The prehistory of music : human evolution, archaeology, and the origins of musicality / Iain Morley.

Format:

Book

Author/Creator:

Morley, Iain, 1975-

Contributor:

Class of 1891 Department of Arts Fund.

Language:

English

Subjects (All):

Music--Origin.

Human evolution.

Music--Psychological aspects.

Physical Description:

xiv, 447 pages : illustrations, plan ; 24 cm

Edition:

First edition.

Place of Publication:

Oxford : Oxford University Press, 2013.

Summary:

Music is possessed by all human cultures, and archaeological evidence for musical activities pre-dates even the earliest-known cave art. Music has been the subject of keen investigation across a great diversity of field, from neuroscience and psychology to ethnography, archaeology and its own dedicated field, musicology. Despite the great contributions that these studies have made towards understanding musical behaviours, much remains mysterious about this ubiquitous human phenomenon - not least, its origins. This study brings together evidence from these fields, and more, in investigating the evolutionary origins of our musical abilities, the nature of music, and the earliest archaeological evidence for musical activities amongst our ancestors.

Contents:

1 Conceiving Music in Prehistory 1

Introduction 1

Conceptualizing music and prehistory 3

The organization of the book 9

2 Implications of Music in Hunter-Gatherer Societies 11

Introduction 11

Native Americans of the plains (Blackfoot and Sioux) 15

African Pygmies of the equatorial forest (Aka and Mbuti) 19

Australian Aborigines of the Western Desert (Pintupi) 22

The Eskimo of south-west Alaska (Yupik) and Canada (Inuit) 24

Conclusions 29

Some common features in the uses and nature of music in four hunter-gatherer societies 29

Methods and materials of construction of instruments: implications for the archaeological record 30

3 Palaeolithic Music Archaeology 1: Pipes 32

Introduction 32

Introduction to the Upper Palaeolithic 33

Introduction to Palaeolithic pipes 34

The earliest reputed pipes 35

Mousterian musicianship? 38

Upper Palaeohthic pipes 41

The Swabian Alb (Geissenklösterle, Hohle Feb, Vogelherd) 42

Isturitz 51

Other sites 88

Representations of instruments 89

The use of bone for instrument manufacture in the Middle and Upper Palaeolithic 90

Raw material availability? 91

Neanderthal use of avian fauna for subsistence and as a raw material 92

Use of avian fauna and technological limitations 93

Use of avian fauna due to environmental stress 94

Cultural revolution? 96

4 Palaeolithic Music Archaeology 2: Other Sound-Producers 99

Introduction 99

Other aerophones 100

Phalangeal whistles 100

Bullroarers (free aerophones) 105

Percussive instruments 109

Rasps (scraped idiophones) 109

Struck percussion 114

Caves and lithophones 115

Music and dance in later prehistory 121

Archaeology conclusions 124

5 The Palaeoanthropology of Vocalization 1: Vocal Anatomy 130

Introduction 130

The vocal apparatus and fossil evidence for its evolution 131

The larynx and basicranial flexion 135

The hyoid bone and mandible 144

The hypoglossal canal and tongue 146

Vertebral innervation, intercostal musculature, and breathing control 148

Some previous explanations for increased tonal range 153

Conclusions 158

6 The Palaeoanthropology of Vocalization 2: The Brain and Hearing 161

Introduction 161

Evidence for the evolution of vocal control in the brain 161

Fossil endocasts 161

Neurology of vocal production in primates and humans 164

Voluntary control of emotional content 165

The role of the periaqueductal grey matter (PAG) 166

The FoxP2 genetic mutations 168

The ear, sound perception, and evolution 169

Conclusions 174

7 Neurological Relationships Between Music and Speech 177

Introduction 177

Hemispheric organization: language in the left brain, music in the right? 180

Identifying functional neuroanatomy: brain scanning and neuropathology 181

Speech and melody production 183

Processing of tonal information in music and speech 185

Tonal and rhythmic information processing 190

Does the brain have a neurological modular specialization dedicated uniquely to music? 194

Conclusions 197

8 Vocal Versatility and Complexity in an Evolutionary Context 201

Introduction 201

Evidence for an inherited capacity for the perception of melody and rhythm 202

Early vocal behaviours in primate infants 202

Infant-directed speech, music and vocalization 204

Proto-music/language: rationales for a shared ancestry 214

Social vocalization in primates 220

Evolutionary rationales for complexity of vocalization: proto-music, proto-language, and social vocalization 221

Conclusions 225

9 Vocal Control and Corporeal Control-Vocalization, Gesture, Rhythm, Movement, and Emotion 228

Introduction 228

Vocal content and manual gesture 229

Gesture and vocalization in infants 231

Gesture, vocalization, and meaning 233

Rhythm, corporeal movement, and emotion 237

Entrainment 243

Conclusions 250

10 Emotion and Communication in Music 255

Introduction 255

Intrinsic and extrinsic emotional content of music 256

Ecological context, social context, and the human in music 259

The human in music 261

Autism, Asperger and Williams syndromes 265

The role of the social context in which music is experienced 267

Physiological, neurological, and neurochemical correlates with the experience of emotion in music 268

Conclusions 273

11 Rationales for Music in Evolution 275

Introduction 275

Non-adaptive models of musical origins 277

Some adaptive rationales for the use of music 279

Music and group cohesion 280

Music and dance as a coalition signalling system 283

Music and sexual selection 285

Music and group selection 289

Music's multiple meanings and cognitive development 291

Music and cognitive evolution 294

Cognitive modularity and symbolic thought 294

Mimesis, culture, and cognition 297

Enhanced Working Memory 301

Conclusions 303

12 Conclusions 307

The nature of music 308

Conceiving the foundations of music 315

A timeline for the emergence of musicality 319.

Notes:

Includes bibliographical references and index.

Local Notes:

Acquired for the Penn Libraries with assistance from the Class of 1891 Department of Arts Fund.

ISBN:

0199234086

9780199234080

OCLC:

824524715

Publisher Number:

99956852147