Tarazona 2/3, a cathedral manuscript preserving mostly the music of Peñalosa and his Spanish contemporaries, contains one motet, with the text ‘Ave festiva ferculis’, attributed to ‘Jusquin’. It is a strange piece of music, clearly not the work of Josquin des Prez, but also very unusual within the manuscript, and its misattribution suggests that Josquin's actual music was not a familiar icon in Spain c.1530. This impression is supported by the sources, which reveal a real Spanish Josquin craze beginning in the 1540s, but a much spottier picture, emphasizing the early sacred music, in the decades before. Josquin's strong influence on Spanish music came late.

‘Memetics’, a concept most elegantly expounded by Richard Dawkins in The Selfish Gene, asserts that human culture consists of a multitude of units transmitted between individuals by imitation and subject to evolutionary pressures. Such particles, ‘memes’, are broadly analogous to the genes of biological transmission. Four late pieces of Mozart's, including Pamina's aria ‘Ach ich fühl's’ from Die Zauberflöte, are examined in terms of the meme concept and a conglomeration, or ‘memeplex’, consisting of seven memes is identified within them. The nature of the musical memeplex, in this specific case and also more generally, is considered, particularly from the perspective of its location at different levels of the structural hierarchy. The evolutionary history of some of Mozart's memes is examined with reference to selected passages from works of the eighteenth and nineteenth centuries. Finally, relationships between the musical memes under investigation and memes in the verbal-conceptual realm are explored.

This article challenges two tenets of Falla scholarship: that the composer made use of a system of chord generation based on the harmonic series, and that he learnt this technique from Louis Lucas's L'acoustique nouvelle (Paris, 1854). The author demonstrates that Lucas's theories are largely unconcerned with the harmonic series and that Falla's use of ‘natural resonance’ has been misunderstood. Study of Falla's work, including manuscripts and writings (published and unpublished), reveals the true nature of Lucas's influence. Consideration is also given to Falla's role in the creation of this false orthodoxy.

Drawing on writings concerning the cyborg and the posthuman, this article considers songs by Radiohead, Moby and others that use processed voices, digitally generated speech and sampled vocal loops. In these songs the technological sphere is made the locus of expression, while the human voices are mechanized and drained of subjectivity. These pieces – products of a rock band that relinquishes its voice to a computer, and of a ‘techno’ DJ striving to make mechanized dance music sing – can illustrate some ways musicians have used posthuman voices to chart and destabilize the boundaries of race, gender and the human.