Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm, or otherwise expressive content. Definitions of music vary depending on culture, though it is an aspect of all human societies and a cultural universal. While scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into academic disciplines, criticism, philosophy, and psychology. Music may be performed or improvised using a vast range of instruments, including the human voice.
Musicology is the scholarly analysis and research-based study of music. Musicology departments traditionally belong to the humanities, although some music research is scientific in focus. Some geographers and anthropologists have an interest in musicology, so the social sciences also have an academic interest. A scholar who participates in musical research is a musicologist.
Although definitions of music vary wildly throughout the world, every known culture partakes in it, and it is thus considered a cultural universal. The origins of music remain highly contentious; commentators often relate it to the origin of language, with much disagreement surrounding whether music arose before, after or simultaneously with language. Many theories have been proposed by scholars from a wide range of disciplines, though none has achieved broad approval. Most cultures have their own mythical origins concerning the invention of music, generally rooted in their respective mythological, religious or philosophical beliefs.
Musicality is "sensitivity to, knowledge of, or talent for music" or "the quality or state of being musical", and is used to refer to specific if vaguely defined qualities in pieces and/or genres of music, such as melodiousness and harmoniousness. These definitions are somewhat hampered by the difficulty of defining music, but, colloquially, "music" is often contrasted with noise and randomness. Judges of contest music may describe a performance as bringing the music on the page to life; of expressing more than the mere faithful reproduction of pitches, rhythms, and composer dynamic markings. In the company of two or more musicians, there is the added experience of the ensemble effect in which the players express something greater than the sum of their individual parts. A person considered musical has the ability to perceive and reproduce differences in aspects of music including pitch, rhythm, and harmony. Two types of musicality may be differentiated: to be able to perceive music and to be able to reproduce music in addition to creating music.
Cognitive archaeology is a theoretical perspective in archaeology that focuses on the ancient mind. It is divided into two main groups: evolutionary cognitive archaeology (ECA), which seeks to understand human cognitive evolution from the material record, and ideational cognitive archaeology (ICA), which focuses on the symbolic structures discernable in or inferable from past material culture.
Prehistoric music is a term in the history of music for all music produced in preliterate cultures (prehistory), beginning somewhere in very late geological history. Prehistoric music is followed by ancient music in different parts of the world, but still exists in isolated areas. However, it is more common to refer to the "prehistoric" music which still survives as folk, indigenous or traditional music. Prehistoric music is studied alongside other periods within music archaeology.
Evolutionary musicology is a subfield of biomusicology that grounds the cognitive mechanisms of music appreciation and music creation in evolutionary theory. It covers vocal communication in other animals, theories of the evolution of human music, and holocultural universals in musical ability and processing.
Music psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life. Modern music psychology is primarily empirical; its knowledge tends to advance on the basis of interpretations of data collected by systematic observation of and interaction with human participants. Music psychology is a field of research with practical relevance for many areas, including music performance, composition, education, criticism, and therapy, as well as investigations of human attitude, skill, performance, intelligence, creativity, and social behavior.
Evolutionary educational psychology is the study of the relation between inherent folk knowledge and abilities and accompanying inferential and attributional biases as these influence academic learning in evolutionarily novel cultural contexts, such as schools and the industrial workplace. The fundamental premises and principles of this discipline are presented below.
Henkjan Honing is a Dutch researcher. He is professor of Music Cognition at both the Faculty of Humanities and the Faculty of Science of the University of Amsterdam. He conducts his research under the auspices of the Institute for Logic, Language and Computation, and the University of Amsterdam's Brain and Cognition center.
Sing-along, also called community singing or group singing, is an event of singing together at gatherings or parties, less formally than choir singing. One can use a songbook. Common genres are folk songs, patriotic songs, kids' songs, spirituals, campfire songs, nonsense songs, humorous songs, hymns and drinking songs. Children around the world usually sing together. Sing-along can be based on unison singing, or on singing in harmony.
Entrainment in the biomusicological sense refers to the synchronization of organisms to an external perceived rhythm such as human music and dance. Humans are the only species for which all individuals experience entrainment, although there are documented examples of entrained nonhuman individuals.
Systematic musicology is an umbrella term, used mainly in Central Europe, for several subdisciplines and paradigms of musicology. "Systematic musicology has traditionally been conceived of as an interdisciplinary science, whose aim it is to explore the foundations of music from different points of view, such as acoustics, physiology, psychology, anthropology, music theory, sociology, and aesthetics." The most important subdisciplines today are music psychology, sociomusicology, philosophy of music, music acoustics, cognitive neuroscience of music, and the computer sciences of music. These subdisciplines and paradigms tend to address questions about music in general, rather than specific manifestations of music. In the Springer Handbook of Systematic Musicology, "(the) sections follow the main topics in the field, Musical Acoustics, Signal Processing, Music Psychology, Psychophysics/Psychoacoustics, and Music Ethnology while also taking recent research trends into consideration, like Embodied Music Cognition and Media Applications. Other topics, like Music Theory or Philosophy of Music are incorporated in the respective sections."
William Tecumseh Sherman Fitch III is an American evolutionary biologist and cognitive scientist at the University of Vienna where he is co-founder of the Department of Cognitive Biology.
Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical knowledge with the goal of understanding both music and cognition.
Neuroscientists have learned much about the role of the brain in numerous cognitive mechanisms by understanding corresponding disorders. Similarly, neuroscientists have come to learn much about music cognition by studying music-specific disorders. Even though music is most often viewed from a "historical perspective rather than a biological one" music has significantly gained the attention of neuroscientists all around the world. For many centuries music has been strongly associated with art and culture. The reason for this increased interest in music is because it "provides a tool to study numerous aspects of neuroscience, from motor skill learning to emotion".
Bjorn Merker, Swedish citizen born May 15, 1943, in Tetschen, is a neuroscientist and an independent interdisciplinary scholar educated in the USA, now living in southern Sweden.
Cognitive biology is an emerging science that regards natural cognition as a biological function. It is based on the theoretical assumption that every organism—whether a single cell or multicellular—is continually engaged in systematic acts of cognition coupled with intentional behaviors, i.e., a sensory-motor coupling. That is to say, if an organism can sense stimuli in its environment and respond accordingly, it is cognitive. Any explanation of how natural cognition may manifest in an organism is constrained by the biological conditions in which its genes survive from one generation to the next. And since by Darwinian theory the species of every organism is evolving from a common root, three further elements of cognitive biology are required: (i) the study of cognition in one species of organism is useful, through contrast and comparison, to the study of another species’ cognitive abilities; (ii) it is useful to proceed from organisms with simpler to those with more complex cognitive systems, and (iii) the greater the number and variety of species studied in this regard, the more we understand the nature of cognition.
Neuroarchaeology is a sub-discipline of archaeology that uses neuroscientific data to infer things about brain form and function in human cognitive evolution. The term was first suggested and thus coined by Colin Renfrew and Lambros Malafouris.
Aniruddh (Ani) D. Patel is a cognitive psychologist known for his research on music cognition and the cognitive neuroscience of music. He is Professor of Psychology at Tufts University, Massachusetts. From a background in evolutionary biology, his work includes empirical research, theoretical studies, brain imaging techniques, and acoustical analysis applied to areas such as cognitive musicology, parallel relationships between music and language, and evolutionary musicology. Patel received a Guggenheim Fellowship in 2018 to support his work on the evolution of musical cognition.
