Details of a Researcher - Savage, Patrick

Papers - Savage, Patrick

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Sequence alignment of folk song melodies reveals cross-cultural regularities of musical evolution

PE Savage, S Passmore, G Chiba, TE Currie, H Suzuki, QD Atkinson

Current Biology 32 (6), 1395-1402. e8 (Current Biology) 32 ( 6 ) 1395 - 1402.e8 2022.03

ISSN 09609822

Culture evolves,1–5 but the existence of cross-culturally general regularities of cultural evolution is debated.6–8 As a diverse but universal cultural phenomenon, music provides a novel domain to test for the existence of such regularities.9–12 Folk song melodies can be thought of as culturally transmitted sequences of notes that change over time under the influence of cognitive and acoustic/physical constraints.9–15 Modeling melodies as evolving sequences constructed from an “alphabet” of 12 scale degrees16 allows us to quantitatively test for the presence of cross-cultural regularities using a sample of 10,062 melodies from musically divergent Japanese and English (British/American) folk song traditions.17,18 Our analysis identifies 328 pairs of highly related melodies, finding that note changes are more likely when they have smaller impacts on a song's melody. Specifically, (1) notes with stronger rhythmic functions are less likely to change, and (2) note substitutions are most likely between neighboring notes. We also find that note insertions/deletions (“indels”) are more common than note substitutions, unlike genetic evolution where the reverse is true. Our results are consistent across English and Japanese samples despite major differences in their scales and tonal systems. These findings demonstrate that even a creative art form such as music is subject to evolutionary constraints analogous to those governing the evolution of genes, languages, and other domains of culture.

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Global relationships between musical, linguistic, and genetic diversity

S Passmore, ALC Wood, C Barbieri, D Shilton, H Daikoku, Q Atkinson, ...

PsyArXiv. March 11 2022

Phylogenetic reconstruction of the cultural evolution of electronic music via dynamic community detection (1975–1999)

M Youngblood, K Baraghith, PE Savage

Evolution and Human Behavior 42 (6), 573-582 (Evolution and Human Behavior) 42 ( 6 ) 573 - 582 2021.11

ISSN 10905138

Phylogenetic trees or networks representing cultural evolution are typically built using methods from biology that use similarities and differences in cultural traits to infer the historical relationships between the populations that produced them. While these methods have yielded important insights, researchers continue to debate the extent to which cultural phylogenies are tree-like or reticulated due to high levels of horizontal transmission. In this study, we propose a novel method for phylogenetic reconstruction using dynamic community detection that focuses not on the cultural traits themselves (e.g., musical features), but the people creating them (musicians). We used data from 1,498,483 collaborative relationships between electronic music artists to construct a cultural phylogeny based on observed population structure. The results suggest that, although vertical transmission appears to be dominant, the potential for horizontal transmission (indexed by between-population linkage) is relatively high and populations never become fully isolated from one another. In addition, we found evidence that electronic music diversity has increased between 1975 and 1999. The method used in this study is available as a new R package called DynCommPhylo. Future studies should apply this method to other cultural systems such as academic publishing and film, as well as biological systems where high resolution reproductive data is available, and develop formal inferential models to assess how levels of reticulation in evolution vary across domains.

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Toward inclusive theories of the evolution of musicality

PE Savage, P Loui, B Tarr, A Schachner, L Glowacki, S Mithen, WT Fitch

Behavioral and Brain Sciences 44 (Behavioral and Brain Sciences) 44 132 - 140 2021.09

ISSN 0140525X

We compare and contrast the 60 commentaries by 109 authors on the pair of target articles by Mehr et al. and ourselves. The commentators largely reject Mehr et al.'s fundamental definition of music and their attempts to refute (1) our social bonding hypothesis, (2) byproduct hypotheses, and (3) sexual selection hypotheses for the evolution of musicality. Instead, the commentators generally support our more inclusive proposal that social bonding and credible signaling mechanisms complement one another in explaining cooperation within and competition between groups in a coevolutionary framework (albeit with some confusion regarding terminologies such as byproduct and exaptation). We discuss the proposed criticisms and extensions, with a focus on moving beyond adaptation/byproduct dichotomies and toward testing of cross-species, cross-cultural, and other empirical predictions.

