Cultural Memes, Innate Proclivities and Musical Behaviour: A Case Study of the Western Traditions
Identifieur interne : 002177 ( Istex/Corpus ); précédent : 002176; suivant : 002178Cultural Memes, Innate Proclivities and Musical Behaviour: A Case Study of the Western Traditions
Auteurs : Robert WalkerSource :
- Psychology of music [ 0305-7356 ] ; 2004-04.
English descriptors
- KwdEn :
- Teeft :
- Adam smith, Aesthetic properties, Aesthetic stance, Analogue, Auditory, Basic books, Behaviour, Belief system, Cambridge university press, Castiglione, Chicago press, Child development, Cinema, Classical concert culture, Classical music, Cognitive, Cognitive psychology, Communications media, Concrete form, Cultural assimilation, Cultural belief system, Cultural change, Cultural contexts, Cultural equivalent, Cultural forms, Cultural invention, Cultural memes, Cultural system, Cultural transmission, Dance music, Dawkins, Developmental psychology, Diatonic melody, Diatonic structures, Different sense modalities, Different types, Dissemination, Dominant beliefs, Dramatic action, Emotional effects, Emotional response, Emotional responses, Enculturation, Entertainment media, Epistemological origins, European renaissance, Everyday life, Experimental evidence, Expressive, Expressive powers, Expressive properties, Expressiveness, Film composers, General populace, Generative grammar, Gramophone recordings, Graphic representations, Harmonic, Harmonic series, High renaissance, Hollywood movie, Homeric epics, Human behaviour, Identity theory, Important point, Individual constructions, Influential text, Innate, Innate capabilities, Innate proclivities, Integral serialism, International perspective, International society, Intrinsic properties, Juslin, Killer sharks, Korean music, Light intensities, Linguistic theory, Literary tradition, Logical consistency, Many centuries, Many countries, Many millions, Many others, Melodic fragment, Meme, Memetics, Modal integration, Modern history, Music education, Music education research, Music psychology, Music winn, Musicae scientiae, Musical ability, Musical analogue, Musical beginnings, Musical behaviour, Musical concepts, Musical development, Musical elements, Musical expression, Musical expressiveness, Musical identities, Musical intervals, Musical meaning, Musical memes, Musical memetics, Musical semiotics, Musical structure, Musical structures, Opera house, Oxford university press, Perfect courtier, Physical properties, Popular films, Popular music, Popular song, Proclivity, Psychological studies, Psychology, Pythagorean, Research papers, Richard strauss, Right place, Right time, Ruling classes, Scientific studies, Semiotic, Semiotic links, Semiotic system, Sloboda, Small intervals, Social conditions, Social construction, Social group, Social mechanics, Social psychology, Solid objects, Sonic elements, Sound intensities, Sound track, Specific effects, Structural ones, Successive generations, Such artifice, Such associations, Such behaviours, Such constructions, Such films, Such ideals, Such ideas, Such meanings, Such things, Symphonic music, Technological sophistication, Thomas hoby, Tonal music, Trumpet fanfares, Visual information, Visual shapes, Walker, Western beliefs, Western culture, Western music, Western opera, Western tradition, Western traditions, Westernized societies, Young children, Young musicians.
Abstract
Western music, it is argued, is a cultural invention, and resulting behaviours are learned from the culturally disseminated memesemanating from Homer, through the historical development of western culture through the High Renaissance, and on to Hollywood and our modern entertainment media. These memes concern semantic systems for both the intentions of musicians and the expected behaviour of listeners. In which case, it is argued, studies of western musical behaviour are, in effect, studies of the extent of the cultural assimilation which has occurred in the individual or group. Experimental evidence is cited suggesting that there may be innate, perhaps universal, proclivities for cross-modal integration which provided the platform for the western musical semiotic to evolve. Cognitive psychology has tended to ignore the cultural origins of musical behaviour in its focus on structures, and recent sociological concerns in music and music psychology are concerned more with the social mechanics of identity and meaning construction than with the cultural source of such constructions. This article suggests that there would be nothing to construct without cultural memes transmitted over time and place.
