Anthropologist: All music is based on a few main systems of scale building. ββββββββ ββ βββ ββββββββββ ββ β βββββββ βββββ ββββ β ββββββ ββ ββββββ βββββββββββββ ββ βββββ βββββββ βββββ βββ βββββββββ ββ ββββββ ββββββββ β βββββββ βββββββ ββ ββββββββ βββ βββββββββββ ββββββ ββ βββ βββββββ ββββββ βββ ββββββββ ββββββ ββββ ββββββ βββββββββ βββ βββββ ββ ββββ ββ βββ ββββββ ββββββββββ βββ ββββββββββ ββ ββββββββ βββββ βββ ββ ββββββββββ ββββ ββ ββββββ ββββββββββββ ββ βββ βββββ βββββ
The anthropologist hypothesizes that human nature alone explains the widespread popularity of diatonic music. He supports this by saying that if musical popularity was based on social conditioning, we'd expect to see a mix of diatonic and nondiatonic scales in music across different cultures. However, diatonic scales have always been the dominant type of music worldwide.
The anthropologist offers two possible explanations for the popularity of diatonic music: human nature (or βinnate dispositions...β) and social conditioning. He then assumes that if social conditioning alone canβt explain its popularity, then human nature must be the sole explanation. He ignores the possibility that human nature and social conditioning could explain it together, or that some other factor might also be involved.
The anthropologist's argument is most ββββββββββ ββ βββββββββ ββ βββ βββββββ ββββ ββ βββββ ββ
consider the possibility ββββ ββββ ββββββ ββββββββββ βββββββββββ βββββ ββββ ββββ ββββ ββ ββββββββ βββββ
explain how innate ββββββββββββ ββββββββ ββββββββββββ ββ βββββββββββ βββββ
explain the existence ββ ββββββββ ββββββ ββ ββββ ββ βββ βββββββββ ββ βββββββββββ ββββββ
consider that innate ββββββββββββ βββ ββββββ ββββββββββββ βββββ βββββββ ββββββ βββ ββββββββββ ββ β ββββ ββ βββββ
consider whether any ββββββββββββ ββ βββββββββββ βββββ ββ ββββββββββββ ββ ββββ ββββββββ βββββββ ββ βββββββ