Category: Music

Why don’t they compose music like Bach any more?

by  Tyler Cowen in

Well, they do, or at least they did once.  I am thinking of a recent recording by Nikolaus Matthes, namely Markus Passion, which fills 3 compact discs and sounds remarkably like a Passion from Bach’s time.  It could even be by Bach.  The text is from the time of Bach.  Yet Matthes was born in 1981.

To be clear, it does not rival Bach’s best work, but I have no problems comparing it to a median Bach cantata, which still is pretty good.  It is also better than many of the works by Bach’s contemporaries, including the better-known ones.

And yet no one cares.  Have you heard of this work before?  How many times will you hear of it from now on?

Perhaps you doubt my judgment as to the quality of this work?  Well, you might check out Fanfare, the world’s number one classical music review outlet.  Fanfare gives the work six distinct reviews.

Colin Clarke for instance wrote: “But does it work?  Absolutely.  This is the most remarkable Baroque music of our time — by which I mean this does not feel like the 21st century looking back, instead, it feels as if it were written back in Bach’s time, with the exception of the odd detour forwards.  Most of the time, it could be music written by Bach himself, and I can offer no higher praise to Matthes’s achievement.”

Or from David Cutler: “…Matthes has accomplished something marvelous.  It has more than a hint of Bach, but is it Bach?  The jury must be out on that, but is that not the idea?”

James A. Altena writes: “In sum, both the work itself and this performance are a complete triumph, and do full and worthy honor to Bach.  I cannot think of higher praise than that.”

All the reviewers are very positive, as was a composer friend of mine who listened to the piece.  The home page for the work offers further positive reviews.  And no, I don’t like Prokofiev’s “Classical” Symphony.

You can buy it on German Amazon, and a few other places, streaming links here.

I feel I need to update some of my views on aesthetics, I am just not sure which ones.  And who exactly is Matthes?  Is this another Ossian thing, or rather the inverse?

My excellent Conversation with Brian Winter

by  Tyler Cowen in

Here is the video, audio, and transcript.  Here is the episode summary:

It’s not just the churrasco that made him fall in love with Brazil. Brian Winter has been studying and writing about Latin America for over 20 years. He’s been tracking the struggles and triumphs of the region as it’s dealt with decades of coups, violence, and shifting economics. His work offers a nuanced perspective on Latin America’s persistent challenges and remarkable resilience.

Together Brian and Tyler discuss the politics and economics of nearly every country from the equator down. They cover the future of migration into Brazil, what it’s doing right in agriculture, the cultural shift in race politics, crime in Rio and São Paulo, the effectiveness and future consequences of Bukele’s police state in El Salvador, the economic growth of Colombia despite continued violence, the prevalence of startups and psychoanalysis in Argentina, Uruguay’s reduction in poverty levels, the beautiful ugliness of Sao Paulo, where Brian will explore next, and more.

And here is one excerpt;

COWEN: What’s the economic geography of Brazil going to look like? All the wealth near Mato Grosso and the north just very, very poor? Or the north empties out? How’s that going to work? There used to be some modest degree of balance.

WINTER: That’s true. Most of the population in Brazil and the economic center, for sure, was in the southeast. That means, really, São Paulo state, which is about a quarter of Brazil’s population but roughly a third of its GDP. Rio as well, and the state of Minas Gerais, which has a name that tells its history. That means “general mines” in Portuguese. That’s the area where a lot of the gold came out of in the 18th and 19th centuries. That’s gone now, so it’s not as much of an economic pull.

You’re right, Tyler, though, that a lot of the real boom right now, the action, is in places like Mato Grosso, which is in the region of Brazil called the Central West. That’s soy country. I’m from Texas, and Mato Grosso is virtually indistinguishable from Texas these days. It’s hot. It’s flat. The crop, like I said, is soy. There’s cattle ranching as well.

Even the music — Brazil, as others have noted, has gone from being the country of bossa nova and the samba in the 1970s to being the country of sertanejo today. Sertanejo is a Brazilian cousin of country music with accordions, but it’s sung by people — men mostly — in jeans, big belt buckles, and cowboy hats. They’re importing that — not only that economic model but that lifestyle as well.

