The Descent of Man by Charles Darwin (books like harry potter TXT) 📕

In the class of Mammals, with which we are here more particularly concerned, the males of almost all the species use their voices during the breeding-season much more than at any other time; and some are absolutely mute excepting at this season. With other species both sexes, or only the females, use their voices as a love-call. Considering these facts, and that the vocal organs of some quadrupeds are much more largely developed in the male than in the female, either permanently or temporarily during the breeding-season; and considering that in most of the lower classes the sounds produced by the males, serve not only to call but to excite or allure the female, it is a surprising fact that we have not as yet any good evidence that these organs are used by male mammals to charm the females. The American Mycetes caraya perhaps forms an exception, as does the Hylobates agilis, an ape allied to man. This gibbon has an extremely loud but musical voice. Mr. Waterhouse states (30. Given in W.C.L. Martin’s ‘General Introduction to Natural History of Mamm. Animals,’ 1841, p. 432; Owen, ‘Anatomy of Vertebrates,’ vol. iii, p. 600.), “It appeared to me that in ascending and descending the scale, the intervals were always exactly half-tones; and I am sure that the highest note was the exact octave to the lowest. The quality of the notes is very musical; and I do not doubt that a good violinist would be able to give a correct idea of the gibbon’s composition, excepting as regards its loudness.” Mr. Waterhouse then gives the notes. Professor Owen, who is a musician, confirms the foregoing statement, and remarks, though erroneously, that this gibbon “alone of brute mammals may be said to sing.” It appears to be much excited after its performance. Unfortunately, its habits have never been closely observed in a state of nature; but from the analogy of other animals, it is probable that it uses its musical powers more especially during the season of courtship.

This gibbon is not the only species in the genus which sings, for my son, Francis Darwin, attentively listened in the Zoological Gardens to H. leuciscus whilst singing a cadence of three notes, in true musical intervals and with a clear musical tone. It is a more surprising fact that certain rodents utter musical sounds. Singing mice have often been mentioned and exhibited, but imposture has commonly been suspected. We have, however, at last a clear account by a well-known observer, the Rev. S. Lockwood (31. The ‘American Naturalist,’ 1871, p. 761.), of the musical powers of an American species, the Hesperomys cognatus, belonging to a genus distinct from that of the English mouse. This little animal was kept in confinement, and the performance was repeatedly heard. In one of the two chief songs, “the last bar would frequently be prolonged to two or three; and she would sometimes change from C sharp and D, to C natural and D, then warble on these two notes awhile, and wind up with a quick chirp on C sharp and D. The distinctness between the semitones was very marked, and easily appreciable to a good ear.” Mr. Lockwood gives both songs in musical notation; and adds that though this little mouse “had no ear for time, yet she would keep to the key of B (two flats) and strictly in a major key.”...“Her soft clear voice falls an octave with all the precision possible; then at the wind up, it rises again into a very quick trill on C sharp and D.”

A critic has asked how the ears of man, and he ought to have added of other animals, could have been adapted by selection so as to distinguish musical notes. But this question shews some confusion on the subject; a noise is the sensation resulting from the co-existence of several aerial “simple vibrations” of various periods, each of which intermits so frequently that its separate existence cannot be perceived. It is only in the want of continuity of such vibrations, and in their want of harmony inter se, that a noise differs from a musical note. Thus an ear to be capable of discriminating noises—and the high importance of this power to all animals is admitted by every one—must be sensitive to musical notes. We have evidence of this capacity even low down in the animal scale: thus Crustaceans are provided with auditory hairs of different lengths, which have been seen to vibrate when the proper musical notes are struck. (32. Helmholtz, ‘Theorie Phys. de la Musique,’ 1868, p. 187.) As stated in a previous chapter, similar observations have been made on the hairs of the antennae of gnats. It has been positively asserted by good observers that spiders are attracted by music. It is also well known that some dogs howl when hearing particular tones. (33. Several accounts have been published to this effect. Mr. Peach writes to me that an old dog of his howls when B flat is sounded on the flute, and to no other note. I may add another instance of a dog always whining, when one note on a concertina, which was out of tune, was played.) Seals apparently appreciate music, and their fondness for it “was well known to the ancients, and is often taken advantage of by the hunters at the present day.” (34. Mr. R. Brown, in ‘Proc. Zool. Soc.’ 1868, p. 410.)

