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abstraction, 38, 109, 184, 185, 253–54, 259
accent structure, 25, 32, 35–38, 51, 156, 160–63, 167
Adams, Bryan, 154
adaptability, 7, 107–8, 110, 198, 238
Adderley, Julian Edwin “Cannonball,” 114, 281, 284
African American culture, 135, 209, 212–15, 218–19
African music, 1, 9, 50, 59, 153, 209–13, 320–21n
alliteration, 34, 149, 156, 161, 163–64, 168, 265
Alsea River Band, 116–19
Alzheimer’s disease, 21, 32, 92
“Amazing Grace,” 228
ambiguity, 26–27, 31–32, 38, 201, 273
American Indians, 10, 47, 77, 89, 195, 237
American Music Therapy Association, 97
Amos, Tori, 284
Anderson, Laurie, 187
Animaniacs, 151–52
“Annie’s Song,” 297n
“Another Shore,” 284
ants, 20, 181, 191, 244, 316n, 330n
“The Ants Go Marching,” 147
Arcade Fire, 216–17
the Archies, 230
Aristotle, 105
Aristoxenes, 105
art
and animals, 299–300n
artistic communication, 143–44, 186, 209
and brain evolution and physiology, 18–22, 38, 108, 143–44, 186, 267, 280
and caring, 281
and cave paintings, 21
cognitive operations associated with, 253–54
impact on human history, 38–39, 252
and songs, 184–85, 209, 242, 256
physiological foundations of, 16
and representation, 17–18
and tool making, 252
as unique human characteristic, 20, 299–300n
The Art of War (Sun Tzu), 52
Aslin, Dick, 223–24
assonance, 149, 161, 163–65, 168
“As Time Goes By,” 8
“At Seventeen,” 128
attachment, 196, 240, 261–62, 323n
auditory cortex, 18, 245–46, 325n
Australopithecines, 260
“Autobahn,” 112
Avesta Manthras, 173
“Baa Baa Black Sheep,” 171
babies, cuteness of, 19, 90, 280, 299n, 304n
Bach, Johann Sebastian, 11
Bacharach, Burt, 27–28
“Bad, Bad Leroy Brown,” 4
Bad Company, 277
Baez, Joan, 74
Balaban, Evan, 245–46
ballads, 11, 64, 149, 156, 159, 162–63, 165, 177, 297n
“Ballroom Dancing,” 161
“Band of Gold,” 279
“Bangkok Rain,” 29
Baron-Cohen, Sasha. See Borat
Barr, John, 24–25
basal ganglia, 100, 199, 214, 226, 267, 319n
the Beastie Boys, 187
the Beatles, 12, 27–29, 32, 107–8, 113, 232, 281, 284
“Be Careful, It’s My Heart,” 275–76
Beck, Jeff, 134–35
Bee Gees, 121
Beethoven, Ludwig van, 112–13, 255
“Begin the Beguine,” 30
Bellugi, Ursula, 18
Berger, Jonathan, 126–27, 276–77, 279
Berlin, Irving, 131–32, 274, 275–76, 309n, 332n
Bharucha, Jamshed, 56, 304n, 314n, 315n, 330n
“Big Long Slidi’ Thing,” 277
“Big Science,” 187
“Black Cat,” 150
Black Sabbath, 122
Blake, William, 24
Blind Melon, 28
Blood, Sweat & Tears, 28
“Blowin’ in the Wind,” 68
Blue (Mitchell), 133
blues music, 133–35, 139, 183, 277, 283
“Bodhisattva,” 134
Bolcom, William, 24
Boomtown Rats, 161
Borat, 5
Boston (band), 121
“Boulder to Birmingham,” 129–30
“A Boy Named Sue,” 298n
brain physiology. See also specific structures and substances
and auditory imitation, 267
and brain disorders, 78, 198–99, 319–20n
and diet, 248–49
and drug use, 75–77
and emotion, 18, 54, 109, 141, 220, 226, 241, 247, 304n
and evolution, 18–22, 45, 53–54, 89–90, 143, 145–46, 191–92, 238, 249–50, 266–68, 331n
and hallucinogens, 75
and hearing, 245–48
and language, 239
and lobotomies, 268–69
of monkeys, 291–94
and parsimony, 238–39
“Parts of the Brain” song, 152
physiological impact of music, 11, 32, 86–87, 92, 98–99, 133
and recent research, 13–15, 86, 98–99, 190, 196, 208, 223–24, 250, 291–94
and sad music, 133–35
and singing, 50–51, 58, 89, 98, 126
and stress, 99–103
and tension in music, 106–7
brain stem, 126
“Bridge Over Troubled Water,” 256
“Bring ‘Em All In,” 287–89
“Bring Them Home (If You Love Your Uncle Sam),” 69
Brodmann area 44 (BA44), 267, 268
Brown, James, 37
Brownsville Station, 128
“Buddha Buddha,” 236
Buffalo Springfield, 70
Burdon, Eric, 29
Burns, Robert, 24
Busta Rhymes, 150
Byrne, David
on comfort songs, 129–31
on emotion in songs, 330
on happiness, 219
on love songs, 275–76
scientific approach to music, 184
on spiritual inspiration, 216–18
“California Girls,” 134
“California Sun,” 29
call-and-response singing, 59, 135, 212–14
Carey, Mariah, 274
