Product Description

The propensity to make music is the most mysterious, wonderful, and neglected feature of humankind: this is where Steven Mithen began, drawing together strands from archaeology, anthropology, psychology, neuroscience--and, of course, musicology--to explain why we are so compelled to make and hear music. But music could not be explained without addressing language, and could not be accounted for without understanding the evolution of the human body and mind. Thus Mithen arrived at the wildly ambitious project that unfolds in this book: an exploration of music as a fundamental aspect of the human condition, encoded into the human genome during the evolutionary history of our species.

Music is the language of emotion, common wisdom tells us. In The Singing Neanderthals, Mithen introduces us to the science that might support such popular notions. With equal parts scientific rigor and charm, he marshals current evidence about social organization, tool and weapon technologies, hunting and scavenging strategies, habits and brain capacity of all our hominid ancestors, from australopithecines to Homo erectus, Homo heidelbergensis and Neanderthals to Homo sapiens--and comes up with a scenario for a shared musical and linguistic heritage. Along the way he weaves a tapestry of cognitive and expressive worlds--alive with vocalized sound, communal mimicry, sexual display, and rhythmic movement--of various species.

The result is a fascinating work--and a succinct riposte to those, like Steven Pinker, who have dismissed music as a functionless evolutionary byproduct.

Product Details

• Amazon Sales Rank: #60182 in Books
• Published on: 2007-10-31
• Original language: English
• Number of items: 1
• Binding: Paperback
• 384 pages

From Publishers Weekly
Mithen (The Prehistory of Mind; After the Ice) draws on archaeological record and current research on neurology and genetics to explain how and why humans think, talk and make music the way they do. If it sounds impenetrably academic, it isn't: Mithen acts as a friendly guide to the troves of data on the evolution of man (and myriad sub-mysteries of the mind, music, speech and cognition), translating specialist material into an engrossing narrative casual readers will appreciate. Beginning with a survey of modern theories of the evolution of language, music and thought, Mithen cherry picks ones that lay the groundwork for the book's second (and most substantial) part, which applies those ideas to 4.5 million years of evolutionary history, beginning with the earliest known hominid, Ardipithecus ramidus, and ending with Homo sapiens. Mithen's work here is equally remarkable, but perhaps because this is his area of specialty, the findings are less accessible to the average reader: they hinge largely on subtle differences in the interpretation of archaeological sites and the dating of artifacts. However, Mithen's expertise in the science and history of his subject is combined with a passion for music that makes this book enjoyable and fascinating. Readers from most academic disciplines will find the work of interest, as will general readers comfortable with research-based argument and analysis.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Scientific American
Early hominids largely looked and acted like apes. With one key difference: they stood and walked upright. This change in posture and mobility had profound implications for our evolution and "may have initiated the greatest musical revolution in human history." That is the ironic conclusion of Reading University archaeologist Steven Mithen, who continues his search for the essence of human behavior in his latest book, The Singing Neanderthals. Particularly within the past two million years, early humans refined the ability to walk, run and jump. With big brains and bottoms, spring-loaded legs, and sophisticated sensorimotor control, they could also dance, Mithen argues, if not sing. With a fascinating blend of neurology, anatomy, archaeology, developmental psychology and musicology, Mithen seeks the source of our propensity for making music, a universal human feature that has been strangely neglected compared with the origin of language. Darwin, naturally, touched on the topic, positing that unable to woo with words, our ancestors "endeavored to charm each other with musical notes and rhythm." Essential to both bipedal locomotion and music, rhythm plays a pivotal role as well in language. Music and language share other intriguing attributes. Both can move or manipulate us. Both can be spoken, written or gestured. Both possess hierarchical structure. And both seem to activate multiple regions of our brains. Mithen takes on linguist Steven Pinker’s assertion that music is just an entertaining invention, not a crucial biological adaptation like language. He carefully constructs and deliberately lays out his argument that music’s evolution holds the key to language. Yes, language ultimately supplanted music’s role in emotional expression and became our means of conveying ideas and information. Music, however, still stirs our most basic emotions. Until the relatively recent advent of syntactic language in modern humans, Mithen maintains, it was music that helped hominids find a mate, soothe a child, cheer a companion or provide a group’s social glue. Like language, much of music does not fossilize. We have elegant bird-bone flutes as old as 36,000 years from sites in Germany and France—unequivocal musical instruments. Beyond that, one is hard-pressed to display tangible evidence of music’s role in prehuman society. Mithen must speculate that Neandertals, for instance, strummed stalactites, drummed on mammoth skulls or otherwise made music without leaving a trace. But step inside a cave used by prehistoric people, and it is easy to appreciate its acoustic potential. By drawing data from a diverse range of disciplines, Mithen makes a persuasive case that our ancestors got rhythm and brings to prehistory a sense of sound.

