Music in Evolution and Evolution in Music.

Music in Evolution and Evolution in Music.

Saved in:
Bibliographic Details
:
Jan, Steven.
Place / Publishing House:Cambridge, UK : : Open Book Publishers,, 2022.
Ã2022.
Year of Publication:2022
Edition:1st ed.
Language:English
Online Access:
Physical Description:1 online resource (808 pages)
Tags: Add Tag
No Tags, Be the first to tag this record!
Table of Contents:
  • Intro
  • List of Figures
  • List of Tables
  • Acknowledgements
  • Preface
  • Credits
  • Note on Symbols
  • 1 Introduction: Music and Darwinism
  • 1.1 Prologue: What Can Evolution Tell Us about Music, and What Can Music Tell Us about Evolution?
  • 1.1.1 What Can Evolution Tell Us about Music?
  • 1.1.2 What Can Music Tell Us about Evolution?
  • 1.2 Aims, Claims, Objectives and Structure
  • 1.2.1 Aims
  • 1.2.2 Claims
  • 1.2.3 Objectives
  • 1.2.4 Structure
  • 1.3 Music and Musicality in Evolutionary Thought
  • 1.4 Disciplines and Interdisciplines
  • 1.4.1 Disciplines
  • 1.4.2 Interdisciplines
  • 1.5 The Ambit of the Evolutionary Algorithm
  • 1.5.1 What Is Evolution?
  • 1.5.2 Physical Evolution
  • 1.5.3 Biological Evolution
  • 1.5.4 Cultural Evolution
  • 1.5.5 Evolution and Recursive Ontology
  • 1.6 Core Elements in Universal Darwinism
  • 1.6.1 Replicators and Vehicles
  • 1.6.2 Replication Hierarchies and the Unit(s) of Selection
  • 1.6.3 Replicator Attributes
  • 1.6.3.1 Longevity
  • 1.6.3.2 Fecundity
  • 1.6.3.3 Copying-Fidelity
  • 1.7 Taxonomy
  • 1.7.1 A Metataxonomy of Taxonomy
  • 1.7.2 Concepts of Cladism
  • 1.7.3 Punctuationism versus Gradualism, The Unit(s) of Selection, and Taxonomy
  • 1.8 Lamarckism versus Darwinism in Biological Evolution
  • 1.9 Summary of Chapter 1
  • 2 The Evolution of Human Musicality
  • 2.1 Introduction: What Is and What Is Not Music?
  • 2.2 Non-Evolutionary and Evolutionary Explanations for Musicality
  • 2.3 Hominin Evolution from Australopithecus afarensis to Homo sapiens
  • 2.3.1 Bipedalism
  • 2.3.2 Communal Living
  • 2.3.3 Sexual Non-Dimorphism
  • 2.3.4 Infant Altriciality
  • 2.3.5 Vocal Grooming
  • 2.4 Sound Archaeology as Evidence for Hominin Musicality
  • 2.5 The Aptive Benefits of Musicality
  • 2.5.1 Aptation, Adaptation and Exaptation
  • 2.5.2 Rhythm, Sociality and Embodiment
  • 2.5.3 Sexual Selection.
  • 2.5.4 Music and Infant-Caregiver Interaction
  • 2.5.5 Summary of the Aptive Benefits of Musicality
  • 2.6 The Evolution of Instrumental Music
  • 2.7 The (Co)evolution of Music and Language I: Bifurcation from Musilanguage
  • 2.7.1 Structural and Functional Commonalities between Language and Music
  • 2.7.2 The Musilanguage Model
  • 2.7.3 The Music-Language Continuum
  • 2.7.4 Echoes of Musilanguage in the Modern World
  • 2.7.5 The Power of Vocal Learning
  • 2.7.6 Holistic versus Compositional Sound-Streams
  • 2.7.7 Structural and Functional Lateralisation of Music and Language in the Brain
  • 2.8 Summary of Chapter 2
  • 3 Music-Cultural Evolution in the Light of Memetics
  • 3.1 Introduction: Cultural Replicators, Vehicles and Hierarchies
  • 3.2 Why the Need for Cultural Replicators?
