Short Title (<50 characters): How cognition creates rhythm via cultural evolutionAbstract (<200 words): Musical rhythm, in all its cross-cultural diversity, exhibits several commonalities across world cultures. Traditionally, music research has been split in two fields. Some scientists focused on musicality, namely the human biocognitive predispositions for music, with an emphasis on cross-cultural similarities. Other scholars investigated music, seen as cultural product, focusing on the large variation in world musical cultures. Recent experiments found deep connections between music and musicality, reconciling these opposing views. Here we address the question of how individual cognitive biases affect the process of cultural evolution of music. Data from two experiments is analyzed using two different, complementary techniques. In the experiments, participants hear drumming patterns and imitate them. These patterns are then given to the same or another participant to imitate. The structure of these -initially random -patterns is tracked down to later experimental 'generations'. Frequentist statistics show how participants' biases are amplified by cultural transmission, making drumming patterns more structured. Structure is achieved faster than in transmission within, rather than between, participants. A Bayesian model approximates the motif structures participants learned and created. Overall, our data and model show that individual biases for musicality play a central role in shaping cultural transmission of musical rhythm. Main text (no more than 3500 words, 2-4 figures and/or tables): Do not incorporate tables, illustrations, figure legends, or footnotes within the main stream of text. Word count: 3159
Why does musical rhythm have the structure it does? Musical rhythm, in all its cross-cultural diversity, exhibits commonalities across world cultures. Traditionally, music research has been split into two fields. Some scientists focused on musicality, namely the human biocognitive predispositions for music, with an emphasis on cross-cultural similarities. Other scholars investigated music, seen as a cultural product, focusing on the variation in world musical cultures. Recent experiments found deep connections between music and musicality, reconciling these opposing views. Here, we address the question of how individual cognitive biases affect the process of cultural evolution of music. Data from two experiments are analyzed using two complementary techniques. In the experiments, participants hear drumming patterns and imitate them. These patterns are then given to the same or another participant to imitate. The structure of these initially random patterns is tracked along experimental "generations." Frequentist statistics show how participants' biases are amplified by cultural transmission, making drumming patterns more structured. Structure is achieved faster in transmission within rather than between participants. A Bayesian model approximates the motif structures participants learned and created. Our data and models suggest that individual biases for musicality may shape the cultural transmission of musical rhythm.
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