The biological function of musical performance features
cytuj
pobierz pliki
RIS BIB ENDNOTEWybierz format
RIS BIB ENDNOTEThe biological function of musical performance features
Data publikacji: 16.11.2015
Rocznik Kognitywistyczny, 2015, Tom 8, s. 43 - 54
https://doi.org/10.4467/20843895RK.15.004.4090Autorzy
The biological function of musical performance features
In the world of Western musicology music is regarded as possessing two main divisions. The first being performance features which consist of traits such as dynamics, and tempo, and a second known as structural features such as the arrangement of notes in time. The main differences between these divisions is that performance features are evolutionarily ancient, indiscrete and present in many sound expressions, whereas structural features are evolutionarily younger, discrete and music-specific. Performance features are tightly connected with motor activity and emotional processing. Despite the fact that performance features carry information about emotional states, they can also be used as tools of manipulation. It has been proposed that one biological function of these tools is to affect the minds of other animals in order to arouse the need for cooperation in them. It has also been suggested that music performance features are homologous with some prosodic features of speech which evolved as a communicative tool before language and music.
Apel W. (1962). Die Notation der polyphonen Musik. Leipzig: VEB Breitkopf & Härtel Musik-verlag.
Baker M.C. (2009). Language universals: Abstract but not mythological. „Behavioral and Brain Sciences” 32 (05), pp. 448‒449.
Bannan N. (2012). Harmony and its role in human evolution. In: N. Bannan (ed.), Music, Language, and Human Evolution. Oxford: Oxford University Press, pp. 288‒339.
Becker J.O. (2004). Deep Listeners. Bloomington: Indiana University Press.
Blacking J. (1973). How Musical Is Man? Seattle‒London: University of Washington Press.
Brown S. (2000). The “Musilanguage” model of music evolution. In: S. Brown, B. Merker, N.L. Wallin (eds.), The Origins of Music. Cambridge, MA: The MIT Press, pp. 271–300.
Cipora K. (2013). Czym jest liczba? „Rocznik Kognitywistyczny” 6, pp. 1–10.
Cirelli L.K., Einarson K.M., Trainor L.J. (2014). Interpersonal synchrony increases prosocial behavior in infants. „Developmental Science” 17 (6), pp. 1003–1011.
Cirelli L.K., Wan S.J., Trainor L.J. (2014). Fourteen-month-old infants use interpersonal synchrony as a cue to direct helpfulness. „Philosophical Transactions of the Royal Society B: Biological Sciences” 369 (1658).
Clynes M. (1977). Sentics: The Touch of Emotions. Garden City: Anchor Press.
Croft W. (2009). Syntax is more diverse, and evolutionary linguistics is already here. „Behavioral and Brain Sciences” 32 (05), pp. 453‒454.
Cross I., Woodruff G.E. (2009). Music as a Communicative Medium. In: R.P. Botha, C. Knight (eds.), Studies in the Evolution of Language. Vol. 11: The prehistory of language. Oxford: Oxford University Press, pp. 77‒98.
Czekanowska A. (1975). Z doświadczeń nad analizą i typologią cech muzycznych. In: A. Czekanowska, L. Bielawski (eds.), Ze studiów nad metodami etnomuzykologii. Wrocław‒Warszawa‒Kraków‒Gdańsk: Zakład Narodowy im. Ossolińskich, Wydawnictwo PAN, pp. 81‒89.
Darwin C.R. (1871). The Descent of Man and Selection in Relation to Sex. London: John Murray.
Dawkins R. (2003). Fenotyp rozszerzony. Dalekosiężny gen. Warszawa: Prószyński i S-ka.
Dissanayake E. (1995). Homo Aestheticus: Where Art Comes from and Why. Seattle: University of Washington Press.
Dissanayake E. (2000). Art and Intimacy: How the Arts Began. Seattle: University of Washington Press.
Dor D., Jablonka E. (2001). How language changed the genes: Toward an explicit account of the evolution of language. In: J. Trabant, S. Ward (eds.), Trends in Linguistics: Studies and Monographs. Vol. 133: New essays on the origin of language. Berlin‒New York: Mouton de Gruyter, pp. 147‒173.
Falk D. (2009). Finding Our Tongues: Mothers, Infants and the Origins of Language. New York: Basic Books.
Fitch W.T. (2006). The biology and evolution of music: A comparative perspective. „Cognition” 100 (1), pp. 173–215.
