Universal interpretations of vocal music.

Despite the variability of music across cultures, some types of human songs share acoustic characteristics. For example, dance songs tend to be loud and rhythmic, and lullabies tend to be quiet and melodious. Human perceptual sensitivity to the behavioral contexts of songs, based on these musical features, suggests that basic properties of music are mutually intelligible, independent of linguistic or cultural content. Whether these effects reflect universal interpretations of vocal music, however, is unclear because prior studies focus almost exclusively on English-speaking participants, a group that is not representative of humans. Here, we report shared intuitions concerning the behavioral contexts of unfamiliar songs produced in unfamiliar languages, in participants living in Internet-connected industrialized societies (n = 5,516 native speakers of 28 languages) or smaller-scale societies with limited access to global media (n = 116 native speakers of three non-English languages). Participants listened to songs randomly selected from a representative sample of human vocal music, originally used in four behavioral contexts, and rated the degree to which they believed the song was used for each context. Listeners in both industrialized and smaller-scale societies inferred the contexts of dance songs, lullabies, and healing songs, but not love songs. Within and across cohorts, inferences were mutually consistent. Further, increased linguistic or geographical proximity between listeners and singers only minimally increased the accuracy of the inferences. These results demonstrate that the behavioral contexts of three common forms of music are mutually intelligible cross-culturally and imply that musical diversity, shaped by cultural evolution, is nonetheless grounded in some universal perceptual phenomena.

Discovering the unknown unknowns of research cartography with high-throughput natural description.

To succeed, we posit that research cartography will require high-throughput natural description to identify unknown unknowns in a particular design space. High-throughput natural description, the systematic collection and annotation of representative corpora of real-world stimuli, faces logistical challenges, but these can be overcome by solutions that are deployed in the later stages of integrative experiment design.

Developmental psychologists should adopt citizen science to improve generalization and reproducibility.

Widespread failures of replication and generalization are, ironically, a scientific triumph, in that they confirm the fundamental metascientific theory that underlies our field. Generalizable and replicable findings require testing large numbers of subjects from a wide range of demographics with a large, randomly-sampled stimulus set, and using a variety of experimental parameters. Because few studies accomplish any of this, meta-scientists predict that findings will frequently fail to replicate or generalize. We argue that to be more robust and replicable, developmental psychology needs to find a mechanism for collecting data at greater scale and from more diverse populations. Luckily, this mechanism already exists: Citizen science, in which large numbers of uncompensated volunteers provide data. While best-known for its contributions to astronomy and ecology, citizen science has also produced major findings in neuroscience and psychology, and increasingly in developmental psychology. We provide examples, address practical challenges, discuss limitations, and compare to other methods of obtaining large datasets. Ultimately, we argue that the range of studies where it makes sense *not* to use citizen science is steadily dwindling.

Citizen science can help to alleviate the generalizability crisis.

Improving generalization in psychology will require more expansive data collection to fuel more expansive statistical models, beyond the scale of traditional lab research. We argue that citizen science is uniquely positioned to scale up data collection and, that in spite of certain limitations, can help to alleviate the generalizability crisis.

Does greater morning sickness predict carrying a girl? Analysis of nausea and vomiting during pregnancy from retrospective report.

PURPOSE: The prevalence of severe nausea and vomiting during pregnancy (NVP) requiring hospitalization has been associated with female fetal sex. However, the question of whether fetal sex and less severe forms of NVP share that association has not been investigated. The objective of this study was to evaluate the relationship between fetal sex and the frequency of NVP. METHODS: We collected self-reported data from mothers via an international web-based survey on the Amazon Mechanical Turk (MTurk) platform about pregnancy and first trimester NVP history. We considered the covariables of maternal age, parity status, proneness to nausea, geographic cohort, and preconceived notions of a relationship between fetal sex and NVP. RESULTS: Two-thousand five hundred and forty-three mothers met the inclusion criteria, yielding data from 4320 pregnancies. Women gestating a female fetus reported higher frequencies of NVP (M = 6.35 on a 1-9 scale) than did women gestating males (M = 6.04, p = .007). This effect held true when all other variables were included in the regression. General proneness to nausea, maternal age, and parity were also significant independent predictors of NVP. CONCLUSIONS: Women that carried a female fetus, as opposed to a male fetus, reported significantly higher frequency of NVP during the first trimester of pregnancy. Further research should evaluate both the proximate and ultimate causes of this relationship.

The ability to predict actions of others from distributed cues is still developing in 6- to 8-year-old children.

Adults use distributed cues in the bodies of others to predict and counter their actions. To investigate the development of this ability, we had adults and 6- to 8-year-old children play a competitive game with a confederate who reached toward one of two targets. Child and adult participants, who sat across from the confederate, attempted to beat the confederate to the target by touching it before the confederate did. Adults used cues distributed through the head, shoulders, torso, and arms to predict the reaching actions. Children, in contrast, used cues in the arms and torso, but we did not find any evidence that they could use cues in the head or shoulders to predict the actions. These results provide evidence for a change in the ability to respond rapidly to predictive cues to others' actions from childhood to adulthood. Despite humans' sensitivity to action goals even in infancy, the ability to read cues from the body for action prediction in rapid interactive settings is still developing in children as old as 6 to 8 years of age.