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Music as a coevolved system for social bonding

PE Savage, P Loui, B Tarr, A Schachner, L Glowacki, S Mithen, WT Fitch

Behavioral and Brain Sciences (Behavioral and Brain Sciences) 44 2021

Research paper (scientific journal), Joint Work, Accepted, ISSN 0140525X

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archaeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene-culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution due to their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding (MSB) hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music.

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The Global Jukebox: A public database of performing arts and culture

A Wood, KR Kirby, C Ember, S Silbert, H Daikoku, J Mcbride, S Passmore, ...

PsyArXiv 2021

Big Gods did not drive the rise of big societies throughout world history

H Whitehouse, P François, PE Savage, D Hoyer, KC Feeney, E Cioni, ...

OSF Preprints 2021

Universality and cross-cultural variation in mental representations of music revealed by global comparison of rhythm priors

N Jacoby, R Polak, J Grahn, D Cameron, KM Lee, R Godoy, ...

PsyArXiv 2021

Sight vs. sound in the judgment of music performance: Cross-cultural evidence from classical piano and Tsugaru shamisen competitions [Stage 1 Registered Report]

G Chiba, Y Ozaki, S Fujii, PE Savage

Peer Community In Registered Reports 2021

Sampling criteria and recording quality influence relaxation responses to lullabies

PE Savage, Y Ozaki, SE Trehub

PsyArXiv 2021

Retraction Note: Complex societies precede moralizing gods throughout world history

H Whitehouse, P François, PE Savage, TE Currie, KC Feeney, E Cioni, ...

Nature 595 (7866), 320-320 2021

Reliability of automated and human transcriptions of non-Western music

Y Ozaki, J McBride, E Benetos, P Pfordresher, J Six, AT Tierney, ...

ICMPC-ESCOM 2021 2021

Building sustainable global collaborative networks: Recommendations from music studies and the social sciences

PE Savage, N Jacoby, E Margulis, H Daikoku, M Anglada-Tort, ...

PsyArXiv 2021

Are pitches discrete? An information-theoretic framework and a corpus study

J McBride, AT Tierney, P Pfordresher, J Six, S Fuji, PE Savage

ICMPC-ESCOM 2021 2021

Agreement among human and annotated transcriptions of global songs

Y Ozaki, J McBride, E Benetos, PQ Pfordresher, J Six, A T Tierney, ...

International Society for Music Information Retrieval 2021

Cultural evolution and music

M Youngblood, Y Ozaki, PE Savage

PsyArXiv 2021

Cross-cultural work in music cognition: Challenges, insights, and recommendations

N Jacoby, EH Margulis, M Clayton, E Hannon, H Honing, J Iversen, ...

Music Perception 37 (3), 185-195 (Music Perception) 37 ( 3 ) 185 - 195 2020.02

ISSN 07307829

© 2020 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA ALL RIGHTS RESERVED. MANY FOUNDATIONAL QUESTIONS IN THE psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of "music" and "culture.".

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Rhythm, synchrony, and cooperation

PE Savage, M Yamauchi, M Hamaguchi, B Tarr, Y Kitayama, S Fujii

PsyArXiv 2020

Perceptual vs. automated judgments of music copyright infringement

Y Yuan, S Oishi, C Cronin, D Müllensiefen, Q Atkinson, S Fujii, PE Savage

Proceedings of the 21st International Society for Music Information … 2020

Human and automated judgements of musical similarity in a global sample

H Daikoku, S Ding, US Sanne, E Benetos, AL Wood, S Fujii, PE Savage

PsyArXiv 2020

Automatic acoustic analyses quantify variation in pitch structure within and between human music, speech, and bird song

S Sato, J Mcbride, P Pfordresher, A Tierney, J Six, S Fujii, PE Savage

PsyArXiv 2020

Combining historical and archaeological data with crop models to estimate agricultural productivity in past societies

C Collins, O Oyebamiji, NR Edwards, PP Holden, A Williams, G Jordan, ...

