While rhythm cognition has received substantial attention over the past decade, key perceptual dimensions of melodic cognition—especially timbre and pitch—remain comparatively underexplored. Many comparative studies still rely on simplified stimuli, such as pure tones, which may limit our understanding of how non-human animals perceive melodic structure. Recent findings suggest that pitch and timbre do not map uniformly across species, inviting us to rethink how these percepts are studied.
We therefore deliberately shifted attention away from rhythm perception and production toward the perceptual and affective dimensions of melody, harmony, and timbre. In doing so, we revisited Darwin’s idea that animals may not only perceive melodies, but may also take pleasure in them (see workshop proposal).
What made this workshop especially rewarding was the remarkable diversity of backgrounds and expertise in the room. Researchers from neurobiology, psychology, ethnomusicology, musicology, and evolutionary theory came together to examine the evolutionary and perceptual roles of pitch, timbre, and consonance. This breadth of perspectives allowed us to explore how these percepts vary across species, cultures, and contexts in ways no single discipline could address alone.
By bringing together such a broad and inspiring group of researchers, the workshop generated new insights, strengthened interdisciplinary collaborations, and laid the groundwork for a more coherent framework on the evolution and cognition of musicality.
A special issue is planned for Spring 2027, in which we will summarize the workshop’s findings, develop new research ideas, and outline a future agenda for musicality research.
Photo credits: (cc) 2026 Bas Cornelissen and Lorentz Center.
This is a fascinating and much-needed shift in perspective. I really appreciate how you challenge the rhythm-centric view of musicality and bring attention to pitch, timbre, and the emotional dimensions of music perception. The interdisciplinary approach sounds especially powerful—bringing together insights from neuroscience, ethnomusicology, and evolutionary theory is exactly what this field needs to move forward.
ReplyDeleteThe point about relying too heavily on simplified stimuli like pure tones is particularly compelling—it makes sense that such methods might miss the richness of real-world musical perception, especially across species. Looking forward to the special issue and how these ideas develop further.
exploring music perception and learning