the Carpenters, 28, 174, 213, 225
“Carry On Wayward Son,” 121
Casablanca, 8
“A Case of You,” 276
Cash, Johnny, 11, 61, 155, 177, 242, 264–65, 298n
Cash, Rosanne, 28, 93, 235, 298n
“Cecilia,” 256
“Celibacy Blues,” 61
cerebellum, 39, 53, 126, 214, 226
ceremonies, 63, 190–91, 193–95, 200, 202–06, 209, 222–23, 225, 236, 318n. See also ritual
chanting, 6, 69, 144, 148, 151, 173, 195, 209, 211–12, 225, 297n
Chapin, Harry, 161
Charles, Ray, 29
“Cherry Pies Ought to Be You,” 29–30
Chevrolet, 88
Chicago (band), 29
“Chicago” (song), 70
the Chicago Seven, 70
children
and advertising jingles, 88
and coordination songs, 93, 144, 207–8
and educational songs, 144–45
and evolution, 142–43
and knowledge songs, 148–49, 151, 171, 175, 180, 184–85
and memory songs, 180
and origin of song, 144–45
and ritual, 196–98, 207–8, 226
and social groups, 61
chimpanzees, 20, 219, 247, 248, 250, 257, 260, 299n, 325n
Chomsky, Noam, 260–61 263–64, 327–28n
chords, 27–28, 107–8, 134, 154, 174, 224, 226, 278
Churchland, Patricia, 269
Churchland, Paul, 269
“Chuupon Gye Chuupon Gye,” 278
cingulate gyrus, 212
Clark, Guy, 1–2, 179–80, 283, 285–87
classical music, 59, 106, 112, 114, 283, 304n
Cline, Patsy, 73
Clooney, Rosemary, 276
“Close to You,” 225
Cockburn, Bruce, 72–73
“Cold Turkey,” 62
collective action, 183–84, 201. See also cooperation and coordination
collective consciousness, 56–57
Coltrane, John, 114
comfort songs, 7, 111–25, 125–32, 132–35, 241
communication, 14, 21, 50, 58, 60, 86, 88, 140–46, 193, 196, 247–48, 250, 257, 260, 310–11n, 325n, 328n. See also language
computation, 16, 239, 253, 260, 261, 264–65, 317n
Conard, Nicholas, 251
Confucius, 88
consciousness, 49, 56, 102, 106, 192, 214–15, 220, 232, 240, 268–70
altered states of, 74–75, 214–15
self-consciousness, 192–93, 215, 220, 240, 252
theories of, 160, 268–70, 330n
Cook, Perry, 168
Coolio, 128–29
cooperation and coordination, 50–53, 91, 262
Costello, Elvis, 12
counting songs, 7, 144, 147–49
country music, 117–19, 132, 283
“Courtesy of the Red, White and Blue,” 61
“Crazy,” 73
Croce, Jim, 177. See also “Bad, Bad Leroy Brown”
Cronkite, Walter, 80
Crosby, David, 71
Crosby, Stills & Nash, 70–71, 113–14
Cross, Ian, 51, 127, 133, 137–41, 144–45, 240, 252, 270
Crowell, Rodney, 29, 84, 85, 129, 142, 157, 180, 264–65, 277–78, 296n
“Cruella de Vil,” 4
Csikszentmihalyi, Mihaly, 54
the Cuff Links, 230
the Cult, 29
“Cupid’s Got a Brand New Gun,” 233
the Cure, 29
dance
and accent structure, 37
and brain chemistry, 93, 101–2
and brain development, 21
and joy songs, 83
mating dances, 199
and memory, 169
and musical hallucination, 79
and Native Americans, 47
and prehistoric man, 21
rain dances, 200
and religion, 215–17
“Dandelion,” 151
“Daniel,” 12
“Danny Boy,” 12
Danoff, Bill, 129
Dante, Ron, 230
Dark Side of the Moon (Pink Floyd), 114
Darwin, Charles, 19, 238, 257, 260, 261–62, 328n. See also evolution and natural selection
Dass, Ram, 74
David, Hal, 27
David, King of Israel, 88, 225, 316n, 322n
Davis, Jimmie, 85
Dawkins, Richard, 198, 280, 318n
“Dear John,” 178
“Dear Madam Barnum,” 177–78
“Death Is Not the End,” 129
“De Camptown Races,” 152
deception, 141, 270–71, 310n, 330–31n
“Deck the Halls,” 204
“De Do Do Do, De Da Da Da,” 85
Dees, Rick, 121
De Grassi, Alex, 283–85
Dennett, Daniel, 19, 90, 110, 225, 269, 296n, 304n, 322n
Derek and the Dominos, 28
The Descent of Man (Darwin), 261
Devr ritual, 205–7
the Dictators, 29
DiFranco, Ani, 179
“Dirt Bike,” 5
“Dirty Water,” 62
“Disco Duck,” 121
“Dizzy,” 230
DJ Jazzy Jeff & the Fresh Prince, 161
“Don’t Stop,” 177
dopamine, 32, 86–87, 101, 109, 199, 232
“Downbound Train,” 235
“Down By the Riverside,” 209
“Do You Know the Way to San Jose?”, 27
The Dream of the Blue Turtles (Sting), 132
“Drink to Me Only with Thine Eyes,” 24
drug use, 74–82
drums, 8–9, 41–43, 87, 206, 210–11, 213–14. See also rhythm
Dumuzi, 277
Durkheim, Émile, 192
Dylan, Bob, 32, 64, 74, 129, 232, 274
The Eagles, 31
Earle, Steve, 174–75
Earth Mother, 321n