Toward a productive evolutionary understanding of music.

We discuss approaches to the study of the evolution of music (sect. R1); challenges to each of the two theories of the origins of music presented in the companion target articles (sect. R2); future directions for testing them (sect. R3); and priorities for better understanding the nature of music (sect. R4).

Origins of music in credible signaling.

Music comprises a diverse category of cognitive phenomena that likely represent both the effects of psychological adaptations that are specific to music (e.g., rhythmic entrainment) and the effects of adaptations for non-musical functions (e.g., auditory scene analysis). How did music evolve? Here, we show that prevailing views on the evolution of music - that music is a byproduct of other evolved faculties, evolved for social bonding, or evolved to signal mate quality - are incomplete or wrong. We argue instead that music evolved as a credible signal in at least two contexts: coalitional interactions and infant care. Specifically, we propose that (1) the production and reception of coordinated, entrained rhythmic displays is a co-evolved system for credibly signaling coalition strength, size, and coordination ability; and (2) the production and reception of infant-directed song is a co-evolved system for credibly signaling parental attention to secondarily altricial infants. These proposals, supported by interdisciplinary evidence, suggest that basic features of music, such as melody and rhythm, result from adaptations in the proper domain of human music. The adaptations provide a foundation for the cultural evolution of music in its actual domain, yielding the diversity of musical forms and musical behaviors found worldwide.

Cross-Cultural Work in Music Cognition: Challenges, Insights, and Recommendations.

Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of "music" and "culture."

Response to vocal music in Angelman syndrome contrasts with Prader-Willi syndrome.

Parent-offspring conflict-conflict over resource distribution within families due to differences in genetic relatedness-is the biological foundation for many psychological phenomena. In genomic imprinting disorders, parent-specific genetic expression is altered causing imbalances in behaviors influenced by parental investment. We use this natural experiment to test the theory that parent-offspring conflict contributed to the evolution of vocal music by moderating infant demands for parental attention. Individuals with Prader-Willi syndrome, a genomic imprinting disorder resulting from increased relative maternal genetic contribution, show enhanced relaxation responses to song, consistent with reduced demand for parental investment (Mehr et al., 2017, Psychological Science). We report the necessary complementary pattern here: individuals with Angelman syndrome, a genomic imprinting disorder resulting from increased relative paternal genetic contribution, demonstrate a relatively reduced relaxation response to song, suggesting increased demand for parental attention. These results support the extension of genetic conflict theories to psychological resources like parental attention.

Shared musical knowledge in 11-month-old infants.

Five-month-old infants selectively attend to novel people who sing melodies originally learned from a parent, but not melodies learned from a musical toy or from an unfamiliar singing adult, suggesting that music conveys social information to infant listeners. Here, we test this interpretation further in older infants with a more direct measure of social preferences. We randomly assigned 64 11-month-old infants to 1-2 weeks' exposure to one of two novel play songs that a parent either sang or produced by activating a recording inside a toy. Infants then viewed videos of two new people, each singing one song. When the people, now silent, each presented the infant with an object, infants in both conditions preferentially chose the object endorsed by the singer of the familiar song. Nevertheless, infants' visual attention to that object was predicted by the degree of song exposure only for infants who learned from the singing of a parent. Eleven-month-olds thus garner social information from songs, whether learned from singing people or from social play with musical toys, but parental singing has distinctive effects on infants' responses to new singers. Both findings support the hypothesis that infants endow music with social meaning. These findings raise questions concerning the types of music and behavioral contexts that elicit infants' social responses to those who share music with them, and they support suggestions concerning the psychological functions of music both in contemporary environments and in the environments in which humans evolved.

Genomic Imprinting Is Implicated in the Psychology of Music.

Why do people sing to babies? Human infants are relatively altricial and need their parents' attention to survive. Infant-directed song may constitute a signal of that attention. In Prader-Willi syndrome (PWS), a rare disorder of genomic imprinting, genes from chromosome 15q11-q13 that are typically paternally expressed are unexpressed, which results in exaggeration of traits that reduce offspring's investment demands on the mother. PWS may thus be associated with a distinctive musical phenotype. We report unusual responses to music in people with PWS. Subjects with PWS ( N = 39) moved more during music listening, exhibited greater reductions in heart rate in response to music listening, and displayed a specific deficit in pitch-discrimination ability relative to typically developing adults and children ( N = 589). Paternally expressed genes from 15q11-q13, which are unexpressed in PWS, may thus increase demands for music and enhance perceptual sensitivity to music. These results implicate genomic imprinting in the psychology of music, informing theories of music's evolutionary history.

For 5-Month-Old Infants, Melodies Are Social.

