In asking whether or not there are meaningful universals in music, researchers compiled two catalogs – the Natural History of Song (NHS) Ethnography which contains ethnographic descriptions of song performances collected from eHRAF World Cultures, and the NHS Discography, which contains field recordings of performances of dance, healing, love, and lullaby. Using these two corpora, the study tests a variety of hypotheses about the universality and variability of both music behavior and music form. Specifically, whether there are meaningful universals in meaning and sound. The catalog of published sound recordings was analyzed by machine summaries, listener ratings, and manual transcriptions, which revealed that there were identifiable features of songs which could then predict their primary function cross-culturally. The results as a whole revealed that the existence of music is a cultural universal, and that the variation within music can be characterized by three factors assessing the formality, arousal, and religiosity of the song events. They also found that musical behavior varies more within societies than between them.

In asking whether or not there are meaningful universals in music, researchers compiled two catalogs – the Natural History of Song (NHS) Ethnography which contains ethnographic descriptions of song performances collected from eHRAF World Cultures, and the NHS Discography, which contains field recordings of performances of dance, healing, love, and lullaby. Using these two corpora, the study tests a variety of hypotheses about the universality and variability of both music behavior and music form. Specifically, whether there are meaningful universals in meaning and sound. The catalog of published sound recordings was analyzed by machine summaries, listener ratings, and manual transcriptions, which revealed that there were identifiable features of songs which could then predict their primary function cross-culturally. The results as a whole revealed that the existence of music is a cultural universal, and that the variation within music can be characterized by three factors assessing the formality, arousal, and religiosity of the song events. They also found that musical behavior varies more within societies than between them.

In asking whether or not there are meaningful universals in music, researchers compiled two catalogs – the Natural History of Song (NHS) Ethnography which contains ethnographic descriptions of song performances collected from eHRAF World Cultures, and the NHS Discography, which contains field recordings of performances of dance, healing, love, and lullaby. Using these two corpora, the study tests a variety of hypotheses about the universality and variability of both music behavior and music form. Specifically, whether there are meaningful universals in meaning and sound. The catalog of published sound recordings was analyzed by machine summaries, listener ratings, and manual transcriptions, which revealed that there were identifiable features of songs which could then predict their primary function cross-culturally. The results as a whole revealed that the existence of music is a cultural universal, and that the variation within music can be characterized by three factors assessing the formality, arousal, and religiosity of the song events. They also found that musical behavior varies more within societies than between them.

In asking whether or not there are meaningful universals in music, researchers compiled two catalogs – the Natural History of Song (NHS) Ethnography which contains ethnographic descriptions of song performances collected from eHRAF World Cultures, and the NHS Discography, which contains field recordings of performances of dance, healing, love, and lullaby. Using these two corpora, the study tests a variety of hypotheses about the universality and variability of both music behavior and music form. Specifically, whether there are meaningful universals in meaning and sound. The catalog of published sound recordings was analyzed by machine summaries, listener ratings, and manual transcriptions, which revealed that there were identifiable features of songs which could then predict their primary function cross-culturally. The results as a whole revealed that the existence of music is a cultural universal, and that the variation within music can be characterized by three factors assessing the formality, arousal, and religiosity of the song events. They also found that musical behavior varies more within societies than between them.

In asking whether or not there are meaningful universals in music, researchers compiled two catalogs – the Natural History of Song (NHS) Ethnography which contains ethnographic descriptions of song performances collected from eHRAF World Cultures, and the NHS Discography, which contains field recordings of performances of dance, healing, love, and lullaby. Using these two corpora, the study tests a variety of hypotheses about the universality and variability of both music behavior and music form. Specifically, whether there are meaningful universals in meaning and sound. The catalog of published sound recordings was analyzed by machine summaries, listener ratings, and manual transcriptions, which revealed that there were identifiable features of songs which could then predict their primary function cross-culturally. The results as a whole revealed that the existence of music is a cultural universal, and that the variation within music can be characterized by three factors assessing the formality, arousal, and religiosity of the song events. They also found that musical behavior varies more within societies than between them.

The present research investigates the theory of universality in form and function in human song in a sample of people from 60 countries listening to music from 86 mainly small-scale societies. The aims are to document whether people 1) identify the social function of a song solely on form, 2) demonstrate form-function inferences, 3) use contextual aspects to distinguish song functions, and 4) use musical features to differentiate song functions. The authors claim support for the universal perception of song form-function in music listeners.

The present research investigates the theory of universality in form and function in human song in a sample of people from 60 countries listening to music from 86 mainly small-scale societies. The aims are to document whether people 1) identify the social function of a song solely on form, 2) demonstrate form-function inferences, 3) use contextual aspects to distinguish song functions, and 4) use musical features to differentiate song functions. The authors claim support for the universal perception of song form-function in music listeners.

This study explores the prevalence of group singing and its relationship with changes in social organization's participatory dynamics, precisely community size and social differentiation. The authors use two samples: 1) 5776 audio recordings from 1024 societies and 2) 4709 ethnographic texts from 60 societies. There is significant support that group singing is more prevalent than solo singing. The results also show that community size predicts group singing in only one of the samples (GJB). However, there is no significant support for social differentiation as a predictor of group singing.

The authors examine musical diversity in India using cantometric data from 32 Indian societies with the goal of better understanding how music varies between and within cultures. They find very minor musical differences between language families, greater diversity between societies but within language families, and the most variation within societies.

The authors examine musical diversity in India using cantometric data from 32 Indian societies with the goal of better understanding how music varies between and within cultures. They find very minor musical differences between language families, greater diversity between societies but within language families, and the most variation within societies.