Infant Vocal Imitation of Music

Benetti, Lucia; Costa‐Giomi, Eugenia

doi:10.1177/0022429419890328

Cited by 11 publications

(10 citation statements)

References 110 publications

(213 reference statements)

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“…Across the world, it is possible that infants encounter highly similar doses and distributions of daily music, but with acoustics that are specific to their soundscape. Quantifying multiple timescales of sensory histories sampled and aggregated from around the world will advance theories about universals and variation in the developmental timecourse of musical enculturation (Benetti & Costa‐Giomi, 2019 ; Creel, 2019b ; Hannon & Trainor, 2007 ; Mehr et al., 2019 ; Trainor & Corrigall, 2010 ). Resources for storing everyday recordings (VanDam et al., 2016 ) and using standardized manual annotation (Casillas et al., 2017 ) facilitate collection and aggregation of sensory histories across samples.…”

Section: Discussionmentioning

confidence: 99%

Everyday music in infancy

Mendoza

Fausey

2021

Developmental Science

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Infants enculturate to their soundscape over the first year of life, yet theories of how they do so rarely make contact with details about the sounds available in everyday life.Here, we report on properties of a ubiquitous early ecology in which foundational skills get built: music. We captured daylong recordings from 35 infants ages 6-12 months at home and fully double-coded 467 h of everyday sounds for music and its features, tunes, and voices. Analyses of this first-of-its-kind corpus revealed two distributional properties of infants' everyday musical ecology. First, infants encountered vocal music in over half, and instrumental in over three-quarters, of everyday music. Live sources generated one-third, and recorded sources three-quarters, of everyday music. Second, infants did not encounter each individual tune and voice in their day equally often.Instead, the most available identity cumulated to many more seconds of the day than would be expected under a uniform distribution. These properties of everyday music in human infancy are different from what is discoverable in environments highly constrained by context (e.g., laboratories) and time (e.g., minutes rather than hours).Together with recent insights about the everyday motor, language, and visual ecologies of infancy, these findings reinforce an emerging priority to build theories of development that address the opportunities and challenges of real input encountered by real learners.

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Section: Discussionmentioning

confidence: 99%

Everyday music in infancy

Mendoza

Fausey

2021

Developmental Science

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“…First, infants likely produce more varied and frequent dance in a home setting than in the lab, because children are likely to be more relaxed and comfortable in this familiar setting (Cirelli & Trehub, 2019; Kragness, Anderson, et al, 2022; Kragness, Ullah, et al, 2022). Studies of children’s early singing have similarly shown better performance at earlier ages from recordings of behavior at home than in the lab (Benetti & Costa-Giomi, 2020; Gudmundsdottir & Trehub, 2018), with recent methods providing evidence of singing in the second year of life (Gudmundsdottir & Trehub, 2018; Reigado & Rodrigues, 2018).…”

Section: The Developmental Origins Of Dancementioning

confidence: 99%

The origins of dance: Characterizing the development of infants’ earliest dance behavior.

Kim¹,

Schachner²

2023

Developmental Psychology

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Dance is a universal human behavior and a crucial component of human musicality. When and how does the motivation and tendency to move to music develop? How does this behavior change as a process of maturation and learning? We characterize infants’ earliest dance behavior, leveraging parents’ extensive at-home observations of their children. Parents of infants aged 0–24 months (N = 278, 82.7% White, 84.5% in the United States, 46.0% of household incomes ≥$100,000) were surveyed regarding their child’s current and earliest dance behavior (movement by the child, during music, that the parent considered dance), motor development, and their own infant-directed dance. We found that dance begins early: 90% of infants produced recognizable dance by 12.8 months, and the age of onset was not solely a function of motor development. Infants who produced dance did so often, on average almost every day. We also found that dance shows qualitative developmental change over the first 2 years, rather than remaining stable. With motor development, age, and more time dancing, infants used a greater variety of movements in dance, and began to incorporate learned, imitated gestures (80% of infants by 17.9 months). 99.8% of parents reported dancing for or with their infants, raising questions about the role of infant-directed dance. These findings provide evidence that the motivation and tendency to move to music appears extremely early and that both learning and maturation lead to qualitative change in dance behavior during the first 2 years, informing broad questions about the origins of human musicality.

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“…Not surprisingly, humans are most efficient in the imitation of the features crucial for the recognition of speech and singing units. Moreover, the vocal learning of the distinctive features of the mother tongue (Warlaumont, 2020) and a culture-specific music system, such as pitch intervals and rhythms (Benetti, Costa-Giomi, 2019), is spontaneous and happens from infancy. The tight connection between human vocal learning and the learning of speech and singing seems to be facilitated by infants’ special attention directed toward speech (Vouloumanos et al, 2010) and singing (Costa-Giomi, 2014; Costa-Giomi & Ilari, 2014).…”

Section: The Puzzle Of the Origin Of Vocal Production Learning Among ...mentioning

confidence: 99%

Free rider recognition—A missing link in the Baldwinian model of music evolution

Podlipniak

2022

Psychology of Music

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The interactions between species-specific predispositions and cultural plasticity in the development of human musical behavior have recently become the rationale for a possible Baldwinian origin of human musicality. In the previously suggested Baldwinian scenarios of music origin, social bonding has been indicated as the crucial adaptive value that became the main cause of the co-evolutionary process that led to our musicality. However, the adaptive value of social bonding does not explain the cultural variability of musical expressions that enabled the Baldwinian evolution of musicality. The main aim of this article is to show that free rider recognition, along with social bonding and signaling commitment, could have been a possible adaptive function of hominin musical rituals. In the proposed scenario, free rider recognition became a “flywheel” of the arms race between deception and cooperation. As a result, the interplay between the canalization and plasticity of musical learning became a part of music evolution. This process created a cultural niche in which hominin vocal learning was specialized in the imitation of discrete pitch and rhythm.

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Infant Vocal Imitation of Music

Cited by 11 publications

References 110 publications

Everyday music in infancy

Everyday music in infancy

The origins of dance: Characterizing the development of infants’ earliest dance behavior.

Free rider recognition—A missing link in the Baldwinian model of music evolution

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