For 1 to 2 weeks, 5-month-old infants listened at home to one of two novel songs with identical lyrics and rhythms, but different melodies; the song was sung by a parent, emanated from a toy, or was sung live by a friendly but unfamiliar adult first in person and subsequently via interactive video. We then tested the infants' selective attention to two novel individuals after one sang the familiar song and the other sang the unfamiliar song. Infants who had experienced a parent singing looked longer at the new person who had sung the familiar melody than at the new person who had sung the unfamiliar melody, and the amount of song exposure at home predicted the size of that preference. Neither effect was observed, however, among infants who had heard the song emanating from a toy or being sung by a socially unrelated person, despite these infants' remarkable memory for the familiar melody, tested an average of more than 8 months later. These findings suggest that melodies produced live and experienced at home by known social partners carry social meaning for infants.

Spectro-temporal acoustical markers differentiate speech from song across cultures.

Humans produce two forms of cognitively complex vocalizations: speech and song. It is debated whether these differ based primarily on culturally specific, learned features, or if acoustical features can reliably distinguish them. We study the spectro-temporal modulation patterns of vocalizations produced by 369 people living in 21 urban, rural, and small-scale societies across six continents. Specific ranges of spectral and temporal modulations, overlapping within categories and across societies, significantly differentiate speech from song. Machine-learning classification shows that this effect is cross-culturally robust, vocalizations being reliably classified solely from their spectro-temporal features across all 21 societies. Listeners unfamiliar with the cultures classify these vocalizations using similar spectro-temporal cues as the machine learning algorithm. Finally, spectro-temporal features are better able to discriminate song from speech than a broad range of other acoustical variables, suggesting that spectro-temporal modulation-a key feature of auditory neuronal tuning-accounts for a fundamental difference between these categories.

The presence of fear: How subjective fear, not physiological changes, shapes the experience of presence.

When we become engrossed in novels, films, games, or even our own wandering thoughts, we can feel present in a reality distinct from the real world. Although this subjective sense of presence is, presumably, a ubiquitous aspect of conscious experience, the mechanisms that produce it are unknown. Correlational studies conducted in virtual reality have shown that we feel more present when we are afraid, motivating claims that physiological changes contribute to presence; however, such causal claims remain to be evaluated. Here, we report two experiments that test the causal role of subjective and physiological components of fear (i.e., activation of the sympathetic nervous system) in generating presence. In Study 1, we validated a virtual reality simulation capable of inducing fear. Participants rated their emotions while they crossed a wooden plank that appeared to be suspended above a city street; at the same time, we recorded heart rate and skin conductance levels. Height exposure increased ratings of fear, presence, and both measures of sympathetic activation. Although presence and fear ratings were correlated during height exposure, presence and sympathetic activation were unrelated. In Study 2, we manipulated whether the plank appeared at height or at ground level. We also captured participants' movements, which revealed that alongside increases in subjective fear, presence, and sympathetic activation, participants also moved more slowly at height relative to controls. Using a mediational approach, we found that the relationship between height exposure and presence on the plank was fully mediated by self-reported fear, and not by sympathetic activation. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Universality, domain-specificity, and development of psychological responses to music.

Humans can find music happy, sad, fearful, or spiritual. They can be soothed by it or urged to dance. Whether these psychological responses reflect cognitive adaptations that evolved expressly for responding to music is an ongoing topic of study. In this Review, we examine three features of music-related psychological responses that help to elucidate whether the underlying cognitive systems are specialized adaptations: universality, domain-specificity, and early expression. Focusing on emotional and behavioural responses, we find evidence that the relevant psychological mechanisms are universal and arise early in development. However, the existing evidence cannot establish that these mechanisms are domain-specific. To the contrary, many findings suggest that universal psychological responses to music reflect more general properties of emotion, auditory perception, and other human cognitive capacities that evolved for non-musical purposes. Cultural evolution, driven by the tinkering of musical performers, evidently crafts music to compellingly appeal to shared psychological mechanisms, resulting in both universal patterns (such as form-function associations) and culturally idiosyncratic styles.

Language experience predicts music processing in a half-million speakers of fifty-four languages.

Tonal languages differ from other languages in their use of pitch (tones) to distinguish words. Lifelong experience speaking and hearing tonal languages has been argued to shape auditory processing in ways that generalize beyond the perception of linguistic pitch to the perception of pitch in other domains like music. We conducted a meta-analysis of prior studies testing this idea, finding moderate evidence supporting it. But prior studies were limited by mostly small sample sizes representing a small number of languages and countries, making it challenging to disentangle the effects of linguistic experience from variability in music training, cultural differences, and other potential confounds. To address these issues, we used web-based citizen science to assess music perception skill on a global scale in 34,034 native speakers of 19 tonal languages (e.g., Mandarin, Yoruba). We compared their performance to 459,066 native speakers of other languages, including 6 pitch-accented (e.g., Japanese) and 29 non-tonal languages (e.g., Hungarian). Whether or not participants had taken music lessons, native speakers of all 19 tonal languages had an improved ability to discriminate musical melodies on average, relative to speakers of non-tonal languages. But this improvement came with a trade-off: tonal language speakers were also worse at processing the musical beat. The results, which held across native speakers of many diverse languages and were robust to geographic and demographic variation, demonstrate that linguistic experience shapes music perception, with implications for relations between music, language, and culture in the human mind.