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Evolutionary musicology is a subfield of biomusicology that grounds the cognitive mechanisms of music appreciation and music creation in evolutionary theory. It covers vocal communication in other animals, theories of the evolution of human music , and holocultural universals in musical ability and processing.
Evolutionary music is the audio counterpart to evolutionary art, whereby algorithmic music is created using an evolutionary algorithm.The process begins with a population of individuals which by some means or other produce audio (e.g. a piece, melody, or loop), which is either initialized randomly or based on human-generated music.
Biomusicology is the study of music from a biological point of view. The term was coined by Nils L. Wallin in 1991 to encompass several branches of music psychology and musicology, including evolutionary musicology, neuromusicology, and comparative musicology.
The Theory and Technique of Electronic Music (2007) Max (software), Pure Data: Philip Ewell: born 1966 Music Theory and the White Racial Frame (2020) Race in music, Russian and twentieth century music, as well as rap and hip hop [218] Ellie Hisama: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007)
Cognitive musicology (1 C, 25 P) P. Psychoacoustics ... Evolutionary musicology; G. Generative theory of tonal music; I.
Evolutionary musicology concerns the "origin of music, the question of animal song, selection pressures underlying music evolution", and "music evolution and human evolution". [53] It seeks to understand music perception and activity in the context of evolutionary theory .
Musicology (from Greek μουσική mousikē 'music' and -λογια-logia, 'domain of study') is the scholarly study of music.Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science.
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...