education, 7, 142–45, 148–49, 175–76, 177–78, 180, 239. See also knowledge songs
Edwin Hawkins Singers, 190
Eenie, Meenie, Miney, Moe, 148
“El Condor Pasa,” 256
electronica, 112
emergence and emergent behavior, 180–83, 269–70, 317n
Emlen, Stephen, 244–45
emotion
and African American culture, 62, 209, 214–15
and animals, 219–20
emotional intelligence, 60
and evolution, 54–55, 90–91, 100, 110, 133, 146, 234, 240
and honest signal hypothesis, 141, 145–46, 271, 330–31n
and knowledge songs, 155–56, 186–87, 233–34
and musical intuition, 184–85
in performance, 114, 134–35, 179, 330–31n
and religious experiences, 222–23
and social bonding, 241
Enlightenment, 222
Ethiopian Jewish community, 316n
European classical music, 59
European starlings, 261, 264, 329n
Eurythmics, 28
Evans, Bill, 184–85
“Eve of Destruction,” 69
Everett, Daniel, 328n
“Everybody’s Talkin’,” 27
Every Brothers, 113–14
“Every Little Thing She Does Is Magic,” 85
evolution and natural selection
and altruism, 236–38, 240, 262
and appearance of music, 266
and attachment, 261–62
and brain physiology, 18–22, 89–91, 248–50, 250–51
and consciousness, 160
and cooperation, 53–54
and deception, 270–71
and emotion, 109, 279–80, 304n, 330–31n
and group memory, 183–84
and healing power of music, 97–103
and hearing, 244–48
and honest signal hypothesis, 141, 145–46, 330–31n
and language, 14–15
and lifestyle changes, 100
and love, 234, 236–37, 240–41, 243, 261–62
mechanisms of, 55–56
Mitchell on, 215
music’s role in, 4
and the perception-production system, 283
and religion, 196
and social bonding, 45, 53–54, 248–51, 261–62
and songs types, 241
and vocalization, 247–48
experimental music, 283
Fagen, Donald, 28
Fairmont Queen Elizabeth Hotel, 79–82
Falk, Dean, 59
“Feel Like Makin’ Love,” 277
Ferguson, Jim, 6
Ferry, Brian, 232
Fifth Symphony (Beethoven), 17
Fifth Symphony (Tchaikovsky), 8, 297n
The 5th Dimension, 29
“Fight and Scratch,” 161
“Fire and Rain,” 28
Fisher, Helen, 323n
fitness, adaptive, 89, 92, 98, 107, 304n
Fitzgerald, Ella, 87, 230, 274
Five Books of Moses, 315n
Fleetwood Mac, 177
“Flip Flop and Fly,” 213
Flower Drum Song, 10
flutes, 10, 206, 251, 252, 254, 275
Foghat, 122
folk music, 10–11, 39–40, 135, 212, 215
Foo Fighters, 234–35
Fordham, Julia, 231
Foreigner, 277
“Foreplay-Long Time,” 121
“The Forsaken Maiden,” 276–77
“For What It’s Worth,” 70
the Four Tops, 274
Frankl, Viktor, 18
the Fray, 150
frequency sensitivity, 146–47
the Fresh Prince, 161
friendship songs, 7–9, 12, 41–43, 43–66, 68–71, 71–82
“From Me to You,” 33
frontal cortex, 22, 27, 44, 59, 142, 152, 212, 267. See also prefrontal cortex
Frost, Robert, 29
“The Funeral March,” 204
funeral rituals, 227–28
GABA regulation, 199
Gandalf, 42
“Gangsta’s Paradise,” 128–29
Garcia, Jerry, 184
García Márquez, Gabriel, 235–36, 322n
Garfunkel, Art, 256
Gaye, Marvin, 90–91
Geertz, Clifford, 6
genetics, 49, 245, 267. See also evolution and natural selection
Genzlinger, Neil, 70
Gettysburg Address, 166, 168–69, 170
Getz, Stan, 114
“Give Me the Splendid Silent Sun” (Whitman), 29
“Give Peace a Chance,” 69, 80–82
Gjerdingen, Robert, 105
“God Bless America,” 86, 131–32, 226–27, 309n
“God Save the Queen,” 204
“Going Down Slow,” 134–35
Gola culture, 153, 156, 163, 311n
Gopnik, Adam, 270
gospel music, 59, 135, 209, 283
Graceland (Simon), 256
“The Graduation March,” 203
Grand Funk Railroad, 150
“The Great Gig in the Sky,” 114
“The Great Intoxication,” 130
Greatest Songs of the Twentieth Century, 332n
Griffin, Stewie, 81
Griffith, Nanci, 161
Grohl, Dave, 234–35
group agency, 56–57
group memory, 182–84
growth hormone (GH), 99
Guitar Player, 284
Gulf War, 68
Guthrie, Woody, 309n
Gyllenberg Foundation, 139
Hadrian’s Wall, 47
“Hail to the Chief,” 204
Handel, George Frideric, 225, 228
Handy, John, 308–9n
“Happy Birthday,” 9, 16–17, 279
“Happy Together,” 230
harmony, 38–39, 48, 113, 209, 211, 276–77
harp music, 88–89
Harris, Emmylou, 129–30
Haselton, Martie, 262–63
“Have You Ever Seen the Rain?”, 28
Haydn, Joseph, 265–66
