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How Viennese Culture Shaped Austrian Economics – Article by Erwin Dekker

How Viennese Culture Shaped Austrian Economics – Article by Erwin Dekker

The New Renaissance HatErwin Dekker
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Schools of thought are frequently named after their country or place of origin. The Chicago School, the Frankfurt School, and the Scottish Enlightenment are just some of the many examples. The geographical place is a simple shorthand for something that would otherwise be difficult to specify and name. That is also the case for the Austrian School of Economics. Or at least that is what we commonly believe. Austrian is nothing more than a shorthand for a school of economics that focuses on market process rather than outcomes, emphasizes the subjective aspects of economic behavior, and is critical of attempts to plan or regulate economic processes. Sure it originated in Austria, but it is largely neglected there today, and currently the school lives on in some notable economics departments, research centers, and think tanks in the United States. The whole ‘Austrian’ label is thus largely a misnomer, a birthplace, but nothing else.

But what if Austrian, or more specifically Viennese, culture is essential to understanding what makes this school of thought different? What if the coffeehouse culture of the Viennese circles, the decline of the Habsburg Empire, the failure of Austrian liberalism, the rise of socialism and fascism, and the ironic distance at which the Viennese observed the world, are all essential to understanding what the school was about? It would be exciting to discover that the Vienna of Gustav Mahler, Ludwig Wittgenstein, Sigmund Freud, Gustav Klimt, and Adolf Loos, would also be the Vienna of Carl Menger, Ludwig von Mises, and Friedrich Hayek. And if that is so, how would that change how we think about this school and about the importance of cultural contexts for schools of thoughts more generally?

That is the subject of my recent book The Viennese Students of Civilization (Cambridge University Press, 2016). It demonstrates that the literature, art, and cultural atmosphere are all essential ingredients of Austrian economics. The Viennese circles, of which the most famous was the Vienna Circle or Wiener Kreis, are the place where this type of economics was practiced and in which it came to maturity in the interwar period.

The hands-off attitude first practiced at the Viennese Medical School, where it was called therapeutic skepticism, spread among intellectuals. They dissected a culture which was coming to an end, without seemingly worrying too much about it. As one commentator wrote about this attitude “nowhere is found more resignation and nowhere less self-pity.”¹ One American proponent of the Viennese medical approach even called it the ‘laissez-faire’ approach to medicine.² The therapeutic skepticism, or nihilism as the critics called it, bears strong resemblance to the Austrian school’s skepticism of the economic cures propounded by the government. Some of the Austrian economists, for instance, have the same ironic distance, in which the coming of socialism is lamented, but at the same time considered inevitable. That sentiment is strongest in Joseph Schumpeter. But one can also find it in Ludwig von Mises, especially in his more pessimistic writings. In 1920, for example, he writes: “It may be that despite everything we cannot escape socialism, yet whoever considers it an evil must not wish it onward for that reason.”³

That same resignation, however, is put to the test in the 1930’s when Red Vienna, the nickname the city was given when it was governed by the Austro-Marxists, becomes Black Vienna, the nickname it was given under fascism. The rise of fascism posed an even greater threat to the values of the liberal bourgeois, and at the same time it demonstrated that socialism might not be inevitable after all. One of my book’s major themes is the transformation from the resigned, and at times fatalistic, study of the transformation of the older generation, to the more activist and combatant attitude of the younger generation. Friedrich Hayek, Karl Popper, Peter Drucker as well as important intellectual currents in Vienna start to oppose, and defend the Habsburg civilization from its enemies. That is one of the messages of Freud’s Civilization and its Discontents, of Hermann Broch’s novel The Death of Virgil, of Malinowski’s Civilization and Freedom, of Hayek’s The Road to Serfdom, Drucker’s The End of Economic Man, and of course Popper’s The Open Society and its Enemies. It is also the message of the most famous book of the period on civilization The Civilizing Process by the German sociologist Norbert Elias. These intellectuals fight the fatalism and the acceptance of decline, and instead start to act as custodians or defenders of civilization.

