Luke_A_Somers comments on The mystery of Brahms - Less Wrong Discussion
You are viewing a comment permalink. View the original post to see all comments and the full post content.
You are viewing a comment permalink. View the original post to see all comments and the full post content.
Comments (65)
Jorge Luis Borges wrote a story called "The Quixote of Pierre Menard", about a man who rewrites Don Quixote word-for-word. But because he writes it from a modern perspective, it has a different meaning, and is a different work of art. :)
It seems unreasonable to me to suppose that there aren't already people writing Beethoven-style symphonies as well as Beethoven did. We probably have many times as many composers as talented and as well-trained as Beethoven was. Composers today have recorded music, easy access to scores, synthesizers, all sorts of advantages. And they've heard Beethoven. They should be better than Beethoven. My guess is nobody pays any attention to them.
(And if somebody wrote plays today in the style of Shakespeare, and they were as good as Shakespeare's, I don't think anyone would publish them. Publishers would laugh at the artificial, overly-stylized language, the monologues, the poetic form, the coincidences, the crude sexual puns. Everything people love about Shakespeare is considered bad writing today.)
Why does it seem unreasonable to suppose that? The space of possible music is not quite Hilbert-space huge, but it's really, really huge.
So, to produce something like Beethoven, you have to be aiming rather specifically for that.
Very few composers frequently go into another composer's space and produce great music there. John Williams comes to mind as a good candidate, but he's not quite Beethoven-level. Why don't they? Novelty-seeking is an excessive explanation. There is plenty of good stuff left in those veins, but by going there, you're putting yourself directly up against Beethoven. There is somewhere you could go where you would stand out more. The obvious exception is when you're trying to fit a particular space due to a program that you didn't set (which handily explains Williams).
Once musicians have saturated music-space somewhat, you won't need a specific reason to returning to these spaces. As noted above, that could be a while.