Blake Edgar is a science editor and writer. He is co-author of From Lucy to Language, forthcoming in a revised edition from Simon & Schuster, and of The Dawn of Human Culture (John Wiley & Sons, 2002).

Review
'offers a new perspective on the development of the modern mind.' HISTORY TODAY (May 2005) 'a detailed erudite exploration of the psychology and neurobiology of music, and the relationship between music and language...a genuine tour de force - unquestionably Mithen's best book to date.' -- Robin Dunbar BRITISH ARCHAEOLOGY (July/August 2005) 'grand in its scope and bold in conception...[with] profound conclusions.' -- Adrian Woolfson SUNDAY TELEGRAPH (10.7.05) 'Mithen's rich, dispassionate study of the origins of music, language and mime goes back to music-making among primates as the basis for understanding what role music might play in the human mind, primative and modern, healthy and damaged.' -- Norman Lebrecht EVENING STANDARD (18.7.05) 'This is a long-overdue book, which approaches human evolution from an intriguing as well as entertaining angle.' -- R.I.M. Dunbar TLS (29.7.05) 'Mithen argues in this book on "the origins of music, language, mind and body", musical qualities have been fundamental not only to courtship but also to the sense of togetherness that enables a bunch of clever, edgy primates to make the most of their talents.' -- Marek Kohn THE INDEPENDENT (29.7.05) 'a joy, packed with the latest research and intriguing new suggestions and ideas.' -- Richard Wentk FOCUS (September 2005) 'This is an absorbing and thought provoling work.' WESTERN DAILY PRESS (16.7.05) 'an absorbing page-turner of a book that makes an interesting case for new thinking of the origins of language and brings the hitherto neglected consideration of the evolution of music into the spotlight..fascinating and well researched.' -- Ian Simmons FORTEAN TIMES (September 2005) 'Mithen knows a great deal and he writes well.' LONDON REVIEW OF BOOKS (6.10.05) '...the book is extremely well written, and Mithen's clear and infectious enthusiasm make it a good introduction for non-specialists interested in the topic. I can recommend it to anyone interested in the biology and evolution of music or language - and particularly to readers interested in Darwin's idea that music constitutes an ancient and important form of human communication, intertwined with, but independent from, language.' NATURE (November 2005) 'This is a stimulating book with a wealth of ideas.' -- Richard Collins IRISH EXAMINER (29.11.05)

Customer Reviews

From "Hmmmm" to "Hmmmmm"
Fear not, dear reader. I'm not making the sounds of indecision. Nor have I forgotten the words to my local national anthem. Instead, those sets of letters are acronyms. Steven Mithen uses them to typify the foundations of our ability to communicate in our distant past. The letters stand for "Holistic, "multi-modal", "manipulative", and "musical". With the addition of "mimetic", he uses the collective phrase to explain why "music" in this broadly defined sense, preceded the development of language and grammar in our species. He also explains the "how" of this phenomenon, which is what gives this book its real value.

Mithen's previous works are a foundation for this one, although he openly admits that the phenomenon of music eluded him in them. He makes up for that oversight with a detailed examination of fossil and genetic information to support his thesis. As humans fluent in the use of speech, with its lexicons and syntax, we've become blinded to our true roots. We rush children through infancy, overlooking the process we use in communicating with those who lack words and their meanings. Mithen says this period is critical - both because its universality among cultures should tell us something about our past, and because a better understanding of the communication process can lead to smarter and healthier children. Who, among the mothers we know, fails to "sing" to their newborn?

In Mithen's view, that childhood communication method repeats what our African ancestors did with each other prior to the development of language. Words, in our time, are representative. They "mean" something - an object, an event, a lesson. In those early days, emotions, especially the basic ones of fear, flight, fight or feed, were the only significant topics. Music, he reminds us, is the language of emotion, whether it be lullabies to children or a Mozart aria. Newborns are particularly receptive to music or rhythmic sounds and gestures, especially when they're synchronised [hence "multi-modal"]. Newborns can't understand the words mothers use, but they comprehend the "message" [the "holistic" part].

