Music as a trait in evolutionary theory: A musicological perspective.

Although it can be straightforward to define the features of physical traits, complex cultural categories tend to elude widely accepted definitions that transcend cultural and historical context. Addressing papers by Mehr et al. and Savage et al., which both aim to explain music as an evolved trait, we discuss fundamental problems that arise from their conceptualizations of music.

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."

Gesture-vocal coupling in Karnatak music performance: A neuro-bodily distributed aesthetic entanglement.

In many musical styles, vocalists manually gesture while they sing. Coupling between gesture kinematics and vocalization has been examined in speech contexts, but it is an open question how these couple in music making. We examine this in a corpus of South Indian, Karnatak vocal music that includes motion-capture data. Through peak magnitude analysis (linear mixed regression) and continuous time-series analyses (generalized additive modeling), we assessed whether vocal trajectories around peaks in vertical velocity, speed, or acceleration were coupling with changes in vocal acoustics (namely, F0 and amplitude). Kinematic coupling was stronger for F0 change versus amplitude, pointing to F0's musical significance. Acceleration was the most predictive for F0 change and had the most reliable magnitude coupling, showing a one-third power relation. That acceleration, rather than other kinematics, is maximally predictive for vocalization is interesting because acceleration entails force transfers onto the body. As a theoretical contribution, we argue that gesturing in musical contexts should be understood in relation to the physical connections between gesturing and vocal production that are brought into harmony with the vocalists' (enculturated) performance goals. Gesture-vocal coupling should, therefore, be viewed as a neuro-bodily distributed aesthetic entanglement.