Do musicians compose songs based on the sounds of the environment in which they grew up?

Recently, a theory, perhaps somewhat risky but interesting, has been published, in which it is proposed that the ambient sounds in which a person was raised could influence at some point when that same person becomes a musician, that is, in which rhythms and instruments will prevail in his compositions and how acoustic stimuli are processed.

The study has been carried out by researchers from the Complutense University of Madrid (UCM) and has been published in Psychology of Music.

According Javier Campos Calvo-Sotelo, researcher of the Faculty of Geography and History of the UCM and principal author of the study:

The maternal vocality in particular and the sound environment of the home in which the child lives will have a considerable influence on the relationship established and developed with the music.

Thus, for example, the operas of Rossini they have a strong rhythm because it would be influenced by the incipient industrial machinery that was developed at the time he created them.

The music of Mozart, characterized by medium and high frequencies, where the bass tones are quite light, would be influenced by “birds, human voices, cars with metal wheels that move along the cobbled streets and the sharp sounds of the coachman's whip,” as the composer described Murray Schafer. And the rock? Influence of combustion engines, motorcycles, drills, hammer blows, cement mixing machines and the subway, typical of the society in which it is composed.

I wonder, then, from under what stone was reggaeton born.

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