Url:
DOI: 10.1177/0305735604041493
Links to Exploration step
ISTEX:C56A331F87A82E98757A9F6738C946D2F526CE1CLe document en format XML
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contexts</term><term>Cultural equivalent</term><term>Cultural forms</term><term>Cultural invention</term><term>Cultural memes</term><term>Cultural system</term><term>Cultural transmission</term><term>Dance music</term><term>Dawkins</term><term>Developmental psychology</term><term>Diatonic melody</term><term>Diatonic structures</term><term>Different sense modalities</term><term>Different types</term><term>Dissemination</term><term>Dominant beliefs</term><term>Dramatic action</term><term>Emotional effects</term><term>Emotional response</term><term>Emotional responses</term><term>Enculturation</term><term>Entertainment media</term><term>Epistemological origins</term><term>European renaissance</term><term>Everyday life</term><term>Experimental evidence</term><term>Expressive</term><term>Expressive powers</term><term>Expressive properties</term><term>Expressiveness</term><term>Film composers</term><term>General populace</term><term>Generative grammar</term><term>Gramophone 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education</term><term>Music education research</term><term>Music psychology</term><term>Music winn</term><term>Musicae scientiae</term><term>Musical ability</term><term>Musical analogue</term><term>Musical beginnings</term><term>Musical behaviour</term><term>Musical concepts</term><term>Musical development</term><term>Musical elements</term><term>Musical expression</term><term>Musical expressiveness</term><term>Musical identities</term><term>Musical intervals</term><term>Musical meaning</term><term>Musical memes</term><term>Musical memetics</term><term>Musical semiotics</term><term>Musical structure</term><term>Musical structures</term><term>Opera house</term><term>Oxford university press</term><term>Perfect courtier</term><term>Physical properties</term><term>Popular films</term><term>Popular music</term><term>Popular song</term><term>Proclivity</term><term>Psychological studies</term><term>Psychology</term><term>Pythagorean</term><term>Research papers</term><term>Richard 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information</term><term>Visual shapes</term><term>Walker</term><term>Western beliefs</term><term>Western culture</term><term>Western music</term><term>Western opera</term><term>Western tradition</term><term>Western traditions</term><term>Westernized societies</term><term>Young children</term><term>Young musicians</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Western music, it is argued, is a cultural invention, and resulting behaviours are learned from the culturally disseminated memesemanating from Homer, through the historical development of western culture through the High Renaissance, and on to Hollywood and our modern entertainment media. These memes concern semantic systems for both the intentions of musicians and the expected behaviour of listeners. In which case, it is argued, studies of western musical behaviour are, in effect, studies of the extent of the cultural assimilation which has occurred in the individual or group. Experimental evidence is cited suggesting that there may be innate, perhaps universal, proclivities for cross-modal integration which provided the platform for the western musical semiotic to evolve. Cognitive psychology has tended to ignore the cultural origins of musical behaviour in its focus on structures, and recent sociological concerns in music and music psychology are concerned more with the social mechanics of identity and meaning construction than with the cultural source of such constructions. 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integration</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>cultural assimilation</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>innate behaviours</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>musical meaning</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>social psychology</value></json:item></subject><articleId><json:string>10.1177_0305735604041493</json:string></articleId><arkIstex>ark:/67375/M70-1XZ2PKNC-4</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>other</json:string></originalGenre><abstract>Western music, it is argued, is a cultural invention, and resulting behaviours are learned from the culturally disseminated memesemanating from Homer, through the historical development of western culture through the High Renaissance, and on to Hollywood and our modern entertainment media. These memes concern semantic systems for both the intentions of musicians and the expected behaviour of listeners. In which case, it is argued, studies of western musical behaviour are, in effect, studies of the extent of the cultural assimilation which has occurred in the individual or group. Experimental evidence is cited suggesting that there may be innate, perhaps universal, proclivities for cross-modal integration which provided the platform for the western musical semiotic to evolve. Cognitive psychology has tended to ignore the cultural origins of musical behaviour in its focus on structures, and recent sociological concerns in music and music psychology are concerned more with the social mechanics of identity and meaning construction than with the cultural source of such constructions. This article suggests that there would be nothing to construct without cultural memes transmitted over time and place.