BISPHAM'S (2006) ADDRESS OF THE QUESTION 'WHY' humans demonstrate musical rhythmic behavior provides a compelling evolutionary, contextualized view of rhythm as an essentially corporate activity yielding convergence of emotional and motivational states in ways that augment individuals' fitness. In broad agreement with this viewpoint it is tentatively suggested here that such a model could be termed 'socio-emotional confluence signaling.' Adoption of an accordingly integrative biomusicological position circumvents many of the impasses incurred in the demarcated research agendas currently evident within this early phase of the study of human origins of music. Such a model provides a suitably broad theoretical substrate to facilitate a wide range of experimental studies that are necessary to enable the nascent field of biomusicology to progress beyond conjecture.
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