In the process the relationship between natural instincts, rational thought, and civilization undergoes a major transformation. Civilization — our moral habits, customs, traditions, and ways of living together — is no longer believed to be a natural process or a product of our modern rational society. Rather, it is a cultural achievement in need of cultivation and at times protection. Civilization is a shared good, a commons, which can only be sustained in a liberal culture, and even there individuals will feel the ‘strain of civilization’ as Popper put it. That is the strain of being challenged, of encountering those of different cultures, and of carrying the responsibility for our own actions. Hayek adds the strain of accepting traditions and customs which we do not fully understand (including the traditions and customs of the market). Similar arguments are made by Freud and Elias.

If that is their central concern then the importance and meaning of their contributions is much broader than economics in any narrow sense. That concern is the study, cultivation and, when necessary, protection of their civilization.

To some this might diminish the contributions of the Austrian school of economics for they might feel that they were responding to a particular Viennese experience. The respected historian Tony Judt for example has claimed that: “the Austrian experience has been elevated to the status of economic theory [and has] come to inform not just the Chicago school of economics but all significant public conversation over policy choices in the contemporary United States.”⁴ He maximizes the distance between us and them, saying that they were immigrants and foreigners with a different experience than ours. But that response only makes sense if the alternative is some disembodied truth, outside of historical experience.

My book, to the contrary, argues that what is valuable, interesting, and of lasting value in the Austrian school is precisely its involved, engaged approach in which economics is one way of reflecting on the times. And those times might be more similar to ours than you might think, as the great sociologist Peter Berger has argued. Troubled by mass migration, Vienna experienced populist politics. The emancipation of new groups lead to new political movements which challenged the existing rational way of doing politics. A notion of liberal progress which had seemed so natural during the nineteenth century could no longer be taken for granted in fin-de-siècle and interwar Vienna. That foreign experience, might not be so foreign after all.

Viennese-Students-Civ

For more information on my book, The Viennese Students of Civilization: The Meaning and Context of Austrian Economics Reconsidered, click here.


Erwin Dekker is a postdoctoral fellow for the F. A. Hayek Program for Advanced Study in Philosophy, Politics, and Economics. He is assistant professor in cultural economics at the Erasmus University in Rotterdam, the Netherlands.


References

1. Edward Crankshaw. (1938). Vienna: The Image of a Culture in Decline, p. 48.
2. Maurice D. Clarke. (1888). “Therapeutic Nihilism.” Boston Medical and Surgical Journal 119 (9), p. 199.
3. Ludwig von Mises. (1920). Nation, State, and Economy. p. 217.
4. Tony Judt. (2010). Ill Fares The Land. p. 97–98.

