The Creativity of an Artist - Essay Example

The Creativity of an Artist Introduction The principle aim of this dis is to analyze the importance of creativity in theart industry with specific emphasis on musical experience. Understanding the concepts of what an artist wants to put across is an essential component of music as a creative industry. This work will use James Aconley, his works, performances, and composition styles to advance the concept of applying music in the creativity process. Music is a complex phenomenon that puts together many things that constitute creativity. The paper considers the phenomenology of rhythm besides focusing on the general perspectives of structures that encompass musical rhythm as well as the perceptual form of the experiences from music. Driving the phenomenological aspects as the main core in the creativity of music, the analysis puts into perspective philosophical and psychological elements including the nature of auditory reflection and the expressiveness of music as well. Elements that make music a creative industry and factored by James Aconley include rhythm is the primary and most essential component of musical experience. It covers among others melody, rhythm, and harmony. Reflective experience contains the enabling structure for facilitating musical rhythm. The relevance of musical hearing does not rely on specific types of focus in the auditory experience. In this context, putting much emphasis on the perceptual character of musical experience is against the basic principle that musical experience is a product of creative imagination. Creative Elements in Music: James Aconley James Aconley is both a singer and a performer. He implores much creativity to juggle between the two related but different fields. It is not easy to copy singing because it entails composing and passing a specific message to the audience. To succeed, James uses a lot of information from compiled from various perspectives. He sings in many parts of the country and in many events and venues in the United Kingdom. Such venues include many theatres, restaurants and hotels, The CAA in London, parties and weddings, anniversary celebrations, as well as many other functions (Langer, 1953, 33). To demonstrate his ingenuity in this highly creative industry, James sings a variety of genres and styles among them rat pack and swing, pop, easy listening, and musical theater. In addition to the above genres and styles, he is a skilled pianist. To change from style and genre to another requires much creativity. James Aconley often sings in his developed theatre shows running under his production company christened NAP Music Production. He serves as the director at NAP Music Studios showing his interest in recording. He also runs the Scarborough recording studio that specializes in the production for live performances across the United Kingdom besides producing the CDs. James is one of the founders of the dynamic theatre group dubbed At Least for Now Theatre headquartered in York. It constitutes five artists appearing ambitious in their endeavors including dedication to developing theatre that reflects the entertainment of true people. Their performances include music and stories. Creativity in this aspect comes through using stories in music with harmonic elements as well as expressing human experiences. At Least for Now Theatre performs various arts festivals in York with limited performances outside the county because the group is still developing. Creativity in Language Psychologists, philosophers, and historians continue to delve into the study of music as a language. However, to satisfy the quality of music as a language, the artist must make sure that the word applied in a stanza sends the original intended meaning. It is important to remember at this point that language is a mean communication the same way the artist intends to pass a message to the audience. This means that he or she must structure his or her composition to satisfy the qualities of a language in his piece of art. Deriving a meaning in words applied in music creates complexity because language contains spoken and written words with a type of flow absent in music. Music takes over the definition of language in its broader perspectives. Elements of a language include a communicator of ideas, expressions, meanings, and the literary language. Defining it as a discursive language, it remains a single type of language. Similarly, music particular ways through it expresses important emotional effects making it qualify as a language. Other scholars hold that in this sense, music is a language even if it is limited to being the language of emotions. A group of scholars among them Langer rebukes this notion highly and insists that music is not a language. According to her, music does not have words and cannot qualify as a language. She defines words as autonomous associative symbols containing a fixed reference-using gathering. Music lacks vocabulary, which is an essential element of language. However, this paper questions this stance because there are other elements avoided by the group of scholars such as Langer that holds that music is not a language. Suggestions by opponents pursue the issue of the musical language being similar to the literary language. However, this is not the case. The issue under investigation is whether the musical language has adequate characteristics that define a language. The musical language possesses this important feature. In the western tonal music for instance, music