The author explains how studies in brain activity associated with speech and music have given us great insight to the mind's processing of information. Where and when did these talents emerge? Mithen builds his thesis with careful detail, noting how our gaining a bipedal stature did more than distinguish us from the other apes. A range of body changes modified our method of movement, hand manipulation and breathing. It also impinged on our voices. The Early Humans, as Mithen broadly characterises the Homo genus, developed a range of sounds, with various pitches and volumes. The best way to use these new-found talents was in a musical manner and for a variety of circumstances.

Although nearly half the book must be consumed to reach the title's topic, the background is necessary for a full understanding. Homo neanderthalis, with its larger brain and stockier body than Homo sapiens, struggled for survival in Ice Age Europe. Even in the face of such stress, Neanderthal society remained doggedly static. The kinds of innovation speech might have spurred aren't found. Neanderthal excavation sites easily outnumber those of early Homo sapiens' digs in Africa, our original home. Yet in all those digs, nothing is found that would suggest the need for language. Jewellry only appears very late, probably introduced by Homo sapiens invading from Africa. And that invader brought a new talent in its armoury - language and symbolic representation. Which likely led, in Mithen's view, to our being the sole remaining Homo species.

Mithen isn't offering us wild speculation plucked from offhand supposition. Although he notes the interest in music as an evolutionary prompter is only beginning, his presentation rests on solid evidence. Support comes from Alison Wray - who suggested the term "holistic" and from Simon Kirby of Edinburgh University. Kirby applies computer modelling to show how recursive feedback reinforces word development in proto-languages. Indeed, it's noteworthy that Mithen's Notes section comprises a quarter of the book. There's one glaring error - genes aren't made of amino acids, they're comprised of codons. Editors and proofreaders are still catching up with the sciences, so we may forgive Mithen this small lapse. We'd better, since this ground-breaking book will lead to much discussion and likely no little acrimony in exchanges. That's good, because he has overturned a number of dogmas needing shedding. [stephen a. haines - Ottawa, Canada]

Fascinating examination of the holistic theory of language development
You can tell the ambitious scope of this book by its subtitle: "the origins of music, language, mind, and body." Wow! Is that all? Actually, the task the author sets out to do isn't as vast as one might at first suppose because they are seen as related in the way early hominids arose and then evolved further. Steven Mithen is less concerned with the origin of music than the way in which the homo sapiens mind differed from its ancestors and the then contemporary hominids.

But before I get to my attempt at summarizing what Mithen says about these matters, I want to address something else. The speculative stories that professional anthropologists and archaeologists tell have a very different meaning to them than they end up meaning for the general public and there is some small danger in that difference. Science professionals are all aware of the raw evidence and the context and conjecture surrounding each piece. There are always ambiguities and tentative "conclusions" arrived at by one authority or another and they often conflict. However, to make sense of a broad collection of data a story is created as a kind of summary of what is known at that time.

These stories are always fragile as art glass. But they can be a useful way of organizing what is known and if new evidence found fits within the model it is strengthened. However, it is known that any new evidence found might undo a part of the story or overthrow it altogether. The problem is that the general reader doesn't know the evidence and has no idea of its context. Such a reader is unlikely to read broadly enough to gain some sense of the strength of such a story and whether its speculation is more mainstream or something radical.

Whether the story is fairly constructed from the evidence, or is highly skewed in its presentation and is in fact untrustworthy cannot be known by the casual reader. Yet the story becomes the way the general reader is likely to discuss the topic, as if the story were fact. This can actually impede understanding rather than help because it freezes things in the reader's mind because work continues in the field and the story may be overthrown rather quickly. The author actually mentions this kind of effect when discussing the Divje Babe I "flute" which is more likely a bone bitten into by a bear than a flute. But in the popular imagination it remains a flute.

I am certainly not qualified to judge the evidence presented in this book nor any of the authors speculations or conclusions. What I can say is that the author tells his story well, is quite interesting, and does present the ambiguities of the evidence and various sides on many of the issues he discusses. I think such openness and fair-mindedness is a good sign even while one is advocating for a particular point of view.

