A comparative evaluation of current theories of the origin of music (OoM) Richard Parncutt Centre...

A comparative evaluation of current A comparative evaluation of current theories of the origin of music (OoM) theories of the origin of music (OoM)

Richard ParncuttRichard ParncuttCentre for Systematic Musicology, Centre for Systematic Musicology,

University of Graz, AustriaUniversity of Graz, Austria

International Summer School on Systematic International Summer School on Systematic Musicology and Sound and Music Computing Musicology and Sound and Music Computing

(ISSSM), Genova, Italia(ISSSM), Genova, Italia

15 March 201415 March 2014SysMus Graz

Across cultures and periods, music is social (coordinating group behavior, strengthening group identity), emotional (evoking basic and everyday emotions but especially pleasure, wonder, tenderness, nostalgia), and melodic/rhythmic (within physical constraints of the human body). It is generally accepted that music and speech had a common ancestor called musilanguage; the two may have split between 10^6 and 10^5 years ago. The split must have occurred because music acquired a special non-linguistic function, e.g. to facilitate group cohesion (like grooming), mate selection (flirting), or cognitive skill acquisition (childplay). In other approaches, music developed in a continuous line from protomusical primate behaviors, or emerged accidentally because it was somehow pleasurable. Another candidate for music's origin is motherese, which emerged some 10^6 years ago because it promoted infant survival when gestation became shorter due to increased brain size and a narrower pelvis, in turn due to bipedalism (Mithen, 2009). Musilanguage and motherese may even be the same thing.

We do not know enough about ancient environments and behaviors - let alone ancient music or protomusic - to evaluate such theories directly. But we can evaluate how well each theory predicts the apparently universal social functions, emotional qualities, and structural features of music as we know it today. That may be the most objective way that we have to evaluate and compare competing theories.

In this presentation I will attempt to systematically list the main characteristic features of music as we know it today and evaluate the extent to which each theory predicts each feature. A list of such features is essentially just a definition of music. A major difficulty in defining music has always been to distinguish it from speech, with which it shares many characteristics. A possible solution is first to list the common features of music and speech (comparable with a definition of musilanguage) and then to list the ways in which music and speech differ. Music and speech are both acoustic signals, and both are structured (gestural, rhythmic, melodic, syntactic) and both are social (meaningful, emotional, intentional). By comparison to speech, music is less lexical, less socially essential, more spiritual, more repetitive, more exact in pitch/time, less exact in timbre, and more expertise-oriented. A careful analysis of the extent to which each theory predicts these features does not clearly distinguish four leading theories from each other (group cohesion, mate selection, skill acquisition, motherese) but it does seem to eliminate primate behaviors and non-adaptive pleasure seeking.

Centre for Systematic MusicologyCentre for Systematic MusicologyUni Graz, AustriaUni Graz, Austria

Bernd BrabecEthnomusicology

Erica BisesiExpression in piano music

Hande SaglamMusic and Migration

Michaela SchwarzSecretary

Sabrina SattmannMusic psychology

Andreas FuchsMusic technology

ContentsContents

Definition of music Definition of music What are we trying to explain, exactly?What are we trying to explain, exactly?

Overview of current theoriesOverview of current theoriesHow music might have “begun”How music might have “begun”

Comparative evalutionComparative evalution How well does each predict musical features?How well does each predict musical features?

Language and music Language and music universal featuresuniversal features

Language and music

Music(compared to language)

1. acoustic2. meaningful3. gestural4. rhythmic + melodic5. syntactic6. social7. emotional8. intentional

1. less lexical 2. less socially essential 3. more spiritual4. more repetitive5. more exact in pitch/time,

less exact in timbre6. more expertise-oriented7. DANCE???

Cecilia BartoliCécile Kyenge

Both language and music are

1. Acoustic1. Acousticphysical vibrations of voice, instruments, air, ear...

Physical limitations:Physical limitations: physiology of voice and earphysiology of voice and ear size size resonances of vocal tract resonances of vocal tract ff00 range of music ≈ 100 – 1000 Hz range of music ≈ 100 – 1000 Hz


2. Meaningful2. MeaningfulThey communicate “information”

language: language: obvious?obvious?

music: music: mysterious?mysterious?

philosophical & psychological issuesphilosophical & psychological issues


3. Gestural3. GesturalBoth involve body movement (corporality)

LanguageLanguage theories of origin based on sign and gesturetheories of origin based on sign and gesture

MusicMusic dance, conducting, musicians’ gesturesdance, conducting, musicians’ gestures talk about music: “rising melody”, “fast music”talk about music: “rising melody”, “fast music”


4. Rhythmic and melodic4. Rhythmic and melodic

Speech: timing + intonation = prosody

Music: rhythm + contour = melodyD

onJo

hnso

nR

ice

Uni

vers

ity


5. Syntactic5. Syntactic

LanguageLanguage nouns, verbs, subjects etc.nouns, verbs, subjects etc.