Hayes, Darren, 150
health and healing, 86–88, 92, 93–97, 97–103
“Heard It Through the Grapevine,” 90–91
hearing, 243–48
Hearts and Minds, 35
heavy metal music, 62, 122, 277, 283, 296n
Hebb, Bobby, 29
Hebrew culture, 42, 153, 173. See also Judaism
“The Heist,” 150
“Help Me,” 107
Hendricks, Jon, 8
Hendrix, Jimi, 28
“Here Comes the Rain Again,” 28
“Here Comes the Sun,” 29
“Hey Jude,” 162
“Hokey Pokey, The,” 207
“Hold On,” 161
Holekamp, Kay, 250
Holiday, Billie, 214–15
Holiday Inn (musical), 275–76
The Hollies, 71
“Homegrown Tomatoes,” 1–2
Homo erectus, 57
homonyms, 34
Homo sapiens, 48, 57, 190, 191, 252, 267
honest signal hypothesis, 141, 270–73, 279–80, 330–31n
“Honey Pie,” 256
“Hooked on a Feeling,” 27
“Hot Blooded,” 277
“House of the Rising Sun,” 29
Houston, Whitney, 61
Howlin’ Wolf, 134
“How to Build a Time Machine,” 150
“How to Save a Life,” 150
hunter-gatherers, 22, 45–47, 49, 56–57, 219, 221, 241. See also prehistoric man
Huron, David
ITPRA model, 104
on earliest songs, 143
on emotion and natural selection, 91
on generational changes in music habits, 147
Huron, David (continued)
and honest signal hypothesis, 141, 270
on knowledge songs, 180
on lullabies, 127
on the Mekranoti people, 46–47
on sad music, 133
TRIP version of ITPRA model, 104–8
on ubiquity of music, 2
Huxley, Aldous, 74
“I Ain’t Marching Anymore,” 68
Ian, Janis, 128
“(I Can’t Get No) Satisfaction,” 8
“I Can’t Stand the Rain,” 28
“I Don’t Wanna Talk About It Now,” 129
“I Heard It Through the Grapevine,” 90–91
“If,” 216
“If I Had a Hammer,” 10
“If I Had a Rocket Launcher,” 72–73
“I Got You (I Feel Good)”, 37, 39, 98
“I Just Can’t Help Believing,” 27
“I Know an Old Lady, Who Swallowed a Fly,” 149, 180
Iliad (Homer), 172
“I’ll Follow the Sun,” 29
“I’ll Get You Back,” 272–74
“I Love a Rainy Night,” 121
“I’m All That,” 161
immune system, 86–87, 92, 98–99, 99–101
“I’m Not In Love,” 275
Inanna, 277
India.Arie, 209–10
Indian culture, 59, 89, 106, 205–7, 304n
indigo buntings, 244–45
Indigo Girls, 161
“I Never Went to Bed with an Ugly Woman (But I Sure Woke Up with a Few)”, 117
infants, 106, 126, 127, 143, 224, 237, 240, 241, 245, 309n, 311n, 321n. See also children
instinct, 55–56, 126, 143, 272–73
“In Too Deep,” 155–56
intuition, 185
Isaak, Chris, 233
Isaiah, 47
“I Say a Little Prayer,” 27
Isley Brothers, 212–13
ITPRA process, 103–4
“Itsy-Bitsy Spider,” 208
“I’ve Been Workin’ on the Railroad,” 160
“I Walk the Line,” 61, 155, 177, 242
“I Walk the Line, (Revisited)”, 264–65
“I Want to Hold Your Hand,” 33, 275
“I Want You Back,” 230
Jackson, Benjamin Clarence “Bull Moose,” 277
Jackson, Janet, 150
Jackson, Michael, 12
the Jackson Five, 230
Janata, Petr, 54
Jarrett, Keith, 281
jazz music, 9, 33, 185, 265, 282, 283
Jefferson Starship, 121
Jennings, Peter, 80
“Jesus Paid It All,” 209
“Jingle Bells,” 204–5
“Jocko Homo,” 238
“Joe and Rosalita,” 161
Joel, Billy, 225
“Johnny B. Goode,” 134
Johnson, Lyndon B., 65
Jones, George, 117
Jones, Rickie Lee, 12
Jones, Tom, 134–35
Jonson, Ben, 24
joy songs, 7, 83–103, 103–9, 179–80, 241
Judaism, 153, 173–75, 176–77, 190, 195, 196, 212, 214, 315n, 316n
Judas Priest, 122
jump ‘n’ jive music, 213
“Just the Way You Are,” 225
Kansas, 121
Kanefsky, Yosef, 133
Kantner, Paul, 75
Kapferer, Bruce, 172
Kaplan, Aryeh, 175
Karajan, Herbert von, 112–13
Kazakhstan, 5
“Keep On Lovin’ You,” 121
Keith, Toby, 61
Kent State massacre, 69–71, 82
Kesey, Ken, 74
“Kicks,” 62
Kindermusik, 39–40
Kindertotenlieder (Mahler), 153–54
King, Martin Luther, Jr., 68, 71, 82
Kipling, Rudyard, 216
Klein, Howie, 114
Kanefsky, Yosef, 132
knowledge songs, 7, 104, 137–45, 145–77, 177–87
Kota people, 205–7
Kraftwerk, 112
Krause, Allison, 71
Kreen Akrore Indians, 46
“Lady,” 121–22
language, 10–11, 13–16, 38–40, 190, 239, 257–58, 327–28n
The Language Instinct (Pinker), 327n
Lard, 161
“The Last Song,” 154
Latin American music, 59
Leaves of Grass (Whitman), 29
Lee, John Alan, 323n
“Lemon Tree,” 233–34
“The Lemon Song,” 277
