Nine of them are used in monophonic music (without harmony and texture) 4. Cross-examination of syntactic, pragmatic, and semantic use of conventional musical idioms has revealed that they break into 11 different AEs ( Table 1). The other AEs have only recently received attention, after the traditional discipline of musical form was approached semiotically ( Bobrovsky, 1978 Mazel, 1979 Ratner, 1980 Nazaikinsky, 1982, 1988, 2013 Lerdahl and Jackendoff, 1985 Berry, 1987 Ruwet and Everist, 1987 Beliayev, 1990b Molino, 1990 Nattiez, 1990 Aranovsky, 1991, 1998 Monelle, 1992, 2000, 2006 Narmour, 1992 Tarasti, 1994, 1995, 2012 Kholopova, 2002 Arom, 2004 Bonfeld, 2006 Medushevsky, 2010 Tagg, 2012 Turino, 2014 Benjamin et al., 2015 Yust, 2018). Since this framework is tailored to incremental frequency changes, the pitch-related AEs have been prioritized in Western musicology, covered by the dedicated disciplines of harmony, counterpoint, and musical form ( Christensen, 2008). However, this discipline too inherited the framework of Western “classical music,” which is just one of many ( Nikolsky, 2015b, 2016, 2020 Nikolsky et al., 2020). The need to formulate a “meta-theory” applicable to all varieties of musics has been realized only in the 1890s and dealt with by the discipline of systematic musicology ( Bader, 2018). Although Western music system has proved to be the widest spread and the oldest surviving tradition, with its theoretic foundation rooted in the 3rd millennium BC ( Dumbrill, 1998 Mathiesen, 1999 Jorgensen, 2003 Christensen, 2008 Crickmore, 2009 Nikolsky, 2016), nevertheless, there are other civilizations that abide by their own musical theories, explicit or/and implicit, documented or/and orally transmitted ( Nettl, 2005). The problem is that in investigation of music, cognitive scientists rely on “standards” of Western musical theory, produced by Western civilization and therefore specific to certain historic periods and geographic regions. This article discusses the most likely ways in which such music evolved. The model of such communication can be found in the surviving tradition of Scandinavian pastoral music - kulning. Changes in distance during such communication must have promoted the integration between different expressive aspects and generated the basic musical grammar. The most likely scenario for music to have become fully semiotically functional and to have spread wide enough to avoid extinctions is the formation of cross-specific communication between humans and domesticated animals during the Neolithic demographic explosion and the subsequent cultural revolution.
The efficacy of rhythm and pitch contour in affective communication must have been spontaneously discovered in new important cultural activities. Such calls are usually adopted for the ongoing caretaking of human youngsters and domestic animals. The available ethnographic and developmental data leads one to believe that rhythmic and directional patterns of melody became involved in conveying emotion-related information in the process of frequent switching from one call-type to another within the limited repertory of calls. However, two aspects, rhythm and melodic contour, most crucial for music as we know it, lack proxies in the Paleolithic lifestyle. Formation of such expressive aspects as meter, tempo, melodic intervals, and articulation can be explained by the influence of bipedal locomotion, breathing cycle, and heartbeat, long before Homo sapiens. A new method of such analysis is proposed here.
Etic analysis of acoustic parameters is the prime means of cross-examination of the typical patterns of expression of the basic emotions in human music versus animal vocal communication. The question of music’s origin can therefore be answered by establishing the point in human history at which all eleven expressive aspects might have been abstracted from the instinct-driven primate calls and used to express human psycho-emotional states.
This distinguishes the tonal organization of music from the phonetic and prosodic organization of natural languages and animal communication. Eleven principal expressive aspects of music each contains specific structural patterns whose configuration signifies a certain affective state. This paper presents a new line of inquiry into when and how music as a semiotic system was born. Independent Researcher, Austin, TX, United States.
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