The evolution of a 'memeplex' in late Mozart: Replicated structures in Pamina's 'Ach ich fünl's'

Journal of the Royal Musical Association

Volumn 128, Issue 1, 2003, Pages 30-70

  Jan, Steven ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 67649968172     PISSN: 02690403     EISSN: None     Source Type: Journal    
DOI: 10.1093/jrma/fkg002     Document Type: Review

References (49)

1. Kevin Korsyn, 'Towards a New Poetics of Musical Influence', Music Analysis, 10 (1991), 3-72 (p. 15)
2. Korsyn, 'Beyond Privileged Contexts', 56
3. Korsyn, 'Towards a New Poetics', 6-7
4. Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford, 1992)
5. Norman Carrell, Bach the Borrower (London, 1967; repr. Westport, CT, 1980)
6. Leonard G. Ratner, Classic Music: Expression, Form, and Style (New York, 1980)
7. Wye J. Allanbrook, Rhythmic Gesture in Mozart: 'Le nozze di Figaro' and 'Don Giovanni' (Chicago, 1983)
8. V. Kofi Agawu, Playing with Signs: A Semiotic Interpretation of Classic Music (Princeton, 1991)
9. Jean Chantavoine, Mozart dans Mozart (Paris, 1948)
10. Leonard B. Meyer, Style and Music: Theory, History, and Ideology (Philadelphia, 1989), 24
11. Judith A. Eckelmeyer, 'Two Complexes of Recurrent Melodies Related to Die Zauberflöte', Music Review, 41 (1980), 11-25
12. see Robert O. Gjerdingen, A Classic Turn of Phrase: Music and the Psychology of Convention (Philadelphia, 1988), 55-9
13. Eckelmeyer, 'Two Complexes', 16
14. See also Peter Williams, The Chromatic Fourth during Four Centuries of Music (Oxford, 1998), Chapter 6; the tetrachordal figures in the Adagio and aria are, however, not examined by Williams
15. Eckelmeyer, 'Two Complexes', 15
16. Richard Dawkins, The Selfish Gene (2nd edn, Oxford, 1989), 192
17. For book-length treatments offering an overview of memetics, see Susan Blackmore, The Meme Machine (Oxford, 1999)
18. Richard Brodie, Virus of the Mind: The New Science of the Meme (Seattle, 1996)
19. and Aaron Lynch, Thought Contagion: How Belief Spreads through Society - The New Science of Memes (New York, 1996)
20. For more on the application of memetics to music, see Steven Jan, 'Replicating Sonorities: Towards a Memetics of Music', Journal of Memetics - Evolutionary Models of Information Transmission, 4/1 (2000) (〈http:// jom-emit.cfpm.org/2000/vol4/jan-s.html〉)
21. 'The Selfish Meme: Particularity, Replication, and Evolution in Musical Style', International Journal of Musicology, 8 (2002), 9-76
22. and 'The Illusory Mozart: Selfish Memes in the Priests' Marches from Idomeneo and Die Zauberflöte', International Journal of Musicology, 10 (forthcoming, 2004)
23. Brodie, Virus of the Mind, 13
24. Richard Dawkins, The Extended Phenotype: The Long Reach of the Gene (London, 1982; repr. Oxford, 1983), 293
25. Henry C. Plotkin, Darwin Machines and the Nature of Knowledge: Concerning Adaptations, Instinct and the Evolution of Intelligence (London, 1995), xvii
26. Dawkins, The Selfish Gene, 18, 194
27. Dawkins, The Extended Phenotype, 83
28. Dawkins, The Selfish Gene, 28, 32, 33
29. See Jan, 'Replicating Sonorities', Section 5, for more detailed discussion of the segmentation of the musical continuum into memes by means of the criteria of particulateness and coequality
30. Blackmore, The Meme Machine, 63
31. See Juan D. Delius, 'Of Mind Memes and Brain Bugs: A Natural History of Culture', The Nature of Culture: Proceedings of the International and Interdisciplinary Symposium, October 7-11, 1986 in Bochum, ed. Walter A. Koch (Bochum, 1989), 26-79
32. and, more subdy, memes for contraception (Lynch, Thought Contagion, 91-2)
33. Charles Darwin, On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life (2nd edn, London, 1860), ed. Gillian Beer (Oxford, 1996), 342
34. Luigi L. Cavalli-Sforza and Marcus W. Feldman, Cultural Transmission and Evolution: A Quantitative Approach, Monographs in Population Biology, 16 (Princeton, 1981), 19-29
35. Meyer, Style and Music, 13, 17, 23-4
36. Jean-Jacques Nattiez, Music and Discourse: Toward a Semiology of Music, trans. Carolyn Abbate (Princeton, 1990), 136, Figure 6.2
37. Cavalli-Sforza and Feldman, Cultural Transmission and Evolution, 15
38. Daniel C. Dennett, Darwin's Dangerous Idea: Evolution and the Meanings of Life (London, 1995), 343
39. See Jan, 'The Memetics of Music' for an account, couched in terms of Narmour's implication-realization model, of how mutational changes to a meme may increase its perceptual and cognitive salience and therefore its propensity to imitation
40. Dawkins, The Selfish Gene, 192
41. Daniel C. Dennett, Consciousness Explained (London, 1993), 210
42. In Blackmore, The Meme Machine, xiv
43. Gjerdingen, A Classic Turn of Phrase, 45-6
44. Nattiez, Music and Discourse, 10-16
45. Stephen J. Gould and Elisabeth S. Vrba, 'Exaptation - A Missing Term in the Science of Form', Paleobiology, 8/1 (1982), 4-15 (p. 6)
46. Jan, Aspects of Mozart's Music in G Minor, 56-7
47. Alfred Einstein, Mozart: His Character, his Work, trans. Arthur Mendel and Nathan Broder (6th edn, London, 1966), 264
48. Ludwig Ritter von Kōchel, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts, ed. Franz Giegling, Alexander Weinmann and Gerd Sievers (8th edn, Wiesbaden, 1983), 583
49. Dennett, Darwin's Dangerous Idea, 325