Therefore, as far as the mere perception of musical notes is concerned, there seems no special difficulty in the case of man or of any other animal. Helmholtz has explained on physiological principles why concords are agreeable, and discords disagreeable to the human ear; but we are little concerned with these, as music in harmony is a late invention. We are more concerned with melody, and here again, according to Helmholtz, it is intelligible why the notes of our musical scale are used. The ear analyses all sounds into their component “simple vibrations,” although we are not conscious of this analysis. In a musical note the lowest in pitch of these is generally predominant, and the others which are less marked are the octave, the twelfth, the second octave, etc., all harmonies of the fundamental predominant note; any two notes of our scale have many of these harmonic over-tones in common. It seems pretty clear then, that if an animal always wished to sing precisely the same song, he would guide himself by sounding those notes in succession, which possess many over- tones in common—that is, he would choose for his song, notes which belong to our musical scale.

But if it be further asked why musical tones in a certain order and rhythm give man and other animals pleasure, we can no more give the reason than for the pleasantness of certain tastes and smells. That they do give pleasure of some kind to animals, we may infer from their being produced during the season of courtship by many insects, spiders, fishes, amphibians, and birds; for unless the females were able to appreciate such sounds and were excited or charmed by them, the persevering efforts of the males, and the complex structures often possessed by them alone, would be useless; and this it is impossible to believe.

Human song is generally admitted to be the basis or origin of instrumental music. As neither the enjoyment nor the capacity of producing musical notes are faculties of the least use to man in reference to his daily habits of life, they must be ranked amongst the most mysterious with which he is endowed. They are present, though in a very rude condition, in men of all races, even the most savage; but so different is the taste of the several races, that our music gives no pleasure to savages, and their music is to us in most cases hideous and unmeaning. Dr. Seemann, in some interesting remarks on this subject (35. ‘Journal of Anthropological Society,’ Oct. 1870, p. clv. See also the several later chapters in Sir John Lubbock’s ‘Prehistoric Times,’ 2nd ed. 1869, which contain an admirable account of the habits of savages.), “doubts whether even amongst the nations of Western Europe, intimately connected as they are by close and frequent intercourse, the music of the one is interpreted in the same sense by the others. By travelling eastwards we find that there is certainly a different language of music. Songs of joy and dance- accompaniments are no longer, as with us, in the major keys, but always in the minor.” Whether or not the half-human progenitors of man possessed, like the singing gibbons, the capacity of producing, and therefore no doubt of appreciating, musical notes, we know that man possessed these faculties at a very remote period. M. Lartet has described two flutes made out of the bones and horns of the reindeer, found in caves together with flint tools and the remains of extinct animals. The arts of singing and of dancing are also very ancient, and are now practised by all or nearly all the lowest races of man. Poetry, which may be considered as the offspring of song, is likewise so ancient, that many persons have felt astonished that it should have arisen during the earliest ages of which we have any record.

We see that the musical faculties, which are not wholly deficient in any race, are capable of prompt and high development, for Hottentots and Negroes have become excellent musicians, although in their native countries they rarely practise anything that we should consider music. Schweinfurth, however, was pleased with some of the simple melodies which he heard in the interior of Africa. But there is nothing anomalous in the musical faculties lying dormant in man: some species of birds which never naturally sing, can without much difficulty be taught to do so; thus a house-sparrow has learnt the song of a linnet. As these two species are closely allied, and belong to the order of Insessores, which includes nearly all the singing-birds in the world, it is possible that a progenitor of the sparrow may have been a songster. It is more remarkable that parrots, belonging to a group distinct from the Insessores, and having differently constructed vocal organs, can be taught not only to speak, but to pipe or whistle tunes invented by man, so that they must have some musical capacity. Nevertheless it would be very rash to assume that parrots are descended from some ancient form which was a songster. Many cases could be advanced of organs and instincts originally adapted for one purpose, having been utilised for some distinct purpose. (36. Since this chapter was printed, I have seen a valuable article by Mr. Chauncey Wright (‘North American Review,’ Oct. 1870, page 293), who, in discussing the above subject, remarks, “There are many consequences of the ultimate laws or uniformities of nature, through which the acquisition of one useful power will bring with it many resulting advantages as well as limiting disadvantages, actual or possible, which the principle of utility may not have comprehended in its action.” As I have attempted to shew in an early chapter of this work, this principle has an important bearing on the acquisition by man of some of his mental characteristics.) Hence the capacity for high musical development