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Kwestia pierwotności funkcji estetycznej muzyki w świetle znalezisk archeologicznych

100%
Podlipniak P.
Folia Praehistorica Posnaniensia
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2019
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vol. 24
191-206
EN
Bony flutes dated back to around 43,000 years old are the clearest examples of musical instruments ever found. There are also other archeological artifacts related to the possible musical activity of Homo sapiens and Homo neanderthalensis, which are the subject of numerous controversies. Bearing in mind that singing is the simplest form of musical activity that does not need any tools, the beginning of music must have been much older than the first musical instruments. Due to the fact that the sonic results of prehistorical hominins’ musical activity have not been preserved, the question of the artistic nature of hominins’ music requires the ethological knowledge as well as archeological findings. One of the widely discussed ethological hypotheses concerning human proclivity to behave artistically is the idea of artification, which has been proposed by Ellen Dissanayake. This idea suggests that the source of the human proclivity for art is the species-specific predisposition of Homo sapiens to transform the mundane non-artistic phenomena into art. However, while in the case of visual arts, the archeological discoveries of prehistorical paintings are by themselves the proof of such transformation in order to recognize the aesthetic function of our ancestors’ sound expressions the interpretation of the archeological discoveries of musical instruments in a broader context seems to be indispensable. The main aim of this article is to indicate that communication that has led to social consolidation has been the primordial function of music. Only together with the accelerating cultural evolution that occurred at the end of the middle Paleolithic period, musical activity was transformed from a simple communicative tool into an aesthetic phenomenon. It is proposed that this transformation could have been possible thanks to the appearance of the proclivityto artification.
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Domain-specific character of tonal cognition and its consequences for the semiotics of music

100%
Podlipniak P.
Interdisciplinary Studies in Musicology
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2015
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issue 14
274-297
PL
The experience of tonal relations elicits different emotions of stability in listeners. Thus, tonality can be understood as a tool of emotional communication. For many semioticians every communicative phenomenon should be explained in terms of the sign theory. However, the pre-conceptual character of emotions of stability raises doubts about the applicability of a semiotic framework as a means of interpreting tonality. According to the author’s opinion, the applicability of a semiotic framework in music research is useful only if there is a single system for generating meaning in the brain, which is engaged in the processing of all kinds of meanings in language, music, and other communicative phenomena. Both music and language are complex phenomena which, in fact, share many communicative mechanisms. Nevertheless, they also possess traits which are specific solely to each. If the evolution of music and language branched out at some point in the anthropogenesis, some of music’s communicative features (among them tonality) would have become domain-specific. This means that the interpretation of a tonal message is based on another rule, and not the one involved in the interpretation of meaning in language. Thus, interpreting the message of tonality in terms of the semiotic sign theory is not a legitimate procedure. From this point of view, the only way of applying the semiotic framework to research into tonality is to understand signs in a purely functional sense, independent of the process of interpretation. Such an understanding of signs necessitates, however, a reformulation of semiotics.
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The neo-Pythagorean view of musical structure in the light of music psychology

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Podlipniak P.
Roczniki Psychologiczne
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2019
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vol. 22
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issue 2
121-134
EN
The aim of this paper is to show why the neo-Pythagorean claims concerning musical structure are out-of-date and require the incorporation of contemporary psychological knowledge. The neo-Pythagorean view of musical structure has been analyzed and confronted with the contemporary neuropsychological view of music perception. It has been also suggested that musical intervals exist solely in human brains as a kind of interpretation of acoustic sounds. These sounds can be interpreted differently depending on many factors, which the popular speech-to-song illusion clearly illustrates. Another example of neo-Pythagorean ideas about musical structure that need psychological knowledge is tonal hierarchy, which also exists solely in human brains. Therefore, the popular musicological description of musical intervals in terms of mathematical proportions is misleading. It has been proposed that current musicological theories should always be confronted and consistent with contemporary psychological knowledge. This implies closer cooperation between musicology and the psychology of music.
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O ewolucyjnych źródłach niektórych muzycznych preferencji estetycznych

100%
Podlipniak P.
Rocznik Kognitywistyczny
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2011
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vol. 5
167-174
EN
Human musical aesthetic preferences differ significantly. People vary in this respect depending on culture in which they were brought up and on their individual experiences. The awareness of this differentiation was one of the reasons for which these aesthetic preferences were considered as conditioned only by culture. After cognitive science became interested in art, the aesthetic preferences have been explained by seeing the aesthetic assessment of stimuli as related to the evolutionary sources of human aesthetic tendencies. The contemporary knowledge of music processing by the nervous system and of musical skills development indicates that there are also some ubiquitous tendencies in the aesthetic assessment of music. The purpose of the current paper is to present preferences for tonal music and to explain their origin.
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Słuch absolutny – poznawcza anomalia, wyjątkowa zdolność muzyczna czy adaptacja?

