The Memetics of Music

In contrast to the two points of view normally adopted in music theory and analysis - namely those of the listener and the composer - the purpose of this book is to argue for a distinct and illuminating third perspective.

The Memetics of Music

Richard Dawkins's formulation of the meme concept in his 1976 classic The Selfish Gene has inspired three decades of work in what many see as the burgeoning science of memetics. Its underpinning theory proposes that human culture is composed of a multitude of particulate units, memes, which are analogous to the genes of biological transmission. These cultural replicators are transmitted by imitation between members of a community and are subject to mutational-evolutionary pressures over time. Despite Dawkins and several others using music in their exemplifications of what might constitute a meme, these formulations have generally been quite rudimentary, even na?. This study is the first musicologically-orientated attempt systematically to apply the theory of memetics to music. In contrast to the two points of view normally adopted in music theory and analysis - namely those of the listener and the composer - the purpose of this book is to argue for a distinct and illuminating third perspective. This point of view is metaphorical and anthropomorphic, and the metaphor is challenging and controversial, but the way of thinking adopted has its basis in well-founded scientific principles and it is capable of generating insights not available from the first two standpoints. The perspective is that of the (selfish) replicated musical pattern itself, and adopting it is central to memetics. The approach taken is both theoretical and analytical. Starting with a discussion of evolutionary thinking within musicology, Jan goes on to cover the theoretical aspects of the memetics of music, ranging from quite abstract philosophical speculation to detailed consideration of what actually constitutes a meme in music. In doing so, Jan draws upon several approaches current in music theory, including Schenkerism and Narmour's implication-realization model. To demonstrate the practical utility of the memetic perspective, Chapter 6 applies it analytically, tracing the transmission o

A Life for Music

Finally , chapter 13 offers an insight on how memetics might be used in an alife - based music system . Largely inspired by memetic theory , Marcelo Gimenes and I introduce a model of the development of musical styles in artificial ...

A Life for Music

Artificial Life, or A-Life, aims at the study of all phenomena characteristic of natural living systems, through computational modeling, wetware-hardware hybrids, and other artificial media. Its scope ranges from the investigation of the emergence of cognitive processes in natural or artificial systems to the development of life or life-like properties from inorganic components. A number of musicians, in particular composers and musicologists, have started to turn to A-Life for inspiration and working methodology. This edited volume features thirteen chapters written by researchers and practitioners in this exciting emerging field of computer music, and includes a CD with various examples music related to A-Life.

Dutch journal of music theory

Jan , Steven ( 2007 ) The Memetics of Music , A Neo - Danvinian View of Musical Structure and Culture , Aldershot : Ashgate . Kimmel , Karl , ( n.d. ) http://www.defmind.com/pdf/Pedagogy%20-%20K.%20Kimmel.pdf Kortlandt , Frederik ( 1985 ) ...

Dutch journal of music theory


SMC 08

5th Sound and Music Computing Conference : Sound in Space - Space in Sound, July 31st - August 3rd, 2008, Berlin, Germany : Proceedings Martin Supper, ... Jan , S. , Replicating sonorities : towards a memetics of music .

SMC 08


Similarity Perception in Listening to Music

URL : www.doc.gold.ac.uk/ maso2gw / papers / Bown Wiggins05.pdf Bregman , A. S. ( 1990 ) . Auditory Scene Analysis . Cambridge , MA : MIT Press . Chan , T.-S. T. & Wiggins , G. ( 2005 ) . A computational memetics approach to music ...

Similarity Perception in Listening to Music


Memetics Media and Groove

In this thesis, I adopt the musical concept of "groove" to characterize the experience of steelband in local contexts and the related ideas circulating within broader cultural contexts.

Memetics  Media  and Groove

In this thesis, I adopt the musical concept of "groove" to characterize the experience of steelband in local contexts and the related ideas circulating within broader cultural contexts. Each chapter is an ethnographic portrait and exploration of a specific context in which people interact by participating in steelband. I examine the role of individual directors in shaping their steelband's groove. Employing elements of memetic theory, I identify specific memes and complexes used by directors as they facilitate their own group's experience to include: "master narrative," "professional performance," and "pan appreciation." I also use the meme hypothesis to evaluate how directors act as agents in the transmission of musical and cultural knowledge. I will focus on the function of the steelband-related media and materials used in rehearsal by the directors of Lion Steel and Space Coast Steel to communicate musical and cultural information to members. I am interested in understanding the ways individuals encounter and use this information in the course of their participation in steelband and how this process contributes to the groove in their local contexts. In this thesis, I will also explore the ways that individual pannists at the Mannette Steel Drums "Festival of Steel" workshop in West Virginia interact with other players and exchange information beyond distinct local contexts. I examine the ways that the exchange of music-cultural information among different sources shapes the manner in which people "groove" in steelbands and how it connects the experiences of pannists in broader musical and cultural contexts.

Sharing the Voices

A language of musical communication and representation which combines musical feeling with musical seeing and musical hearing is proposed as a vehicle for the ... The memetic origin of language : modern humans as musical primates .

Sharing the Voices


CIM04 Conference on Interdisciplinary Musicology

Linguistic semantics as a vehicle for a semantics of music MIHAILO ANTOVIC Faculty of Philosophy , University of Niš ... MAIN CONTRIBUTION ( 1 ) Within the framework of memetics we propose that musical phrases spreading in society can ...

CIM04  Conference on Interdisciplinary Musicology

Accompanying CD-ROM proceedings of the conference in PDF format.