SocArXiv 2020

Sequence alignment of folk song melodies reveals cross-cultural mechanisms of musical evolution

PE Savage, G Chiba, TE Currie, H Suzuki, Q Atkinson

PsyArXiv 2020

Phylogenetic reconstruction of the cultural evolution of electronic music via dynamic community detection (1975-1999)

M Youngblood, K Baraghith, PE Savage

arXiv preprint arXiv:2011.02460 2020

Measuring the cultural evolution of music: Cross-cultural and cross-genre case studies

PE Savage

PsyArXiv 2020

Exploring correlations in genetic and cultural variation across language families in Northeast Asia

H Matsumae, P Ranacher, PE Savage, DE Blasi, TE Currie, ...

bioRxiv, 513929 (Science Advances) 7 ( 34 ) 2020

Culture evolves in ways that are analogous to, but distinct from, genomes. Previous studies examined similarities between cultural variation and genetic variation (population history) at small scales within language families, but few studies have empirically investigated these parallels across language families using diverse cultural data. We report an analysis comparing culture and genomes from in and around northeast Asia spanning 11 language families. We extract and summarize the variation in language (grammar, phonology, lexicon), music (song structure, performance style), and genomes (genome-wide SNPs) and test for correlations. We find that grammatical structure correlates with population history (genetic history). Recent contact and shared descent fail to explain the signal, suggesting relationships that arose before the formation of current families. Our results suggest that grammar might be a cultural indicator of population history while also demonstrating differences among cultural and genetic relationships that highlight the complex nature of human history.

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Musical diversity in India: A preliminary computational study using Cantometrics

H Daikoku, ALC Wood, PE Savage

Keio SFC Journal 20 (2), 34-61 2020

Automatic comparison of human music, speech, and bird song suggests uniqueness of human scales

Jiei Kuroyanagi, Shoichiro Sato, Meng-Jou Ho, Gakuto Chiba, Joren Six, Peter Pfordresher, Adam Tierney, Shinya Fujii, Patrick E. Savage

Proceedings of the 9th International Workshop on Folk Music Analysis (FMA2019) 2019.07

Research paper (international conference proceedings), Joint Work, Accepted

Automatic comparison of global children’s and adult songs supports a sensorimotor hypothesis for the origin of musical scales

Shoichiro Sato, Joren Six, Peter Pfordresher, Shinya Fujii, Patrick E. Savage

Proceedings of the 9th International Workshop on Folk Music Analysis (FMA2019) 2019.07

Research paper (international conference proceedings), Joint Work, Accepted

Complex societies precede moralizing gods throughout world history

Whitehouse, H.*, François, P.*, SAVAGE E Patrick*, Currie, T. E., Feeney, K. C., Cioni, E., Purcell, R., Ross, R. M., Larson, J., Baines, J., ter Haar, B., Covey, A., Turchin, P.