COWEN: What is the great Brazilian music of today? MPB is dead, right? So, what should someone listen to?

Recommended, interesting throughout.

Where are the female composers?

by  Tyler Cowen in

Ludwig van Beethoven, Johann Sebastian Bach, and Frederic Chopin are household names, but few will recognize Francesca Caccini, Elisabeth Lutyens or Amy M. Beach, who are among the top-10 female composers of all time. Why are female composers overshadowed by their male counterparts? Using novel data on over 17,000 composers who lived from the sixth to the twentieth centuries, we conduct the first quantitative exploration of the gender gap among classical composers. We use the length of a composer’s biographical entry in Grove Music Online to measure composer prominence, and shed light on the determinants of the gender gap with a focus on the development of composers’ human capital through families, teachers, and institutionalized music education. The evidence suggests that parental musical background matters for composers’ prominence, that the effects of teachers vary by the gender of the composer but the effects of parents do not, and while musician mothers and female teachers are important, they do not narrow the gender gap in composer prominence. We also find that the institutionalization of music education in conservatories increases the relative prominence of female composers.

That is from a new research paper by Karol Jan Borowiecki, Martin Hørlyk Kristensen, and Marc T. Law, via K.

The best business books aren’t in the management section

by  Tyler Cowen in

I expand on this theme in my latest Bloomberg column, here is one excerpt from that:

I thus have a modest proposal for anyone interested in business books: Read books about specific businesses or industries that you already know a lot about. That way, you will have enough contextual knowledge for the book to be meaningful. Of course many people don’t work at a company or industry big or famous enough that there are books about it, so I have a corollary proposition: You will learn the most about management by reading books about sports and musical groups.

And this:

Many music and sports books are not only written for obsessed fans, but also written by obsessed fans. Traditional business books, in contrast, are frequently written to get consulting work or on to the speaker’s circuit. The incentive is not to offend anybody and to put forward some “least common denominator” insights, rather than say anything truly original that might be complicated to explain. The end result is a bookstore section that would be mind-numbing to have to read.

There is much more of interest at the link, recommended.

My Conversation with the excellent Michael Nielsen

by  Tyler Cowen in

Here is the audio, video, and transcript.  Here is the episode summary:

Michael Nielsen is scientist who helped pioneer quantum computing and the modern open science movement. He’s worked at Y Combinator, co-authored on scientific progress with Patrick Collison, and is a prolific writer, reader, commentator, and mentor. 

He joined Tyler to discuss why the universe is so beautiful to human eyes (but not ears), how to find good collaborators, the influence of Simone Weil, where Olaf Stapledon’s understand of the social word went wrong, potential applications of quantum computing, the (rising) status of linear algebra, what makes for physicists who age well, finding young mentors, why some scientific fields have pre-print platforms and others don’t, how so many crummy journals survive, the threat of cheap nukes, the many unknowns of Mars colonization, techniques for paying closer attention, what you learn when visiting the USS Midway, why he changed his mind about Emergent Ventures, why he didn’t join OpenAI in 2015, what he’ll learn next, and more. 

And here is one excerpt:

COWEN: Now, you’ve written that in the first half of your life, you typically were the youngest person in your circle and that in the second half of your life, which is probably now, you’re typically the eldest person in your circle. How would you model that as a claim about you?

NIELSEN: I hope I’m in the first 5 percent of my life, but it’s sadly unlikely.

COWEN: Let’s say you’re 50 now, and you live to 100, which is plausible —

NIELSEN: Which is plausible.

COWEN: — and you would now be in the second half of your life.

NIELSEN: Yes. I can give shallow reasons. I can’t give good reasons. The good reason in the first half was, so much of the work I was doing was kind of new fields of science, and those tend to be dominated essentially, for almost sunk-cost reasons — people who don’t have any sunk costs tend to be younger. They go into these fields. These early days of quantum computing, early days of open science — they were dominated by people in their 20s. Then they’d go off and become faculty members. They’d be the youngest person on the faculty.