is very important defined in its literary meaning. It cuts across from as early as fifteen hundred and eighty in the sixteenth century through to the nineteen forty in the twentieth century. The music contains features that are independent and associative in nature having the representative symbols found in a language (Longyear, 1970, p. 85). Following in the definition of music influencing emotions alone does not interfere with music being of particular association. Langer fails in her dismal of music being a language of feeling because she avoids general arguments while defining the word language in the broader sense. She confines her definition to the literal definition of written words. This should be the case while explaining the components of music as a language. Doing this will restrict a language to speech and word. Through this, she somehow succeeds in blocking avenues that qualify music as a language. However, analysis of music and performances by James Aconley provides comparison of linguistic characteristics of music as well as speech. To analyze this aspect, it is important to understand the primordial definition of language. Similarity appears during the description of words in form of sounds. In this case, words are sounds that relates with ideas, objects, and feelings. The word sound is the most important because it is close to music as opposed to speech proposed by others among them Langer. Defining notes brings a closer relationship with words in literature. Here, notes are sounds with clear and without restrictions of rationally permanent associations but with intrinsic associations having primary emotions of humanity. Sounds in music and language come from expressive desires of inarticulate cries of the primitive man (Beethoven, L. 1998, p. 133). They are in music and literature. Taking the primordial definition aims at examining the relationship existing between the origin of words forming a language, speech, as well as the creative process of making music. A word carries the capacity to influence the emotions in the same way it passes the meaning. A note does the same role despite the fact that it does not an attached meaning in the context of a piece of art. The difference is that a word has a meaning and a note does not. Functional Analysis The greatest creativity discussed in this part handles the capacity of music to replace words in musical analysis. The futility of words in evaluating a piece of art by some academicians forms the basis of this presentation. Functional analysis makes presentations regarding various themes, subdivides music into various parts, and explains the relationships among the contrasting themes (Keller, 1984, p. 56). Functional analysis exposes the hidden work of unity in music using creativity and works towards enhancing the understanding of the listener as well as the audience. Created work of music is integral and remains consistent. It exposes background features of a piece of music difficult to grasp at the first instance (Langer, 1967, p. 96). It is the responsibility of the artist to compile these qualities and package in a piece of music. This takes place in every composition that the creator of the piece of composition decides to develop. Application of the terminology background elements refers to the unity within themes seemingly contrasting in nature. Other analysts hold that it is irrelevant to examine words because they find them unhelpful and unnecessary. According to this group of thinkers, the structure of the piece of music remains the only important aspect that requires evaluation. Functional in the music aspects revolves around development concerning the function. Therefore, functional analysis of music exclusively entails dealing with the role of music in addition to analytic method alone. The thorn in flesh while undertaking functional analysis of music becomes words in their general perspective but with specific reference to technical terminologies (Lam, 1957, p. 51). Technical terms do not have single and consistent references as well as definitions. The reason advanced for this assertion is simple; music is contemporary while terminologies are static. The use of the term the second subject serves as the best example in this context. The tonic key and the first subject play an important role in influencing the second subject in the recapitulation of the String Quartet in D Minor by Mozart. The influence occurs melodically. The effect of this is that the second subject seems to move away from its independent position, away from the original exposition, and towards the first subject (Keller, 1984, p. 147). Through this, the major melodic contrast moves between exposition and recapitulation as opposed to moving between the first and second subjects. From the analytic perspective, this kills the second subject as a theme. The whole process fails to justify the existence of the second subject within the theme. Analyzing verbal description will require change of terms along the way to avoid applying the term second subject. This is pure creativity considering the fact that the second subject stops being the subject forthwith (Keller, 1982, p. 13). The main purpose of functional analysis is to enhance the understanding of a piece of music by listeners. An analysis that does not assess the value of emotional comprehension of the music turns into replacement of comprehension of pieces of music together with an intellectual game turns out as dull from the perspective of the listener. Only musical evaluation