our social evolution depends highly on how our elite percieves
evolution --- read-- change.... Change just means Freedom!
Freedom in all aspects...From our unnecessary obscuring old values,
.....freedom from unnecassary old family ties....freedom from social
constraints...freedom form old ideologies...freedom from religious
notions counter to enlightenment.....freedom from natural ties in
favour of integration....Freedom from our own unconscious .....etc.
...with all the unknown variables where awareness may be missing
.......in order to give our conscious a chance to determine our
human condition....
Music seems to play a big role in evolution....and nurture in a culture ...
...and in this context:
***
During the weekend I have been watching Phenomena "Michael Jackson"....
a great music-talent, who formed the "Pop Music" of our generation.
You know that he suddenly passed away on Thursday, 25-06-09. Sorry for him.
That brought me again to read some papers on the issue...
Why are masses hysterically fascinated by "Music".....?
Hysteria; it looks as if the masses are "plugged" for a period.....
to a "collective Intelligence" mediated through talented musicians...
and their fascinating waves of beautiful sound.
Mrs. ELLEN DISSANAYAKE has interesting aspects to say.
Her hypothesis ...gives a lot of clues to this inquiry... I like it and
it goes with my own perception (My Hobby; Quality of music
as a prominent parameter of Intelligence).
*
The Music of Nature and the Nature of Music 1)
It has been postulated that there is an unproven (and probably unprovable) concept
called mathematical Platonism, which supposes that there is a universal mathematics
awaiting discovery. Is there a universal music awaiting discovery, or is all music just
a construct of whatever mind is making it--human, bird, whale? The similarities among
human music, bird song, and whale song tempt one to speculate that the Platonic
alternative may exist--that there is a universal music awaiting discovery.
1) http://www.sciencemag.org/cgi/content/full/291/5501/52
Understanding music as a universal form of human expression will provide insights into
the neurobiology of perception, performance, emotion, learning, development, and
plasticity--with a few hints about aesthetics, talent, and creativity thrown in.2)
2) http://www.sciencemag.org/cgi/content/full/291/5501/54
*
1) Music-2009-Dissanyake.pdf
http://books.google.de/books?id=_KiPpy8Nd3wC&dq=Ellen+Dissanayake&printsec=frontcover&source=an&hl=de&ei=OgZKSpeqDovW-QaYpNjeBQ&sa=X&oi=book_result&ct=result&resnum=10
If music is the food of love, what about survival
and reproductive success?
ELLEN DISSANAYAKE
School of Music
University of Washington
http://www.ellendissanayake.com/publications/
• ABSTRACT
This article departs from many discussions of the origin, evolution, and adaptive
function(s) of music by treating music not as perceptual qualities (pitch, timbre,
meter), formal elements (prosody, melody, harmony, rhythm), performed activity
(singing, drumming), or genre (lullaby, song, dance). Rather, music is
conceptualized as a behavioral and motivational capacity: what is done to sounds
and pulses when they are “musified” — made into music — and why. For this new
view, I employ the ethological notion of ritualization, wherein ordinary
communicative behaviors (e.g., sounds, movements) are altered through
formalization, repetition, exaggeration, and elaboration, thereby attracting
attention and arousing and shaping emotion. The universal sensitivity of infants as
young as 8 weeks to such alterations of (or operations on) voice, facial expression,
and body movements, when these are presented to them by adults in intimate
dyadic interactions within a shared temporal framework, suggests an evolved,
adaptive capacity that enabled and reinforced emotional bonding. Such protoaesthetic
(proto-musical) operations existed as a reservoir from which individual
cultures could draw when inventing art-saturated ritual ceremonies that united
groups temporally and emotionally as they did mother-infant pairs. Music in its
origins and evolution is assumed to be multimodal (visual and kinesic, as well as
aural) and a social — not solitary — activity. An appendix describes important
structural and functional resemblances between music, mother-infant interaction,
ceremonial ritual, and adult courtship and lovemaking (as differentiated from
copulation). These resemblances suggest not only an evolutionary relationship
among these behaviors but argue for the existence of an evolved amodal neural
propensity in the human species to respond — cognitively and emotionally — to
dynamic temporal patterns produced by other humans in contexts of affiliation.
Keywords: origin and evolution of music, mother-infant interaction, ritualization,
affiliation, multimodality, ceremonial ritual
169
© 2008 by ESCOM European Society
for the Cognitive Sciences of Music
Musicae Scientiae
Special issue 2008, 169-195
***
***
2) Music-neuro-science.pdf
Music, the food of neuroscience?
Robert Zatorre
*
Abstract
Playing, listening to and creating music involves practically every cognitive
function. Robert Zatorre explains how music can teach us about speech,
brain plasticity and even the origins of emotion.
We tend to consider art and culture from a humanistic or historical perspective rather
than a biological one. Yet these products of human cognition must have their origin
in the function and structure of the human nervous system. As such, they should be
able to yield valuable scientific insights. This line of reasoning is nowhere more
evident than in the contemporary interest in the neuroscience of music.