Now, maybe it’s just because I found San Francisco, and it’s such an interesting cultural institution or achievement of civilization. We’ve got this amplifier for 25-year-olds that lets them make dreams in the world. That’s, for me, anyway, for a person with my personality, very attractive for many of the same reasons.

COWEN: Let’s say you had a theory of your collaborators, and other than, yes, they’re smart; they work hard; but trying to pin down in as few dimensions as possible, who’s likely to become a collaborator of yours after taking into account the obvious? What’s your theory of your own collaborators?

NIELSEN: They’re all extremely open to experience. They’re all extremely curious. They’re all extremely parasocial. They’re all extremely ambitious. They’re all extremely imaginative.

Self-recommending throughout.

My Conversation with the excellent Coleman Hughes

by  Tyler Cowen in

Here is the audio, video, and transcript.  Here is part of the episode summary:

Coleman and Tyler explore the implications of colorblindness, including whether jazz would’ve been created in a color-blind society, how easy it is to disentangle race and culture, whether we should also try to be ‘autism-blind’, and Coleman’s personal experience with lookism and ageism. They also discuss what Coleman’s learned from J.J. Johnson, the hardest thing about performing the trombone, playing sets in the Charles Mingus Big Band as a teenager, whether Billy Joel is any good, what reservations he has about his conservative fans, why the Beastie Boys are overrated, what he’s learned from Noam Dworman, why Interstellar is Chris Nolan’s masterpiece, the Coleman Hughes production function, why political debate is so toxic, what he’ll do next, and more.

Here is one excerpt:

COWEN: How was it you ended up playing trombone in Charles Mingus Big Band?

HUGHES: I participated in the Charles Mingus high school jazz festival, which they still do every year. It was new at the time. They invite bands from all around to audition, and they identify a handful of good soloists and let them sit in for one night with the band. I sat in with the band, and the band leader knew that I lived close by in New Jersey, and so essentially invited me to start playing with the band on Monday nights.

I was probably 16 or 17 at this point, so I would take the NJ Transit into New York City on a Monday night, play two sets with the Mingus Band sitting next to people that had been my idols and were now my mentors — people like Ku-umba Frank Lacy, who is a fantastic trombone player; played with Art Blakey and D’Angelo and so forth. Then I would go home at midnight and go to school on Tuesday morning.

COWEN: Why is the music of Charles Mingus special in jazz? Because it is to me, but how would you articulate what it is for you?

Here is another:

COWEN: If I understand you correctly, you’re also suggesting in our private lives we should be color-blind.

HUGHES: Yes. Broadly, yes. Or we should try to be.

COWEN: We should try to be. This is where I might not agree with you. So I find if I look at media, I look at social media, I see a dispute — I think 100 percent of the time I agree with Coleman, pretty much, on these race-related matters. In private lives, I’m less sure.

Let me ask you a question.

HUGHES: Sure.

COWEN: Could jazz music have been created in a color-blind America?

HUGHES: Could it have been created in a color-blind America — in what sense do you mean that question?

COWEN: It seems there’s a lot of cultural creativity. One issue is it may have required some hardship, but that’s not my point. It requires some sense of a cultural identity to motivate it — that the people making it want to express something about their lives, their history, their communities. And to them it’s not color-blind.

HUGHES: Interesting. My counterargument to that would be, insofar as I understand the early history of jazz, it was heavily more racially integrated than American society was at that time. In the sense that the culture of jazz music as it existed in, say, New Orleans and New York City was many, many decades ahead of the curve in terms of its attitudes towards how people should live racially: interracial friendship, interracial relationship, etc. Yes, I’d argue the ethos of jazz was more color-blind, in my sense, than the American average at the time.

COWEN: But maybe there’s some portfolio effect here. So yes, Benny Goodman hires Teddy Wilson to play for him. Teddy Wilson was black, as I’m sure you know. And that works marvelously well. It’s just good for the world that Benny Goodman does this.

