The Null Device
Economist Robin Hanson presents a sustainability-based argument for derivative music:
Each new song sits somewhere in a range of originality, from very original to very derivative. The more new original songs are developed and marketed, the harder it gets to develop and market new songs that will be seen as relatively original. Song writers then become more tempted to develop and market recycled versions of old songs. As the supply of original songs is slowly exhausted, the music industry slowly changes its focus from original to derivative songs. Since original music cannot last forever, we face a “sustainability” question regarding whether we are using up the supply of original music too quickly, too slowly, or just right.So when you next see another ploddingly dull lad-rock band rehashing the Beatles or Joy Division once more, without feeling, or hear another cringeworthily trite song about being or not being in love, or roll your eyes at a hack lyricist rhyming "girl" with "world", perhaps consider for a moment that, rather than polluting the world with mediocre pap, they're wisely rationing the finite supply of original musical ideas by not using any. Meanwhile, if the space of original musical ideas is in danger of depletion, the musical snobs who turn up their noses at Robbie Williams or Oasis and listen exclusively to post-tropicalia glitch-hop mashups and avant-garde experimentalism are not so much laudably adventurous spirits as the cultural equivalent of the conspicuously consuming douchebags who drive Hummers and buy endangered animal products.
That is assuming that the space of new musical ideas is finite, of course, and that once it is depleted, there will be nowhere left to go; once every possible verse-chorus-verse song in a blues scale has been written, for example, that humanity will be doomed to listen to songs they've all heard before, rather than, for example, changing the rules of what constitutes (popular) music.
(via David Gerard)