  • 3.3 Pre- and Proto-Memetic Theories of Cultural Evolution
  • 3.3.1 The Mneme
  • 3.3.2 Evolutionary Epistemology
  • 3.3.3 Cultural Ethology
  • 3.4 Key Issues in Memetics
  • 3.4.1 Qualitative versus Quantitative Memetics
  • 3.4.2 Cultural Adaptation and Exaptation
  • 3.4.3 Lamarckism versus Darwinism in Cultural Evolution
  • 3.5 Memetics and Music
  • 3.5.1 Overview of Musicomemetics
  • 3.5.2 Musemic Hierarchies: Recursive-Hierarchic Structure-Generation via Allele-Parataxis
  • 3.5.3 Improvisation and/as Composition
  • 3.5.4 Performance
  • 3.6 Music-Cultural Taxonomies
  • 3.6.1 Species-Dialect
  • 3.6.2 Group-Idiom/Genre/Formal-Structural Type
  • 3.6.3 Organism-Movement/Work
  • 3.6.4 Operon/Gene-M(us)emeplex/M(us)eme
  • 3.6.5 Distinguishing Homologies from Homoplasies in Music-Cultural Evolution
  • 3.6.6 Cultural Cladograms
  • 3.7 Gene-Meme Coevolution
  • 3.7.1 Memetic Drive
  • 3.8 The (Co)evolution of Music and Language II: Semantics, Syntax and Thought
  • 3.8.1 Language and Cognition
  • 3.8.2 Modularity, Language and Thought
  • 3.8.3 The Hexagonal Cloning Theory (HCT).
  • 3.8.4 Implementation of Linguistic Syntax in the Light of the HCT
  • 3.8.5 Semantic Homologies between Language and Music
  • 3.8.6 Implementation of Musical Syntax in the Light of the HCT
  • 3.8.7 Escaping Determinism via Evolution
  • 3.8.8 Summary of Music-Language (Co)evolution
  • 3.9 Summary of Chapter 3
  • 4 Evolutionary Metaphors in Discourse on Music
  • 4.1 Introduction: Metanarratives in Musical Scholarship
  • 4.2 Metaphor in Evolutionary-Musical Scholarship
  • 4.3 Evolutionary Metaphors in Music Historiography
  • 4.3.1 Ontogenetic Metaphors of Composers' Styles
  • 4.3.2 Ontogenetic Metaphors of Historical Styles, Genres and Formal-Structural Types
  • 4.3.3 Phylogenetic Metaphors of Historical-Geographical Styles, Genres and Formal-Structural Types
  • 4.3.4 Lamarckism versus Darwinism in Music Historiography
  • 4.4 Evolutionary Metaphors in Music Theory and Analysis
  • 4.4.1 The Work as Organism
  • 4.4.1.1 Poiesis as Embryology
  • 4.4.1.2 Diachronic Unfolding as Ontogeny
  • 4.4.1.3 Synchronic Structure as Functional Differentiation
  • 4.4.2 The Motive as Organism
  • 4.4.3 Tones and Tonality as Organisms
  • 4.5 The (Co)evolution of Music and Language III: Linguistic Tropes in Discourse on Music
  • 4.6 The Evolution of Scholarly Discourses on Music
  • 4.7 Culture-Music-Discourse Coevolutionary Models
  • 4.8 Summary of Chapter 4
  • 5 Animal ``Musicality'' and Animal ``Music''
  • 5.1 Introduction: What Makes Us Unique?
  • 5.2 Animal Vocalisations and Sexual Selection
  • 5.3 Primarily Innate Vocalisations
  • 5.3.1 Vervet Alarm Calls
  • 5.3.2 Chimpanzee Pant-Hoots
  • 5.3.3 Gibbon Songs and Duets
  • 5.3.4 Ape Drumming
  • 5.3.5 Innate Bird-Song
  • 5.4 Primarily Learned Vocalisations
  • 5.4.1 Learned Bird-Song
  • 5.4.1.1 The Acquisition of Learned Bird-Song
  • 5.4.1.2 The Structure of Learned Bird-Song.
