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18/050/08

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Daft
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Music and Memetics-extracted from the web

...few people actually experience musical compositions as such, in the sense of constituting them as fully co-ordinated, objective structures. Unless they have both the training and the inclination to track the form of a piece of music in theoretical terms as they listen, people experience recurrence without actually observing what it is that recurs; they experience coherence but not the unitary organization in terms of which a theorist or analyst would explain that coherence. People enjoy musical compositions, in other words, without really perceiving them at all; rather than listening to them...they "just listen."

...to see works as objectified expressions of composers that prior to compositional activity did not exist. We do not treat works as objects just made or put together, like tables and chairs, but as original, unique products of a special, creative activity. We assume, further, that the tonal, rhythmic, and instrumental properties of works are constitutive of structurally integrated wholes that are symbolically represented by composers in scores. Once created, we treat works as existing after their creators have died, and whether or not they are performed or listened to at any given time. We treat them as artefacts existing in the public realm, accessible in principle to anyone who cares to listen to them. And when called, finally, to give examples of works, we usually look to the tradition of western, European, classical, "opus" music, to works, in other words, of a "purely instrumental" or "absolute" sort.
Memes, like genes, are selected against the background of other memes in the meme pool. The result is that gangs of mutually compatible memes - coadapted meme complexes or memeplexes - are found cohabiting in individual brains. This is not because selection has chosen them as a group, but because each separate member of the group tends to be favoured when its environment happens to be dominated by the others.

New memes, such as novel chord patterns, rhythmic changes, or alterations in instrumentation are subject to scrutiny as to how they cohere with the pre-existing whole. Sudden innovation is not permitted but small innovations may cumulatively have large results.

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