![]() Steven Pinker provided the most influential critique of music as an adaptation: ‘As far as biological cause and effect are concerned, music is useless. Some years ago, it became popular to address such questions from an evolutionary perspective, but disagreement remains about whether music is grounded in our biology, whether it played a role in our survival as a species and, if so, whether musicality resulted from natural or sexual selection. Why do we have music? What is music for, and why does every human culture have it? Is it a uniquely human capability, as language is? Are some of its fundamental components present in non-human animals? What biological and cognitive mechanisms are essential for perceiving, appreciating and making music? It is virtually impossible to underpin the evolutionary role of musicality as a whole, but a multicomponent perspective on musicality that emphasizes its constituent capacities, development and neural cognitive specificity is an excellent starting point for a research programme aimed at illuminating the origins and evolution of musical behaviour as an autonomous trait. We argue for the importance of identifying these mechanisms and delineating their functions and developmental course, as well as suggesting effective means of studying them in human and non-human animals. What biological and cognitive mechanisms are essential for perceiving, appreciating and making music? Progress in understanding the evolution of music cognition depends upon adequate characterization of the constituent mechanisms of musicality and the extent to which they are present in non-human species. One critical challenge is to delineate the constituent elements of musicality. Music, by contrast, can be defined as a social and cultural construct based on that very musicality. Whichever you choose, be sure that in the end you and you alone are happy with the result.Musicality can be defined as a natural, spontaneously developing trait based on and constrained by biology and cognition. You may prefer to highlight the staccato notes (short and quick) versus the legato “oohs” that dominate the song. Everyone has a different style and the way you move to for instance “Sail” by AWOLNATION may be completely different to anyone else in your studio. Sometimes, just listening to the music and really paying attention to how it makes you feel can be the most important exercise of all.Īnother helpful tool is your camera, filming yourself freestyling to the music and to particular points in the music brings about a better understanding of how your body moves to different styles of music. Listening for all of the aforementioned details can be extremely helpful, and also overwhelming at the same time. ![]() Finding a layer within the music can provide inspiration for unexpected accents as well as points in the music where a movement may need to be more pronounced. You can listen out for one of the items I listed in the music and create movement based on just that. Lyrics: Paying attention to the lyrics can help with musicality and character development Mood: Music can carry a particular mood be it happy, hopeful, adventurous, dramatic, sensual etc. Harmony: The supporting notes to the song-an under-layer Melody: The main tune in the song-usually the most memorable. Tempo: Tempo is the speed of the music, its pace ![]() There are a few ways in which the music can be dissected dancers can examine tempo, melody, harmony, rhythm, volume, mood, and lyrics. After that a dissection of the music occurs, listening to the song on repeat helps to grasp the layers within the music fully. For me, this is how I am able to come up with movements that feel natural to me, even if I am portraying a character outside of my usual choice. I think it is even more important to choose music you can relate to in some way. Many people may choose a song based off of what is popular or considered a good pole song. Musicality is important for all styles of pole dance in that it involves hitting the beats, but also in that it sheds light on the the importance of feeling your music. Naturally people define musicality in array of ways, the definitions I found are a good start to understanding what it is. ![]() Musical creativity is the ability to “feel” the music and interpret, connect with, and add innovative movement. Perceiving music involves a knowledge of music in terms of tempo, rhythm, mood and phrasing. One way is the ability to perceive music, and the other is the ability to reproduce or create music. Musicality is a word that often comes up in pole discussions, but what does it mean? A quick dictionary search tells us that there are two ways musicality can be defined. ![]()
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