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Despite the global spread of intensive agriculture, many populations retained foraging or mixed subsistence strategies until well into the twentieth century. Understanding why has been a longstanding puzzle. One explanation, called the marginal habitat hypothesis, is that foraging persisted because foragers tended to live in marginal habitats generally not suited to agriculture. However, recent empirical studies have not supported this view. The alternative but untested oasis hypothesis of agricultural intensification claims that intensive agriculture developed in areas with low biodiversity and a reliable water source not reliant on local rainfall. We test both the marginal habitat and oasis hypotheses using a cross-cultural sample drawn from the 'Ethnographic atlas' (Murdock 1967Ethnology6, 109–236). Our analyses provide support for both hypotheses. We found that intensive agriculture was unlikely in areas with high rainfall. Further, high biodiversity, including pathogens associated with high rainfall, appears to have limited the development of intensive agriculture. Our analyses of African societies show that tsetse flies, elephants and malaria are negatively associated with intensive agriculture, but only the effect of tsetse flies reached significance. Our results suggest that in certain ecologies intensive agriculture may be difficult or impossible to develop but that generally lower rainfall and biodiversity is favourable for its emergence. This article is part of the theme issue ‘Evolutionary ecology of inequality’. 

Abstract We compare and contrast the 60 commentaries by 109 authors on the pair of target articles by Mehr et al. and ourselves. The commentators largely reject Mehr et al.'s fundamental definition of music and their attempts to refute (1) our social bonding hypothesis, (2) byproduct hypotheses, and (3) sexual selection hypotheses for the evolution of musicality. Instead, the commentators generally support our more inclusive proposal that social bonding and credible signaling mechanisms complement one another in explaining cooperation within and competition between groups in a coevolutionary framework (albeit with some confusion regarding terminologies such as “byproduct” and “exaptation”). We discuss the proposed criticisms and extensions, with a focus on moving beyond adaptation/byproduct dichotomies and toward testing of cross-species, cross-cultural, and other empirical predictions. 

Abstract Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene–culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution because of their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music.