![]() ![]() The need for the update grows as more scholars lean toward regarding music as an exclusively collective phenomenon. This function must have factored in the evolution of music since at least the Upper Paleolithic. Without diminishing the importance of this perspective, we wish to cast light as well on the personal function of music-its capacity to organize and sustain the psychological identity of an individual. Here, music stands as an important counterpart to language-another biological marker of Homo sapiens-specializing in managing the emotional aspect of human interaction. In the past few decades, a lively discussion on matters concerning the origin and evolution of music has finally begun to move toward a consensus among specialists (Cross and Morley, 2009): the biological importance of music is being seen in its capacity to foster and sustain social interactions within a group, to the mutual benefit of its members. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music. The evolution of its TO forms the backbone for the development of timbre-based music art. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. ![]() The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”-a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a “human voice”-whose sound enables the recognition of a particular individual. Collective music-making is rare and exceptional. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Although some Soviet-era publications were tainted by Marxist ideology, many researchers strove to provide accurate information (despite at times having been prosecuted for their work), and post-1990 research undertook a substantial revision of ideologically compromised concepts. Much of the data has not been translated into Western languages. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious, and social studies. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. We would like to present evidence to the contrary-in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. ![]()
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