New tune: Sleepless In Seattle

It’s been months since my stay in Seattle for Fiddle Tunes and IIFET, but for several reasons my mind still wanders back to that summer, the great atmosphere in Port Townsend, and the wonderful people I met. While I was there I wrote a mazurka that I started playing at the local Irish session here in Wageningen. Some people asked me to put the notes online, so here goes:


Note that mazurkas are never played as straight as they are written down. They may be noted as 3/4, but they are usually played with a bit of swing that makes it sound more like a 9/8.

Here is the abc code:

T:Sleepless In Seattle
C:Rolf Groeneveld
ddc |: B3 c BA | F3 F FE | D2 E2 (3FED | B,3 B, A,B, |
| D3 F A<B | A3 G FD |1 (E6 | E3) D dc :|2 (D6 | D3) FGA ||
| B2 c2 d<e | d3 c BA | (A6 | A3) F GA |
| B2 c2 d<e | d3 A de | f3 f ed | e3 d dc |
| B3 c BA | F3 FFE | D2 E2 (3FED | B,3 B, A,B, |
| D3 F A<B | A3 G FD | (D6 | D6) |

Work and pleasure, arts and science

One can dream up uncountable categories in any profession, of course, but among academics, and perhaps especially among economists, two types stand out for me: the athlete and the artist/entrepreneur.

Athletes want to be the best in whatever competition they perceive to be in. Rankings are all that matters: all admiration goes to those in the Top 3. Athletes have a strong sense of who is ‘in’ and who is ‘out’: you want to associate with people who are ‘in’ because they publish in all the cool journals, go to the cool conferences and some of that coolness may someday rub off on you. Like real athletes, these academics choose their game, learn the rules, and try to be really good at it. Does this field require me to eschew interdisciplinary research, and prove difficult mathematical propositions? Then by heck I’m going to be the best at it. An athlete is another athlete’s competitor, first and foremost: if other athletes score he cringes his teeth in jealousy and swears to beat them in the next game.

Artists/entrepreneurs want to make a good product. A product is good if they themselves think it is good (the artist) or if it is good enough for a sufficient number of people (the entrepreneur). Artists/entrepreneurs don’t choose games or follow rules: they invent their own game, their own rules. When other scientists produce a great product, like a highly original paper, an artist/entrepreneur is eager to read it, and learn from it. Where athletes are driven by a constant comparison of themselves with others, artists/entrepreneurs are intrinsically motivated: they want to make something they themselves can be proud of.

Fiddle Tunes and IIFET

I have a lot more affinity with artists/entrepreneurs than with athletes – no surprises there. The current system in academia is largely geared towards athletes, with its emphasis on journal citation scores, H-index, and university rankings. This worries me. Athletes may be rule-followers, they are also more likely to cheat – just witness the doping scandals in bicycle racing and other sports. Rule-following also kills creativity – an essential ingredient of science.

IMG_4434 smallI had plenty of opportunity to reflect on the importance of creativity and inventing your own rules in science in the past three weeks. The first week of July I was at the Festival of American Fiddle Tunes in Port Townsend, Washington. It was an overwhelming experience to immerse myself in the music and hospitality of all the folks at this beautiful spot on a peninsula at the Puget Sound. One of the highlights was an improvisation workshop by bluegrass fiddler Tatiana Hargreaves. I don’t want to give away too many details about what we did (perhaps to preserve the secret but actually just because the truth is too embarrassing), but an important lesson that scientists might want to draw from it is that to get out of your comfort zone you should not take yourself too seriously!

DSC00089_smallAnd then there was the conference of the International Institute of Fisheries Economics and Trade (IIFET) in Seattle, in the third week of July. It was my second IIFET meeting but I’m sure it won’t be my last. One of the things I like about IIFET is its broadness, including not only economists but also policy scientists, sociologists, and people from NGOs and the fishing industry. Where the environmental economics conferences can feel like a gathering of athletes, IIFET is the place to go for artists/entrepreneurs. I was also excited to hear that 2020 will see the second edition of MSEAS, a conference on marine social-ecological systems, in Japan! The first edition, in Brest in 2016, yielded what must be the first comic in a peer-reviewed journal – another example of how art and science can make a happy marriage. More of that please!

Maritime Music

Apparently people associate Irish traditional music with the sea. At least the organisers of Bremen’s Festival Maritim do, or else I would not have played there with Tobermore last August, alongside other folk bands like Harmony Glen and Alban Fuam. Perhaps Ireland’s insular geography evokes an association with anything marine in the heads of continental land lubbers. Perhaps the cultural ties with other British islands blurs the distinction between sea shanties and slip jigs. What’s more, the hornpipe, which is found throughout English, Scottish, and Irish traditional music, is a sailor’s dance by origin.


In any case, Festival Maritim was a absolute blast, a feast of music, food, and drink, the closest you might get to rock ‘n roll without amplifiers. We played four gigs, sold a load of CDs, had a massive session on Saturday night and met many wonderful fellow musicians. Special mention goes to the Shoepolishers, a French folkpunk band we befriended over sessions and Kraken rum. Except for The Pogues and Kultur Shock I find most folkpunk bands painfully boring and staggeringly unoriginal, but these folks played a juggernaut of a show: such energy, such enthusiasm.