Nature (Nature) 568 ( 7751 ) 226 - 229 2019.04

Research paper (scientific journal), Joint Work, Accepted, ISSN 00280836

© 2019, The Author(s), under exclusive licence to Springer Nature Limited. The origins of religion and of complex societies represent evolutionary puzzles1–8. The ‘moralizing gods’ hypothesis offers a solution to both puzzles by proposing that belief in morally concerned supernatural agents culturally evolved to facilitate cooperation among strangers in large-scale societies9–13. Although previous research has suggested an association between the presence of moralizing gods and social complexity3,6,7,9–18, the relationship between the two is disputed9–13,19–24, and attempts to establish causality have been hampered by limitations in the availability of detailed global longitudinal data. To overcome these limitations, here we systematically coded records from 414 societies that span the past 10,000 years from 30 regions around the world, using 51 measures of social complexity and 4 measures of supernatural enforcement of morality. Our analyses not only confirm the association between moralizing gods and social complexity, but also reveal that moralizing gods follow—rather than precede—large increases in social complexity. Contrary to previous predictions9,12,16,18, powerful moralizing ‘big gods’ and prosocial supernatural punishment tend to appear only after the emergence of ‘megasocieties’ with populations of more than around one million people. Moralizing gods are not a prerequisite for the evolution of social complexity, but they may help to sustain and expand complex multi-ethnic empires after they have become established. By contrast, rituals that facilitate the standardization of religious traditions across large populations25,26 generally precede the appearance of moralizing gods. This suggests that ritual practices were more important than the particular content of religious belief to the initial rise of social complexity.

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Cultural evolution of music

SAVAGE E Patrick

Palgrave Communications (Palgrave Communications) 5 ( 1 ) 1 - 12 2019.02

Research paper (scientific journal), Single Work, Accepted

© 2019, The Author(s). The concept of cultural evolution was fundamental to the foundation of academic musicology and the subfield of comparative musicology, but largely disappeared from discussion after World War II despite a recent resurgence of interest in cultural evolution in other fields. I draw on recent advances in the scientific understanding of cultural evolution to clarify persistent misconceptions about the roles of genes and progress in musical evolution, and review literature relevant to musical evolution ranging from macroevolution of global song-style to microevolution of tune families. I also address criticisms regarding issues of musical agency, meaning, and reductionism, and highlight potential applications including music education and copyright. While cultural evolution will never explain all aspects of music, it offers a useful theoretical framework for understanding diversity and change in the world’s music.

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Universals

PE Savage

The SAGE International Encyclopedia of Music and Culture, 2282–2285 2019

Reply to Beheim et al.: Reanalyses confirm robustness of original analyses

PE Savage, H Whitehouse, P François, TE Currie, KC Feeney, E Cioni, ...

SocArXiv 2019

Exploring deep-time relationships between cultural and genetic evolution in Northeast Asia

H Matsumae, PE Savage, P Ranacher, DE Blasi, TE Currie, T Sato, ...

bioRxiv, 513929 2019

Explaining the Rise of Moralizing Religions: A test of competing hypotheses using the Seshat Databank

P Turchin, H Whitehouse, P François, D Hoyer, S Nugent, J Larson, ...

SocArXiv 2019

An introduction to Seshat: Global History Databank

P Turchin, H Whitehouse, P François, D Hoyer, A Alves, J Baines, D Baker, ...

SocArXiv 2019

A new era in the study of global history is born but it needs to be nurtured

H Whitehouse, P Turchin, P François, PE Savage, TE Currie, KC Feeney, ...

Journal of Cognitive Historiography 2019

Small-integer ratios predominate throughout the world's musical scales

G Chiba, MJ Ho, S Sato, J Kuroyanagi, J Six, P Pfordresher, A Tierney, ...

PsyArXiv 2019

RETRACTED ARTICLE: Complex societies precede moralizing gods throughout world history

H Whitehouse, P Francois, PE Savage, TE Currie, KC Feeney, E Cioni, ...

Nature 568 (7751), 226-229 2019

Quantitative evaluation of music copyright infringement

Savage, Patrick E., CRONIN Charles, MÜLLENSIEFEN Daniel, ATKINSON Quentin D.

