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1 Theme The Search for the Universal -- 2 Analysis Distributional analysis, advantages and limitations Its provisional relevance in the search for archetypes -- 3 Animal polyphonies Universality of polyphonies Analogy with animal choirs and duets Possible purposes -- 4 Archetype Where to look for the models of human musical nature? -- 5 Convergence Analogies or homologies between animal signals and human music The shortcomings of culturalism, and in particular of diffusionism -- 6 Fixed forms The formal organisations of poems are sonorous and concern the problem of the common origins of music and language The forms of repetition constitute their essential part -- 7 Genotype Shorthand and programmes Animal and human examples of alternation and conflict -- 8 Innate Interaction of the innate and the acquired Archetypes as innate schemes -- 9 Language and music Hypothesis of common origin, explaining strong formal analogies Mantras, glossolalies, lettrism Language models for the composer -- 10 Litany Close union of language and music in the litany The four magical, laudative, didactic and rhetorical functions, and their links with musical forms -- 11 Models Pure music or external models Antiquity of problems, from Plato to Rousseau Global models and analysis -- 12 Modernity Modernity and individualism Post-modernity and pastism -- 13 Myth Mythical level and archetype Evolutionism and transmission of archetypes Myth as a minimum common to all cultures -- 14 Nature Noise and nature Culturalism and naturalism Third phenomenological way -- 15 Ostinato Primary impulses and cultural developments of ostinato -- 16 Phenotype: The universality of certain sound forms refers to universal processes These alone can explain the very strong similarities found in cultures with no historical contacts -- 17 Playing music Communication and playing associated with the source of the music Music and sound ecology -- 18 Refrain Refrain and stanza Formalism and expression across different languages and poetic and musical styles Problems of multiple and varied refrains The refrain as a way of controlling time -- 19 Repetition A musical universal of primary importance A musician's reading of some metaphysicians and aestheticians Repetition, innovation, learning: music as an image of life -- 20 Speaking instruments A brief overview of whistled and drummed languages, etc, at the crossroads of play, language and music -- 21 Strophe A universal form, also present in many bird songs Phenotype or genotype? -- 22 Style From impersonal archetype to originality Archetypes and stereotypes: the need for a hierarchy of values -- 23 Universal The need for a universal musicology Methods of approach and criteria of universality: phenotypes, genotypes, archetypes -- 24 Variation Synthesis of myth and history The "material" as a reification of schemas from the unconscious, and variation as a conscious treatment Failure of music where nothing varies as well as music where everything varies Universality of certain processes of variation -- 25 Zoömusicology New bioacoustic knowledge and musicological skills Distributional analysis and acoustic and functional categorisation Animal syntagms and paradigms, musical analogies. |