Lennon, John, 32–33, 69, 74, 79–82, 108, 274
“Let It Be,” 213
“Let It Die,” 234–35
“Let It Rain,” 28
“(Let Me Be Your) Teddy Bear,” 230
“Let’s Work Together,” 53
“Let the Sunshine In,” 29
L-gulonolactone (GULO), 249
Little Eva, 150
“A Little Luck of Our Own,” 150–51
Living Colour, 50–51
lobotomies, 268–69
“The Locomotion,” 150
“Log Blues,” 87
Look into the Eyeball (Byrne), 130–31
Lord, Albert, 152
The Lord of the Rings (Tolkien), 42–43
Los Fabulosos Cadillacs, 217–18
love and love songs
and evolution, 234, 236–37, 240, 243, 261–62
and honest signal hypothesis, 271–73, 279–80
and neurochemistry, 232–33, 240
and romantic love, 229, 233–36, 274–75, 323n
and self-delusion, 274
Love in the Time of Cholera (García Márquez), 236, 322n
“Love Me Do,” 33
“Love Me Tender,” 230
“Love the One You’re With,” 61
Lovin’ Spoonful, 28
LSD, 75–77
lullabies, 126–27
Lynne, Jeff, 272–74
lyrics, 9, 21–38, 53, 62, 113, 132, 134, 156, 159, 166–68, 170–71, 276–77 See also rhyme; specific titles
Macaque brain, 291–94
Mahadevan, Rajan, 314n
Mahler, Gustav, 153–54
“Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” 118
Maori culture, 47
Marais, Marin, 1
“March of the Pigs,” 61
Marcus, Gary, 89
Margoliash, Daniel, 264
marijuana, 76
Marks, Gerald, 275
marriage ceremonies, 202
Maugham, W. Somerset, 232, 236
Maurice of Orange, 55
“Maxwell’s Silver Hammer,” 295n
Mayfield, Curtis, 218–19
Mbuti culture, 210
McCartney, Paul, 32–33, 74, 108, 113, 161–62, 213, 256, 274
McFarlane, Seth, 81
McFerrin, Bobby, 6
McGovern, Maureen, 121
McMillen, Michael C., 281
McNeill, William, 51–55
McRae, Wallace, 24
“Me and Julio Down By the Schoolyard,” 256
melody, 8, 22–23, 25, 33, 38–39, 156, 162, 176, 315–16n
memory
and children’s songs, 149
constructive aspects, 157–58, 164–65
and earliest songs, 143
gist memory, 158–59
group memory, 182–84
and knowledge songs, 7, 145–77, 179–80
and love songs, 278
and marijuana use, 76
and oral tradition, 152–53
parsimony in, 158–59
and rituals, 191
rote memorization, 168
and semantics, 156–57
and song structure, 160–63, 224–25
and text recall, 166–68
Mental as Anything, 274
mescaline, 76
metaphor, 21, 35, 177, 185, 242
“Mexican Hat Dance,” 151–52
Meyer, Leonard, 105
“Michelangelo,” 129
Miller, Glenn, 93
Miller, Jeffrey, 71
“Minerva,” 179
Minsky, Marvin, 109
Mitchell, Joni
and comfort, 132
on de-evolution, 237–38
and love songs, 229, 232, 274, 276, 277
and melody, 107
on spirituality, 215–16
Mitchell, Tonya, 233
Mithen, Stephen, 57–58, 259–60
Moltmann, Jürgen, 102
Money, Eddie, 121
monkeys, 14, 20, 237. 238, 246, 248, 251, 259–61, 291–94
monotheism, 221–22
mood, 3, 39, 57, 76, 84, 86, 87, 99, 133, 145–46, 280, 306n
“The Morning After,” 121
Morris, Desmond, 263
Morrissey, 128
Mozart, Wolfgang Amadeus, 11, 143, 255, 265–66
Mujra, Nadia Ali, 278
“Music Alone Shall Live,” 40
musical instruments, 2, 4, 82, 113, 114, 159, 189, 206, 251–52, 254–55, 282, 299n, 315n, 317,n, 326n
Musicophilia (Sacks), 78, 312n
“My Big Ten Inch,” 277
“My Body Is a Cage,” 216–17
“My Generation,” 61
“My Guy,” 121
Narmour, Eugene, 105
National Guard, 69–70
Native Americans, 10, 47, 77, 89, 195, 237
“Natural Science,” 187
natural selection. See evolution and natural selection
Nazis, 47
Neanderthals, 191, 259–60, 267, 317–18n
Nelson, Willie, 73
neuroscience. See also brain physiology
and animal research, 190
and brain evolution, 14–15
and chemical impact of music, 86
and effect of music on the brain, 21
and emotion, 186
and evolution of love, 232–33, 240, 263
and honest signal hypothesis, 279–80
and natural selection, 56
and pleasure, 92
and synchronization, 54
The New Grove Dictionary of Music and Musicians, 210–11
Newport, Elissa, 224
Newtonian mechanics, 105
The New York Times, 70, 79, 303n, 326n, 330n
New Zealand, 47
Nietzsche, Friedrich, 88
“Night and Day,” 114
“Nights on Broadway,” 121
Nine Inch Nails, 61
“99 Bottle of Beer on the Wall,” 147
9/11, 131
Ninth Symphony (Beethoven), 1
Nixon, Richard, 67
nonlinear systems, 181–83, 317n