Proceedings of the Folk Music Analysis 2018 Workshop 2018.06

Research paper (international conference proceedings), Joint Work, Accepted

Unfounded music copyright lawsuits inhibit musical creativity and waste millions of taxpayer dollars annually. Our aim was to develop and test simple quantitative methods in order to supplement traditional qualitative musicological analyses and improve the efficiency and transparency of music copyright lawsuits. We adapted automatic sequence alignment algorithms from computational biology to create a "percent melodic identity" (PMI) method that was initially developed to measure the cultural evolution of folk music from different cultures. This method automatically quantifies and visualizes the percentage of identical pitch classes shared between two melodic sequences. We applied the PMI method to a corpus of 20 pairs of melodies that had been the subject of legal decisions and that had previously been analyzed using automatic methods. We found that the PMI method was able to accurately predict 80% (16/20) of previous decisions, with PMIs below 50% usually resulting in decisions of no infringement (11/13 cases), and PMIs above 50% usually resulting in decisions of infringement (5/7 cases). Importantly, each of the four outlying cases could be explained by contextual factors not related to melodic similarity (e.g., lyrics, access). Our results provide promise for improving music copyright evaluation by supplementing traditional qualitative components with quantitative methods and visualization tools that are simple enough to be useful to juries, judges, and other non-musicologists.

A Systematic Assessment of "Axial Age" Proposals Using Global Comparative Historical Evidence

Mullins, Daniel Austin, Hoyer, Daniel, Collins, Christina, Currie, Thomas, Feeney, Kevin, Francois, Pieter, Savage, Patrick E., Whitehouse, Harvey, Turchin, Peter

AMERICAN SOCIOLOGICAL REVIEW (American Sociological Review) 83 ( 3 ) 596 - 626 2018.06

Research paper (scientific journal), Joint Work, Accepted, ISSN 0003-1224

© 2018, © American Sociological Association 2018. Proponents of the Axial Age contend that parallel cultural developments between 800 and 200 BCE in what is today China, Greece, India, Iran, and Israel-Palestine constitute the global historical turning point toward modernity. The Axial Age concept is well-known and influential, but deficiencies in the historical evidence and sociological analysis available have thwarted efforts to evaluate the concept’s major global contentions. As a result, the Axial Age concept remains controversial. Seshat: Global History Databank provides new tools for examining this topic in social formations across Afro-Eurasia during the first two millennia BCE and first millennium CE, allowing scholars to empirically evaluate the varied and contrasting claims researchers have put forward. Results undercut the notion of a specific “age” of axiality limited to a specific geo-temporal localization. Critical traits offered as evidence of an axial transformation by proponents of the Axial Age concept appeared across Afro-Eurasia hundreds, and in some cases thousands, of years prior to the proposed Axial Age. Our analysis raises important questions for future evaluations of this period and points the way toward empirically-led, historical-sociological investigations of the ideological and institutional foundations of complex societies.

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Identifying Style-Types in a Sample of Musical Improvisations Using Dimensional Reduction and Cluster Analysis

Ellis, Blair K., Hwang, Heungsun, Savage, Patrick E., Pan, Bing-Yi, Cohen, Annabel J., Brown, Steven

PSYCHOLOGY OF AESTHETICS CREATIVITY AND THE ARTS (Psychology of Aesthetics, Creativity, and the Arts) 12 ( 1 ) 110 - 122 2018.02

Research paper (scientific journal), Joint Work, Accepted, ISSN 1931-3896

© 2016 American Psychological Association. Creativity research examines both the processes and products of creativity. An important avenue for analyzing creativity is by means of spontaneous improvisation, although there are major challenges to characterizing the products of improvisation because of their variable nature. A useful concept missing from the analysis of improvisation is the idea that the products of a corpus can be organized into a series of "style-types," where each type differs from others in certain key structural features. Clustering methods provide a reliable quantitative means of examining the organization of style-types within a diverse corpus of improvisations. To look at the utility of such methods, we examined a sample of 72 vocal melodic improvisations produced by novice improvisers. We first classified the melodies acoustically using a multidimensional musical-classification scheme, which coded the melodies for 19 distinct features of musical structure. We next employed multiple correspondence analysis (a dimensional reduction method) and k-means cluster analysis simultaneously, and obtained 3 relatively discrete clusters of improvisations. Stylistic analysis of these clusters revealed that they differed in key musical features related to phrase structure and rhythm. Cluster analyses provide a promising means of describing and analyzing the products of creativity, including variable structures like spontaneous improvisations.

