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Streaming and Money
mwillems:
--- Quote from: kstuart on July 29, 2015, 02:26:00 pm ---99% of the music made in the 21st Century is imitations of 20th Century forms. There are 21st Century bands of young musicians who play "60s Psychedelia" or "80s Hair Band". Almost all new jazz musicians do imitations of mid-60s Miles Davis.
There is 1% new music, but it is quite limited to certain specific genres...
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--- Quote from: kstuart on July 29, 2015, 01:47:11 pm ---All current music styles are generally thought to be "crap" when people get older. For the last 100 years, parents have always thought their children's music "sounds like noise".
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I think you're falling into your own trap ;D
A great deal of 20th century music was effectively imitating earlier music (the rolling stones recycling old blues, country music aping old time, folk music imitating folk music, etc.). Many of the most famous names of 20th century music (Bob Dylan, the Stones, Elvis, the Beatles, Bowie, Miles Davis) were imitators of previous forms (at least at the start). The difference is that many people didn't have ready reference to recordings of the earlier music being imitated in the 20th century, so it sounded completely "new" as opposed to just incrementally new. Music has always been about imitation and subtle recreation, but we have a much larger recorded past to draw on now. There's only ever 1% of music that's truly "new," except during periods when new instruments or sound technology are invented (like the introduction of synthesizers, electric instruments, or sequencing).
I don't dispute that a fair proportion of modern music draws heavily on older music. I do dispute that that's anything new. And FWIW some of my favorite 21st century music sounds very little like anything made in the 20th century :P
kstuart:
--- Quote from: mwillems on July 29, 2015, 02:50:14 pm ---A great deal of 20th century music was effectively imitating earlier music (the rolling stones recycling old blues, country music aping old time, folk music imitating folk music, etc.). Many of the most famous names of 20th century music (Bob Dylan, the Stones, Elvis, the Beatles, Bowie, Miles Davis) were imitators of previous forms (at least at the start).
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Yes, there was certainly the "white guys playing black music for white audiences" thing, and like everything in the 60's, it was done previously in the 20's. ;)
But it is certainly true for the Stones and Elvis throughout their career.
The other four are bad examples, because while Dylan, the Beatles, Bowie and Miles Davis all started out doing the same music as their childhood musical idols, all four were great examples of creating entirely new musical styles and genres. All four actively tried to use new musical techniques and create new types of songs. (Miles was personally almost entirely responsible for the "jazz-rock fusion" sub-genre, which was then absorbed into rock music, and abandoned by jazz in favor of an eternal repetition of Miles' mid-60's acoustic style.)
Today, for example, if you are an " 80s Hair Band " group, then you have to conform to all the characteristics of those bands. The sub-genre identification itself is automatically musically limiting.
This trend is accelerated by services like Sirius XM and Pandora. The former has specific channels devoted to tiny sub-genres and thus encourages the concept that one should pick one of those 100 sub-genres in which to form your new band. And Pandora uses those sub-genre formats to identify what you listen to, and "suggest" more " 80s Hair Band " music for you to listen to.
All this ensures that in 2270, everyone will still be listening to " 60s Psychedelia " and " 80s Hair Bands ". And in the movie theater, they will be watching the 47th reboot of Spiderman and the 38th reboot of Batman.
musicdetector:
I agree with many of your points regarding consumer value and appreciation, blgentry
The nuts about digital rights is that suddenly your favourite artist has been removed due to misc reasons. I was informed that Neil Young recently pulled out from Spotify and was replaced with a cover band?
I mean.. that would get me angry as hell if I had Spotify as my only medium.
As for the present and future, I think that true music lovers will still store their music on NAS and eventually perhaps all in the Cloud. And yes, also on vinyl :)
I invested in a Synology Nas 1815+ with 6 x 4tb WD red drives. I am happier than ever and the music keeps playing just as I want it to.
mwillems:
--- Quote from: kstuart on July 30, 2015, 03:18:05 pm ---All this ensures that in 2270, everyone will still be listening to " 60s Psychedelia " and " 80s Hair Bands ". And in the movie theater, they will be watching the 47th reboot of Spiderman and the 38th reboot of Batman.
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Kstuart, Simon Reynolds wrote an excellent book on this exact phenomenon called "Retromania". If you haven't read it, I recommend it highly, he's a great cultural critic and has some interesting ideas on the subject.
kstuart:
--- Quote from: mwillems on August 04, 2015, 08:51:48 am ---Kstuart, Simon Reynolds wrote an excellent book on this exact phenomenon called "Retromania". If you haven't read it, I recommend it highly, he's a great cultural critic and has some interesting ideas on the subject.
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I found a review of the book combined with an interview with him. A term was used and the wikipedia entry says:
--- Quote ---Recent uses of hauntology describe a state in which late capitalist civilization, persisting after postmodernism's "end of history," has become inundated by the perpetual pastiche and recycling of retro cultural and aesthetic forms, therefore obscuring the possibility of novelty in contemporary art, culture, and politics while producing a stagnant sense of historical disjunction.[10][11] Theorist Mark Fisher has specifically presented the term to describe a sense in which contemporary culture is haunted by the "lost futures" of modernity resulting from the shift into post-Fordist economies in the late 1970s and the subsequent rise of neoliberalism, which he argues has "gradually and systematically deprived artists of the resources necessary to produce the new."[12]
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The one element missing from that - and from Reynolds' analysis is the role of sub-genres - the concept that if music is conceived by both artists and fans as having a very specific form, then nothing will ever change.
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