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Books > Arts & Architecture > Music > Theory of music & musicology
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The Memetics of Music - A Neo-Darwinian View of Musical Structure and Culture (Hardcover, New Ed)
Loot Price: R4,628
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The Memetics of Music - A Neo-Darwinian View of Musical Structure and Culture (Hardcover, New Ed)
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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 naA-ve. 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
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