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Quantitative historical analysis uncovers a single dimension of complexity that structures global variation in human social organization

Turchin, Peter, Currie, Thomas E., Whitehouse, Harvey, Francois, Pieter, Feeney, Kevin, Mullins, Daniel, Hoyer, Daniel, Collins, Christina, Grohmann, Stephanie, Savage, Patrick E., Mendel-Gleason, Gavin, Turner, Edward, Dupeyron, Agathe, Cioni, Enrico, Reddish, Jenny, Levine, Jill, Jordan, Greine, Brandl, Eva, Williams, Alice, Cesaretti, Rudolf, Krueger, Marta, Ceccarelli, Alessandro, Figliulo-Rosswurm, Joe, Tuan, Po-Ju, Peregrine, Peter, Marciniak, Arkadiusz, Preiser-Kapeller, Johannes, Kradin, Nikolay, Korotayev, Andrey, Palmisano, Alessio, Baker, David, Bidmead, Julye, Bol, Peter, Christian, David, Cook, Connie, Covey, Alan, Feinman, Gary, Juliusson, Arni Daniel, Kristinsson, Axel, Miksic, John, Mostern, Ruth, Petrie, Cameron, Rudiak-Gould, Peter, ter Haar, Barend, Wallace, Vesna, Mair, Victor, Xie, Liye, Baines, John, Bridges, Elizabeth, Manning, Joseph, Lockhart, Bruce, Bogaard, Amy, Spencer, Charles

PROCEEDINGS OF THE NATIONAL ACADEMY OF SCIENCES OF THE UNITED STATES OF AMERICA 115 ( 2 ) E144 - E151 2018.01

Research paper (scientific journal), Joint Work, Accepted, ISSN 0027-8424

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Alan Lomax's Cantometrics Project: A comprehensive review

Patrick E. Savage

Music & Science (Music and Science) 1 1 - 19 2018

Research paper (scientific journal), Single Work, Accepted

Alan Lomax’s Cantometrics Project was arguably both the most ambitious and the most controversial undertaking in music and science that the world has known. Its flagship component, Lomax’s “cantometric” analysis of approximately 1,800 songs from 148 worldwide populations using 36 classificatory features, sparked extensive debate. While Lomax responded to some criticisms, neither his final conclusions nor the evidence on which they were based were ever fully made clear. For decades, neither cantometrics nor Lomax’s related projects involving dance, speech, popular music, digital humanities, pedagogy, and activism were widely adopted by other researchers, but there has been a resurgence of interest since Lomax’s death in 2002. Here, I provide a comprehensive critical review of the Cantometrics Project, focusing on issues regarding the song sample, classification scheme, statistical analyses, interpretation, and ethnocentrism/reductionism. I identify misunderstandings, improvements that were made, and criticisms that remain to be addressed, and distil Lomax’s sometimes-conflicting claims into diagrams summarizing his three primary results: (1) ten regional song-style types, (2) nine musical factors representing intra-musical correlations, and (3) correlations between these musical factors and five factors of social structure. Although Lomax’s interpretations regarding correlations between song style and social structure appear weakly supported, his historical interpretations regarding connections ranging from colonial diaspora to ancient migrations provide a more promising starting point for both research and teaching about the global arts. While Lomax’s attempts to correlate features of social structure such as gender, religion, politics, and economics with stylistic features of musical performance largely failed to gain acceptance, the Cantometrics Project can still provide both inspiration and cautionary lessons for future exploration of relationships between music and culture.