MusicMusic motives, scale steps, beats etc.motives, scale steps, beats etc.

BothBoth contextual probabilitiescontextual probabilities hierarchical structureshierarchical structures ambiguities (esp. music)ambiguities (esp. music)

Language and music give groups and participants identityenable & motivate coordinated action

Different “natural” constellationslanguage: pairsmusic: groups


6. Social6. Social


7. Emotional7. Emotional

Emotional communication through prosody (timing, pitch, loudness, timbre)

Music focuses on: wonder, transcendence, tenderness, nostalgia, peacefulness, power, joyful activation, tension, sadness

(Zentner et al, 2008)


8. Intentional8. Intentional

o PlanningPlanningo thinking about past and futurethinking about past and future

o Metacognition, reflectionMetacognition, reflectiono thinking about thinkingthinking about thinking

o Theory of mindTheory of mindo others’ “minds” are differentothers’ “minds” are different

language: lyinglanguage: lying

music: emotional manipulationmusic: emotional manipulation

DifferencesDifferences

Music – as compared to language

1 not lexical

2 less syntactic

3 less socially essential

4 more spiritual

5 more repetitive

6 more exact in pitch/time, less in timbre

7 more expertise-oriented

1. Music is not lexical1. Music is not lexical

Words can be defined in dictionaries. Words can be defined in dictionaries.

Meaning does not depend on sound.Meaning does not depend on sound.

Musical elements not defined in dictionaries. Musical elements not defined in dictionaries. Meaning does depend on sound.Meaning does depend on sound.

2. Music is less syntactic2. Music is less syntactic

Language Music

Is syntax integral to meaning? Yes No

Does scrambling destroy message? More Less

3. Music is less 3. Music is less socially essentialsocially essential

People with aphasiaPeople with aphasia Relatively big social problemRelatively big social problem

People with amusiaPeople with amusia Relatively small social problemRelatively small social problem

4. Music is more spiritual4. Music is more spiritualtranscendent, connecting, life-changingtranscendent, connecting, life-changing

Music is more ritualisedMusic is more ritualised• special times, special places, special feelingsspecial times, special places, special feelings

Language is more everydayLanguage is more everyday• any time, any place, any feelingany time, any place, any feeling

4. Music is more repetitive4. Music is more repetitive

people usually say things only oncepeople usually say things only once musical themes are usually repeatedmusical themes are usually repeated

I must not talk in classI must not talk in classI must not talk in classI must not talk in classI must not talk in classI must not talk in classI must not talk in classI must not talk in class



5. Music is more exact in pitch 5. Music is more exact in pitch and time; language, in timbreand time; language, in timbre

Pitch-time patterns in musicPitch-time patterns in music thousands of melodiesthousands of melodies

Timbre in languageTimbre in language thousands of wordsthousands of words

6. Music is more expertise-6. Music is more expertise-orientedoriented

SpeakingSpeaking everyone can do iteveryone can do it everyone practiceseveryone practices

Playing musicPlaying music experts are admiredexperts are admired only experts practiceonly experts practice

What is a “good” theory?What is a “good” theory? Satisfies general criteria for good theoriesSatisfies general criteria for good theories Accounts for many musical featuresAccounts for many musical features

A “good” theory is...A “good” theory is...

simple simple parsimonious, falsifiable parsimonious, falsifiable

general general accounts for range of phenomena accounts for range of phenomena

focused focused on the main issues on the main issues

concrete concrete clearly defined terms, processes clearly defined terms, processes

logical logical clear argument clear argument

empirical empirical observation-based, ecological observation-based, ecological

seminal seminal inspires new approaches inspires new approaches

Ockham Kuhn Popper GibsonOckham Kuhn Popper Gibson

A good theory of OoM A good theory of OoM should should explainexplain or or be consistent with be consistent with as many points as possible:as many points as possible:

Language and music

Music(compared to language)

1. acoustic2. meaningful3. gestural4. rhythmic + melodic5. syntactic6. social7. emotional8. intentional

1. not lexical 2. less syntactic3. less socially essential 4. more spiritual5. more repetitive6. more exact in pitch/time,

less in timbre7. more expertise-oriented

Music: a cultural construct of singing, dancing, playing instruments?

