Without it no music: cognition, biology and evolution of musicality

Honing, Henkjan; Cate, Carel ten; Peretz, Isabelle; Trehub, Sandra E.

doi:10.1098/rstb.2014.0088

Cited by 195 publications

(181 citation statements)

References 65 publications

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“…There are several candidate components of musicality suggested in the literature [93]. With regard to perceptual abilities, RP [94,95], tonal encoding of pitch [96], beat or pulse perception [97,98] and metrical encoding of rhythm [98] are a good starting point for a phenomics of musicality.…”

Section: Phenomics Of Musicality In the Post-genomic Eramentioning

confidence: 99%

Defining the biological bases of individual differences in musicality

Gingras

Honing

Peretz

et al. 2015

Phil. Trans. R. Soc. B

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One contribution of 12 to a theme issue 'Biology, cognition and origins of musicality'. Advances in molecular technologies make it possible to pinpoint genomic factors associated with complex human traits. For cognition and behaviour, identification of underlying genes provides new entry points for deciphering the key neurobiological pathways. In the past decade, the search for genetic correlates of musicality has gained traction. Reports have documented familial clustering for different extremes of ability, including amusia and absolute pitch (AP), with twin studies demonstrating high heritability for some music-related skills, such as pitch perception. Certain chromosomal regions have been linked to AP and musical aptitude, while individual candidate genes have been investigated in relation to aptitude and creativity. Most recently, researchers in this field started performing genome-wide association scans. Thus far, studies have been hampered by relatively small sample sizes and limitations in defining components of musicality, including an emphasis on skills that can only be assessed in trained musicians. With opportunities to administer standardized aptitude tests online, systematic large-scale assessment of musical abilities is now feasible, an important step towards high-powered genome-wide screens. Here, we offer a synthesis of existing literatures and outline concrete suggestions for the development of comprehensive operational tools for the analysis of musical phenotypes.

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Section: Phenomics Of Musicality In the Post-genomic Eramentioning

confidence: 99%

Defining the biological bases of individual differences in musicality

Gingras

Honing

Peretz

et al. 2015

Phil. Trans. R. Soc. B

Self Cite

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“…Some authors are pursuing what this means for the evolution of complex rhythmic and musical abilities in humans (Hoeschele, Merchant, Kikutchi, Hattori, & ten Cate, 2015;Honing & Ploeger, 2012;Honing, ten Cate, Peretz, & Trehub, 2015;Merchant & Honing, 2014;Patel & Iversen, 2014), but in this study we focus on animal entrainment as a question of interest in its own right. If a faculty for entrainment is evolutionarily old and widespread in the animal kingdom, it may be implicated in a range of adaptive behaviors for interacting with the environment and with conspecifics.…”

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confidence: 99%

Rhythmic entrainment: Why humans want to, fireflies can’t help it, pet birds try, and sea lions have to be bribed

2016

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Until recently, the literature on rhythmic ability took for granted that only humans are able to synchronize body movements to an external beat-to entrain. This assumption has been undercut by findings of beat-matching in various species of parrots and, more recently, in a sea lion, several species of primates, and possibly horses. This throws open the question of how widespread beat-matching ability is in the animal kingdom. Here we reassess the arguments and evidence for an absence of beat-matching in animals, and conclude that in fact no convincing case against beatmatching in animals has been made. Instead, such evidence as there is suggests that this capacity could be quite widespread. Furthermore, mutual entrainment of oscillations is a general principle of physical systems, both biological and nonbiological, suggesting that entrainment of motor systems by sensory systems may be a default rather than an oddity. The question then becomes, not why a few privileged species are able to beat-match, but why species do not always do sowhy they vary in both spontaneous and learned beatmatching. We propose that when entrainment is not driven by fixed, mandatory connections between input and output (as in the case of, e.g., fireflies entraining to each others' flashes), it depends on voluntary control over, and voluntary or learned coupling of, sensory and motor systems, which can paradoxically lead to apparent failures of entrainment. Among the factors that affect whether an animal will entrain are sufficient control over the motor behavior to be entrained, sufficient perceptual sophistication to extract the entraining beat from the overall sensory environment, and the current cognitive state of the animal, including attention and motivation. The extent of entrainment in the animal kingdom potentially has widespread implications, not only for understanding the roots of human dance, but also for understanding the neural and cognitive architectures of animals.

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“…Dentro desse quadro teórico, perceção musical é consubstanciado estreitamente com a experiência corporal e multimodal (Peretz & Zatorre, 2005). O gesto pode ser potencialmente uma ponte entre o movimento e significado ignorando o limite entre o mundo físico e experiências vivenciadas (Honing, Cate, Peretz, & Threhub, 2015). Em geral, na cognição incorporada pela música, poderíamos dizer que gestos são um veículo para a construção de um significado musical.…”

Section: Introductionunclassified

The Body in Musical Performance: Perceptions, knowledge and beliefs

Silva¹,

Licursi²,

Cardoso³

et al. 2017

motricidade

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ARTIGO ORIGINAL | ORIGINAL ARTICLE RESUMOO estudo que se apresenta inscreve-se no processo de reflexão sobre a relação, relevância e intervenção do corpo na performance musical. Considerando que todo o processo performativo exige e reclama uma participação unificada do instrumento, mente e do corpo, revela-se a necessidade de aprofundar a reflexão acerca dos percepções, saberes e convicções do corpo docente, discente e profissional da área da música. Dada a acção de complementaridade existente entre a dimensão corporal e performativa é fundamental considerar a qualidade que essa relação assume nos processos de aprendizagem. Face aos objetivos do estudo, optámos, assim, por uma concepção metodológica que possibilita uma articulação de abordagens qualitativas e quantitativas, fundamentais para compreender, descrever e interpretar as diferentes representações/percepções dos participantes. Deste modo, foi utilizado como instrumento de recolha de dados a inquirição por questionário (Questionário I e II), dirigido ao corpo docente e discente da área da música da Universidade Federal do Rio de Janeiro e investigadores da Associação Brasileira de Performance Musical. Os resultados obtidos evidenciam que a coordenação diferenciada e os movimentos corporais assumem condição essencial para o músico e respetiva performance. Palavras-chave: Corpo, Coordenação Motora, Movimento Corporal, Performance Musical ABSTRACTThe present study is part of a process of reflection on the relation, relevance and intervention of the body in the musical performance. Considering that the entire performative process demands a unified participation of the instrument, mind and body, it is necessary to deepen the reflection about the perceptions, knowledge and convictions of the faculty, student and professional in the field of music. Given the complementarity between body and performative dimension, it is fundamental to consider the quality that this relationship assumes in the learning processes. Given the objectives of the study, we opted for a methodological conception that allows the articulation of qualitative and quantitative approaches, fundamental to understand, describe and interpret the different representations / perceptions of the participants. In this way, the questionnaire survey (Questionnaire I and II) was directed to the faculty and students of the area of music of the Federal University of Rio de Janeiro and researchers of the Brazilian Association of Musical Performance. The obtained results show that the differentiated coordination and the body movements assume an essential condition for the musician and his performance.

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Without it no music: cognition, biology and evolution of musicality

Cited by 195 publications

References 65 publications

Defining the biological bases of individual differences in musicality

Defining the biological bases of individual differences in musicality

Rhythmic entrainment: Why humans want to, fireflies can’t help it, pet birds try, and sea lions have to be bribed

The Body in Musical Performance: Perceptions, knowledge and beliefs

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