Podlipniak Piotr
Department of Musicology, Adam Mickiewicz University in Poznań, Poznań, Poland.
Front Neurosci. 2021 Mar 16;15:607887. doi: 10.3389/fnins.2021.607887. eCollection 2021.
Creativity is defined as the ability to generate something new and valuable. From a biological point of view this can be seen as an adaptation in response to environmental challenges. Although music is such a diverse phenomenon, all people possess a set of abilities that are claimed to be the products of biological evolution, which allow us to produce and listen to music according to both universal and culture-specific rules. On the one hand, musical creativity is restricted by the tacit rules that reflect the developmental interplay between genetic, epigenetic and cultural information. On the other hand, musical innovations seem to be desirable elements present in every musical culture which suggests some biological importance. If our musical activity is driven by biological needs, then it is important for us to understand the function of musical creativity in satisfying those needs, and also how human beings have become so creative in the domain of music. The aim of this paper is to propose that musical creativity has become an indispensable part of the gene-culture coevolution of our musicality. It is suggested that the two main forces of canalization and plasticity have been crucial in this process. Canalization is an evolutionary process in which phenotypes take relatively constant forms regardless of environmental and genetic perturbations. Plasticity is defined as the ability of a phenotype to generate an adaptive response to environmental challenges. It is proposed that human musicality is composed of evolutionary innovations generated by the gradual canalization of developmental pathways leading to musical behavior. Within this process, the unstable cultural environment serves as the selective pressure for musical creativity. It is hypothesized that the connections between cortical and subcortical areas, which constitute cortico-subcortical circuits involved in music processing, are the products of canalization, whereas plasticity is achieved by the means of neurological variability. This variability is present both at the level of an individual structure's enlargement in response to practicing (e.g., the planum temporale) and within the involvement of neurological structures that are not music-specific (e.g., the default mode network) in music processing.
创造力被定义为产生新颖且有价值事物的能力。从生物学角度来看，这可被视为对环境挑战的一种适应。尽管音乐是一种如此多样的现象，但所有人都拥有一系列能力，这些能力据称是生物进化的产物，使我们能够根据普遍规则和特定文化规则来创作和聆听音乐。一方面，音乐创造力受到隐性规则的限制，这些规则反映了基因、表观遗传和文化信息之间的发展相互作用。另一方面，音乐创新似乎是每种音乐文化中都存在的理想元素，这表明其具有某种生物学重要性。如果我们的音乐活动是由生物需求驱动的，那么对我们来说，理解音乐创造力在满足这些需求方面的功能，以及人类在音乐领域如何变得如此具有创造力就很重要。本文的目的是提出音乐创造力已成为我们音乐性的基因 - 文化共同进化中不可或缺的一部分。有人认为，在这个过程中，定向化和可塑性这两种主要力量至关重要。定向化是一个进化过程，在此过程中，表型无论环境和基因扰动如何都呈现相对恒定的形式。可塑性被定义为表型对环境挑战产生适应性反应的能力。有人提出，人类音乐性由导致音乐行为的发育途径逐渐定向化所产生的进化创新组成。在这个过程中，不稳定的文化环境充当了音乐创造力的选择压力。据推测，构成参与音乐处理的皮质 - 皮质下回路的皮质和皮质下区域之间的连接是定向化的产物，而可塑性是通过神经变异性实现的。这种变异性既存在于个体结构因练习而扩大的层面（例如颞平面），也存在于音乐处理中涉及的非音乐特异性神经结构（例如默认模式网络）的层面。