Do the Shoepolishers play maritime music? Not that I could hear. If you’re looking for any musical reference to maritime affairs at the Festival Maritim, go to one of the uncountable shanty choirs, who will sing old sailor’s songs from the days when singing was a way of synchronising manual labour on a sailing vessel or in the harbour. There is no guarantee that any of the singers has ever been at sea, although I would not be surprised if some or most have a sailing boat at home. Fascination with the ocean does not require a maritime profession, and there are many ways to quench your thirst for salty water if your day job is at the office.

This summer I also had a very short-lived musical career with The Pyrates, substituting for their violinist Rowan Schuddeboom. The Pyrates play old English, Irish, Australian, and New-Zealand folk songs, played on drums, guitar, bass, and fiddle. And dressed as a pirate from Pirates Of The Caribbean, of course. It was one of the most difficult and stressful things I ever did for fun. Most of the band had extensive musical experience, which put the bar a lot higher than I could manage. The drummer had toured all over the world with Within Temptation, and the reason Rowan was not available was that he was busy completing his conservatory education. When, after one gig (on Kijkduin beach, aptly) the band decided that they would rather cancel the second gig than play it with me I felt disappointed, hurt, but also relieved. But it was a valuable experience, and I learned a lot from it musically as well as personally. Don’t quit your day job, an A&R manager would say.


So what makes music maritime? Surely lyrics can refer to a sailor’s life, the call of the sea, or the mysteries below the waves. There are countless Irish tunes with names like Out On The Ocean, The Rolling Waves, or The Ships Are Sailing. But music itself? Can something as abstract as music capture the rhythm of the waves, the endless horizons, and the merciless rage of a stormy ocean?

After my fishing trip on the SL-9 I wrote a tune that I decided to call The Flyshoot:


I felt it had to be a slip jig. Only a slip jig can capture the broken rhythm of a cutter as it makes a seemingly perfect arch in the sky while it climbs over a wave, only to violently crash into another wave as it comes down, and then goes up again. (Considering that flyshooting is originally a Danish fishing technique – the Danes call it snurrevaad – a polka may have been more fitting but it just doesn’t feel right.)

How about metal? One of my favourite post-metal bands is a German collective called The Ocean. Although I had missed their gig at Roadburn in 2013, I blindly bought their CD Pelagial, and only because it was their only CD with an instrumental version (I usually hate what passes for vocals in metal: most of it is grunting, screaming, or just whining). Pelagial describes a journey to the darkest depths of the ocean, which is supposed to be a metaphor for the unconscious (what metal bands lack in basic psychology they compensate with pseudo-Freudian psycho-babble). I’m sure the sounds of a heavily breathing diver and bubbles escaping from his mental submarine help, but even without those sounds the music is fitting for the dramatic contrasts between tense, eery calm and uncontrollable rage that makes the sea so fascinating to us terrestrial apes.

Recently I discovered Ahab, a German doom metal band whose music is inspired entirely by Moby Dick. Their first album, Call Of The Wretched Sea, is full of slow, dark, heavy riffs as macabre and unstoppable as the fate of the captain and his white whale. Yes, there is grunting on the album, lots of it, and I needed to get used to it to appreciate the album. But it works.

Then there is Alcest‘s Écailles de Lune, which supposedly is inspired by oceans and seas, but hearing that in their music takes more of my imagination than it does for the two albums I just mentioned. Nevertheless it’s a beautiful, dramatic album, shoegazing at its best. Internetfora also mention ISIS‘s Oceanic, and Mastodon‘s Leviathan, but I find those least convincing. Oceanic sounds too blunt, too ‘square’, to resemble the ocean in any way (perhaps a four-fourth measure just doesn’t cut it). And Leviathan is simply Mastodon: perfect music for a biker bar but not for rolling waves.

Any other suggestions? Which ocean-inspired metal band should I absolutely check out?

Secrets of a fiddle

Perhaps the old fiddle can teach the new mandolin a few tricks

No musical instrument evokes a sense of mystery like a fiddle does. (The difference between a fiddle and a violin? A violin is usually in tune.) For a guitar you can go to the nearest instrument shop to buy a Taylor or a Martin. For a bagpipe or a hurdy-gurdy you order one from a maker after shopping around at the Le Son Continu Festival. I recently bought a beautiful A-type mandolin from a maker in Breda, The Netherlands after trying it out at Gooikoorts. And all those instruments have proper brand labels on them that are protected by international law. You hardly find the kind of counterfeiting you see in the clothing industry.

Don’t believe the label

I have no idea, however, where my fiddle comes from, who made it, who played on it, or how old it is. I bought it from a fiddler in the Irish music scene in The Netherlands who had bought it on a flee market – or so he said – but I have no idea where that was or from whom he bought it. There is a small label inside saying “Anno 17 [blank] Carlo Bergonzi fece in Cremona”. Carlo Bergonzi was a world famous violin maker, famous for being the finest apprentice of the great Stradivarius. He is also famous for the numerous fake labels in violins with his name on them. So I’m not exactly inclined to take the label very seriously. Millions of violins were made in the region now known as Germany and the Czech Republic with such labels, apparently because they were modelled after Bergonzi’s design. So I guess my fiddle is one of those.

