The prehistory of music

Cover
Contents
List of Figures
List of Tables
1. Conceiving Music in Prehistory
	Introduction
	Conceptualizing music and prehistory
	The organization of the book
2. Implications of Music in Hunter-Gatherer Societies
	Introduction
	Native Americans of the plains (Blackfoot and Sioux)
	African Pygmies of the equatorial forest (Aka and Mbuti)
	Australian Aborigines of the Western Desert (Pintupi)
	The Eskimo of south-west Alaska (Yupik) and Canada (Inuit)
	Conclusions
		Some common features in the uses and nature of music in four hunter-gatherer societies
		Methods and materials of construction of instruments: implications for the archaeological record
3. Palaeolithic Music Archaeology 1: Pipes
	Introduction
		Introduction to the Upper Palaeolithic
		Introduction to Palaeolithic pipes
	The earliest reputed pipes
		Mousterian musicianship?
	Upper Palaeolithic pipes
		The Swabian Alb (Geissenklösterle, Hohle Fels, Vogelherd)
		Isturitz
		Other sites
	Representations of instruments
	The use of bone for instrument manufacture in the Middle and Upper Palaeolithic
		Raw material availability?
		Neanderthal use of avian fauna for subsistence and as a raw material
		Use of avian fauna and technological limitations
		Use of avian fauna due to environmental stress
	Cultural revolution?
4. Palaeolithic Music Archaeology 2: Other Sound-Producers
	Introduction
	Other aerophones
		Phalangeal whistles
		Bullroarers (free aerophones)
	Percussive instruments
		Rasps (scraped idiophones)
		Struck percussion
	Caves and lithophones
	Music and dance in later prehistory
	Archaeology conclusions
5. The Palaeoanthropology of Vocalization 1: Vocal Anatomy
	Introduction
	The vocal apparatus and fossil evidence for its evolution
		The larynx and basicranial flexion
		The hyoid bone and mandible
		The hypoglossal canal and tongue
		Vertebral innervation, intercostal musculature, and breathing control
	Some previous explanations for increased tonal range
	Conclusions
6. The Palaeoanthropology of Vocalization 2: The Brain and Hearing
	Introduction
	Evidence for the evolution of vocal control in the brain
		Fossil endocasts
		Neurology of vocal production in primates and humans
	The ear, sound perception, and evolution
	Conclusions
7. Neurological Relationships Between Music and Speech
	Introduction
	Hemispheric organization: language in the left brain, music in the right?
	Identifying functional neuroanatomy: brain scanning and neuropathology
	Speech and melody production
	Processing of tonal information in music and speech
	Tonal and rhythmic information processing
	Does the brain have a neurological modular specialization dedicated uniquely to music?
	Conclusions
8. Vocal Versatility and Complexity in an Evolutionary Context
	Introduction
	Evidence for an inherited capacity for the perception of melody and rhythm
		Early vocal behaviours in primate infants
		Infant-directed speech, music, and vocalization
	Proto-music/language: rationales for a shared ancestry
	Social vocalization in primates
	Evolutionary rationales for complexity of vocalization: proto-music, proto-language, and social vocalization
	Conclusions
9. Vocal Control and Corporeal Control—Vocalization, Gesture, Rhythm, Movement, and Emotion
	Introduction
	Vocal content and manual gesture
	Gesture and vocalization in infants
	Gesture, vocalization, and meaning
	Rhythm, corporeal movement, and emotion
	Entrainment
	Conclusions
10. Emotion and Communication in Music
	Introduction
	Intrinsic and extrinsic emotional content of music
	Ecological context, social context, and the human in music
		The human in music
		Autism, Asperger and Williams syndromes
		The role of the social context in which music is experienced
	Physiological, neurological, and neurochemical correlates with the experience of emotion in music
	Conclusions
11. Rationales for Music in Evolution
	Introduction
	Non-adaptive models of musical origins
	Some adaptive rationales for the use of music
		Music and group cohesion
		Music and dance as a coalition signalling system
		Music and sexual selection
		Music and group selection
		Music’s multiple meanings and cognitive development
	Music and cognitive evolution
		Cognitive modularity and symbolic thought
		Mimesis, culture, and cognition
		Enhanced Working Memory
	Conclusions
12. Conclusions
	The nature of music
	Conceiving the foundations of music
	A timeline for the emergence of musicality
Appendix
	Table 1: Inventory of Palaeolithic reputed pipes and flutes
	Table 2: Inventory of Palaeolithic objects originally reputed to be pipes and .utes but since deemed unlikely
	Table 3: Inventory of Palaeolithic reputed phalangeal whistles
References
Index
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