![]() With a few exceptions ( 18), most music scholars suggest there are few if any universals in music ( 19– 23). Yet claims that it is universal or has universal features are commonly made without citation (e.g., ( 15– 17)), and those with the greatest expertise on the topic are skeptical. Music certainly is widespread ( 10– 12), ancient ( 13), and appealing to almost everyone ( 14). On this understanding, musicality is embedded in the biology of Homo sapiens ( 3), whether as one or more evolutionary adaptations for music ( 4, 5), the byproducts of adaptations for auditory perception, motor control, language, and affect ( 6– 9), or some amalgam. led the writing and all authors edited it collaboratively.Īt least since Henry Wadsworth Longfellow declared in 1835 that “music is the universal language of mankind” ( 1) the conventional wisdom among many authors, scholars, and scientists is that music is a human universal, with profound similarities across societies ( 2). designed the overall structure of the manuscript S.A.M., M.S., and S.P. assisted with web scraping, music information retrieval, and initial analyses. designed and implemented the online experiment at. provided key support by contributing to annotations, background research, and project management. transcribed the NHS Discography into music notation. recruited and managed all staff, who collected, annotated, processed, and corrected data and metadata. designed the interactive figures and supervised their development. designed and implemented all analyses, with support from S.A.M. contributed to the conceptual foundation. created and direct the Natural History of Song project they oversaw all aspects of this work, including the design and development of the corpora. Author contributions: S.A.M., M.S., and L.G.
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