Wait – that wasn’t me

So how old is this fiddle then? I am no expert in this, and I know you should never trust the internet (at least that’s what I tell my students), but a little browsing here and there brings me to a range between 1870 and 1940. That is a long time. Still, it’s an intriguing idea that this fiddle of mine is probably at least 76 years old – older than both my parents. Who played it since? What did they play on it? Surely it was not all high-brow classical music, considering that it is not exactly a high-brow instrument. For folk music it’s perfect: it is fairly loud, especially with the steel strings I usually put on it. But recently I changed strings (I am looking for a somewhat warmer tone), and while doing so I noticed the wear marks on the fingerboard under the D string (see picture). Note how they go all the way up to the body of the fiddle. This is where you get when you play third position or higher. I never play third position, especially not on the D string, so I’m sure it wasn’t me! All music I play (Irish, Dutch, and French traditional music) is in first position. And I’m so bad at it I can’t even play vibrato, let alone higher positions! Playing in the second or third position is more common in gypsy music though, as well as in some east European traditions. So perhaps a gypsy fiddler earned his daily bread with it, or it was a classical violin player after all.


MSEAS Brest: My impressions

Tonight is my last night in Brest after an intensive and massively enjoyable conference on Understanding marine socio-ecological systems: including the human dimension in Integrated Ecosystem Assessments (MSEAS). It’s been one of those events where you soak up loads and loads of impressions, which take time to digest, which I just did today in the magnificent Océanopolis – I figured that would be an apt place to reflect on the human dimensions of marine management. So here are my thoughts.


MSEAS did much, much more than the average economics conference to stimulate debate and to provoke creative ideas. I much enjoyed the open and creative atmosphere that brought together people from fields as diverse as biology, economics, and anthropology. As far as I have seen in all discussions people were very open and respectful to each other’s views. Which is different from what I have seen in some of the more disciplinary or conservation-oriented conferences. Oh, and getting a cartoonist capture the sessions was an excellent move. He was not just funny, he actually contributed to the debate and gave us fresh new insights. More input from artists next time please!

Beth Fulton on people’s trust in models

Boy, do I envy this generation of young researchers working in this field. The Young Researchers Workshops gave them the chance to pose questions to more experienced researchers in the field on all kinds of issues. (I felt to old to ask a question and too young to answer one.) I wish EAERE had this when I did my PhD!

From the presentations and keynote lectures I got the overall impression that there is a particular need for social indicators (other than economic ones, and employment), analyses of governance and institutions, and further integration of the whole range of issues in analyses and assessments. The topics were clearly skewed towards fisheries, which is a shame given the growing importance of other sectors, but also understandable given that this was an initiative by people within the ICES network. I was somewhat surprised to notice that there was not a single cost-benefit analysis, especially considering that the OECD’s Ocean Economy report explicitly calls for more cost-benefit analyses of ocean management.

Shame she wasn’t there second
time I visited the Océanopolis

I was particularly enthusiastic about some of the qualitative research that shone a new light on economic analyses. Edwin van Helmond presented an analysis of Dutch fisher behaviour where interviews with fishers helped resolve a number of puzzles in the data that statistical analysis could never have solved. Matthias Kokorsch presented the results of a series of interviews he did with Icelandic fishers on the effects of the tradable quota system in that country.

Slow sessions are just not my thing. I went to the Sunday session in the Tara Inn: there were loads of people, the atmosphere was great, but the music just did not appeal to me. It’s not the pace: there’s nothing wrong with playing a bit slower if you can’t keep up with the standard speed. In fact it’s better than playing above your level! But the playing was sloppy. Luckily I did get the chance to see some of the local traditions at the very last evening at a Fest Deiz!

Meet my new band

I’ve joined a new band: we’re called Tobermore, we’re mostly Dutch (our uillean piper is half Irish, half Flemish, and makes great chocolates), and we play Irish traditional music with the occasional Americana song.

Although I joined them only a few months ago, this actually started somewhere in 2009-2010 when I stood in for the guitarist of another group, Harmony Glen. I got along quite well with their then box player, Vincent, and Vincent and I formed a duo playing Dutch music, Hete Bliksem (yes I know the link is broken – the website is still under construction – as is the band). After a couple of years, Vincent left Harmony Glen, and joined Tobermore; when they asked me to join them as fiddler I did not need long to consider their invitation. They’re great musicians and, most importantly, great company.

My interest in folk music started with, as for so many people, The Pogues. There was a time when I would go to Ireland every year, first with my guitar, then with my bódhran, then with my mandolin. Visiting the Saint Chartier Festival in 2000 changed many things in my life, not least of all my musical focus: I bought a fiddle and immersed myself in bal folk music. I still play bal folk, mostly with old Dutch tunes, but I’m also happy to be back in Irish music again.