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Art! The Perspective in the Creative Process
Part II:
Gordon Pryor
March, 2006
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With this presentation I would like to offer from the genre of music composition, one of the
many examples of the mind-set upon one, when in the midst of composing a work. No
matter what the medium; it’s the pulse, the pace, the very atmosphere of the moment. One
allows the depth of things to surface, and in utilizing the tools of ones use, proceeds.
While aiming for perfection and the best in the desired outcome of a completed piece, the
‘slings & arrows’ are often brought in to enlist aid for the psychological and emotional tidbits
that go along with many artists during the creative process.
One of the artists I interviewed was a musician & recording engineer, who made their living
predominantly by writing scores for movies, television and radio, for the past twenty odd
years. This, along with running their own music studio and doing various types of
commission work for live music performance in dance and theater as well. As we talked
about their approach in the composing stage of things for the different subjects in these
fields of music, I was struck with how personally intimate some of the standard applications
are, and yet how complex the procedure can be. I was not totally surprised to hear and yet
realize how similar the ‘affects’ (if you will), were to my own involvement in the thought
process as a visual artist.
As they explained their procedure in composing a piece for film, they spoke of the analytical
and emotional side of the person that goes into the process, something that does not
always come to the surface in the completed work: that ‘human’ side of things in the
composer that the listener (in the case with music), doesn’t have a chance to see, or get to
know. Those things that make the artist ‘tick’ in the creative process. Of course there are a
myriad of procedures used, as all individuals do not work in the same way, but many can
speak of the similarities in the emotional influence of what can go on in the composing of a
piece. Whether the work is a personal project for ones repertoire, a performance, or a
commissioned piece for another party, also can make a difference to the approach for
some. With the main criteria in common, however, being the completed work, often one
strives to make the ‘sound’ of the composition for whatever the medium may be. Other
times it can be the ‘sound’ of the composer. And that is where those listening can
sometimes hear the results, or get a glimpse so to speak, of what’s ticking inside the
composer's brain.
With varying results in sound, form, direction, themes, categories, et cetera, there can be so
many things that go into the creative process of an artist's approach to composition, and so
much of that process goes unobserved except to those involved in the process itself. Suffice
to say this was just one person's take on that procedure, and that, like all the different types
of music in the world, is in itself unique. And of course, for many listeners, one of the
pleasures of hearing a completed piece of music is the joy in the different feelings one gets
when listening to different composers' work.
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NEXT:
ART! THE PERSPECTIVE IN THE CREATIVE PROCESS,
PART III
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ALSO READ PART I TO GORDON'S ARTICLE
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DAGOGO©2006
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