I don't think a redundant recognizer algorithm is required to explain minor.

Centuries before we had major and minor tonality, we had the diatonic scale.

Through the Renaissance, thirds began to be accepted as stable consonances, and from that, you get tertian chords (triads and seventh chords from stacked thirds, and their inversions). In the diatonic scale, you only have 3 types of tertian triad: 3 major, 3 minor, and 1 diminished. The diminished triad was not accepted as a stable consonance.

In another post, I summarize the history of the development of major tonality out of the convention of the authentic cadence: https://news.ycombinator.com/item?id=49095594

I have come to believe that minor tonality is quite simply a result of "what if we used a minor chord as the tonic, instead?" Note that the minor chord already existed and had been in use for quite some time. The conventions of minor tonality (the tonal use of Aeolian and Dorian modes, minor key signature, the raised seventh degree, relative and paralellel key conventions, etc), however, developed as a contrast to major tonality.

I'm not discounting your neurological explanation, I haven't read your whole paper yet, but just pointing towards historical contingency as another way to see it.