Foreword

It is with great enthusiasm that I introduce Comparative Musicology: Evolution, Universals, and the Science of the World’s Music by Patrick E. Savage—an important work that revitalises and redefines the field of comparative musicology through the lens of contemporary science. As a researcher in music perception, cognition, and neuroscience, I have long been fascinated by the intricate interplay between music and the human brain, as well as the cultural and evolutionary forces that shape musical experiences. This book, meticulously crafted by one of the foremost scholars in the field, provides an unparalleled synthesis of these perspectives, offering a compelling roadmap for the future of music research. At its core, Comparative Musicology: Evolution, Universals, and the Science of the World’s Music addresses some of the most fundamental and enduring questions in music science: Why did music evolve? Are there universal features in music across cultures? How do individual and societal differences shape musical perception and cognition? Savage masterfully weaves together insights from psychology, anthropology, computational modeling, and neuroscience to answer these questions, creating a framework that is as rigorous as it is inclusive. The book is structured around six main chapters. It begins with an introduction defining key concepts like music, musicality, and evolution, setting the stage for interdisciplinary inquiry. Chapter 2 provides a hands-on tutorial for analysing and comparing music across cultures, making it accessible for students and researchers. Chapter 3 traces the history of comparative musicology, detailing its rise, decline, and resurgence, along with debates around colonialism, ethnocentrism, and inclusivity. Chapter 4 explores musical universals, distinguishing between absolute, statistical, and non-universal traits. Chapter 5 examines the biological and cultural evolution of music, proposing hypotheses on music’s role in human survival and social bonding. Chapter 6 discusses contemporary applications, including music therapy, copyright law, and cultural heritage preservation. The book concludes by emphasising the need for a more inclusive and collaborative approach to music research. One of the book’s greatest strengths is its interdisciplinary approach. Music perception and cognition have long benefited from cross-disciplinary research, and Savage’s work exemplifies this integrative spirit. He builds on a solid foundation of cognitive science and neurobiology to explore how the human brain processes and engages with music, drawing connections between music and language, emotion, memory, and social bonding. His discussion of statistical universals in music, for instance, resonates strongly with recent findings in cross-cultural music cognition, demonstrating how different musical traditions share underlying structural patterns despite vast cultural diversity. Another highlight of this book is its commitment to methodological innovation. Comparative musicology has often struggled with reconciling qualitative ethnographic approaches with quantitative scientific methodologies. Savage bridges this gap by incorporating cutting-edge computational tools, neuroimaging techniques, and large-scale cross-cultural datasets to analyse musical patterns with unprecedented precision. His use of music information retrieval (MIR) technologies and statistical modeling is particularly noteworthy, offering fresh perspectives on how we can measure and compare music in an empirically robust manner. In addition to its scientific rigor, this book is deeply attuned to the social and ethical dimensions of music research. Savage does not shy away from addressing the colonial history of comparative musicology and the need for greater inclusivity and collaboration in the field. He actively promotes co-authorship with Indigenous scholars and underrepresented communities, advocating for research practices that respect and elevate diverse musical traditions rather than merely extracting data from them. This commitment to ethical scholarship makes the book not only a valuable scientific resource but also a powerful call for equity and decolonisation in music studies. From a neuroscientific perspective, the book’s exploration of music’s evolutionary origins is particularly exciting. Savage critically examines competing theories—such as music as a byproduct of language, a tool for sexual selection, or a mechanism for social bonding—while introducing his own integrative hypothesis that synthesises elements from multiple domains. His discussion of the neural mechanisms underlying musicality, including rhythm perception, pitch processing, and the reward system’s role in music appreciation, aligns with recent advances in cognitive neuroscience and provides fertile ground for future research. Furthermore, Comparative Musicology: Evolution, Universals, and the Science of the World’s Music offers practical applications that extend beyond academia. The book’s insights into music therapy, language learning, and artificial intelligence underscore music’s profound impact on human well-being and technological innovation. The discussion of music copyright law and cultural heritage preservation highlights how comparative musicology can inform policy decisions, ensuring that traditional and contemporary musical practices are both respected and sustained in an era of rapid globalisation. Savage’s writing is both accessible and engaging, making this book suitable for a wide range of audiences—from undergraduate students to seasoned researchers. His clear explanations of complex theories, coupled with compelling real-world examples, ensure that readers from diverse backgrounds can appreciate and apply the insights presented. The book’s modular structure allows for flexible reading, making it an excellent teaching resource as well. In sum, Comparative Musicology: Evolution, Universals, and the Science of the World’s Music is a landmark contribution to the science of music. Patrick Savage has crafted a work that not only advances our scientific understanding of music but also challenges us to think more broadly about music’s role in human culture and evolution. This book is a must-read for anyone interested in the science of music and its place in the human experience. It is destined to shape the future of comparative musicology and inspire generations of researchers to come. Psyche Loui, PhD President, Society for Music Perception and Cognition Northeastern University, Boston, MA, USA February, 2025