“No Rain,” 28
North America, 149
notation, musical, 282
Nothing Like the Sun (Sting), 132
Nusbaum, Howard, 264
The Nutcracker, 10
Obama, Barack, 102
obsessive-compulsive disorder (OCD), 198–99
occipital cortex, 18, 238–39, 249
octave equivalence, 16, 239, 299n
Oden, St. Louis Jimmy, 134
Odyssey (Homer), 172
“Ohio,” 70–71
the Ohio Express, 230
“Oh My Darling, Clementine,” 211–12
Old Testament, 47, 49, 153, 173, 178, 225, 315n, 316n
“One Little Two Little Three Little Indians,” 7
“An Only Kid, An Only Kid,” 149
Ono, Yoko, 79–82
oral tradition, 148–49, 152–53, 156, 172–75
“Our Love Is Here to Stay,” 230
“Over the Rainbow,” 107
“Over the River and Through the Woods,” 204–5
“Over You,” 230
oxytocin, 51, 98, 198, 232, 263, 305–6n, 319n
“Padrino,” 161
Palmer, Robert, 232
pandemonium model of human perception, 183
pantheism, 221
“Paralyzed,” 235
“Paranoid,” 122
Parkinson’s disease, 93
Parry, Milman, 152
Parsons, Gram, 130
Partridge, Andy, 177–78
“Parts of the Brain,” 152
Payne, Freda, 279
Penn, Michael, 233
Pentecost Island, 199
“People Get Ready,” 218–19
Pepsi, 88
perception, 143, 183, 266, 283
perspective-taking faculty, 15, 59, 142, 185, 192, 220, 252, 254–55, 256–57, 292, 299n
Petrides, Michael, 291–94
Petty, Tom, 284
Phillips, Sam, 233
phonology, 35
photographic memory, 169
Piaget, Jean, 299n
Pierce, Billy, 184
“Pineapple Face,” 161
Pinker, Steven, 327n
pitch, 17, 23, 36–37, 146–47, 266
Plastic People of the Universe, 63
“Please Call Me, Baby,” 161
“Please Please Me,” 33
Pledge of Allegiance, 168
Plimpton, George, 115–16
poetry, 18, 21–28, 29–30, 37–38, 39, 149, 156, 162, 167–68, 300n, 314n
“Poetry and Prose,” 61
Poetry Foundation, 24
“Poison Love,” 119
polyrhythms, 256
“Pomp and Circumstance,” 203
pons, 126
pop music, 9, 24–25, 33, 278–79
Posner, Mike, 138
“Prayers for Rain,” 29
predators, 47, 89, 140, 237, 241, 244–48, 251, 260, 270, 280
prefrontal cortex
and auditory imitation, 267
and development of hearing, 247
and development of language, 257, 294
evolutionary changes, 191–92
and perspective-taking faculty, 220, 292
and prehistoric man, 45
and rearrangement faculty, 253, 292
and social bonding, 250
prehistoric man, 41–42, 45–46, 56, 100, 103, 108, 259–60, 301n. See also hunter-gatherers
preliterate cultures, 7, 151, 195, 211, 213
Prelutsky, Jack, 24
Premack, David, 299n
“Pride and Joy,” 139
primates, 58, 247, 248, 257, 260–61. See also specific species
Primus, 61
Prince, 2
probability theory, 95–96, 224
protest songs, 68–71, 72–74, 303n
protohumans, 15, 50, 102, 241, 248
“P.S. I Love You,” 33
Psalms, 167–68, 225, 227, 322n
psilocybin, 76
psychology, 3, 54, 152, 170, 219
Puckett, Gary, 230
Rabbit, Eddie, 121
“Rain,” 28
“Raindrops Keep Fallin’ on My Head,” 27
“Rainin’”, 28
“The Rain Song,” 28
“Rainy Days and Mondays,” 28
the Ramones, 29
Rand, Ayn, 74
“The Randall Knife,” 285–87
Randi, James, 97
rap music, 128–29
Rappaport, Roy, 193, 222, 318n, 321n
Ray, James Earl, 71
Raye, Julianna, 272–74
Read, Herbert, 38
rearrangement faculty, 15, 185, 252, 253, 256–57, 260, 264, 292
Redding, Otis, 256
redundancy. See repetition
Reed, Lou, 61
Reid, Vernon, 50–51
relational processing, 16–17
religion and religious songs
and evolution, 200
and knowledge songs, 165
and language barriers, 13
and monotheism, 221–22
and natural selection, 241
recitation of religious texts, 173–75
religious songs, 7
and rituals, 192–96, 200–201, 222
and science, 220–21
and spirituals, 218–19
ubiquity of, 318n
R.E.M., 128
REO Speedwagon, 121
repetition, 126, 193, 195, 205–7, 226, 260–61, 318n
Repo Man, 93
representation faculty, 15, 20, 38, 185, 252, 253, 256–57, 268, 297
“The Revolution,” 130–31
Revolver (the Beatles), 113
rhyme, 29–30, 144, 149, 156, 159, 162, 163, 168, 265. See also lyrics
rhythm. See also drums
and brain physiology, 266
and definition of songs, 8
and memory, 160–61, 162, 167–68, 172–73
polyrhythms, 256
and ritual music, 209, 210–11, 213–14
sensitivity to, 147
and sexuality, 277
and social bonding, 44–45, 50–52