Music provides a tool to study numerous aspects of neuroscience, from motor-skill
learning to emotion. Indeed, from a psychologist's point of view, listening to and
producing music involves a tantalizing mix of practically every human cognitive
function. Even a seemingly simple activity, such as humming a familiar tune,
necessitates complex auditory pattern-processing mechanisms, attention, memory
storage and retrieval, motor programming, sensory–motor integration, and so forth
***
A study of eight-month-old babies found that all possess perfect pitch which
is lost within a few years. Only a tiny minority of people - which has included
Mozart, J S Bach, Yehudi Menuhin, Nat King Cole and Frank Sinatra - are able
to keep their innate ability to determine perfect pitch.3)
3)http://www.psych.mcgill.ca/levitin/pubspages/perfectpitch.html
*******
3) Music-brain.pdf
Brain tuned to music
Paulo Esteˆ va˜ o Andrade Joydeep Bhattacharya PhD
If music is the food of love, what about survival
and reproductive success?
ELLEN DISSANAYAKE
School of Music
University of Washington
http://www.ellendissanayake.com/publications/
• ABSTRACT
This article departs from many discussions of the origin, evolution, and adaptive
function(s) of music by treating music not as perceptual qualities (pitch, timbre,
meter), formal elements (prosody, melody, harmony, rhythm), performed activity
(singing, drumming), or genre (lullaby, song, dance). Rather, music is
conceptualized as a behavioral and motivational capacity: what is done to sounds
and pulses when they are “musified” — made into music — and why. For this new
view, I employ the ethological notion of ritualization, wherein ordinary
communicative behaviors (e.g., sounds, movements) are altered through
formalization, repetition, exaggeration, and elaboration, thereby attracting
attention and arousing and shaping emotion. The universal sensitivity of infants as
young as 8 weeks to such alterations of (or operations on) voice, facial expression,
and body movements, when these are presented to them by adults in intimate
dyadic interactions within a shared temporal framework, suggests an evolved,
adaptive capacity that enabled and reinforced emotional bonding. Such protoaesthetic
(proto-musical) operations existed as a reservoir from which individual
cultures could draw when inventing art-saturated ritual ceremonies that united
groups temporally and emotionally as they did mother-infant pairs. Music in its
origins and evolution is assumed to be multimodal (visual and kinesic, as well as
aural) and a social — not solitary — activity. An appendix describes important
structural and functional resemblances between music, mother-infant interaction,
ceremonial ritual, and adult courtship and lovemaking (as differentiated from
copulation). These resemblances suggest not only an evolutionary relationship
among these behaviors but argue for the existence of an evolved amodal neural
propensity in the human species to respond — cognitively and emotionally — to
dynamic temporal patterns produced by other humans in contexts of affiliation.
Keywords: origin and evolution of music, mother-infant interaction, ritualization,
affiliation, multimodality, ceremonial ritual
169
© 2008 by ESCOM European Society
for the Cognitive Sciences of Music
Musicae Scientiae
Special issue 2008, 169-195
***
***
2) Music-neuro-science.pdf
Music, the food of neuroscience?
Robert Zatorre
*
Abstract
Playing, listening to and creating music involves practically every cognitive
function. Robert Zatorre explains how music can teach us about speech,
brain plasticity and even the origins of emotion.
We tend to consider art and culture from a humanistic or historical perspective rather
than a biological one. Yet these products of human cognition must have their origin
in the function and structure of the human nervous system. As such, they should be
able to yield valuable scientific insights. This line of reasoning is nowhere more
evident than in the contemporary interest in the neuroscience of music.
Music provides a tool to study numerous aspects of neuroscience, from motor-skill
learning to emotion. Indeed, from a psychologist's point of view, listening to and
producing music involves a tantalizing mix of practically every human cognitive
function. Even a seemingly simple activity, such as humming a familiar tune,
necessitates complex auditory pattern-processing mechanisms, attention, memory
storage and retrieval, motor programming, sensory–motor integration, and so forth
***
A study of eight-month-old babies found that all possess perfect pitch which
is lost within a few years. Only a tiny minority of people - which has included
Mozart, J S Bach, Yehudi Menuhin, Nat King Cole and Frank Sinatra - are able
to keep their innate ability to determine perfect pitch.3)
3)http://www.psych.mcgill.ca/levitin/pubspages/perfectpitch.html
*******
3) Music-brain.pdf
Brain tuned to music
Paulo Esteˆ va˜ o Andrade Joydeep Bhattacharya PhD
http://www.pubmedcentral.nih.gov/articlerender.fcgi?artid=539509
Conclusion:
In this short review, we have presented evidence that
perception of music, with its immense emotional power,
can be studied in scientific ways. Further work in this area
can be expected to yield information on matters such as the
existence of an inherently musical mind, the relation
between music and language, and the process of creativity.
***
More on the role of the Unconscious:
Free Will Is Un-natural ! :-) Very interesting and enlightening!
Conclusion:
In this short review, we have presented evidence that
perception of music, with its immense emotional power,
can be studied in scientific ways. Further work in this area
can be expected to yield information on matters such as the
existence of an inherently musical mind, the relation
between music and language, and the process of creativity.
***
More on the role of the Unconscious:
Free Will Is Un-natural ! :-) Very interesting and enlightening!
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