In asking whether or not there are meaningful universals in music, researchers compiled two catalogs – the Natural History of Song (NHS) Ethnography which contains ethnographic descriptions of song performances collected from eHRAF World Cultures, and the NHS Discography, which contains field recordings of performances of dance, healing, love, and lullaby. Using these two corpora, the study tests a variety of hypotheses about the universality and variability of both music behavior and music form. Specifically, whether there are meaningful universals in meaning and sound. The catalog of published sound recordings was analyzed by machine summaries, listener ratings, and manual transcriptions, which revealed that there were identifiable features of songs which could then predict their primary function cross-culturally. The results as a whole revealed that the existence of music is a cultural universal, and that the variation within music can be characterized by three factors assessing the formality, arousal, and religiosity of the song events. They also found that musical behavior varies more within societies than between them.

By testing relationships between musical, geographic, genetic, and linguistic distance among nine indigenous groups in Taiwan, the researchers aim to quantitatively evaluate a developing theory of coevolution between these traits. An especially strong correlation between musical variability and genetic distance suggests that music may possess worldwide time depth, diversity, and universality equal to or greater than that of language, and could thus serve as a complementary marker for reconstruction of long-term population shifts.

This chapter examines the relationship between social cohesion (measured using variables like subsistence type, stable work teams, and settlement patterns) and musical cohesion. All hypotheses are supported.

This article explores the possible relationship between the cultural evolution of language, music, and genetic variation beyond the level of language families. Due to their linguistic diversity, the authors use a sample of 14 Northeast Asian societies with matching information on their music, genetics, and linguistic patterns. The variables measuring language are lexicon, phonology, and grammar. Then, the authors compare each variable's relationship to music and genetic variation. The results only show a significant correlation between grammar and genetic variation.

A large-scale comparative study of folk songs around the world employing systematic measures (cantometrics). The aim was not just to describe variation but to test hypotheses about the relationships between song style and societal structures. Dance was also considered.

The author reanalyzes hypotheses proposed by Lomax et al. (1968) that are based on Lomax's collection of cantometric data. Considering historical/regional variables, the author suggests that difusion and common history better explain certain musical features such as wordiness than functional and evolutionary processes. However, other Lomax findings are supported involving interlocked, contrapuntal singing and narrow nasal-voiced singing.

This chapter explores the relationship between cultural complexity and song. Several measures of cultural complexity are correlated with different aspects of singing. All hypotheses are supported.

By analyzing patterns of between- and within-population musical variability among 16 Austronesian-speaking aboriginal groups, the researchers hope to evaluate degree of similarity to structures of human genetic diversity. As in the genetic domain, within-population variance is found to be much higher than between-population variance, leading the researchers to suggest that patterns of musical distance and divergence may serve as an indicator of cultural evolution.

The present research investigates the theory of universality in form and function in human song in a sample of people from 60 countries listening to music from 86 mainly small-scale societies. The aims are to document whether people 1) identify the social function of a song solely on form, 2) demonstrate form-function inferences, 3) use contextual aspects to distinguish song functions, and 4) use musical features to differentiate song functions. The authors claim support for the universal perception of song form-function in music listeners.

This chapter tests the influences of physiological stressors during infancy on different aspects of musical behavior. Findings suggest that songs in societies where infantile stress is practiced will be characterized by stronger accents and a wider range.