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Music in Evolution and Evolution in Music by Steven Jan is a comprehensive account of the relationships between evolutionary theory and music. Examining the ‘evolutionary algorithm’ that drives biological and musical-cultural evolution, the book provides a distinctive commentary on how musicality and music can shed light on our understanding of Darwin’s famous theory, and vice-versa.

Comprised of seven chapters, with several musical examples, figures and definitions of terms, this original and accessible book is a valuable resource for anyone interested in the relationships between music and evolutionary thought. Jan guides the reader through key evolutionary ideas and the development of human musicality, before exploring cultural evolution, evolutionary ideas in musical scholarship, animal vocalisations, music generated through technology, and the nature of consciousness as an evolutionary phenomenon.

A unique examination of how evolutionary thought intersects with music, Music in Evolution and Evolution in Music is essential to our understanding of how and why music arose in our species and why it is such a significant presence in our lives.

Sujets

Musique

Culture musicale

Histoire de la musique

Styles

Genres

Classical

Music

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Publié par	Open Book Publishers
Date de parution	06 décembre 2022
Nombre de lectures	4
EAN13	9781800647381
Langue	English
Poids de l'ouvrage	10 Mo

Informations légales : prix de location à la page 0,0400€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Music in Evolution and Evolution in Music

Music in Evolution and Evolution in Music

Steven Bradley Jan

https://www.openbookpublishers.com
© 2022 Steven Bradley Jan

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0International license (CC BY-NC-ND 4.0). This license allows you to share, copy, distribute andtransmit the work for non-commercial purposes, providing attribution is made to the author (but notin any way that suggests that he endorses you or your use of the work). Attribution should includethe following information:
Steven Bradley Jan, Music in Evolution and Evolution in Music . Cambridge, UK: Open Book Publishers,2022, https://doi.org/10.11647/OBP.0301
Copyright and permissions for the reuse of many of the images included in this publication differfrom the above. This information is provided in the Credits on page lxv .
Further details about CC BY-NC-ND licenses are available at https://creativecommons.org/licenses/by-nc-nd/4.0/ .
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ISBN Paperback: 9781800647350 ISBN Hardback: 9781800647367 ISBN Digital (PDF): 9781800647374 ISBN Digital ebook (EPUB): 9781800647381 ISBN Digital ebook (AZW3): 9781800647398 ISBN XML: 9781800647404 ISBN HTML: 9781800647411 DOI: 10.11647/OBP.0301 Cover image by Gareth Price, all rights reserved. Cover design by Anna Gatti.

