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|a Jan, Steven.
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|a Music in Evolution and Evolution in Music.
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|a 1st ed.
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|a Cambridge, UK :
|b Open Book Publishers,
|c 2022.
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|c Ã2022.
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|a 1 online resource (808 pages)
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|b txt
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|a online resource
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|a 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.
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|a 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).
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|a 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.
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|a 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.
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|a 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.
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|a Description based on publisher supplied metadata and other sources.
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|a Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2023. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
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|a Electronic books.
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|i Print version:
|a Jan, Steven
|t Music in Evolution and Evolution in Music
|d Cambridge, UK : Open Book Publishers,c2022
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|a ProQuest (Firm)
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|u https://ebookcentral.proquest.com/lib/matrademy/detail.action?docID=30275618
|z Click to View
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