Kinds of theory of OoMKinds of theory of OoM

Prerequisites or behaviors?Prerequisites or behaviors? Different prehistoric periodsDifferent prehistoric periods One of more originsOne of more origins

Prerequisites versus behaviorsPrerequisites versus behaviorstwo kinds of “origin”

PrerequisitesPrerequisites include include physiologyphysiology

vocal tract, fast neural processing...vocal tract, fast neural processing...

psychologypsychology reflective language, theory of mind...reflective language, theory of mind...

latent abilitieslatent abilities ability to synchronize to a beat, e.g. ability to synchronize to a beat, e.g. Snowball

Behaviors includeBehaviors include animal “singing”animal “singing” motheresemotherese

Years ago Relevance for humanity Relevance for music

100 000 000 animals acoustic communication

10 000 000 primates sonic social coordination3 000 000 tools

1 000 000 large brain, social cognition lang.-music separation300 000 low larynx variety of sounds

100 000 • reflection, theory of mind• speech: complex vocab & syntax• cultural explosion: art, religion• exit from Africa

• instruments• scales, metre• complex ritual

10 000 • agriculture, villages, writing• hierarchical social structures

• pentatonic/diatonic• rich oral traditions

1 000 religious politics • polyphony, notation

100 electrical technologies • new tonalities• sound recording

When did “music” “begin”?When did “music” “begin”?

Origin or origins?Origin or origins?

Did different processes Did different processes contribute to music in contribute to music in different periods?different periods?

Leading theories of OoMLeading theories of OoM

MusilanguageMusilanguage Emotional coordinationEmotional coordination Non-human animal behaviorsNon-human animal behaviors Non-adaptive pleasure-seekingNon-adaptive pleasure-seeking

MusilanguageMusilanguageEmotional-lexical vocal communicationEmotional-lexical vocal communication

Were music and language once one? Does music exist Were music and language once one? Does music exist because it has different social functions from language? because it has different social functions from language?

My assumption:Yes, obviously

Not obvious:Separation was functional and deliberate? start of “consciousness”? cf. phylogeny and ontogeny

Emotional coordinationEmotional coordinationDoes music exist because it coordinates group emotion, Does music exist because it coordinates group emotion,

which promotes group survival?which promotes group survival?

Theoretical foundationTheoretical foundation• Music can coordinate emotions of many people (social control in ritual)Music can coordinate emotions of many people (social control in ritual)• Groups with music can be larger; compete better with other groupsGroups with music can be larger; compete better with other groups

Evidence:Evidence:• Language & music can fulfil social function of grooming (Dunbar)Language & music can fulfil social function of grooming (Dunbar)• Growth of group size with brain sizeGrowth of group size with brain size

Accounts for music’s...Accounts for music’s...social function, emotion, intentionalitysocial function, emotion, intentionality

NOT spirituality, strong emotionNOT spirituality, strong emotion

Non-human animal behaviorsNon-human animal behaviorsIs music an elaboration of ancestral behaviors?Is music an elaboration of ancestral behaviors?

Examples:Examples: singing (birds, whales, gibbons) singing (birds, whales, gibbons) territorial marking (wolves...)territorial marking (wolves...) synchronous chorusing (chimpanzees)synchronous chorusing (chimpanzees)

For: For: may explain unconscious “drives”may explain unconscious “drives”

Against: Against: isolated, impoverished skillsisolated, impoverished skills

Can account for music’s...Can account for music’s...repetition, social function, emotionrepetition, social function, emotionNOT complexity, intentionality, spiritualityNOT complexity, intentionality, spirituality

Non-human animals are amazingly bad at music and language - as the photos suggest

Non-adaptive pleasure seekingNon-adaptive pleasure seekingDoes music exist because it activates neural reward systems?Does music exist because it activates neural reward systems?