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Human vs. automated judgements of cross-cultural musical similarity

H Daikoku, M Kinoshita, S Fujii, PE Savage

PsyArXiv 2018

Automatic analysis of global music recordings suggests scale tuning universals

MJ Ho, S Sato, J Kuroyanagi, J Six, S Brown, S Fujii, PE Savage

19th International Society for Music Information Retrieval Conference 2018

Automated comparison of children’s and adult songs supports the vocal mistuning theory of scale origins

S Sato, S Fujii, PE Savage

PsyArXiv 2018

An overview of cross-cultural music corpus studies

PE Savage

Oxford Handbook of Music and Corpus Studies 2018

" Solutions in Search of a Problem": Commentary on Videira and Rosa (2017)

PE Savage

Empirical Musicology Review 12 (3-4), 244-246 2018

GLOBAL MUSIC RECORDINGS SUPPORT THE MOTOR CONSTRAINT HYPOTHESIS FOR HUMAN AND AVIAN SONG CONTOUR

Savage, Patrick E., Tierney, Adam T., Patel, Aniruddh D.

MUSIC PERCEPTION 34 ( 3 ) 327 - 334 2017.02

Research paper (scientific journal), Joint Work, Accepted, ISSN 0730-7829

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How 'Circumpolar' is Ainu Music? Musical and Genetic Perspectives on the History of the Japanese Archipelago

Savage, Patrick E., Matsumae, Hiromi, Oota, Hiroki, Stoneking, Mark, Currie, Thomas E., Tajima, Atsushi, Gillan, Matt, Brown, Steven

ETHNOMUSICOLOGY FORUM 24 ( 3 ) 443 - 467 2015.12

Research paper (scientific journal), Joint Work, Accepted, ISSN 1741-1912

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Statistical universals reveal the structures and functions of human music

Savage, Patrick E., Brown, Steven, Sakai, Emi, Currie, Thomas E.

PROCEEDINGS OF THE NATIONAL ACADEMY OF SCIENCES OF THE UNITED STATES OF AMERICA 112 ( 29 ) 8987 - 8992 2015.07

Research paper (scientific journal), Joint Work, Accepted, ISSN 0027-8424

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Automatic tune family identification by musical sequence alignment

Patrick E. Savage, Quentin D. Atkinson

Proceedings of the 16th International Society for Music Information Retrieval Conference (ISMIR 2015) 162 - 168 2015

Research paper (international conference proceedings), Joint Work, Accepted

Musics, like languages and genes, evolve through a process of transmission, variation, and selection. Evolution of musical tune families has been studied qualitatively for over a century, but quantitative analysis has been hampered by an inability to objectively distinguish between musical similarities that are due to chance and those that are due to descent from a common ancestor. Here we propose an automated method to identify tune families by adapting genetic sequence alignment algorithms designed for automatic identification and alignment of protein families. We tested the effectiveness of our method against a high-quality ground-truth dataset of 26 folk tunes from four diverse tune families (two English, two Japanese) that had previously been identified and aligned manually by expert musicologists. We tested different combinations of parameters related to sequence alignment and to modeling of pitch, rhythm, and text to find the combination that best matched the ground-truth classifications. The best-performing automated model correctly grouped 100% (26/26) of the tunes in terms of overall similarity to other tunes, identifying 85% (22/26) of these tunes as forming distinct tune families. The success of our approach on a diverse, cross-cultural ground-truth dataset suggests promise for future automated reconstruction of musical evolution on a wide scale.

Human genetic research, race, ethnicity and the labeling of populations: recommendations based on an interdisciplinary workshop in Japan

Takezawa, Yasuko, Kato, Kazuto, Oota, Hiroki, Caulfield, Timothy, Fujimoto, Akihiro, Honda, Shunwa, Kamatani, Naoyuki, Kawamura, Shoji, Kawashima, Kohei, Kimura, Ryosuke, Matsumae, Hiromi, Saito, Ayako, Savage, Patrick E., Seguchi, Noriko, Shimizu, Keiko, Terao, Satoshi, Yamaguchi-Kabata, Yumi, Yasukouchi, Akira, Yoneda, Minoru, Tokunaga, Katsushi

BMC MEDICAL ETHICS 15 8987 - 8992 2014.04

Research paper (scientific journal), Joint Work, Accepted, ISSN 1472-6939

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Correlations in the population structure of music, genes and language

Brown, Steven, Savage, Patrick E., Ko, Albert Min-Shan, Stoneking, Mark, Ko, Ying-Chin, Loo, Jun-Hun, Trejaut, Jean A.

