Jul 22, 2011 0
Drumming Apes and Piano-Playing Cats
From Barbara King of the Friday Animal Blog:
In the mid-2000s, the archaeologist Steven Mithen published a book called The Singing Neanderthals, about the evolutionary origins of music. We all know that music may shift our emotional state. For me, it’s at Springsteen/E Street Band concerts that I become most joyously transformed by music. Mithen reviews the evidence for this music-emotion link, then explores a second key benefit: Music may enhance social cooperation.
To our ancestors living in a harsh hunting-and-gathering world, groups whose individuals shared some kind of music (perhaps playing flutes made from animal bones or chanting and singing in deep caves) might have fared just that one evolutionary iota better. Indeed, Mithen’s argument for why Neanderthals had heightened musical sensitivities compared to our species—not despite but because of the fact that Neanderthals weren’t as fiercely linguistic as we are—is provocative and sets the stage for looking even more widely at music in the natural world.
Our closest living relatives express themselves in musical ways. In captivity, the gorilla Michael (a sign-language-using confederate of the famous Koko) invented guitars for himself using various at-hand materials for the strings, and enjoyed listening to Pavarotti recordings. In the book Kanzi’s Primal Language, researchers write: “The bonobos listen to music every night and enjoy the sound of musical instruments. Kanzi plays the drums and the xylophone, and Panbanisha the synthesizer and the harmonica. It might not satisfy a music teacher, but they enjoy it just as children enjoy creating sounds with musical instruments.”
In the wild, gibbons sing male-female duets, chimpanzees drum on trees and other surfaces, and gorillas too pound out rhythms, including on their own chests. Apes feel deep emotion and, being so group-oriented, benefit from social coordination, so perhaps Mithen’s framework fits here as well.
Questions about animal music sang in my head this week when I came upon an intriguing article by James Barron in The New York Times. A cat named Ketzel had one day in 1996 worked her way across the piano keys—starting at the treble and progressing in an innovate pattern to the bass—belonging to the composer Morris Moshe Cotel, then of the Peabody Conservatory.
Cotel, impressed by what he heard, transcribed the notes. The resultant piece he described as an “exquisite atonal miniature,” and he entered it into a one-minute-music competition. The judges (who did not know they were considering a feline-composed piece) awarded the composition a special mention. After that, the piece was played in concert at the Peabody and also in Europe—and even once in New York, “with the composer in attendance.”
Ketzel may be uniquely cat-composer famous, but other musical cats exist. My friend here in Gloucester County, the writer Nuala Galbari (see especially her wonderful children’s book The Woods of Wicomico) lives with one. Nuala kindly shares a description of her cat Tinky’s musical proclivities:
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