“Musical composers, instrumentalists, and painters were compared with nonmusicians from a student and from a nonstudent population on testosterone levels in saliva. This steroid served as a marker for physiological androgyny. The ANOVA showed a significant group by sex interaction. Male composers attained significantly lower mean testosterone values than male instrumentalists and male nonmusicians; female composers had significantly higher mean testosterone values than female instrumentalists and female nonmusicians. Painters of both sexes did not differ significantly from controls. Spatial ability was assessed in the five groups. Significant differences on spatial test performance were not reflected in differences on salivary testosterone. Our results showed that musical composers of both sexes were physiologically highly androgynous. Creative musical behavior was associated with testosterone levels that minimized sex differences.” (Hassler M (1991) Testosterone and artistic talents. Int J Neurosci 56 (1-4): 25)

Surveying papers that either directly relate to my studies or tangentially connect to what I play with, I come across paragraphs that jump out as supporting my ideas or that flail me with a totally dissonant perspective. I track both, though I store the latter with less enthusiasm. Some of the contradicting studies show in their study techniques a rather lax attention to detail. Some slap me upside the head with an inconsistency or paradox, a direct contradiction to my theory. Some of those anomalies have led to doorways opening out to landscapes deepening the reach of my theorizing.

In the above excerpt we have an example of a study result that supports the expectation of my evolutionary theory. Theorizing that we evolved via a sexually selected dance-and-rhythm driven matrifocal society with high-testosterone females and low-testosterone males, it makes perfect sense that the most musically sensitive, the composers, would be high-testosterone women and low-testosterone men.

“In an auditory or musical memory task, subjects made pitch recognition judgments when the tones to be compared were separated by a sequence of interpolated tones. The left-handed subjects performed significantly better than the right-handed and also had a significantly higher variance. Further analysis showed that the superior performance was attributed largely to the left-handed subjects with mixed hand preference.” (Deutsch, D. (1978) Pitch memory: An advantage for the left handed. Science 199: pp. 559-560)

The Deutsch study also supports our evolutionary etiology of left-handedness (random-handedness) in a music-driven society that later transitioned to conventional right-handedness.

Perfect pitch in autism is evident to a degree far higher than would be expected. (http://www.translatingautism.com/2008/03/autism-and-perfect-pitch.html) This also supports my hypothesis that autism has its origins in matrifocal societies driven by music and sexual selection.


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