The uneven interface between culture and biology in human music

Music Perception

Volumn 24, Issue 1, 2006, Pages 95-98

  Merker, Bjorn ^a  

^a NONE   (Sweden)

Author keywords

Birdsong; Generativity; Humboldt system; Learner bottleneck; Nonlinear resonance; Song and dance; Vocal learning

Indexed keywords

EID: 33847790641     PISSN: 07307829     EISSN: None     Source Type: Journal    
DOI: 10.1525/mp.2006.24.1.95     Document Type: Review

References (30)

1. Abler, W. L. (1989). On the particulate principle of self-diversifying systems. Journal of Social and Biological Structures, 12, 1-13.
2. Arom, S. (1991). African polyphony and polyrhythm: Musical structure and methodology. Cambridge, UK: Cambridge University Press.
3. Balzano, G. (1982). The pitch set as a level of description for studying musical pitch perception. In M. Clynes (Ed.), Music, mind and brain (pp. 321-351). New York: Plenum Press.
4. Batali, J. (1998). Computational simulations of the emergence of grammar. In J. R Hurford, M. Studdert-Kennedy, & C. Knight (Eds.), Approaches to the evolution of language: Social and cognitive bases (pp. 405-426). Cambridge: Cambridge University Press.
5. Batali, J. (2002). The negotiation and acquisition of recursive grammars as a result of competition among exemplars. In T. Briscoe (Ed.), Linguistic evolution through language acquisition: Formal and computational models (pp. 111-172). Cambridge: Cambridge University Press.
6. Bregman, A. S. (1990). Auditory scene analysis. Cambridge, MA: MIT Press.
7. Catchpole, C. K., & Slater, P. J. B. (1995). Bird song: Biological themes and variations. Cambridge: Cambridge University Press.
8. Fitch, W. T. (in press). The biology and evolution of music: A comparative perspective. Cognition.
9. Geissmann, T. (2000). Gibbon song and human music from an evolutionary perspective. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 103-123). Cambridge, MA: MIT Press.
10. Jackendoff, R., & Lerdhal, F. (in press). The capacity for music: What is it, and what's special about it? Cognition.
11. Janik, V. M., & Slater, P. J. B. (1997). Vocal learning in mammals. Advances in the Study of Behavior, 26, 59-99.
12. Justus, T., & Hutsler, J. J. (2005). Fundamental issues in the evolutionary psychology of music: Assessing innateness and domain specificity. Music Perception, 23, 1-27.
13. Kirby, S. (1998). Language evolution without natural selection: From vocabulary to syntax in a population of learners. Technical Report, Edinburgh Occasional Papers in Linguistics, 98-1, Department of Linguistics, University of Edinburgh.
14. Kirby, S. (2002). Learning, bottlenecks and the evolution of recursive syntax. In T. Briscoe (Ed.), Linguistic evolution through language acquisition: Formal and computational models (pp. 173-204). Cambridge: Cambridge University Press.
15. Krumhansl, C. L., & Kessler, E. J. (1982). Tracing the dynamic changes in perceived tonal organization in spatial representations of musical keys. Psychological Review, 89, 334-338.
16. Large, E., & Tretakis, E. (2005). Tonality and nonlinear resonance. Annals of the New York Academy of Sciences, 1060, 53-56.
17. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
18. Marler, P. (2000). Origins of music and speech: Insights from animals. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 31-48). Cambridge, MA: MIT Press.
19. McDermott, J., & Hauser, M. (2005). The origins of music: Innateness, uniqueness, and evolution. Music Perception, 23, 29-59.
20. Merker, B. (1999). Synchronous chorusing and the origins of music. Special issue on "Rhythm, musical narrative, and the origins of human communication." Musicae Scientiae, Special Issue 1999-2000, 59-74.
21. Merker, B. (2000). Synchronous chorusing and human origins. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 315-327). Cambridge, MA: MIT Press.
22. Merker, B. (2002). Music: The missing Humboldt system. Musicae Scientiae, 6, 3-21.
23. Merker, B. (2005). The conformal motive in birdsong, music and language. Annals of the New York Academy of Sciences, 1060, 17-28.
24. Merker, B. (2006). Layered constraints on the multiple creativities of music. In I. Deliège & G. Wiggins (Eds.), Musical creativity. Multidisciplinary research in theory and practice (pp. 25-41). Hove, UK: Psychology Press.
25. Merker, B., & Okanoya, K. (in press). The natural history of human language: Bridging the gaps without magic. In A. Cangelosi, C. Nehaniv, & C. Lyon (Eds.), The emergence of communication and language. London, UK: Springer Verlag.
26. Nottebohm, F. (1976). Discussion paper. Vocal tract and brain: A search for evolutionary bottlenecks. In S. R. Harnad, H. D. Steklis, & J. Lancaster (Eds.), Origins and evolution of language and speech. Annals of the New York Academy of Sciences, 280, 643-649.
27. Okanoya, K. (2002). Sexual display as a syntactic vehicle: The evolution of syntax in birdsong and human language through sexual selection. In A. Wray (Ed.), The transition to language (pp. 44-64). Oxford: Oxford University Press.
28. Payne, K. (2000). The progressively changing songs of humpback whales: A window on the creative process in a wild animal. In N. L. Wallin, B. Merker, & S. Brown (Eds.), The origins of music (pp. 135-150). Cambridge, MA: MIT Press.
29. Smith, K. (2003). Learning biases and language evolution. In S. Kirby (Ed.), Language evolution and computation (pp. 22-31). Proceedings of the Workshop on Language Evolution and Computation, 15th European Summer School on Logic, Language and Information, Vienna. Published online at http://www.ling.ed.ac.uk/%7Esimon/lecproceedings.pdf
30. Wright, A. A., Rivera, J. J., Hulse, S. H., Shyan, M., & Neiworth, J. J. (2000). Music perception and octave generalization in rhesus monkeys. Journal of Experimental Psychology: General, 129, 291-307.