Uses multiple existing neural systems: Uses multiple existing neural systems: motor, ASA, language, social, aggression...motor, ASA, language, social, aggression...

CounterevidenceCounterevidence based on accident – could go in the wrong direction?based on accident – could go in the wrong direction? musicians do not get addicted and suffer withdrawal!musicians do not get addicted and suffer withdrawal!

Accounts for music’s...Accounts for music’s...emotion, repetition, spiritualityemotion, repetition, spirituality

NOT gesture, structure, syntaxNOT gesture, structure, syntax

NOT social function, intentionalityNOT social function, intentionality

Music and stages of Music and stages of sexual reproductionsexual reproduction

1.1. FlirtingFlirting

2.2. Prenatal developmentPrenatal development

3.3. MothereseMotherese

4.4. ChildhoodChildhood

The ideaThe idea Males use music to attract femalesMales use music to attract females Females use music to judge male fitnessFemales use music to judge male fitness

Evidence (shaky…)Evidence (shaky…) love songslove songs musicians are mainly malemusicians are mainly male we are more creative when sexually activewe are more creative when sexually active

CounterevidenceCounterevidence no gender diff. in music ability; androgenyno gender diff. in music ability; androgeny other ways for females to evaluate fitnessother ways for females to evaluate fitness humans are smarter than peacockshumans are smarter than peacocks

Accounts for music’s...Accounts for music’s...emotion, intentionality, expertise orientation - NOT spirituality, social glueemotion, intentionality, expertise orientation - NOT spirituality, social glue

1. Flirting: Mate attraction1. Flirting: Mate attractionDoes music exist because it indicates male reproductive fitness?Does music exist because it indicates male reproductive fitness?

2. Prenatal development2. Prenatal developmentDoes music exist because it evokes the mother schema?Does music exist because it evokes the mother schema?

The ideaThe ideaFetus acquires Fetus acquires mother schema mother schema that promotes postnatal that promotes postnatal survival and includes sound and movementsurvival and includes sound and movement

motherese, play, ritualmotherese, play, ritual

Evidence Evidence Musical skills of infants and childrenMusical skills of infants and childrenMusic as Music as persona persona (mother perceived by fetus?)(mother perceived by fetus?)Musical emotion is strong, spiritual (e.g. awe), Musical emotion is strong, spiritual (e.g. awe), changed states, enclosure, flow, non-lexicalchanged states, enclosure, flow, non-lexical

Counterevidence: Counterevidence: Hard to test causal relationsHard to test causal relationsEvidence is circumstantialEvidence is circumstantialUnfalsifiable ?Unfalsifiable ?

3. Mother-infant communication3. Mother-infant communicationIs music elaborated motherese?Is music elaborated motherese?

Motherese & babbling are musicalMotherese & babbling are musical• prosodic exaggeration prosodic exaggeration • rhythmic, melodic, gesturalrhythmic, melodic, gestural• emotional, meaningfulemotional, meaningful

Evidence: studies onEvidence: studies on• motheresemotherese• infant musicalityinfant musicality

4. Childhood: Playing, training4. Childhood: Playing, trainingIs music elaborated childplay?Is music elaborated childplay?

Childplay develops cognitive, social and motor Childplay develops cognitive, social and motor skills, promoting survivalskills, promoting survivalperformance, dance performance, dance physical skills, coordination physical skills, coordinationlistening listening cognitive skills, language cognitive skills, language

Doubts: Doubts: Does this kind of training really promote Does this kind of training really promote survivalsurvival? ? Is there a “Mozart effect”?Is there a “Mozart effect”?

Accounts for music’s...Accounts for music’s...social functions, pleasureexpertise orientationsocial functions, pleasureexpertise orientationNOT spiritualityNOT spirituality

THEORY/CRITERION

animalbehav

uselesspleasure

flirting play skill

emotioncoord.

mother-infant

acoustic 1 1 1 1 1 1

meaning 1 1 1 1 1 1

gesture 1 1 1 1 1 1

rhy & mel 1 1 1 1 1 1

syntax 0.5 0 0.5 1 0.5 1

social 1 0 0.5 1 1 1

emotional 0.5 0.5 1 0.5 1 1

intentional 0 0.5 1 1 1 1

non-lexical 1 1 1 1 1 1

repetitive 1 1 1 1 1 1

spiritual 0 0.5 0 0 0 1

unessential 1 1 1 1 1 1

expertise 0 0 1 1 0 0.5

evidence 0.5 0 0.5 0 1 0.5

TOTAL 2.5 1.5 4.5 4.5 4.5 6.0

ConclusionConclusion

Is music...Is music...40% motherese40% motherese

20% flirting20% flirting

20% childplay20% childplay

20% emotion coord?20% emotion coord?