Fitch W.T. (2013). Musical protolanguage: Darwin’s theory of language evolution revisited. In: J.J. Bolhuis, M.B.H. Everaert (eds.), Birdsong, Speech, and Language: Exploring the Evolution of Mind and Brain. Cambridge, MA: The MIT Press, pp. 489‒503.
Gauvain M. (1995). Thinking in Niches: Sociocultural influences on cognitive development. „Human Development” 38/1, pp. 25‒45.
Gazzaniga M.S. (2008). Human: The Science behind What Makes Us Unique. New York: Ecco.
Gigerenzer G. (2009). Intuicja: Inteligencja nieświadomości. Na Ścieżkach Umysłu. Warszawa: Prószyński i S-ka.
Gordon R.L., Jacobs M.S., Schuele C.M., McAuley J.D. (2015). Perspectives on the rhythm-grammar link and its implications for typical and atypical language development. „Annals of the New York Academy of Sciences” 1337, pp. 16‒25.
Grahn J.A., Brett M. (2007). Rhythm and beat perception in motor areas of the brain. „Journal of Cognitive Neuroscience” 19/5, pp. 893‒906.
Hagen E.H., Bryant G.A. (2003). Music and dance as a coalition signaling system. „Human Nature” 14/1, pp. 21‒51.
Hagen E.H., Hammerstein P. (2009). Did Neanderthals and other early humans sing? Seeking the biological roots of music in the territorial advertisements of primates, lions, hyenas, and wolves. „Musicae Scientiae” 13/2, pp. 291–320.
Harbour D. (2009). The universal basis of local linguistic exceptionality. „Behavioral and Brain Sciences” 32 (05), pp. 456‒457.
Huron D.B. (2006). Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA‒London: MIT.
Jablonka E., Ginsburg S., Dor D. (2012). The co-evolution of language and emotions. „Philosophical Transactions of the Royal Society B: Biological Sciences” 367/1599, pp. 2152–2159.
Juslin P., Scherer K.R. (2005). Vocal expression of affect. In: J.A. Harrigan, R. Rosenthal, K.R. Scherer (eds.), The New Handbook of Methods in Nonverbal Behavior Research. New York: Oxford University Press, pp. 65–135.
Kivy P. (2006). Ars perfecta: Toward perfection in musical performance? „British Journal of Aesthetics” 46 (2), pp. 111‒132.
Ladd D.R. (2008). Intonational Phonology. Cambridge Studies in Linguistic. Vol. 119. Cambridge‒New York: Cambridge University Press.
Large E.W. (2000). On synchronizing movements to music. „Debates in Dynamics” 19/4, pp. 527‒566.
Lewens T. (2007). Functions. In: D.M. Gabbay, M. Matthen, C. Stephens (eds.), Handbook of the Philosophy of Science: Philosophy of Biology. Amsterdam: Elsevier, pp. 525‒547.
London J. (2004). Hearing in Time: Psychological Aspects of Musical Meter. Oxford, New York: Oxford University Press.
London J. (2012). Three things linguists need to know. About rhythm and time in music. „Empirical Musicology Review” 7/1‒2, pp. 5–11.
Merker B. (2002). Music: the missing Humboldt system. „Musicae Scientiae” 6 (3), pp. 3–21.
Merker B. (2003). Is there a biology of music, and why does it matter? In: R. Kopiez (ed.), Proceedings of the 5th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM). Hanover University of Music and Drama, September 8‒13, 2003. Hanover: Inst. for Research in Music Education, pp. 402‒405.
Miller G.F. (2000). Evolution of human music through sexual selection. In: N.L. Wallin, B. Merker, S. Brown (eds.), The Origins of Music. Cambridge, MA: The MIT Press, pp. 329–360.
Mithen S.J. (2006). The Singing Neanderthals: The Origins of Music, Language, Mind, and Body. Cambridge, MA: Harvard University Press.
Morley I. (2013). The Prehistory of Music: Human Evolution, Archaeology and the Origins of Musicality. Oxford: Oxford University Press.
Mortillaro M., Mehu M., Scherer K.R. (2013). The evolutionary origin of multimodal synchronisation and emotional expression. In: E. Altenmüller, S. Schmidt, E. Zimmermann (eds.), Series in Affective Science. Evolution of Emotional Communication. From Sounds in Nonhuman Mammals to Speech and Music in Man. Oxford: Oxford University Press, pp. 3–25.
Panksepp J., Bernatzky G. (2002). Emotional sounds and the brain: the neuro-affective foundations of musical appreciation. „Behavioural Processes” 60/2, pp. 133–155.
Patel A.D. (2008). Music, Language, and the Brain. Oxford–New York: Oxford University Press.