PROCEEDINGS OF THE ROYAL SOCIETY B-BIOLOGICAL SCIENCES 281 ( 1774 ) 133 - 155 2014.01

Research paper (scientific journal), Joint Work, Accepted, ISSN 0962-8452

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Mapping Music: Cluster Analysis Of Song-Type Frequencies Within And Between Cultures

Savage, Patrick E., Brown, Steven

ETHNOMUSICOLOGY 58 ( 1 ) 133 - 155 2014.01

Research paper (scientific journal), Joint Work, Accepted, ISSN 0014-1836

Pour une nouvelle musicologie comparée: Cinq champs de recherche, cinq débats essentiels

Patrick E. Savage, Steven Brown

Anthropologie et Sociétés 38 ( 1 ) 193 - 216 2014

Research paper (scientific journal), Joint Work, Accepted

Comparative musicology has the potential to contribute greatly to our understanding of the evolution of culture. Comparative musicology flourished during the late 19th and early 20th centuries, but declined after World War II due in part to its reliance on questionable models of progressive evolution. Its successor, ethnomusicology, generally avoided cross- cultural comparison and evolutionary theory. We propose a return to the forgotten agenda of comparative musicology, but one that is updated with modern scientific method and evolutionary theory. We outline five key areas and debates where comparative musicological data can contribute to an interdisciplinary understanding of the evolution of culture : 1) classification, 2) mechanisms of cultural evolution, 3) migration, 4) universals, and 5) biological evolution. We suggest that examining the coevolutionary relationships between musics, languages, and genes will provide a promising avenue for exploring these areas in future research.

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Toward a new comparative musicology

Patrick E. Savage, Steven Brown

Analytical Approaches to World Music 2 ( 2 ) 148 - 197 2013

Research paper (scientific journal), Joint Work, Accepted

We propose a return to the forgotten agenda of comparative musicology, one that is updated with the paradigms of modern evolutionary theory and scientific methodology. Ever since the field of comparative musicology became redefined as ethnomusicology in the mid-20th century, its original research agenda has been all but abandoned by musicologists, not least the overarching goal of cross-cultural musical comparison. We outline here five major themes that underlie the re-establishment of comparative musicology: (1) classification, (2) cultural evolution, (3) human history, (4) universals, and (5) biological evolution. Throughout the article, we clarify key ideological, methodological and terminological objections that have been levied against musical comparison. Ultimately, we argue for an inclusive, constructive, and multidisciplinary field that analyzes the world’s musical diversity, from the broadest of generalities to the most culture-specific particulars, with the aim of synthesizing the full range of theoretical perspectives and research methodologies available.

Savage, Brown - 2013 - Analytical Approaches to World Music.pdf

The structure of cross-cultural musical diversity

Rzeszutek, Tom, Savage, Patrick E., Brown, Steven

PROCEEDINGS OF THE ROYAL SOCIETY B-BIOLOGICAL SCIENCES 279 ( 1733 ) 1606 - 1612 2012.04

Research paper (scientific journal), Joint Work, Accepted, ISSN 0962-8452

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CantoCore: A new cross-cultural song classification scheme

Savage, Patrick E., Merritt, Emily, Rzeszutek, Tom, Brown, Steven

Analytical Approaches to World Music 2 ( 1 ) 87 - 137 2012

Research paper (scientific journal), Joint Work, Accepted

Savage et al. - 2012 - Analytical Approaches to World Music.pdf

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