Young people learn to
communicate effortlessly via conversation. music, and computers, but many in
our society seemingly don't consider music an integral element of language. The
reduction (and even elimination) of school music instruction is an enigma,
given its ancient human roots and current cultural ubiquity.
It's
even possible that music predated human language, since scientists have
discovered 50,000-year-old flutes made from bear bones—and a flute is an
advanced musical instrument. Further, adults universally interact with infants
via a musical form called motherese—a
high-pitched, exaggerated, repetitive, melodic format that engages the rapt
attention and mimicked response of infants who cannot understand the words.
Music thus introduces infants to speech by preparing their brain to process effectively
its complexities and improvisations.
Two
fascinating informative new books explain the ancient roots and underlying
neurobiology of music and the key role it plays in human life and
communication. They are thus a valuable resource for those who seek credible
evidence that music has all but ben abandoned as a tool for communication
because we live in a culture that does not understand it anymore.
In The
Singing Neanderthals: The Origins of Music, Language, Mind, and Body , Steven Mithen leads readers
through the considerable evidence from archeology, anthropology, psychology,
neuroscience, and musicology that supports the growing belief that musical
capabilities within early humans led to language (the opposing belief being
that music is basically a pleasant evolutionary by-product of human language).
Mithen is an
early pre-history scholar, and his book makes demands on readers with a limited
background in the several research areas it explores. Notes and references
comprise almost 100 pages of the 400-page book. Still, its breadth, passion,
and conversational writing make it fascinating and informative.
For example,
language and music are related in that both can be vocal (as in speech and
song) and gestural (as in sign language, instrumental music, and dance), and
both can exist in a written format. Music and language are both a product of
body/head movements that transmit information from one brain to another. Both
music and language are hierarchical in that acoustic elements (words, tones)
combine into phrases (utterances, melodies) that can further combine into
larger entities (stories, symphonies). These and other similarities are
possible because of specific related brain properties that Mithen explains and
explores to support his belief in the co-evolution of our music and language
capabilities.
Daniel Levitin approaches the
music/language issue from a career that led him from session musician to sound
engineer to record producer to neuroscientist to his current position as a
professor of the psychology of electronic communication. This
Is Your Brain on Music: The Science of a Human Obsession (2006) is a marvelous book for folks with a
reasonable understanding of music who want to understand its underlying
neurobiology—what occurs within our brain when we're listening to or making
music.
Levitin
rejects the widespread belief that music is something experts do, and that the
rest of us should simply appreciate their musical virtuosity. He argues rather
that music is an innate human property that develops as easily in children as
other forms of language. Preschool children playfully explore the elements of
both music and language.
Levitin
thus begins his book with an intriguing informative introduction to the
elements of music (rhythm, pitch, melody, harmony, tempo, timbre, harmony) that
most of us should have learned in school but did not. He connects these
elements to specific well-known musical works from classical to jazz to hip-hop
(and to almost everything in between).
He
further connects these musical elements to the appropriate brain systems and
functions—demonstrating in the process that music integrates our brain's
emotional, rational, and movement systems in a way that no other activity does.
Music is central to the development and maintenance of our brain.
These
two persuasive books left me wondering how a supposedly enlightened culture
like ours could consciously neglect the development of a definitive brain
property. Spoken and written language are obviously superior to music in the
transmission of information, but music trumps adjectives and adverbs in the
transmission of qualities and feelings. Further, we began life with the music
of motherese, and we often return to music when words alone fail us. We truly
need to develop both forms of language to be fully human. Do folks really
believe that knowing how to harmonize or play an oboe or improvise jazz or
analyze a symphony is innate? Do such folks also believe that language is only
about knowing, and not about feeling?
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