Ashgate Publishing

We are surrounded by new musical encounters today as never before, and the experience of musics from elsewhere is progressively affecting all arenas of the human conscience. Yet why is it that Western listeners expect a certain cultural and ethnic ‘authenticity’ or ‘otherness’ from visiting artists in world music, while contemporary musicians in Western music are no longer bound by such restraints? Should we feel uncomfortable when sacred rites from Asia or Africa are remade for Westerners as musical entertainment? As these thorny questions suggest, the great flood of world musics and of their agents into our most immediate cultural environment is not a simple matter of expanding global musical exchange. Instead, complex processes are at work involving the growth of intercontinental tourism, the development of new technologies of communication and our perceptions both of ourselves and of the new musical others now around us. Elegantly tracing the dimensions of these new musical encounters, Laurent Aubert considers the impact of world musics on our values, our habits and our cultural practices. His discussions of key questions about our contemporary music culture widen conventional ethnomusicological perspectives to consider not only the nature of Western society as a ‘global village’ but also the impact of current Western demands on the future of world musics and their practitioners.
 
Pages: 100Language: EnglishPublisher: Ashgate Publishing

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 naive. 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 of tetrachordal memes in string quartets of Haydn, Mozart and Beethoven using computer resources. The book concludes with a consideration of the broader significance of memetics for understanding the interplay between (human) nature and (musical) culture.
In all, the book is a tour de force for the wider implications of memetics for music.
 
 
Pages: 278Language: EnglishPublisher: Ashgate Publishing