Peretz I. (2006). The nature of music from a biological perspective. „Cognition” 100 (1), pp. 1‒32.
Pinker S. (1994). The Language Instinct: How the Mind Creates Language. New York: Harper Perennial Modern Classics.
Pinker S. (2002). Jak działa umysł. Warszawa: Książka i Wiedza.
Podlipniak P. (2007). Uniwersalia muzyczne. Poznań: Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk.
Podlipniak P. (2011). O ewolucyjnych źródłach niektórych muzycznych preferencji estetycznych. „Rocznik Kognitywistyczny” 5, pp. 167–174.
Podlipniak P. (2013). Tonalność a kwestia adaptacyjności muzyki. In: M. Bogucki, A. Foltyn, P. Podlipniak, P. Przybysz, H. Winiszewska (eds.), Neuroestetyka muzyki. Poznań: Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, pp. 271‒296.
Podlipniak P. (2015). The evolutionary origin of pitch centre recognition. „Psychology of Music”, OnlineFirst, doi:10.1177/0305735615577249.
Ridley M. (2000). O pochodzeniu cnoty. Poznań: Rebis.
Roederer J.G. (2003). On the concept of information and its role in nature. „Entropy” 5, pp. 3‒33.
Sandgren M. (2009). Evidence for strong immediate well-being effects of choral singing – With more enjoyment for women than for men. In: J. Louhivuori, T. Eerola, S. Saarikallio, T. Himberg, P.-S. Eerola (eds.), Proceedings of the 7th Triennial Conference of European Society for the Cognitive Sciences of Music. Jyväskylä, Finland, pp. 475–479.
Scherer K.R. (2013). Emotion in action, interaction, music, and speech. In: M.A. Arbib (ed.), Language, Music, and the Brain: A Mysterious Relationship. Cambridge: The MIT Press, pp. 107‒139.
Scherer K.R., Coutinho E. (2013). How music creates emotion: A multifactorial process approach. In: T. Cochrane, B. Fantini, K.R. Scherer (eds.), The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control. Oxford: Oxford University Press, pp. 121‒145.
Sloboda J.A. (2002). Umysł muzyczny. Poznawcza psychologia muzyki. Warszawa: Akademia Muzyczna im. Fryderyka Chopina.
Snyder B. (2001). Music and Memory: An Introduction. Cambridge: The MIT Press.
Stockmann D. (1982). Muzyka jako system komunikacji. Aspekty teorii informacji i znaku w badaniach muzyki przekazywanej tradycją ustną. „Res Facta” 9, pp. 230–246.
Storr A. (1993). Music and the Mind. New York: Ballantine.
Strayer H. (2013). From neumes to notes: The evolution of music notation. „Musical Offerings” 4 (1), pp. 1‒14.
Striedter G.F. (2005). Principles of Brain Evolution. Sunderland: Sinauer Associates.
Stupacher J., Hove M.J., Novembre G., Schütz-Bosbach S., Keller P.E. (2013). Musical groove modulates motor cortex excitability: A TMS investigation. „Brain and Cognition” 82 (2), pp. 127–136.
Thompson W.F. (2009). Music, Thought, and Feeling: Understanding the Psychology of Music. Oxford–New York: Oxford University Press.
Tomic S.T., Janata P. (2008). Beyond the beat: Modeling metric structure in music and performance. „The Journal of the Acoustical Society of America” 124 (6), pp. 4024–4041.
Tooby J., Cosmides L. (1992). The psychological foundations of culture. In: J.H. Barkow, L. Cosmides, J. Tooby (eds.), The Adapted Mind: Evolutionary Psychology and the Generation of Culture. New York: Oxford University Press, pp. 19–136.
Wierzbicka A. (1999). Język, umysł, kultura. Warszawa: Wydawnictwo Naukowe PWN.
Wilson E.O. (2012). The Social Conquest of Earth. New York: Liveright Pub. Corp.
Informacje: Rocznik Kognitywistyczny, 2015, Tom 8, s. 43 - 54
Typ artykułu: Oryginalny artykuł naukowy
Tytuły:
The biological function of musical performance features
The biological function of musical performance features
The Adam Mickiewicz University in Poznań, Poland; Wieniawskiego 1, 61-712 Poznań, Poland
Publikacja: 16.11.2015
Status artykułu: Otwarte
Licencja: Żadna
Udział procentowy autorów:
Korekty artykułu:
-Języki publikacji:
AngielskiLiczba wyświetleń: 2456
Liczba pobrań: 1193