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Podlipniak P.
Rocznik Kognitywistyczny
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2010
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vol. 4
PL
Absolute Pitch – Cognitive Anomaly, Exceptional Music Ability or Adaptation?Perfect pitch is one of the most mysterious human capacities. Unfortunately, the mechanisms that allow its development are still not satisfactorily understood. For years, the perfect pitch has been considered a unique musical ability and the main causes of its inception were sought in musical activity. It has been explained by either inheritance or early learning process. Currently, when the „nature-education” problem has lost its sharpness, the interest of researchers is focusing on the problem of rare occurrence of the perfect pitch, and the observed disproportion between the incidence of this capacity in the Western and Asian populations. Th ese phenomena can be explained by the hereby proposed hypothesis of the perfect pitch as an adaptation that is related not to musicality, but to existence of a particular form of proto-language.
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The biological function of musical performance features

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Podlipniak P.
Rocznik Kognitywistyczny
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2015
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vol. 8
PL
In the world of Western musicology music is regarded as possessing two main divisions. The first being performance features which consist of traits such as dynamics, and tempo, and a second known as structural features such as the arrangement of notes in time. The main differences between these divisions is that performance features are evolutionarily ancient, indiscrete and present in many sound expressions, whereas structural features are evolutionarily younger, discrete and music-specific. Performance features are tightly connected with motor activity and emotional processing. Despite the fact that performance features carry information about emotional states, they can also be used as tools of manipulation. It has been proposed that one biological function of these tools is to affect the minds of other animals in order to arouse the need for cooperation in them. It has also been suggested that music performance features are homologous with some prosodic features of speech which evolved as a communicative tool before language and music.
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Czy istnieje odrębność przetwarzania „muzycznych” aspektów mowy?

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Podlipniak P.
Rocznik Kognitywistyczny
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2009
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vol. 3
PL
Muzyka i mowa należą do szczególnych form komunikacji człowieka, wykorzystujących  dźwięk jako nośnik informacji. Jak wskazują wyniki analiz, organizacja materiału akustycznego w obu tych mediach wykazuje wiele cech wspólnych. Powstaje więc pytanie: czy podobieństwo to ma swoje odzwierciedlenie w rzeczywistości mentalnej człowieka, czy też zjawiska fizycznie podobne są różnie kategoryzowane, w zależności od medium, w którym zostały użyte? Innymi słowy, jest to pytanie o odrębność przetwarzania niektórych cech akustycznych mowy i muzyki. Odpowiedź stanowiłaby istotną wskazówkę co do prób rekonstrukcji ewolucyjnej historii powstania zarówno zdolności muzycznych, jak i językowych człowieka, a także zrozumienia funkcjonowania skomplikowanych mechanizmów przetwarzania mowy i muzyki.
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Music: a natural phenomenon or a cultural invention? A few remarks on the currency of the polemic and its musicological consequences

100%
Podlipniak P.
Interdisciplinary Studies in Musicology
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2009
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issue 8
39-56
PL
The question of musical naturalness has increasingly often been the subject of lively debates within both natural and human sciences. In the present paper the issue is discussed primarily in terms of the propositions which accord with the contemporary naturalistic vision of a human and the world. One of the most important problems in this context is the opposition between a natural phenomenon and a cultural invention. Among the vast amount of different human achievements, some demand strenuous learning whereas other emerge spontaneously in all societies. The latter type of achievements is the result of the natural selection of human abilities. Recently, it has been hotly debated whether or not music is a biological adaptation. If it is, musical abilities should give an important advantage to individuals. There are numerous examples of the possible advantages. Namely, the music abilities play an important role in the enhancement of bonding between the mother and her infant child. Moreover, they are salient in the indication of fitness during sexual display. The abilities are also vital in the consolidation of a group during social music performance as well as in the transmission of information about the stability and cohesion of the group. If musical abilities are indeed a vital form of adaptations, they may imply some further questions such as the existence of music-specific abilities and of musical univesal, as well as the distinction between music understood as art and music understood as universal communication (like language). All these issues have different methodological consequences for the shape of musicology as a discipline of science. These are, among others, pre-empting Europocentrism in research, the possibilities and extension of the use of comparative methods in ethnomusicology, the scope and applicability of the interdisciplinary studies based on the reductional structure of knowledge.
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Cechy systemów fonologicznych muzyki i mowy z perspektywy ewolucyjnej

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Podlipniak P.
Investigationes Linguisticae
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2017
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vol. 36
8-23
EN
This article presents the phonological systems of music and speech as two different Humboldt systems which evolved for different reasons. The mental and the intersubjective characteristics of both systems are presented, including the relations between music and speech and the respective conceptual mental representations. The main aim of this paper is to suggest that the phonological system of music evolved earlier than articulated speech. As a result, the phonological system of speech emerged as a connection between two existing mental mechanisms, one that enabled our ancestors to use the Humboldt system in the domain of vocal communication and another which allowed them to combine referential meaning with sound symbols.
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Music as a Medium of Communication. Two Visions of Musicology

63%
Jabłoński M., Podlipniak P.
Interdisciplinary Studies in Musicology
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2008
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issue 7
15-34
PL
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11
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From the Editors

51%
Jabłoński M., Misuraca P., Podlipniak P.
Interdisciplinary Studies in Musicology
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2013
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issue 12
11-12
PL
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12
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From the Editors

45%
Jabłoński M., Kasperski J., Podlipniak P., Schreiber E.
Interdisciplinary Studies in Musicology
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2015
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issue 14
13-14
PL
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13
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From the Editors

45%
Humięcka-Jakubowska J., Podlipniak P.
Interdisciplinary Studies in Musicology
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2011
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issue 10
13-14
PL
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14
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From the Editors

38%
Jasińska D., Podlipniak P.
Interdisciplinary Studies in Musicology
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2008
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issue 7
13-14
PL
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