</abstract><qualityIndicators><score>9.148</score><pdfWordCount>16555</pdfWordCount><pdfCharCount>98851</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>38</pdfPageCount><pdfPageSize>595 x 842 pts (A4)</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>179</abstractWordCount><abstractCharCount>1214</abstractCharCount><keywordCount>6</keywordCount></qualityIndicators><title>Cultural Memes, Innate Proclivities and Musical Behaviour: A Case Study of the Western Traditions</title><genre><json:string>other</json:string></genre><host><title>Psychology of music</title><language><json:string>unknown</json:string></language><issn><json:string>0305-7356</json:string></issn><eissn><json:string>1741-3087</json:string></eissn><publisherId><json:string>POM</json:string></publisherId><volume>32</volume><issue>2</issue><pages><first>153</first><last>190</last></pages><genre><json:string>journal</json:string></genre></host><namedEntities><unitex><date><json:string>from the 17th century</json:string><json:string>1950s</json:string><json:string>during the 4th century BC</json:string><json:string>1997</json:string><json:string>1854</json:string><json:string>1920s</json:string><json:string>1947</json:string><json:string>the 20th centuries</json:string><json:string>the 20th century</json:string><json:string>1478</json:string><json:string>2002</json:string><json:string>19th centuries</json:string><json:string>1930s</json:string><json:string>1970s</json:string><json:string>1977</json:string><json:string>during the 18th century</json:string><json:string>1509</json:string><json:string>1527</json:string><json:string>1940s</json:string><json:string>During the 16th and 17th centuries</json:string><json:string>1927</json:string><json:string>2004</json:string><json:string>1528</json:string></date><geogName></geogName><orgName><json:string>Japan, and China</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>My Beloved</json:string><json:string>Richard Strauss</json:string><json:string>Steiner</json:string><json:string>Queen Elizabeth</json:string><json:string>Dawkins</json:string><json:string>Jean-Philippe Rameau</json:string><json:string>Charles Butler</json:string><json:string>Frank Sinatra</json:string><json:string>Bruce Springsteen</json:string><json:string>Tito Schippa</json:string><json:string>Jan</json:string><json:string>Henry Purcell</json:string><json:string>Princess Diana</json:string><json:string>Richard Wagner</json:string><json:string>Mario Lanza</json:string><json:string>King Kong</json:string><json:string>Louis Armstrong</json:string><json:string>D.P. Walker</json:string><json:string>Time Goes</json:string><json:string>John Williams</json:string><json:string>Clifford Geertz</json:string><json:string>Steven Spielberg</json:string><json:string>Adam Smith</json:string><json:string>Don Giovanni</json:string><json:string>Nicola Vicentino</json:string><json:string>Tia DeNora</json:string><json:string>Roy Orbison</json:string><json:string>Mick Jagger</json:string><json:string>Clarke Gable</json:string><json:string>Greta Garbo</json:string><json:string>Johann Mattheson</json:string><json:string>Enrico Caruso</json:string><json:string>Michel Le Grande</json:string><json:string>Victor Lazlo</json:string><json:string>O’Neill</json:string><json:string>Thomas Hoby</json:string><json:string>Kathryn Grayson</json:string><json:string>Von Webern</json:string><json:string>J.S. Bach</json:string><json:string>John Sloboda</json:string><json:string>Jean-Jacques Nattiez</json:string><json:string>R. Walker</json:string><json:string>Richard Tauber</json:string><json:string>Franz Boaz</json:string><json:string>Lauritz Melchior</json:string><json:string>Florentine Camerata</json:string><json:string>Jazz Singer</json:string><json:string>Max Steiner</json:string></persName><placeName><json:string>Germany</json:string><json:string>Greece</json:string><json:string>Casablanca</json:string><json:string>Korea</json:string><json:string>Canada</json:string><json:string>Bali</json:string><json:string>American</json:string><json:string>Europe</json:string><json:string>Athens</json:string><json:string>America</json:string><json:string>Indonesia</json:string><json:string>Rome</json:string><json:string>HOLLYWOOD</json:string><json:string>Egypt</json:string><json:string>France</json:string><json:string>Wuthering Heights</json:string><json:string>Memphis</json:string><json:string>Italy</json:string><json:string>Ole</json:string><json:string>Spain</json:string><json:string>Palestrina</json:string></placeName><ref_url></ref_url><ref_bibl><json:string>Forget Me