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Attractiveness ratings for musicians and non-musicians: An evolutionary-psychology perspective
(2019)
From an evolutionary perspective, musical behavior such as playing an instrument can be considered as part of an individual’s courting behavior. Playing a musical instrument or singing might fulfill a function similar to that of a bird’s colored feathers: attracting attention. Therefore, musicians may be rated as more attractive than non-musicians. In an online survey, 137 volunteers (95 female) with ages ranging from 16 to 39 years rated the attractiveness of fictitious persons of the opposite sex described in short verbal profiles. These profiles differed with respect to whether the described person made music or not. Additionally, the musicians’ profiles varied with regard to whether the described person played music or sang in public or in private only. Results show that musicians’ profiles were not generally rated as more attractive than non-musicians’, but attractiveness did vary according to setting: private musicians were rated as most attractive, followed by non-musicians and public musicians. Furthermore, results indicate that participants who played a musical instrument or sang themselves gave higher ratings to profiles of musicians. But for participants who do not make music themselves, higher attractiveness ratings for musicians playing instruments or sing in private settings were found. These results indicate that the impression of sharing a common interest (making music) and furthermore making music in private instrumental settings seems to make people attractive to other people. No additional support for the sexual selection hypotheses for the evolution of music was provided by the current results. The musical status of the rater affected his or her judgements, with musicians rating other people as more attractive if they share the common interest in making music. Not the display of being a musician seems to be critical for attractiveness ratings but the perceived or imagined similarity by the rater created by information on musicality, fostering the theoretical significance of the communication aspect of music.
Over three decades the works of Frankfurt School member Theodor W. Adorno played an important role in the didactic conceptualization of popular music in Germany. This resulted in a predominantly analytical, ethic-centred and, in the end, pejorative agenda. Educationalists who advocated an affirmative approach to popular music needed to formulate “new” objectives that would serve as a true alternative to the highly elaborated Adornian framework. Though affirmative approaches finally became prevalent, the didactic situation remained delicate, since the teaching of popular music was also subject to general debates on how school education shall be constituted. Subsequently, the subject “popular music” became more and more tied to overall educational goals, whereas the objective dimension was increasingly ignored. The paper aims to reconstruct the complex path from critical to post-critical didactic efforts, finally addressing current issues, especially the notion of popular music as cultural practice. The “paradigm shift” towards affirmation is demonstrated on the basis of both theoretical works and curricular sources.
This study examined the effects of a school-based instrumental training program on the development of verbal and visual memory skills in primary school children. Participants either took part in a music program with weekly 45 min sessions of instrumental lessons in small groups at school, or they received extended natural science training. A third group of children did not receive additional training. Each child completed verbal and visual memory tests three times over a period of 18 months. Significant Group by Time interactions were found in the measures of verbal memory. Children in the music group showed greater improvements than children in the control groups after controlling for children’s socio-economic background, age, and IQ. No differences between groups were found in the visual memory tests. These findings are consistent with and extend previous research by suggesting that children receiving music training may benefit from improvements in their verbal memory skills.
Five decades of US, UK, German and Dutch music charts show that cultural processes are accelerating
(2019)
Analysing the timeline of US, UK, German and Dutch music charts, we find that the evolution of album lifetimes and of the size of weekly rank changes provide evidence for an acceleration of cultural processes. For most of the past five decades, number one albums needed more than a month to climb to the top, nowadays an album is in contrast top ranked either from the start, or not at all. Over the last three decades, the number of top-listed albums increased as a consequence from roughly a dozen per year, to about 40. The distribution of album lifetimes evolved during the last decades from a log-normal distribution to a power law, a profound change. Presenting an information–theoretical approach to human activities, we suggest that the fading relevance of personal time horizons may be causing this phenomenon. Furthermore, we find that sales and airplay- based charts differ statistically and that the inclusion of streaming affects chart diversity adversely. We point out in addition that opinion dynamics may accelerate not only in cultural domains, as found here, but also in other settings, in particular in politics, where it could have far reaching consequences.