Journal SEAMUS

survival ; and b ) that music should be seen as an art form which communicates information among people with shared common ... [ Dawkins 1976 ) One way to look at music is through the memetic competition among musical compositions for ...

Journal SEAMUS


Understanding Musical Understanding

Instead , the complexly varied transmission of music , available today through ever - present media , " confounds scientific attempts to construct models of a musical memetics which might parallel those of genetics ” ( 2004 , p172 ) .

Understanding Musical Understanding

Demonstrates that explanations of musical understanding are not found in analyzing musical activities per se but rather in examining underlying cognitive activities - principles of melodic and rhythmic construction, sensory awareness and quality assessment, and the effects of cultures on neural network formation.

Composers of Classical Music of Jewish Descent

Since Dawkins's initial proposal in 1976 , there have been many publications on the subject of memetics and cultural evolution , and these have been reviewed . ” However , the subject is still very controversial and many would say that ...

Composers of Classical Music of Jewish Descent

This book describes, and attempts to assess and explain the relative preponderance of composers of Jewish descent, particularly during the last two hundred years. The first part of the book includes two chapters giving a brief history of composers of Jewish descent from biblical times to the present day. The second, and larger part of the book contains bibliographical sketches of over 250 composers of Jewish descent; some are well known as composers, for example, Mendelssohn, Mahler, Schoenberg, Copland and Gershwin, others are better known as performers or conductors, for example, Klemperer, Schnabel, and yet others are often not generally identified as of Jewish descent, for example, Finzi. Each composer entry has a brief bibliography. The book is intended for anyone with an interest in classical music and Judaism. It contains an extensive glossary of Hebrew and musical terms.

Philosophy of Music Education Review

... for genetic / memetic ? variation . Thus , the mutant forms that cultivation brings forth can be thought of as being based on a wider set of natural variables , not as something that confines nature's ways . In musical life , this ...

Philosophy of Music Education Review


Evolution of Communicative Flexibility

Male chaffinch perception of songs with varying flourish length . Animal Behaviour 66 : 161-7 . Lynch A. 1996. The population memetics of birdsong . In Ecology and Evolution of Acoustic Communication in Birds , ed .

Evolution of Communicative Flexibility

Experts investigate communicative flexibility (in both form and usage of signals) as the foundation of the evolution of complex communication systems, including human language. The evolutionary roots of human communication are difficult to trace, but recent comparative research suggests that the first key step in that evolutionary history may have been the establishment of basic communicative flexibility--the ability to vocalize freely combined with the capability to coordinate vocalization with communicative intent. The contributors to this volume investigate how some species (particularly ancient hominids) broke free of the constraints of "fixed signals," actions that were evolved to communicate but lack the flexibility of language--a newborn infant's cry, for example, always signals distress and has a stereotypical form not modifiable by the crying baby. Fundamentally, the contributors ask what communicative flexibility is and what evolutionary conditions can produce it. The accounts offered in these chapters are notable for taking the question of language origins farther back in evolutionary time than in much previous work. Many contributors address the very earliest communicative break of the hominid line from the primate background; others examine the evolutionary origins of flexibility in, for example, birds and marine mammals. The volume's interdisciplinary theoretical perspectives illuminate issues that are on the cutting edge of recent research on this topic. Contributors Stéphanie Barbu, Curt Burgess, Josep Call, Laurance Doyle, Julia Fischer, Michael Goldstein, Ulrike Griebel, Kurt Hammerschmidt, Sean Hanser, Martine Hausberger, Laurence Henry, Allison Kaufman, Stan Kuczaj, Robert F. Lachlan, Brian MacWhinney, Radhika Makecha, Brenda McCowan, D. Kimbrough Oller, Michael Owren, Ron Schusterman, Charles T. Snowdon, Kim Sterelny, Benoît Testé, Gert Westermann

Music archaeology in context

archaeological semantics, historical implications, socio-cultural connotations International Study Group on Music ... Journal of Memetics . http://perso.easynet.fr/baillement / blackemore.html BOTH , A. A. 2002 Aztec Flower Flutes : The ...

Music archaeology in context


Kongressbericht

Although controversial , the memetic paradigm is regarded by some as capable of offering powerful insights into the structure and evolution of human cultures and their artefacts , and this paper attempts to apply it to music in order to ...

Kongressbericht


IMS 2002 Leuven

Although controversial , the memetic paradigm is regarded by some as capable of offering powerful insights into the structure and evolution of human cultures and their artefacts , and this paper attempts to apply it to music in order to ...

IMS 2002 Leuven


What Makes Us Human

By contrast , according to memetics , artistic creations are memes that compete with each other and evolve . Dennett ( 1999 ) gives the beginnings of a memetic a a explanation by imagining how music might have begun 10 What Makes Us ...

What Makes Us Human

How and why did we become who we are? In "What Makes Us Human?" some of theorld's most brilliant thinkers offer their answers to this perennial puzzle,ncluding Susan Blackmore, Robin Dunbar, Susan Greenfield, Richard Harries,enan Malik, Richard Wrangham, Ian Tattersall, and Lewis Wolpert. Together,hey draw on a broad spectrum of disciplines, from anthropology, biochemistry,edicine, and neuroscience, to philosophy, psychology, and religion, to askhat makes us distinctively human. Is it our cognitive abilities, or our usef tools, our story-telling, our beliefs, our curiosity, our ability to cook,r our culture? Are we half-ape or half-angel? "What Makes Us Human?"xplains how and why our ancestors adapted to their surroundings to produceuch clever, talented, and unlikely progeny. It is for all to enjoy.