and song form, 156
and trance states, 213–14
rhythm and blues, 283
The Rhythm of the Saints (Simon), 256
Richie, Lionel, 12
“Rise and Shine,” 208
The Rise of the West (McNeill), 51–53
ritual
biological origin, 190
and brain physiology, 196, 198–99, 212
burials and funerals, 191, 227–28
and call-and-response singing, 213–14
and children, 196–98
community rituals, 205–7
contrasted with religion, 192–93
life-cycle rituals, 191, 200–202, 205, 226
mating rituals, 199–200
and motor action sequences, 208–9
origin of, 221
and religious practices, 193–96, 200–201
and state-changing utterances, 202
and synchronous singing, 205–8, 210–12
time and place constraints, 203–5
and trance states, 222–23
“Road Fever,” 122
“Roble,” 217–18
rock music, 5, 9, 11, 29, 33, 99, 112, 114, 212, 265, 278, 283
See also individual rock music song titles
Roe, Tommy, 230
Roethke, Theodore, 24
Rogel, Randy, 151
the Rolling Stones, 151
romantic love, 229, 233–36, 274–75, 323n
Rose, Gary, 264
Rose, Tricia, 62
Ross, Diana, 274
“Row Row Row Your Boat,” 59
Rubin, David, 156, 162–65, 166, 167, 177, 312–13n
Rubinstein, Artur, 96
“Running Wild,” 122
“Runnin’ with the Devil,” 122
“Run That Body Down,” 179
Rush, 187
“Russians,” 34–38
Sacks, Oliver, 77–79, 153–54, 312n
Salk Institute, 18
Santana, Carlos, 184
Sapolsky, Robert, 100
Saul, King of Israel, 88
“Saving All My Love For You,” 61
Scheuer, Sandra, 71
Schoenberg, Arnold, 283
Schoolhouse Rock, 313n
Schroeder, William, 71
science and scientific method, 93–97, 184–85, 220–22
Scott, Jill, 61
Sebastian, John, 28
selective seratonin reuptake inhibitors (SSRIs), 99
Selfridge, Oliver, 182–83
sensilla, 243
Sephardic Jewish liturgy, 212
sex and sexuality, 60, 140, 234, 263, 277–78, 323n
Shakur, Tupac, 24
“Shame On the Moon,” 157
sharks, 244
Shaw, Artie, 93
Shepard, Roger, 105
Shine (Mitchell), 215–16
Shorter, Wayne, 114
Simon, Carly, 161
Simon, Paul, 179, 217, 255–56, 284
Simons, Seymour, 275
singing
and brain physiology, 126
and definition of songs, 8
and emergent properties, 182
and memory, 168
and motherhood, 126
and natural selection, 56
physiological effects of, 48
and social bonding, 45–46
and synchronization, 58–59
types of, 58–59
and vocal grooming hypothesis, 58
The Singing Neanderthals (Mithen), 259–60, 302n
“Sippin’ Cider Through a Straw,” 59
Sirhan, Sirhan, 71
Sixth Symphony (Beethoven), 112–13
69 Love Songs (Magnetic Fields), 277–78
Sleater-Kinney, 154
Sledge, Percy, 233
Smash Mouth, 161
smell, 279
Smith, Bessie, 214
Smith, Kate, 309n
Smiths, 128
“Smokin’ in the Boy’s Room,” 12, 44, 128
Smothers, Tommy, 80–81
snow, and Aleutians’ twenty reputed words for, 297n
social bonding
and brain evolution, 248–51, 267–68
and ceremonies, 222
and communal songs, 147
and friendship songs, 43–44
and honest signal hypothesis, 141
and isolation, 127–29
and love songs, 239–40
and material wealth, 219
music as binding force, 61
and sad music, 133–35
and singing, 84–85
and social skills, 60
and synchronization, 51–57, 60, 180
and TRIP model, 104
and trust, 223
and vocalization, 247–48
and workplace music, 119–25
Solomon, King of Israel, 316n
“Something,” 27
Song of Atonement, 204
Song of Solomon, 228
Songs from the Capeman (Simon), 256
“Sounds of Science,” 187
Sousa, John Philip, 159
Spain, 218
speech, 26, 202. See also language
spirituality, 56, 74, 77, 78, 192, 196, 268. See also religion and religious songs
Sri Lanka, 172
SSRIs (selective seratonin reuptake inhibitors), 99
“Stand By Your Man,” 121
the Standells, 62
Stanford University, 6, 27, 126–27, 181, 276, 281–82
Staota Yasna, 173
Star Trek: The Next Generation, 9, 294
“The Stars and Stripes Forever,” 159
“The Star-Spangled Banner,” 31
Sternberg, Robert, 323n
Stevens, Ray, 8
Stewart, Rod, 12
“Still Raining, Still Dreaming,” 28
Sting
on earliest songs, 142
influence of music, 132
on joy songs, 84
on love songs, 233–34
on lyric-melody relationship, 22–23, 25
on social impact of music, 72
and study of music, 184