To Maureen Jan and Philip Partridge
Contents List of Figures List of Tables Acknowledgements Preface Credits Noteon Symbols 1 Introduction: Music and Darwinism 1.1 Prologue: What Can EvolutionTell Us about Music, and What Can Music Tell Us about Evolution? 1.1.1 What CanEvolution 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 Disciplinesand Interdisciplines 1.4.1 Disciplines 1.4.2 Interdisciplines 1.5 The Ambit of theEvolutionary Algorithm 1.5.1 What Is Evolution? 1.5.2 Physical Evolution 1.5.3 BiologicalEvolution 1.5.4 Cultural Evolution 1.5.5 Evolution and Recursive Ontology 1.6 CoreElements in Universal Darwinism 1.6.1 Replicators and Vehicles 1.6.2 ReplicationHierarchies and the Unit(s) of Selection 1.6.3 Replicator Attributes 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 HumanMusicality 2.1 Introduction: What Is and What Is Not Music? 2.2 Non-Evolutionaryand 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 SoundArchaeology 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 Structuraland Functional Commonalities between Language and Music 2.7.2 The MusilanguageModel 2.7.3 The Music-Language Continuum 2.7.4 Echoes of Musilanguage in theModern World 2.7.5 The Power of Vocal Learning 2.7.6 Holistic versus CompositionalSound-Streams 2.7.7 Structural and Functional Lateralisation of Music and Languagein the Brain 2.8 Summary of Chapter 2 3 Music-Cultural Evolution in the Light ofMemetics 3.1 Introduction: Cultural Replicators, Vehicles and Hierarchies 3.2 Whythe Need for Cultural Replicators? 3.3 Pre- and Proto-Memetic Theories of CulturalEvolution 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 CulturalAdaptation 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/asComposition 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 fromHomoplasies in Music-Cultural Evolution 3.6.6 Cultural Cladograms 3.7 Gene-MemeCoevolution 3.7.1 Memetic Drive 3.8 The (Co)evolution of Music and LanguageII: 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 Implementationof Linguistic Syntax in the Light of the HCT 3.8.5 Semantic Homologies betweenLanguage and Music 3.8.6 Implementation of Musical Syntax in the Light of theHCT 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 Discourseon Music 4.1 Introduction: Metanarratives in Musical Scholarship 4.2 Metaphor inEvolutionary-Musical Scholarship 4.3 Evolutionary Metaphors in Music Historiography 4.3.1 Ontogenetic Metaphors of Composers’ Styles 4.3.2 Ontogenetic Metaphors ofHistorical Styles, Genres and Formal-Structural Types 4.3.3 Phylogenetic Metaphors ofHistorical-Geographical Styles, Genres and Formal-Structural Types 4.3.4 Lamarckism versus Darwinism in Music Historiography 4.4 Evolutionary Metaphors in MusicTheory and Analysis 4.4.1 The Work as Organism 4.4.2 The Motive as Organism 4.4.3 Tones and Tonality as Organisms 4.5 The (Co)evolution of Music and LanguageIII: Linguistic Tropes in Discourse on Music 4.6 The Evolution of Scholarly Discourseson Music 4.7 Culture-Music-Discourse Coevolutionary Models 4.8 Summary ofChapter 4 5 Animal “Musicality” and Animal “Music” 5.1 Introduction: What Makes Us Unique? 5.2 Animal Vocalisations and Sexual Selection 5.3 Primarily InnateVocalisations 5.3.1 Vervet Alarm Calls 5.3.2 Chimpanzee Pant-Hoots 5.3.3 GibbonSongs and Duets 5.3.4 Ape Drumming 5.3.5 Innate Bird-Song 5.4 Primarily LearnedVocalisations 5.4.1 Learned Bird-Song 5.4.2 Learned Whale-Song 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 andCounterfactual 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 6.5.2 Knowledge/Rule-Based Systems 6.5.3 Optimisation Systems 6.5.4 HybridSystems 6.6 Machine Creativity 6.6.1 Can Machines be Creative? 6.6.2 The Evaluationof 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 Problemof Consciousness: The Multiple Drafts Model 7.3.2 Consciousness as Evolution andEvolution 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 andMusic-Systemic Evolution 7.5.2 Mechanisms of Tonal-System Evolution 7.5.3 TwoStrategies to Evidence Tonal-System Evolution 7.6 Cultural Evolution and InternetConsciousness 7.6.1 Replicators and Vehicles in Internet Evolution 7.6.2 Evidencefor 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
List of Figures

1.1 “Morphological” Similarity Between Three Musical Patterns. 1.2 RecursiveOntology. 1.3 Monophyly, Paraphyly and Polyphyly. 2.1 Statistical Universals inMusic. 2.2 The Music-Language Continuum. 3.1 Internet Memes. 3.2 CiteSpace Visualisation of Citations of “Memetic” per year 1980–2020 in Scopus . 3.3 Number ofRecords Containing “Memetic” Per Year 1996–2019. 3.4 Adaptation and Exaptationof Musemes. 3.5 Dissonance-Consonance/Pain-Pleasure Museme: Mozart, Cosìfan tutte K. 588 (1790), no. 4, “Ah guarda, sorella”, bb. 22–28. 3.6 Musemes from“Silenced” Musemeplex: Haydn, String Quartet in F major, op. 74 no. 2 (1793), II, bb.1–8. 3.7 Realisation of Implicative Forces as a Factor in Musical Style-Change. 3.8 Musemein Three Russian Composers. 3.9 Recursive-Hierarchic Structure-Generation viaAllele-Parataxis. 3.9 Musemes and Musemeplexes. 3.10 Ursatz and Musemesatzin Three Keyboard-Sonata First-Movement Expositions. 3.11 Two Performances ofChopin, Mazurka op. 7 no. 3 (1830–1832), bb. 9–17. 3.11 Musemic Homoplasies andHomologies. 3.12 Input Data for Phylomemetic Tree. 3.13 Output PhylomemeticTree. 3.14 Modularity, Language and Thought. 3.15 Calvinian Implementati