Infant musicalityInfant musicalitye.g. many studies by Trehub and collaboratorse.g. many studies by Trehub and collaborators

Sensitivity to...Sensitivity to... melodic contourmelodic contour relative pitch/durationrelative pitch/duration specific musical intervals specific musical intervals changes in unequal scales/rhythmschanges in unequal scales/rhythms+ pulse (Winkler; Phillips-Silver)+ pulse (Winkler; Phillips-Silver)

These are “predispositions”These are “predispositions”““evident in infancy, before they have evident in infancy, before they have obvious utilityobvious utility” ”

(Trehub, 2001)(Trehub, 2001)

Origins of infant musicalityOrigins of infant musicality

Genetic Genetic (Trehub)(Trehub)

selection for music (mate attraction, selection for music (mate attraction, training, social glue, motherese…)training, social glue, motherese…)

Learned Learned (Parncutt)(Parncutt)

prenatal exposure to changing maternal prenatal exposure to changing maternal sound, movement and hormone levelssound, movement and hormone levels

Prenatal cognitionPrenatal cognitionHuman gestation: 40 weeks

Taste from 15 weeksTaste from 15 weeks Hearing from 20 weeksHearing from 20 weeks Light sensitivity from 28 weeks (Lowery, 2002)Light sensitivity from 28 weeks (Lowery, 2002) Memory (Hepper, 1991) & learning (Hepper, 1996)Memory (Hepper, 1991) & learning (Hepper, 1996)

possible functions: possible functions: practice, practice, infant-mother bondinginfant-mother bonding, , promotion of breastfeeding, language acquisitionpromotion of breastfeeding, language acquisition

Prenatal hearing in animalsPrenatal hearing in animals

Yes: Yes: humans, sheep, goats, guinea humans, sheep, goats, guinea pigspigs

No: No: gerbils, rats, catsgerbils, rats, cats

Function:Function: Prenatal bonding?Prenatal bonding? Practice for postnatal perception?Practice for postnatal perception?

Prenatal learningPrenatal learning

Fetal rats learn in response to intrauterine Fetal rats learn in response to intrauterine stimulation administered stimulation administered occasionally over 5 days occasionally over 5 days (Smotherman & Robinson, 1990)(Smotherman & Robinson, 1990)

Fetal humans learn from maternal sound, Fetal humans learn from maternal sound, movement ... movement ... almost constantly for 20 weeksalmost constantly for 20 weeks

Trivial: Why should a fetus be less good at Trivial: Why should a fetus be less good at learning than a non-human animal?learning than a non-human animal?

Infant ≠ fetus?Infant ≠ fetus?

Sudden physiological changes at birth:Sudden physiological changes at birth: BreathingBreathing DigestionDigestion

No psychological or neurological change!No psychological or neurological change!““Birth is a trivial event in development. Nothing Birth is a trivial event in development. Nothing

neurologically interesting happens”neurologically interesting happens”

(Janet DiPietro, cited in Psychology Today, 1998)(Janet DiPietro, cited in Psychology Today, 1998)

From about 32 weeks fetus behaves like newbornFrom about 32 weeks fetus behaves like newborn

Extrapolate infant behavior to fetal behavior?Extrapolate infant behavior to fetal behavior?

The mother schemaThe mother schema(Parncutt, 2009)

Infant schema (Infant schema (cuteness) promotes survival (Lorenz)cuteness) promotes survival (Lorenz) Inverse: Inverse: Mother schemaMother schema??