Liberally Classical – Article by Jeffrey A. Tucker

Liberally Classical – Article by Jeffrey A. Tucker

The New Renaissance Hat
Jeffrey A. Tucker
January 12, 2014
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I was recently in an ornate orchestral hall built in the late Gilded Age, a setting designed to present an opera or symphonic music to a generation before World War I that craved such performance art. The concert I attended was sold out, with tickets running between $40 and $75.
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The place was vibrating with anticipation as the full orchestra with winds, strings, brass, and percussion came on stage, and a 25-voice choir—live acoustic music without conspicuous electronics—filed in behind. The cheers, even before it all began, were glorious.
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As I looked around the vast room full of wide smiles, I noted that that average age of the concert goers was late twenty-something. It was a slightly startling sight after having been to so many symphony concerts filled with septuagenarians. Not that there’s anything wrong with old people, but it always seemed to symbolize a dying art to me. Not this time though. This art and this room were alive and youthful and looking to the future.
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What followed was two hours of dramatic, emotionally gripping symphonic music. The audience couldn’t wait to cheer and stand at every opportunity. At the intermission not a soul failed to return to his or her assigned seat.
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I’ve been around the art-music sector of the music industry for many years, and, for me, this experience was all dreamy, even surreal. My whole life, I’ve heard the same old complaints from classical musicians. We are underfunded. Governments are stingy. The people are not coming to our concerts. The young are only interested in junk music. High art is being crowded out by pop: it’s Schubert vs. Spears, Beethoven vs. Bieber, Mahler vs. Madonna. Our concert halls and symphonies are being massacred by market forces. We need subsidies in order to uphold real music against the pathetic tastes of the middle class.
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And so on it goes.
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The conventional tactics for dealing with this obvious and old problem are well known. There are labor strikes—you know, those oppressed oboists and violists who are clamoring for their surplus value to be given back by the unnamed exploiter. Donors are being squeezed to make up for what can’t be gained in ticket sales. There are hectoring public campaigns to “support the arts” or feel really guilty. There are marketing gimmicks. There are foundations that provide temporary relief. All the while, musicians grow ever more bitter, resentful, and despairing.
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So what made this event different? Many things. The bar was open with wine, beer, and spirits, and people were welcome to bring them to their seats, just like in a movie theater when people watch with soda and popcorn. Yes! Why doesn’t the Kennedy Center allow this? I don’t know. It should.
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Also, the fantastic and rightly showy conductor was a young woman—defying the eternal stereotype and addressing another complaint about sexism in the history of orchestral conductors. Another thing: Many members of the audience were dressed in character, sporting funny ears, wigs, and costumes. Character? More on that follows.
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Finally, the main event was something completely unexpected. The music was a performance of the soundtrack to the video game Legend of Zelda. The full name: “The Legend of Zelda: Symphony of the Goddesses.” Yes, a video game, a cult classic, one that began in 1989 and now has a beloved heritage and rich tradition.
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The game itself is accompanied by a full suite of serious music composed over the course of 25 years by a dozen or so specialists (all well-trained musicians) from Japan. That means there is not a single god-like composer—we like to pretend they were all sui generis—but rather a crowdsourced, thematically arranged series of pieces, each of which is connected to some iteration of this long-running game.
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The musicians seemed to love it, and the audience surely did. The exchange relationship between the musical producers and consumers was unlike anything I had experienced. This was not an audience obediently frozen in a stuffy pose waiting for the next assigned time to clap (never, never between movements, dammit!). They were serious, engaged people who were happy to gasp, laugh, cheer, ooh and ahh, and even cry. They did it all, and not on cue.
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Above the orchestra floated a large screen that played scenes that matched the music, from its earliest and crudest computer animations to the latest and most dazzling visual art. We even saw the characters grow up in the course of their adventures, which are wonderful, faux-medieval tales of danger, courage, chivalry, and devotion.
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My goodness, the whole scene just moved me so much. Here were the gamers all gathered, those “nerds” everyone made fun of during high school and college, and their love of their computer world was being validated and affirmed. But I suspect that even they didn’t understand the implications of all of this. I wanted to stand up and explain: Do you see what you have done here? Your consumers’ interests have brought back large-scale, live performance art—full choir and orchestra—through the most circuitous route one can possibly imagine.
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And how different, really, is this from a Rossini opera about a love affair involving barbers, secret letters, singing lessons, stodgy aristocrats made to look silly, and narrow escapes down second-story ladders? Or a Mozart opera involving magic bells and flutes, evil queens, floating boys in an air balloon, and scary dwarfs and dragons? It’s all the same stuff. It’s that beautiful combination of audio and visual art—the sense that something is happening right there in front of you. They didn’t have video games but we do, and good for us!
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All of this music could have easily been played on a loudspeaker, but that would have taken away the whole sense that something was being created on the spot. You want to see the violinists moving their bows, the percussionists crashing cymbals together, the bassoonist playing that most implausible of instruments. Adding to the irony is that the music on the Zelda game itself is mostly electronic, especially the choirs and their ethereal voices. Not here. It was human. It was life. We all experienced it in real time—fantasy became reality before our eyes and ears.
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I thought back to my days hanging around the school of music, all those students and professors with long faces and grim demeanors, people down on markets, down on society, down on consumers. No one would have believed that he or she had a future in live performance music, filling up the old orchestral halls, by way of fun and wonderful video games. No, it took entrepreneurs and commerce to blaze this trail. It took markets to make this surprise happen.
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The world of classical music, in fact, has been pathetically lacking in creative vision for many decades, if not an entire century. In large part, it keeps trying to recreate the past while cursing the present and despairing of the future. Why? Perhaps it is because this sector of life has been ever more removed from the commercial world through centrally planned education, subsidies, union control, copyrighted and monopolized musical scores, a culture of the entitled guild. None of it has worked and, needing to pay the rent, there has been a steady stream of young musicians leaving years of conservatory training to enter some other profession like making lattes.
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But get outside those establishment circles and you see entirely different things happening. It was in Turkey when I first saw a performance of an all-woman string quartet. During the first part of the evening, they presented a solid program of Schubert, Mozart, and Haydn. Then came the change to leather and boots and an all-electronic/pop program followed by the same players. One can sneer at it as tacky (actually, I don’t think so) but people love it and pay the big bucks for it. Since I saw this performance two years ago, the approach has reemerged at several venues in the United States as well.
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My point is not to isolate these two types of art-music presentations and say: This is the future for classically trained musicians. Maybe this is just the beginning. Maybe there are dozens of other approaches yet to be explored. What is needed is some serious entrepreneurship to find the new approaches and test them in the marketplace.
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The main feature in success here is an intimate connection between the players and the audience—the same as you see in the pop music world. It’s not about the style. It’s about the economic and artistic relationship between the producers and consumers. It must be a value enhancing proposition for both sides for a true profit to emerge.
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Meanwhile, I will never be able to read the quarterly harangue in The New York Times about the death of symphonies without thinking of this wonderful evening. Classical music is not dead. It is just now coming back to life.
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Jeffrey Tucker is a distinguished fellow at the Foundation for Economic Education (FEE), CEO of the startup Liberty.me, and publisher at Laissez Faire Books. He will be speaking at the FEE summer seminar “Making Innovation Possible: The Role of Economics in Scientific Progress“.
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This article originally appeared in The Freeman, the magazine of the Foundation for Economic Education.
0-to-60 Waltz, Op. 74 – Musical Composition by G. Stolyarov II