  • 5.4.1.3 The Aptive Benefits of Learned Bird-Song
  • 5.4.1.4 Learned Bird-Song and Human Music: The Bird Fancyer's Delight
  • 5.4.2 Learned Whale-Song
  • 5.4.2.1 The Acquisition of Learned Whale-Song
  • 5.4.2.2 The Structure of Learned Whale-Song
  • 5.4.2.3 The Aptive Benefits of Learned Whale-Song
  • 5.4.2.4 Learned Whale-Song and Human Music
  • 5.5 Musicality, Music and Creativity
  • 5.5.1 Conceptions of Creativity
  • 5.5.2 Darwinism as Creativity
  • 5.5.3 Can Animals be Creative?
  • 5.6 The (Co)evolution of Music and Language IV: Relationships between Animal Vocalisations and Hominin Music and Language
  • 5.7 Summary of Chapter 5
  • 6 Computer Simulation of Musical Evolution
  • 6.1 Introduction: Computer Analysis and Synthesis of Music
  • 6.2 The Continuum of Synthesis and Counterfactual Histories of Music
  • 6.3 The (Co)evolution of Music and Language V: Computer Simulation of Language Evolution
  • 6.4 Music and/versus Its Representations
  • 6.5 Overview and Critique of Music-Creative Systems
  • 6.5.1 Machine-Learning Systems
  • 6.5.1.1 Recombination Systems
  • 6.5.1.2 Neural Networks
  • 6.5.1.3 Markov Models
  • 6.5.2 Knowledge/Rule-Based Systems
  • 6.5.2.1 Grammar-Based Systems
  • 6.5.2.2 Constraint-Satisfaction Systems
  • 6.5.3 Optimisation Systems
  • 6.5.3.1 Local Search Algorithms
  • 6.5.3.2 Genetic/Evolutionary Algorithms
  • 6.5.4 Hybrid Systems
  • 6.5.4.1 Multi-Algorithm Systems
  • 6.5.4.2 Multimedia Systems
  • 6.6 Machine Creativity
  • 6.6.1 Can Machines be Creative?
  • 6.6.2 The Evaluation of Machine Creativity
  • 6.6.3 The Theory and Analysis of Computer-Generated Music
  • 6.7 Summary of Chapter 6
  • 7 Conclusion: Music, Evolution and Consciousness
  • 7.1 Introduction: Why Is Music?
  • 7.2 Consciousness, Musicality and Music
  • 7.2.1 The ``Easy'' and ``Hard'' Problems of Consciousness
  • 7.2.2 Metatheories of Consciousness.
  • 7.3 Consciousness as an Evolutionary Phenomenon
  • 7.3.1 Evolution and The Hard Problem of Consciousness: The Multiple Drafts Model
  • 7.3.2 Consciousness as Evolution and Evolution as Consciousness
  • 7.4 The (Co)evolution of Music and Language VI: Memetics, Cognitivism and Communicativism, and Consciousness
  • 7.4.1 Cognitivism and/versus Communicativism Revisited
  • 7.4.2 Rehabilitating Memetics in Communicativism
  • 7.5 Tonal-System Evolution as (Musical) Consciousness
  • 7.5.1 Style Hierarchies and Music-Systemic Evolution
  • 7.5.2 Mechanisms of Tonal-System Evolution
  • 7.5.3 Two Strategies to Evidence Tonal-System Evolution
  • 7.6 Cultural Evolution and Internet Consciousness
  • 7.6.1 Replicators and Vehicles in Internet Evolution
  • 7.6.2 Evidence for Memetic Evolution on the Internet
  • 7.6.3 The Internet as (Musical) Consciousness
  • 7.7 Summary of Chapter 7
  • 7.8 Epilogue: How Music Thinks
  • References
  • Glossary
  • Index.

Similar Items