SZodixStudyAcademic Library
ShelvesOpen access
Study · an open academic library·Metadata from OpenAlex (CC0)·Shelves·OpenAlex metadata, de-duplicated
The Memetics of Music: A Neo-Darwinian View of Musical Structure and Culture
0 references·15 citing·42 second hop
The Memetics of Music: A Neo-Darwinian View of Musical Structure and Culture (2007)The Memetics of Music: A Neo-Darwinian Vi…Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices (2022)Cover, Custom, and DIY? Memet…Creativity Is Optimal Novelty and Maximal Positive Affect: A New Definition Based on the Spreading Activation Model (2021)Creativity Is Optimal Novelty…Why Did Memetics Fail? Comparative Case Study (2020)Why Did Memetics Fail? Compar…Measuring the cultural evolution of music: Cross-cultural and cross-genre case studies (2020)Measuring the cultural evolut…Western classical music development: a statistical analysis of composers similarity, differentiation and evolution (2017)Western classical music devel…Chick Corea and Postbop Harmony (2016)Chick Corea and Postbop Harmo…‘Understood at Last’?: A Memetic Analysis of Beethoven’s ‘Bloody Fist’ (2016)‘Understood at Last’?: A Meme…Memetic Perspectives on the Evolution of Tonal Systems in Music (2015)Memetic Perspectives on the E…A memetic analysis of a phrase by Beethoven: Calvinian perspectives on similarity and lexicon-abstraction (2015)A memetic analysis of a phras…Using Galant Schemata as Evidence for Universal Darwinism (2013)Using Galant Schemata as Evid…Mixing the Immiscible: Improvisation within Fixed-Media Composition (2012)Mixing the Immiscible: Improv…A Sign of the Times: Semiotics in Anglo-American Musicology (2012)A Sign of the Times: Semiotic…‘The Heavens are Telling’: Memetic– Calvinian Readings of a Haydn Chord Progression (2012)‘The Heavens are Telling’: Me…The Backbone of Night: Mechanisms of Evolution in Henri Dutilleux'sAinsi la nuit (2010)The Backbone of Night: Mechan…Memesatz contra Ursatz: Memetic perspectives on the aetiology and evolution of musical structure (2010)Memesatz contra Ursatz: Memet…Intersubjectivity Without Agreement (1996)Digital Natives, Digital Immigrants Part 1 (2001)Digital Natives, Digital Immigrants (2012)The Logic of Scientific Discovery. (1959)The Selfish Gene (1976)The magical number seven, plus or minus two: Some limits on our capacity for processing information. (1994)“The Two Brothers”: Reconciling Perceptual-Cognitive and Statistical Models of Musical Evolution (2018)Unplayed Galant Melodies, the Ubiquity of the Rarest Interval, and the Heyday of the Major Mode (2020)The magical number seven, plus or minus two: Some limits on our capacity for processing information. (1956)Darwin's dangerous idea : evolution and the meanings of life (1995)Nothing in Biology Makes Sense except in the Light of Evolution (1973)Exaptation—a Missing Term in the Science of Form (1982)Darwin's dangerous idea: evolution and the meanings of life (1995)The Archaeology of Knowledge. (1974)Image-Music-Text (1977)Writing and Difference (1980)You Say Invisible, I Say Ubiquitous: A (Formally Former) Student’s Response to Philip Tagg’s ‘Caught on the Back Foot: Epistemic Inertia and Visible Music’. (2013)A rhetoric of style: Eleanor Rigby and the reordering of popular music (2018)Dragging Music: Towards a Queer Socio-Cultural Semiotics (2024)Remaking the Past (1990)Music in the Galant Style (2007)Audacious EuphonyChromatic Harmony and the Triad's Second Nature (2012)Prolongation and Its Limits: The Compositions of Wayne Shorter (2018)Guide-Tone Space (2019)Melodic Transformation in George Garzone’s Triadic Chromatic Approach; or, Jazz, Math, and Basket Weaving (2022)The New Grove dictionary of music and musicians (2001)The Oxford History of Western Music (2006)Visualizing music similarity: clustering and mapping 500 classical music composers (2019)Bibliographic Coupling Links: Alternative Approaches to Carrying Out Systematic Reviews about Renewable and Sustainable Energy (2022)Cultural Evolution and Music (2023)The descent of man and selection in relation to sex (1907)The Social Construction of Reality: A Treatise in the Sociology of Knowledge. (1967)The spandrels of San Marco and the Panglossian paradigm: a critique of the adaptationist programme (1979)The descent of man, and selection in relation to sex (1871)On the Origin of Species by Means of Natural Selection (1953)Culture and the Evolutionary Process (1986)The associative basis of the creative process. (1962)Attitudinal effects of mere exposure. (1968)The Standard Definition of Creativity (2012)Foreword (2022)Why the standard definition of creativity fails to capture the creative act (2024)Yaşlanma, Hemşirelik ve Bakımda Var Olandan Yeniye Giden Yol ‘‘Yaratıcı Olmak’’ (2025)
this work references cited by second hop

References

No references inside the corpus for this window.

Cited by

  • 2021Creativity Is Optimal Novelty and Maximal Positive Affect: A New Definition Based on the Spreading Activation Model52 cited
  • 2017Western classical music development: a statistical analysis of composers similarity, differentiation and evolution18 cited
  • 2020Why Did Memetics Fail? Comparative Case Study18 cited
  • 2010Memesatz contra Ursatz: Memetic perspectives on the aetiology and evolution of musical structure13 cited
  • 2016Chick Corea and Postbop Harmony12 cited
  • 2013Using Galant Schemata as Evidence for Universal Darwinism11 cited
  • 2020Measuring the cultural evolution of music: Cross-cultural and cross-genre case studies10 cited
  • 2015A memetic analysis of a phrase by Beethoven: Calvinian perspectives on similarity and lexicon-abstraction8 cited
  • 2012A Sign of the Times: Semiotics in Anglo-American Musicology8 cited
  • 2012Mixing the Immiscible: Improvisation within Fixed-Media Composition4 cited
  • 2012‘The Heavens are Telling’: Memetic– Calvinian Readings of a Haydn Chord Progression3 cited
  • 2015Memetic Perspectives on the Evolution of Tonal Systems in Music3 cited
  • 2022Cover, Custom, and DIY? Memetic Features in Multimedia Creative Practices3 cited
  • 2010The Backbone of Night: Mechanisms of Evolution in Henri Dutilleux'sAinsi la nuit

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

2 cited
  • 2016‘Understood at Last’?: A Memetic Analysis of Beethoven’s ‘Bloody Fist’2 cited