of an inherent universal musicality, but her argument shows no apparent understanding of the issues. Imberty's contribution is largely a defense of Lerdahl and Jackendoff's Generative Theory of Tonal Music, and although he makes some excellent points, especially about atonal music, the reader unfamiliar with Lerdahl and Jackendoff's work will find little of value here. The eminent ethnomusicologist Nettl suggests a number of likely musical universals, some of which I must contend against: among them are the presence of an undefined cadential element (as music exists in time and must end, this seems to me inevitable and inconsequential unless further defined), and, that music exists only as particular songs, compositions, etc--that "one does not ever just sing or play, as for example, one may simply dance, without performing a particular dance composition." (wildly incorrect, as any jazzer, mother or Deadhead will attest!) However, Nettl raises valid concerns about the concept of musical universals--I regretted that his contribution wasn't much earlier in the book as it seemed so appropriate to so many of the claims made within. Finally, composer Mache provides what is surely the least intellectually rigorous, most romantically speculative chapter. Mache based much of his workshop contribution on recorded comparisons between various human and animal musics to which the reader has no exposure. It is a real pity that for this article and several others no CD was included. Regardless, Mache's concept of a truly universal biological music including an aesthetic sense ignores historical fact and convergent evolution in favor of an interspecies brotherhood of musicians. However attractive the idea, the International Federation of Musicians is unlikely to start issuing cards to avian and simian members any time soon Comment | Permalink | (Report this)