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.

By testing relationships between musical, geographic, genetic, and linguistic distance among nine indigenous groups in Taiwan, the researchers aim to quantitatively evaluate a developing theory of coevolution between these traits. An especially strong correlation between musical variability and genetic distance suggests that music may possess worldwide time depth, diversity, and universality equal to or greater than that of language, and could thus serve as a complementary marker for reconstruction of long-term population shifts.

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.

By testing relationships between musical, geographic, genetic, and linguistic distance among nine indigenous groups in Taiwan, the researchers aim to quantitatively evaluate a developing theory of coevolution between these traits. An especially strong correlation between musical variability and genetic distance suggests that music may possess worldwide time depth, diversity, and universality equal to or greater than that of language, and could thus serve as a complementary marker for reconstruction of long-term population shifts.

By testing relationships between musical, geographic, genetic, and linguistic distance among nine indigenous groups in Taiwan, the researchers aim to quantitatively evaluate a developing theory of coevolution between these traits. An especially strong correlation between musical variability and genetic distance suggests that music may possess worldwide time depth, diversity, and universality equal to or greater than that of language, and could thus serve as a complementary marker for reconstruction of long-term population shifts.

Researchers looked at the meaning of various emotion concepts, 'emotion semantics' in an attempt to determine the patterns and processes behind meaning cross-culturally. They used maps of colexification patterns (where semantically related concepts are named with the same word), adjusted Rand indices (ARIs) which indicated the similarities of two community's network structures, and various psychophysiological dimensions to test relationships and patterns of variability /structure in emotion semantics. These methods shed light on the underlying mechanisms behind emotions, both their words and their meanings in languages across the world. Their findings show substantial difference in language families and relationships between geographic proximity of language families and subsequent variation in emotion colexification tied to an evolutionary relationship, while also finding cultural universals in emotion colexification networks with languages primarily differentiating emotions on the basis of valence and activation.