Not, 1934</json:string><json:string>Marin Mersenne, Harmonie Universelle, 1636</json:string><json:string>Buelow, 1980: 801</json:string><json:string>Rameau, 1722</json:string><json:string>Vincenzo Galilei, Dialogo, 1581</json:string><json:string>Rose et al. (1981)</json:string><json:string>[1854]</json:string><json:string>DeNora, 2000</json:string><json:string>cited in Walker, 1990: 75</json:string><json:string>Walker, 2001</json:string><json:string>The Great Caruso, 1951</json:string><json:string>Walker, 1990: 93</json:string><json:string>Youn, 1998</json:string><json:string>Scherer and Zentner (2001)</json:string><json:string>Butler, 1977</json:string><json:string>Williams and Aiken (1977)</json:string><json:string>Eagleton, 1990</json:string><json:string>Walker, 1987</json:string><json:string>Davidson, 2002</json:string><json:string>Lennenberg, 1958</json:string><json:string>Winn (1981: 3)</json:string><json:string>Strunk, 1965</json:string><json:string>Burke, 1995</json:string><json:string>Blossom Time: a romance to the music of Franz Schubert, 1934</json:string><json:string>Sadek, 1987</json:string><json:string>Leppert, 1988</json:string><json:string>[1818]</json:string><json:string>The Toast of New Orleans, 1950</json:string><json:string>Takashi, 1998</json:string><json:string>see Walker, 1990</json:string><json:string>The Principles of Music, 1636</json:string><json:string>Der volkommene Capellmeister, 1739</json:string><json:string>Cook, 1999</json:string><json:string>Cartwright, 1927</json:string><json:string>Stokes, 1994</json:string><json:string>Jan (2000)</json:string><json:string>Walker, 1997</json:string><json:string>Gould, 1989</json:string><json:string>Davies (2001)</json:string><json:string>Rose et al. 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These memes concern semantic systems for both the intentions of musicians and the expected behaviour of listeners. In which case, it is argued, studies of western musical behaviour are, in effect, studies of the extent of the cultural assimilation which has occurred in the individual or group. Experimental evidence is cited suggesting that there may be innate, perhaps universal, proclivities for cross-modal integration which provided the platform for the western musical semiotic to evolve. Cognitive psychology has tended to ignore the cultural origins of musical behaviour in its focus on structures, and recent sociological concerns in music and music psychology are concerned more with the social mechanics of identity and meaning construction than with the cultural source of such constructions. This article suggests that there would be nothing to construct without cultural memes transmitted over time and place.</p></abstract><textClass xml:lang="en"><keywords scheme="keyword"><list><head>KWD</head><item><term>cognitive psychology</term></item><item><term>cross-modal integration</term></item><item><term>cultural assimilation</term></item><item><term>innate behaviours</term></item><item><term>musical meaning</term></item><item><term>social psychology</term></item></list></keywords></textClass></profileDesc><revisionDesc><change when="2004-04">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/C56A331F87A82E98757A9F6738C946D2F526CE1C/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="other" dtd-version="2.3" xml:lang="en"><front><journal-meta><journal-id journal-id-type="hwp">sppom</journal-id><journal-id journal-id-type="publisher-id">POM</journal-id><journal-title>Psychology of Music</journal-title><abbrev-journal-title abbrev-type="publisher">Psychology of Music</abbrev-journal-title><issn pub-type="ppub">0305-7356</issn><issn pub-type="epub">1741-3087</issn><publisher><publisher-name>SAGE Publications</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="other">10.11770305735604041493</article-id><article-id pub-id-type="doi">10.1177/0305735604041493</article-id><article-id pub-id-type="publisher-id">10.1177_0305735604041493</article-id><article-categories><subj-group subj-group-type="heading"><subject>Journal Article</subject></subj-group></article-categories><title-group><article-title>Cultural Memes, Innate Proclivities and Musical Behaviour: A Case Study of the Western Traditions</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Walker</surname><given-names>Robert</given-names></name></contrib><aff>UNIVERSITY OF NEW SOUTH WALES</aff></contrib-group><pub-date pub-type="ppub"><month>04</month><year>2004</year></pub-date><volume>32</volume><issue>2</issue><fpage>153</fpage><lpage>190</lpage><permissions><copyright-year>2004</copyright-year></permissions><abstract xml:lang="en"><p>Western music, it is argued, is a cultural invention, and resulting behaviours are learned from the culturally disseminated <italic>memes</italic>emanating from Homer, through the historical development of western culture through the High Renaissance, and on to Hollywood and our modern entertainment media. These memes concern semantic systems for both the intentions of musicians and the expected behaviour of listeners. In