Daniel Shugrue

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Book cover for Amusing Ourselves to Death: Public Discourse in the Age of Show Business
Elie Wiesel, in a series of quasi-parables and paradoxes, stressed the tragic nature of the human condition, but because he did not have the time to provide a context for his remarks, he seemed quixotic and confused, conveying an impression ...more
Daniel Shugrue
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Tyler Cowen
“Karlheinz Stockhausen.”
Tyler Cowen, In Praise of Commercial Culture

Laura Furman
“You know why we’ll never give up cars—because riding in cars at night is so beautiful, it’s telling stories in a cave with the darkness kept out, the dash lights for the embers of the fire.”
Laura Furman, The O. Henry Prize Stories 2016

Tyler Cowen
“Unfortunately for the composers of the time, wealthy Renaissance merchants were more likely to commission a painting than a composition. The painting could be owned, repeatedly shown off, and later resold, unlike the music. The financial incentive to commission a composition, which can be enjoyed by any audience member, was weaker. Paintings were closer to private goods, and musical performances were closer to public goods.”
Tyler Cowen, In Praise of Commercial Culture

Tyler Cowen
“Many compositions cannot be comprehended without special training or many hours of repeated listening. Even highly educated consumers who enjoy modern art and read James Joyce often find Elliott Carter and Pierre Boulez to be puzzling or perhaps even painful to listen to. Composers of contemporary "classical" music have not made the headway that their peers in literature or painting have enjoyed. Contemporary music, depending on genre, is either the most or the least popular of the these three arts.”
Tyler Cowen, In Praise of Commercial Culture

Tyler Cowen
“Twentieth-century music has brought new complexity into rhythms, studio production, instrumentation, and a variety of other features that were uniform, less varied, or nonexistent in previous music. Modern compositions, even in narrow musicological terms, do not necessarily provide less depth than their predecessors. The songs of Jerome Kern, Duke Ellington, Thelonious Monk, or the Beatles are arguably no less compositionally complex (and perhaps more complex) than the lieder of Schubert. Schubert wrote about 700 songs, most of which no one ever listens to or analyzes. Many of these songs are technically and compositionally undistinguished, and tend to be formulaic in their melodic treatment. Are "Bill," "Take the A Train," "Crepuscule with Nellie," and "A Day in the Life" really inferior or lesser products?”
Tyler Cowen, In Praise of Commercial Culture

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