Music in Evolution and Evolution in Music.
Main Author: | |
---|---|
Format: | eBook |
Language: | English |
Published: |
Cambridge, UK :
Open Book Publishers,
2022.
|
Edition: | 1st ed. |
Subjects: | |
Online Access: | Click to View |
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.