Fetal knowledge of maternal sounds, movements and Fetal knowledge of maternal sounds, movements and emotions could promote bonding and infant survivalemotions could promote bonding and infant survival

Multimodal and holistic: baby cannot analyse itMultimodal and holistic: baby cannot analyse it

Evidence for mother schemaEvidence for mother schema very early hearing & learning – what function?very early hearing & learning – what function? fetus learns maternal smell, taste, diet fetus learns maternal smell, taste, diet preferences preferences

(Joy Brown, 2008)(Joy Brown, 2008) fetus distinguishes maternal voice from loudspeaker fetus distinguishes maternal voice from loudspeaker

on mother’s abdomen (Hepper et al., 2007)on mother’s abdomen (Hepper et al., 2007)

……All of this without reflective awareness All of this without reflective awareness

The phylogeny of musicThe phylogeny of music The “mother schema” theory The “mother schema” theory

Larger brain 2 to 1.5 million years ago (Falk, 2000; Mithen, 1996)Today, the first 3 postnatal months are the “4th trimester”

The ontogeny of musicThe ontogeny of musicThe “mother schema” theoryThe “mother schema” theory

* Prerequisite: Long-term multimodal recognition memory •multimodal = sound + movement + emotion•for similar, repeated patterns •not episodic memory! (e.g. no memory for birth)

** Play is like motherese , ritual is like play• Both evoke “motherese feelings” • Both are reinforced by operant conditioning

From motherese to musicFrom motherese to music

““It is not surprising that societies all over the world have It is not surprising that societies all over the world have developed these nodes of culture that we call ceremonies developed these nodes of culture that we call ceremonies and rituals, which do for their members what mothers and rituals, which do for their members what mothers naturally do for their babies: naturally do for their babies: engage their interest, involve engage their interest, involve them in a shared rhythmic pulse, and thereby instill feelings them in a shared rhythmic pulse, and thereby instill feelings of closeness and communion. of closeness and communion. The inborn propensities for The inborn propensities for imitation, reciprocity, and emotional communion in infancy imitation, reciprocity, and emotional communion in infancy have become further elaborated and used in ritualized and have become further elaborated and used in ritualized and ceremonial forms that themselves build and reinforce ceremonial forms that themselves build and reinforce feelings of unity among adults, feelings of unity among adults, all of which ultimately serve all of which ultimately serve to hold the group together.” to hold the group together.”

((Dissanayake, 2000, p. 64, cited by Davies)Dissanayake, 2000, p. 64, cited by Davies)

Musilanguage and mothereseMusilanguage and motherese

Hypothesis: They are the same thing•Makes theory more parsimonious, concrete, tangible•No evidence that they are different•A concrete scenario for OoM

Music and religion/spiritualityMusic and religion/spirituality

Why the strong connectionIn all known human cultures?

Prerequisites for religious beliefPrerequisites for religious beliefBasic moralityBasic moralityReciprocal altruismReciprocal altruismAre gods supernatural police? (Matt Rossano)Are gods supernatural police? (Matt Rossano)

Mental images and causalityMental images and causalityTool use Tool use (-2 000 kya) (-2 000 kya)

Formulation of beliefsFormulation of beliefsLanguage, ability to construct narrativesLanguage, ability to construct narrativesLarge brain (500 kya)Large brain (500 kya)Construction of gods: Theory of mind, agent detectionConstruction of gods: Theory of mind, agent detectionOral tradition: Gullibility of children (Dawkins)Oral tradition: Gullibility of children (Dawkins)

Monotheistic tendencies Monotheistic tendencies in world religionsin world religions

HinduHindu

Poly- or mono-theistic?Poly- or mono-theistic?

3 aspects of universal supreme 3 aspects of universal supreme god: Brahma (creator), Shiva god: Brahma (creator), Shiva (destroyer), Vishnu (protector)(destroyer), Vishnu (protector)

BuddhismBuddhism

A- or mono-theistic?A- or mono-theistic?

3 jewels: Buddha, Dharma 3 jewels: Buddha, Dharma (teachings) and Sangha (teachings) and Sangha (community)(community)

Religion Billions of people

Christianity 2

Islam 1.5

Hindu 1

Buddhist 0.5

folk 1

No religion 1

Origins of religious emotionOrigins of religious emotionAn approach from anthropology and animal behaviorAn approach from anthropology and animal behavior

