<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">McDermott, Josh H.</style></author><author><style face="normal" font="default" size="100%">Schultz, Alan F.</style></author><author><style face="normal" font="default" size="100%">Undurraga, Eduardo A.</style></author><author><style face="normal" font="default" size="100%">Godoy, Ricardo A.</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Indifference to dissonance in native Amazonians reveals cultural variation in music perception</style></title><secondary-title><style face="normal" font="default" size="100%">Nature</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2016</style></year><pub-dates><date><style  face="normal" font="default" size="100%">2016/07/13</style></date></pub-dates></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html</style></url></web-urls></urls><volume><style face="normal" font="default" size="100%">advance online publication</style></volume><pages><style face="normal" font="default" size="100%"> - </style></pages><isbn><style face="normal" font="default" size="100%">1476-4687</style></isbn><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">&lt;p&gt;Music is present in every culture, but the degree to which it is shaped by biology remains debated. One widely discussed phenomenon is that some combinations of notes are perceived by Westerners as pleasant, or consonant, whereas others are perceived as unpleasant, or dissonant&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref1&quot; id=&quot;ref-link-2&quot; title=&quot;Parncutt, R. &amp;amp; Hair, G. Consonance and dissonance in theory and psychology: Disentangling dissonant dichotomies. J. Interdiscipl. Music Stud. 5, 119–166 (2011)&quot;&gt;1&lt;/a&gt;&lt;/sup&gt;. The contrast between consonance and dissonance is central to Western music&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref2&quot; id=&quot;ref-link-3&quot; title=&quot;Huron, D. Interval-class content in equally tempered pitch-class sets: Common scales exhibit optimum tonal consonance. Music Percept. 11, 289–305 (1994)&quot;&gt;2&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref3&quot; id=&quot;ref-link-4&quot; title=&quot;Bigand, E., Parncutt, R. &amp;amp; Lerdahl, F. Perception of musical tension in short chord sequences: the influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Percept. Psychophys. 58, 124–141 (1996)&quot;&gt;3&lt;/a&gt;&lt;/sup&gt;, and its origins have fascinated scholars since the ancient Greeks&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref4&quot; id=&quot;ref-link-5&quot; title=&quot;Stumpf, C. Tonpsychologie (Verlag S. Hirzel, 1890)&quot;&gt;4&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref5&quot; id=&quot;ref-link-6&quot; title=&quot;von Helmholtz, H. Die Lehre von den Tonempfindungen als physiologische Grundlage fur die Theorie der Musik (F. Vieweg und Sohn, 1863)&quot;&gt;5&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref6&quot; id=&quot;ref-link-7&quot; title=&quot;Lundin, R. W. Toward a cultural theory of consonance. J. Psychol. 23, 45–49 (1947)&quot;&gt;6&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref7&quot; id=&quot;ref-link-8&quot; title=&quot;Plomp, R. &amp;amp; Levelt, W. J. M. Tonal consonance and critical bandwidth. J. Acoust. Soc. Am. 38, 548–560 (1965)&quot;&gt;7&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref8&quot; id=&quot;ref-link-9&quot; title=&quot;Cazden, N. The definition of consonance and dissonance. Int. Rev. Aesthet. Soc. 11, 123–168 (1980)&quot;&gt;8&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref9&quot; id=&quot;ref-link-10&quot; title=&quot;Sethares, W. A. Tuning, Timbre, Spectrum, Scale (Springer, 1999)&quot;&gt;9&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref10&quot; id=&quot;ref-link-11&quot; title=&quot;Tenney, J. A History of ‘Consonance’ and ‘Dissonance’ (Excelsior Music Publishing Company, 1988)&quot;&gt;10&lt;/a&gt;&lt;/sup&gt;. Aesthetic responses to consonance are commonly assumed by scientists to have biological roots&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref11&quot; id=&quot;ref-link-12&quot; title=&quot;Fishman, Y. I. et al. Consonance and dissonance of musical chords: neural correlates in auditory cortex of monkeys and humans. J. Neurophysiol. 