Stipe, Michael, 128
Storr, Anthony, 300n
“Stranger with the Melodies,” 161
the Stranglers, 277
“Strong in the Wrong,” 215
Stylistics, 232
Styx, 121
“Sugar, Sugar,” 230
“Suite: Judy Blue Eyes,” 275
Sulawesi culture, 200
“Sun King,” 29
“Sunny,” 29
Sun Records, 265
the Supremes, 121
“Suspicious Minds,” 91
Sweet Anticipation (Huron), 103–8
“Sweet Little Sixteen,” 278
symbols, 14, 142, 251, 253, 254, 258, 268
synchronization
and emergent properties, 182
and marching, 47–48
in singing, 58–59
strict synchrony, 58
and vocal grooming hypothesis, 58
“Take Me Home, Country Roads,” 129–30
Talking Heads, 219
Talmud, 153, 175, 176–77, 315n
Taylor, James, 28
T-cells, 99
Tchaikovsky, Pyotr Ilyich, 297n
“Teach Your Children,” 70–71
“Technology and Musical Aesthetics,” 281–82
the Temptations, 274
Ten Commandments, 173
thalamus, 246
THC (tetrahydrocannibinol), 76
“theory of mind,” 299n
They Might Be Giants, 4
This Is Your Brain on Music (Levitin), 76
“This Land Is Your Land,” 309n
“Through My Sails,” 113–14
Thucydides, 55
“Tie a Yellow Ribbon Round the Ole Oak Tree,” 111, 122, 125
“Tonight,” 161
tonotopy, 246
tools and tool making, 20, 56, 251–52, 254–55, 326n
“Too Much,” 179–80
Torah, 153, 173–76, 180, 315n, 316n
Torry, Clare, 114
“Tracy,” 230
transposition, 17
“Twist and Shout,” 212–13
truth, 310n. See also honest signal hypothesis
“Turkey in the Straw,” 151–52
“Turn, Turn, Turn,” 10
Turnbull, Colin, 211
Turner, Big Joe, 213
Turner, Tina, 28
turn taking, 144
“Twinkle Twinkle Little Star,” 171
“Twist and Shout,” 212–13
“Two Tickets to Paradise,” 121
“Underwear,” 277–78
“Unforgettable,” 225
the Union Gap, 230
United States Constitution, 166, 168, 313n
“Universal Soldier,” 68
University of California, Berkeley, 69
Urban, Keith, 150
“Valentine’s Day,” 174–75
Van Gogh, Vincent, 255
Van Halen, 122
Vanuatu, 199
Varèse, Edgar, 2
Vassar, Phil, 161
Vaughan, Stevie Ray, 139
The Velvet Underground, 29
vestibular system, 243
“Vidéo,” 209–10
Vietnam War, 35, 65–68, 68–71, 71–72, 79–82
Vines, Bradley, 105
vision, 249
visual music, 18
vitamin C, 249
vocal communication, 142–43. See also language
vocal grooming hypothesis, 58
Vonnegut, Kurt, 231–32
Wainwright, Rufus, 274
Waits, Tom, 161
“Wake Up Sunshine,” 29
“Walk Between the Raindrops,” 28
“Walk on the Wild Side,” 61
“Walkin’ on the Moon,” 85
Wallace, Wanda, 156, 162–65, 312n
war, 41–43, 46–47, 51–52, 68–71, 79–82, 301n, 303n
“Warrior,” 122
“War (What Is It Good For?),” 68
Washington, Dinah, 277
the Waterboys, 287–89
The Water Garden, 284
weather, 27–28
“We Built This City,” 121
“The Wedding March,” 204
“The Wedding Song (There Is Love),” 225
Werner, Dennis, 46
“We Shall Overcome,” 218–19
Western society/culture, 4, 101, 134, 151, 172, 219, 278
Westmoreland, William, 35
“We You Dearest Friends,” 161
“Whatever Happened to Peace on Earth?”, 73
“What We Really Want,” 93
Wheeler, Tom, 284–85
“The Wheels on the Bus Go Round and Round,” 147–48
“When a Man Loves a Woman,” 13, 233
“When I’m Sixty-Four,” 256
“Where Have All the Flowers Gone?”, 68
“Whip It,” 150
“Whistle While You Work,” 53
“White Rabbit,” 62
Whitman, Walt, 29
the Who, 61
“Who Is Sylvia?” (Schubert), 24
“Whole Lotta Love,” 277
“Who’ll Stop the Rain,” 28
“Who Loves the Sun,” 29
Why We Love (Fisher), 323n
Williams, Hank, 117–18, 132, 178
“The Wind and the Rain” (Frost), 29
Winfrey, Oprah, 110
Wishbone Ash, 122
Wolf, Hugo, 276–77
Woodruff, Guy, 299n
Woolf, Virginia, 229
work and music, 53, 119–25, 308–9n
“Working on the Highway,” 61
“The Wreck of the Old 97,” 163, 165, 312n
writing, 26, 267–68. See also language
The X Factor (Plimpton), 115–16
“Yakko’s World,” 151–52
Yes, 161
“You and Me and Rain on the Roof,” 28
“You Don’t Mess Around with Jim,” 177
“You Gave Me the Answer,” 256
“You Love to Fail,” 179
Young, Neil, 70–71, 113–14, 184, 284
“Your Cheatin’ Heart,” 132
“Your Mother Should Know,” 256
“Yummy Yummy Yummy,” 230
Zadeh, Aziza Mustafa, 87
Zamor, Karle-Philip, 293
“Zip-A-Dee-Doo-Dah,” 87
Zoroastrianism, 173