Chimpanzees and bonobos exhibit divergent spatial memory development.

Spatial cognition and memory are critical cognitive skills underlying foraging behaviors for all primates. While the emergence of these skills has been the focus of much research on human children, little is known about ontogenetic patterns shaping spatial cognition in other species. Comparative developmental studies of nonhuman apes can illuminate which aspects of human spatial development are shared with other primates, versus which aspects are unique to our lineage. Here we present three studies examining spatial memory development in our closest living relatives, chimpanzees (Pan troglodytes) and bonobos (P. paniscus). We first compared memory in a naturalistic foraging task where apes had to recall the location of resources hidden in a large outdoor enclosure with a variety of landmarks (Studies 1 and 2). We then compared older apes using a matched memory choice paradigm (Study 3). We found that chimpanzees exhibited more accurate spatial memory than bonobos across contexts, supporting predictions from these species' different feeding ecologies. Furthermore, chimpanzees - but not bonobos - showed developmental improvements in spatial memory, indicating that bonobos exhibit cognitive paedomorphism (delays in developmental timing) in their spatial abilities relative to chimpanzees. Together, these results indicate that the development of spatial memory may differ even between closely related species. Moreover, changes in the spatial domain can emerge during nonhuman ape ontogeny, much like some changes seen in human children.

Contrary Voices: Heine, Holderlin, and Goethe in the music of Hanns Eisler

Contrary Voices examines composer Hanns Eisler’s settings of nineteenth-century poetry under changing political pressures from 1925 to 1962. The poets’ ideologically fraught reception histories, both under Nazism and in East Germany, led Eisler to intervene in this reception and voice dissent by radically fragmenting the texts. His musical settings both absorb and disturb the charisma of nineteenth-century sound materials, through formal parody, dissonance, and interruption. Eisler’s montage-like work foregrounds the difficult position of a modernist artist speaking both to and against political demands placed on art. Often the very charisma the composer seeks to expose for its power to sway the body politic exerts a force of its own. At the same time, his text-settings resist ideological rigidity in their polyphonic play. A dialogic approach to musical adaptation shows that, as Eisler seeks to resignify Heine’s problematic status in the Weimar Republic, Hölderlin’s appropriation under Nazism, and Goethe’s status as a nationalist symbol in the nascent German Democratic Republic, his music invests these poetic voices with surprising fragility and multivalence. It also destabilizes received gender tropes, in the masculine vulnerability of Eisler’s Heine choruses from 1925 and in the androgynous voices of his 1940s Hölderlin exile songs and later Goethe settings. Cross-reading the texts after hearing such musical treatment illuminates faultlines and complexities less obvious in text-only analysis. Ultimately Eisler’s music translates canonical material into a form as paradoxically faithful as it is violently fragmented.