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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.

Looking at musical globalization and vocal music, this collection of essays studies the complex relationship between the human voice and cultural identity in 20th- and 21st-century music in both East Asian and Western music. The authors approach musical meaning in specific case studies against the background of general trends of cultural globalization and the construction/deconstruction of identity produced by human (and artificial) voices. The essays proceed from different angles, notably sociocultural and historical contexts, philosophical and literary aesthetics, vocal technique, analysis o

The purpose of this investigation is to resolve an almost half a century old debate about the ethics in music and the extent of freedom of artistic expression. This debate originates in a few thousand year-old discourse which held the interests of a social group higher than the music preference of an individual, which has now completely reversed. The arguments for censorship of emotional expression in music that prevailed during Antiquity and Christianity, up until the 19th century, became ideologically tainted by what was perceived as communist propaganda, and was therefore downplayed in the middle of the 20th century. Today, the argument for individual freedom in music preference for production and consumption, has evolved into the status quo of Western music industry. However, unrestrained usage of music is found to lead to substantial increase in aggressive content in music which today constitutes about a fifth of the music products consumed in the U.S. This paper implements a number of approaches to draw a perspective view on the connection between violence in music and violence in society. It provides an insight into the causes for why violent music is cultivated, as well as the causes for persistent denial of ties between violent music and violent behavior that characterizes public consensus and opinion of music scholars.

"Since the first edition was published in 2009, Patrik Wikström's book has become a go-to text for students and scholars. This thoroughly updated third edition provides an international overview of the music industry and its future prospects in the world of global entertainment"--

Focusing on social science perspectives on popular music since the late 1970s with 'the Cultural Turn', this set covers the work of Simon Frith, Larry Grossberg, Andy Bennett, Keith Negus and many more, and provides a distillation of the best academic work published on popular music

Migrants bring music from the homeland to the metropolis. But music also migrates via the media: 'world' music, hip hop, bossa nova ... With case studies from across the world this ground-breaking collection shows how migrating music is key to the construction of a still-emerging, global cosmopolitan imagination.

The music industries hinge on entrepreneurship. The recent, rapid convergence of media and the parallel ongoing evolution of music businesses have again seen the focus shift to independent companies and individual entrepreneurs. Opportunities tend not to be advertised in professional music and practically everyone begins on their own: forming a band, starting a record label, running events, or building a website. But it's not an easy territory to navigate or get a handle on. This book features an analysis of the changing landscape of the music industries and the value of the entrepreneur within them through a series of focused chapters and case studies

Although music is often talked about as having one political agenda or another, in Western art music these features are generally thought to be distinct from the "music itself." As straightforward a proposition as this might seem to a reader fully acculturated to the contemporary music ideology, it is not the only possible way of conceiving of music as a social force. There exists music whose aesthetic merits are completely indistinguishable from its social function. More accurately, there exists an attitude about music in which it is not thought of as occupying a separate sphere with autonomous aesthetic principles. This paper creates a theoretical framework with these two attitudes at its extremes: absolute music and what I shall call "contingent" music. This theoretical framework has interesting historical antecedents, and is a useful way of thinking about some of modern music's ideological conflicts. It is also an important part of my own work as a composer, and this paper concludes by describing the way in which the absolute-contingent opposition informs three of my own compositions.

When the Stockton & Darlington Railway opened in 1825, it was the first steam-powered railway to carry passengers. Since then there has been no shortage of music connected with trains and railways: orchestral pieces and popular songs describing railway journeys; those that celebrate the opening of a new line; worksongs and blues describing the hardship of building the railroads, even the first use of sampled music used railway sounds as its source. The railway has inspired countless pieces of music from the pastoral serenity of the Flanders and Swann song 'Slow train' to the shrieking horror of holocaust trains in Steve Reich's Different Trains. This is the first book to give a comprehensive coverage of music connected with the railways.

In the nineteenth century, thousands of miles of railway lines transformed time, space and distance. Across Europe composers celebrated with music such as waltzes and polkas, cantatas, piano pieces and saucy music hall songs. Moving into the twentieth century, iconic twentieth-century works, such as Britten's Night Mail and Honegger's Pacific 231, captured the sounds of locomotives. Railways and trains are so deeply ingrained in the popular imagination that they feature in hundreds, possibly thousands, of popular songs. In North America, early railroad songs told of hoboes, heroes, villains, and train wrecks and the sounds of the railroad were heard in boogie-woogie, blues, gospel, jazz, and rock music. In total, this book describes over 50 pieces of classical music and covers more than 250 popular songs.

Migrating music / Jason Toynbee -- Migrants -- Migrant/migrating music and the Mediterranean / Martin Stokes -- "My own little Morocco at home": a biographical account of migration, mediation, and music consumption / Carolyn Landau -- "Realness": authenticity, innovation, and prestige among young danseurs Afros in Paris / Laura Steil -- Translations -- Ridiculing rap, funlandizing Finns?: humour and parody as strategies of securing the ethnic other in popular music / Antti-Ville Kärjä -- Hip-hop Tehran: migrating styles, musical meanings, marginalised voices / Laudan Nooshin -- "Un homme et une femme": voyage via "Barquinho" to Hollywood and beyond: global circulation, musical hybridization, and adult modernity, 1961-69 / Keir Keightley -- Media -- What migrates and who does it?: a mini case study from Fiji / Ruth Finnegan -- Migrating music and good-enough cosmopolitanism: encounter with Robin Denselow and Charlie Gillett / Kevin Robins -- Ports of call: an ethnographic analysis of music programmes about the migration of people, musicians, genres and instruments, BBC World Service, 1994-1995 / Jan Fairley -- Music, migration, and war: the BBC's interactive music broadcasting to Afghanistan and the Afghan diaspora / John Baily, Goldsmiths -- Cities -- Cavern journeys: music, migration and urban space / Sara Cohen -- "New York comes to Groningen": jazz star circuits in the Netherlands / Kristin McGee -- "Brown boys doing it like this": Asian cultural production and London's Asian urban music scene / Helen Kim