CLEMENTI AND THE <i>EROICA</i>

Ringer, Alexander L.

doi:10.1093/mq/xlvii.4.454

Cited by 8 publications

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“…7 7 I am grateful to Alan Marsden (personal communication) for this point. To give a musical example, Figure 1.1 shows a clear "morphological" similarity between the passages in Figure 1.1a and Figure 1.1b, one perhaps also resonating in Figure 1.1c (but see also Ringer (1961), and note 195 on page 336). This resemblance is unlikely to be the result of coincidence: while these patterns are clearly two different entities, certain features render the likelihood of their being coincidentally alike improbable.…”

Section: Music and Musicality In Evolutionary Thoughtmentioning

confidence: 91%

Music in Evolution and Evolution in Music

Jan

2022

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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.

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Section: Music and Musicality In Evolutionary Thoughtmentioning

confidence: 91%

Music in Evolution and Evolution in Music

Jan

2022

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“…7, 1800-1801 burkholder the symphony by at least two years. 64 As shown in example 9, Ringer analyzes the symphony's opening theme as a combination of motives from the finale's theme: its bass line, indicated by plus signs, and its treble tune, indicated by the letter x. In a footnote he adds: ''In other words, the often cited identity with the opening motif of Mozart's youthful Bastien und Bastienne overture must have been a matter of pure coincidence.''…”

Section: Biographical and Historical Evidencementioning

confidence: 99%

Musical Borrowing or Curious Coincidence?

Burkholder¹

2018

Journal of Musicology

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Many pieces of music borrow from other pieces in some way, whether by quoting an existing piece, presenting a series of variations on a borrowed theme, paraphrasing a melody, using another piece as a model, or alluding to another work more subtly. Recent years have seen a profusion of studies of borrowing in all its manifestations by scholars in fields from chant to hip hop. 1 In order to analyze an instance of musical borrowing or interpret its meaning or significance, we first have to establish that the creator of one piece of music has used material or ideas from another. It is not always obvious whether or how such borrowing is happening; musicians, listeners, and scholars may hear borrowings that composers did not intend. What evidence can be presented to support a claim of borrowing or to refute it? How can we know that the material is borrowed from this particular piece Earlier versions of this essay were presented as the Rey M. Longyear

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Ringer¹

2002

Arnold Schönberg Das Leben Im Werk

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CLEMENTI AND THE EROICA

Cited by 8 publications

References 0 publications

Music in Evolution and Evolution in Music

Music in Evolution and Evolution in Music

Musical Borrowing or Curious Coincidence?

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