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  What Did
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  Music
and Lyrics
  That You Don't Know?

   
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   About the Author,
   Wayne Chase

  
  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   Reviews
 
 

  

   About the Author,
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   Reviews
 
 

  

   About the Author,
   Wayne Chase

  
  

 

 

 

 

 


  

  
  CHAPTER 1:
  What Music REALLY Is, Who Makes
  It, Where, When, Why
  _______________________________
  
  Chapter Index


 

FRIENDLY ADVISORY in case you landed on  this page without having read the Introduction . . . Please read the Introduction first—it'll only take a few minutes—as it clarifies the focus of this book (and a few other things).


 

1.0.1 Piquing the Polarized


1.1  What Is Music?

1.1.1 Biological, Not Mystical


1.2  Who Makes Music?

1.2.1 Hootin’ and Howlin’: How Animal Sounds Differ from Other Sounds in Nature

1.2.2 Hootin’ and Howlin’: Instinctive vs Learned

1.2.3 Human Soundmaking: Discrete Pitches (No More Hootin’ and Howlin’)

1.2.4 Human Soundmaking: Entrainment (That’s En-train-ment, Not Entertainment)


1.3  Where Does Music Come From?

1.3.1 Not out of Thin Air: Music Comes from Evolved Brain “Modules”

1.3.2 You Were Born with a Personality

1.3.3 Modules Ain’t Computers

1.3.4 Evidence for Brain Modularity

1.3.5 Where in the Brain? Music Modules in Infants

1.3.6 Where in the Brain? Modularity and Universal Musical Grammar

1.3.7 Where in the Brain? Lateralization in Animals and Humans

1.3.8 Where in the Brain? Lateralization and Music

1.3.9 Where in the Brain? Amusia

1.3.10 Where in the Brain? Modularity and Universal Linguistic Grammar

1.3.11 Where in the Brain? FOXP2 and MYH16

1.3.12 Where in the Brain? Aphasia

1.3.13 The Combinatorial Nature of Music and Language

1.3.14 How Plastic Is Your Brain?

1.3.15 Mentalese: Thinking Without Language

1.3.16 Animal Intelligence and Culture

1.3.17 Nowhere in the Brain: The “Blank Slate” Myth

1.3.18 Cultural Relativism

1.3.19 A Desert Island Thought Experiment

1.3.20 The Nonsense of Biological Determinism and Social Determinism

1.3.21 Human Universals

1.3.22 “The Genes Hold Culture on a Leash”

1.3.23 Inhuman Music of the Biologically Uninformed: Postmodernism

1.3.24 Musical Universals

1.3.25 How Much Is Music Innate, How Much Is it Culturally Acquired?

1.3.26 Where Is Music? Woven In the Fabric of Life Globally


1.4  When Did Music Get Started?

1.4.1 The “When” Question: Science vs Religion

1.4.2 Religious and Political Assaults on Music

1.4.3 Ultimate Origin of the Adaptation for Music: Common Descent

1.4.4 Timeline of Musical Evolution

1.4.5 Did Music and Language Co-evolve? Similarities Between Music and Language

1.4.6 Did Music and Language Co-evolve? Evidence from Studies of Animals

1.4.7 Did Music and Language Co-evolve? Evidence from Studies of Children

1.4.8 Why Your “Modern” Brain Hasn’t Changed in 50,000 to 100,000 Years

 

1.5  Why Is There Such a Thing as Music?

1.5.1 Darwinian Evolution and Adaptations (Including Music)

1.5.2 Dawkins’ “Selfish Gene”: Gene’s-eye View of Evolution

1.5.3 Hootin’ and Howlin’ Revisited: Sound as a Signalling Device in Animals

1.5.4 Music as an Adaptation for Mother-infant Communication: We’re All “Preemies” at Birth

1.5.5 Music as an Adaptation for Mother-infant Communication: “Motherese”

1.5.6 Music as an Adaptation for Social Bonding: Survival Through Cooperation

1.5.7 Music as an Adaptation for Social Bonding: Evidence from Studies of Children and Animals

1.5.8 Music as an Adaptation for Social Bonding: Grooming, Troop Size, and Dunbar’s Number

1.5.9 Music as an Adaptation for Social Bonding: Coalition Signalling

1.5.10 Music as an Adaptation Shaped by Sexual Selection: Sex Differences and the Innate Taboo

1.5.11 Music as an Adaptation Shaped by Sexual Selection: Sex Differences vs Race Differences

1.5.12 Music as an Adaptation Shaped by Sexual Selection: Evidence from Studies of Animals

1.5.13 Music as an Adaptation Shaped by Sexual Selection: Differences in Male-Female Cognitive Specializations

1.5.14 Music as an Adaptation Shaped by Sexual Selection: Proportions of Male and Female Musicians

1.5.15 Why Is There Such a Thing as Music? Probably “All of the Above”

 

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You are reading the FREE SAMPLE Chapters 1 through 6 of the acclaimed 12-Chapter book, How Music REALLY Works!, 2nd Edition. Here's what's in Chapters 7 through 12. 

 

To order the book, click here:

  

  

 

 

 TABLE OF
 CONTENTS
  

 PART I

 The Big Picture
   Introduction
 
  1. W-5 of Music
   2. Pop Music
   
    Industry

  

 PART II
 Essential
 Building Blocks
 of Music
    3.
Tones/Overtones
    4. Scales/Intervals
    5. Keys/Modes

  

 PART III
 How to Create
 Emotionally
 Powerful Music
 and Lyrics
    6. Chords/
  
      Progressions

    7. Pulse/Meter/
  
      Tempo/Rhythm

    8. Phrase/Form
    9. Melody
  10. Lyrics
  11. Repertoire/
     
  Performance

   

 PART IV
 Making a
 Living In Music
  12. Business of
   
     Music

 
 Appendixes

  

 Notes

  

 References

  

 Index
  


 

 

 

 

 

 

 

 

 

 

 

 

 

 

   Top

 

 

 

 

 

 

 

 

 

 

 

 

 

 


    

 TABLE OF
 CONTENTS

  

 PART I

 The Big Picture
   Introduction

   1. W-5 of Music
  
2. Pop Music
   
    Industry

  
 PART II
 Essential
 Building Blocks
 of Music
   3.
Tones/Overtones
   4. Scales/Intervals
   5. Keys/Modes
 
 PART III
 How to Create
 Emotionally
 Powerful Music
 and Lyrics
   6.
Chords/
  
      Progressions

   7. Pulse/Meter/
  
      Tempo/Rhythm

   8. Phrase/Form
   9. Melody
 10. Lyrics
 11. Repertoire/
     
  Performance

  

 PART IV
 Making a
 Living In Music
 12.
Business of
   
     Music

 
 Appendixes

   

 Notes

   

 References

  

 Index
  


 

 

 

 

 

 

 

 

   Top

 


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