Mithen's thrust in this book (if I understand it correctly) is that as early hominids developed into upright narrow-hipped creatures certain biological adaptations accompanied these developments that allowed homo ergaster and homo neanderthalensis and homo heidelbergensis and all the later hominids to make more flexible sounds than other related creatures. We can see the extension of those differences as we look at what the apes and monkeys do with "song" versus humans. (It is essential when reading this book when reading the words music and song to maintain the rudimentary nature of what he is describing versus the pieces by Bach, Brubeck, and Miles Davis that he refers to occasionally.) The author sees the sources of rhythm and music within the nature of our bodies and the way it moves and the sounds we are able to make because of our high larynx and flexible throat and mouth. I think this is exactly right.

But isn't this getting a bit ahead of the story? Surely language came before singing and dance? The author says no and his explanation is the main story of this book and is quite fascinating. There are two broad divisions about the rise of language. The first is the one most of us would have intuitively expected, that language started with one or two semi-grunted words and slowly evolved into Shakespeare. This is the compositional school. The other, that I had known nothing of until I read this book and am now quite persuaded by (see how being ignorant in the face of a great story teller can draw one in?) is known as the holistic development of speech.

In the holistic view, early hominids made certain calls that were not symbolic and contained whole meetings in the single utterance. One call might mean "give that to her" and another might mean "beware of the bear over there". But they were not words in our sense and could not be used to develop new phrases or sentences. They could not compose as we do. These calls rose out of the way early hominids, had to care for their young and can even be seen in remnant in our Infant Directed Speech and our penchant for phrases that we say without thinking or meaning, but preserve a function (such as "Howareyoudoing" "Iamfine"). He calls this early form of verbalization with the surprising acronym "Hmmmmm", which stands for Holistic, manipulative, multi-modal, musical, and mimetic.

The Neanderthals referred to in the title lived tough lives. The author believes that all the evidence available about them shows they lived short (about 35 years) hard lives. He thinks they had a "domain intelligence". That is, their brains were capable of doing certain things like making fire or making and using tools, but did not have the interconnections and mental fluidity that developed in homo sapiens. They did not paint on walls, they did not make huts, and the author believes they could not speak in words. They used holistic song and dance to communicate, comfort their young, and develop interpersonal connectedness that strengthened their tribes.

Neanderthals were always on the precarious edge of survival and when homo sapiens showed up they disappeared. Mithen assures us that our ancestors didn't slaughter them to extinction, but offers no evidence for this. To me it sounds like a kind of political correctness borne of modern sensibilities against wanton killing. But I don't believe there is evidence one way or the other.

This book covers a great deal of ground that I can't even summarize here. It is worth reading for its valuable content and is also enjoyable if you like anthropology. As a musician, I did find his explanations of music a bit weak, but they made more sense as he developed his thesis. However, if you are looking for the explanation of how Bach, Haydn, Mozart, and Beethoven came to be, you won't find it here. This is much more basic and about how the raw musical potential came to be.

I am reminded of the cartoon of a detailed equation on a blackboard that is labeled in various steps. Two scientists are standing in front of step two which says "and then a great miracle occurs" and one says to the other "I think you need to flesh out this step a bit more". It isn't that Mithen has left anything out for his story, but that for music to become something more than communal folk singing to the high art of Western Culture does require something more than the dismissal of such music as "elite" implying that it is somehow a prejudice not worthy of serious examination.

But that is beside the point. If you are interested in the development of early hominids, you will likely learn things from this book. If you want to learn about the holistic view of language development, this is a fine explanation. If you want to know more about how and when Neanderthals lived and how Homo Sapiens arose and filled the earth, this is a fine explanation. If you want to know about the differences in our musical potential versus other creatures in nature and what adaptations had to take place for that to happen, this is fascinating stuff.

So, recommended and enjoy!

Thought provoking trip from monkey calls to tribal song to speech
Starts slow, but soon zooms along. Before you know it, you're in the midst of a fascinating story about monkey calls, baby babbling, opera and rock, and the weird, wired harmonies that cascade through the human nervous system when people engage in speech and song. Then, halfway through the book, using the information of the first half as a lens to bring the second half into focus, the author leads you on a trip from the darkest depths of hominid prehistory to the dawn of homo sapien culture, developing, as he goes, a theory about the origins of oral communication and music. The wonder of the book is not the theory, but the author's protean curiosity and delightful talent for explanation and synthesis. He weaves together strands of thought from all sorts of different disciplines to create an argument so lively and thought provoking that it doesn't matter if it's right. You come away full of ideas that seem to apply to almost everything you see. The book is a lovely, multi-layered intellectual tune, which makes you hummmm with thought as you turn each page.