To acknowledge that the evolutionary study of musicality requires an interdisciplinary approach, our review strives to cover perspectives and findings from as many disciplines as possible. For each theoretical proposal we also review supporting and contradictory empirical findings. In this paper, we focus on the rhythmic component of musicality, and review functional and mechanistic theoretical proposals concerning putative prerequisites for perceiving and producing rhythmic structures similar to those encountered in music. During the last two decades, there has been an explosion of theoretical proposals aimed at explaining why and how humans have evolved into musical beings, and the empirical comparative research has also gained momentum. There has recently been a growing interest in investigating rhythm cognition and behavior in nonhuman animals as a way of tracking the evolutionary origins of human musicality – i.e., the ability to perceive, enjoy and produce music. Finally, the research discussed the possible mechanisms underlying the effects of interpersonal synchrony in psychological and biological aspects. At the interpersonal level, synchronized movement consistently affects the interaction with the partner and his/her affiliations, but they can be eliminated or magnified by several moderators, such as physiological arousal, shared intentionality, group bias, and musical rhythm. The intrapersonal effects of interpersonal synchrony are varied with positive or negative ones, including cognitive style, attitude bias, mood state, self-regulatory ability, and academic performance. These include positive affects towards and between interacting partners, but also include complex effects on the individual level. This resonation of movements or other forms was generally considered as one of critical survival skills for humans, as the important consequences of synchronizing with other persons in review of the empirical data in this article. Interpersonal synchrony, the time-matching behaviors, is pervasive in human interactions. We conclude that dance may have been an important human behaviour evolved to encourage social closeness between strangers. This experiment suggests that dance encourages social bonding amongst co-actors by stimulating the production of endorphins, but may not make people more altruistic. Similarly, those in the synchrony condition reported being more socially bonded, although they did not perform more cooperatively in an economic game. Those who danced in synchrony experienced elevated pain thresholds, whereas those in the partial and asynchrony conditions experienced no analgesic effects. This study uses an experimental paradigm to determine which aspects of synchrony in dance are associated with changes in pain threshold (a proxy for endorphin release) and social bonding between strangers. The sustained peacefulness is remarkable: “Latitude” is as satisfying as listening to wind chimes or watching birds on a lawn.Moving in synchrony leads to cooperative behaviour and feelings of social closeness, and dance (involving synchronisation to others and music) may cause social bonding, possibly as a consequence of released endorphins. The three at times move like a single team, at others like three independent people engaged in unrelated tasks. Although the dynamics are mainly muted, they contain gradations, contrasts.
#DANCING LINE MUSIC SILENCE SERIES#
Demyanenko’s series of sighs at the end of one solo is distracting, contrived.) Yet nothing is monotonous. The only other sounds are from the sticks (some loud percussive clacks) or breathing. On three or four occasions, the dancers murmur to one another you can’t hear words. One striking effect comes when we watch one dancer walking, with long rod, outstretched along a central line of shadow because the zones on either side of her are lighted from different sources, her straight rod casts the shadow of a broken line. Or they wield them like implements - punt poles, divining rods, balancing poles, spears used as if to catch fish. Sometimes they arrange them to make various mini- or maxi-geometries on the floor. Often they employ four wooden rods or sticks. Dancers bend from the knee or waist arms and spines ripple and stretch. The movement is entirely flat-footed, often pedestrian, with impulses now rigorous, now mild. These women, dressed in calf-length culottes with chemises and jackets in dark pastel colors, remain gently purposeful throughout. You might be watching a community of nuns or worker bees.
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