Cover; Contents; List of Figures; List of Tables; 1. Conceiving Music in Prehistory; Introduction; Conceptualizing music and prehistory; The organization of the book; 2. Implications of Music in Hunter-Gatherer Societies; Introduction; Native Americans of the plains (Blackfoot and Sioux); African Pygmies of the equatorial forest (Aka and Mbuti); Australian Aborigines of the Western Desert (Pintupi); The Eskimo of south-west Alaska (Yupik) and Canada (Inuit); Conclusions; Some common features in the uses and nature of music in four hunter-gatherer societies
Methods and materials of construction of instruments: implications for the archaeological record3. Palaeolithic Music Archaeology 1: Pipes; Introduction; Introduction to the Upper Palaeolithic; Introduction to Palaeolithic pipes; The earliest reputed pipes; Mousterian musicianship?; Upper Palaeolithic pipes; The Swabian Alb (Geissenklösterle, Hohle Fels, Vogelherd); Isturitz; Other sites; Representations of instruments; The use of bone for instrument manufacture in the Middle and Upper Palaeolithic; Raw material availability?
Neanderthal use of avian fauna for subsistence and as a raw materialUse of avian fauna and technological limitations; Use of avian fauna due to environmental stress; Cultural revolution?; 4. Palaeolithic Music Archaeology 2: Other Sound-Producers; Introduction; Other aerophones; Phalangeal whistles; Bullroarers (free aerophones); Percussive instruments; Rasps (scraped idiophones); Struck percussion; Caves and lithophones; Music and dance in later prehistory; Archaeology conclusions; 5. The Palaeoanthropology of Vocalization 1: Vocal Anatomy; Introduction
The vocal apparatus and fossil evidence for its evolutionThe larynx and basicranial flexion; The hyoid bone and mandible; The hypoglossal canal and tongue; Vertebral innervation, intercostal musculature, and breathing control; Some previous explanations for increased tonal range; Conclusions; 6. The Palaeoanthropology of Vocalization 2: The Brain and Hearing; Introduction; Evidence for the evolution of vocal control in the brain; Fossil endocasts; Neurology of vocal production in primates and humans; The ear, sound perception, and evolution; Conclusions
7. Neurological Relationships Between Music and SpeechIntroduction; Hemispheric organization: language in the left brain, music in the right?; Identifying functional neuroanatomy: brain scanning and neuropathology; Speech and melody production; Processing of tonal information in music and speech; Tonal and rhythmic information processing; Does the brain have a neurological modular specialization dedicated uniquely to music?; Conclusions; 8. Vocal Versatility and Complexity in an Evolutionary Context; Introduction; Evidence for an inherited capacity for the perception of melody and rhythm
Early vocal behaviours in primate infants
