It has been suggested that a key function of music during its development and spread amongst human populations was its capacity to create and strengthen social bonds amongst interacting group members. However, the mechanisms by which this occurs have not been fully discussed. In this paper we review evidence supporting two thus far independently investigated mechanisms for this social bonding effect: self-other merging as a consequence of inter-personal synchrony, and the release of endorphins during exertive rhythmic activities including musical interaction. In general, self-other merging has been experimentally investigated using dyads, which provide limited insight into large-scale musical activities. Given that music can provide an external rhythmic framework that facilitates synchrony, explanations of social bonding during group musical activities should include reference to endorphins, which are released during synchronized exertive movements. Endorphins (and the endogenous opioid system (EOS) in general) are involved in social bonding across primate species, and are associated with a number of human social behaviors (e.g., laughter, synchronized sports), as well as musical activities (e.g., singing and dancing). Furthermore, passively listening to music engages the EOS, so here we suggest that both self-other merging and the EOS are important in the social bonding effects of music. In order to investigate possible interactions between these two mechanisms, future experiments should recreate ecologically valid examples of musical activities.

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archaeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene-culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution due to their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding (MSB) hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music.

Group dancing is a ubiquitous human activity that involves exertive synchronized movement to music. It is hypothesized to play a role in social bonding, potentially via the release of endorphins, which are analgesic and reward-inducing, and have been implicated in primate social bonding. We used a 2 × 2 experimental design to examine effects of exertion and synchrony on bonding. Both demonstrated significant independent positive effects on pain threshold (a proxy for endorphin activation) and in-group bonding. This suggests that dance which involves both exertive and synchronized movement may be an effective group bonding activity.

Moving in synchrony leads to cooperative behaviour and feelings of social closeness, and dance (involving synchronisation to others and music) may cause social bonding, possibly as a consequence of released endorphins. This study uses an experimental paradigm to determine which aspects of synchrony in dance are associated with changes in pain threshold (a proxy for endorphin release) and social bonding between strangers. Those who danced in synchrony experienced elevated pain thresholds, whereas those in the partial and asynchrony conditions experienced no analgesic effects. Similarly, those in the synchrony condition reported being more socially bonded, although they did not perform more cooperatively in an economic game. This experiment suggests that dance encourages social bonding amongst co-actors by stimulating the production of endorphins, but may not make people more altruistic. We conclude that dance may have been an important human behaviour evolved to encourage social closeness between strangers.

Humans have developed a number of specific mechanisms that allow us to maintain much larger social networks than would be expected given our brain size. For our primate cousins, social bonding is primarily supported using grooming, and the bonding effect this produces is primarily mechanistically underpinned by the release of endorphins (although other neurohormones are also likely to be involved). Given large group sizes and time budgeting constraints, grooming is not viable as the primary social bonding mechanism in humans. Instead, during our evolutionary history, we developed other behaviours that helped us to feel connected to our social communities. Here, we propose that synchrony might act as direct means to encourage group cohesion by causing the release of neurohormones that influence social bonding. By acting on ancient neurochemical bonding mechanisms, synchrony can act as a primal and direct social bonding agent, and this might explain its recurrence throughout diverse human cultures and contexts (e.g. dance, prayer, marching, music‐making). Recent evidence supports the theory that endorphins are released during synchronised human activities, including sport, but particularly during musical interaction. Thus, synchrony‐based activities are likely to have developed due to the fact that they allow the release of these hormones in large‐scale human communities, providing an alternative to social bonding mechanisms such as grooming.

Synchronising movements in time with others can have significant positive effects on affiliative attitudes and behaviors. To explore the generalizability of synchrony effects, and to eliminate confounds of suggestion, competence and shared intention typical of standard laboratory and field experiments, we used an Immersive Virtual Reality (VR) environment. Participants, represented as virtual humans, took part in a joint movement activity with two other programmed virtual humans. The timings of the co-participant characters’ movements were covertly manipulated to achieve synchrony or non-synchrony with the focal participant. Participants in the synchrony condition reported significantly greater social closeness to their virtual co-participants than those in the non-synchrony condition. Results indicate that synchrony in joint action causes positive social effects and that these effects are robust in a VR setting. The research can potentially inform the development of VR interventions for social and psychological wellbeing.

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archaeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of music’s social bonding functions involves gene-culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution due to their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding (MSB) hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music.

Music is present in every known society, yet varies from place to place. What is universal to the perception of music? We measured a signature of mental representations of rhythm in 923 participants from 39 participant groups in 15 countries across 5 continents, spanning urban societies, indigenous populations, and online participants. Listeners reproduced random ‘‘seed’’ rhythms; their reproductions were fed back as the stimulus (as in the game of “telephone”), such that their biases (the prior) could be estimated from the distribution of reproductions. Every tested group showed a prior with peaks at integer ratio rhythms, suggesting that discrete rhythm “categories” at small integer ratios are universal. The occurrence and relative importance of different integer ratio categories varied across groups, often reflecting local musical systems. However, university students and online participants in non-Western countries tended to resemble Western participants, underrepresenting the variability otherwise evident across cultures. The results suggest the universality of discrete mental representations of music while showing their interaction with culture-specific traditions.