Neuroscientist Daniel Levitin's book explains why music is a critical step in human evolution.
Music burns into the soul. What's happening is an "exquisite orchestration of brain regions" engaged in a "precision choreography of neurochemical uptake and release." Why human beings make and enjoy music is a story of evolution, anatomy, perception and computation. A story that's all the more thrilling when you consider its result, the joy of living in a world filled with music.
Levitin a neuroscientist and a former record producer is one of those people for whom music has always been a source of infinite aesthetic and emotional pleasure. He has turned an abiding interest into worthwhile work. Levitin's primary scientific pursuit concerns how music operates on the human brain, though it might be more fitting to say that he uses music to study how everything works in the human brain: by looking at how our brains process music; how we turn collections of sounds into patterns that we think of as songs, how we remember and categorize those patterns, and how we feel them as intense emotion. Levitin and other scientists have uncovered important neural processes that had previously eluded researchers. The brain systems they discovered explain why music can touch you so deeply: Our brains seemingly have evolved to maximize musical ability. Indeed music has been essential to our very success as a species.
Levitin explains the intricacies of two difficult subjects: neuroscience and music theoryreferencing an encyclopedic knowledge of popular music, which allows him to tap a wide range of traditions, from classical to the blues to jazz, rock, country and modern pop, in order to convey certain complex ideas.
When we listen to music, our brains are engaged in an enormously complex computational task; so complex that no computer has yet been able to replicate anything nearly as sophisticated with sound. Much of what we think of as the sounds of the world actually occur inside our heads, not outside. The air molecules that strike our eardrums carry no inherent "pitch." The molecules oscillate at a specific rate, and our brains measure the rate, and then construct an internal representation -- a high or low pitch -- based on that frequency. (In the same way, light waves carry no color -- our eyes and brains construct color by measuring the frequency of the waves.) In other words, sound is essentially a psychological phenomenon. If a tree falls in the forest and no one is there to hear it, does it make a sound? Simply no," Levitin points out. "A suitable measuring device can register the frequency made by the tree falling, but truly it is not pitch unless and until it is heard."
Your brain doesn't just come up with an internal representation of sound, it also derives meaning; in particular, pleasure, from sound. But how it does so surprises even neuroscientists. When people listen to a song they like, as opposed to something that they don't like, or simply noise, one area of the brain that's activated is the cerebellum. The cerebellum is, evolutionarily, one of the oldest parts of the brain, what some people call the reptilian brain; its main purpose is to coordinate the movement and timing of our bodies, and not, scientists believed, anything more sophisticated, such as the experience of emotions. But if the cerebellum wasn't involved in emotion, why was it being activated only when people listened to something that they liked, an emotional choice, rather than just anything at all?
Levitin and his colleagues answer using an advanced technique known as "functional and effective connectivity analysis" to follow how music moves through the brain. What they discovered was startling. Contrary to long-held assumptions, the cerebellum did turn out to play a role in some emotions, particularly the way we derive pleasure from the rhythm, or groove, of a piece of music. When we listen to a song, our ears send signals not only to the auditory cortex, the region of the brain that processes the sound, but also straight to the cerebellum. When a song begins, the cerebellum, which keeps time in the brain, "synchronizes" itself to the beat. Part of the pleasure we find in music is the result of akin to a guessing game that the brain then plays with itself as the beat continues. The cerebellum attempts to predict where beats will occur. Music sounds exciting when our brains guess the correct beat, but a song becomes really interesting when it violates the expectation in some surprising way. Music, Levitin writes, "breathes, speeds up, and slows down just as the real world does, and our cerebellum finds pleasure in adjusting itself to stay synchronized."
What's interesting about how our brains respond to music; rather than, say, language is the large number of systems that are activated by the experience. In addition to the cerebellum, music taps into the frontal lobes (a "higher-order" region that processes musical structure), and it also activates the mesolimbic system, which is "involved in arousal, pleasure, the transmission of opiods and the production of dopamine." This is why certain music can feel so pleasurable, producing such deep emotions, it's simultaneously operating on various parts of our brains, and the response is something on the order of taking a hit of smack.
Clearly, though, we don't all find pleasure in the same music and what determines whether we end up loving Billy Corgan, Billy Idol, Billie Holiday is mostly a matter of what we listen to when we're young. Studies suggest that we start listening to and remembering music in the womb (but playing Mozart to your baby, and indeed playing Mozart to yourself, will notmake you smarter, studies showing that effect have largely been debunked). Humans prefer music of their own culture when they're toddlers, but it's in our teens that we choose the specific sort of music that we'll love forever. Those years are emotional times, "and we tend to remember things that have an emotional component because our amygdala and neurotransmitters act in concert to 'tag' the memories as something important." In addition, our brains are undergoing massive changes up until the teen years. After that, the brain structure becomes more fixed, and it begins to prune, rather than grow, neural connections. Consequently it's in our teens that we're most receptive to new kinds of music (in much the same way it's easier to learn a new language when you're young than when you're old). After that, you can of course find new stuff to love, but there is a reason that there's such a thing as "your parent's music".
Our brains evolved to respond to music in this way; and rather it's by evolutionary design that we are so good at processing music. One bit of evidence is the ubiquity of music across cultures, and across history. "No known human culture now or anytime in the recorded past lacked music”. We are amazingly good at processing sounds. For instance, your brain can instantly spot a transformation, another version of a song, even if the two are radically different. John Coltrane's "My Favorite Things" varies in tempo, pitch, instrumentation and countless other ways from the Rodgers and Hammerstein, "Sound of Music" version, but you know the two as the same song; the same is true for OutKast's funked-out, hip-hop "My Favorite Things." Computers simply cannot do this; our brains are uniquely efficient at such complex pattern-matching tasks. But why would humans have evolved to become musical creatures? Among evolutionary biologists, there is great controversy over this question and, indeed, over whether musical ability was "selected for," or whether it occurred as an accident of other advances during evolution. There are several reasons why music might have been important to humans over the long sweep of history. Making and listening to music is a social activity, and could thus have improved cohesion among members of the species. "Music may have historically served to promote feelings of group togetherness and synchrony" in ancient societies. Singing around the campfire, way back in the day, "might have been a way to stay awake, to ward off predators, and to develop social coordination and social cooperation within the group."
Music might also serve as a precursor to more advanced cognitive tasks, especially speech. We know that when kids learn to speak, they don't do so by memorization of every word and phrase, rather they learn the rules of a language, and then try to apply those rules to new contexts. One way we might learn how to use such rules is through music. "Music for the developing brain is a form of play, preparing the child to eventually explore generative language development through babbling, and ultimately more complex linguistic and paralinguistic productions."
Finally there is that most important thing about music: its connection to love, or, more specifically, to arousal and mating. Unlike birds and whales, humans don't produce musical mating calls. But as social animals, humans need strategies to attract potential mates, and music might have been an important part of the process. "As a tool for activation of specific thoughts, music is not as good as language. But "as a tool for arousing feelings and emotions, music is better than language."
If you want your potential mate to remember you, you serenade her, or at least get Ray Davies to do it. It is obvious that music elicits emotion better than speech and is something we all understand. It's why movies have soundtracks, and it's why couples have favorite songs.