Can it still not be the case that Teddy Wilson is pulling from something deep in his being, in his soul — about his racial experience, his upbringing, the people he’s known — and that that’s where a lot of the expression in the music comes from? That is most decidedly not color-blind, even though we would all endorse the fact that Benny Goodman was willing to hire Teddy Wilson.

HUGHES: Yes. Maybe — I’d argue it may not be culture-blind, though it probably is color-blind, in the sense that black Americans don’t just represent a race. That’s what a black American would have in common — that’s what I would have in common with someone from Ethiopia, is that we’re broadly of the same “race.” We are not at all of the same culture.

To the extent that there is something called “African American culture,” which I believe that there is, which has had many wonderful products, including jazz and hip-hop — yes, then I’m perfectly willing to concede that that’s a cultural product in the same way that, say, country music is like a product of broadly Southern culture.

COWEN: But then here’s my worry a bit. You’re going to have people privately putting out cultural visions in the public sphere through music, television, novels — a thousand ways — and those will inevitably be somewhat political once they’re cultural visions. So these other visions will be out there, and a lot of them you’re going to disagree with. It might be fine to say, “It would be better if we were all much more color-blind.” But given these other non-color-blind visions are out there, do you not have to, in some sense, counter them by not being so color-blind yourself and say, “Well, here’s a better way to think about the black or African American or Ethiopian or whatever identity”?

Interesting throughout.

Culture splat (a few broad spoilers)

by  Tyler Cowen in

Challengers is a good and original movie.  Imagine a 2024 rom com, except the behavior and conventions actually are taken from 2024, and with no apologies.  The woman says the word “****ing” a lot, and no one treats this as inappropriate or unusual.  There is bisexuality and poly.  Society is feminized.  Of course opinions will differ on these cultural issues, but the movie is made with conviction and so it is truly a tale of modern romance.  Who in the movie is in fact the emptiest shell?  Opinions will differ.

Zendaya dominates the screen  — for how long has it been since we have had an actress this central and this charismatic?

Also, I quite like the new Beyonce album, and Metaculus estimates the chance of an H5N1 pandemic at about two percent.

What should I ask Brian Winter?

by  Tyler Cowen in

Yes I will be doing a Conversation with him.  Here is his bio:

Brian Winter is the editor-in-chief of Americas Quarterly and a seasoned analyst of Latin American politics, with more than 20 years following the region’s ups and downs. He lived in Brazil, Argentina and Mexico as a correspondent for Reuters before taking on his current role in New York, where he is also the vice president of policy for the Americas Society and Council of the Americas. He has been called “the best foreign expert on Brazil of this moment” by GloboNews. Brian is the author of several books including Why Soccer Matters, a New York Times bestseller he wrote with the Brazilian soccer legend Pelé; The Accidental President of Brazil, co-authored with President Fernando Henrique Cardoso; and Long After Midnight, a memoir about trying (and failing) to learn to tango in Argentina. He is a regular contributor to television and radio, the host of the Americas Quarterly Podcast and a prolific barbecuer and chef. Proficient in Spanish and Portuguese, Brian speaks frequently about Latin America’s past, present and future to investors and general-interest audiences. Follow him on Twitter @BrazilBrian

So what should I ask him?

My review of Suno, AI-generated music

by  Tyler Cowen in

Try it here, click on the right on the mention of making full, two-minute songs and use the Explore tab.  To me it is remarkable the resulting AI-generated music is as good as it is.  But it still isn’t anything I would listen to, other than out of curiosity.  It is best at edm, standardized genres such as routine heavy metal, and certain ethnic musics, especially if “the affect” can be created by methods of layering.  Its weakness is an ability to generate the simple, memorable melody, a’la Sir Paul or the other Paul namely Paul Simon.  For my taste there is “not enough music in the music.”  Suno cannot yet create the ineffable something, which is what I listen to music for.

That said, it is not worse than what most people listen to.  It remains to be seen at what pace progress will be made, or whether current approaches, extrapolated to allow for further improvement, can get us to real music, rather than stuff that sounds like music.