86, 2761–2788 (2001)&quot;&gt;11&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref12&quot; id=&quot;ref-link-13&quot; title=&quot;Tramo, M. J., Cariani, P. A., Delgutte, B. &amp;amp; Braida, L. D. Neurobiological foundations for the theory of harmony in western tonal music. Ann. NY Acad. Sci. 930, 92–116 (2001)&quot;&gt;12&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref13&quot; id=&quot;ref-link-14&quot; title=&quot;Bidelman, G. M. &amp;amp; Heinz, M. G. Auditory-nerve responses predict pitch attributes related to musical consonance-dissonance for normal and impaired hearing. J. Acoust. Soc. Am. 130, 1488–1502 (2011)&quot;&gt;13&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref14&quot; id=&quot;ref-link-15&quot; title=&quot;Bowling, D. L. &amp;amp; Purves, D. A biological rationale for musical consonance. Proc. Natl Acad. Sci. USA 112, 11155–11160 (2015)&quot;&gt;14&lt;/a&gt;&lt;/sup&gt;, and thus to be universally present in humans&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref15&quot; id=&quot;ref-link-16&quot; title=&quot;Butler, J. W. &amp;amp; Daston, P. G. Musical consonance as musical preference: a cross-cultural study. J. Gen. Psychol. 79, 129–142 (1968)&quot;&gt;15&lt;/a&gt;, &lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref16&quot; id=&quot;ref-link-17&quot; title=&quot;Fritz, T. et al. Universal recognition of three basic emotions in music. Curr. Biol. 19, 573–576 (2009)&quot;&gt;16&lt;/a&gt;&lt;/sup&gt;. Ethnomusicologists&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref17&quot; id=&quot;ref-link-18&quot; title=&quot;Brown, S. &amp;amp; Jordania, J. Universals in the world’s musics. Psychol. Music 41, 229–248 (2013)&quot;&gt;17&lt;/a&gt;&lt;/sup&gt; and composers&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref8&quot; id=&quot;ref-link-19&quot; title=&quot;Cazden, N. The definition of consonance and dissonance. Int. Rev. Aesthet. Soc. 11, 123–168 (1980)&quot;&gt;8&lt;/a&gt;&lt;/sup&gt;, in contrast, have argued that consonance is a creation of Western musical culture&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref6&quot; id=&quot;ref-link-20&quot; title=&quot;Lundin, R. W. Toward a cultural theory of consonance. J. Psychol. 23, 45–49 (1947)&quot;&gt;6&lt;/a&gt;&lt;/sup&gt;. The issue has remained unresolved, partly because little is known about the extent of cross-cultural variation in consonance preferences&lt;sup&gt;&lt;a href=&quot;http://www.nature.com/nature/journal/vaop/ncurrent/full/nature18635.html#ref18&quot; id=&quot;ref-link-21&quot; title=&quot;Maher, T. F. “Need for resolution” ratings for harmonic musical intervals: A comparison between Indians and Canadians. J. Cross Cult. Psychol. 7, 259–276 (1976)&quot;&gt;18&lt;/a&gt;&lt;/sup&gt;. Here we report experiments with the Tsimane’—a native Amazonian society with minimal exposure to Western culture—and comparison populations in Bolivia and the United States that varied in exposure to Western music. Participants rated the pleasantness of sounds. Despite exhibiting Western-like discrimination abilities and Western-like aesthetic responses to familiar sounds and acoustic roughness, the Tsimane’ rated consonant and dissonant chords and vocal harmonies as equally pleasant. By contrast, Bolivian city- and town-dwellers exhibited significant preferences for consonance, albeit to a lesser degree than US residents. The results indicate that consonance preferences can be absent in cultures sufficiently isolated from Western music, and are thus unlikely to reflect innate biases or exposure to harmonic natural sounds. The observed variation in preferences is presumably determined by exposure to musical harmony, suggesting that culture has a dominant role in shaping aesthetic responses to music.&lt;/p&gt;
</style></abstract></record></records></xml>