““the soulful need to pray to gods, to praise God with hymns, the soulful need to pray to gods, to praise God with hymns, to shake in terror before the power of invisible spirits, to fear to shake in terror before the power of invisible spirits, to fear for one’s life at the hands of the unknown or to feel bathed in for one’s life at the hands of the unknown or to feel bathed in all-enveloping love from the heavens. … The inaccessibility all-enveloping love from the heavens. … The inaccessibility to language of the sacred experience mirrors what Martin to language of the sacred experience mirrors what Martin Buber writes … God ‘is wrapped in a cloud but reveals itself, Buber writes … God ‘is wrapped in a cloud but reveals itself, it lacks but creates language. We hear no You and yet we it lacks but creates language. We hear no You and yet we feel addressed; we answer—creating, thinking, acting: with feel addressed; we answer—creating, thinking, acting: with our being we speak the basic word, unable to say You with our being we speak the basic word, unable to say You with our mouth’”our mouth’”

Barbara King (2007). Evolving God: A provocative view of Barbara King (2007). Evolving God: A provocative view of the origins of religion. New York: Doubleday.the origins of religion. New York: Doubleday.

Pre- & perinatal mother schemaPre- & perinatal mother schema multimodal representationmultimodal representation behavior, states, predictionsbehavior, states, predictions the first schema ever the first schema ever

- in ontogeny and phylogeny- in ontogeny and phylogeny mirror of mother‘s infant schemamirror of mother‘s infant schema both schemata both schemata infant survival infant survival

human qualities human qualities

of gods and spirits?of gods and spirits?Bhārat Mātā = Mother India

national personification of India as a mother goddess

God God according to Wikipediaaccording to Wikipedia

Not only the origin of everything, but also:o supernatural and eternal o overseer of the universeo omni-scient, -potent, -present, -benevolento divinely simple

…a culturally reconstructed mother schema?o originally ungendered and unpoliticized

o cf. Jung’s mother archetypeo transmitted by non-episodic, pre-linguistic memory

o not “remembered” in the everyday senseo social and cultural - not individual

Chora - Chora - χώραχώρα

Ancient / modern GreekAncient / modern Greek womb; popular dance / womb; popular dance / country, regioncountry, region

PlatoPlato maternal space where forms materializematernal space where forms materialize

Julia Kristeva Julia Kristeva prelinguistic spaceprelinguistic space place of mobility, dissolution, renewalplace of mobility, dissolution, renewal source of emotion, instinctive drivessource of emotion, instinctive drives

Jacques DerridaJacques Derrida feminine roles: mother, nurse, receptaclefeminine roles: mother, nurse, receptacle

Carnegie Hall

Canterbury Cathedral

Acoustics of churchesAcoustics of churches

““Appropriate for worship”Appropriate for worship”= psychological connection to prenatal experience?= psychological connection to prenatal experience?

1. Reinforcement of low frequencies1. Reinforcement of low frequenciesPrenatal sound is low-pass filteredPrenatal sound is low-pass filtered

2. Suppression of directional cues2. Suppression of directional cues(Criteria for good room acoustics include “envelopment”)(Criteria for good room acoustics include “envelopment”)

Fetus cannot localise sound sourcesFetus cannot localise sound sources

““Supplication” or fetal position?Supplication” or fetal position?

Islam

Hinduism

Buddhism

Jewish prayerPlaza Hall, Jerusalem

youtube

Baha‘i Sikhism

Origin of consciousnessOrigin of consciousnessreflective language reflective awareness

100 000 years ago…100 000 years ago…No fundamental neural changeNo fundamental neural changeNo clear benefits for survival and reproductionNo clear benefits for survival and reproduction

Scenario:Scenario:bigger brain bigger brain earlier birth earlier birth fragile infant fragile infant motherese motherese

Infant survival depended on mother Infant survival depended on mother guessingguessing its needs its needs strong evolutionary pressure!strong evolutionary pressure!empathy, role of mirror neuronsempathy, role of mirror neuronstheory of mind, metarepresentation, consciousnesstheory of mind, metarepresentation, consciousnessparallel linguistic development (motherese)parallel linguistic development (motherese)

The origin of music in the The origin of music in the mother-infant relationshipmother-infant relationship...maybe even the origin of language and religion…...maybe even the origin of language and religion…

Larger brain + bipedalism Larger brain + bipedalism earlier birth earlier birth infant fragility “atriciality”infant fragility “atriciality” more parental care more parental care survival survival new, complex infant-mother interactionnew, complex infant-mother interaction Reflective language, arts, culture…Reflective language, arts, culture…

Accounts for music’s...Accounts for music’s...• structures structures • functionsfunctions• emotionsemotions• spiritualityspirituality

A comparative evaluation of current theories of the origin of music (OoM) Richard Parncutt Centre...

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