0-to-60 Waltz, Op. 74 – Musical Composition by G. Stolyarov II

This waltz began with a simple premise: each measure would have one more note than the measure before it. This is the result.

The waltz is inspired by the natural numbers, rational order, and the immensity of connections between mathematics and music.

This composition is played in Finale 2011 software using the Steinway Grand Piano instrument.

Thanks go to Wendy Stolyarov for the design of the cover and the video.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

Abrupt Insights, Op. 73 – Composition for Classical Guitar and Harpsichord (2013) – G. Stolyarov II

Abrupt Insights, Op. 73 – Composition for Classical Guitar and Harpsichord (2013) – G. Stolyarov II

A work that is both classical and experimental, this piece for two classical acoustic guitars and three harpsichords is intended to evoke the process of arriving at new ideas or making progress on a major project in a staggered fashion. Each advance is a leap forward, but, on a larger scale, there remain an order and coherence of the greater task or discovery being achieved. This work follows a theme-and-variations format and utilizes harmonies reminiscent of the Spanish classical guitar compositions of the late 18th and early 19th centuries.

Length: 3:25

This composition is played in Finale 2011 software.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The cover page was designed by Wendy Stolyarov.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 8, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Rondo #5, Op. 72 (2013) – Musical Composition by G. Stolyarov II

Rondo #5, Op. 72 (2013) – Musical Composition by G. Stolyarov II

This rondo by Mr. Stolyarov, new in 2013, is one of his most ornate compositions to date, while managing to maintain an intense rapidity and convey sensations of acceleration and deceleration through the use of chords and changes in prevailing note lengths. The key alternates between C minor and C major, and the melody rapidly develops in complexity until reaching a grand finale in the last recapitulation.