which case, it is argued, studies of western musical behaviour are, in effect, studies of the extent of the cultural assimilation which has occurred in the individual or group. Experimental evidence is cited suggesting that there may be innate, perhaps universal, proclivities for cross-modal integration which provided the platform for the western musical semiotic to evolve. Cognitive psychology has tended to ignore the cultural origins of musical behaviour in its focus on structures, and recent sociological concerns in music and music psychology are concerned more with the social mechanics of identity and meaning construction than with the cultural source of such constructions. This article suggests that there would be nothing to construct without cultural memes transmitted over time and place.</p></abstract><kwd-group kwd-group-type="KWD" xml:lang="en"><kwd>cognitive psychology</kwd><kwd>cross-modal integration</kwd><kwd>cultural assimilation</kwd><kwd>innate behaviours</kwd><kwd>musical meaning</kwd><kwd>social psychology</kwd></kwd-group><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>hwp-legacy-fpage</meta-name><meta-value>153</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>hwp-legacy-dochead</meta-name><meta-value>Journal Article</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><ref-list><ref><citation xlink:type="simple"> Allen, T.W., Walker, K., Symonds, L. and Marcell, M. (<year>1977</year>) ‘Intrasensory and Intersensory Perception of Temporal Sequences During Infancy’ , <source>Developmental Psychology</source>
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Seoul: Korean Music Educational Society .</citation></ref></ref-list></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Cultural Memes, Innate Proclivities and Musical Behaviour: A Case Study of the Western Traditions</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Cultural Memes, Innate Proclivities and Musical Behaviour: A Case Study of the Western Traditions</title></titleInfo><name type="personal"><namePart type="given">Robert</namePart><namePart type="family">Walker</namePart><affiliation>UNIVERSITY OF NEW SOUTH WALES</affiliation></name><typeOfResource>text</typeOfResource><genre type="other" displayLabel="other" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</genre><originInfo><publisher>SAGE Publications</publisher><dateIssued encoding="w3cdtf">2004-04</dateIssued><copyrightDate encoding="w3cdtf">2004</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract lang="en">Western music, it is argued, is a cultural invention, and resulting behaviours are learned from the culturally disseminated memesemanating from Homer, through the historical development of western culture through the High Renaissance, and on to Hollywood and our modern entertainment media. These memes concern semantic systems for both the intentions of musicians and the expected behaviour of listeners. In which case, it is argued, studies of western musical behaviour are, in effect, studies of the extent of the cultural assimilation which has occurred in the individual or group. Experimental evidence is cited suggesting that there may be innate, perhaps universal, proclivities for cross-modal integration which provided the platform for the western musical semiotic to evolve. Cognitive psychology has tended to ignore the cultural origins of musical behaviour in its focus on structures, and recent sociological concerns in music and music psychology are concerned more with the social mechanics of identity and meaning construction than with the cultural source of such constructions. This article suggests that there would be nothing to construct without cultural memes transmitted over time and place.</abstract><subject lang="en"><genre>KWD</genre><topic>cognitive psychology</topic><topic>cross-modal integration</topic><topic>cultural assimilation</topic><topic>innate behaviours</topic><topic>musical meaning</topic><topic>social psychology</topic></subject><relatedItem type="host"><titleInfo><title>Psychology of music</title></titleInfo><titleInfo type="abbreviated"><title>Psychology of Music</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0305-7356</identifier><identifier type="eISSN">1741-3087</identifier><identifier type="PublisherID">POM</identifier><identifier type="PublisherID-hwp">sppom</identifier><part><date>2004</date><detail type="volume"><caption>vol.</caption><number>32</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>153</start><end>190</end></extent></part></relatedItem><identifier type="istex">C56A331F87A82E98757A9F6738C946D2F526CE1C</identifier><identifier type="ark">ark:/67375/M70-1XZ2PKNC-4</identifier><identifier type="DOI">10.1177/0305735604041493</identifier><identifier type="ArticleID">10.1177_0305735604041493</identifier><identifier type="local">10.11770305735604041493</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/C56A331F87A82E98757A9F6738C946D2F526CE1C/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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