can help in analyzing music. It is important to question whether the analysis of music needs to take the verbal or written course (Hans, 1994, p. 56). Listeners hear on their own what the composer intends them to. In functional analysis, examiners focus on the unity of contrasts, the entire movement, and the relationship between contrasting themes. Unity of contrasts defines the background of music. This is because it would not contrast much if it appeared at the foreground. It will have little unity and cause monotony in the presentation of music. In most cases, people do not consider the background of music. However, with or without its consideration, the analyst meets the same during musical understanding. For instance, if people fail to recognize that theme B relates and belongs to theme A, then it is difficult to pass that the same people understand the music piece that entails the two important contrasts. Creativity in musical composition takes place both consciously and unconsciously. Analysis of a creative musical composition leads to more understanding of the musical composer. Assumptions on the intentions of the composer arise during both written and verbal analysis of a piece of musical composition using technical terminologies. The Power of the Program Analysis of expression powers in programs and music including their words as well as understanding their association regarding communication requires the use of various examples. The most important part of listening to music is when it fulfills the expectations of an audience. This includes the occurrence of a long awaited resolution. James Aconley for instance, creates tension in some pieces of his music combining sparse feelings and high register developing the subsequent resolution that come more harrowing (Longyear, 1970, p. 67). Some of the music by Aconley is specific in the sense that people and agencies hire him to do the composition. This entails a pre-existing story in which that type of music does not arise from emotional impulses. As much as various musicians in the history of the industry, compose for the purposes of pleasing the benefactors, composition in the modern world requires much creativity to influence emotions of the target audience. Comparison on issues of pitting Aconley against other musical composition gurus such as Beethoven arises at this point. The connection between the purely functional program and the trivial music by James Aconley and subversive composition by Beethoven appears ridiculous in the literal definition. The most important element in this context is the final product. It exposes background features of a piece of music difficult to grasp at the first instance (Hans, 1994, p. 21). It is the responsibility of the artist to compile these qualities and package in a piece of music. This takes place in every composition that the creator of the piece of composition decides to develop. The composer aims at creating a moving experience among the target audiences. This is where the efficiency of the musical language to achieve desired results appears. It entails among other things, arousing the emotional reactions of the listener and demonstrating that little difference exists if any between the inspirational qualities of music and the trivial nature. The capacity to generate a comparison of two pieces of music proves the power and complexity of musical language. This ability works in various levels and stages effectively. Similarly, several levels of musical communication appear within one piece of music and not necessarily in different pieces. Clarity is in the work of Beethoven that came at end of his music career with special attention assigned to the last Quartets as opposed to sequential analysis of the works of James Aconley. The tonic key and the first subject play an important role in influencing the second subject in the recapitulation of the String Quartet in D Minor by Mozart. The influence occurs melodically. The effect of this is that the second subject seems to move away from its independent position, away from the original exposition, and towards the first subject (Cooper, 1970, p. 123). Through this, the major melodic contrast moves between exposition and recapitulation as opposed to moving between the first and second subjects. Coming years before James Aconley rose to stage, Beethoven was the first of the composers of his time to remain consistently aware of the conscious of his compositions with direct communicative and expressive capacities. He understood the power of communication carried by music. Furthermore, he used the same powers to address and express issues close to his heart creatively. Bibliography Beethoven, L. (1998). Late String Quartets and the Grosse Fuge Opp.127, 130-133, 135 (Dover Publications, Inc. Mineola, New York 1998) Cooper, M. (1970). Beethoven: The Last Decade 1817-1827. Oxford: Oxford University Press Hans, (1994). Towards a Musical Theory in: Essays on Music Cambridge University Press. Hans, K, (1994). Towards a Musical Theory in: Essays on Music Cambridge University Press. Keller, H. (1982). Music Analysis Vol. 1, No. 2 Keller, H. (1984). Functional Analysis of Mozarts G minor Quintet in: Music Analysis, vol. 4, No. 1 and 2 Lam, B. (1957). Beethoven String Quartets 2 (BBC 1957) Langer, S. (1953). Feeling and Form. London: Routledge & Kegan Paul limited Langer, S. (1967). Philosophy in a New Key. Harvard: Harvard University Press. Longyear, R. (1970). Beethoven and Romantic Irony in the Musical Quarterly vol. 56, No. 4, Read More