This composition is written for three piano parts and is played in Finale 2011 software.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 47, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Variations on Alternating Marches, Op. 15 (2002) – Video by G. Stolyarov II

Variations on Alternating Marches, Op. 15 (2002) – Video by G. Stolyarov II

This composition by Mr. Stolyarov was written down in 2002, but some parts of it were virtually impossible to perform for a pianist of any skill. This version of the composition is played using Finale 2011 software and the Steinway Grand Piano instrument.

Two themes predominate in this work. Their juxtaposition is unusual in that the meters of each theme differ. The opening theme (A) is in 2/4 meter, whereas the second main theme (B) is in 3/4 meter. Both themes are marches, though B is noticeably heavier than A both in terms of the mood and the chords involved. The melodies of both A and B are alternated and repeated throughout the work, but the accompaniment changes dramatically. The last appearance of theme A, for instance, has it accompanied by scales of 32nd-notes — a virtually impossible feat for any human musician to execute.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 48, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Theme and Variations #1, Op. 61 (2009) – Video by G. Stolyarov II

Theme and Variations #1, Op. 61 (2009) – Video by G. Stolyarov II

This 2009 composition was written in a theme-and-variations format, with the main theme being presented, then varied five times, then repeated in its original form. The melody is played by a harpsichord with piano accompaniment, and a second harpsichord provides additional accompaniment in the first variation.

This composition has been remastered in Finale 2011 software and is played by two harpsichords and a piano.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 25, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

The Run, Op. 64 (2009) – Video by G. Stolyarov II

The Run, Op. 64 (2009) – Video by G. Stolyarov II

This 2009 composition is quite modern in its structure and harmonies, but manages to remain free of unresolved dissonance and maintain a melodic dynamism. The piece conveys rapid motion — as in a fast run — as well as a sense of exertion and onward momentum. It intensifies toward the end and reaches a sudden, rapid conclusion — as a runner might do upon completing a predetermined distance.

The entire work is built upon four chords in C minor, which are arranged in a variety of ways — with the main melody (A) being interspersed with related but structurally different melodies and becoming more intense, powerful, and rapid with each repetition. The structure of the piece is ABA’CA”DA”’E, where E is the conclusion.

All the notes of this piece are either sixteenth notes or thirty-second notes, making it quite difficult for a human musician to perform. As such, it is another example of Mr. Stolyarov’s genre of superclassical music — composed using traditional harmonies but in tempos and instrumental arrangements that only a computer is likely to be able to execute.

This composition has been remastered for two harpsichords, a piano, and strings and played in Finale 2011 software.

The main image for this video was designed by Wendy Stolyarov and is used with unrestricted permission.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Light Quartet, Op. 62 (2009) – Video by G. Stolyarov II

Light Quartet, Op. 62 (2009) – Video by G. Stolyarov II

This composition’s harmonies resemble those found in music of the late 18th-century Classical period, while some of the devices used — including the lengthy trills for the flute and the harp — are more extensive than could be found in that era, as no human flute player could maintain a trill for as long as a computer program can. There are three basic melodies in this piece, and their orchestration is varied over time. The mood of the composition is light, cheerful, and playful — although, it is to be hoped, not frivolous.

This work, originally composed in 2009, has been re-mastered in Finale 2011 software for four parts: piano, flute, bassoon, and harp.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download, here.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 29, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.

Exertion, Op. 51 (2008) – Video by G. Stolyarov II

Exertion, Op. 51 (2008) – Video by G. Stolyarov II

This composition by Mr. Stolyarov attempts to convey the sensation of struggling through a difficult task or an adverse situation which requires the use of numerous faculties simultaneously. It is another exercise in creating polyphony and multi-instrumental composition. This piece is for two pianos, with an organ making a brief appearance at the end.

This composition is played using Finale 2011 software.

Download the MP3 file of this composition here.

See the index of Mr. Stolyarov’s compositions, all available for free download here.

The artwork is Mr. Stolyarov’s Abstract Orderism Fractal 36, available for download here and here.

Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.